Edwards made an entrance worthy of Peter Sellers in one of Edwards' Pink Panther films: A stuntman who looked just like Edwards rode a speeding wheelchair past a podium and crashed through a wall. When the octogenarian director entered and dusted himself off as if he had crashed, he told presenter Jim Carrey, 'Don’t touch my Oscar.'" Also in 2004, Edwards received The Life Career Award from the Academy of Science Fiction, Fantasy and Horror Films, during that year's Saturn Award ceremony. In 2002, Edwards received the Laurel Award for Screenwriting Achievement from the Writers Guild as well as the Special Edgar from The Mystery Writers of America for career achievement. In 2000, Edwards received the Contribution to Cinematic Imagery Award from the Art Directors Guild. In 1993, Edwards received the Preston Sturges Award jointly from the Directors Guild and the Writers Guild. In 1991, Edwards received a star on the Hollywood Walk of Fame. In 1988, Edwards received the Creative Achievement Award from the American Comedy Awards. In 1983, Edwards was nominated for an Academy Award for Best Screenplay for Victor/Victoria as well as winning Best Foreign Film and Best Foreign Screenplay in France and Italy, respectively for Victor/Victoria Between 1962 and 1968, Edwards was nominated six times for a Golden Laurel Award as Best Director by Motion Picture Exhibitors. In 1963, Edwards was nominated for a Golden Globe as Best Director for Days of Wine and Roses In 1962, Edwards was nominated for Outstanding Achievement by the Directors Guild for Breakfast at Tiffany's In 1960, Edwards was nominated for an Edgar for Best Teleplay by the Mystery Writers of America for Peter Gunn In 1959, Edwards was nominated for two Primetime Emmys as Best Director and Best Teleplay for Peter Gunn Between 1958 and 1983, Edwards was nominated eight times for Best Screenplay by the Writers Guild and won twice, for The Pink Panther Strikes Again and Victor/Victoria Silent-film style Having grown up in Hollywood, the stepson of a studio production manager and stepgrandson of a silent-film director, Edwards had watched the films of the great silent-era comedians, including Charlie Chaplin, Buster Keaton, Harold Lloyd, and Laurel and Hardy. He and Sellers appreciated and understood the comedy styles in silent films and tried to recreate them in their work together. After their immense success with the first two Pink Panther films, The Pink Panther (1963) and A Shot