85 Years of The Oscar

OSBORNE
Robert Osborne is host of Turner Classic Movies

(TCM) and serves as the ofcial host for the TCM
Classic Film Festival. For more than twenty-ve
years, Osborne was a reporter and columnist for
The Hollywood Reporter, one of the industrys most
important newspapers. He has written a dozen
books on the lm world, many of them focused on
the Academy of Motion Picture Arts and Sciences,
and has frequently served as host of the Academys
in-person tributes, in both Beverly Hills and New
York. Osborne earned a star on the Hollywood
Walk of Fame in 2006 and in 2008, received a
special award from the National Board of Review
for his contributions as a lm historian.
AL S O AVAIL AB LE
F RO M ABBE VILLE P R E SS
Starstruck
Vintage Movie Posters from Classic Hollywood
By Ira M. Resnick
Foreword by Martin Scorsese
ISBN 978-0-7892-1019-7
$65
Stories My Father Told Me
ABBEV IL L E P R E SS
137 Varick Street
New York, NY 10013
1-800-A rtb ook (in U.S. only)
Available wherever ne books are sold
I say this softly, the Oscar along with the Academy or the Academy
along with the Oscar, could not have a better lm historian or
human being who loves what the Academy and statuette stands for.
A friend, Bill Cosby
No one knows more about Oscar historyor chronicles it with greater
enthusiasmthan the one and only Robert Osborne. I look forward to
each new edition of this handsome and valuable book.
Leonard Maltin
This terric resource on the Academy Awards offers all things Oscar.
Library Journal
Notes from The Lyons Den

By Jeffrey Lyons
Foreword by Charles Osgood
ISBN 978-0-7892-1102-6
$35
Robert Osborne keeps the legend of Hollywood alive and well!

Drew Barrymore
85 YEARS OF THE OSCAR
ABO UT THE AU T H OR
85
YEARS
OF THE
OSCAR
media , film & television / reference
Robert Osbornes knowledge and love of movies is

extraordinary! 85 Years of the Oscar is a must read for
everyone who loves movies. Who doesnt love movies
and who doesnt love Robert Osborne?
Eva Marie Saint
It is a beautiful book!
Good Morning America
A must own for any serious fan of lm.
IMDb.com, The Internet Movie Database
A must-have for any Hollywood buff.
iVillage.com
Selection: Top Ten Performing Arts Books, 2013
Publishers Weekly
BY ROBERT OSBORNE
or the lm industry, the Academy Awards is the

most celebrated and most signicant night of the
year: everyone longs for the recognition of being
nominated to win a golden statuette. For most of us,
however, even a walk down the red carpet is just a dream.
85 Years of the Oscar puts readers into those iconic plush
seats for the thrill of the Academy Awards, from the rst
show in 1928, shortly after the introduction of the talking picture, to this years eighty-fth anniversary.
With over 750 photographs and surprising details
from each years awards revealed by lm historian
Robert Osborne, 85 Years of the Oscar is the only ofcial
history of the Academy Awards. Organized by year, 85
Years of the Oscar chronicles the ceremonies themselves,
as well as the accomplishments, trends, developments,
and events that occurred, both within the Academy and
for the lm industry as a whole. Osborne comments on
each years most important lms and shares the stories
behind them. He also transports readers into the awards
show, quoting from notable acceptance speeches and
celebrity reactions, as well as sharing anecdotes from
each year. All award nominees and winners are listed,
with a special listing of Oscar record-holders.
An indispensable and encyclopedic reference for the
amateur and expert alike, from the aspiring actor to
the lm critic, this book has been a popular favorite
since its rst edition was published twenty-four years
ago, just after the sixtieth awards ceremony. 85 Years of
the Oscar provides an authority and depth of coverage
found nowhere else, and it is sure to please movie-goers
around the world.
BY ROBERT OSBORNE
THE OFFICIAL HISTORY OF THE ACADEMY AWARDS
Visit us at www.abbeville.com
Printed in China
A M PA S
Oscar85_jack_mech_output_rev8.20.indd 1
8/20/13 4:08 PM
OSCARS_80_fm_p001-005_1.indd 1
8/8/13 7:17 PM
8/8/13 7:18 PM
ROBERT OSBORNE
85 YEARS
OF THE OSCAR
THE OFFICIAL HISTORY OF

THE ACADEMY AWARDS
abbeville press publishers

new york london
8/8/13 7:18 PM
A.M.P.A.S.
Dedicated to the Founders of the Academy,

whose individual creative talents
and collective support of the motion picture
helped make it the preeminent art form
of the twentieth century.
editors: Joan Strasbaugh

production editor: Amy K. Hughes
production director: Louise Kurtz
typography: Misha Beletsky
layout: Advantage Graphics
composition: North Market Street Graphics and Kat Ran Press
Editorial and production support and historical research provided by
the Academy of Motion Picture Arts and Sciences.
CIP TK
Academy Award(s) and Oscar(s) are registered trademarks and
service marks of the Academy of Motion Picture Arts and Sciences
(A.M.P.A.S.) The Award of Merit (Oscar) statuette is copyright 1941
by A.M.P.A.S. The depiction of the Oscar statuette is also a registered
trademark and service mark of A.M.P.A.S.
Copyright 1989, 1994, 1999, 2003, 2008, 2013 Academy of Motion
Picture Arts and Sciences. All rights reserved under international
copyright conventions. No part of this book may be reproduced
or utilized in any form or by any means, electronic or mechanical,
including photocopying, recording, or by any information storage and
retrieval system, without permission in writing from the publisher.
Inquiries should be addressed to Abbeville Publishing Group, 137 Varick
St., New York, NY 10013. The text of this book was set in ITC Mendoza.
Printed and bound in China.
First edition
10 9 8 7 6 5 4 3 2 1
Photographs in this book documenting either the ceremonies proper
or activities related to Annual Awards Presentations are from the
Margaret Herrick Library and are the copyrighted property of the
Academy of Motion Picture Arts and Sciences.
For bulk and premium sales and for text adoption procedures, write
to Customer Service Manager, Abbeville Press, 137 Varick Street, New
York, NY 10013, or call 1-800-Artbook.
Visit Abbeville Press online at www.abbeville.com.
8/8/13 7:18 PM
Table of Contents
The Beginning ............................................ . . . 7
19271937
The First Decade ........................................ . . 10
19381947
The Second Decade .................................. . . . 52
19481957
The Third Decade ...................................... . 98
19581967
The Fourth Decade ................................... 148
19681977
The Fifth Decade ...................................... . 194
19781987
The Sixth Decade ...................................... 244
19881997
The Seventh Decade .................................290
19982007
The Eighth Decade ................................... . 33 6
20082012
The First Half of the Ninth Decade ..... 382

Awards Ceremonies.................................. 408
Academy Facts and Records .................. 422
Index .............................................................. 424
8/8/13 7:18 PM
OSCAR_80_p007-051_linked1.indd 6
8/8/13 7:21 PM
The Beginning . . .
n 1928, no one knew better than Mary

Pickford how much the motion picture
industry needed one all-encompassing
organization as a focal point for unbiased
judgments, coordination and cool thinking
in the often-scrambled movie community
known as Hollywood. Miss Pickford had
been a part of the movie business almost
from its beginning, watching the nickelodeon novelty grow with lightning speed
into what had become, by the end of the
1920s, the fourth-largest industry in America. The moviessilent but goldenhad
captured the imagination and the pocketbooks of the world, but until the Academy
of Motion Picture Arts and Sciences was
formed, no one had organized the moviemakers themselves into a single, cohesive
force. And the time had come.
The 1920s had been, in fact, a time of
great changes everywhere, a dynamic period
of transition. After World War I ended in
1918, the United States had been undergoing
an invigorating decade of technological and
cultural breakthroughs, one after another,
stockpiling inventions and creations faster
than at any other period in the countrys
history. Growth was particularly swift in
the area of mass communications, and, by
the end of the 1920s, all the current major
communications media had attained some
degree of maturity, except of course for
television.
Statistics on the motion picture industry
itself were staggering. By 1928, the American lm colony alone was producing over
ve hundred feature-length lms (and
hundreds of short subjects) each year for

a weekly audience of one hundred million
ticket-buyers in twenty-three thousand
theaters across the nation. Hollywood,
Californiathat little suburb that had
mushroomed just outside of Los Angeles
had rmly established itself, without any
premeditation, as the lm capital of the
world. Thats when problems began, problems that brought about an organization
encompassing all lmmakers.
World leadership in any eld has distinct
disadvantages, and Hollywood was getting all the slaps synonymous with success. The attacks came from everywhere.
Church groups charged that the medium
foisted harmful inuences on unsuspecting
patrons, and Parent-Teacher Associations
criticized Hollywoods preoccupation with
adult themes. Everyone had something
to say about the personal conduct of the
towns citizenry, often blown out of proportion for publicity purposes, then eagerly
reported by the worlds press, egged on by
aggressive studio publicity departments. The
government, too, often cast a critical eye on
Hollywood, eager to show the moviemakers
how to use, or how not to use, their undeniable inuence over the masses.
The handwriting was on the wall: outside
censorship of the lm industry was inevitable unless the industry took hasty steps
to police itself. In order to head off the
possibility of outside control, a group of
lm producers gathered together in 1922
and hired Will H. Hays, a former Postmaster
General under President Warren Harding,
7
WHAT THE ACADEMY MEANS TO ME
The Academy is the League of Nations of the Motion

Picture Industry. It is our open forum where all
branches can meet and discuss constructive solutions
to problems with which each is confronted. In the past
we have never been able to get together on a common
ground and in making this possible the Academy has
conferred a great service. The producer, star, featured
player, cinematographerin fact, every individual can
come into the Academy with any problem or proposal
and feel that all barriers are leveled, that in this open
court his voice carries the same weight as that of any
other person, regardless of position and standing.
There is no greater force for coordination, no greater
avenue for constructive and intelligent cooperation
for advancement than that offered by the Academy of
Motion Picture Arts and Sciences.
Mary Pickford
Academy Bulletin, April 2, 1928
8/8/13 7:21 PM
Janet Gaynor
to head up a new self-policing body for the

industry. Hays was to set guidelines for
lms, censor the offenders of good taste
and give a stamp of approval to acceptable
products, all of which the lm community
was to accept en masse. Everyone hoped
the distinguished Hays name would help
alleviate those outside criticisms, with the
knowledge that the moviemakers themselves were doing something constructive
to police the screen. Hayss leadership was
the stimulus for the rst movie production
code, but it still didnt prevent all attempts
at outside interference with lms and lmmakers. Despite the good intentions and
tough policies of Mr. Hays, a few states and
several cities still decided to establish their
own local censorship boards to pass on motion picture content, and these boards often
rejected lms previously cleared by Hays and
his Hollywood code ofce.
There was another source of confusion in
the industry: a new trend toward unionism.
Los Angeles had long been known as a haven
for nonunion employment, and union organizers felt that the motion picture industry
could be used as a tool to bring unions
into the unorganized labor town. It started
slowly at rst. In November of 1926, a
Studio Basic Agreement was signed between
nine lm studios and unions representing
carpenters, painters, electricians, stagehands and musicians. At the same time, an
attempt to form a screenwriters guild was
defeated, and a major effort to organize talent groups by Actors Equity Association, the
stage union covering performers, had failed.
Still, more change was inevitable, one way

or another.
Public interest in silent lms was also on
the wane, and the motion picture industry
was in a serious state of mechanical overhaul. Technological advances were being
made by various studios, but each was keeping its knowledge a heavily guarded secret,
leading to chaos in the manufacture and
distribution of prints, even the silent ones,
to theaters. There were as many standards
as there were studios, and in the face of a
falling market, producers needed all the
cooperation they could muster, particularly
with the impending changeover to soundon-lm. They needed, rst and foremost,
a central clearinghouse and exchange for
ideas, a common ground where the development of new equipment could be discussed
and procedures could be shared that would
benet the entire industry.
In January of 1927, just ve weeks after the
Studio Basic Agreement was a fact of Hollywood life, the rst seed-idea for the Academy of Motion Picture Arts and Sciences
was planted. It happened during a Sunday
dinner at the Santa Monica beach home of
Metro-Goldwyn-Mayers powerful studio
chief Louis B. Mayer, during a conversation
between Mayer and three of his guests, actor
Conrad Nagel, director Fred Niblo and producer Fred Beetson. The men agreed there
should be one organized group that could
benet the entire industry, help solve technological problems, aid in arbitrating labor
disputes, and assist Will Hays in policing
screen content. Stimulated by the idea, the
William Cameron Menzies
8
I N T RO D U C T I O N
On May 4, 1927, the articles of incorporation for

the Academy of Motion Picture Arts and Sciences
were filed with the California Secretary of State and
the Academy came into formal existence. Though
planning meetings had been taking place for several
months before that, the first official meeting of the
Academy was held on May 6, and by May 11 the first
roster of 230 members was printed.
As forefathers run, this was a pretty impressive
group. It included Wallace Beery, Francis X. Bushman, Lon Chaney, Ronald Colman, Michael Curtiz,
C.B. and William DeMille, Douglas Fairbanks,
Cedric Gibbons, John Gilbert, D.W. Griffith, Jean
Hersholt, Carl Laemmle, Jesse Lasky, Harold Lloyd,
8/8/13 7:21 PM
four men planned a dinner for the following

week, which would be attended by representatives from all the creative branches of the
motion picture industry who, it was hoped,
would be equally willing to support such an
organization.
The men meant business. On January 11,
1927, thirty-six people gathered at the
Ambassador Hotel in Los Angeles, listened
to the proposal, and applauded the whole
idea. These lm industry leaders became
the ofcial founders of the International
Academy of Motion Picture Arts and
Sciences (the International was later
dropped during incorporation proceedings). The thirty-six, besides Mayer, Nagel,
Niblo and Beetson, were J.A. Ball, Richard
Barthelmess, Charles H. Christie, George
Cohen, Cecil B. DeMille, Douglas Fairbanks, Joseph W. Farnham, Cedric Gibbons, Benjamin Glazer, Sid Grauman,
Milton Hoffman, Jack Holt, Henry King,
Jesse Lasky, M.C. Levee, Frank Lloyd, Harold
Lloyd, Edwin Loeb, Jeanie MacPherson, Bess
Meredyth, Mary Pickford, Roy Pomeroy,
Harry Rapf, Joseph Schenck, Milton Sills,
John Stahl, Irving Thalberg, Raoul Walsh,
Harry Warner, Jack L. Warner, Carey Wilson and Frank Woods.
After that, things moved swiftly. Articles
of incorporation were presented by midMarch, and the rst ofcers were elected:
Douglas Fairbanks (president), Fred Niblo
(vice president), M.C. Levee (treasurer), and
Frank Woods (secretary). On May 4, 1927,
the state of California granted the Academy
a charter as a nonprot corporation, and
a week later, on May 11, 1927, a festive and

ofcial organizational banquet took place in
the Crystal Ballroom of the Biltmore Hotel
in Los Angeles with three hundred guests in
attendance. That night, two hundred and
thirty of them joined the new Academy as
pioneer members, by signing a check for one
hundred dollars. Our purpose is positive,
not negative, Fairbanks told them. We are
formed to do, not un-do.
On June 20, 1927, the Academy founders
further committed the goals of the new organization in a statement, which declared:
The Academy will take aggressive action in
meeting outside attacks that are unjust.
It will promote harmony and solidarity
among the membership and among different
branches.
It will reconcile internal differences that may
exist or arise.
It will adopt such ways and means as are
proper to further the welfare and protect the
honor and good repute of the profession.
It will encourage the improvement and
advancement of the arts and sciences of the
profession by the interchange of constructive
ideas and by awards of merit for distinctive
achievement.
It will take steps to develop the greater power
and inuence of the screen.
In a word, the Academy proposes to do for the
motion picture profession in all its branches
what other great national and international
bodies have done for other arts and sciences

and industries.
The organization of the Academy of Motion Picture Arts and Sciences consisted of
different groups, each with equal representation on the Board of Directors (later
changed to the Board of Governors), and
each group with a semi-autonomous branch
organization of its own. Initially, there were
ve main branchesProducers, Actors,
Directors, Writers, and Techniciansbut
the number of branches has gradually been
increased over the years to reect the greater
diversity of activity and specialization in the
production of motion pictures. More of that
later.
The Academy was intended as an exclusive, invitational organization, and its
opinions and actions were to be those of
the organization, not necessarily of the
entire industry. Still, in 1927, the Academy
was (and still is to this day) used to solve
industry-wide problems. From the beginning, no attempt at membership drives
has ever been made. Membership in the
Academy is still by invitation only. Qualication for membership is based on distinctive achievements in one of the branches of
motion picture production covered by the
Academy.
In May, 1927, the Academy rented a suite
of ofces at 6912 Hollywood Boulevard to
serve as temporary headquarters for the
organization. A new history had begun.
9
Louis B. Mayer, Colleen Moore, Ramon Novarro,
Mary Pickford, Norma Shearer, Gloria Swanson,
Norma Talmadge, Irving Thalberg, Erich Von Stroheim, Raoul Walsh, Darryl Zanuck and a good many
other legendary names.
Their motivesor the motives of some among them
at any ratehave been questioned. If you read the
minutes of the early meetings though, or look over the
transcriptions of speeches from the Academys earliest
public occasions, its hard not to be impressed with
the high ideals of our founders.
As the book youre about to begin makes clear, they
wanted an organization that would keep its members
abreast of new technical developments affecting their
art. They wanted a voice that could speak for the industry when the industry was maligned or misunderstood. And they wanted an organization that would
help educate the wide public about motion pictures,
partly by endorsing the most distinguished achievements in the field each year.
For those of us who have inherited the organization
and the aims it set down for itself, a little reflection
seems in order. Id like to think that if those 230
original members could look over our shoulders as we
go about our various activities these days, theyd be
agreeably surprised at how closely the Academy that
exists today resembles the one they set out to create.
Its not all that common, after all, for an organiza-
tion to live up to its idealistic early hopes for itself.

That we in the Academy have pretty much accomplished that strikes me as cause, not for smugness or
complacency, certainly, but perhaps for a pause and a
small warm wave of good feeling . . . before we hitch
up our belts, take a hard look ahead and continue into
the next decade of Academy history.
Robert E. Wise, President

Academy of Motion Picture Arts and Sciences
198588
8/8/13 7:21 PM
19271937
The Academys First Decade
ay, 1927: the same month the

Academy of Motion Picture Arts
and Sciences was ofcially born,
air mail pilot Charles A. Lindbergh stunned
the world by making the rst non-stop New
York-to-Paris ight, alone aboard his Spirit
of St. Louis monoplane. In Washington,
D.C., Calvin Coolidge was President of the
United States, in New York Mae West was
holding forth on Broadway in a play called
Sex, and across the country moviegoers
were paying an average of 25 for a ticket
each time they went to the movies. Moviegoers were also still mourning the death of
Rudolph Valentino nine months before. Out
in Hollywood, Graumans Chinese Theatre
opened its doors for the rst time on May
18 (showing Cecil B. DeMilles King of Kings
plus a spectacular stage presentation) and
moviemakers had their minds on a myriad
of matters, one of them the worrisome
possibility of talking pictures, launched by
Warner Bros. with some Vitaphone short
subjects the previous year.
At the Academy, the rst order of business
was a labor dispute that was threatening to
erupt within the motion picture industry.
The West Coast managers of the major
motion picture studiosincluding MetroGoldwyn-Mayer, Paramount, Fox, Universal, Warner Bros., and United Artistswere
being severely pressured by their New York
superiors and Manhattan bankers to impose
a 10 percent salary cut on all Hollywood
studio personnel as a means of reducing
production costs. A full-scale strike by
studio employees was imminent; they were
arguing that costs couldand shouldbe

slashed elsewhere, not at the employeesalary level. The Producers Branch of the
new Academy stepped in, effected a meeting
with the other Academy branches to discuss
the proposed cut and its ramications,
arbitrated the differences and ultimately
managed to have the proposed salary cut
withdrawn altogether.
Another early order of business was a
search for larger headquarters. The Academys ofce at 6912 Hollywood Boulevard
was barely large enough for small committee meetings, much less for an organization
with several hundred members. In June
of 1927, one month after the Academys
ofcial incorporation, the Building and
Finance Committee submitted a proposal
for construction of a new building, but the
idea was rejected by the Board for lack of
funds. In November of the same year, the
Academy found suitable ofce space on
the mezzanine oor of the Roosevelt Hotel,
located at 7010 Hollywood Boulevard. There
the Academy began accumulating a complete le of professional periodicals from all
over the world, and plans were made for an
eventual library.
The following year, in May, 1928, the
Board approved the installation of screening
facilities in the Club Lounge of the hotel.
The most complete and up-to-date equipment available was ordered, and the plan
was for immediate installation. But seven
months later, the immediate installation
still had not taken place, due to the tremendous demand by theater owners all over the
10
EDITO RS NOT E
We wish to express our appreciation to the Academy Award winners who have responded to our
request for their Oscar memories. A selection of
their comments is presented for the enjoyment of
our readers.
NO R M A SH E A R E R
I wish to take this glorious opportunity to express my

deep affection and admiration for all those wonderful
people in the motion picture business it has been my
privilege to know and admire and to call my friends
throughout the years.
Norma Shearer
Best Actress, 192930
HE L E N H A YE S
Advice to young actors winning Oscars: Enjoy! Dont

wait years to find out what that award can give you
in comfort and confidence. As an actor grows older,
no matter how long his memory, it is hard to hold on
to that delicious feeling of his youthof being best.
That Oscar sitting on the mantel is a good reminder. I
treasure mine for just that.
Helen Hayes
Best Actress, 193132
Best Supporting Actress, 1970
L E W I S M I L E ST ONE
From my first Oscar, handed me by Douglas Fairbanks in 1929 at a small and (by todays standards)
informal family celebration, to the present worldwide
interest in the Oscar presentations, the growth of
the Academy Awards proves indeed the cultural and
educational benefits of the Academy . . . the Supreme
Court of the Screen.
Lewis Milestone
Best Director, 192728; 192930
BETTE DAVIS
I have always felt proud of my Oscars and my numerous nominations. This pride is due to the fact it was
the result of voters from the members of my own
profession.
This, of course, is a great compliment for ones
work. I hope each winner of an Oscar is as thrilled as
I was when I received mine.
Bette Davis
Best Actress, 1935; 1938
8/8/13 7:21 PM
Some founders of the Academy: (Standing) Cedric Gibbons, J.A. Ball, Carey Wilson, George Cohen, Edwin Loeb, Fred Beetson, Frank Lloyd, Roy Pomeroy, John Stahl, Harry Rapf; (Seated) Louis B. Mayer,
Conrad Nagel, Mary Pickford, Douglas Fairbanks, Frank Woods, M.C. Levee, Joseph M. Schenck, Fred Niblo.
country for sound equipment to cash in on

the sudden impact of talking pictures. An
appeal was made to the equipment manufacturers andnallythe desired facilities
for the Academy were completed six months
later, in April, 1929. And it was worth the
wait, as the Academys screening room was
equipped with Vitaphone, Movietone and
every other sound system then used by the
industry.
During the Academys rst decade, there
were other moves, necessitated by the
organizations rapid expansion. In June,
1930, a suite of ofces in the Professional
Building at 7046 Hollywood Boulevard was
rented, where the Academy could have space
for its increased staff of four executives,
three assistants and six clerks. By December, the library was acknowledged as having
one of the most complete collections of
information on the motion picture industry
anywhere in existence.
Richard Arlen, (unidentied), Douglas Fairbanks, Benjamin Glazer, Janet Gaynor, Karl Struss, Frank Borzage
11
K ATHARINE H EP BUR N
Prizes are given. Prizes are won. They are the result
of competition. Any way you want to look at it, from
birth to death we are competing.
My first competition. A track meet. The threelegged race. I won it. My next was a diving contest.
I was doing several very complicated dives badly. My
friend and competitor was doing several very simple
dives well. She won it. I resented it deeply. But there
it was. There is a terrible agony in competition. You
have to pretend that you dont care if you lose. We
have home movies of all those early competitions. Cry
at the beginning. Cry during the race. Cry when you
win. Cry when you lose.
No way. Too much of a strain. Ill avoid that. But I
didnt. I encountered The Super Cry.
I grew up. I went to work. And I found that I had
entered a business which had a thing calledTHE
ACADEMY AWARD. People from all over the world
see the different competitors do their stuff. The
winning of the prize in any department is a boost to
business. The winning of Best Picture. Best Director.
Best Actor. Best Actress. This is a Super Boost.
The effort to win votes by advertising, selling,

begging, organizing in full swing in all media. Then
the terrible Night. Telecast worldwide. All dressed up.
Here I am a competitor. And I care. I care desperately.
Will I be the one to . . .
Oh dear me. Lets avoid that, I said to myself. So
I never went. But I had to be honest enough with
myself to wonderWhat is it, Kathy? Are you afraid
that you wont win?
One year when I was not in the running myself I
was asked to present the Thalberg Award to Lawrence
Weingarten. I just could not in all conscience refuse.
So I rushed on. And then I rushed off. But do you
know whatthey all stood up. They stood up for me.
All those people. Those people whose votes through
the years had given me the prize. They had voted me
in. Not once, but twiceand a half. They stood. They
clapped. They gave me their respect and their affection. It was a revelationthe generous heart of the
industry. The pat on the back from ones peers.
However maddening, infuriating, embarrassing
and seemingly artificial these occasions are. However
drummed up. The truth of the matter is still pure. The
Academy Awards are in all good faith. An attempt to

honor a person or a product of our industry. And they
have maintained in essence a purity, a simplewell,
truth.
This year by our vote you are the best.
Well, there must be something to it. Its gone on for
decades. It must be healthy.
One can quibble. How does anyone know which
performance? Which picture? Its an Art
Well, helllets face it. How does anyone know
anything? Its our track meet. Its painful but its
thrilling.
Katharine Hepburn
Best Actress, 193233; 1967; 1968; 1981
8/8/13 7:21 PM
Moving again in 1935, the accounting and

executive ofces shifted to the Taft Building
on the corner of Hollywood and Vine, right
in the center of Hollywood, while the library
relocated to 1455 North Gordon Street.
The library was growing so rapidly that in
1936 the Academys rst full-time librarian,
Margaret Herrick, was hired to oversee its
burgeoning collection of periodicals and
other lm materials.
During the initial decade, the Academy
also began initiating a few publications of
its own, as a service to its members and the
industry in general. In 1928 the Academy
published its rst book, Report on Incandescent Illumination, based on the contents of a
series of Academy-sponsored seminars that
had been given earlier in the year with the
help of the American Society of Cinematographers and Producers Association. This had
been attended by one hundred and fty interested cinematographers. (Another series
of lectures on sound technique, sponsored
by the Academy to help familiarize novices
with the vast technical requirements of
sound-on-lm, was the basis for a second
book, Recording Sound for Motion Pictures,
which was published in 1931.) In 1929, Introduction to the Photoplay was published, based
on lectures given during a new lm course
at the University of Southern California in
cooperation with the Academys College Affairs Committee.
The Academy tried its hand at publishing
a magazine, too, but without much success.
During the period, Motion Picture Arts and
Sciences was premiered, featuring Academy
news and distributed only to Academy
members. It was published in November,
1927, and lasted for the one issue. In 1928,
the organization made plans to purchase
an existing publication titled Hollywood,
intending to circulate it nationally, but
dropped the idea when the plans for widespread distribution were not feasible.
Other Academy efforts in the publica-
Henry B. Walthall, D.W. Grifth
tions eld have been more durable. In 1933,

the Screen Achievement Records Bulletin was
born, listing lm production titles and
complete credits for directors and writers;
today it is still published, now called the
Annual Index to Motion Picture Credits, and
expanded to include complete credits of
productions, cross-indexed by title, individual, production company and specic
craft. The Academy Players Directory began in
1937, showing thenas nowphotographs
of actors, with the name of their agents or
industry contacts, as a service to casting
directors. The Players Directory was published two times a year until 2006 when the
proliferation of online casting systems made
it unnecessary for the Academy to continue
this service to the industry.
One of the primary reasons for the
formation of the Academy was to counter
the unfavorable publicity focusing on the
lm industry at the time. Through succeeding years it has continued to do its share of
public relations work for the entire movie
community. Some of its early attempts to
improve the industrys image and create
12
CL AUDETTE COLBER T
What can one say about receiving the Academy Award

except, I was so happy, excited, etc., etc., etc.
In my particular case, added to all these emotions
was utter astonishment! I was convinced that we
could not win because a comedy had never wonso
convinced, that I was actually boarding the Santa Fe
Super Chief for New York when I was whisked back to
the Biltmore Hotel to accept the Oscar while they held
the train. It was quite a scenario!!!
Claudette Colbert
Best Actress, 1934
G A L E SO N D E R G A A R D
I came to Hollywood in 1935, not to seek a career

in motion pictures but rather to accompany my
husband, Herbert Biberman, New York Theatre Guild
director, who was about to embark on his new career
as director of films.
Although I was already a stage actress and had
played leading roles on Broadway, I sincerely believed
that I did not belong in motion pictures.
Much to my amazement, it then happened that
Mervyn LeRoy cast me as Faith Paleologue in Anthony Adverseand then, to my even greater amazement, in 1936 I won the first Academy Award ever
given to an actress in a supporting role.
My new career was on its way. I love the Academy
of Motion Picture Arts and Sciences.
H E RM E S P A N
The Academy of Motion Picture Arts and Sciences is,

and always has been, a great stimulus and encouragement to all involved in the film industry.
Needless to say, the highlight of my career was a
night many years ago at the old Biltmore Hotel ballroom, when I heard a voice saying And the winner
isHermes Pan.
Hermes Pan
Dance Direction, 1937
Gale Sondergaard
8/8/13 7:21 PM
goodwill with the public included such

efforts as Academy contributions to the
Mississippi River Relief Fund. Prior to
the ofcial organization charter date, the
Academy raised funds for the relief of suffering ood victims in the Mississippi Basin,
and on May 12, 1927, just one day after the
organization dinner of May 11, the Academy presented a check to the Fund for over
thirty-ve thousand dollars, which was over
one-quarter of the total donation from the
entire city of Los Angeles.
As a further goodwill gesture, the Academy opened its facilities to outside organizations and groups for meetings. Advance
screenings of as-yet-unreleased motion
pictures were held for the benet of opinion-makers from major churches in the
community, plus certain educational and
fraternal institutions. The value of having
inuential community leaders approve Hollywood product was, at the time, of inestimable help to the industry. And though
the Academy was never intended to be the
ofcial spokesman for the entire lm community, it has often served as a clearinghouse for inquiries from the press, private
individuals, civic organizations, and others.
Another public relations rst came
when the Academy began arranging visits
with studio personnel from foreign nations,
as in 1930 when leading representatives
from the Russian lm industry met with
Hollywood executives and technicians to
exchange ideas and knowledge. In November of the same year, the Academy initiated
a successful practice of having some of its
members tour to various cities in the United
States, talking to civic groups, schools and
leaders of industry.
Through the early years, the Academy
often became involved in studio problems
and union matters, but such endeavors were
never its strongest suit, despite being one of
the original reasons for the formation of the
organization. By the time the rst decade of
Norma Shearer
the Academy of Motion Picture Arts and Sciences was over, it was completely out of the
arbitration business.
There was no denying a troublesome
period loomed with the launching of sound
lms. Talking pictures had done a great deal
to alleviate some weighty box ofce problems that had been plaguing the industry,
but the national Depression in 1931 was
another crippler. It pushed several studios to
the brink of bankruptcy and sent Universal
and RKO Radio into receivership. In March
of 1933 came the nal blow: from Washington, D.C., the new president, Franklin
D. Roosevelt, declared a bank holiday. In
order to survive, Hollywood studios had
frenzied meetings, uncertain if they should
continue, scratch production plans, or shut

their gates altogether. In the meantime,
several companies suspended salaries.
The Academy jumped in to do what it
could to help a difcult situation. It formed
an Emergency Committee and recommended a temporary pay cut of 50% for studio employees as opposed to total shutdown,
which everyone feared would be a death
blow to several of the troubled companies.
An adjusted scale was also devised by the
Emergency Committee to provide additional
aid for low-salaried employees. The plan
was to remain in effect for a limited, eightweek period (March 6April 30, 1933). One
provision was that the Academy be given
permission to inspect companies nancial
records to ensure that all was conducted
fairly, as agreed. The accounting rm of
Price Waterhouse & Co. was hired for auditing; it was the Academys rst utilization of
the company which in 1934 was given charge
of ofcially tabulating results of Academy
Awards balloting.
Basically, the Academys aid in the 1933
crisis was a successboth in helping to get
a badly bruised industry moving again, and
by demonstrating the value of the Academy
in producing measures for the industry-atlarge. At the end of the freeze period, the
crisis had ebbed, the panic had given way
to optimism and all studios returned their
employees to full salary as promised, with
the exception of the Warner Bros. company.
Its failure to do so enraged Darryl F. Zanuck,
one of the studios production heads, that
he quit the company in protest. Zanuck
subsequently formed his own 20th Century Productions, which initially released
through United Artists distribution channels, then merged in 1935 with the Fox Film
Corporation.
The Warner Bros. action also had an
effect on the Academy hierarchy. Academy
President Conrad Nagel was accused by
some of supporting the studio in its action,
13
L UISE RAIN ER
The Academy Awardwhat shall I say? I shall jot

down, quickly, as it comes to my mind:
Still in my early twenties, only a few months in
Hollywood, I made my first film. It made me a star.
It was then I first heard of the Academy Award.
What was it? I should soon learn. I never had
much thought of any award beyond the wondrous
contact and the warmth that I was fortunate to
receive from many while spending my teens on the
stage in Vienna and Berlin; my driving force was
love and enthusiasm for my work and great hope to
develop as an actress.
In my first year in Hollywood I started and finished
my second film, The Great Ziegfeld. Mr. Louis B.
Mayer did not want me to do the film: Anna Held is
out of it before the film is halfway through, he said.
You are a star now and you cant do it! I hoped to
make something of the two-minute telephone scene. It
brought me my first Academy Award.
Immediately after, I started The Good Earth.
Irving Thalberg cast me. Mr. Mayer was against that,
too: She has to be a dismal-looking slave and grow
old; but Luise is a young girl; we just have made her

glamorouswhat are you doing? It brought me my
second Academy Award as the best actress of the year.
It happened in two successive years.
How did I feel about it? As often in life, big events
or the importance of them are felt less at the time
than later. There was a great deal of photographing, much clamour, more so than the glamour it
is believed to be. Above all, a change of ones image
felt by others but not by oneself. One was acclaimed,
now; therefore ones doings, ones motives, ones
every utterance seemed to have greater dimension and
therefore suddenly became suspect. It seemed harder
to continue ones work quietly. Shortly later I left
Hollywood.
I have often heard the Academy Award to be a bad
omen. I dont think it need be. Except, maybe, that
the industry seemed to feel that having an Academy
Award winner on their hands was sufficient to overcome bad story material as was, often, handed out
afterwards to stars under long-term contract. However, to build anything good it needs solid material,
so it does not slip through your fingers like sand. This
is what I felt then. Now I feel that it is wonderful to

have received two Academy Awards!
Luise Rainer
8/8/13 7:21 PM
and he received a vote of no condence from

the Academy Board of Directors and consequently resigned, succeeded by J. Theodore
Reed.
The incident proved to weaken the Academys ability to hold its constituents faith
as an impartial arbiter and was one reason the Academy began easing away from
involvement in labor relations. Reed took
upon himselfas a rst order of Academy
businessthe job of drafting a new constitution, one free of politics and any selfserving interests that might apply to any
Academy ofcer in the future.
More trouble loomed directly ahead.
Union militancy again presented itself in
June, 1933, when President Roosevelt introduced his National Industrial Recovery Act,
a further effort of Washington to loosen
the binds imposed by the Depression. The
main thrust of the National Recovery Act
was to suspend various antitrust laws,
allowing an industry such as the motion
picture business to regulate itself, following
self-imposed codes. The lengthy code, drawn
up by the Motion Pictures Code Committee, infuriated almost everyone, especially
performers. They were without a union, or
organization, and they eyed this code as another example of dictatorship by the major
studio executives. Since the Academy numbered many of those executives among its
membership andat the same timemade
rather weak protestations at code hearings,
suspicions grew that the Academy was on
the side of the enemy and was no longer
inclined to act in the best interests of actors,
as it had often done in the past.
In July, 1933, a number of actors dropped
their Academy membership and broke away
to form the Screen Actors Guild union. A
mass defection began when the specic
rules in the code were released and discovered to contain such irritating items as strict
salary controls, licensing of agencies and
other dominating provisions. Important
Fredric March, wife Florence Eldridge
actors such as Paul Muni, Gary Cooper,

Fredric March, James Cagney and George
Raft were among the defectors, additionally
angered because Academy President Reed
had been one of the authors of the code. By
November, more than one thousand actors
had joined the new Screen Actors Guild. The
strong anti-Academy resentment lasted even
after the National Recovery Administration
was declared unconstitutional by the United
States Supreme Court on May 27, 1935. It
continued even through 1936, including the
eighth Academy Awards presentation banquet on March 5, 1936, when several guilds
and unions boycotted the annual dinner,
causing many actors, writers and craftsmen
to be absent. Because of the boycott, screenwriter Dudley Nichols became the rst in-
dividual to refuse an Academy Award. After

his name was announced as winner of the
1935 Screenplay Award (for The Informer), he
announced that he could not accept because
to do so would imply tacit approval of the
Academy, and therefore weaken his own
union or guild.
In 1937, while Frank Capra presided
over the Academy, the bylaws were again
rewritten, taking the Academy further from
involvement in labor-management arbitrations and negotiations. It hadnt been a
successful foray, but it couldnt be dismissed
as a weakening disaster for the Academy, either. The Academy had managed to achieve
success in settling some disputes that had
plagued the industry from time to time; it
helped introduce collective bargaining to
capitulated and accepted the guilds as the bargaining

agents for talent.
However, in 1935 the labor war was in full cry. Actor Ronald Reagan, writer John Howard Lawson and
director King Vidor led the fight for their respective
guilds.
Part of talents strategy was to wreck the
Academy in order to deny management the box
office promotional values of the Oscars. Oddly
enough, short-sighted company heads couldnt care
less. The Academy had failed them as an instrument
of salary cuts during the bank-closing crisis. They
withdrew their memberships and financial support,
leaving the derelict organization in the care of a
few staunch Academy-oriented visionaries dedicated
to the cultural advancement of the arts and sciences of filmmaking, and to the continuance of the
Awardsthe most valuable, but least expensive,
item of worldwide public relations ever invented by
any industry.
It is an honor to name the few unsung idealists
who crossed all economic battle lines to prevent the
destruction of Hollywoods lone bastion of culture:
Writers: Howard Estabrook, Jane Murfin, Waldemar Young, Edwin Burke;

Producers: David O. Selznick, Darryl F. Zanuck,
Sam Briskin, Fred Leahy, DeWitt Jennings, Graham
Baker;
Technicians: Nathan Levinson, John Arnold, Van
Nest Polglase;
Directors: Cecil B. DeMille, Frank Lloyd.
This group elected me to lead them in the Academys
fight for survival. What motivated my instant
acceptancepride or service? I am not sure. But I was
sure that the upcoming Academy Awards banquet of
March, 1936, loomed dark and discouraging; that
things could get worse before they got worser.
Boycott rumors were rife. Officers of the Screen
Actors and Screen Writers Guilds sent telegrams to
all members urging them not to attend the Academy
dinner, and not to accept any Oscars.
To keep the Academys head above water, we grabbed
at the following straws: for the first time, we allowed
films made in England to compete for the Oscars;
we established the Supporting Actor and Supporting
Actress categories; we also established the Irving G.
14
F RANK CAPRA
Late in 1935 (during the preparation of Mr. Deeds),

the Board of Governors of the Academy of Motion
Picture Arts and Sciences bestowed on me the dubious
honor of electing me president.
I say dubious because the president would be presiding at a deathwatch. The Academy had become the
favorite whipping boy of Hollywood. Its membership
slashed from six hundred to four hundred, its officers
to one, loyal, underpaid, executive secretary Margaret
Herrickthe Academys alter ego. With few dollars in
its treasuryand fewer in sightthe odds were ten to
one the Academy would fold and Oscar would acquire
the patina of a collectors item.
Why? Because the polyarchic Academygoverned
by management, technicians, and creative talentwas
caught in the middle of Hollywoods first labor war
between management and talent. The producing companies did everything short of asking for the National
Guard to prevent actors, writers, and directors from
organizing into guilds. The guilds were organized. But
their siege of company ramparts was to last five long
yearsyears of strife and strikesbefore management
8/8/13 7:21 PM
only one of several general committees

established, and the presentation of Awards
denitely a secondary matter.
The original seven members of the Awards
committee were Richard Barthelmess, D.W.
Grifth, Henry King, Sid Grauman, Bess
Meredyth, J. Stuart Blackton and Cedric
Gibbons. Gibbons served as chairman.
Grifth and Barthelmess were later replaced
by Charles Rosher and George Fawcett.
During its initial meetings, the committee
gave thought to the development of some
sort of Academy Awards presentation, but
the idea was put aside due to more urgent
matters. In May, 1928a full year after the
Academy was organizedthe subject was
again brought up and actively pursued. By
July, it was suggested by the committee and
approved by the Board to present awards in
twelve categories:
Helen Hayes
the industry and, intended or not, had aided

in the development of strong labor unions.
During its early years, the Academy
experienced several erratic shifts in the size
of its membership. Going from an initial
enrollment of 230 members, the Academy
roll expanded to 374 members in November,
1928, mushrooming to over 800 members in
1932, dropped drastically to just 400 members after the 1933 protest, then grew again
by the end of the rst decade.
If labor relations had temporarily caused
the Academys membership lists to shrink,
the Awards of Merit always caused public interest to grow. And nothing would probably
have surprised the Academy founders more.
When the Academy was rst organized in
1927, the Awards of Merit committee was
Most outstanding production

Achievement by an actor
Achievement by an actress
Achievement in dramatic directing
Achievement in comedy directing
Achievement in cinematography
Achievement in art direction
Achievement in engineering effects
Achievement in original story writing
Achievement in writing adaptation
Achievement in title writing
Most unique and artistic picture
The rst awards, it was agreed, would be
for motion pictures that had been released
in the Los Angeles area between August 1,
1927, and July 31, 1928. In order to consider
properly all qualifying lms, studios were
asked to supply the Academy with a list of
pictures released within those dates, and the
reminder list was sent on to the membership from which they were to make the initial nominations for Awards. The deadline
was August 15, 1928, after which ve Boards
of Judges (one from each of the Academys
branches) were appointed to consider the
ten achievements in each category accumulating the largest vote totals, narrowing
those ten nalists down to three recommendations. Then came a Central Board
of Judgesmade up of one member from
each branchwho made the nal decision
as to who would be the winner. The two
remaining nalists would be singled out for
honorable mention.
The ve men who made the decision on
the rst Academy Awards were Frank Lloyd
(representing the Directors Branch), Sid
Grauman (Producers Branch), Alec Francis
(Actors Branch), Tom Geraghty (Writers
Branch) and A. George Volck (Technicians
Branch).
Unlike in later years, nominees were not
publicly announced in advance of the nal
balloting. The decision on winners was
made at an Academy conclave on Friday,
February 15, 1929, a full six months after the
closing date for submission of nominations,
and the results were announced to the press
the following Monday. The Awards themselves were ofcially presented three months
later, on May 16, 1929.
The second Awards year, only seven
categories were honored: Production,
Performance by an Actor, Performance by
an Actress, Direction, Writing, Cinematography and Art Direction. Sound pictures
became eligible for the rst time, having
been excluded from consideration the
rst time around, primarily because the
Academy judges werent sure how to evaluate the new phenomenon of talking pictures
on a yardstick with silents. The period of
eligibility remained seasonalAugust 1 to
July 31and remained so until the sixth
Awards. In 1933, it was decided to begin using the calendar year (January 1 to December 31) as the Academys eligibility period
for Awards consideration, but since the
preceding cutoff date had been July 31, 1932,
all the lms released in Los Angeles between
August 1 and December 31, 1932, would be
15
Thalberg Memorial Award for outstanding contribution in the production of films. But our top caper to
hype the attendance was to persuade the giant of all
filmmakers, D.W. Griffith, to come out of his retired
oblivion and accept from the Academy a special statuette for his legendary pioneering in films.
Griffiths name was magic. The boycott fizzled.
Bette Davis was present to receive her Best Actress
trophy for Dangerous; Victor McLaglen was there to
clutch a Best Actor award for The Informer.
But neither John Ford nor Dudley Nichols showed
up for their Best Directing and Best Writing Oscars
awarded The Informer. Ford accepted the trophy
later. Nichols did not. He was quoted in a trade paper
as having said: To accept it would be to turn my
back on nearly a thousand members of the Writers
Guild . . .
By prayers and incantations, and the Board members putting up their own money for the statuettes,
plus some fancy begging on my part (each year I had
to plead with the officers of the talent guilds to allow
me to mail Academy ballots to their Guild members),
the Academy deathwatch kept the grim reaper away

until 1939.
Then came a massive transfusion of new blood.
The writers, actors, and directors, having signed
their newly won basic agreements with management,
returned to the Academy fold virtually en masse. The
Academy was reorganized into a self-supporting institution dedicated solely to cultural goals. And it was
off and running! Today, its Oscars are the worlds
number one news event of the year.
Frank Capra
Best Director, 1934; 1936; 1938
8/8/13 7:21 PM
left unjudged unless the Academy incorporated them into the 1933 calendar year.
They did. The sixth Awards eligibility period
therefore, incorporated seventeen months,
from August 1, 1932, through December 31,
1933. Since 1934, the Academys ofcial year
is a calendar one, and eligibility is limited
to lms exhibited theatrically in the Los
Angeles area.
Through the years, there have been
constant changes in other areas of voting,
as well. The process by which winners are
selected remained the same for the second
Awards year, but was broadened the third
year (and remained so through the eighth
Awards year) so that both the nomination
procedure and the nal voting were done
by the full Academy membership. In 1936,
the nominations were made by a special
Awards Nominating Committee, appointed
by President Frank Capra, with the nal vote
then done by the full Academy membership.
New categories have been adopted,
then dropped or honed at the discretion
of the Academy, such as awards for Dance
Direction, One-reel and Two-reel short
subjects, and awards distinguishing between
color lms and black-and-white ones. Two
signicantand long-lastingAwards were
introduced near the end of the Academys
rst decade: awards for Performance by
an Actor in a Supporting Role, and Performance by an Actress in a Supporting Role.
Like other aspects of the voting structure,
the designation of a supporting role as
opposed to a leading role has changed
through the years. Originally it was decided
by the studios, who based it on a performers
billing status. At times, studios have made
the decision, but arbitrarily; other years, it
has been left to the discretion of the performer himself. As of the Academys thirtyseventh year, it was left to the discretion of
the Academy member doing the voting.
The original constitution and bylaws
provided for the conferring of honorary
Academy memberships on any person

distinguished for public service or eminence
in the industry, or by reason of any contribution made thereto. The rst honorary
membership was given to Thomas Edison at
the organizational banquet on May 11, 1927;
the second went to George Eastman at the
1930 Awards ceremony.
With the Academys growing involvement
in research through the years, the category
for Scientic or Technical Achievement was
established for the 193031 Awards. This
Award may be given in any of three classes:
Class I for basic achievements which inuence the
advancement of the industry as a whole.
Class II for high level of engineering or technical
merit.
Class III for accomplishments which are valuable
contributions to the progress of the
industry.
The Irving G. Thalberg Memorial Award,

given for consistently high quality of
production and presented in the form of a
bronze likeness of Thalbergs head, was rst
bestowed at the 1937 Awards ceremony, held
March 10, 1938. The former production chief
of Metro-Goldwyn-Mayer studios had died
in September, 1936.
The Awards themselves are presented in
several forms and, like the various rules
and categories themselves, have changed
through the years, only becoming somewhat
standardized in the middle 1940s. Actor and
actress winners have always received fullsized statuettes, although in earlier years
the statue itself was mounted on a lower
base than it has been since the postWorld
War II period. Winners in the Supporting
Actor and Supporting Actress divisions only
began receiving full-sized statuettes at the
March 2, 1944, ceremony; for the rst seven
years honoring that category, recipients
received Academy plaques.
Initially, lm editors chosen for recognition received certicates of merit (193435),
then Academy plaques (193643), then

statuettes (beginning in 1944). Most of the
other categories honored by the Academy
have had equally varied histories in respect
to the form of Award given each winner. Basically, they are given either as (a) full-size
statuettes, representing a knight holding a
crusaders sword and standing on a reel of
lm whose spokes signify the ve original
branches of the AcademyActors, Writers,
Directors, Producers and Technicians; or
(b) Academy plaques, containing a small
replica of the Academy symbol; or (c) certicates of merit, or scrolls. In the technical
division, Class I Award winners receive a
statuette, Class II winners receive an Academy plaque and Class III winners are given
a certicate of merit. Honorary Awards may
be given in the form of a statuette, a scroll, a
life membership or any other design ordered
by the Board of Governors. For several years,
beginning with the 1934 Awards year, juvenile players received miniature replicas of
the Academy statuette. Edgar Bergen, at the
1937 Awards year ceremony, was presented a
miniature wooden statuette with a movable
mouth, in honor of his creation of Charlie
McCarthy. All nominees receive certicates
of nomination.
The Academy statuette was designed
in 1928 by M-G-Ms art director Cedric
Gibbons and hasnt been altered since,
except for that higher pedestal beginning
in the 1940s. It stands thirteen and onehalf inches tall, weighs eight and one-half
pounds, is made of Britannia metal and
is gold plated. Since 1949, the statuettes
have been numbered, starting with No.
501. Sculptor George Stanley received a fee
of $500 to execute the original statue from
Gibbonss design.
Sometime during the rst decade, the
nickname of Oscar was born and, at various times, three people have been credited
with the abbreviation: Margaret Herrick,
the Academys librarian and later its execu-
16
BO B HO PE
Being invited to add my comments to the others in

this fascinating and unique book is the realization of
a lifelong dream. At long last, I take my place among
a galaxy of Oscar winners! And I consider this request
from the Academy as an apology for not giving me an
award for my acting.
My spectacular lack of success in winning an Oscar
is too well known to be repeated here. Nonetheless, I consider myself eminently qualified to air
my thoughts and feelings about movies because,
like just about everyone else, Im a movie fan. I love
pictures . . . and everything about them . . . making
them, and even more, watching them.
Music, literature, painting, and all the other arts
have made incalculable contributions to the world.
But, in my view, movies are the most influential, the
most marvelous, and the most universal art form
known to man!
When you consider that movies are a product of
this century, the growth and accomplishments of the
film industry have been nothing less than miraculous.
Just by shelling out the price of a ticket, you can

escape from the cares and problems of real life,
and be transported to another wondrous world, a
magical world where nothing is impossible. A world
inhabited by the most diverse, the most gifted and
the most beautiful people ever assembled in such
profusion, whose only mission is to thrill, charm and
entertain us.
The film industry has survived every change, every
crisis, and despite the inevitable prophets of doom,
movies are more alive, more innovative, and more
marvelous than ever. No other medium can match its
scope, its magnetism, or the masterful way in which
it has made come alive for us every facet of human
experience.
It is fitting that we pay this tribute to the
movies . . . the fabulous art that has given us
great drama, mystery, superb comedy that has inspired us, lifted our spirits, and brought us all those
dedicated, brilliant and beautiful people. All that
and popcorn too!
Im proud and privileged to have been a part

of the magical, mystical and marvelous illusion
called . . . movies.
Bob Hope
Special Award, 1940; 1944
Honorary Award, 1952; 1965
Jean Hersholt Humanitarian Award, 1959
8/8/13 7:21 PM
Victor McLaglen, Bette Davis and D.W. Grifth
tive director, actress Bette Davis and columnist Sidney Skolsky. The actual author has
never been denitely established, but the
nickname caught on like wildre, warmly
embraced by newsmen, fans and Hollywood
citizenry who were nding it increasingly
cumbersome to refer to the Academys
Award of Merit as the Academys gold
statue, the Academy Award statuette
or, worse, the trophy. Earlier the weekly
trade paper Variety attempted to give the
statue the nickname the iron man, but it
never caught re. Oscar did, and remains
ironclad.
Under any name, the Academy Awards
and the Academy itself had become prestigious parts of the lm community by the
end of the rst decade, and the organization
had been internally strengthened by growing pains and the ability to adapt in a changing world and industry. More problems
were ahead, but the beginning years of the
new organization had at least created a rm
foundation on which to build. And by the
time the second decade began, the presentation of the Academy Awards themselves
was already an indelible part of the publics
consciousness, far beyond the invisible walls
of a place called Hollywood.
a ca d em y pr esiden ts
th e fir st d ecade
May 1927October 1927. . . . . . . . . Douglas Fairbanks
October 1927October 1928 . . . . . Douglas Fairbanks
October 1928October 1929 . . . . . Douglas Fairbanks
October 1929October 1930 . . . . William C. de Mille
October 1930October 1931 . . . . . William C. de Mille
October 1931October 1932 . . . . . . . . . . . . M.C. Levee
October 1932April 1933 . . . . . . . . . . . . Conrad Nagel
April 1933August 1933. . . . . . . . . . . .J. Theodore Reed
August 1933October 1934. . . . . . . . .J. Theodore Reed
October 1934October 1935. . . . . . . . . . . .Frank Lloyd
October 1935October 1936 . . . . . . . . . . . Frank Capra
October 1936October 1937. . . . . . . . . . . Frank Capra
17
8/8/13 7:21 PM
192728
The First Year
ineteen hundred and twenty-nine

was a year of transition and activity
all across the United States. Herbert
Hoover succeeded Calvin Coolidge as president, construction began on the Empire
State Building, Knute Rocknes Notre Dame
football team became the years national
champion, Wall Street had its thundering crash and the motion picture industry
began wiring for sound. In the midst of it
all, on May 16, 1929 (postponed from May
9), the rst Academy Awards were presented
at a black-tie dinner, held in the Blossom
Room of the Hollywood Roosevelt Hotel,
a full three months after the winners had
been announced to the press, industry and
public. The dinner also marked the second
anniversary of the Academys organization, but little business was done that night
beyond the presentation of the Academys
awards of merit and certicates of honorable mention. It was a relaxed, festive family evening, attended by two hundred and
seventy, most of them Academy members,
along with guests of members who were
invited to attend (at a slight charge of ve
dollars to their hosts).
After a dinner of Fillet of Sole Saut au
Beurre, Half Broiled Chicken on Toast, New
String Beans and Long Branch Potatoes,
preceded by Consomm Celestine, Academy
President Douglas Fairbanks explained to
the gathering how the awards selections
had been made: after Academy members
made initial suggestions, twenty Academyappointed judges designated ofcial nominees and ve other judges made the nal
decisions. Fairbanks then made the ofcial

presentations while William C. de Mille
called the winners to the head table. In
explaining the difculty the ve nal judges
had in making their selections, he commented, It is a bit like asking, Does this
man play checkers better than that man
plays chess?
Twelve awards were presented at this rst
dinner, and twenty additional certicates of
honorable mention were given to runnersup in each of the awards categories. Most of
the winners were present, except best actor
winner Emil Jannings (for The Last Command and The Way of All Flesh) who had left
Hollywood for his home in Europe. Said de
Mille, Mr. Jannings arrives in Berlin today;
he was presented with his statuette before he
left, and carried it with him to Germany.
(He thus became the rst individual to
actually receive an Academy statuette, later
called an Oscar.) All the honored lms
were silent ones, and Wings was chosen
the outstanding picture of the year, Janet
Gaynor was named best actress for her work
in three lms (7th Heaven, Street Angel, and
Sunrise), and the Academy, for the rst and
only time, gave awards for both dramatic
direction (presented to Frank Borzage for
7th Heaven) and comedy direction (Lewis
Milestone for Two Arabian Knights). Special
awards went to Warner Bros. for producing
The Jazz Singer (accepted by Warner Bros.
executive Darryl F. Zanuck) and to Charles
Chaplin for writing, producing, acting in
and directing The Circus. Said de Mille, Mr.
Chaplin is not here tonight, due to cold feet,
18
be s t ac t re s s : JANET GAYNOR in 7th Heaven (immediate
right; directed by Frank Borzage), Street Angel (right, middle;
directed by Borzage), and Sunrise (far right, with George
OBrien; directed by F.W. Murnau), all Fox lms. New to the
screen, Janet Gaynor was the Academys rst Award-winning actress, chosen on the basis of three lms, all of them silent. Later,
she smoothly adjusted to the coming of sound lms and was
again nominated in 1937, for her performance in A Star Is Born.
8/8/13 7:21 PM
be s t p i c t ure : WINGS (Paramount; produced by Lucien Hubbard) was the story of World War I aviation and, specically,
two American aviators (Charles Buddy Rogers and Richard
Arlen) both in love with the same hometown beauty (Clara
Bow). It was a silent lm, directed by William A. Wellman,
accompanied in many engagements by a musical score composed
and synchronized by John S. Zamecnik. Wings was also visual,
touching, great fun and the kind of red-blooded entertainment
with which the motion picture industry rst found its mass
audience and support.
19
be s t a ct or : EMIL JANNINGS in The Last Command (Paramount; directed by Josef Von Sternberg) and The Way of All
Flesh (Paramount; directed by Victor Fleming). Jannings was
born in Brooklyn but raised in Germany; at the peak of his career
as a great gure in the German lm industry, he went to Hollywood and stayed until the advent of talking pictures. He was not
only the rst actor to win an Academy Award, but the rst person ever presented an Academy statuette. After being announced
as a winner, he was photographed with his award before the
actual ceremony, then left for Europe and never again returned
to the United States. By denition, that also makes him the rst
no-show winner at an Academy Award presentation.
8/8/13 7:21 PM
20
s p e cia l a w a r d: to WARNER BROS. for producing The Jazz

Singer (above, with Al Jolson), the pioneer outstanding talking
picture which has revolutionized the industry. The lm opened
during the Academys initial (and basically silent) eligibility
year, August 1, 1927, to August 1, 1928; by the time the Awards

were actually presented in May of 1929, sound-on-lm had
become a country-wide sensation, and silent lms were suddenly
pass.
b e s t dr a ma t ic dir e ct or : FRANK BORZAGE (with

Charles Farrell sitting in the trench) for 7th Heaven (Fox).
Borzage made a bona de classic, in the best tradition of silent
screen romance, with his adaptation of Austin Strongs stage play
about a young Montmartre waif whose faith and loyalty bring

her lover back from the World War I battleeld. The lm was
additionally honored for Benjamin Glazers writing adaptation.
but he has wired his high appreciation of the

honor.
Once the awards were presented, there
were addresses by Mary Pickford, Professor
Walter R. Miles (of Stanford University),
Dean Waugh (of the University of Southern
California), Mrs. Edward Jacobs (of the Federated Womens Clubs), Sir Gilbert Parker,
Cecil B. DeMille, and three of the original
thirty-six Academy founders: Fred Niblo,
Conrad Nagel and Louis B. Mayer. After
that, a reel of talking lm, photographed at
Paramounts Long Island, New York, studios
and featuring Adolph Zukor visiting with
Douglas Fairbanks, was shown, then Al
Jolsonin personbrought the evening to
a close.
Years later, Miss Gaynor recalled the evening. Naturally, I was thrilled, she said.
But being the rst year, the Academy had
no background or tradition and it naturally
didnt mean what it has come to mean. Had
I known then what it would come to mean
in the next few years, Im sure I would have
been overwhelmed. But I still remember that
night as very special, a warm evening, and a
room lled with important people and nice
friends. She also admitted that at the time
the real high point for her had been not the
award but the chance to meet the dashing
Douglas Fairbanks!
8/8/13 7:21 PM
Nominations 192728
note: For the rst Academy Awards, all awards could

be for a single achievement, for several achievements, or for the whole body of work during the
qualifying year. That is why multiple titles are listed
by some names, and no titles at all by others.
All achievements not receiving the First Award (*)
in each category received Honorable Mention
certicates.
WR I TI N G
(a da p t a t ion )
ALFRED COHN, The Jazz Singer, Warner Bros.

ANT HONY COLDE W A Y, Glorious Betsy, Warner
Bros.
* BEN J AM I N GLA ZE R , 7th Heaven, Fox.
(or ig in a l s t or y )
LAJ OS BI RO, The Last Command, Paramount Famous
O UTS TA N D I N G PI C TUR E
T HE RACK ET , The Caddo Company, Paramount
Famous Lasky.
7 T H HEAVEN , Fox.
* W I NGS, Paramount Famous Lasky.
UN I QUE A N D A R TI S TI C
PI C TUR E
CHAN G , Paramount Famous Lasky.

T HE CROW D , M-G-M.
* SU NRI SE, Fox.
A C TO R
RI CHARD BART HELM ESS in The Noose, First
National, and The Patent Leather Kid, First National.

* EM I L J ANNI N G S in The Last Command, Paramount
Famous Lasky, and The Way of All Flesh, Paramount
Famous Lasky.
A C TR E S S
LOU I SE D RESSER in A Ship Comes In, DeMille
Pictures, Path Exchange.

* JANET GAYNOR in 7th Heaven, Fox, Street Angel, Fox,
and Sunrise, Fox.
G LORI A SW ANSON in Sadie Thompson, Gloria
Swanson Productions, UA.
D I R E C TI N G
(come dy p ict u r e )
(note: Award not given after this year.)

* LEW I S M I LEST ON E for Two Arabian Knights, The
Caddo Company, UA.
T ED W I LD E for Speedy, Harold Lloyd Corp.,
Paramount Famous Lasky.
CHARLES CHAP LI N, . . . The Academy Board
of Judges on merit awards for individual
achievements in motion picture arts during
the year ending August 1, 1928, unanimously
decided that your name should be removed from
the competitive classes, and that a special rst
award be conferred upon you for writing, acting,
directing and producing The Circus. The collective
accomplishments thus displayed place you in a
class by yourself. Letter from the Academy to
Mr. Chaplin, dated February 19, 1929.
Lasky.
* BEN HECHT , Underworld, Paramount Famous Lasky.
(t it le w r it in g )
GERALD D U FFY , The Private Life of Helen of Troy,
First National.
* J OSEP H FARN HA M.
GEORG E M ARI O N , J R .
C I N E M A TOGRAPHY
GEORG E BARNE S , The Devil Dancer, Samuel
Goldwyn, UA, The Magic Flame, Samuel Goldwyn,

UA, and Sadie Thompson, Gloria Swanson
Productions, UA.
* CHARLES ROSH E R , Sunrise, Fox.
* K ARL ST RU SS, Sunrise, Fox.
A R T D I R ECTION
ROCHU S G LI ESE , Sunrise, Fox.

* W I LLI AM CAM E R O N M E N ZI E S , The Dove, Norma
Talmadge Productions, UA, and Tempest, Feature
Productions, UA
HARRY OLI VER, 7th Heaven, Fox.
E N G I N E E RING EFFECTS
RALP H HAM M ER A S .
* ROY P OM EROY , Wings, Paramount Famous Lasky.
NU GENT SLAU G H T E R .
(note: Though no specic titles were indicated during the presentation on May 16, 1929, or in the ofcial results from the Central Board of Judges for the
honorable mentions above, Academy records indicate that Mr. Slaughter was most often mentioned
in connection with The Jazz Singer.)
S PE C I A L AWARDS
T O W ARNER BR O S . for producing The Jazz Singer,
the pioneer outstanding talking picture, which has

revolutionized the industry. (statuette)
T O CHARLES CH A PL I N for acting, writing,
directing and producing The Circus. (statuette)
* INDICA T ES WINNER
(dr a ma t ic p ict u r e )
s p e c i al aw ard : CHARLES CHAPLIN (above) in The Circus.

Chaplin was very much in evidence during the Academys rst
Awards year, initially nominated for and then withdrawn from
both acting and comedy direction awards when he was voted a
Special Award by the Academy Board of Governors for versatility and genius in writing, acting, directing and producing The
Circus. Forty-three years later, in a far different world and
industry, he again received a special award from the Academy.
* FRAN K BORZ AGE for 7th Heaven, Fox.

HERBERT BRENON for Sorrell and Son, Feature
Productions, UA.
K I NG VI D OR for The Crowd, M-G-M.
21
be s t c om e d y d i re cto r : LEWIS MILESTONE for Two

Arabian Knights (United Artists) with William Boyd and Mary
Astor (right). For the rst and only year, the Academy distinguished between comedy direction and dramatic direction, in
two separate voting categories; hereafter, they were judged as one
body. Milestone won a second Academy Award two years later for
his very dramatic All Quiet on the Western Front.
8/8/13 7:21 PM
192829
The Second Year
alking pictures were rmly established as a Hollywood fact of life by

the time the second Academy Awards
were presented April 3, 1930, six months
after the stock market crash, covering motion pictures exhibited in the Los Angeles
area during the eligibility period of August 1,
1928, to July 31, 1929. Still, enough silent
lms were being made, or in release, to
cause some confusion at the Academy ofce as to whether there should be separate
awards categories for silent lms and sound
lms. The development of talking pictures
has made individual achievement of artists more difcult to judge, said Academy
Secretary Frank Woods, adding, Sound has
brought in a new element of screen art and
a host of new people. After considerable
discussion, it was decided no special distinction would be made in voting between the
new talking pictures and silent ones.
Once again, as in the rst voting year,
only ve individuals made the nal selection
of award winners. M-G-Ms rst all-talking
picture; The Broadway Melody, was chosen
best picture, Warner Baxter was chosen best
actor for In Old Arizona, the screens rst
outdoor talkie; Mary Pickford, one of the
Academy founders, was named best actress
for Coquette, which had been her initiation
to sound lms; and Frank Lloyd was named
best director. In total, only seven awards
were given, seven less than in the previous
year. All the presentations were made by the
new Academy President William C. de Mille,
and the banquet was held, not at the Biltmore Hotel or the Hollywood Roosevelt as
before, but at the splendid Cocoanut Grove

of the Ambassador Hotel in Los Angeles.
For the next formative years, it was inevitable the awards structure would undergo
changes while the Academy leaders experimented with the best ways to utilize the
awards of merit as a constructive arm of the
Academy organization and a worthwhile
complement to the entire motion picture
industry.
It was just as inevitable that the early
years would also be inundated with rsts.
It was at the Academy banquet honoring the
192829 achievements that the rst radio
broadcast of an Academy Awards ceremony
took place. A local Los Angeles radio station,
KNX, did on-the-spot coverage of the festivities for one hour, beginning at 10:30 p.m.
Pacic Standard Time. The annual presentation has been broadcast ever since, either on
radio, or television, or both.
22
be s t p i c t ure : THE BROADWAY MELODY (M-G-M; produced by Harry Rapf) starred Bessie Love and Charles King
(right) along with Anita Page, and was the rst sound lm to
win the Academys best picture award. The story was conventional by later yardsticks (two sisters, working in vaudeville,
both fall in love with a successful Broadway song-and-dance
man) but was particularly impressive in its day, surrounded by
the novelty of sound on lm. It contained a big Wedding of the
Painted Doll musical sequence in color hues and prompted
M-G-M to produce three more musicals with the Broadway
Melody label during the next ten years, all of them starring
dancer Eleanor Powell. The original was also remade eleven years
later as Two Girls on Broadway, with Joan Blondell and Lana
Turner as the show biz sisters.
8/8/13 7:21 PM
Nominations 192829
notes: For the second Academy Awards, all awards could

be for a single achievement, for several achievements,
or for the whole body of work during the qualifying
year.
There were no announcements of nominations, no
certicates of nomination or honorable mention, and
only the winners (*) were revealed during the awards
banquet. Though not ofcial nominations, the additional names in each category, according to in-house
records, were under consideration by the various
boards of judges.
Frank Lloyd (Directing) and Hans Kraly (Writing)
were each considered for their work on more than one
picture, but in each case the document signed by the
Academys central board of judges singled out a particular lm as the basis for their awards.
O UTS TA N D I N G PI C TUR E
ALI BI , Feature Productions, UA.

* T HE BROAD W AY M ELOD Y , M-G-M.
HOLLY W OOD REVU E, M-G-M.
I N OLD ARI Z ONA, Fox.
T HE P AT RI OT , Paramount Famous Lasky.
I RVI NG CU M M I N G S for In Old Arizona, Fox.

* FRAN K LLOY D for The Divine Lady, First National.
FRANK LLOY D for Weary River, First National, and
Drag, First National.
ERN ST LU BI T SCH for The Patriot, Paramount Famous
Lasky.
WR I TI N G
T OM BARRY , The Valiant, Fox, and In Old Arizona, Fox.

ELLI OT T CLAW SO N , The Leatherneck, Ralph Block,
Path Exchange, Sal of Singapore, Path Exchange,

Skyscraper, DeMille Pictures, Path Exchange, and The
Cop, DeMille Pictures, Path Exchange.
* HANS K RALY , The Patriot, Paramount Famous Lasky.
HAN S K RALY , The Last of Mrs. Cheyney, M-G-M.
J OSEP HI NE LOVE T T , Our Dancing Daughters,
Cosmopolitan, M-G-M.
BESS M ERED Y T H, Wonder of Women, M-G-M, and A
Woman of Affairs, M-G-M.
G EORGE BARN ES , Our Dancing Daughters,
GEORG E BANCROFT in Thunderbolt, Paramount
* CLY D E D E VI NNA , White Shadows in the South Seas,
ART HU R ED ESON , In Old Arizona, Fox.
ERN EST P ALM ER, Four Devils, Fox, and Street Angel,
Fox.
J OHN SEI T Z , The Divine Lady, First National.
D I R E C TI N G
* INDICA T ES WI NNER
A C TO R
Famous Lasky.
A R T D I R E CTION
* W ARNER BAX T ER in In Old Arizona, Fox.
HAN S D REI ER, The Patriot, Paramount Famous Lasky.
CHEST ER M ORRI S in Alibi, Feature Productions, UA.
* CED RI C GI BBON S , The Bridge of San Luis Rey and
P AU L M U NI in The Valiant, Fox.
other pictures, M-G-M.
LEW I S ST ON E in The Patriot, Paramount Famous Lasky.
M I T CHELL LEI SEN , Dynamite, Path Exchange,
A C TR E S S
M-G-M.
RU T H CHAT T ERT ON in Madame X, M-G-M.
W I LLI AM CAM ER O N ME N ZI E S , Alibi, Feature
BET T Y COM P SON in The Barker, First National.
Productions, UA, and The Awakening, Samuel
J EAN N E EAG ELS in The Letter, Paramount Famous
Goldwyn, UA.
Lasky.
HARRY OLI VER, Street Angel, Fox.
CORINNE GRIFFITH in The Divine Lady, First National.
S PE C I A L A WARDS
BESSI E LOVE in The Broadway Melody, M-G-M.
None given this year.
* M ARY P I CK FORD in Coquette, Pickford, UA.
LI ONEL BARRY M ORE for Madame X, M-G-M.
HARRY BEAU M ONT for The Broadway Melody, M-G-M.
be s t d i re c t or: FRANK LLOYD (above, sitting in lower chair

with Corinne Grifth) for The Divine Lady (First National)
with Miss Grifth and Marie Dressler. Lloyd was again an
Academy Award winner in 193233 for Cavalcade, and served
one term as Academy President, in 193435.
23
be s t a ct r e s s : MARY PICKFORD as Norma Besant (above,

surrounded by beaus) in Coquette (United Artists; directed by
Sam Taylor). It was quite an event for moviegoers when the voice
of Mary Pickford, a long-time staple of silent lms, was heard on
the screen for the rst time. Her introduction to sound also gave
her an intense, adult role to play, as a small-town Southern irt
who wreaks havoc on all the men in her life. Four years later, Miss
Pickford played her last screen role (in 1933s Secrets) but stayed
active as a producer and business woman. In the Academys 1975
award year she was again presented a statuette, an honorary one,
for her overall contributions to the lm medium.
be s t a ct or : WARNER BAXTER as The Cisco Kid in In Old

Arizona (Fox; directed by Irving Cummings). Baxter (left) was a
last-minute replacement to play O. Henrys troubadouring bandito
who robs the rich and aids the poor; Raoul Walsh had been rst
choice but was injured in a Utah location accident during early
lming. Baxter again played the Kid in two sequels, The Cisco Kid
(1931) and The Return of the Cisco Kid (1939), before Cesar
Romero and then Duncan Renaldo took over the character in a
series of minor-budget but protable Cisco sagebrushers.
8/8/13 7:21 PM
192930
The Third Year
oting rules were changed drastically

for the Academys third presentation
of awards, honoring motion pictures
shown in the Los Angeles area between
August 1, 1929, and July 31, 1930. No longer
did a handful of judges make the big decisions. Now, both the original nominations
and the nal awards were voted by the entire
Academy membership, which had grown
to total over four hundred people, and the
policy remained the same for the next ve
years (until 1936). The ceremony was held at
the Fiesta Room of the Ambassador Hotel in
Los Angeles on November 5, 1930, only seven
months after the last presentation, in order
to pick up a time lag and present awards
closer to their eligibility deadlines.
Academy members, for the rst time, were
charged a fee to attend the banquet (ten
dollars per person) and it was a complete
sellout. Guests listened to a predinner
address by Will H. Hays, president of the
Motion Picture Producers and Distributors
Organization, and a post-dinner talk by
Thomas A. Edison. Edison and George
Eastman were both given honorary Academy
memberships for their pioneering in the
lm medium. Academy Vice President Conrad Nagel presided over the evening, and
awards were presented by Louis B. Mayer,
Lawrence Grant and John Cromwell. Eight
awards were given, and it was the last year so
few would be dispersed.
All Quiet on the Western Front and The
Big House were the most honored lms,
with two awards each. All Quiet was named
as best picture, and for its director Lewis
Milestone; The Big House was honored for

Frances Marions writing achievement and
in a new category, sound recording, won by
Norma Shearers brother, Douglas Shearer.
Norma Shearer was named best actress,
ofcially for The Divorcee, and George Arliss
was chosen best actor for Disraeli. The Arliss
win marked another Academy rst: it
was the rst time a performer was honored
by Academy voters for recreating a role on
screen which he or she had performed previously on the legitimate stage. (Arliss had not
only done Disraeli on stage but had also
starred in an earlier silent lm version of the
play.) Other awards went to With Byrd at the
South Pole for its cinematography and King
of Jazz for its art direction.
Sound on lm now fully dominated the
industry; the transitional period from the
silent era was over. Interestingly, talking
pictures had severely curbed the careers of
several silent screen stars, but others were
enhanced by the spoken word, and ourished, a fact underscored by the 192930
awards. Three of the years nominees
Ronald Colman, Greta Garbo and Gloria
Swansonwere stars who had bridged the
gap successfully and were honored for performances in their initial sound lms.
24
be s t p i c t ure : ALL QUIET ON THE WESTERN FRONT
(Universal; produced by Carl Laemmle, Jr.) and b es t d i r ect or: LEWIS MILESTONE for All Quiet on the Western Front.
Erich Maria Remarques savage antiwar novel traced the steps of
seven German schoolboys of 1914 as they come to face fear, lth,
death and other horrors of battle during four years of World War I
combat, a daring subject for the screen and dubious commercial
material for audiences concerned with a national Depression.
But it was an enormous success, skillfully made, won Academy
Awards for producer Laemmle and director Milestone, and gave
stimulus to the careers of its cast, including (right) Lew Ayres
and Louis Wolheim.
8/8/13 7:21 PM
D I R E C TI N G
CLAREN CE BROW N for Anna Christie, M-G-M, and
Nominations 192930
note: For the third Academy Awards no certicates of
nomination were given out, and, in the categories
of Art Direction, Cinematography, Sound Recording and Writing, only the titles of the nominated
lms and their companies were announced; no individual names were listed. When the winners were
revealed, only the names of the individuals involved
with the winning achievements were announced.
The names of those credited with the other nominated achievements in those four categories are
indicated here in parentheses.
O U T S T A ND I N G P R OD UC T I ON
* A L L Q UIE T O N T HE WESTERN FRONT, Universal.

THE BIG HO U SE , Cosmopolitan, M-G-M.
D IS R A E L I, Warner Bros.
THE D IVO R C E E , M-G-M.
THE L O VE P A R A DE, Paramount Famous Lasky.
A CT O R
* GE O R GE A R L ISS in Disraeli, Warner Bros., and The

Green Goddess, Warner Bros.
(note: Though the awards ballot listed both lms in
Arlisss nomination, the award was announced for
only the Disraeli performance. Why this was has
not been established; it might possibly have been
because the original report from the Acting Branch
Board of Judges only listed this one performance in
the results of the nominations voting, or it could
have resulted from voters indicating a preference
for the Disraeli performance over that in Goddess on
their nal ballots.)
W A L L A C E BE E R Y in The Big House, Cosmopolitan,
M-G-M.
MA UR IC E C HE VALIER in The Big Pond, Paramount
Publix, and The Love Parade, Paramount Famous
Lasky.
R O NA L D C O L MAN in Bulldog Drummond, Samuel
Goldwyn, UA, and Condemned, Samuel Goldwyn,
UA.
L A W R E NC E TIBBETT in The Rogue Song, M-G-M.
Romance, M-G-M.
ROBERT LEONARD for The Divorcee, M-G-M.

ERNST LU BI T SCH for The Love Parade, Paramount
Famous Lasky.
* LEW I S M I LEST ON E for All Quiet on the Western Front,
Universal.
K I N G VI D OR for Hallelujah, M-G-M.
WR I TI N G
ALL Q U I ET ON T HE W EST ERN FRONT , Universal.
(George Abbott, Maxwell Anderson and Del Andrews)

* T HE BI G HOU SE, Cosmopolitan, M-G-M. Frances
Marion.
D I SRAELI , Warner Bros. (Julian Josephson)
T HE D I VORCEE, M-G-M. (John Meehan)
ST REET OF CHANCE, Paramount Famous Lasky.
(Howard Estabrook)
C I N E M A TO G R A PH Y
ALL Q U I ET ON T HE W EST ERN FRONT , Universal.
(Arthur Edeson)
ANNA CHRI ST I E, M-G-M. (William Daniels)

HELL S ANGELS, The Caddo Company, UA. (Gaetano
Gaudio and Harry Perry)

T HE LOVE P ARAD E, Paramount Famous Lasky. (Victor
Milner)
* W I T H BY RD AT T HE SOU T H P OLE, Paramount
Publix. Joseph T. Rucker and Willard Van Der Veer.
A R T D I R E CTION
BU LLD OG D RU M MO N D, Samuel Goldwyn, UA.
(William Cameron Menzies)

* K I N G OF J AZ Z , Universal. Herman Rosse.
T HE LOVE P ARADE , Paramount Famous Lasky. (Hans
Dreier)
SALLY , First National. (Jack Okey)
T HE VAG ABON D K I N G , Paramount Publix. (Hans
Dreier)
S O UN D R E CORDING
(n e w ca t e g or y)
* T HE BI G HOU SE, Cosmopolitan, M-G-M. Douglas

Shearer for the M-G-M Studio Sound Dept.
T HE CASE OF SER G E A N T G R I S C H A , RKO Radio.
(John Tribby for the RKO Radio Studio Sound Dept.)
T HE LOVE P ARADE , Paramount Famous Lasky.
(Franklin B. Hansen for the Paramount Famous Lasky
Studio Sound Dept.)
RAFFLES, Samuel Goldwyn, UA. (Oscar Lagerstrom for
the United Artists Studio Sound Dept.)
SON G OF T HE FLA M E , First National. (George Groves
for the First National Studio Sound Dept.)
A CT RES S
NA NC Y C A R R O LL in The Devils Holiday, Paramount
Publix.
R UTH C HA TTE R TON in Sarah and Son, Paramount
Famous Lasky.
GR E TA GA R BO in Anna Christie, M-G-M, and
Romance, M-G-M.
* NO R MA SHE A R ER in The Divorcee, M-G-M, and
Their Own Desire, M-G-M.
(note: Though the awards ballot listed both lms in
Shearers nomination, the award was announced
for only the performance in The Divorcee. Why this
was has not been established; it might possibly have
been because the original report from the Acting
Branch Board of Judges only listed this one performance in the results of the nominations voting,
or it could have resulted from voters indicating a
preference for the Divorcee performance over that in
Desire on their nal ballots.)
GL O R IA SW A NS ON in The Trespasser, Joseph P.
Kennedy Productions, UA.
be s t a ct r e s s : NORMA SHEARER as Jerry (above, with Conrad Nagel) in The Divorcee (M-G-M; directed by Robert Leonard). The ofcial Academy voting ballot for 192930 lists Miss
Shearer with a single nomination encompassing two achievements (The Divorcee and Their Own Desire), but her award
was ofcially presented solely for the rst-named lm, in which
she played a free-spirited woman involved with a broken marriage and her ex-husbands best friend. How, or why, the single
designation was made is now a mystery to everyone, including

Academy researchers (and, in the years before her death in 1983,
to Miss Shearer herself). But the following year, a rule change
stated that in the future no performer shall be entitled to more
than one nomination, with the achievement polling the highest
vote to be listed in case the individual may have received enough
votes for different achievements to be entitled to more than one
nomination.
25
be s t a ct or : GEORGE ARLISS as Benjamin Disraeli (left,

with Joan Bennett) in Disraeli (Warner Bros.; directed by
Alfred E. Green). Arliss was a successful stage actor who
popularly became known as the First Gentleman of the Talking
Screen, and he was also the screens dean of biography. He played
Disraeli in the legitimate theater for ve years before it became
an early sound feature; predominantly set at No. 10 Downing
Street in London, the movie covered the political manipulations
of Prime Minister Disraeli to outwit Russia and acquire the Suez
Canal for England and Queen Victoria. It concentrated on characterization and ideas rather than action.
8/8/13 7:21 PM
193031
The Fourth Year
he Academy had gained a solid, national reputation by its fth anniversary, which was also the fourth year
of presenting Academy Awards for screen
achievement. From Washington, D.C.,
President Herbert Hoover sent Vice President Charles Curtis to attend the 193031
awards banquet, held November 10, 1931, at
the Biltmore Hotel in Los Angeles. Curtis,
attending with his socially prominent
sister Mrs. Dolly Gann, told the Academy
members and guests, I have come to you
tonight from the capital of our country to
pay my respects to the creative minds of
the worlds greatest and most inuential
enterprise, the motion picture. Movies
had been a great morale booster during
the year, which had been one of massive
unemployment and a nationwide Depression. The Academy had also solidied its
public image by establishing an extensive
library dealing solely with motion pictures,
helping inaugurate college lm courses,
organizing lectures on mechanical innovations and other activities.
Lawrence Grant was the master of ceremonies, and speakers joining Vice President
Curtis included new Academy President
M.C. Levee, past President William C. de
Mille, Louis B. Mayer, Conrad Nagel and
California Governor James Rolph, Jr.;
nonmember guests included eastern lm
executives and visiting journalists from all
over the United States, the rst time the
nations news media paid rapt attention to
an Academy Awards function. It was carried on a local radio station (KHJ) plus the
entire Don Lee-Columbia radio network on

the Pacic Coast.
Cimarron received three awards: for best
picture, writing adaptation and art direction. Norman Taurog was named best director for Skippy. Lionel Barrymore was saluted
as best actor for A Free Soul, and Marie
Dressler won the best actress statuette for
Min and Bill. Norma Shearer, the previous
years best actress winner, was asked to present the latter award and did so. Later, the
program planners realized she inadvertently
could have been placed in the embarrassing
position of announcing herself as the winner, since she was again a nominee. Since
that night, there has been an unwritten
rule that previous actress honorees would
present awards to winning actors, and vice
versa. Also, the outcome of the balloting had
always been disclosed a week or more in advance of the actual presentation; this year,
Academy ofcials took extra precautions to
keep the results of voting a secret, not giving
names of winners to the press until late in
the day of the awards.
One of the nominees drew attention
when he fell asleep during the festivities. As
the speeches wore on, ten-year-old Jackie
Cooper, nominated as best actor for Skippy,
snoozed with his head resting on the ample
shoulder of Marie Dressler. When she was
called to receive her award, young Cooper, still sleeping, had to be eased onto his
mothers lap.
26
be s t p i c t ure : CIMARRON (RKO Radio; produced by William LeBaron) covered the rise of Oklahoma from early pioneer
days to statehood, based on Edna Ferbers sweeping novel. Richard Dix (right, with Irene Dunne) was a homesteader in the
great Oklahoma landrush of 1888 who lost his claim, became a
newspaper editor, and during the next four decades helped turn
the overnight camp of Osage into a respectable town. Cimarron
also won Academy Awards for writing adaptation (by Howard
Estabrook) and art direction (by Max Re) and is the only motion picture with a distinctly western avor to have won a best
picture award until the Academys 63rd year when Dances With
Wolves took home a statuette. This was followed two years later
by Best Picture winner Unforgiven.
8/8/13 7:21 PM
O UTS TA N D I N G PR O D UC TI O N
Nominations 193031
* CI M ARRON, RKO Radio.

EAST LY N N E, Fox.
T HE FRON T P AG E, Caddo, UA.
SK I P P Y , Paramount Publix.
T RAD ER HORN , M-G-M.
A C TO R
* LI ONEL BARRY M ORE in A Free Soul, M-G-M.

J ACK I E COOP ER in Skippy, Paramount Publix.
RI CHARD D I X in Cimarron, RKO Radio.
FRED RI C M ARCH in The Royal Family of Broadway,
Paramount Publix.
AD OLP HE M ENJ OU in The Front Page, Caddo, UA.
A C TR E S S
M ARLEN E D I ET RI CH in Morocco, Paramount Publix.

* M ARI E D RESSLER in Min and Bill, M-G-M.
I REN E D U NNE in Cimarron, RKO Radio.
ANN HARD I NG in Holiday, Path.
NORM A SHEARER in A Free Soul, M-G-M.
D I R E C TI N G
CI M ARRON, RKO Radio. Wesley Ruggles.

A FREE SOU L, M-G-M. Clarence Brown.
T HE FRON T P AG E, Caddo, UA. Lewis Milestone.
M OROCCO, Paramount Publix. Josef Von Sternberg.
* SK I P P Y , Paramount Publix. Norman Taurog.
WR I TI N G
* CI M ARRON, RKO Radio. Howard Estabrook.
T HE CRI M I N AL COD E, Columbia. Seton I. Miller and
Fred Niblo, Jr.
HOLI D AY , Path. Horace Jackson.
LI T T LE CAESAR, First National. Francis Faragoh and
Robert N. Lee.
SK I P P Y , Paramount Publix. Joseph L. Mankiewicz and
Sam Mintz.
be s t d i re c t or: NORMAN TAUROG for Skippy (Paramount), adapted from Percy Crosbys widely read comic strip
of the day. Jackie Cooper was Skippy and Robert Coogan played
Sooky (above), a couple of kids endeavoring to acquire enough
money to buy Sookys mongrel dog back from the local dogcatcher, to no avail. Taurog, Cooper and Coogan reteamed later
in 1931 for a sequel, Sooky, and Taurog was again nominated in
1938 for his direction of Boys Town.
CI M ARRON , RKO Radio. Edward Cronjager.

M OROCCO, Paramount Publix. Lee Garmes.
T HE RI G HT T O LO V E , Paramount Publix. Charles
Lang.
SVEN G ALI , Warner Bros. Barney Chick McGill.

* T ABU , Paramount Publix. Floyd Crosby.
A R T D I R E CTION
* CI M ARRON, RKO Radio. Max Re.

J U ST I M AGI N E, Fox. Stephen Goosson and Ralph
Hammeras.
M OROCCO, Paramount Publix. Hans Dreier.
SVEN G ALI , Warner Bros. Anton Grot.
W HOOP EE!, Goldwyn, UA. Richard Day.
SAM U EL G OLD W YN - U A S T U DI O S O U N D DE PT .
M - G - M ST U D I O S O U N D DE PT .
* P ARAM OU N T P U B L I X S T U DI O S O U N D DE PT .
RK O RAD I O ST U D I O S O U N D DE PT .
S C I E N TI F IC OR TECHNICAL
CLASS I (ce r t ificate o f merit [ with names
e n g r a v e d on a p ermanent statuette k ept at

t h e a ca de my])
(a da p t a t ion )
(or ig in a l s t or y)
* T HE D AW N P AT ROL, First National. John Monk

Saunders.
T HE D OORW AY T O HELL, Warner Bros. Rowland
Brown.
LAU GHT ER, Paramount Publix. Harry dAbbadie
dArrast, Douglas Doty and Donald Ogden Stewart.
T HE P U BLI C EN EM Y , Warner Bros. John Bright and
Kubec Glasmon.
SM ART M ON EY , Warner Bros. Lucien Hubbard and
Joseph Jackson.
ELECT RI CAL RESE A R C H PR O DU C T S , I N C . ,

RCA- P HOT OP H O N E , I N C . , and R K O R A DI O
P I CT U RES, I NC . , for noise reduction recording
equipment.
D U P ONT FI LM M A N U F A C T U R I N G C O R P. and
EAST M AN K ODA K C O . for super-sensitive
panchromatic lm.
CLASS I I (ce r t ific ate o f ho no rab l e mentio n)

FOX FI LM CORP . for effective use of synchro-
projection composite photography.
CLASS I I I (h on orab l e mentio n in repo rt o f
boa r d of ju dg e s )
ELECT RI CAL RESE A R C H PR O DU C T S , I N C . , for
moving coil microphone transmitters.
RK O RAD I O P I CT U R E S , I N C . , for reex type
microphone concentrators.
RCA- P HOT OP HO N E , I N C . , for ribbon microphone
transmitters.
27
best actress: MARIE DRESSLER as Min (above, with Wallace Beery) in Min and Bill (M-G-M;
directed by George Hill). She had a bulky gure, an unforgettable face and enormous talent, and in
Min and Bill Marie Dressler walked the treacherous line between comedy and pathos with enormous
distinction. As Min, she was a good-hearted old boozer who runs a broken-down waterfront hotel,
works hard, constantly battles with a hulking beau (Beery), raises a foundling and ultimately gets
led off to jail for killing the foundlings wayward mother. Dressler, one of Hollywoods box ofce
favorites of the 1930s, died at the height of her career, on July 28, 1934, just three years after her
Academy Award triumph.
be s t a ct or : LIONEL BARRYMORE as Stephen Ashe (above, with Norma Shearer) in A Free

Soul (M-G-M; directed by Clarence Brown). They didnt make actors any better, or better liked,
than Lionel Barrymore, and he always claimed A Free Soul was his favorite screen role. In it, he
played a heavy-drinking, freethinking criminal lawyer whose unconventional behavior is adopted by
his spoiled daughter; at the nale, he delivered a fourteen-minute courtroom soliloquy that was considered a high mark in screen acting for the period. Earlier, Barrymore was under consideration for a
192829 Academy Award as director of Madame X, starring Ruth Chatterton.
8/8/13 7:21 PM
193132
The Fifth Year
tie occurred for the rst time at the

193132 awards ceremony, honoring
lms released between August 1, 1931,
and July 31, 1932, in the Los Angeles area.
Academy rules stated that duplicate awards
were to be given when any contender came
within three votes of a winner on the nal
ballot, and Wallace Beery, for his performance in The Champ, received only one less
vote than Fredric March, who starred in Dr.
Jekyll and Mr. Hyde, so both ofcially shared
recognition as the years best actor. Later,
rules were changed so that a tie is declared
only when nominees receive the exact same
number of nal votes.
The banquet was held November 18, 1932,
in the Ambassador Hotels Fiesta Room, just
eight days after Franklin D. Roosevelts election as the thirty-second President of the
United States in a landslide victory. Conrad
Nagel was master of ceremonies, and the
most-honored lms were The Champ and
Bad Girl, with two awards each. Grand Hotel
was named best picture, Helen Hayes was
best actress for The Sin of Madelon Claudet,
and Frank Borzage won his second award as
director, for Bad Girl. The awards categories
themselves had increased to a total of ten,
with the addition of a new division honoring short subjects and won by Walt Disney
for his cartoon Flowers and Trees. Disney
also was given an honorary award for his
creation of Mickey Mouse and, during his
lifetime, was destined to win more Academy
Awards than any other individual.
The year caused two particularly interesting happenings. The Academy, attempting
to stimulate excellence in motion picture

achievements from all countries and all
sources, had previously welcomed nonHollywood product in its awards lists.
However, some voters had been disturbed
that the preceding year Tabu, lmed in the
South Seas by the late German director
F.W. Murnau, had received the Academys
cinematography award over a hometown
achievement. The Academy was asked to
qualify the requirements for its 193132
cinematography award to read, for the best
achievement in cinematography of a blackand-white picture photographed in America
under normal production conditions.
(The 193132 nomination for the Frenchmade Nous la Libert in the art direction
category caused a similar qualication in
193233.) In later years, however, as industry
sentiments matured, the Academy again
showed its respect for foreign-made lms by
according them equal status with domestic
product.
The Fredric MarchWallace Beery tie also
triggered the rst of many quotable quotes
given by Academy winners throughout the
years. By coincidence, both actors had adopted children shortly before winning their
awards. Under the circumstances, said
Mr. March during his acceptance speech, it
seems a little odd that Wally and I were both
given awards for the best male performance
of the year.
28
be s t p i c t ure : GRAND HOTEL (M-G-M; produced by Irving
Thalberg) created a new screen formula in which all-star casts
and unrelated characters were brought together in a common
and dramatic environment. In the case of Grand Hotel, it was
a plush Berlin hotel during a 48-hour period, based on a Vicki
Baum novel and subsequent play that had been nanced by
M-G-M. Edmund Goulding directed the lm, and the cast
included Greta Garbo and John Barrymore (right), as well as
Joan Crawford, Wallace Beery and Lionel Barrymore, each of
whom was usually the solo star of his or her own Metro lm.
Also known as the lm in which Garbo rst said I vant to be
alone (not once but, in fact, three times), it was later updated
by M-G-M in 1945 as Weekend at the Waldorf and was also
remade as a 1960 German lm starring Michele Morgan.
8/8/13 7:21 PM
be s t ac t or: FREDRIC MARCH as Henry Jekyll and as Mr.

Hyde (above) in Dr. Jekyll and Mr. Hyde (Paramount; directed
by Rouben Mamoulian). Many distinguished actors have had
a eld day playing the two-faced doctor created by Robert Louis
Stevenson in his fascinating tale of a man who dreams of releas-
ing the evil desires in every mans subconscious. James Cruze,

Sheldon Lewis, John Barrymore, Spencer Tracy, Paul Massie
and Anthony Perkins are among those who have had a go at it
on screen; none, however, has been more successful than Fredric
March in the rst sound version of the horror story. Virtually
unrecognizable as the alter-ego Hyde, wearing false teeth, putty

nose, gorilla hands and makeup that took three hours to apply.
March won the Academy Award for his performance. He won
again in 1946 for The Best Years of Our Lives and received ve
award nominations during his lifetime.
29
be s t a ct or : WALLACE BEERY as Champ (left, with Jackie

Cooper) in The Champ (M-G-M; directed by King Vidor).
Beery once said, I have no art in my soul, I dont try to be different. Im just plain me in every picture, and the public continues
to accept me. However, Beery was seen in two widely divergent
roles during the 193132 awards year, as the crooked industrialist in Grand Hotel and as a drunken, ex-champion prizeghter
in The Champ, and showed his enormous power as an actor in
both. When Academy Award votes were counted, Beerys performance in the latter lm had come within one vote of Fredric
March in Dr. Jekyll and Mr. Hyde, so under Academy rules of
the day, both ofcially shared honors and received statuettes as
the years best actor.
8/8/13 7:21 PM
(Paramount) starred Marlene Dietrich

and Clive Brook (left) as two passengers on a train journey to
Shanghai, amid rebel unrest in China, sharing secrets and staterooms with the likes of Anna May Wong, Warner Oland, Eugene
Pallette and others. It won an Academy Award for Lee Garmess
atmospheric cinematography; Garmes had also photographed
Miss Dietrichs two previous American-made lms, Morocco
and Dishonored.
SHANGHAI EXPRESS
30
be s t dir e ct or : FRANK BORZAGE for Bad Girl (Fox) starring Sally Eilers and James Dunn (left). Strangely mistitled,
Bad Girl covered a year in the life of a likable fellow and girl,
from their rst meeting, through marriage, to the birth of a son,
set against a background of New York tenement life. Borzage, a
specialist in directing effective, sentimental stories, had earlier
won the Academy Award for his direction of 7th Heaven during
the rst awards year.
8/8/13 7:21 PM
Nominations 193132
ARROW SM I T H, Goldwyn, UA.

BAD GI RL, Fox.
T HE CHAM P , M-G-M.
FI VE ST AR FI N AL, First National.
* GRAND HOT EL, M-G-M.
ON E HOU R W I T H Y OU , Paramount Publix.
SHAN G HAI EX P RESS, Paramount Publix.
T HE SM I LI N G LI EU T EN AN T , Paramount Publix.
A C TO R
* W ALLACE BEERY in The Champ, M-G-M.

ALFRED LU NT in The Guardsman, M-G-M.
* FRED RI C M ARCH in Dr. Jekyll and Mr. Hyde,
Paramount Publix.
A C TR E S S
M ARI E D RESSLER in Emma, M-G-M.

LY N N FON T ANNE in The Guardsman, M-G-M.
* HELEN HAY ES in The Sin of Madelon Claudet, M-G-M.
D I R E C TI N G
* BAD GI RL, Fox. Frank Borzage.

T HE CHAM P , M-G-M. King Vidor.
SHAN G HAI EX P RESS, Paramount Publix. Josef Von
Sternberg.
WR I TI N G
(a da p t a t ion )
ARROW SM I T H, Goldwyn, UA. Sidney Howard.

* BAD GI RL, Fox. Edwin Burke.
D R. J EK Y LL AN D M R. HY D E, Paramount Publix. Percy
Heath and Samuel Hoffenstein.
* T HE CHAM P , M-G-M. Frances Marion.

LAD Y AND G EN T , Paramount Publix. Grover Jones and
William Slavens McNutt.
M - G - M ST U D I O S O U N D DE PT .
* P ARAM OU N T P U B L I X S T U DI O S O U N D DE PT .
RK O RAD I O ST U D I O S O U N D DE PT .
W ARNER BROS. - F I R S T N A T I O N A L S T U DI O S O U N D
D EP T .
S H O R T S UBJECTS
(ca r t oon s )
* FLOW ERS AN D T R E E S , Disney, UA. (Silly Symphony)

I T S G OT M E AGA I N , Schlesinger, Warner Bros.
(Merrie Melodies)
M I CK EY S ORP HA N S , Disney, Columbia. (Mickey
Mouse)
(come dy)
T HE LOU D M OU T H , Mack Sennett, Paramount Publix.

* T HE M U SI C BOX , Hal Roach, M-G-M. (Laurel &
Hardy)
SCRAT CH- AS- CAT C H - C A N , RKO Radio. (Headliner)
(n ov e lt y)
SCREEN SOU VEN I R S , Paramount Publix.

SW I N G HI GH, M-G-M. (Sports Champion)
* W REST LI N G SW O R DF I S H , Mack Sennett,
Educational. (Cannibals of the Deep)
S PE C I A L A WARD
T O W ALT D I SN EY for the creation of Mickey Mouse.
(statuette)
CLASS I (ce r t ificate o f merit [ with names
e n g r a v e d on a p ermanent statuette k ept at

t h e a ca de my])
None.
T HE ST AR W I T N ESS, Warner Bros. Lucien Hubbard.

W HAT P RI CE HOLLY W OOD ? , RKO Path. Adela
CLASS I I (ce r t ific ate o f ho no rab l e mentio n)

T ECHN I COLOR M O T I O N PI C T U R E C O R P. for its
CLASS I I I (h on orab l e mentio n in repo rt o f
Rogers St. Johns and Jane Murn.
ARROW SM I T H, Goldwyn, UA. Ray June.

D R. J EK Y LL AN D M R. HY D E, Paramount Publix. Karl
Struss.
* SHAN G HAI EX P RESS, Paramount Publix. Lee Garmes.
color cartoon process.
boa r d of ju dg e s )
EAST M AN K OD AK C O . for its Type II-B sensitometer.
A R T D I R E C TI O N
NOU S LA LI BERT , Film Sonores-Tobis, Harold
Auten (French). Lazare Meerson.
ARROW SM I T H, Goldwyn, UA. Richard Day.

* T RAN SAT LAN T I C, Fox. Gordon Wiles.
be s t ac t re s s : HELEN HAYES as Madelon (above, with Neil

Hamilton) in The Sin of Madelon Claudet (M-G-M; directed
by Edgar Selwyn). Helen Hayes had made a few lm appearances as a juvenile during the movies silent era, but The Sin of
Madelon Claudet was her much-heralded introduction to screen
audiences after shed made a notable success as a Broadway star.
It was also a tearjerker of the dampest sort, based on Edward
Knoblocks play The Lullaby, about a young Parisian girl who
falls in love with an American artist, bears an illegitimate child,
then goes from mistress to party girl to bary to streetwalker to
scrubwoman, in an effort to raise money so her unsuspecting
son can have a good life. Audiences in 1931 reveled in it, and
in Miss Hayess rich performance. She was again an Academy
Award winner 38 years later, as 1970s best supporting actress
in Airport.
31
A new category, honoring short subjects, was inaugurated with

the 193132 awards, with the award for best comedy short going
to Hal Roachs The Music Box starring Oliver Hardy and Stan
Laurel (right), a hilarious featurette in which the indefatigable
comedy team battled the challenge of delivering a piano up a
seemingly endless ight of Los Angeles hillside stairs. Ironically, for all the timeless comedy delivered on screen by Laurel
and Hardy, this was their only movie that went on to receive an
Academy Award.
8/8/13 7:21 PM
193233
The Sixth Year
ome befuddled confusion accompanied the 193233 Academy party,

the type of unrehearsed fun that has
added to the folklore of Hollywoods annual
awards night. Will Rogers, already a legendary humorist and sometime actor, was host
and, in presenting the award for director of
the year, drawled on at length about my
good friend Frank, and Franks rise to
prominence, nally nishing his introduction by commanding, Come and get it,
Frank. Nominee Frank Capra was out of
his seat and halfway to the podium when
he realized another nominee, Frank Lloyd
for Cavalcade, was the actual winner. Capra
later returned to his seat from what he later
described goodnaturedly as the longest
crawl in history. During the festivities, host
Rogers also invited actress nominees May
Robson and Diana Wynyard to the speakers table, leading many people to anticipate
there had been a tie; Rogers kissed them
both, told them they had delivered sparkling performances, and announced the
absent Katharine Hepburn as the winner for
Morning Glory.
During the evening, March 16, 1934, in
the Fiesta Room of the Ambassador Hotel,
fourteen awards categories were honored,
including a new one for assistant directors.
Cavalcade, with its trio of awards, including best picture, won the most honors from
Academy voting. Charles Laughton was
named best actor for The Private Life of Henry
VIII, the rst time a performer in a Britishmade lm had been an Academy Award
winner. Also, second and third place
runners-up in all categories were announced, a practice later discontinued

shortly after the certied public accounting
rm of Price Waterhouse & Co. began tabulating ballots for the Academy. Cavalcade
was followed by A Farewell to Arms, then
Little Women, in number of votes as the
best picture; Paul Muni and May Robson
were rst runners-up for acting awards,
and Leslie Howard and Diana Wynyard
were second runners-up. Frank Capra was
the second choice for director, and George
Cukor was third choice.
For the rst and only time, more than a
twelve-month span was used as the awards
eligibility period; instead, the 193233
awards covered seventeen months, from
August 1, 1932, to December 31, 1933, in
order to allow future Academy Awards to
be based on a calendar year, rather than a
seasonal one. The awards have remained on
a calendar basis ever since.
32
be s t p i c t ure : CAVALCADE (Fox Film Corporation) and
be s t d i re c t or: FRANK LLOYD for Cavalcade. Based on the
play by Noel Coward, with a screenplay by Reginald Berkeley,
Cavalcade was a sweeping, episodic composition with a British
avor and British cast, but lmed in Hollywood. It told of the
effect of world events on the home life and family of a married
couple (Diana Wynyard and Clive Brook, right) during the decades between New Years Eve 1899 and the same evening thirtythree years later, a patriotic pageant with a universal theme and
appeal for families of any country. William S. Darling was also
honored for his art direction.
8/8/13 7:21 PM
be s t a ct or : CHARLES LAUGHTON as King Henry in The

Private Life of Henry VIII (United Artists; directed in England
by Alexander Korda). Laughtons performance was the rst in
a non-Hollywood lm to win the Academy Award, and a vastly
good-natured portrait of Englands bulky monarch (14911547)
whose six marriages complicated the future reigns of his country
and brought about the independence of the Church of England.
Laughton played it with amboyant spice, and among his most
memorable moments was a scene when he dined la Henry, ripping a chicken apart with his hands, devouring the food, belching
and generally having a grand gastronomical time. Laughton
again played Henry twenty-one years later in 1953s Young Bess
with Jean Simmons as his daughter Elizabeth.
33
be s t a ct r e s s : KATHARINE HEPBURN as Eva Lovelace (left,

with C. Aubrey Smith) in Morning Glory (RKO Radio; directed
by Lowell Sherman). A year after her striking screen debut in
A Bill of Divorcement, and concurrent with another 1933 success, Little Women, Miss Hepburn played a stagestruck young
actress, self-condent, talkative and ambitiously determined to
become the nest actress in the world, with Adolphe Menjou
and Douglas Fairbanks, Jr., as two important men in her privatepublic life. It was Hepburns rst contact with the Academy
Awards but far from her last. She was destined to become the
most Oscared (four Awards) performer during the Academys
rst 80 years of giving prizes.
8/8/13 7:21 PM
(RKO Radio; produced by Merian C. Cooper,

with Kenneth Macgowan) was Louisa May Alcott wrapped up in
the personae of (above) Joan Bennett as Amy, Spring Byington
as Marmee, Frances Dee as Meg, Jean Parker (at piano) as Beth,
and Katharine Hepburn as Jo. It won for the writing adaptation
of Miss Alcotts popular novel by screenwriters Victor Heerman
and Sarah Y. Mason. George Cukor directed.
LITTLE WOMEN
34
(Paramount) received two awards:

for cinematography (by Charles Bryant Lang, Jr.) and sound
recording (by Harold C. Lewis). It was based on the 1930 Ernest
Hemingway book and directed by Frank Borzage, with (left)
Gary Cooper as the American lieutenant serving with the Italian
ambulance corps who falls in love with Helen Hayes as an English
nurse, during wartime. The lm opted for a happy ending, as opposed to Hemingways more tragic one, something audiences often
demanded in the 1930s. It was a distinguished, well-admired lm
and inspired two later versions: a revamped adaptation called
Force of Arms (1951) with William Holden and Nancy Olson,
and a remake in 1957 with Rock Hudson and Jennifer Jones,
produced by David O. Selznick. Helen Hayes later called the 1932
version my own favorite movie in which I appeared.
A FAREWELL TO ARMS
8/8/13 7:21 PM
* CAVALCAD E, Fox.
Nominations 193233
A FAREW ELL T O ARM S, Paramount.

42 N D ST REET , Warner Bros.
I AM A FU G I T I VE FROM A CHAI N GANG,
A S S I S TA N T DIRECTOR
P ERCY I K ERD , Fox.

* W I LLI AM T U M M E L , Fox.
* CHARLES D ORI AN , M-G-M.
Warner Bros.
BU NNY D U LL, M-G-M.
LAD Y FOR A D AY , Columbia.
J OHN S. W AT ERS , M-G-M.
LI T T LE W OM EN , RKO Radio.
* CHARLES BART ON , Paramount.
T HE P RI VAT E LI FE OF HEN RY VI I I , London Films,
SI D NEY S. BROD , Paramount.
UA (British).
ART HU R J ACOBSO N , Paramount.
SHE D ON E HI M W RONG, Paramount.
ED D I E K I LLEY , RKO Radio.
SM I LI N T HROU G H, M-G-M.
* D EW EY ST ARK EY , RKO Radio.
ST AT E FAI R, Fox.
* FRED FOX , UA.
BENJ AM I N SI LVE Y, UA.
A C TO R
* SCOT T BEAL, Universal.
LESLI E HOW ARD in Berkeley Square, Jesse L. Lasky, Fox.
J OE M CD ON OU G H , Universal.
* CHARLES LAU GHT ON in The Private Life of Henry VIII,
W . J . REI T ER, Universal.
London Films, UA (British).
AL ALBORN , Warner Bros.
P AU L M U NI in I Am a Fugitive from a Chain Gang,
* GORD ON HOLLI N G S H E A D, Warner Bros.
Warner Bros.
FRANK X . SHAW , Warner Bros.
(note: Multiple awards given this year only.)
A C TR E S S
* K AT HARI NE HEP BU RN in Morning Glory, RKO Radio.

M AY ROBSON in Lady for a Day, Columbia.
D I ANA W Y N Y ARD in Cavalcade, Fox.
D I R E C TI N G
* CAVALCAD E, Fox. Frank Lloyd.

LAD Y FOR A D AY , Columbia. Frank Capra.
LI T T LE W OM EN , RKO Radio. George Cukor.
WR I TI N G
(a da p t a t ion )
LAD Y FOR A D AY , Columbia. Robert Riskin.

* LI T T LE W OM EN , RKO Radio. Victor Heerman and
Sarah Y. Mason.
ST AT E FAI R, Fox. Paul Green and Sonya Levien.
* ON E W AY P ASSAG E, Warner Bros. Robert Lord.

T HE P RI Z EFI GHT ER AN D T HE LAD Y , M-G-M.
Frances Marion.
RASP U T I N AND T HE EM P RESS, M-G-M. Charles
MacArthur.
* A FAREW ELL T O ARM S, Paramount. Charles Bryant

Lang, Jr.
REU NI ON I N VI EN N A, M-G-M. George J. Folsey.
T HE SI G N OF T HE CROSS, Paramount Publix. Karl
Struss.
* CAVALCAD E, Fox. William S. Darling.

A FAREW ELL T O ARM S, Paramount. Hans Dreier and
Roland Anderson.
W HEN LAD I ES M EET , M-G-M. Cedric Gibbons.
S O UN D R E C O R D I N G
* A FAREWELL TO ARMS, Paramount. Paramount Studio

Sound Dept., Franklin B. Hansen, Sound Director.
42 N D ST REET , Warner Bros. Warner Bros. Studio
Sound Dept., Nathan Levinson, Sound Director.
S H O R T S UBJECTS
(ca r t oon s )
BU I LD I N G A BU I L DI N G , Disney, UA. (Mickey Mouse)

T HE M ERRY OLD S O U L , Lantz, Universal. (Oswald the
Rabbit)
* T HE T HREE LI T T L E PI G S , Disney, UA. (Silly
Symphony)
(come dy)
M I ST ER M U GG, Warren Doane, Universal. (Comedies)

A P REFERRED LI S T , Louis Brock, RKO Radio.
(Headliner Series #5)

* SO T HI S I S HARRI S , Louis Brock, RKO Radio. (Special)
(n ov e lt y)
* K RAK AT OA, Joe Rock, Educational. (Three-reel Special)

M ENU , Pete Smith, M-G-M. (Oddities)
T HE SEA, Educational. (Battle for Life)
CLASS I (s t a t u e t te)
None.
CLASS I I (ce r t ific ate)

ELECT RI CAL RESE A R C H PR O DU C T S , I N C . , for their
wide range recording and reproducing system.
RCA- VI CT OR CO . , I N C . , for their high-delity
recording and reproducing system.
CLASS I I I (h on orab l e mentio n)

FOX FI LM CORP ., F R E D J A C K MA N and W A R N E R
BROS. P I CT U RE S , I N C . , and S I DN E Y S A N DE R S of
RKO Studios, Inc. for their development and effective

use of the translucent cellulose screen in composite
photography.
GOLD D I GGERS OF 1933 , Warner Bros. Warner
Bros. Studio Sound Dept., Nathan Levinson, Sound

Director.
I AM A FU G I T I VE FROM A CHAI N GANG, Warner
Bros. Warner Bros. Studio Sound Dept., Nathan
Levinson, Sound Director.
35
THE THREE LITTLE PIGS (right) won the years award for best
cartoon short subject, only the second year that category had
been included in the award structure and the second Disney win
in a row (following 193132s Flowers and Trees). Over the
next decades, The Walt Disney Company would accomplish an
incredible record of wins in the short subject categories: twentythree Academy Awards, thirteen of them for animation, seven for
live-action shorts, three for documentaries. And as the Disney
organization began branching into feature-length movies with
Snow White and the Seven Dwarfs, even more Academy attention was to come.
8/8/13 7:21 PM
1934
The Seventh Year
hen the nominees for the 1934

awards were announced, the Academy was bombarded with protests,
the rst time there had been such massive
critical argument with the selections. The
crux of the irritation was the fact that in
the best actress category the names of Bette
Davis (for Of Human Bondage) and Myrna
Loy (in The Thin Man), two of the years
most respected performances, were missing.
Newspaper editorials, telegrams and telephone calls assailed the Academy, reaching
a high enough pitch that voting rules were
temporarily abandoned and the Academy
announced, on January 16, 1935, that voters
would be allowed to disregard the printed
ballot and write in any name they preferred.
On the night of the awards, February 27,
1935, nearly a thousand guests jammed into
the Biltmore Bowl of the Los Angeles Biltmore Hotel to hear the outcome, realizing
there was a good chance none of the original
nominees would ultimately be declared winners, despite the fact that many members
had marked their ballots before the writein free-for-all was allowed. During the year,
the Academy had also retained the public accounting rm of Price Waterhouse & Co. to
tabulate ballots, a job earlier left to the staff
and judges at the Academy headquarters.
When the nal results were announced,
everyone had reason to be surprised. The
overlooked performers, it was announced,
including Bette Davis and Myrna Loy, did
not win, place, or show. A single picture, It
Happened One Night, walked off with ve of
the evenings awards, including best picture,
actor (Clark Gable), actress (Claudette
Colbert), director (Frank Capra), and writing adaptation (Robert Riskin), the rst
time one picture had been so prominent in a
single awards year.
Claudette Colbert, not expecting to win,
was in the process of boarding a train to
New York when Academy ofcials found
her and informed her of the results. Santa
Fe ofcials held up the locomotive as she
was rushed off to collect her prize, dressed
in a tailored suit for travel. She arrived at
the banquet, received her award from hostpresenter Irvin S. Cobb, posed for photographs, then was whisked back to the train.
Later, when the voting order was ofcially made known, it was stated that Miss
Colberts runners-up were Norma Shearer,
then Grace Moore, all of them ofcial nominees. Clark Gable was followed by Frank
Morgan and William Powell, also ofcial
nominees. However, Academy records are
now in evidence which show that the public
announcement was not entirely accurate.
Indeed, Miss Colbert came in rst, followed
by Norma Shearer, but write-in choice Bette
Davis was third. Why the incorrect information was announced is unknown today.
The mens ranking order was as announced.
Music was honored for the rst year, in two
categories (song and music score), and a lm
editing division was also inaugurated. Shirley
Temple received a special award in the form
of a miniature statuette, in recognition of
her contributions during the year as a screen
juvenile. And for the rst time, the eligibility
period for awards consideration was based
on a calendar year (January 1 to December 31,
1934) rather than a seasonal period.
36
be s t p i c t ure : IT HAPPENED ONE NIGHT (Columbia;
produced by Harry Cohn), b es t di r ecto r : FRANK CAPRA
(right, at the seventh awards), b es t a cto r : CLARK GABLE
as Peter Warne, and be s t a ctr es s : CLAUDETTE COLBERT
as Ellie Andrews (opposite page) in It Happened One Night.
It was one of those happy celluloid accidents, difcult to analyze
and impossible to reproduce intentionally. Night Bus, the original script, had been kicking around studios for several months.
No one expected it to be such a runaway hit, but it was exactly
the kind of entertainment that appealed to a Depression-weary
country, and its appeal is just as potent today. It marked Gables
rst go at playing comedy, and was one of three strong 1934 roles
for Miss Colbert, along with Cleopatra and Imitation of Life. It
was also the rst of Capras three awards as best director. For the
next forty-one years (until 1975s One Flew over the Cuckoos
Nest), it would also remain the only lm to win the Academys
prizes for picture, actor, actress and director. It also won a fth
award, for Robert Riskins invaluable writing adaptation.
8/8/13 7:21 PM
37
8/8/13 7:21 PM
CLEOPATRA (Paramount; produced by Cecil B. DeMille) was

DeMillian spectacle at its showiest, a superb example of the kind
of eye-feast that the motion picture medium could serve better
than any other. Claudette Colbert (left) played the Egyptian
queen, involved with court intrigue, Mark Antony, asps and a
thousand or so extras, and the lm won the Academy Award for
Victor Milners cinematography. It was not Oscars last encounter with Cleo-of-the-Nile. Joseph L. Mankiewiczs mammoth
1963 version also won an Academy Award for its cinematography, along with three other statues for excellence.
38
In the constant attempt to rightfully honor deserving movie

contributors, the Academy introduced another new category with
the 1934 awards, the one for music. The rst best song winner
was The Continental, introduced by Ginger Rogers and Fred
Astaire (left), along with Erik Rhodes and a platoon of dancers
in a lengthy sequence in RKOs The Gay Divorcee. The song
was written by Con Conrad and Herb Magidson and among
its competitors for the award was another song written for the
Astaire-Rogers team, Carioca from Flying Down to Rio. Ginger herself would go on to win an Academy Award, sans music,
as best actress for 1940s Kitty Foyle; Fred was voted an honorary
Oscar in 1949 for his contributions to the movie musical genre.
8/8/13 7:21 PM
Nominations 1934
T HE BARRET T S OF W I M P OLE ST REET , M-G-M.

CLEOP AT RA, Paramount.
FLI RT AT I ON W ALK , First National.
T HE G AY D I VORCEE, RKO Radio. Produced by Pandro
S. Berman.
HERE COM ES T HE N AVY , Warner Bros.

T HE HOU SE OF ROT HSCHI LD , 20th Century, UA.
I M I T AT I ON OF LI FE, Universal. Produced by John M.
Stahl.
* I T HAP P ENED ONE NI G HT , Columbia.

ON E N I GHT OF LOVE, Columbia.
T HE T HI N M AN, M-G-M.
VI VA VI LLA!, M-G-M.
T HE W HI T E P ARAD E, Jesse L. Lasky, Fox.
A C TO R
* CLARK G ABLE in It Happened One Night, Columbia.

FRAN K M ORG AN in The Affairs of Cellini, 20th
Century, UA.
W I LLI AM P OW ELL in The Thin Man, M-G-M.
A C TR E S S
* CLAU D ET T E COLBERT in It Happened One Night,

Columbia.
GRACE M OORE in One Night of Love, Columbia.
NORM A SHEARER in The Barretts of Wimpole Street,
M-G-M.
D I R E C TI N G
* I T HAP P ENED ONE NI G HT , Columbia. Frank Capra.

ON E N I GHT OF LOVE, Columbia. Victor Schertzinger.
T HE T HI N M AN, M-G-M. W.S. Van Dyke.
WR I TI N G
(a da p t a t ion )
* I T HAP P ENED ONE NI G HT , Columbia. Robert Riskin.

T HE T HI N M AN, M-G-M. Frances Goodrich and Albert
Hackett.
VI VA VI LLA!, M-G-M. Ben Hecht.
HI D E- OU T , M-G-M. Mauri Grashin.

* M AN HAT T AN M ELOD RAM A, Cosmopolitan, M-G-M.
Arthur Caesar.
T HE RI CHEST G I RL I N T HE W ORLD , RKO Radio.
Norman Krasna.
T HE AFFAI RS OF CELLI N I , 20th Century, UA. Charles
Rosher.
* CLEOP AT RA, Paramount. Victor Milner.
OP ERAT OR 13 , Cosmopolitan, M-G-M. George Folsey.
T HE AFFAI RS OF CELLI N I , 20th Century, UA. Richard
Day.
T HE G AY D I VORCEE, RKO Radio. Van Nest Polglase
and Carroll Clark.

* T HE M ERRY W I D OW , M-G-M. Cedric Gibbons and
Frederic Hope.
s p e c i al aw ard : SHIRLEY TEMPLE (above, with Irvin S.
Cobb). When Santa Claus brought you down Creations chimney, he brought the loveliest Christmas present that has ever
been given to the world, said Cobb as he presented a miniature
statuette to Shirley Temple for her contributions during the year
to screen entertainment. There were nine Temple features in 1934,
including Little Miss Marker, which had made her a major
screen attraction, Americas favorite tot and, at the age of six,
one of the most famous females in the world.
T HE AFFAI RS OF CELLI N I , 20th Century, UA. United
Artists Studio Sound Dept., Thomas T. Moulton,

Sound Director.
CLEOP AT RA, Paramount. Paramount Studio Sound
Dept., Franklin B. Hansen, Sound Director.
FLI RT AT I ON W ALK , First National. Warner Bros.First National Studio Sound Dept., Nathan Levinson,
Sound Director.
T HE G AY D I VORCEE, RKO Radio. RKO Radio Studio
Sound Dept., Carl Dreher, Sound Director.
I M I T AT I ON OF LI FE, Universal. Universal Studio
Sound Dept., Theodore Soderberg, Sound Director.
* ON E N I GHT OF LOVE, Columbia. Columbia Studio
Sound Dept., John Livadary, Sound Director.
VI VA VI LLA!, M-G-M. M-G-M Studio Sound Dept.,
Douglas Shearer, Sound Director.
T HE W HI T E P ARAD E, Jesse L. Lasky, Fox. Fox Studio
Sound Dept., E.H. Hansen, Sound Director.
F I LM E D I TING
CLEOP AT RA, Paramount. Anne Bauchens.

* ESK I M O, M-G-M. Conrad Nervig.
ONE NI G HT OF L O V E , Columbia. Gene Milford.
M US I C
(s on g )
CARI OCA (Flying Down to Rio, RKO Radio); Music by
Vincent Youmans. Lyrics by Edward Eliscu and Gus

Kahn.
* T HE CON T I N EN T A L (The Gay Divorcee, RKO Radio);
Music by Con Conrad. Lyrics by Herb Magidson.
LOVE I N BLOOM (She Loves Me Not, Paramount);
Music by Ralph Rainger. Lyrics by Leo Robin.
(s cor in g )
T HE GAY D I VORC E E , RKO Radio. RKO Radio Studio
Music Dept.; Max Steiner, head. Score by Kenneth

Webb and Samuel Hoffenstein.
T HE LOST P AT RO L , RKO Radio. RKO Radio Studio
Music Dept.; Max Steiner, head. Score by Max Steiner.
* ON E N I GHT OF L O V E , Columbia. Columbia Studio
Music Dept.; Louis Silvers, head. Thematic music by
Victor Schertzinger and Gus Kahn.
(note: From 193437, Best Score was considered a music
department achievement and award was presented to
department head instead of to the composer.)
CLEOP AT RA, Paramount. Cullen Tate.

I M I T AT I ON OF LI F E , Universal. Scott Beal.
* VI VA VI LLA!, M-G-M. John Waters.
S H O R T S UBJECTS
(ca r t oon s )
HOLI D AY LAN D , Screen Gems, Columbia. (Color
Rhapsody) Charles Mintz, producer.
J OLLY LI T T LE ELV E S , Lantz, Universal. (Cartune
Classics)
* T HE T ORT OI SE AN D T H E H A R E , Disney, UA. (Silly
Symphony)
(come dy)
* LA CU CARACHA, Pioneer Pictures, RKO Radio.

(Special) Kenneth Macgowan, producer.
M EN I N BLACK , Jules White, Columbia. (The Three
Stooges)
W HAT , NO M EN!, Warner Bros. (Broadway Brevities)
(n ov e lt y)
BOSOM FRI END S , Skibo, Educational-Fox. (Treasure
Chest)
* CI T Y OF W AX , Skibo, Educational-Fox. (Battle for Life)
Stacy Woodard and Horace Woodard, producers.
ST RI K ES AN D SP A R E S , Pete Smith, M-G-M.
(Oddities)
S PE C I A L A WARD
T O SHI RLEY T EMPL E , in grateful recognition of her
outstanding contribution to screen entertainment

during the year 1934. (miniature statuette)
None.

ELECT RI CAL RESE A R C H PR O DU C T S , I N C . , for
their development of the vertical cut disc method of

recording sound for motion pictures (hill and dale
recording).
CLASS I I I (cit a t io n)
COLU M BI A P I CT UR E S C O R P. ; B E L L A N D H O W E L L
CO.
39
8/8/13 7:21 PM
1935
The Eighth Year
ometime in 1935, or thereabouts, the

Academy Award statuette acquired
an indelible nickname. For years,
industry members and newspaper reporters
had been forced to refer clumsily to the
Academy statuette or the golden trophy
or the statue of merit, but suddenly it
became widely known as, simply, Oscar.
The name of the person responsible for
initiating the new name is not conclusively
documented, but through the years, three
people have been credited. Margaret
Herrick, then the Academys librarian
and later its executive director, is said to
have named the statue after an uncle, a
Mr. Oscar Pierce. Hollywood columnist
Sidney Skolsky claimed to have rst called
it Oscar after an old vaudeville joke (Will
you have a cigar, Oscar?) because he was
weary of nding synonyms when writing
about the Academy Award statuette. Bette
Davis is also said to have been the originator, naming the award after her husband,
Harmon Oscar Nelson, Jr., whom, she
claimed, aspects of the statuette resembled.
Only one thing is certain: sometime in
the mid-1930s, the name Oscar arrived.
And stayed.
The 1935 awards were held March 5, 1936,
at the Biltmore Hotel and, as in the preceding year, write-in votes were allowed. Cinematographer Hal Mohr became the rst,
and only, write-in Oscar winner. Mr. Mohr
later said, I think there had been some
industry antagonism towards me because
I had been very active in a 1933 strike, and I
wasnt nominated for A Midsummer Nights
Dream. But write-ins were allowed then,

and I was unshaven, sitting at home in my
work clothes, and the phone rang. It was
Eddie Blackburn, a friend, at the Biltmore
Bowl and he told me Id won and to get
the hell down there. I shaved, threw on a
tux, and with my wife jumped in a cab and
was there in an hour. Im very proud of
that award.
Pioneer director D.W. Grifth received
a special award from the Academy and, in
turn, he presented the acting awards. As in
previous years, runners-up were again disclosed. Bette Davis was named best actress
for Dangerous, with Katharine Hepburn and
Elisabeth Bergner as her runners-up. Victor
McLaglen was named best actor for The
Informer, competing with three actors from
Mutiny on the Bounty: Clark Gable, Charles
Laughton and Franchot Tone. Paul Muni,
not a nominee, came in second on the ballots (for Black Fury) and Laughton came in
third. Mutiny on the Bounty was named best
picture, followed by The Informer, followed
by Captain Blood. John Ford was named
best director for The Informer, followed by
Captain Bloods Michael Curtiz, who had
not been an ofcial nominee, then Henry
Hathaway for The Lives of a Bengal Lancer. It
was the last year write-in votes were allowed
by the Academy.
Writer Dudley Nichols, voted the Oscar
for his screenplay of The Informer, also became the rst to decline an Academy Award.
He took the stand, he said, not to demean
the honor, but because of antagonism between several industry guilds and the Acad-
40
be s t p i c t ure : MUTINY ON THE BOUNTY (M-G-M; produced by Irving Thalberg, with Albert Lewin). Charles Laughton
was the hateful Captain Bligh, Clark Gable was MIST-AH
Christian!, and Frank Lloyd directed this rousing version of the
actual 1789 Bounty case in which a masters mate led a mutiny
against a sadistic commander of a British vessel while transporting breadfruit plants from Tahiti to the West Indies. It remains
one of the best photoplays ever done about the sea. By virtue of
an earlier version, 1933s Australian-made In the Wake of the
Bounty, the Laughton-Gable movie ofcially became the rst
remake to win an Academy Award as best picture. Two later
versions were also done: 1962s technicolored Mutiny on the
Bounty with Trevor Howard and Marlon Brando, and 1984s
The Bounty with Anthony Hopkins and Mel Gibson.
8/8/13 7:21 PM
emy over union matters, which resulted in

many members boycotting the 1935 awards
party. It was not the last time an Academy
Awards night would be used to underline
either a political or a personal stand.
41
be s t ac t or: VICTOR MCLAGLEN as Gypo Nolan and b es t
d i re c t or: JOHN FORD for The Informer (RKO Radio).
RKO bosses had been reluctant to lm writer Liam OFlahertys
story about a drunken, boastful Irishman in Dublin during the
Irish Revolutionary troubles of 1922 who sells out his best pal
to the police for a 20-pound note, then spends the money on a
drunken spree, and is eventually executed by his fellow Revolutionists. They relented only after endless badgering by director
Ford, who then made what many regard as one of the genuine
screen masterpieces, dominated by the towering performance of
McLaglen as the tragic Gypo. The Informer is the rst lm to
noticeably benet nancially from winning Academy Awards;
although made for a modest $200,000, it was not a box ofce
success during its original release, but after winning four awards
(including one for Dudley Nicholss screenplay and another for
Max Steiners score) was rebooked into theaters and attracted a
sizable audience.
8/8/13 7:21 PM
BROADWAY MELODY OF 1936 (M-G-M; produced by John W.

Considine, Jr.) contained a musical sequence with (above, right)
June Knight and Robert Taylor and hard-tapping accomplices
singing and dancing to Ive Got a Feeling Youre Fooling, for
which choreographer Dave Gould received an award in a new
category, honoring dance direction. Choreography in motion
pictures was similarly honored for the next two years, then discontinued as a yearly award.
42
be s t a ct r e s s : BETTE DAVIS (with Allison Skipworth, left)

as Joyce Heath in Dangerous (Warner Bros.; directed by
Alfred E. Green). Legend has it that Bette Davis received her
1935 Oscar because voters had overlooked her performance in
Of Human Bondage the preceding awards year; Miss Davis
herself said she suspected it was so. Nevertheless, her Dangerous performance as a self-centered, neurotic and destructive
ex-Broadway star is eminently Oscar-worthy, and elevates a
short (78 minutes) and relatively undistinguished lm into a
substantial, crackling drama.
8/8/13 7:21 PM
LEROY P RI N Z for Its the Animal in Me number
F I LM E D I TI N G
(n ov e lt y)
from Big Broadcast of 1936 (Paramount) and

Viennese Waltz number from All the Kings Horses
Studio Sound Dept., Gilbert Kurland, Sound Director.
(Paramount).
CAP T AI N BLOOD , Cosmopolitan, First National.
BENJ AM I N Z EM AC H for Hall of Kings number from
Warner Bros.-First National Studio Sound Dept.,
She (RKO Radio).
Nathan Levinson, Sound Director.
T HE D ARK ANGEL, Goldwyn, UA. United Artists Studio
S
H O R T S UBJECTS
Sound Dept., Thomas T. Moulton, Sound Director.
(ca r t oon s )
I D REAM T OO M U CH, RKO Radio. RKO Radio Studio
T HE CALI CO D RA G O N , Harman-Ising, M-G-M.
Sound Dept., Carl Dreher, Sound Director.
(Happy Harmonies)
T HE LI VES OF A BEN G AL LAN CER, Paramount.
* T HREE ORP HAN K I T T E N S , Disney, UA. (Silly
Paramount Studio Sound Dept., Franklin B. Hansen,
Symphony)
Sound Director.
W HO K I LLED CO C K R O B I N ?, Disney, UA. (Silly
LOVE M E FOREVER, Columbia. Columbia Studio
Symphony)
* NAU GHT Y M ARI ET T A, M-G-M. M-G-M Studio Sound
(come dy)
Dept., Douglas Shearer, Sound Director.
* HOW T O SLEEP , M-G-M. Jack Chertok, producer.
$ 1 , 000 A M I N U T E, Republic. Republic Studio Sound
(Miniature)
Dept.
OH, M Y NERVES, Jules White, Columbia. (Broadway
T HAN K S A M I LLI ON, 20th Century-Fox. 20th
Comedies)
Century-Fox Studio Sound Dept., E.H. Hansen, Sound
T I T FOR T AT , Roach, M-G-M. (Laurel & Hardy)
Director.
BRI D E OF FRANK ENST EI N , Universal. Universal
Nominations 1935
A L IC E A D A MS , RKO Radio.
BR O A D W A Y ME LODY OF 1936 , M-G-M.
C A P TA IN BL O O D, Cosmopolitan, First National.
D A VID C O P P E R FIELD, M-G-M.
THE INF O R ME R , RKO Radio.
L E S MISE R A BL E S, 20th Century, UA.
THE L IVE S O F A BENGAL LANCER, Paramount.
A MID S UMME R NIGH TS DREAM, Warner Bros.
* MUTINY O N THE B OUNTY, M-G-M.
NA UGHTY MA R IETTA, M-G-M.
R UGGL E S O F R E D GAP, Paramount.
TO P HA T, RKO Radio.
A CT O R
C L A R K GA BL E in Mutiny on the Bounty, M-G-M.

C HA R L E S L A U GHTON in Mutiny on the Bounty,
M-G-M.
* VIC TO R MC L A G LEN in The Informer, RKO Radio.

FRANCHOT TONE in Mutiny on the Bounty, M-G-M.
A CT RES S
E L ISA BE TH BE R GNER in Escape Me Never, British &
Dominions, UA (British).
C L A U D E TTE C O LB ERT in Private Worlds, Walter
Wanger, Paramount.
* BE TTE D A VIS in Dangerous, Warner Bros.
K A THA R INE HE PB URN in Alice Adams, RKO Radio.
MIR IA M HO P K INS in Becky Sharp, Pioneer, RKO
Radio.
ME R L E O BE R O N in The Dark Angel, Goldwyn, UA.
D I RECT I N G
* THE INFO R ME R , RKO Radio. John Ford.

Henry Hathaway.
MU TINY O N THE B OUNTY, M-G-M. Frank Lloyd.
W RI T I NG
(ori g i n al s t ory)
BR O A D W A Y ME LODY OF 1936 , M-G-M. Moss
Hart.
THE GA Y D E C E P T ION, Lasky, Fox. Don Hartman
and Stephen Avery.

* THE SC O UND R EL, Paramount. Ben Hecht and
Charles MacArthur.
(s c re e n p l ay)
* THE INFO R ME R , RKO Radio. Dudley Nichols.

Screenplay by Waldemar Young, John L. Balderston
and Achmed Abdullah. Adaptation by Grover Jones
and William Slavens McNutt.
MU TINY O N THE B OUNTY, M-G-M. Jules
Furthman, Talbot Jennings and Carey Wilson.
CI NEM A T O GR AP H Y
BA R BA R Y C O A ST, Goldwyn, UA. Ray June.

THE C R U SA D E S, Paramount. Victor Milner.
L E S MISE R A BL E S, 20th Century, UA. Gregg Toland.
* A MID SUMME R NIGH TS DREAM, Warner Bros.
Hal Mohr.
(note: A Midsummer Nights Dream was not a nominee but won the award as a write-in choice. Writein votes were allowed in 1934 and 1935 but since
then have not been counted in Academy tallies.)
A RT D I REC T I ON
* THE D A R K A NGEL, Goldwyn, UA. Richard Day.

Hans Dreier and Roland Anderson.
TO P HA T, RKO Radio. Carroll Clark and Van Nest
Polglase.
D AVI D COP P ERFI ELD , M-G-M. Robert J. Kern.

T HE I NFORM ER, RKO Radio. George Hively.
LES M I SERABLES, 20th Century, UA. Barbara McLean.
T HE LI VES OF A BEN G AL LAN CER, Paramount.
Ellsworth Hoagland.
* A M I D SU M M ER NI G HT S D REAM , Warner Bros.
Ralph Dawson.
M U T I N Y ON T HE BOU NT Y , M-G-M. Margaret Booth.
M US I C
(s on g )
CHEEK T O CHEEK (Top Hat, RKO Radio); Music and
Lyrics by Irving Berlin.
LOVELY T O LOOK AT (Roberta, RKO Radio); Music
by Jerome Kern. Lyrics by Dorothy Fields and Jimmy

McHugh.
* LU LLABY OF BROAD W AY (Gold Diggers of 1935, First
National); Music by Harry Warren. Lyrics by Al Dubin.
(s cor in g )
* T HE I NFORM ER, RKO Radio. RKO Radio Studio Music

Dept.; Max Steiner, head. Score by Max Steiner.
M U T I N Y ON T HE BOU NT Y , M-G-M. M-G-M Studio
Music Dept.; Nat W. Finston, head. Score by Herbert
Stothart.
P ET ER I BBET SON, Paramount. Paramount Studio
Music Dept.; Irvin Talbot, head. Score by Ernst Toch.
(note: Until 1938, Best Score was considered a music
department head instead of to composer.)
A S S I S TA N T D I R E C TO R
D AVI D COP P ERFI ELD , M-G-M. Joseph Newman.

LES M I SERABLES, 20th Century, UA. Eric Stacey.
* T HE LI VES OF A BEN G AL LAN CER, Paramount. Clem
AU D I OSCOP I K S, Pete Smith, M-G-M. (Special)

CAM ERA T HRI LLS , Universal. (Special)
* W I N G S OVER M T . E V E R E S T , Gaumont British and
Skibo Productions, Educational. (Special)
S PE C I A L A WARD
T O D AVI D W ARK G R I F F I T H , for his distinguished
creative achievements as director and producer and his

invaluable initiative and lasting contributions to the
progress of the motion picture arts. (statuette)
None.

AG FA AN SCO CO R P. for their development of the Agfa
infra-red lm.
EAST M AN K OD AK C O . for their development of the
Eastman Pola-Screen.
CLASS I I I (h on orab l e mentio n)

M ET RO- G OLD W YN - MA YE R S T U DI O ;
W I LLI AM A. M U EL L E R of Warner Bros.-First National
Studio Sound Dept;
M OLE- RI CHARD S O N C O . ;
D OU G LAS SHEAR E R and M - G - M S T U DI O S O U N D
D EP T . ;
ELECT RI CAL RESE A R C H PR O DU C T S , I N C . ;
P ARAM OU N T P RO DU C T I O N S , I N C . ;
NAT HAN LEVI N SO N , director of Sound Recording for
Warner Bros.-First National Studio.
Beauchamp and Paul Wing.
D A N C E D I R E C TI O N
BU SBY BERK ELEY for Lullaby of Broadway number
and The Words Are in My Heart number from Gold

Diggers of 1935 (First National).
BOBBY CON N OLLY for Latin from Manhattan
number from Go into Your Dance (First National) and
Playboy from Paree number from Broadway Hostess
(Warner Bros.-First National).
* D AVE GOU LD for Ive Got a Feeling Youre Fooling
number from Broadway Melody of 1936 (M-G-M)
and Straw Hat number from Folies Bergre (20th
Century, UA).
SAM M Y LEE for Lovely Lady number and Too Good
To Be True number from King of Burlesque (20th
Century-Fox).
HERM ES P AN for Piccolino number and Top Hat,
White Tie, and Tails number from Top Hat (RKO
Radio).
43
8/8/13 7:21 PM
1936
The Ninth Year
rior to 1936, acting done by supporting performers, or featured players,

was either judged by Academy voters
alongside the work of leading actors, or
ignored totally. During Oscars initial eight
years, the only supporting performances
that managed to earn Academy nominations were those of Lewis Stone in The
Patriot (192829), Frank Morgan in The
Affairs of Cellini (1934), and Franchot Tone
in Mutiny on the Bounty (1935), and each of
them lost to work done by starring players
with considerably more on-screen time. In
the Academys ninth year, the unintentional
slighting was corrected, and the organization began honoring an actor and an actress
for their work in that area each year thereafter. Walter Brennan in Come and Get It and
Gale Sondergaard in Anthony Adverse were
the rst supporting winners, and they were
presented Academy Award plaques. Full-size
Oscar statuettes were not given to supporting performers until the 1943 awards year.
Voting rules again changed, after six years.
Nominations for awards were made by a
special committee of fty individuals appointed by Academy President Frank Capra,
with equal representation from each of the
Academys branches, and the nal decisions
were made by a vote of all Academy members. The big winner of the year was Anthony
Adverse with four awards, including the one
for Miss Sondergaard, plus cinematography,
music score and lm editing. Paul Muni was
chosen best actor for The Story of Louis Pasteur, Luise Rainer won as best actress for The
Great Ziegfeld, and the latter was also named
the years best picture. Frank Capra won

his second Oscar as director, for Mr. Deeds
Goes to Town. The March of Time, a unique
short subject series, received a special award
statuette for its signicance and for having
revolutionized one of the most important
branches of the industry, the newsreel.
Outside the regular cinematography
category, W. Howard Greene and Harold
Rosson were given special award plaques for
their color cinematography of The Garden
of Allah, starring Marlene Dietrich, the rst
time the Academy had acknowledged the
use of color in a motion picture.
The awards ceremony itself was held
March 4, 1937, at the Biltmore Hotel, attended by over fteen hundred Academy
members and guests, with George Jessel
as master of ceremonies. Except for Victor McLaglens presentation of the actor
award to Paul Muni (wearing a beard for his
current lming of The Life of Emile Zola), all
the awards were presented by Jessel. Norma
Shearer, nominated for Romeo and Juliet,
attended the festivities with Louis B. Mayer;
it was her rst public appearance following
the death of her husband, Irving G. Thalberg, on September 14, 1936. Among the
winners was Walt Disney, who picked up his
fth straight Oscar for producing the best
cartoon of the year. In the writing category,
Pierre Collings and Sheridan Gibney of The
Story of Louis Pasteur won the awards in
both the original story and the screenplay
divisions, the only time such a double win
has ever occurred.
44
be s t p i c t ure : THE GREAT ZIEGFELD (M-G-M; produced by
Hunt Stromberg) and bes t a ctr es s : LUISE RAINER as Anna
Held (right, with Robert Greig and William Powell) in The
Great Ziegfeld. Universal Studios spent a year planning a lm
based on the life of Broadways spectacular showman Florenz
Ziegfeld, then sold the project to M-G-M, which used the full
resources of that studio to produce a gargantuan, lavish entertainment. It was directed by Robert Z. Leonard with Powell as
Ziegfeld, rising from an 1893 sideshow promoter to his eventual
success as a New York impresario, and Miss Rainer as Anna
Held, the famous stage beauty with whom he had a stormy marriage and divorce but continued to love. The cast included Myrna
Loy as Billie Burke (Ziegfelds later wife, and widow), Fanny
Brice, Frank Morgan, Gilda Gray, Ray Bolger, and Leon Errol,
and encompassed some twenty-three songs and seven spectacular
production numbers. Still, it is best remembered for one simple
scene of a woman and a telephone, as Miss Rainer playing Anna
calls her ex-husband to congratulate him on his forthcoming
marriage and emotionally begins, Hello, Flo? . . . yes, this is
Anna . . .
8/8/13 7:21 PM
be s t a ct or : PAUL MUNI as Louis Pasteur in The Story of

Louis Pasteur (Warner Bros.; directed by William Dieterle).
Pasteur deviated from the Hollywood formula for biographies,
skipping the early life of the famous French medical genius and
concentrating on his battles with the French Academy of Medicine over sterilization of medical instruments, and the search for
a rabies cure. It was unlikely screen material, but in the hands
of director Dieterle and actor Muni, was an unqualied success,
critically and commercially. Muni, despite a limited catalog
of screen roles, received ve Oscar nominations (four ofcial
plus one unofcial) but in accepting his one and only Oscar
thanked a single individual, his makeup man. Said Muni, Perc
Westmore helped me feel like Pasteur. He deserves as much credit
as I for this award.
45
be s t s up p ort i n g a cto r : WALTER BRENNAN as Swan

Bostrom (here, center, with Edward Arnold, right) in Come and
Get It (United Artists; directed by Howard Hawks and William
Wyler). Brennan became the rst male winner of the Academys
new award designation for supporting performances, as the
Swedish lumberjack pal of Arnold in the adaptation of Edna
Ferbers novel about a Wisconsin lumber dynasty; later, Brennan
marries a saloon singer (Frances Farmer) whom Arnold has
jilted. During the next four years, Brennan won two more supporting actor awards, a remarkable Academy record.
8/8/13 7:21 PM
be s t s u p p or t in g a ctress: GALE SONDERGAARD as

Faith Paleologue (left, with Fredric March) in Anthony Adverse
(Warner Bros.; directed by Mervyn LeRoy). Miss Sondergaard
was the rst winner of an Oscar for a supporting performance
by an actress, playing a woman scheming for wealth and position
in the time of Napoleon, and a thorn to the title character, played
by Fredric March. The lm was based on Hervey Allens massive
adventure novel and won more Academy Awards than any other
lm of the year, including Oscars for cinematography (Gaetano
Gaudio), music score (Leo Forbstein), and lm editing (Ralph
Dawson). Sondergaard herself, a versatile actress often typecast
by Hollywood as a villainess, virtually disappeared from lms
after the early 1950s when she was implicated in the House UnAmerican Activities Committee investigations that briey swept
the entire lm community.
46
be s t dir e ct or : FRANK CAPRA (far left, with Gary Cooper)

for Mr. Deeds Goes to Town (Columbia). Capra had previously
won an Oscar two years before for 1934s It Happened One
Night, and had another one in his future for 1938s You Cant
Take It with You. With Mr. Deeds, he again tackled a favorite
Capra topic: what happens when an average American guy gets
thrown in with devious sophisticates, in this case a small town
fellow named Longfellow Deeds (Cooper) who has just inherited
$20 million and gets taken, at least temporarily, by New Yorkers
such as Jean Arthur, George Bancroft and Douglass Dumbrille.
8/8/13 7:21 PM
Nominations 1936
A NTHO NY A D VERSE, Warner Bros.

D O D SW O R TH, Goldwyn, UA.
* THE GR E A T Z IE GFELD, M-G-M.
L IBE L E D L A D Y , M-G-M.
MR . D E E D S GO E S TO TOWN, Columbia.
R O ME O A ND JU LIET, M-G-M.
SA N F R A NC IS C O, M-G-M.
THE S TO R Y O F LOUIS PASTEUR, Cosmopolitan,
Warner Bros.-First National.
A TA L E O F TW O CITIES, M-G-M.
THR E E S MA R T G IRLS, Universal.
A CT O R
GA R Y C O O P E R in Mr. Deeds Goes to Town,
Columbia.
W A L TE R HUS TO N in Dodsworth, Goldwyn, UA.

* P A U L MU NI in The Story of Louis Pasteur,
Cosmopolitan, Warner Bros.-First National.
W IL L IA M P O W E LL in My Man Godfrey, Universal.
SP E NC E R TR A C Y in San Francisco, M-G-M.
A CT RES S
IR E NE D UNNE in Theodora Goes Wild, Columbia.

GL A D Y S GE O R GE in Valiant Is the Word for Carrie,
Paramount.
C A R O L E L O MBARD in My Man Godfrey, Universal.

* L U ISE R A INE R in The Great Ziegfeld, M-G-M.
NO R MA S HE A R ER in Romeo and Juliet, M-G-M.
S U P P O RT I N G AC T OR
(n e w c at e g ory)
MISC HA A UE R in My Man Godfrey, Universal.

* W A L TE R BR E NN AN in Come and Get It, Goldwyn,
UA.
STUART ERWIN in Pigskin Parade, 20th Century-Fox.

BA SIL R A THBO NE in Romeo and Juliet, M-G-M.
A KIM TA MIR O FF in The General Died at Dawn,
Paramount.
S U P P O RT I N G AC T R E S S
(n e w c at e g ory)
BE U L A H BO ND I in The Gorgeous Hussy, M-G-M.

A L IC E BR A D Y in My Man Godfrey, Universal.
BO NITA GR A NVI LLE in These Three, Goldwyn, UA.
MARIA OUSPENSKAYA in Dodsworth, Goldwyn, UA.
* GA L E S O ND E R G AARD in Anthony Adverse, Warner
Bros.
D I RECT I N G
D O D SW O R TH, Goldwyn, UA. William Wyler.

THE GR E A T Z IE GFELD, M-G-M. Robert Z. Leonard.
* MR . D E E D S GO ES TO TOWN, Columbia. Frank
Capra.
MY MA N GO D FREY, Universal. Gregory La Cava.

SA N F R A NC IS C O, M-G-M. W.S. Van Dyke.
W RI T I NG
FUR Y , M-G-M. Norman Krasna.

THE GR E A T Z IE GFELD, M-G-M. William Anthony
McGuire.
SA N F R A NC IS C O, M-G-M. Robert Hopkins.

* THE STO R Y O F LOUIS PASTEUR, Cosmopolitan,
Warner Bros.-First National. Pierre Collings and
Sheridan Gibney.
THR E E S MA R T G IRLS, Universal. Adele Comandini.
(s c re e n p l ay)
A F TE R THE THIN MAN, M-G-M. Frances Goodrich
and Albert Hackett.
D O D SW O R TH, Goldwyn, UA. Sidney Howard.

MR . D E E D S GO E S TO TOWN, Columbia. Robert
Riskin.
MY MA N GO D FREY, Universal. Eric Hatch and
Morris Ryskind.
* THE STO R Y O F LOUIS PASTEUR, Cosmopolitan,
Warner Bros.-First National. Pierre Collings and
Sheridan Gibney.
* ANT HONY AD VERSE, Warner Bros. Gaetano Gaudio.

T HE G EN ERAL D I ED AT D AW N, Paramount. Victor
Milner.
T HE G ORGEOU S HU SSY , M-G-M. George Folsey.
ANT HONY AD VERSE, Warner Bros. Anton Grot.

* D OD SW ORT H, Goldwyn, UA. Richard Day.
T HE G REAT Z I EGFELD , M-G-M. Cedric Gibbons,
Eddie Imazu and Edwin B. Willis.
LLOY D S OF LON D ON , 20th Century-Fox. William S.
Darling.
T HE M AGNI FI CENT BRU T E, Universal. Albert S.
DAgostino and Jack Otterson.
ROM EO AN D J U LI ET , M-G-M. Cedric Gibbons,
Frederic Hope and Edwin B. Willis.
W I N T ERSET , RKO Radio. Perry Ferguson.
BAN J O ON M Y K NEE, 20th Century-Fox. 20th

Director.
T HE CHARGE OF T HE LI GHT BRI G AD E, Warner
Bros. Warner Bros. Studio Sound Dept., Nathan
D OD SW ORT H, Goldwyn, UA. United Artists Studio
Sound Dept., Thomas T. Moulton, Sound Director.
GENERAL SP ANK Y , Roach, M-G-M. Hal Roach Studio
Sound Dept., Elmer A. Raguse, Sound Director.
M R. D EED S GOES T O T OW N, Columbia. Columbia
Studio Sound Dept., John Livadary, Sound Director.
* SAN FRANCI SCO, M-G-M. M-G-M Studio Sound
T HE T EX AS RANGERS, Paramount. Paramount Studio
Sound Dept., Franklin B. Hansen, Sound Director.
T HAT GI RL FROM P ARI S, RKO Radio. RKO Radio
Studio Sound Dept., J.O. Aalberg, Sound Director.
T HREE SM ART GI RLS, Universal. Universal Studio
Sound Dept., Homer G. Tasker, Sound Director.
F I LM E D I TI N G
* ANT HONY AD VERSE, Warner Bros. Ralph Dawson.

COM E AN D GET I T , Goldwyn, UA. Edward Curtiss.
T HE G REAT Z I EGFELD , M-G-M. William S. Gray.
LLOY D S OF LON D ON , 20th Century-Fox. Barbara
McLean.
A T ALE OF T W O CI T I ES, M-G-M. Conrad A. Nervig.
T HEOD ORA GOES W I LD , Columbia. Otto Meyer.
M US I C
(s on g )
D I D I REM EM BER (Suzy, M-G-M); Music by Walter
Donaldson. Lyrics by Harold Adamson.

I VE G OT Y OU U N D ER M Y SK I N (Born to Dance,
M-G-M); Music and Lyrics by Cole Porter.
A M ELOD Y FROM T HE SK Y (Trail of the Lonesome Pine,
Walter Wanger, Paramount); Music by Louis Alter.
Lyrics by Sidney Mitchell.
P EN N I ES FROM HEAVEN (Pennies from Heaven,
Columbia); Music by Arthur Johnston. Lyrics by
Johnny Burke.
* T HE W AY Y OU LOOK T ONI G HT (Swing Time, RKO
Radio); Music by Jerome Kern. Lyrics by Dorothy
Fields.
W HEN D I D Y OU LEAVE HEAVEN (Sing, Baby, Sing,
20th Century-Fox); Music by Richard A. Whiting.
Lyrics by Walter Bullock.
(s cor in g )
AN T HON Y AD VER S E , Warner Bros. William Cannon.

* T HE CHARGE OF T H E L I G H T B R I G A DE , Warner
Bros. Jack Sullivan.
T HE GARD EN OF A L L A H , Selznick, UA. Eric G. Stacey.
T HE LAST OF T HE MO H I C A N S , Reliance, UA. Clem
Beauchamp.
SAN FRAN CI SCO , M-G-M. Joseph Newman.
D A N C E D I RECTION
BU SBY BERK ELEY for Love and War number from
Gold Diggers of 1937 (Warner Bros.-First National).
BOBBY CONNOL L Y for 1000 Love Songs number
from Cain and Mabel (Warner Bros.-Cosmopolitan).

* SEY M OU R FELI X for A Pretty Girl Is Like a Melody
number from The Great Ziegfeld (M-G-M).
D AVE G OU LD for Swingin the Jinx number from
Born to Dance (M-G-M).
J ACK HASK ELL for Skating Ensemble number from
One in a Million (20th Century-Fox).
RU SSELL LEW I S for The Finale number from Dancing
Pirate (Pioneer, RKO Radio).
HERM ES P AN for Bojangles of Harlem number from
Swing Time (RKO Radio).
S H O R T S UBJECTS
(ca r t oon s )
* T HE COU N T RY C O U S I N , Disney, UA. (Silly

Symphony)
OLD M I LL P ON D, Harman-Ising, M-G-M. (Happy
Harmonies)
SI N BAD T HE SAI L O R , Paramount. (Popeye)
(on e - r e e l)
* BORED OF ED U C A T I O N , Roach, M-G-M. (Our Gang)

M OSCOW M OODS , Paramount. (Headliner)
W AN T ED , A M AST E R , Pete Smith, M-G-M. (Pete
Smith Specialties)
(t w o- r e e l)
D OU BLE OR N OT H I N G , Warner Bros. (Melody
Masters)
D U M M Y ACHE, RKO Radio. (Edgar Kennedy Comedies)

* T HE P U BLI C P AY S , M-G-M. (Crime Does Not Pay)
(color )
* GI VE M E LI BERT Y , Warner Bros. (Broadway Brevities)

LA FI EST A D E SAN T A B A R B A R A , Lewis Lewyn,
M-G-M. (Musical Revues)
P OP U LAR SCI EN C E J - 6 - 2 , Paramount. (Popular
Science)
T O T HE M ARCH O F T I ME for its signicance to
motion pictures and for having revolutionized one

of the most important branches of the industrythe
newsreel. (statuette)
TO W. HOWARD GREENE and HAROLD ROSSON for
the color cinematography of the Selznick International
Production, The Garden of Allah. (plaques)
D OU G LAS SHEAR E R and the M- G - M S T U DI O
SOU N D D EP ART ME N T for the development of a
practical two-way horn system and a biased Class A

push-pull recording system.
CLASS I I (p la qu e)
E. C. W ENT E and the B E L L T E L E PH O N E
LABORAT ORI ES for their multi-cellular high-
* ANT HONY AD VERSE, Warner Bros. Warner Bros.

frequency horn and receiver.
Studio Music Dept.; Leo Forbstein, head. Score by
RCA M AN U FACT UR I N G C O . , I N C . , for their rotary
Erich Wolfgang Korngold.
stabilizer sound head.
T HE CHARGE OF T HE LI GHT BRI G AD E, Warner
CLASS I I I (cit a t io ns)
Bros. Warner Bros. Studio Music Dept.; Leo Forbstein,
RCA M AN U FACT UR I N G C O . , I N C . (2 citations);
head. Score by Max Steiner.
ELECT RI CAL RESE A R C H PR O DU C T S , I N C . ;
T HE G ARD EN OF ALLAH, Selznick, UA. Selznick
U N I T ED ART I ST S S T U DI O C O R P.
International Pictures Music Dept.; Max Steiner, head.
Score by Max Steiner.
T HE G EN ERAL D I ED AT D AW N, Paramount.
Paramount Studio Music Dept.; Boris Morros, head.
Score by Werner Janssen.
W I N T ERSET , RKO Radio. RKO Radio Studio Music
Dept.; Nathaniel Shilkret, head. Score by Nathaniel
Shilkret.
(note: Through 1937, Best Score was considered a music
department head instead of composer.)
47
8/8/13 7:21 PM
1937
The Tenth Year
uise Rainer became the rst performer to win a second Academy

Award; at the same time, she also was
the rst actor or actress to win two awards
in succession. At the 1937 Oscar ceremony,
she was named best actress for The Good
Earth, and other Oscars went to best actor Spencer Tracy in Captains Courageous,
director Leo McCarey for The Awful Truth,
supporting actor Joseph Schildkraut for
The Life of Emile Zola, and supporting actress
Alice Brady for In Old Chicago. Zola won
three awards, the highest total of the evening, including best picture and screenplay.
The actual presentation banquet was
delayed one week (to March 10, 1938),
due to a major rain and ood which had
incapacitated the Los Angeles area. When
the party nally took place at the Biltmore
Hotel, more than thirteen hundred guests
attended. Comedian Bob Burns was the
master of ceremonies, and, during the
evening, W.C. Fields presented a special
award to Mack Sennett for his contributions to screen comedy. Darryl F. Zanuck
of the recently merged 20th Century-Fox
studios received the rst Irving G. Thalberg
Memorial Award, established in the name
of the late M-G-M producer, which is given
to a creative producer whose work reects a
consistently high quality of motion picture
production. Ventriloquist Edgar Bergen was
also called to the podium to receive a special
miniature wooden Oscar statuette, with a
hinged and movable mouth, on behalf of his
wooden comedy creation Charlie McCarthy.
The award for dance direction was given for
the last time, to Hermes Pan; since 1937,

choreography in motion pictures has been
honored only on an occasional basis, in the
form of a special award.
In its continuing attempt to nd the most
democratic means of selecting winners, the
Academy again changed its voting rules and,
for the rst time, invited members of all industry-related guilds and unions, including
the Screen Extras Guild, to join with Academy members in selecting both the award
nominees and nal winners, with the result
that twelve thousand people now participated in the voting. This policy continued
for eight years, until 1944, when the Screen
Extras were disqualied from participation.
There was another rst in 1937: John
Lee Mahin became the rst individual to
refuse an Academy nomination, for his
coauthorship of the Captains Courageous
screenplay, in protest over the way the Writers Branch of the awards committee had
been selected.
As before, newspapers in the area had
been furnished with the names of award
winners at 8:30 p.m. on the evening of the
presentations, but were pledged to keep
the news secret until late editions. Luise
Rainer was at home in house slippers when
the Academy committee noted her absence
and phoned to tell her she had won for the
second year in a row. She hastily changed
into an evening gown and hurried to the
Biltmore with husband Clifford Odets.
Winner Alice Brady was conned at home
with a broken ankle, and Mrs. Spencer Tracy
accepted the award for her husband, who
48
be s t p i c t ure : THE LIFE OF EMILE ZOLA (Warner Bros.;
produced by Henry Blanke) with Paul Muni, right. Directed
by William Dieterle, Zola followed 1936s The Story of Louis
Pasteur as another meticulous Muni-Dieterle-Warners screen
biography. It covered the early career of the brilliant French
novelist, but concentrated the majority of its footage on Zolas
ght for the underdog in the famous Dreyfus case. The cast
included Gale Sondergaard, Donald Crisp, Gloria Holden,
Louis Calhern, Erin OBrien-Moore (as the real-life Nana),
and Joseph Schildkraut, who also won an Oscar as Dreyfus.
8/8/13 7:21 PM
was recovering from a major operation at

Good Samaritan Hospital. When his Oscar
was later sent to be inscribed, it came back
incorrectly engraved to Dick Tracy. Luckily, the error was caught before the statuette
was sent on to Spencer Tracy, and it was
corrected.
be s t a ct or : SPENCER TRACY as Manuel in Captains

Courageous (M-G-M; directed by Victor Fleming). Tracy
portrayed Rudyard Kiplings happy-go-lucky, simple Portuguese
sherman who befriends a spoiled English lad (played by Freddie Bartholomew, above with Tracy and John Carradine) and
teaches him the values of honesty and obedience to orders. The
role required the actor to sing several old-time sea chants and
speak with a Portuguese accent, both of which he claimed made

him extremely nervous. His talented shipmates included Lionel
Barrymore, Charles Grapewin, Mickey Rooney, Jack LaRue and
(on shore) Melvyn Douglas, and the lm brought Tracy his rst
Academy Award. The following year he won a second one for
Boys Town.
49
be s t ac t re s s : LUISE RAINER as O-Lan in The Good Earth

(M-G-M; directed by Sidney Franklin). Miss Rainer won her
second Academy Award in succession as the passive but earthstrong farm wife to Wang (played by Paul Muni), characters
originally created by Pearl S. Buck in her epic 1931 novel. Earth
also won an Oscar for Karl Freunds cinematography, and was
dedicated to production genius Irving Thalberg, who died shortly
after lming had been completed.
be s t s u p p or t in g a ct r e s s : ALICE BRADY as Molly OLeary

in In Old Chicago (20th Century-Fox; directed by Henry King).
Miss Brady, a famous stage actress best known for playing ittery
society ladies, won her Academy trophy for playing the decidedly
unittery Mrs. OLeary, a lady with three sons (Tyrone Power,
Don Ameche and Tom Brown) and the cow who accidentally
started the great Chicago re of 1871. Miss Brady had a busy year
in 1937, also appearing in ve other lms; she died in 1939, only
one and a half years after winning her Academy Award.
8/8/13 7:22 PM
Nominations 1937
T HE AW FU L T RU T H, Columbia.
CAP T AI NS COU RAG EOU S, M-G-M.
D EAD END , Goldwyn, UA.
T HE G OOD EART H, M-G-M.
IN OLD CHI CAGO, 20th Century-Fox.
* T HE LI FE OF EM I LE Z OLA, Warner Bros.
LOST HORI Z ON , Columbia.
ON E HU N D RED M EN AND A G I RL, Universal.
ST AGE D OOR, RKO Radio.
A ST AR I S BORN, Selznick, UA.
A C TO R
CHARLES BOY ER in Conquest, M-G-M.

FRED RI C M ARCH in A Star Is Born, Selznick, UA.
ROBERT M ON T GOM ERY in Night Must Fall, M-G-M.
P AU L M U NI in The Life of Emile Zola, Warner Bros.
* SP ENCER T RACY in Captains Courageous, M-G-M.
A C TR E S S
IREN E D U NNE in The Awful Truth, Columbia.

GRET A G ARBO in Camille, M-G-M.
JAN ET GAY N OR in A Star Is Born, Selznick, UA.
* LU I SE RAI N ER in The Good Earth, M-G-M.
BARBARA ST ANW Y CK in Stella Dallas, Goldwyn, UA.
S UPPO R TI N G A C TO R
RALP H BELLAM Y in The Awful Truth, Columbia.

T HOM AS M I T CHELL in The Hurricane, Goldwyn, UA.
* JOSEP H SCHI LD K RAU T in The Life of Emile Zola,
Warner Bros.
H. B. W ARN ER in Lost Horizon, Columbia.

ROLAN D Y OU NG in Topper, Roach, M-G-M.
S UPPO R TI N G A C TR E S S
* ALI CE BRAD Y in In Old Chicago, 20th Century-Fox.

AND REA LEED S in Stage Door, RKO Radio.
ANNE SHI RLEY in Stella Dallas, Goldwyn, UA.
CLAI RE T REVOR in Dead End, Goldwyn, UA.
D AM E M AY W HI T T Y in Night Must Fall, M-G-M.
D I R E C TI N G
(s cr e e n p la y)
T HE AW FU L T RU T H, Columbia. Vina Delmar.

CAP T AI N S COU RAG E O U S , M-G-M. Marc Connelly,
John Lee Mahin and Dale Van Every.

* T HE LI FE OF EM I LE ZO L A , Warner Bros. Heinz
Herald, Geza Herczeg and Norman Reilly Raine.
ST AG E D OOR, RKO Radio. Morris Ryskind and
Anthony Veiller.
A ST AR I S BORN , Selznick, UA. Alan Campbell, Robert
Carson and Dorothy Parker.
C I N E M A TO GRAPHY
D EAD EN D , Goldwyn, UA. Gregg Toland.

* T HE G OOD EART H, M-G-M. Karl Freund.
W I NGS OVER HONO L U L U , Universal. Joseph
Valentine.
A R T D I R E C TION
CON Q U EST , M-G-M. Cedric Gibbons and William
Horning.
A D AM SEL I N D I ST R E S S , RKO Radio. Carroll Clark.

D EAD EN D , Goldwyn, UA. Richard Day.
EVERY D AY S A HOL I DA Y, Major Prods., Paramount.
Wiard Ihnen.
T HE LI FE OF EM I LE ZO L A , Warner Bros. Anton Grot.

* LOST HORI Z ON , Columbia. Stephen Goosson.
M ANHAT T AN M ERR Y- G O - R O U N D, Republic. John
Victor Mackay.
T HE P RI SONER OF Z E N DA , Selznick, UA. Lyle
Wheeler.
SOU LS AT SEA, Paramount. Hans Dreier and Roland
Anderson.
WALTER WANGERS VOGUES OF 1938 , Wanger, UA.
Alexander Toluboff.
W EE W I LLI E W I NK I E , 20th Century-Fox. William S.
Darling and David Hall.
Y OU RE A SW EET HE A R T , Universal. Jack Otterson.
M US I C
(s on g )
REM EM BER M E (Mr. Dodd Takes the Air, Warner Bros.-
First National); Music by Harry Warren. Lyrics by Al

Dubin.
* SW EET LEI LAN I (Waikiki Wedding, Paramount); Music
and Lyrics by Harry Owens.
Dieterle.
T HAT OLD FEELI N G (Walter Wangers Vogues of 1938,
ST AGE D OOR, RKO Radio. Gregory La Cava.
Wanger, UA); Music by Sammy Fain. Lyrics by Lew
A ST AR I S BORN, Selznick, UA. William Wellman.
Brown.
T HEY CAN T T AK E T H A T A W A Y F R O M M E (Shall We
WR I TI N G
Dance, RKO Radio); Music by George Gershwin. Lyrics
by Ira Gershwin.
BLACK LEGI ON, Warner Bros. Robert Lord.
W HI SP ERS I N T HE DA R K (Artists and Models,
IN OLD CHI CAGO, 20th Century-Fox. Niven Busch.
Paramount); Music by Frederick Hollander. Lyrics by
T HE LI FE OF EM I LE Z OLA, Warner Bros. Heinz Herald
Leo Robin.
and Geza Herczeg.
(s cor in g )
ON E HU N D RED M EN AND A G I RL, Universal. Hans
T HE HU RRI CANE, Goldwyn, UA. Samuel Goldwyn
Kraly.
Studio Music Dept.; Alfred Newman, head. Score by
* A ST AR I S BORN, Selznick, UA. William A. Wellman
Alfred Newman.
and Robert Carson.
* T HE AW FU L T RU T H, Columbia. Leo McCarey.

T HE G OOD EART H, M-G-M. Sidney Franklin.
T HE LI FE OF EM I LE Z OLA, Warner Bros. William
50
be s t s up p ort i n g acto r : JOSEPH SCHILDKRAUT (right)

as Capt. Alfred Dreyfus in The Life of Emile Zola. A major
asset to the years best picture, Schildkraut portrayed the real-life
French Army ofcer who was disgraced and unjustly accused of
treason in 1894 and sentenced to life imprisonment on Devils
Island, a penalty comparable to death. William Dieterle was his
director. Despite his Academy Award win for 1937, Schildkrauts
subsequent screen career followed a teeter-totter pattern, from
second leads in major studio epics and supporting roles in Republic westerns to occasional starring roles in important works, such
as 1959s The Diary of Anne Frank. On stage, his true forte, he
was never less than above-the-title.
8/8/13 7:22 PM
best director: LEO MCCAREY for The Awful Truth (Columbia; produced by McCarey, with Everett Riskin), which
starred Cary Grant and Irene Dunne and won McCarey (left,
with Ralph Bellamy and Dunne) the rst of two Oscars as best
director, the second coming in 1944 for his direction of Going My
Way. Truth was one of the best, and most timeless, of the screwball comedies that owered during the 1930s, and its success added
heaps of prestige to Columbia Pictures, still generally considered a
second-string studio despite the occasional prestige specials delivered by rst-rate artists such as McCarey and Frank Capra, the
latter with Columbias Lost Horizon to his credit in 1937.
IN O L D C HIC A G O, 20th Century-Fox. 20th Century-
Fox Studio Music Dept.; Louis Silvers, head. (No

composer credit.)
THE L IFE O F E MILE ZOLA, Warner Bros. Warner
Bros. Studio Music Dept.; Leo Forbstein, head. Score
by Max Steiner.
L O S T HO R IZ O N, Columbia. Columbia Studio Music
Dept.; Morris Stoloff, head. Score by Dimitri Tiomkin.
MA KE A W ISH, Principal Prods., RKO Radio. Principal
Productions; Dr. Hugo Riesenfeld, musical director.
Score by Dr. Hugo Riesenfeld.
MA Y TIME , M-G-M. M-G-M Studio Music Dept.;
Nat W. Finston, head. Score by Herbert Stothart.
* O NE HU ND R E D MEN AND A GIRL, Universal.
Universal Studio Music Dept.; Charles Previn, head.
(No composer credit.)
P O R TIA O N TR IAL, Republic. Republic Studio Music
Dept.; Alberto Colombo, head. Score by Alberto
Colombo.
THE P R ISO NE R OF ZENDA, Selznick, UA. Selznick
International Pictures Music Dept.; Alfred Newman,
musical director. Score by Alfred Newman.
Q U A L ITY S TR E E T , RKO Radio. RKO Radio Studio
Music Dept.; Roy Webb, musical director. Score by
Roy Webb.
SNO W W HITE A ND TH E SEV EN DWARFS, Disney,
RKO Radio. Walt Disney Studio Music Dept.; Leigh
Harline, head. Score by Frank Churchill, Leigh
Harline and Paul J. Smith.
SO ME THING TO SING AB OUT, Grand National.
Grand National Studio Music Dept.; C. Bakaleinikoff,
musical director. Score by Victor Schertzinger.
SO UL S A T SE A , Paramount. Paramount Studio Music
Dept.; Boris Morros, head. Score by W. Franke
Harling and Milan Roder.
W A Y O UT W E ST, Roach, M-G-M. Hal Roach Studio
Music Dept.; Marvin Hatley, head. Score by Marvin
Hatley.
(note: Through 1937, Best Score was considered a music
department head instead of to composer.)
S O U ND RE C OR D I N G
THE GIR L SA ID NO, Grand National. Grand National
Studio Sound Dept., A.E. Kaye, Sound Director.
HITTING A NE W H IGH, RKO Radio. RKO Radio
Studio Sound Dept., John Aalberg, Sound Director.

* THE HUR R IC A NE, Goldwyn, UA. United Artists
Studio Sound Dept., Thomas T. Moulton, Sound
Director.
IN O L D C HIC A G O, 20th Century-Fox. 20th CenturyFox Studio Sound Dept., E.H. Hansen, Sound
Director.
THE L IFE O F E MILE ZOLA, Warner Bros. Warner
Director.
L O S T HO R IZ O N, Columbia. Columbia Studio Sound
Dept., John P. Livadary, Sound Director.
MA Y TIME , M-G-M. M-G-M Studio Sound Dept.,
O NE HUND R E D MEN AND A GIRL, Universal.
Universal Studio Sound Dept., Homer G. Tasker,
Sound Director.
T OP P ER, Hal Roach, M-G-M. Hal Roach Studio Sound
Dept., Elmer A. Raguse, Sound Director.

W ELLS FARG O, Paramount. Paramount Studio Sound
Dept., Loren L. Ryder, Sound Director.
F I LM E D I TI N G
T HE AW FU L T RU T H, Columbia. Al Clark.
CAP T AI N S COU RAGEOU S, M-G-M. Elmo Veron.
T HE GOOD EART H, M-G-M. Basil Wrangell.
* LOST HORI Z ON , Columbia. Gene Havlick and Gene
Milford.
ONE HU ND RED M EN AN D A GI RL, Universal.
Bernard W. Burton.
A S S I S TA N T D I R E C TO R
(Not given after this year.)
* I N OLD CHI CAGO, 20th Century-Fox. Robert Webb.
T HE LI FE OF EM I LE Z OLA, Warner Bros. Russ
Saunders.
LOST HORI Z ON, Columbia. C.C. Coleman, Jr.
SOU LS AT SEA, Paramount. Hal Walker.
A ST AR I S BORN , Selznick, UA. Eric Stacey.
D A N C E D I R E C TI O N
P OP U LAR SCI EN C E J - 7 - 1 , Paramount. (Popular
Science)
T O M ACK SENNE T T for his lasting contribution
to the comedy technique of the screen, the basic

principles of which are as important today as when
they were rst put into practice, the Academy presents
a Special Award to that master of fun, discoverer of
stars, sympathetic, kindly, understanding comedy
genius, Mack Sennett. (statuette)
T O ED GAR BERG E N for his outstanding comedy
creation, Charlie McCarthy. (wooden statuette)
T O T HE M U SEU M O F M O DE R N A R T F I L M L I B R A R Y
for its signicant work in collecting lms dating from

1895 to the present and for the rst time making
available to the public the means of studying the
historical and aesthetic development of the motion
picture as one of the major arts. (scroll certicate)
T O W . HOW ARD G R E E N E for the color photography
of A Star Is Born. (This Award was recommended by a
committee of leading cinematographers after viewing
all the color pictures made during the year.) (plaque)
BU SBY BERK ELEY for The Finale number from
1937 I R VI NG G. THAL BERG

M E M O R I A L AWARD
BOBBY CONNOLLY for Too Marvelous for Words
T O D ARRY L F. Z A N U C K .
(Not given after this year.)
Varsity Show (Warner Bros.).
number from Ready, Willing and Able (Warner Bros.).

D AVE G OU LD for All Gods Children Got Rhythm
number from A Day at the Races (M-G-M).
SAM M Y LEE for Swing Is Here to Stay number from
Ali Baba Goes to Town (20th Century-Fox).
HARRY LOSEE for Prince Igor Suite number from
Thin Ice (20th Century-Fox).
* HERM ES P AN for Fun House number from A Damsel
in Distress (RKO Radio).
LEROY P RI N Z for Luau number from Waikiki
Wedding (Paramount).
S H O R T S UB JE C TS
(ca r t oon s )
ED U CAT ED FI SH, Paramount. (Color Classics)

T HE LI T T LE M AT CH GI RL, Mintz, Columbia.
* T HE OLD M I LL, Disney, RKO Radio.
(on e - r e e l)
A N I GHT AT T HE M OVI ES, M-G-M. (Robert Benchley)

* T HE P RI VAT E LI FE OF T HE GANNET S, Skibo,
Educational.
ROM AN CE OF RAD I U M , Pete Smith, M-G-M. (Pete
Smith Specialties)
(t w o- r e e l)
D EEP SOU T H, RKO Radio. (Radio Musical Comedies)

SHOU LD W I VES W ORK ? , RKO Radio. (Leon Errol
Comedies)
* T ORT U RE M ON EY , M-G-M. (Crime Does Not Pay)
(color )
T HE M AN W I T HOU T A COU N T RY , Warner Bros.
(Broadway Brevities)
* P EN N Y W I SD OM , Pete Smith, M-G-M. (Pete Smith
Specialties)
(First year presented)
AG FA ANSCO CO R P. for Agfa Supreme and Agfa Ultra
Speed pan motion picture negatives.
W ALT D I SN EY P R O DS . , L T D. , for the design and
application to production of the Multi-Plane Camera.
EAST M AN K OD AK C O . for two ne-grain duplicating
51
lm stocks.
FARCI OT ED OU A R T and PA R A M O U N T PI C T U R E S ,
I NC. , for the development of the Paramount dual
screen transparency camera setup.
D OU G LAS SHEAR E R and the M - G - M S T U DI O

SOU N D D EP T . for a method of varying the scanning
width of variable density sound tracks (squeeze tracks)

for the purpose of obtaining an increased amount of
noise reduction.
J OHN ARN OLD and the M - G - M S T U DI O C A M E R A
D EP T . ;
J OHN LI VAD ARY , director of Sound Recording for
Columbia Pictures Corp.;
T HOM AS T . M OUL T O N and the U N I T E D A R T I S T S

ST U D I O SOU ND DE PT . ;
RCA M ANU FACT U R I N G C O . , I N C . ;
J OSEP H E. ROBBI N S and PA R A MO U N T PI C T U R E S ,
I N C. ;
D OU G LAS SHEAR E R and the M - G - M S T U DI O
SOU N D D EP T .
8/8/13 7:22 PM
19381947
The Academys Second Decade
he outbreak of World War II, outside

Hollywoods boundaries but certainly within its consciousness, had
a distinct effect on all elements connected
with the motion picture industry and the
Academy of Motion Picture Arts and Sciences as well.
It was not the rst introduction the Academy had to the world of the military. Back in
1930, at the governments request, the Academy had been called upon to help pave the
way for a training program in which Signal
Corps ofcers could learn about motion picture production in order to produce military
training lms. Sponsored and planned by the
Academy, one Signal Corps ofcer per year
for eight years was trained in the intricacies of photography, editing, mixing, sound
and other elements, by visiting actual lm
departments at work. With the outbreak of
World War II, the studios opened their doors
even wider to aid the war effort.
Darryl F. Zanuck, head of 20th CenturyFox studios and chairman of the Academys
Research Council, recognized the need for
well-made training lms for newly inducted
military personnel, and he immediately
volunteered the Councils complete cooperation. With the encouragement of the
Academys Board of Governors, the Council
set to work arranging for major motion
picture studios, including 20th CenturyFox, Metro-Goldwyn-Mayer, Paramount
and Warner Bros., to produce training lms
of all kinds on a nonprot basis. The studios
used existing equipment and facilities to do
the work, and charged the government only
for lm stock and lm processing and a few

labor salaries not waived by unions. From
the start of the war until mid-1943, over
four hundred training shorts and related
featurettes were delivered to the armed
services, covering a wide range of subjects,
including Combat Counter-Intelligence and
The Articles of War, as well as Sex Hygiene and
Safeguarding Military Information.
The war also had an effect on the Academys actual Awards-night galas, at that time
held in posh dining rooms of Los Angeles
and Hollywood hotels, such as the Hollywood Roosevelt, the Ambassador, or the
Biltmore. Not only was growing interest
in the Academy causing space problems
and overcrowded conditions, but Academy
ofcials also reasoned it was not in the best
interests of the organization to dispense
industry Oscars at elegant banquets at a
time when much of the world was suffering
a lack of food and the indignities of a calamitous war. So on March 2, 1944, honoring lm achievements during the calendar
year of 1943, the festivities were held for the
rst time in an actual theater, Graumans
Chinese in Hollywood, without an accompanying gala dinner-dance.
There was also another major change in
Oscar during the second decade of existence: beginning with the 1940 Awards,
presented February 27, 1941, winners were
no longer divulged in advance, and the
names of recipients were kept completely
secret in sealed and guarded envelopes until
the statuettes were formally handed to the
winners.
52
MICKEY ROONEY
I am grateful and proud to be a part of the wonderful work of the Academy of Motion Picture Arts and
Sciences.
Mickey Rooney
Special Award, 1938
Honorary Award, 1982
M I K L O S R O Z SA
At the time I received my Oscars, they meant a great

deal to me careerwise, and I am very grateful for
them.
Miklos Rozsa
Music (Music Score of a Dramatic or
Comedy Picture), 1945; 1947; 1959
OSCAR_80_p052-097_linked.indd 52
A N N E RE V E R E
The nomination for my Mrs. Brown in National

Velvet brought me great joy, but as an orphan with
no studio to champion my cause, I had little hope of
winning the Oscar.
On the eve of the great day, the odds-on favorite
was Warner Bros. talented young starlet Ann Blyth,
for her notable performance in Mildred Pierce.
Next morning the papers reported the surprising
winner: ANNE REVERE, the talented young Warner
Bros. starlet!
The surprise, I think, doubled my pleasure.
Anne Revere
8/8/13 7:23 PM
Then as now, change has always been an

integral part of the Academy story, part of
a determination on the part of the Academy to stay in step with changing industry
styles and technological innovations. Rules
change yearlyas have voting requirements
and category designationsall in an attempt
to do right by the industry and the Academy
itself. Among the important changes made
between 1938 and 1947 were several Academy constitutional bylaws. In December of
1939, for example, the bylaws were revised to
group the ve existing Academy branches
Producers, Directors, Actors, Writers, and
Techniciansinto two main categories, the
Arts Branches and the Sciences Branches. In
1946, memberships were dened into three
specic types: active, honorary and life;
earlier, they had also included fellowship
memberships and foundation memberships.
The number of Academy branches was also
increased from ve to eight, with the addition of branches for Music, Short Subjects
and Public Relations. Later it was increased
to a total of twelve. The Technicians branch
was retired in favor of more specically
dened branches for Cinematographers,
Film Editors, Art Directors (which includes
Costume Designers), Sound and Miscellaneous, the latter to cover those not included
elsewhere.
There was another signicant rule change
in 1941: unlike times past, an Academy
Award winner was no longer able to sell or
otherwise dispose of (an Oscar statuette),
nor permit it to be sold or disposed of by
operation of law without rst offering to sell
Olivia de Havilland, David O. Selznick, Vivien Leigh and Laurence Olivier at the 1939 (12th) Awards banquet.
53
MARY ASTO R
It was war time when I received my award. And since

metal was precious, all the winners in other than
Best Actor, Best Actress and Best Picture were given
small metal plaques. Of course I was delighted with
the honor, and I thanked everyone with a pretty little
speech. (Im grateful now that we had no TV coverage
then!)
Over the years and after my retirement, I felt
something was lacking. I had won an Oscarand yet
I hadnt.
In my book, A Life On Film, I describe my feelings,
and in parentheses I wrote: (Hey Academy! I would
dearly love to have a real Oscar!)
So now I have my real Golden Boy standing on my
bookshelf beside the faded little plaque of 1942.
Mary Astor
CLAUDE JARMAN, JR.
Even at the age of twelve, it was an overwhelming

experience to receive an Oscar. Years later I still feel
the same way.
Claude Jarman, Jr.

Special Award, 1946
D O RE SC H A RY
Herewithsome memories:
I remember Frank Capras face when it was announced: And the winner is Frank Capra!
I remember Eric Johnston, who in 1942 presented:
As an honored guest, the distinguished Ambassador
from JapanI mean China.
I remember Clare Boothe Luce saying as she
presented the writers award: And the winner is John
Husston!
A moment later John, in accepting, said Thank
you, Miss Looka!
I remember the year the program simply ran out of
TV time.
I remember the night that Frank Lloyd and Frank
Capra were both nominatedand as the announcer
said, And the winner is Frank . . . both Franks got

up. But the winner was Lloyd.
And finally I remember when I got my Oscar. It was
a golden momentjust as golden as shining Oscar.
Warmest and best wishes.
Dore Schary
Writing (Original Story), 1938
L A U RE N C E O L IVIER
My thoughts for a special award for Henry V in 1947

and for Hamlet in 48 for performance and best
picture were for each and both of the most delighted
kind and my gratitude of the heartfelt fullest.
Laurence Olivier
Special Award, 1946
Best Actor, 1948
8/8/13 7:23 PM
it back to the Academy for ten dollars. This

protection was sealed when the Academy
Award design was ofcially copyrighted on
September 2, 1941.
As the importance, prestige and fame of
the Academy Awards presentation ceremonies continued to grow, other Academy
functions also continued to expand, and
with far-reaching effects. By 1941, the archival and reference library of the Academy
had grown to such an extent it was ranked
as one of the most complete collections on
motion pictures anywhere in the world.
The library now included almost every book
published in English about motion pictures,
production information on nearly 20,000
motion pictures produced since 1896, plus
still photographs and scripts from many
signicant productions. The library continued to develop its extensive biography les
of clippings and still photographs on actors,
actresses, directors and other lm people.
There was a special clipping le established dealing solely with the effects of the
war on the motion picture industry, and
in the archives prints, in both 35mm and
16mm, encompassing features and short
subjects. In order to provide a tangible
record of Oscars screen achievements, the
Academy also began a project to acquire a
print from studios of every lm that has received an Academy Award nomination. That
practice lapsed for several years before being
resumed in the 1980s.
With such an extensive collection of
tangible material, the Academy was also
able to aid and support lm research under
the guidance of the Academy Foundation,
created during this period to take charge of
the educational and cultural activities of the
Academy.
The Foundation was ofcially incorporated on January 31, 1944, as a separate
unit from the Academy, in order to be
eligible to receive gifts of private funding
and certain tax-exemption privileges. The
Foundation accepts bequests and donations

from estates, governmental agencies, other
foundations, the motion picture industry
and the general public, and uses the funds
to administer educational, cultural and lm
archival activities.
The ties between the Academy and educational groups actually started long before
the Academy Foundation came into being.
On May 24, 1927, only days after the initial
organizational banquet, Cecil B. DeMille
and Milton Sills, representing the Academy, met with the then-president of the
University of Southern California regarding the establishment of cinema classes at
the school, with the Academys assistance.
Further aid was later given to such schools
as Yale, Purdue, Columbia, the University
of Oregon and others. In 1943, the Academy
helped the University of California at Los
Angeles (UCLA) organize extensive courses
on the motion picture eld, and later remained closely afliated with the school in
an advisory capacity.
The cooperation with schools and educational institutions continued. The Academy
supplied a constant ow of information
on the movie spectrum to students around
the world, in the form of clippings, still
photographs, scripts, journal references
and other kinds of requested information.
Later, in 1972, the Academy, in conjunction
with the Academy Foundation, established
the National Film Information Service to
offer access by mail to the extensive holdings of the library, so historians, students,
scholars, teachers and lm programmers
living outside the Los Angeles area could
also take advantage of the librarys fund of
knowledge.
The Academy Foundation was also deeply
involved in restoring an invaluable collection of Paper Prints at the Library of Congress. From 1894 to 1912, all motion pictures
had been copyrighted via photographic
reproductions on paper of their individual
AL EX ANDER G OLIT ZEN
to us personally, and why. There werent a whole lot

of themsome of them were foreign, which seemed
heretical, seated as we were on the back lot at 20th
Century-Fox. But all of them had shown people as not
only fascinating but valuablethat to be human was
a wonderful thing to be.
I want to make movies that say something, I said,
for people to keep.
Gabe York wore glasses that made his eyes look
enormous. From Hollywood? he asked, and his eyes
looked ever bigger.
Well, I said, I can try.
Two years later I was sitting in my assigned seat
at the Academy Awards presentations in the old
Shrine Auditorium (which always smelled softly of
elephants). Quite early in the proceedings I heard,
. . . and the winner, spoken by Donald Crisp, for
her role in Gentlemans Agreement, Celeste Holm.
I literally could not move, the lights were so sudden
and so intense. My husband muttered, Get up,
get up.
I didnt, so he and the man on my right hoisted me
to my feet. I had not expected to win; Ethel Barrymore
was also in the same category.
James Stewart and Ginger Rogers (13th Awards)
Joan Crawford (18th Awards)
54
To be nominated (and as many times as I have) comes
always as a surprise and with great appreciation as
one realizes that it was approved by ones own kind.
Then comes the dayand winning an Oscar
(whether the first, second, etc., etc.) is always a
thrill.
In the old days there was no celebration, ball, etc.,
so one merely collected ones statuette and celebrated
with close friends. In my case (when I won the first
one) we met at Jimmy Wong Howes Restaurant (he
was a great cameraman), and this is where I made
my acceptance speech.
Alexander Golitzen
Art Direction (Color), 1943; 1960
Art Direction (Black-and-white), 1962
CEL ESTE HO LM
When I was making my first film in 1946, I met a

dear man named Gabe York who was in the publicity
department. I never knew his titlebut he came down
on the set to talk to me, and before I knew it we were
talking about the films that had meant a great deal
In a dream I walked toward the stage and as I

started up the steps, I hoped I would not stumble
up the inside of my ruffled petticoat. I didnt, and
I found myself facing that huge, warm ocean of appreciation. And then I was supposed to say something.
I hadnt prepared anything because I was sure I would
not win. And I suddenly thought of Gabe York.
I thought, I said slowly, looking for the words
from a full heart, that Id already received the greatest reward an actress can haveof being in a picture
that brings understanding, in a world that seems to
need it so much. As I left the dazzle of the stage, into
the dark wings there was Gabe. You did it! he said.
And I leaked happy tears all over his tuxedo.
Celeste Holm
8/8/13 7:23 PM
Harold Russell, Shirley Temple, Claude Jarman, Jr. (19th Awards)
frames. These paper prints were then

stored in the Copyright Ofce in Washington, D.C., and forgotten. In the 1940s, Howard Walls, a Library of Congress employee,
discovered over two and a half million
feet of dusty copies stored there, including
newsreels with priceless footage of early
presidential inaugurations, coverage of the
Boer and Spanish-American wars, and other
lms of historical interest no longer available from other sources. There were also
many theatrical features in the collection,
long since assumed to have been lost. Walls
was immediately appointed curator of the
collection for the Library of Congress and
began the task of transferring the positive
paper prints to motion picture lm, but was
soon stopped when Congress abruptly voted
to end the Motion Picture Division, due to
wartime cutbacks. The Academy Foundation
then took over, and hired Walls to continue
as curator. Walls was eventually succeeded
Teresa Wright (15th Awards)
by Kemp Niver, a lm restoration specialist,

and the job was completed ten years later.
In 1946, the Academy again found itself
in need of more room. A twenty-ve-yearold building, known as the Marquis Theater
and functioning as a neighborhood cinema,
located at 9038 Melrose Avenue, was purchased from the West Coast theater chain
and became the new Academy of Motion
Picture Arts and Sciences headquarters.
The main oor of the building housed a
950-seat theater, and allowed greater seating
capacity for members than the Academy
had earlier enjoyed; its projection booth and
sound facilities were soon redesigned by the
Research Council to make it one of the most
acoustically perfect theaters anywhere. The
upper oor, designed for executive ofces
and the library, allowed sorely needed room
for those ever-expanding les and other material. By the end of the decade, the library
was averaging 300 visiting researchers per
week, including studio personnel, Academy

members, college students and others needing assistance. Several thousand phone calls
were also coming in each month, asking
for specic pieces of information on some
facet or another of the movie world or the
Academy operation.
By 1947, Academy membership had
reached a new high of 1,600, the war was
over, Oscar was in a new home, and there
were new challenges and projects ahead.
One of them was an attempt to set into
motion a series of twelve documentary featurettes that would help inform the public
about specic facets of lm production and
industry life, plus concurrently improve the
public image of the industry, something
Hollywood always seemed to need. Spearheaded by the Academy and underwritten
by the Producers Association, the lms were
made at various cooperating studios, and
budgeted so that the nancial returns from
55
HARO L D RUS S ELL
Winning two Oscars for my first commercial

motion picture is and was a thrill almost beyond
description. The Best Years of Our Lives was
Hollywoods tribute to the servicemen and women of
World War II and the awards it won reflected that
feeling. Personally, my Oscars brought me in contact
with the field of rehabilitation and the opportunity
to work with disabled people in the areas of education
and employment. For all of this, I am very grateful to
the wonderful people of the motion picture industry.
Harold Russell
Best Supporting Actor, 1946
Special Award, 1946
G R E E R G A R SO N
On the night I was given my Oscar I tried impulsively

to express not only thanks but some honest thoughts
about the Awards system. Hardly tactful timing, perhaps. I was said to have given the longest acceptance
speech ever. It wasnt, really. It just seemed that way
to a roomful of weary listeners at midnight. However,
maybe I can claim modestly to have triggered a
needed overhaul of the Awards program, that gradually transformed it from the original rather loosely
organized informal dinner-dance evening for industry
members, to a split-second, elaborately staged, spectacular gala for an audience of millions.
Of course I treasure my statuette. And I treasure
several nominations just as much, because I have
always thought the nominations themselves should
be considered the Awards. For actors, acting is not a
competition but a sharing and blending of experiences
and imaginings.
I am forever proud of being part of this industry
and this Academy.
Greer Garson
Best Actress, 1942
J A C K C A R D IF F
When Madame Curie received the Nobel Prize and

Churchill was knighted by the Queen, they must have
felt the same orbital elation I experienced when I won
my Oscar.
I am unashamedly conceited about it. It would be
most difficult for any visitor to my house to avoid
seeing it, shimmering its golden glow, beckoning homage like a god.
The visitor says, Is that really an Oscar? and I
take it off the shelf with a Peter Sellers smirk and
condescendingly let it be handled. They weigh it and
stroke it reverently, murmuring the usual things
Never thought Id hold a real Oscar . . . is it real
gold, etc. and then it goes back in the middle of my
other trophies.
But proud as I am of my Golden Globes, the New
York Film Critics Award and others, my Oscar
stands out in Olympian detachment like a dazzling
beacon to artistic endeavor, and whenever I gaze at it
I always seem to grow a few inches taller.
Jack Cardiff
Cinematography (Color), 1947
8/8/13 7:23 PM
the distribution of the rst ve made would

pay the costs of the entire dozen planned.
The series, including The Actor, The Writer,
The Director, The Sound Man, The Cinematographer, The Costume Designer, Moments
in Music, History Brought to Life, Movies Are
Adventure, Lets Go to the Movies, and This
Theater and You, was not nished until into
the Academys third decade, but in later
years, through distribution in 16mm to
schools, libraries and universities, it proved
to be one of the Academys most worthwhile
legacies to the understanding of Hollywood
and its work.
ac a d e my p r e s i de n t s
t he s e c o n d d e ca de
October 1937October 1938 . . . . . . . . . . . Frank Capra
October 1938December 1939 . . . . . . . . . Frank Capra
December 1939December 1940 . . . . .Walter Wanger
January 1941October 1941 . . . . . . . . .Walter Wanger
October 1941December 1941 . . . . . . . . . Bette Davis*
December 1941October 1942 . . . . . . .Walter Wanger
October 1942October 1943 . . . . . . . .Walter Wanger
October 1945May 1947. . . . . . . . . . . . . Jean Hersholt
Academy Headquarters, 194675
*Resigned during rst term
Ginger Rogers, Bob Hope (13th Awards)
David O. Selznick, Vivien Leigh (12th Awards)
Cagneys. He won for Yankee Doodle Dandy at the

last monkey-draped Cocoanut Grove Awards Dinner.
I can see him now, stepping energetically up to the
mike and carving the hush neatly with: Its nice to
know some people think a job has been well done.
Thank you. Wish Id said that.
Chinese Theatre as nervous as if I had to perform.

Suddenly I realized I shared the darkness with a
beautiful man: white curly hair, sad-comic face, huge
harp; my favorite Marx brother. I was so delighted to
see him that I couldnt keep my eyes off him; a fact
which he noticed because he broke his famous silence
to say, Young lady, are you flirting with me?
56
ANNE BAX TER
Oscar, Oscar, wherefore art thou, Oscar? Its easy

to lose things when you move. I lost my Oscar. He
vanished between van and new threshold or fell prey
to the sticky fingers of a souvenir-happy moving
man, but in either casegone. Getting his duplicate
was a polite hassle, complete with affidavits, details,
descriptions and seventy-five dollars.
I moved yet again, under particularly horrendous
circumstances, and undid the royal blue, goldencorded felt bag cradling Oscars stand-in, only to
watch him crash out in two gleaming hunksnot lost
or stolen this time. Broken. Will I try, try again? Yes.
Because nothing else will so sharply bring into focus
an emotional peak.
Through the years, awards have mushroomed as after a cloudburst, but there is only one Oscar. Belittle,
scoff at or denigrate him as you will, when your name
comes bounding out of that microphone I defy adrenal
glands of marble not to quiver. In memoriam, I still
cringe at my acceptance mumbles and leaky eyes and
at looking fatly stuffed into a pompous navy blue lace
dress, but its a moment impossible to plan.
The best response I can remember was Jimmy
Anne Baxter
T E RE SA W RI G H T
The Academy Award ceremony of 1942, our first war

year, was an evening of mixed emotions for all of us
who had worked on Mrs. Miniver. Willie Wyler, in
service overseas, could not be with us to share the
thrill of Miniver winning six awards. It was also
an unbelievably exciting night for me, as I had been
nominated for two awards, for my second and third
films: best performance by an actress in a starring
role in Pride of the Yankees, as well as the supporting role in Mrs. Miniver.
A memory that I recall with affection was an
evening when I had been asked to present an award. I
was sitting in a dark corner backstage at Graumans
Teresa Wright
G I N G E R RO G ERS
In 1940 there were no television cameras to record my

gratitude when I received an Oscar for my performance in Kitty Foyle. Nowat long lastI have the
opportunity to say to my peers of the Academythank
you for that marvelous tribute.
Ginger Rogers
Best Actress, 1940
8/8/13 7:23 PM
Joan Fontaine, Olivia de Havilland (14th Awards)
Greer Garson, James Cagney (15th Awards)
Fredric March, Loretta Young, Price Waterhouse Representative (20th Awards)
57
L O RETTA Y O UN G
There is something about a dark horse winning that

brings the house down. In 1947, I was the dark horse,
the house was the Shrine Auditorium! All those hands
clapping made lots of noise. Beautiful noise! And I
allowed myself the luxury of believing it was indeed
all for me. For over twenty years, Id been more than
satisfied with the work itself, without a nod from the
Academynow the jackpot!
I guess primarily it was a good night for me because
it meant the industry looked at me as more than just
pretty as usual, Period. Acceptance! A great word,
great for the heart and soul. Great for the ego, the
actors source. My self-confidence soared and in a
strange way it has never wavered since, at least not in
any serious way.
Soon, wise friends were reminding me the Oscar is
only the icing on the cake. I agreed with them, I still
do. But, my, oh, my, what a lovely taste that icing
had, and still has!
Every time I open the guest coat closet, in my
front hall, and see Oscar residing on a shelf, all
by himself, with the automatic door light shining
down on him, I enjoy a small wave of gratitude and
Im delighted all over again to have been chosen a

winner.
In my professional life, more than once, its occurred to me there are only two material things in
my life that Ive never gotten used to. One, the Oscar
statuette residing in my home, with my name on it.
The other, for no sensible reason I know of, is my
Rolls-Royce car. Unless its because they both make
me feel like a movie star, and I like that. I like it a
lot!
possibility of receiving the award from my very secret

heartthrob, Bob Hope, and my apprehension was the
possibility that one of the false teeth that the studio
made me wear to cover my missing baby teeth might
fall out as they often did while we were making the
film. Nevertheless, all went well. My false teeth held
fast, I received the Oscar, and the handsome Bob Hope
presented it to me. As a matter of fact, he even hugged
me; he hugged most of the other actresses too, but I
was the only one he both hugged and lifted.
Loretta Young
Best Actress, 1947
Margaret OBrien
Special Award, 1944
M A RG A R E T O B R I E N
The Academy Awards have the same mystique for

actors as for audiences and I must admit it was
a delightful assignment to look back and recollect
when my mother told me we would be attending the
Academy Awards and that there was a possibility that
I might receive an Oscar for my performance in Meet
Me in St. Louis. I was typically excited and apprehensive. I think my reaction pleased my mother, but what
she didnt realize was that my excitement was the
R I C H A R D R O DG ERS
Oscar Hammerstein II and I won an Oscar for It

Might As Well Be Spring in 1945. The only thing that
could have made me happier than this award was the
song itself.
Richard Rodgers
Music (Song), 1945
8/8/13 7:23 PM
1938
The Eleventh Year
cross the world, grim war clouds

continued to cover Europe as the
Academy of Motion Picture Arts
and Sciences entered its second decade, and
Hollywood itself was having some troubled
times as well. Box ofce attendance had
taken an alarming dip whichcoupled with
possible revenue losses from the dwindling
European lm marketcaused jitters within
the industry. Oscar night, however, was an
unparalleled success, the biggest to date,
held on February 23, 1939, in the Biltmore
Bowl of the Los Angeles Biltmore Hotel.
For the second year, both the nominations and the nal vote for award winners
were made by 12,000 Hollywood citizens
(Academy members, plus members of
various industry guilds and unions). Three
of the four acting winners (Spencer Tracy,
Bette Davis, Walter Brennan) had won
before, so they were familiar faces in the
winners circle, as was director Frank Capra,
who collected his third Oscar in that luminous category. There was no ofcial master
of ceremonies at the award banquet, and
most of the acting statuettes were presented
by character actor Cedric Hardwicke and
new matinee idol Tyrone Power. Shirley
Temple, ten years old and Hollywoods
box ofce queen, presented Walt Disney
with one large honorary Oscar and seven
miniature ones on behalf of his animated
feature Snow White and the Seven Dwarfs.
Miniature-sized Academy Awards also went
to Universals Deanna Durbin (age seventeen) and M-G-Ms Mickey Rooney (age
eighteen) for their juvenile performances
during the preceding year. Biggest single

winner of all 1938 lms was Warner Bros.
colorful The Adventures of Robin Hood,
which won three Academy Awards, but the
best picture prize itself went to Mr. Capras
infectious You Cant Take It with You, just the
kind of warm and comical entertainment
to take everyones mind off uneasy ledger
sheets in the bookkeeping departments and
that impending crisis overseas.
58
be s t p i c t ure : YOU CANT TAKE IT WITH YOU (Columbia; produced by Frank Capra) and b es t d i r ecto r : FRANK
CAPRA for You Cant Take It with You. The zany story of an
eccentric clan by the name of Vanderhof (with some Sycamores
thrown in), it was based on the Pulitzer Prizewinning play by
George S. Kaufman and Moss Hart, and starred (right) James
Stewart and Jean Arthur along with scene-stealers such as Lionel
Barrymore, Edward Arnold, Spring Byington, Mischa Auer,
Donald Meek, H.B. Warner, Eddie (Rochester) Anderson and
Ann Miller. As with most Capra capers, it had a generous supply
of cracker-barrel philosophy mixed in with its daffy doings and
feisty comedy. It also marked a third Oscar win for Capra as a
director, after previous wins in 1934 and 1936.
8/8/13 7:23 PM
be s t a ct r e s s : BETTE DAVIS as Julie Marsden in Jezebel

(Warner Bros.; produced by Hal B. Wallis, with Henry Blanke).
Under the meticulous direction of William Wyler, Bette Davis
won her second Oscar as a willful, headstrong Southern belle in
pre-Civil War New Orleans who ultimately sacrices herself for
the man she loves (Henry Fonda). The lm was made with all
the nest resources at the command of a major motion picture
company like Warner Bros.; it was also the real turning point
in the Davis career, the rst in a series of lm performances
which during the next eight years were unmatched by any other
American actress.
59
be s t a ct or : SPENCER TRACY as Father Flanagan in Boys

Town (M-G-M; directed by Norman Taurog). An Academy
Award winner for the second consecutive year, Tracy played the
real-life Flanagan, a man who founded a community 12 miles
outside Omaha in 1920 to help turn juvenile delinquents into
responsible citizens. Mickey Rooney (left, with Tracy) co-starred,
and the lms success inspired a sequel in 1941, Men of Boys
Town, again with Rooney and Tracy as Father Flanagan. Tracy
sent his Boys Town Oscar to Flanagan, and it still remains at
Boys Town, Nebraska, today.
8/8/13 7:23 PM
(released by RKO;
produced by Walt Disney) received a Special Award salute in
1938: one full-size statuette and seven miniature ones to the
man who pioneered the animated feature. Snow White had been
nominated for an Oscar (in the music category) the preceding
year, eligible then since it had rst opened in Los Angeles during
that calendar year, on December 20, 1937. But most audiences
saw Snow White during 1938, and it was too much of a success
and too revolutionary (and too loved) for Oscar to ignore, thus
the 1938 honorary nod.
SNOW WHITE AND THE SEVEN DWARFS
be s t s u p p or t in g a ct or: WALTER BRENNAN as Peter

Goodwin in Kentucky (20th Century-Fox; produced by Darryl
F. Zanuck). Supporting Loretta Young (left, watching a race
with Brennan), Richard Greene and some technicolored and
thoroughbred horses, Brennan helped beautiful Loretta save
her family plantation with a long-shot victory at the Kentucky
Derby. Directed by David Butler, it brought Brennan his second
Academy Award in three years, and a third one was still to come.
60
be s t s u p p or t in g a ct ress: FAY BAINTER as Aunt Belle in

Jezebel. Miss Bainter, a noted stage actress who also regularly
contributed to lms, won her supporting Oscar playing the stern
but sympathetic friend of the hard-to-love vixen played by Bette
Davis (left, being comforted by Bainter). Curiously, Fay Bainter
also competed with Davis for the years best actress prize, nominated in that category for her performance in White Banners,
making her the rst performer to be nominated the same year in
both the best and best supporting categories.
8/8/13 7:23 PM
Nominations 1938
THE A D VE NTUR ES OF ROB IN H OOD, Warner Bros.-
First National.
A L E XA ND E R S R AGTIME B AND, 20th Century-Fox.

BO Y S TO W N, M-G-M.
THE C ITA D E L , M-G-M (British).
FO UR D A UGHTERS, Warner Bros.-First National.
GR A ND IL L U SION, R.A.C., World Pictures (French).
JE Z E BE L , Warner Bros.
P Y GMA L IO N, M-G-M (British).
TE S T P IL O T, M-G-M.
* Y O U C A N T TA KE IT WITH YOU, Columbia.
A CT O R
C HA R L E S BO Y E R in Algiers, Wanger, UA.

JA ME S C A GNE Y in Angels with Dirty Faces, Warner
Bros.-First National.
R O BE R T D O NA T in The Citadel, M-G-M (British).

L E SL IE HO W A R D in Pygmalion, M-G-M (British).
* S P E NC E R TR A C Y in Boys Town, M-G-M.
A CT RES S
FA Y BA INTE R in White Banners, Warner Bros.-
Cosmopolitan.
* BE TTE D A VIS in Jezebel, Warner Bros.
W E ND Y HIL L E R in Pygmalion, M-G-M (British).
NO R MA S HE A R ER in Marie Antoinette, M-G-M.
MA R GA R E T SUL LAV AN in Three Comrades, M-G-M.
* W A L TE R BR E NN AN in Kentucky, 20th Century-Fox.

JO HN GA R FIE L D in Four Daughters, Warner Bros.-First
National.
GE NE L O C K HA RT in Algiers, Wanger, UA.
R O BE R T MO R L E Y in Marie Antoinette, M-G-M.
BA SIL R A THBO NE in If I Were King, Paramount.
* F A Y BA INTE R in Jezebel, Warner Bros.

BE U L A H BO ND I in Of Human Hearts, M-G-M.
BIL L IE BU R KE in Merrily We Live, Roach, M-G-M.
SP R ING BY INGT ON in You Cant Take It with You,
Columbia.
MIL IZ A KO R JU S in The Great Waltz, M-G-M.
D I RECT I N G
A NGE L S W ITH DIRTY FACES, Warner Bros.-First
National. Michael Curtiz.
BO Y S TO W N, M-G-M. Norman Taurog.

THE C ITA D E L , M-G-M (British). King Vidor.
Michael Curtiz.
* Y O U C A N T TA KE IT WITH YOU, Columbia. Frank
Capra.
W RI T I NG
A L E XA ND E R S R AGTIME B AND, 20th Century-Fox.
Irving Berlin.
A NGE L S W ITH DIRTY FACES, Warner Bros.-First
National. Rowland Brown.
BL O C K A D E , Wanger, UA. John Howard Lawson.

* BO Y S TO W N, M-G-M. Eleanore Grifn and Dore
Schary.
MA D A BO UT MUSIC, Universal. Marcella Burke and
Frederick Kohner.
TE S T P IL O T, M-G-M. Frank Wead.
(s c re e n p l ay)
BO Y S TO W N, M-G-M. John Meehan and Dore Schary.

THE C ITA D E L , M-G-M (British). Ian Dalrymple,
Elizabeth Hill and Frank Wead.
Lenore Coffee and Julius J. Epstein.

* P Y GMA L IO N, M-G-M (British). George Bernard Shaw;
adaptation by Ian Dalrymple, Cecil Lewis and W.P.
Lipscomb.
Y O U C A N T TA K E IT WITH YOU, Columbia. Robert
Riskin.
A L GIE R S, Wanger, UA. James Wong Howe.

A R MY GIR L , Republic. Ernest Miller and Harry Wild.
THE BU C C A NE E R, Paramount. Victor Milner.
* THE GR E A T W A LTZ, M-G-M. Joseph Ruttenberg.
JE Z E BE L , Warner Bros. Ernest Haller.
MA D A BO UT MUSIC, Universal. Joseph Valentine.
ME R R IL Y W E L IV E, Roach, M-G-M. Norbert Brodine.
SUE Z , 20th Century-Fox. Peverell Marley.
VIVA C IO US L A D Y, RKO Radio. Robert de Grasse.
Y O U C A N T TA K E IT WITH YOU, Columbia. Joseph
* T HE AD VEN T U RES OF ROBI N HOOD , Warner Bros.First National. Carl J. Weyl.

T HE AD VEN T U RES OF T OM SAW Y ER, Selznick, UA.
Lyle Wheeler.
ALEX AN D ER S RAGT I M E BAND , 20th Century-Fox.
Bernard Herzbrun and Boris Leven.
ALGI ERS, Wanger, UA. Alexander Toluboff.
CAREFREE, RKO Radio. Van Nest Polglase.
T HE G OLD W Y N FOLLI ES, Goldwyn, UA. Richard Day.
HOLI D AY , Columbia. Stephen Goosson and Lionel
Banks.
I F I W ERE K I NG, Paramount. Hans Dreier and John
Goodman.
M AD ABOU T M U SI C, Universal. Jack Otterson.
M ARI E ANT OI N ET T E, M-G-M. Cedric Gibbons.
M ERRI LY W E LI VE, Roach, M-G-M. Charles D. Hall.
ARM Y GI RL, Republic. Republic Studio Sound Dept.,
Charles L. Lootens, Sound Director.

* T HE COW BOY AND T HE LAD Y , Goldwyn, UA. United
Artists Studio Sound Dept., Thomas T. Moulton,
Sound Director.
FOU R D AU G HT ERS, Warner Bros.-First National.
Warner Bros. Studio Sound Dept., Nathan Levinson,
Sound Director.
I F I W ERE K I NG, Paramount. Paramount Studio Sound
M ERRI LY W E LI VE, Roach, M-G-M. Hal Roach Studio
SU EZ , 20th Century-Fox. 20th Century-Fox Studio
Sound Dept., Edmund H. Hansen, Sound Director.
SW EET HEART S, M-G-M. M-G-M Studio Sound Dept.,
T HAT CERT AI N AG E, Universal. Universal Studio
Sound Dept., Bernard B. Brown, Sound Director.
VI VACI OU S LAD Y , RKO Radio. RKO Radio Studio
Sound Dept., John Aalberg, Sound Director.
YOU CANT TAKE IT WITH YOU, Columbia. Columbia
F I LM E D I TI N G
* T HE AD VEN T U RES OF ROBI N HOOD , Warner Bros.First National. Ralph Dawson.

ALEX AN D ER S RAGT I M E BAND , 20th Century-Fox.
Barbara McLean.
T HE G REAT W ALT Z , M-G-M. Tom Held.
T EST P I LOT , M-G-M. Tom Held.
Y OU CAN T T AK E I T W I T H Y OU , Columbia. Gene
Havlick.
(or ig in a l s cor e )
* T HE AD VEN T U RE S O F R O B I N H O O D, Warner Bros.First National. Erich Wolfgang Korngold.

ARM Y G I RL, Republic. Victor Young.
BLOCK -HEAD S, Roach, M-G-M. Marvin Hatley.
BLOCK AD E, Wanger, UA. Werner Janssen.
BREAK I N G T HE I C E , Principle, RKO Radio. Victor
Young.
T HE COW BOY AN D T H E L A DY, Goldwyn, UA. Alfred
Newman.
I F I W ERE K I N G , Paramount. Richard Hageman.
M ARI E AN T OI NET T E , M-G-M. Herbert Stothart.
P ACI FI C LI NER, RKO Radio. Russell Bennett.
SU EZ , 20th Century-Fox. Louis Silvers.
T HE Y OU NG I N H E A R T , Selznick, UA. Franz Waxman.
T O D EANNA D U R B I N and MI C K E Y R O O N E Y for
their signicant contribution in bringing to the

screen the spirit and personication of youth, and as
juvenile players setting a high standard of ability and
achievement. (miniature statuette trophies)
T O HARRY M . W A R N E R in recognition of patriotic
service in the production of historical short subjects
presenting signicant episodes in the early struggle of
the American people for liberty. (scroll)
TO WALT DISNEY for Snow White and the Seven Dwarfs,
recognized as a signicant screen innovation which
has charmed millions and pioneered a great new
entertainment eld for the motion picture cartoon.
(one statuetteseven miniature statuettes)
T O OLI VER M ARS H and A L L E N DA V E Y for the
color cinematography of the M-G-M production
Sweethearts. (plaques)
For outstanding achievements in creating special
photographic and sound effects in the Paramount
production Spawn of the North: special effects by
G ORD ON J EN N I N G S , assisted by J A N DO M E L A ,
D EV J ENNI N G S , I R M I N R O B E R T S , and A R T
SM I T H; transparencies by F A R C I O T E DO U A R T ,
assisted by LOY A L G R I G G S ; sound effects by L O R E N
RY D ER, assisted by H A R R Y M I L L S , L O U I S H .
M ESEN K OP , and W A L T E R O B E R S T . (plaques)
T O J . ART HU R BA L L for his outstanding contributions
to the advancement of color in motion picture
photography. (scroll)
S H O R T S UBJECTS
(ca r t oon s )
BRAVE LI T T LE T A I L O R , Disney, RKO Radio. (Mickey
Mouse)
* FERD I N AN D T HE B U L L , Disney, RKO Radio.
M US I C
G OOD SCOU T S, Disney, RKO Radio. (Donald Duck)
(New classications)
HU N K Y AND SP U N K Y, Paramount.
M OT HER GOOSE G O E S H O L L YW O O D, Disney, RKO
(s on g )
Radio. (Silly Symphony)
ALWAYS AND ALWAYS (Mannequin, M-G-M); Music by
Edward Ward. Lyrics by Chet Forrest and Bob Wright.
(on e - r e e l)
CHANGE PARTNERS (Carefree, RKO Radio); Music and
T HE GREAT HEAR T , M-G-M. (Miniature)
Lyrics by Irving Berlin.
* T HAT M OT HERS M I G H T L I V E , M-G-M. (Miniature)
T HE COW BOY AND T HE LAD Y (The Cowboy and the
T I M BER T OP P ERS , 20th Century-Fox. (Sports
Lady, Goldwyn, UA); Music by Lionel Newman. Lyrics
Champion)
by Arthur Quenzer.
D U ST (Under Western Stars, Republic); Music and Lyrics
(t w o- r e e l)
by Johnny Marvin.
* D ECLARAT I ON O F I N DE PE N DE N C E , Warner Bros.
J EEP ERS CREEP ERS (Going Places, Cosmopolitan,
(Historical Featurette)
Warner Bros.-First National); Music by Harry Warren.
SW I N G T I M E I N T H E M O V I E S , Warner Bros.
Lyrics by Johnny Mercer.
M ERRI LY W E LI VE (Merrily We Live, Roach,
T HEY RE ALW AY S C A U G H T , M-G-M. (Crime Does
M-G-M); Music by Phil Charig. Lyrics by Arthur
Not Pay)
Quenzer.
A M I ST OVER T HE M OON (The Lady Objects,
Columbia); Music by Ben Oakland. Lyrics by Oscar
Hammerstein II.
(Only year nominations were announced.)
M Y OW N (That Certain Age, Universal); Music by Jimmy
SAM U EL G OLD W YN
McHugh. Lyrics by Harold Adamson.
J OE P AST ERNAK
NOW I T CAN BE T OLD (Alexanders Ragtime Band,
D AVI D O. SELZ NI C K
20th Century-Fox); Music and Lyrics by Irving Berlin.
HU N T ST ROM BER G
* T HAN K S FOR T HE M EM ORY (Big Broadcast of 1938,
* HAL B. W ALLI S
Paramount); Music by Ralph Rainger. Lyrics by Leo
W ALT ER W AN G ER
Robin.
D ARRY L F. Z ANUC K
(s cor in g )
* ALEX AN D ER S RAGT I M E BAND , 20th Century-Fox.

Alfred Newman.
CAREFREE, RKO Radio. Victor Baravalle.
GI RLS SCHOOL, Columbia. Morris Stoloff and
Gregory Stone.
T HE G OLD W Y N FOLLI ES, Goldwyn, UA. Alfred
Newman.
J EZ EBEL, Warner Bros. Max Steiner.
M AD ABOU T M U SI C, Universal. Charles Previn and
Frank Skinner.
ST ORM OVER BEN G AL, Republic. Cy Feuer.
SW EET HEART S, M-G-M. Herbert Stothart.
T HERE G OES M Y HEART , Roach, UA. Marvin Hatley.
T ROP I C HOLI D AY , Paramount. Boris Morros.
T HE Y OU N G I N HEART , Selznick, UA. Franz Waxman.
61
None.
None.
J OHN AALBERG and the R K O R A DI O S T U DI O
SOU N D D EP T . ;
BY RON HASK I N and the S PE C I A L E F F E C T S DE PT . of
W ARN ER BROS . S T U DI O .
Walker.
THE Y O UNG IN H EART, Selznick, UA. Leon Shamroy.
8/8/13 7:23 PM
1939
The Twelfth Year
rom start (with the January release

of Gunga Din) to nish (with the
December unveiling of The Light That
Failed), the calendar year of 1939 produced
probably more bona de great entertainments and classics than any similar period
in moviemaking annals. At Academy Award
time, the competition was unintentionally outlandish, but eight of the features
survived to win Oscars: Gone with the Wind,
The Wizard of Oz, Stagecoach, Wuthering
Heights, The Rains Came, Mr. Smith Goes to
Washington, When Tomorrow Comes, and
Goodbye, Mr. Chips.
Gone with the Wind, in fact, set a new
Oscar numbers record, with eight awards,
plus the Irving G. Thalberg award for its
producer David O. Selznick. Winning writer
Sidney Howard, credited with sole authorship of the nal G.W.T.W. script, became
the Academys rst posthumous winner.
He had died in a Massachusetts farm accident in August, 1939, while the lm was
still in production. Douglas Fairbanks, Sr.,
the rst president of the Academy, was also
posthumously honored at the 1939 award
ceremony, held February 29, 1940, at the
Cocoanut Grove of the Los Angeles Ambassador Hotel; Fairbanks had died two months
before, and his special award was accepted
by his son, Douglas, Jr.
For the rst time, Bob Hope was an
Oscar night master of ceremonies (What
a wonderful thing, this benet for David
Selznick, he kidded). It was the last year
the names of winners were told to the press
prior to the actual presentation of awards.
As in previous times, the Academy tipped

off journalists in advance of the festivities,
but under strict instructions the results
were not to be printed prior to the ceremonial handing out of Oscars. The Los Angeles
Times, however, jumped the gun and heralded the winners names in their 8:45 p.m.
edition, which could be easily read by nominees and guests on their way to the award
banquet. It brought on an Academy decision
that holds to this day: ever after, the names
of the winners would be kept a stony secret
from everyoneexcept two representatives
of a tight-lipped tabulating rmuntil the
actual moment of presentation. Thus, The
envelope please . . . was born.
62
b e s t a c t r e s s : V I V I E N L E I G H as Scarlett OHara and b e s t
s u p p o r t i n g a c t r e s s : H A T T I E M C D A N I E L as Mammy
(right) in Gone with the Wind. Entering lms in 1931, Hattie
McDaniel had become a welcome staple by the time she played
Scarlett OHaras no-nonsense Mammy. Via her performance
she became the rst African American ever nominated for an
Academy Award, and the rst to win. The performance of
twenty-six-year-old Vivien Leigh as the determined Scarlett still
stands as one of the best-liked and most durable pieces of acting
ever committed to lm.
8/8/13 7:23 PM
be s t p i c t ure : GONE WITH THE WIND (M-G-M; produced

by David O. Selznick). Long-winded by 1939 standards at
222 minutes, with intermission, the lm version of Margaret
Mitchells famous novel about a Southern belle and Civil War
survival became the epic of the year andunknown at the
timeprobably the most famous motion picture of all time. One
of the great reasons for its popularity can be summed up simply:
it moves.
63
be s t d i re c t or: VICTOR FLEMING for Gone with the

Wind. Fleming (right, in jacket and tie, directing William
Bakewell as a dispatch rider and Vivien Leigh) took over direction on the Selznick epic after the lm began with George Cukor
in charge; later, both Sam Wood and William Cameron Menzies
helmed certain scenes, but Fleming was the only director ofcially
credited when the lm was released.
8/8/13 7:23 PM
Nominations 1939
D ARK VI CT ORY , Warner Bros.-First National.

* GON E W I T H T HE W I N D , Selznick, M-G-M.
GOOD BY E, M R. CHI P S, M-G-M (British).
LOVE AFFAI R, RKO Radio.
M R. SM I T H G OES T O W ASHI N G T ON , Columbia.
NI N OT CHK A, M-G-M.
OF M I CE AN D M EN , Roach, UA.
ST AGECOACH, Wanger, UA.
T HE W I Z ARD OF OZ , M-G-M.
W U T HERI NG HEI G HT S, Goldwyn, UA.
A C TO R
* ROBERT D ON AT in Goodbye, Mr. Chips, M-G-M

(British).
CLARK G ABLE in Gone with the Wind, Selznick,
M-G-M.
LAU RENCE OLI VI ER in Wuthering Heights, Goldwyn,
UA.
M I CK EY ROONEY in Babes in Arms, M-G-M.
JAM ES ST EW ART in Mr. Smith Goes to Washington,
Columbia.
A C TR E S S
BET T E D AVI S in Dark Victory, Warner Bros.-First
National.
IREN E D U NNE in Love Affair, RKO Radio.

GRET A G ARBO in Ninotchka, M-G-M.
GREER GARSON in Goodbye, Mr. Chips, M-G-M
(British).
* VI VI EN LEI G H in Gone with the Wind, Selznick,
M-G-M.
BRI AN AHERNE in Juarez, Warner Bros.

HARRY CAREY in Mr. Smith Goes to Washington,
Columbia.
BRI AN D ONLEVY in Beau Geste, Paramount.

* T HOM AS M I T CHELL in Stagecoach, Wanger, UA.
CLAU D E RAI N S in Mr. Smith Goes to Washington,
b e s t s up p ort i n g acto r : THOMAS MITCHELL as Doc

Boone in Stagecoach (United Artists; produced by Walter
Wanger). Mitchell, also a veteran of the Gone with the Wind
cast, won his Oscar for another 1939 triumph: as a heavydrinking doctor who rises to his nest hour delivering a baby
during a stagecoach trek. John Ford directed, and made a bona
de western classic at the same time. Bing Crosby played Doc
when Stagecoach was remade in 1966.
Columbia.
OLI VI A D E HAVI LLAN D in Gone with the Wind,
Selznick, M-G-M.
GERALD I NE FI T Z GERALD in Wuthering Heights,
Goldwyn, UA.
* HAT T I E M CD ANI EL in Gone with the Wind, Selznick,
M-G-M.
ED N A M AY OLI VER in Drums along the Mohawk, 20th
Century-Fox.
M ARI A OU SP EN SK AY A in Love Affair, RKO Radio.
D I R E C TI N G
* GON E W I T H T HE W I N D , Selznick M-G-M. Victor

Fleming.
GOOD BY E, M R. CHI P S, M-G-M (British). Sam Wood.
M R. SM I T H GOES T O W A S H I N G T O N , Columbia.
Frank Capra.
ST AG ECOACH, Wanger, UA. John Ford.

W U T HERI N G HEI GH T S , Goldwyn, UA. William Wyler.
S H O R T S UB J ECTS
(ca r t oon s )
D ET OU RI N G AM ERI C A , Warner Bros. (Merrie
Melodies)
P EACE ON EART H, M-G-M.

T HE P OI N T ER, Disney, RKO Radio. (Mickey Mouse)
* T HE U G LY D U CK LI N G , Disney, RKO Radio. (Silly
Symphony)
(on e - r e e l)
* BU SY LI T T LE BEARS , Paramount. (Paragraphics)

I NFORM AT I ON P LE A S E , RKO Radio.
P ROP HET W I T HOU T H O N O R , M-G-M. (Miniature)
SW ORD FI SHI NG, Warner Bros. (Vitaphone Varieties)
(t w o- r e e l)
D RU NK D RI VI NG, M-G-M. (Crime Does Not Pay)

FI VE T I M ES FI VE, Path, RKO Radio. (Special)
* SONS OF LI BERT Y , Warner Bros. (Historical
Featurette)
F I LM E D I TI NG
* GON E W I T H T HE WI N D, Selznick, M-G-M. Hal C.

Kern and James E. Newcom.
G OOD BY E, M R. CH I PS , M-G-M (British). Charles
Frend.
Gene Havlick and Al Clark.
T HE RAI N S CAM E, 20th Century-Fox. Barbara McLean.
ST AG ECOACH, Wanger, UA. Otho Lovering and
Dorothy Spencer.
BEAU GEST E, Paramount. Hans Dreier and Robert
Odell.
CAP T AI N FU RY , Roach, UA. Charles D. Hall.

FI RST LOVE, Universal. Jack Otterson and Martin
Obzina.
* GON E W I T H T HE WI N D, Selznick, M-G-M. Lyle
Wheeler.
LOVE AFFAI R, RKO Radio. Van Nest Polglase and Al
Herman.
M AN OF CONQ U EST , Republic. John Victor Mackay.
Lionel Banks.
T HE P RI VAT E LI VES O F E L I ZA B E T H A N D E S S E X ,
Warner Bros. Anton Grot.
T HE RAI N S CAM E, 20th Century-Fox. William S.
Darling and George Dudley.
ST AG ECOACH, Wanger, UA. Alexander Toluboff.

T HE W I Z ARD OF OZ , M-G-M. Cedric Gibbons and
William A. Horning.
W U T HERI N G HEI GH T S , Goldwyn, UA. James Basevi.
M US I C
(s on g )
FAI T HFU L FOREVER (Gullivers Travels, Paramount);
Music by Ralph Rainger. Lyrics by Leo Robin.
I P OU RED M Y HEAR T I N T O A S O N G (Second Fiddle,
20th Century-Fox); Music and Lyrics by Irving Berlin.

* OVER T HE RAI NBOW (The Wizard of Oz, M-G-M);
Music by Harold Arlen. Lyrics by E.Y. Harburg.
W I SHI NG (Love Affair, RKO Radio); Music and Lyrics by
Buddy de Sylva.
(s cor in g )
BABES I N ARM S, M-G-M. Roger Edens and George E.
Stoll.
FI RST LOVE, Universal. Charles Previn.

T HE GREAT VI CT OR H E R B E R T , Paramount. Phil
64
Boutelje and Arthur Lange.
T HE HU NCHBACK O F N O T R E DA M E , RKO Radio.
Alfred Newman.
I NT ERM EZ Z O, Selznick, UA. Lou Forbes.

Dimitri Tiomkin.
OF M I CE AND M EN, Roach, UA. Aaron Copland.

T HE P RI VAT E LI VES O F E L I ZA B E T H A N D E S S E X ,
Warner Bros. Erich Wolfgang Korngold.
SHE M ARRI ED A CO P, Republic. Cy Feuer.

* ST AGECOACH, Wanger, UA. Richard Hageman, Frank
Harling, John Leipold and Leo Shuken.
SW ANEE RI VER, 20th Century-Fox. Louis Silvers.

T HEY SHALL HAVE M U S I C , Goldwyn, UA. Alfred
Newman.
best actor: ROBERT DONAT as Mr. Chips (above right,

with unbilled former student) in Goodbye, Mr. Chips (M-G-M;
produced by Victor Saville), a touching tribute to teachers everywhere. Donat played a shy and scholarly schoolmaster in England
who builds careers and character during several generations of
Brookeld schoolboys. Conceived in Hollywood, the lm was made
in England at the M-G-M studios there, and co-starred Greer
Garson as the ill-fated Mrs. Chips. Sam Wood, who also helped
out on Gone with the Wind, directed. Thirty years later, Peter
OToole played a musicalized Mr. Chips in a 1969 remake.
W AY D OW N SOU T H , Lesser, RKO Radio. Victor Young.
D ARK VI CT ORY , Warner Bros.-First National. Max
Steiner.
ET ERNALLY Y OU RS, Wanger, UA. Werner Janssen.

G OLD EN BOY , Columbia. Victor Young.
G ONE W I T H T HE W I N D, Selznick, M-G-M. Max
Steiner.
G U LLI VER S T RAVEL S , Paramount. Victor Young.
8/8/13 7:23 PM
THE WIZARD OF OZ (M-G-M; produced by Mervyn LeRoy)

won Oscars for Original Music Score and Song (Over the
Rainbow), plus a special miniature statuette for Judy Garland (above, with Jack Haley as the Tin Man, Bert Lahr as the
THE MA N IN THE IRON MASK, Small, UA. Lud
Gluskin and Lucien Moraweck.

MA N O F C O NQ UEST, Republic. Victor Young.
NU R S E E D ITH C AV ELL, RKO Radio. Anthony Collins.
O F MIC E A ND MEN, Roach, UA. Aaron Copland.
THE R A INS C A ME, 20th Century-Fox. Alfred Newman.
* THE W IZ A R D O F OZ, M-G-M. Herbert Stothart.
W UTHE R ING HE IGHTS, Goldwyn, UA. Alfred
Newman.
BA L A L A IK A , M-G-M. M-G-M Studio Sound Dept.,
GO NE W ITH THE WIND, Selznick, M-G-M. Samuel
Cowardly Lion, and Ray Bolger as the Scarecrow). It was also

nominated for art direction and best picture (but lost to Gone
with the Wind) and in a new category honoring special effects
(where The Rains Came was the nal winner).
(s cr e e n p la y)
* GON E W I T H T HE W I N D , Selznick, M-G-M. Sidney

Howard.
G OOD BY E, M R. CHI P S, M-G-M (British). Eric
Maschwitz, R.C. Sherriff and Claudine West.
M R. SM I T H GOES T O W ASHI NGT ON, Columbia.
Sidney Buchman.
N I NOT CHK A, M-G-M. Charles Brackett, Walter Reisch
and Billy Wilder.
W U T HERI N G HEI GHT S, Goldwyn, UA. Ben Hecht and
Charles MacArthur.
(New classications)
Goldwyn Studio Sound Dept., Thomas T. Moulton,
(bla ck- a n d- w h it e )
Sound Director.
ST AG ECOACH, Wanger, UA. Bert Glennon.
GO O D BY E , MR . CH IPS, M-G-M (British). Denham
* W U T HERI NG HEI G HT S, Goldwyn, UA. Gregg Toland.
Studio Sound Dept., A.W. Watkins, Sound Director.
THE GR E A T VIC T OR HERB ERT, Paramount.
(color )
Paramount Studio Sound Dept., Loren L. Ryder, Sound * GON E W I T H T HE W I N D , Selznick, M-G-M. Ernest
Director.
Haller and Ray Rennahan.
THE HU NC HBA CK OF NOTRE DAME, RKO Radio.
T HE P RI VAT E LI VES OF ELI Z ABET H AN D ESSEX ,
RKO Radio Studio Sound Dept., John Aalberg, Sound
Warner Bros. Sol Polito and W. Howard Greene.
Director.
S
PE C I A L E F F E C TS
MA N O F C O NQ UEST, Republic. Republic Studio Sound
Dept., Charles L. Lootens, Sound Director.
(New category)
MR . S MITH GO ES TO WASHINGTON, Columbia.
G ONE W I T H T HE W I ND , Selznick, M-G-M. John R.
Columbia Studio Sound Dept., John Livadary, Sound
Cosgrove, Fred Albin and Arthur Johns.
Director.
ONLY AN G ELS HAVE W I NGS, Columbia. Roy
O F MIC E A ND MEN, Roach, M-G-M. Hal Roach Studio
Davidson and Edwin C. Hahn.
T HE P RI VAT E LI VES OF ELI Z ABET H AN D ESSEX ,
THE P R IVA TE L IV ES OF ELIZAB ETH AND ESSEX,
Warner Bros. Byron Haskin and Nathan Levinson.
Warner Bros. Warner Bros. Studio Sound Dept.,
* T HE RAI NS CAM E, 20th Century-Fox. E.H. Hansen
Nathan Levinson, Sound Director.
and Fred Sersen.
THE R A INS C A ME, 20th Century-Fox. 20th CenturyT OP P ER T AK ES A T RI P , Roach, UA. Roy Seawright.
Fox Studio Sound Dept., E.H. Hansen, Sound Director.
U N I ON P ACI FI C, Paramount. Farciot Edouart, Gordon
Jennings and Loren Ryder.
* W HE N TO MO R ROW COMES, Universal. Universal
Studio Sound Dept., Bernard B. Brown, Sound
T HE W I Z ARD OF OZ , M-G-M. A. Arnold Gillespie and
Director.
Douglas Shearer.
W RI T I NG
BA C HE L O R MO TH ER, RKO Radio. Felix Jackson.

L O VE A F F A IR , RKO Radio. Mildred Cram and Leo
McCarey.
* MR . SMITH GO ES TO WASHINGTON, Columbia.
Lewis R. Foster.
NINO TC HKA , M-G-M. Melchior Lengyel.
Y O U NG MR . L INCOLN, Cosmopolitan, 20th CenturyFox. Lamar Trotti.
S PE C I A L A WA R D S
T O D OU G LAS FAI RBAN K S (Commemorative
Award)recognizing the unique and outstanding

contribution of Douglas Fairbanks, rst president of
the Academy, to the international development of the
motion picture. (statuette)
TO THE MOTION PICTURE RELIEF FUND
acknowledging the outstanding services to the industry

during the past year of the Motion Picture Relief Fund
and its progressive leadership. Presented to JEAN
HERSHOLT, President; RALPH MORGAN, Chairman

of the Executive Committee; RALPH BLOCK, First
Vice-President; CONRAD NAGEL. (plaques)
T O J U D Y GARLAN D for her outstanding performance
as a screen juvenile during the past year. (miniature
statuette)
T O W I LLI AM CAME R O N ME N ZI E S for outstanding
achievement in the use of color for the enhancement
of dramatic mood in the production of Gone with the
Wind. (plaque)
T O T ECHN I COLO R C O M PA N Y for its contributions
in successfully bringing three-color feature production
to the screen. (statuette)

T O D AVI D O. SEL ZN I C K
None.
None.
G EORGE AND ERS O N of Warner Bros. Studio;
J OHN ARN OLD of Metro-Goldwyn-Mayer Studio;
T HOM AS T . M OUL T O N , F R E D A L B I N , and the
SOU N D D EP ART ME N T of the S A MU E L G O L DW YN
ST U D I O;
FARCI OT ED OU A R T , J O S E PH E . R O B B I N S ,
WILLIAM RUDOLPH and PARAMOUNT PICTURES,
I N C. ;
EM ERY HU SE and R A L PH B . A T K I N S O N of Eastman
65
Kodak Co.;
HAROLD N Y E of Warner Bros. Studio;

A. J . T OND REAU of Warner Bros. Studio;
F. R. ABBOT T , HAL L E R B E L T , A L A N C O O K , and
BAU SCH & LOMB O PT I C A L C O . ; MI T C H E L L
CAM ERA CO. ; MO L E - R I C H A R DS O N C O . ;
CHARLES HAN DL E Y, DA V I D J O Y, and
N AT I ONAL CAR B O N C O . ; W I N T O N H O C H and
T ECHN I COLOR M O T I O N PI C T U R E C O R P. ; DO N
M U SG RAVE and S E L ZN I C K I N T E R N A T I O N A L
P I CT U RES, I N C .
8/8/13 7:23 PM
1940
The Thirteenth Year
ince the early nickelodeon days, movies had been an important entertainment toy for audiences, but as a new
World War erupted in Europe, the toy began
to gain recognition as a powerful tool for
aiding the national defense and solidarity.
President Franklin D. Roosevelt underscored
that fact at the thirteenth Academy Awards
banquet, held February 27, 1941, by giving a
six-minute direct-line radio address from
the White House in Washington, D.C., to
the 1,500 guests gathered at the Biltmore
Bowl of the Los Angeles Biltmore Hotel,
paying tribute to the work being done by
Hollywoods citizenry. It was the rst time
an American president had participated in
an Oscar evening, even indirectly, and the
town was justiably pleased and impressed.
Most of the guests were justiably nervous, too. For the rst time, the names of all
the evenings winners were kept secret until
the actual moment statuettes were placed
in the hands of the winners. The Academy
had hired Price Waterhouse & Co., a certied public accounting rm, to count the
ballots, insure secrecy, and thus avoid any
future embarrassment of press leaks as had
occurred in the past. So, to the fellowship
and glamour synonymous with Oscars, the
surprise element was now added.
For the second year in a row, independent
producer David O. Selznick produced the
picture honored as best of the year, Rebecca.
The biggest single winnerwith three
awardswas also independently produced,
Alexander Kordas The Thief of Bagdad. Walter Brennan became the rst performer to
win three Academy Awards for acting, this

time for Samuel Goldwyns The Westerner.
James Stewart was honored as best actor for
The Philadelphia Story, Ginger Rogers was
named best actress for Kitty Foyle, and Jane
Darwell was chosen best supporting actress
for The Grapes of Wrath. Also for Grapes,
John Ford won his second Oscar as best
director. Bob Hope, the evenings master
of ceremonies, received his rst ofcial
Academy recognition: a silver plaque, in
recognition of his unselsh services to the
motion picture industry. The acting awards
were presented that night by the theaters
most luminous acting couple, Alfred Lunt
and Lynn Fontanne.
66
be s t p i c t ure : REBECCA (United Artists; produced by David
O. Selznick). From the atmospheric suspense novel by Daphne
du Maurier, Rebecca was producer Selznicks rst lm following
Gone with the Wind, and marked the Hollywood directorial
debut of Englands Alfred Hitchcock. The lm opened with the
famous line from the du Maurier novel (Last night I dreamt I
went to Manderley again . . .) and at Selznicks insistence included all the famous passages from the well-read story, including
(at right) the moment Joan Fontaine as the second wife of Laurence Olivier realizes she may never escape the ghostly presence of
his rst wife, the beautiful Rebecca, who died mysteriously.
8/8/13 7:23 PM
be s t ac t re s s : GINGER ROGERS as Kitty in Kitty Foyle (RKO Radio; directed by Sam Wood).
Taking leave of her dancing shoes, Ginger Rogers (above) won the Oscar as the heroine of a popular
Christopher Morley novel about a white-collar worker who has to choose between a rich married
socialite (Dennis Morgan) and an industrious young doctor (James Craig). She also had a second
major 1940 success via her performance in Primrose Path, directed by Gregory La Cava, which
added to her new status as an exceptionally ne actress and helped put the Kitty Oscar on
her mantel.
be s t a ct or : JAMES STEWART as Mike Connor in The Philadelphia Story (M-G-M; produced

by Joseph L. Mankiewicz). Stewart, directed by George Cukor, was a Spy magazine reporter assigned
to cover the upcoming society marriage of a Philadelphia Main Liner (Katharine Hepburn, above)
only to fall in love with the lady himself. Stewarts win, some have suggested, may have had less to
do with his performance in Philadelphiaexcellent as it wasand more to do with the fact hed been
overlooked by Oscar the previous year for 1939s Mr. Smith Goes to Washington and Destry Rides
Again.
67
be s t dir e ct or : JOHN FORD (at left, with Henry Fonda) for

The Grapes of Wrath (20th Century-Fox; produced by Darryl
F. Zanuck, with Nunnally Johnson). It was the second Academy
Award for Ford (after 1935s The Informer), and his picture
remains one of the enduring pieces of cinema storytelling; John
Steinbecks saga of the Joad familys migration from the Dust
Bowl of Oklahoma to a new beginning in California. There were
more Oscars ahead for Ford, in 1941 for How Green Was My
Valley and in 1952 for The Quiet Man.
8/8/13 7:23 PM
Nominations 1940
ALL T HI S, AN D HEAVEN T OO, Warner Bros.

FOREI G N CORRESP OND EN T , Wanger, UA.
T HE G RAP ES OF W RAT H, 20th Century-Fox.
T HE G REAT D I CT AT OR, Chaplin, UA.
K I T T Y FOY LE, RKO Radio.
T HE LET T ER, Warner Bros.
T HE LONG VOY AG E HOM E, Argosy-Wanger, UA.
OU R T OW N , Lesser, UA.
T HE P HI LAD ELP HI A ST ORY , M-G-M.
* REBECCA, Selznick, UA.
M Y FAVORI T E W I FE , RKO Radio. Leo McCarey, Bella
Spewack and Samuel Spewack.
T HE W EST ERNER, Goldwyn, UA. Stuart N. Lake.
(or ig in a l s cr e e n p lay )
AN G ELS OVER BRO A DW A Y, Columbia. Ben Hecht.

D R. EHRLI CH S M AG I C B U L L E T , Warner Bros.
Norman Burnside, Heinz Herald and John Huston.
FOREI GN CORRESPO N DE N T , Wanger, UA. Charles
Bennett and Joan Harrison.
T HE GREAT D I CT AT O R , Chaplin, UA. Charles
Chaplin.
* T HE G REAT M CGI N T Y, Paramount. Preston
Sturges.
CHARLES CHAPLIN in The Great Dictator, Chaplin, UA.
HENRY FON D A in The Grapes of Wrath, 20th Century(s cr e e n p la y)
Fox.
T HE GRAP ES OF W R A T H , 20th Century-Fox.
RAY M ON D M ASSEY in Abe Lincoln in Illinois, Max
Nunnally Johnson.
Gordon Plays and Pictures, RKO Radio.
K I T T Y FOY LE, RKO Radio. Dalton Trumbo.
LAU RENCE OLI VI ER in Rebecca, Selznick, UA.
T HE LON G VOY AGE H O M E , Argosy-Wanger, UA.
* JAM ES ST EW ART in The Philadelphia Story, M-G-M.
Dudley Nichols.
* T HE P HI LAD ELP HI A S T O R Y, M-G-M. Donald Ogden
A C TR E S S
Stewart.
BET T E D AVI S in The Letter, Warner Bros.
REBECCA, Selznick, UA. Robert E. Sherwood and Joan
JOAN FONT AI NE in Rebecca, Selznick, UA.
Harrison.
K AT HARI NE HEP BU RN in The Philadelphia Story,
M-G-M.
F I LM E D I TI NG
* GI N G ER ROGERS in Kitty Foyle, RKO Radio.
T HE GRAP ES OF W R A T H , 20th Century-Fox. Robert
M ART HA SCOT T in Our Town, Lesser, UA.
Simpson.
T HE LET T ER, Warner Bros. Warren Low.
ALBERT BASSERM AN in Foreign Correspondent,
Sherman Todd.
Wanger, UA.
* NORT H W EST M OUN T E D PO L I C E , Paramount. Anne
* W ALT ER BRENNAN in The Westerner, Goldwyn, UA.
Bauchens.
W I LLI AM G ARG AN in They Knew What They Wanted,
REBECCA, Selznick, UA. Hal C. Kern.
RKO Radio.
JACK OAK I E in The Great Dictator, Chaplin, UA.
JAM ES ST EP HENSON in The Letter, Warner Bros.
A C TO R
b e s t s up p ort i n g actr es s : JANE DARWELL as Ma Joad

in The Grapes of Wrath. Long a staple in Hollywoods ranks of
familiar character faces, Miss Darwell had her nest screen hour
as Steinbecks indomitable Ma Joad, the undeviating strength
at the core of the Joad clan. Among her most memorable scenes:
saying goodbye, perhaps forever, to her son Tom (Henry Fonda,
above), near the conclusion of the drama directed by John Ford.
JU D I T H AND ERSON in Rebecca, Selznick, UA.

* JAN E D ARW ELL in The Grapes of Wrath, 20th Century-
Fox.
RU T H HU SSEY in The Philadelphia Story, M-G-M.

BARBARA O NEI L in All This, and Heaven Too, Warner
Bros.
M ARJ ORI E RAM BEAU in Primrose Path, RKO Radio.
D I R E C TI N G
* T HE G RAP ES OF W RAT H, 20th Century-Fox. John

Ford.
K I T T Y FOY LE, RKO Radio. Sam Wood.
T HE LET T ER, Warner Bros. William Wyler.
T HE P HI LAD ELP HI A ST ORY , M-G-M. George Cukor.
REBECCA, Selznick, UA. Alfred Hitchcock.
S PE C I A L E F F E C TS
Mat.
T HE LET T ER, Warner Bros. Gaetano Gaudio.

Gregg Toland.
* REBECCA, Selznick, UA. George Barnes.
SP RI NG P ARAD E, Universal. Joseph Valentine.
W AT ERLOO BRI D G E , M-G-M. Joseph Ruttenberg.
(color )
BI T T ER SW EET , M-G-M. Oliver T. Marsh and Allen
Davey.
BOOM T OW N, M-G-M. Photographic Effects by
D OW N ARG EN T I N E W A Y, 20th Century-Fox. Leon
T HE BOY S FROM SY RACU SE, Mayfair, Universal.
N ORT H W EST M OU N T E D PO L I C E , Paramount.
Ray Rennahan.
Shamroy and Ray Rennahan.
Victor Milner and W. Howard Greene.

Photographic Effects by John P. Fulton; Sound Effects
N ORT HW EST P ASSA G E , M-G-M. Sidney Wagner and
by Bernard B. Brown and Joseph Lapis.
William V. Skall.
D R. CY CLOP S, Paramount. Photographic Effects by
* T HE T HI EF OF BAG DA D, Korda, UA. Georges Prinal.
Gordon Jennings and Farciot Edouart.
FOREI G N CORRESP OND EN T , Wanger, UA.
S O UN D R E C ORDING
Photographic Effects by Paul Eagler; Sound Effects by
BEHI N D T HE N EW S, Republic. Republic Studio Sound
Thomas T. Moulton.
Dept., Charles L. Lootens, Sound Director.
T HE I NVI SI BLE M AN RET U RN S, Universal.
CAP T AI N CAU T I ON , Roach, UA. Hal Roach Studio
Photographic Effects by John P. Fulton; Sound Effects
by Bernard B. Brown and William Hedgecock.
T HE GRAP ES OF W R A T H , 20th Century-Fox. 20th
T HE LONG VOY AG E HOM E, Argosy-Wanger, UA.
Photographic Effects by R.T. Layton and R.O. Binger;
Director.
Sound Effects by Thomas T. Moulton.
T HE HOW ARD S OF V I R G I N I A , Frank Lloyd,
ON E M I LLI ON B. C. , Roach, UA. Photographic Effects
Columbia. General Service Sound Dept., Jack Whitney,
by Roy Seawright; Sound Effects by Elmer Raguse.
Sound Director.
REBECCA, Selznick, UA. Photographic Effects by Jack
K I T T Y FOY LE, RKO Radio. RKO Radio Studio Sound
Cosgrove; Sound Effects by Arthur Johns.
Dept., John Aalberg, Sound Director.
T HE SEA HAW K , Warner Bros. Photographic Effects by
N ORT H W EST M OU N T E D PO L I C E , Paramount.
Byron Haskin; Sound Effects by Nathan Levinson.
Paramount Studio Sound Dept., Loren L. Ryder, Sound
SW I SS FAM I LY ROBI N SON , RKO Radio. Photographic
Director.
Effects by Vernon L. Walker; Sound Effects by John O.
OU R T OW N , Lesser, UA. Samuel Goldwyn Studio Sound
Aalberg.
Dept., Thomas T. Moulton, Sound Director.
* T HE T HI EF OF BAG D AD , Korda, UA. Photographic
T HE SEA HAW K , Warner Bros. Warner Bros. Studio
Effects by Lawrence Butler; Sound Effects by Jack
Whitney.
SP RI NG P ARAD E, Universal. Universal Studio Sound
T Y P HOON , Paramount. Photographic Effects by Farciot
Dept., Bernard B. Brown, Sound Director.
Edouart and Gordon Jennings; Sound Effects by Loren
* ST RI K E U P T HE BAN D, M-G-M. M-G-M Studio Sound
Ryder.
W OM EN I N W AR, Republic. Photographic Effects by
T OO M AN Y HU SBAN DS , Columbia. Columbia Studio
Howard J. Lydecker, William Bradford and Ellis J.
Thackery; Sound Effects by Herbert Norsch.
WR I TI N G
* ARI SE, M Y LOVE, Paramount. Benjamin Glazer and

John S. Toldy.
COM RAD E X , M-G-M. Walter Reisch.
ED I SON, T HE M AN, M-G-M. Hugo Butler and Dore
Schary.
Haller.
ARI SE, M Y LOVE, Paramount. Charles B. Lang, Jr.

BOOM T OW N , M-G-M. Harold Rosson.
FOREI GN CORRESPO N DE N T , Wanger, UA. Rudolph
T HE BLU E BI RD , 20th Century-Fox. Arthur Miller and
A. Arnold Gillespie; Sound Effects by Douglas Shearer.
b e s t s up p ort i n g ac to r : WALTER BRENNAN as Judge Roy

Bean in The Westerner (United Artists; directed by William
Wyler). Brennan, a previous award recipient in 1936 and 1938,
became the Academys rst three-time winner among performers.
In The Westerner he played the feisty real-life judge who held
his court from behind the bar of a saloon in Vinegaroon, Texas,
in the 1880s before dying in a gunbattle with a cowhand played
by Gary Cooper (above, carrying Brennan). Brennan was again
nominated for an Academy Award in 1941, for Sergeant York,
again with Cooper.
Pictures, RKO Radio. James Wong Howe.
ALL T HI S, AND HEA V E N T O O , Warner Bros. Ernest
T HE BLU E BI RD , 20th Century-Fox. Photographic
Effects by Fred Sersen; Sound Effects by E.H. Hansen.
68
ABE LI N COLN I N I L L I N O I S , Max Gordon Plays and
(New classication)
ARI SE, M Y LOVE, Paramount. Hans Dreier and Robert
Usher.
ARI Z ONA, Columbia. Lionel Banks and Robert
Peterson.
8/8/13 7:23 PM
THE BOYS FROM SYRACUSE, Mayfair, Universal. John
W HO AM I ? (Hit Parade of 1941, Republic); Music by
THE D A R K C O MM AND, Republic. John Victor Mackay.

FOREIGN CORRESPONDENT, Wanger, UA. Alexander
(s cor in g )
Otterson.
Golitzen.
L IL L IA N R U SS E L L, 20th Century-Fox. Richard Day and
Joseph C. Wright.
MY F A VO R ITE WIFE, RKO Radio. Van Nest Polglase
and Mark-Lee Kirk.
MY S O N, MY SO N!, Small, UA. John DuCasse Schulze.

O U R TO W N, Lesser, UA. Lewis J. Rachmil.
* P R ID E A ND P R E J UDICE, M-G-M. Cedric Gibbons and
Paul Groesse.
R E BE C C A , Selznick, UA. Lyle Wheeler.
THE S E A HA W K, Warner Bros. Anton Grot.
THE W E S TE R NE R, Goldwyn, UA. James Basevi.
(c ol or)
Jule Styne. Lyrics by Walter Bullock.
ARI SE, M Y LOVE, Paramount. Victor Young.

HI T P ARAD E OF 1941 , Republic. Cy Feuer.
I RENE, Imperadio, RKO Radio. Anthony Collins.
OU R T OW N, Lesser, UA. Aaron Copland.
T HE SEA HAW K , Warner Bros. Erich Wolfgang
Korngold.
SECOND CHORU S, National Pictures, Paramount.
Artie Shaw.
SP RI NG P ARAD E, Universal. Charles Previn.

ST RI K E U P T HE BAN D , M-G-M. Georgie Stoll and
Roger Edens.
* T I N P AN ALLEY , 20th Century-Fox. Alfred Newman.
D O W N A R GE NTI NE WAY, 20th Century-Fox. Richard
ARI Z ONA, Columbia. Victor Young.

T HE D ARK COM M AN D , Republic. Victor Young.
T HE FI GHT FOR LI FE, U.S. Film Service, Columbia.
NO R TH W E S T MOUNTED POLICE, Paramount. Hans
T HE GREAT D I CT AT OR, Chaplin, UA. Meredith
BITTE R SW E E T, M-G-M. Cedric Gibbons and John S.
Detlie.
Day and Joseph C. Wright.
Dreier and Roland Anderson.

* THE THIE F O F BAGDAD, Korda, UA. Vincent Korda.
MUSIC
(s on g)
D O W N A R GE NTI NA WAY (Down Argentine Way, 20th
Century-Fox); Music by Harry Warren. Lyrics by Mack

Gordon.
I D K NO W Y O U ANYWH ERE (Youll Find Out, RKO
Radio); Music by Jimmy McHugh. Lyrics by Johnny
Mercer.
IT S A BL U E W O RLD (Music in My Heart, Columbia);
Music and Lyrics by Chet Forrest and Bob Wright.
L O VE O F MY L IFE (Second Chorus, National Pictures,
Paramount); Music by Artie Shaw. Lyrics by Johnny
Mercer.
O NL Y FO R E VE R (Rhythm on the River, Paramount);
Music by James Monaco. Lyrics by John Burke.
O U R L O VE A F F A I R (Strike Up the Band, M-G-M);
Music and Lyrics by Roger Edens and Arthur Freed.
W A L TZ ING IN THE CLOUDS (Spring Parade,
Universal); Music by Robert Stolz. Lyrics by Gus Kahn.
* W HE N Y O U W IS H UPON A STAR (Pinocchio, Disney,
RKO Radio); Music by Leigh Harline. Lyrics by Ned
Washington.
Louis Gruenberg.
Willson.
T HE HOU SE OF T HE SEVEN GABLES, Universal. Frank
Skinner.
T HE HOW ARD S OF VI RG I NI A, Frank Lloyd,
Columbia. Richard Hageman.
T HE LET T ER, Warner Bros. Max Steiner.

T HE LON G VOY AGE HOM E, Argosy-Wanger, UA.
Richard Hageman.
T HE M ARK OF Z ORRO, 20th Century-Fox. Alfred
Newman.
M Y FAVORI T E W I FE, RKO Radio. Roy Webb.

N ORT H W EST M OU N T ED P OLI CE, Paramount.
Victor Young.
ONE M I LLI ON B. C. , Roach, UA. Werner Heymann.

OU R T OW N, Lesser, UA. Aaron Copland.
* P I NOCCHI O, Disney, RKO Radio. Leigh Harline, Paul J.
Smith and Ned Washington.
REBECCA, Selznick, UA. Franz Waxman.

T HE T HI EF OF BAGD AD , Korda, UA. Miklos Rozsa.
W AT ERLOO BRI D G E, M-G-M. Herbert Stothart.
(on e - r e e l)
LOND ON CAN T A K E I T , Warner Bros. (Vitaphone
Varieties)
M ORE ABOU T NO S T R A DA M U S , M-G-M. (Miniature)

* Q U I CK ER N A W I N K , Pete Smith, M-G-M. (Pete
Smith Specialties)
SI EG E, RKO Radio. (Reelism)
(t w o- r e e l)
EY ES OF T HE NAV Y, M-G-M. (Crime Does Not Pay)

SERVI CE W I T H T H E C O L O R S , Warner Bros.
(National Defense)
* T ED D Y , T HE ROUG H R I DE R , Warner Bros. (Historical
Featurette)
T O BOB HOP E, in recognition of his unselsh services
to the motion picture industry. (special silver plaque)
T O COLONEL NA T H A N L E V I N S O N for his
outstanding service to the industry and the Army

during the past nine years, which has made possible
the present efcient mobilization of the motion
picture industry facilities for the production of Army
training lms. (statuette)

None given.
20 T H CENT U RY - F O X F I L M C O R P. for the design and
construction of the 20th Century Silenced Camera,

developed by D AN I E L C L A R K , G R O V E R L A U B E ,
CHARLES M I LLE R and R O B E R T W . S T E V E N S .
None.
W ARN ER BROS. S T U DI O A R T DE PA R T ME N T and
AN T ON G ROT .
(ca r t oon s )
* T HE M I LK Y W AY , M-G-M. (Rudolph Ising)

P U SS GET S T HE BOOT , M-G-M. (Cat and Mouse)
A W I LD HARE, Schlesinger, Warner Bros. (Bugs Bunny)
69
(United Artists; produced by Alexander Korda) received the most Academy Awards of 1940:
three, including statuettes for special effects (Lawrence Butler,
Jack Whitney), color cinematography (Georges Prinal), and
color art direction (Vincent Korda). Made in England, the cast
included Sabu, Conrad Veidt, John Justin, June Duprez and,
pictured, Rex Ingram as an ill-tempered genie.
THE THIEF OF BAGDAD
8/8/13 7:23 PM
1941
The Fourteenth Year
ar was now a grim reality. Just

two months before the Academy
was scheduled to hold the Oscar
award banquet honoring achievements for
the calendar year 1941, World War II for the
United States erupted with the Japanese
attack at Pearl Harbor. Then, on January 16,
1942, Carole Lombardone of the towns
top stars and most popular citizenswas
killed in an airplane accident returning
from a bond-selling tour. Initially, Academy
ofcials decided it best to cancel the Oscar
festivities altogether. Bette Davis, newly
elected Academy president, suggested they
be held, but in a large auditorium instead
of a banquet hall, with the public invited to
buy tickets, and those proceeds turned over
to the Red Cross. After some discussion, the
Academy governors vetoed the Davis plan,
but decided to go ahead with the awarding of Oscars, under modied conditions.
Formal attire was banned, the ceremony was
labeled a dinner rather than a banquet,
and there were no searchlights fanning
through the skies outside the Biltmore Hotel
that night, February 26, 1942.
Bob Hope was the master of ceremonies,
and the principal speaker was Wendell L.
Willkie, the top man in the Republican
party, allowing the GOP equal time among
the lm folk after the participation of President Roosevelt, a Democrat, the previous
year. Biggest single winner of the evening
was 20th Century-Foxs How Green Was
My Valley with ve awards, including best
picture, best supporting actor Donald Crisp,
and best director John Ford. It was Fords
third win, and his second one in two years.

For the rst time, two real-life sisters were
among the nominees for best actress of the
year, Olivia de Havilland for Hold Back the
Dawn andthe winnerJoan Fontaine for
Suspicion. Mary Astor received her plaque
as best supporting actress for The Great Lie;
shed also been prominent in another major
1941 success, The Maltese Falcon. Orson
Welles was nominated for four Oscars
(as actor, director, producer and cowriter
of Citizen Kane) and won in the original
screenplay division, along with Herman
J. Mankiewicz. Harry Segall won the best
original story award for Here Comes Mr.
Jordan, based on his play Heaven Can Wait; it
was eligible as an original because the play
had not yet been produced anywhere.
For the rst time, the Academy recognized
documentary lm production; it would
be an increasingly important genre in the
war years ahead. It was also the last year
for a while that the themes of Hollywoods
productions would be an equal balance
of romantic dramas, infectious musicals,
warm comedies, dashing adventure stories
and pure escapist fare. For the next several
seasons, war would dominate the movies
just as it did real life.
70
b e s t p i c t ure : HOW GREEN WAS MY VALLEY (20th Century-Fox; produced by Darryl F. Zanuck) and b es t di r ecto r :
JOHN FORD for How Green Was My Valley. Based on the
novel by Richard Llewellyn, How Green was told through the
eyes of a grown man looking back on his childhood as one of a
family of miners, and recounting their romances, achievements,
personal heartbreaks and conicts with employers. The cast, an
example of superb ensemble actors, included Walter Pidgeon and
thirteen-year-old Roddy McDowall (at right), and Maureen
OHara, Donald Crisp, Sara Allgood, Anna Lee, Barry Fitzgerald, John Loder and Patric Knowles. For director Ford, it was his
third Academy Award, and his second in two years.
8/8/13 7:23 PM
be s t a ct or : GARY COOPER as Alvin York in Sergeant York

(Warner Bros.; directed by Howard Hawks). York was a real-life
Tennessee farmer who became a conscientious objector during
World War I, then won fame as a soldier who single-handedly
captured 132 German soldiers in the Argonne Forest on October 6,
1918, armed only with a Springeld rie. As a movie, it was a
perfect matching of actor and role. Cooper (left) is the backwoods
York at a local bar with cohorts Ike (Ward Bond) and Buck (Noah
Beery, Jr.), facing Dickie Moore, with shotgun. Cooper won a second Oscar in 1952, and an honorary award in 1960.
71
be s t ac t re s s : JOAN FONTAINE as Lina McLaidlaw in Suspicion (RKO Radio). Will he or

wont he? As a shy British girl who entered into a hasty marriage with a mysterious charmer
played by Cary Grant (above, with Fontaine), Miss Fontaine had growing reasons to believe her
husband was possibly a murderer, with herself his intended victim. The thriller, based on Francis
Iless Before the Fact, reunited the actress with her Rebecca director, Alfred Hitchcock, and brought
her an Academy Award despite competition from a strong eld that included her sister, Olivia de
Havilland. Miss Fontaine was also nominated two years later for 1943s The Constant Nymph.
be s t s u p p or t in g a ct r e s s : MARY ASTOR as Sandra Kovak in The Great Lie (Warner Bros.)

Miss Astor was also a screen contributor whose work stretched back to silent days, when she was
usually cast as a sweet ingenue to John Barrymore, Douglas Fairbanks, and others. In The Great Lie,
directed by Edmund Goulding, she was no longer playing a softie but instead a brittle, spoiled concert pianist who creates mayhem in the lives of Bette Davis (above, with Astor) and George Brent.
8/8/13 7:23 PM
OUTSTANDING MOTION PICTURE
Nominations 1941
BLOSSOM S I N T HE D U ST , M-G-M.
CI T I Z EN K AN E, Mercury, RKO Radio.
HERE COM ES M R. J ORD AN, Columbia.
HOLD BACK T HE D AW N, Paramount.
* HOW G REEN W AS M Y VALLEY , 20th Century-Fox.
T HE LI T T LE FOX ES, Goldwyn, RKO Radio.
T HE M ALT ESE FALCON , Warner Bros.
ON E FOOT I N HEAVEN , Warner Bros.
SERG EAN T Y ORK , Warner Bros.
SU SP I CI ON , RKO Radio.
A C TO R
* GARY COOP ER in Sergeant York, Warner Bros.

CARY GRANT in Penny Serenade, Columbia.
W ALT ER HU ST ON in All That Money Can Buy (aka The
Devil and Daniel Webster), Dieterle, RKO Radio.
ROBERT M ON T GOM ERY in Here Comes Mr. Jordan,
Columbia.
ORSON W ELLES in Citizen Kane, Mercury, RKO Radio.
A C TR E S S
BET T E D AVI S in The Little Foxes, Goldwyn, RKO Radio.

OLI VI A D E HAVI LLAN D in Hold Back the Dawn,
Paramount.
* JOAN FONT AI NE in Suspicion, RKO Radio.
GREER GARSON in Blossoms in the Dust, M-G-M.
BARBARA ST ANW Y CK in Ball of Fire, Goldwyn, RKO
Radio.
W ALT ER BRENNAN in Sergeant York, Warner Bros.

CHARLES COBU RN in The Devil and Miss Jones, Ross-
be s t s up p ort i n g acto r : DONALD CRISP as Mr. Morgan

in How Green Was My Valley. Crisp was one of the founding
fathers of the entire motion picture industry, and one of its nest
actors. He played General Grant in D.W. Grifths Birth of a
Nation (1915), became a silent screen director (among his successes: Buster Keatons The Navigator), then devoted his time
exclusively to character acting. In his Oscar-winning role, he
played the patriarchal head of a closely knit coal-mining clan.
Krasna, RKO Radio.

* D ONALD CRI SP in How Green Was My Valley, 20th
Century-Fox.
JAM ES G LEASON in Here Comes Mr. Jordan, Columbia.
SY D N EY GREENST REET in The Maltese Falcon, Warner
Bros.
SARA ALLG OOD in How Green Was My Valley, 20th
Century-Fox.
* M ARY AST OR in The Great Lie, Warner Bros.
P AT RI CI A COLLI NGE in The Little Foxes, Goldwyn,
RKO Radio.
T ERESA W RI G HT in The Little Foxes, Goldwyn, RKO
Radio.
MARGARET WYCHERLY in Sergeant York, Warner Bros.
D I R E C TI N G
CI T I Z EN K AN E, Mercury, RKO Radio. Orson Welles.

HERE COM ES M R. J ORD AN, Columbia. Alexander
Hall.
* HOW G REEN W AS M Y VALLEY , 20th Century-Fox.

John Ford.
T HE LI T T LE FOX ES, Goldwyn, RKO Radio. William
Wyler.
SERG EAN T Y ORK , Warner Bros. Howard Hawks.
M US I C
(New classications)
(s on g )
BABY M I N E (Dumbo, Disney, RKO Radio); Music by
(RKO Radio; produced by Orson Welles) won

one Academy Award, for the Original Screenplay by Welles and
Herman J. Mankiewicz, and has become one of the most famous
of all lms in the 1941 catalog, some say the greatest motion
picture yet made. Loosely based on the career of newspaper tycoon
William Randolph Hearst, it marked the motion picture debut of
Welles and many of his Mercury Players cast (including Joseph
Cotten, Ruth Warrick, Everett Sloane, Paul Stewart and Agnes
Moorehead).
CITIZEN KANE
72
BOOGI E W OOG I E B U G L E B O Y O F C O M PA N Y B
(Buck Privates, Universal); Music by Hugh Prince.

Lyrics by Don Raye.
CHAT T ANOOGA CH O O C H O O (Sun Valley Serenade,
20th Century-Fox); Music by Harry Warren. Lyrics by
Mack Gordon.
D OLORES (Las Vegas Nights, Paramount); Music by Lou
Alter. Lyrics by Frank Loesser.
* THE LAST TIME I SAW PARIS (Lady Be Good, M-G-M);
Music by Jerome Kern. Lyrics by Oscar Hammerstein II.
OU T OF T HE SI LENC E (All-American Co-Ed, Roach,
UA); Music and Lyrics by Lloyd B. Norlind.
SI N CE I K I SSED M Y B A B Y G O O DB YE (Youll Never
Get Rich, Columbia); Music and Lyrics by Cole Porter.
(mu s ic s cor e of a d ramatic pic ture)
* ALL T HAT M ONEY C A N B U Y, Dieterle, RKO Radio.

Bernard Herrmann.
BACK ST REET , Universal. Frank Skinner.
BALL OF FI RE, Goldwyn, RKO Radio. Alfred Newman.
CHEERS FOR M I SS B I S H O P, Rowland, UA. Edward
Ward.
CI T I Z EN K ANE, Mercury, RKO Radio. Bernard
Herrmann.
D R. J EK Y LL AND M R . H YDE , M-G-M. Franz Waxman.
HOLD BACK T HE D A W N , Paramount. Victor Young.
HOW GREEN W AS M Y V A L L E Y, 20th Century-Fox.
Alfred Newman.
K I NG OF T HE Z OM B I E S , Monogram. Edward Kay.
LAD I ES I N RET I REME N T , Cowan-Miller, Columbia.
Morris Stoloff and Ernst Toch.
T HE LI T T LE FOX ES, Goldwyn, RKO Radio. Meredith
Willson.
LY D I A, Korda, UA. Miklos Rozsa.
M ERCY I SLAND , Republic. Cy Feuer and Walter Scharf.
SERGEANT Y ORK , Warner Bros. Max Steiner.
SO EN D S OU R NI G H T , Loew-Lewin, UA. Louis
Gruenberg.
SU ND OW N, Wanger, UA. Miklos Rozsa.
SU SP I CI ON, RKO Radio. Franz Waxman.
T ANK S A M I LLI ON , Roach, UA. Edward Ward.
T HAT U N CERT AI N F E E L I N G , Lubitsch, UA. Werner
Heymann.
T HI S W OM AN I S M I N E , Frank Lloyd, Universal.
Richard Hageman.
(s cor in g of a mu s ical pic ture)
ALL-AM ERI CAN CO - E D, Roach, UA. Edward Ward.

BI RT H OF T HE BLU E S , Paramount. Robert Emmett
Dolan.
BU CK P RI VAT ES, Universal. Charles Previn.

T HE CHOCOLAT E SO L DI E R , M-G-M. Herbert
Stothart and Bronislau Kaper.

* D U M BO, Disney, RKO Radio. Frank Churchill and
Oliver Wallace.
I CE-CAP AD ES, Republic. Cy Feuer.
T HE ST RAW BERRY B L O N DE , Warner Bros. Heinz
Roemheld.
SU N VALLEY SEREN A DE , 20th Century-Fox. Emil
Newman.
SU NNY , Wilcox, RKO Radio. Anthony Collins.
Y OU LL NEVER G ET R I C H , Columbia. Morris Stoloff.
WR I TI N G
Frank Churchill. Lyrics by Ned Washington.
BALL OF FI RE, Goldwyn, RKO Radio. Thomas Monroe
BE HONEST W I T H M E (Ridin on a Rainbow, Republic);
and Billy Wilder.
Music and Lyrics by Gene Autry and Fred Rose.
* HERE COM ES M R. J O R DA N , Columbia. Harry Segall.
BLU ES I N T HE NI G HT (Blues in the Night, Warner
Bros.); Music by Harold Arlen. Lyrics by Johnny Mercer. T HE LAD Y EVE, Paramount. Monckton Hoffe.
M EET J OHN D OE, Frank Capra, Warner Bros. Richard
Connell and Robert Presnell.
N I GHT T RAI N , 20th Century-Fox (British). Gordon
Wellesley.
* CI T I Z EN K AN E, Mercury, RKO Radio. Herman J.

Mankiewicz and Orson Welles.
T HE D EVI L AN D M I S S J O N E S , Ross-Krasna, RKO
Radio. Norman Krasna.
SERGEANT Y ORK , Warner Bros. Harry Chandlee,
Abem Finkel, John Huston and Howard Koch.
T ALL, D ARK AN D H A N DS O M E , 20th Century-Fox.
Karl Tunberg and Darrell Ware.
T OM , D I CK AN D HA R R Y, RKO Radio. Paul Jarrico.
(s cr e e n p la y)
* HERE COM ES M R. J O R DA N , Columbia. Sidney

Buchman and Seton I. Miller.
HOLD BACK THE DAWN, Paramount. Charles Brackett
and Billy Wilder.
HOW GREEN W AS M Y V A L L E Y, 20th Century-Fox.
Philip Dunne.
T HE LI T T LE FOX ES, Goldwyn, RKO Radio. Lillian
Hellman.
T HE M ALT ESE FALCO N , Warner Bros. John Huston.
S PE C I A L E F FECTS
ALOM A OF T HE SOUT H S E A S , Paramount.
Photographic Effects by Farciot Edouart and Gordon

Jennings; Sound Effects by Louis Mesenkop.
FLI G HT COM M AND , M-G-M. Photographic Effects by
A. Arnold Gillespie; Sound Effects by Douglas Shearer.
8/8/13 7:23 PM
* I W A NTE D W INGS, Paramount. Photographic Effects

by Farciot Edouart and Gordon Jennings; Sound
Effects by Louis Mesenkop.
THE INVISIBL E WOMAN, Universal. Photographic
Effects by John Fulton; Sound Effects by John Hall.
THE S E A W O L F, Warner Bros. Photographic Effects by
Byron Haskin; Sound Effects by Nathan Levinson.
THA T HA MIL TO N WOMAN, Korda, UA. Photographic
Effects by Lawrence Butler; Sound Effects by
William H. Wilmarth.
TO P P E R R E TUR NS, Roach, UA. Photographic Effects by
Roy Seawright; Sound Effects by Elmer Raguse.
A Y A NK IN THE R. A. F. , 20th Century-Fox.
Photographic Effects by Fred Sersen; Sound Effects by
E.H. Hansen.
(bl ac k - an d - whi te)
THE C HO C O L A T E SOLDIER, M-G-M. Karl Freund.

C ITIZ E N K A NE , Mercury, RKO Radio. Gregg Toland.
D R . JE KY L L A ND MR. HYDE, M-G-M. Joseph
Ruttenberg.
HERE COMES MR. JORDAN, Columbia. Joseph Walker.

HO L D BA C K THE DAWN, Paramount. Leo Tover.
* HO W GR E E N W AS MY V ALLEY, 20th Century-Fox.
be s t s on g : THE LAST TIME I SAW PARIS, sung by Ann

Sothern (above, with Robert Young at the keyboard) in
M-G-Ms Lady Be Good. It was a beautiful song, and an emotional one for 1941, considering the Nazi occupation of Frances
City of Light. But many Academy members were noisily unmoved
by the songs winning of the Oscar. For a reason. The song had
been independently written in 1940 by Jerome Kern and Oscar

Hammerstein II, and publicly performed before it was purchased
by M-G-M and inserted into the Cole Porter movie musical, an
itinerary at odds with the Academys basic desire to reward songs
specically written for a movie score.
Arthur Miller.
SE R GE A NT Y O R K, Warner Bros. Sol Polito.

SUN VA L L E Y SE RENADE, 20th Century-Fox. Edward
T HE FLAM E OF NEW ORLEAN S, Universal. Martin
Obzina and Jack Otterson; Russell A. Gausman.

Cronjager.
HOLD BACK T HE D AW N , Paramount. Hans Dreier
SUND O W N, Wanger, UA. Charles Lang.
and Robert Usher; Sam Comer.
THAT HAMILTON WOMAN, Korda, UA. Rudolph Mat. * HOW G REEN W AS M Y VALLEY , 20th Century-Fox.
Richard Day and Nathan Juran; Thomas Little.
(c ol or)
LAD I ES I N RET I REM ENT , Cowan-Miller, Columbia.
A L O MA O F THE SOUTH SEAS, Paramount. Wilfred M.
Lionel Banks; George Montgomery.
Cline, Karl Struss and William Snyder.
T HE LI T T LE FOX ES, Goldwyn, RKO Radio. Stephen
BIL L Y THE KID , M-G-M. William V. Skall and Leonard
Goosson; Howard Bristol.
Smith.
SERGEANT Y ORK , Warner Bros. John Hughes; Fred
* BL O O D A ND SA N D, 20th Century-Fox. Ernest Palmer
MacLean.
and Ray Rennahan.
T HE SON OF M ONT E CRI ST O, Small, UA. John
BL O SS O MS IN THE DUST, M-G-M. Karl Freund and
DuCasse Schulze; Edward G. Boyle.
W. Howard Greene.
SU ND OW N, Wanger, UA. Alexander Golitzen; Richard
D IVE BO MBE R , Warner Bros. Bert Glennon.
Irvine.
L O UIS IA NA P U R CH ASE, Paramount. Harry
T HAT HAM I LT ON W OM AN , Korda, UA. Vincent
Hallenberger and Ray Rennahan.
Korda; Julia Heron.
W HEN LAD I ES M EET , M-G-M. Cedric Gibbons and
S H O RT S UBJ E C T S
Randall Duell; Edwin B. Willis.
(c art oon s )
BO O GIE W O O G IE B UGLE B OY OF COMPANY B ,
Lantz, Universal.
(color )
BLOOD AN D SAN D , 20th Century-Fox. Richard Day

and Joseph C. Wright; Thomas Little.
Bros. (Merrie MelodiesBugs Bunny)
* BLOSSOM S I N T HE D U ST , M-G-M. Cedric Gibbons
HO W W A R C A ME, Columbia. (Raymond Gram Swing
and Urie McCleary; Edwin B. Willis.
Series)
LOU I SI AN A P U RCHASE, Paramount. Raoul Pene du
L
E
ND
A
P
A
W
,
Disney,
RKO
Radio.
(Mickey
Mouse)
*
Bois; Stephen A. Seymour.
THE NIGHT BE F ORE CH RISTMAS, M-G-M. (Tom and
Jerry Series)
AP P OI N T M EN T FOR LOVE, Universal. Universal
R HA P S O D Y IN RIV ETS, Schlesinger, Warner Bros.
(Merrie Melodies)
Director.
R HY THM IN THE RANKS, George Pal, Paramount.
BALL OF FI RE, Goldwyn, RKO Radio. Samuel Goldwyn
(George Pal Puppetoon Series)
Studio Sound Dept., Thomas T. Moulton, Sound
THE R O O K IE BE AR, M-G-M. (Bear Series)
Director.
SUP E R MA N, Max Fleischer, Paramount. (Superman)
T HE CHOCOLAT E SOLD I ER, M-G-M. M-G-M Studio
TR UA NT O F F IC ER DONALD, Disney, RKO Radio.
Sound Dept., Douglas Shearer, Sound Director.
(Donald Duck)
CI T I Z EN K ANE, Mercury, RKO Radio. RKO Radio
(on e - re e l )
Studio Sound Dept., John Aalberg, Sound Director.
A R MY C HA MP IONS, Pete Smith, M-G-M. (Pete Smith
T HE D EVI L P AY S OFF, Republic. Republic Studio Sound
Specialties)
Dept., Charles Lootens, Sound Director.
BE A UTY A ND THE B EACH , Paramount. (Headliner
HOW GREEN W AS M Y VALLEY , 20th Century-Fox.
Series)
20th Century-Fox Studio Sound Dept., E.H. Hansen,
D O W N O N THE FARM, Paramount. (Speaking of
Sound Director.
Animals)
T HE M EN I N HER LI FE, Gregory Ratoff, Columbia.
FO R TY BO Y S A ND A SONG, Warner Bros. (Melody
Columbia Studio Sound Dept., John Livadary, Sound
Master Series)
Director.
K INGS O F THE TURF, Warner Bros. (Color Parade
SERGEANT Y ORK , Warner Bros. Warner Bros. Studio
Series)
* O F P U P S A ND P UZZLES, M-G-M. (Passing Parade
SK Y LARK , Paramount. Paramount Studio Sound Dept.,
Series)
Loren Ryder, Sound Director.
SA GE BR US H A ND SILV ER, 20th Century-Fox. (Magic
* T HAT HAM I LT ON W OM AN, Korda, UA. General
Carpet Series)
Service Sound Dept., Jack Whitney, Sound Director.
T OP P ER RET U RNS, Roach, UA. Hal Roach Studio
(t w o- re e l )
Sound Dept., Elmer Raguse, Sound Director.
A L IVE IN THE D EEP, Woodard Productions, Inc.
FORBIDDEN PASSAGE, M-G-M. (Crime Does Not Pay)
F I LM E D I TI N G
THE GA Y P A R IS IAN, Warner Bros. (Miniature
CI T I Z EN K ANE, Mercury, RKO Radio. Robert Wise.
Featurette Series)
D R. J EK Y LL AND M R. HY D E, M-G-M. Harold F. Kress.
* MA IN S TR E E T O N TH E MARCH!, M-G-M. (Two-reel
HOW GREEN W AS M Y VALLEY , 20th Century-Fox.
Special)
James B. Clark.
THE TA NK S A R E COMING, U.S. Army, Motion Picture
T HE LI T T LE FOX ES, Goldwyn, RKO Radio. Daniel
Committee Cooperating for National Defense-Warner
Mandell.
Bros. (National Defense Series)
* SERG EAN T Y ORK , Warner Bros. William Holmes.
HIA W A THA S R AB B IT HUNT, Schlesinger, Warner
A RT D I REC T I ON
I NT ERI O R D E C OR AT I ON
(For the rst year, certicates of merit were given to

the Interior Decorators of the lm receiving award for
Art Direction)
C ITIZ E N K A NE , Mercury, RKO Radio. Perry Ferguson
and Van Nest Polglase; Al Fields and Darrell Silvera.
D O C UM E N TA R Y
(New category)
* CHU RCHI LL S I SL A N D, National Film Board of

Canada, UA.
LET T ER FROM HO ME , British Ministry of
Information, UA.
LI FE OF A T HORO U G H B R E D, Truman Tally, 20th
Century-Fox.
N ORW AY I N REVO L T , The March of Time, RKO Radio.
A P LACE T O LI VE , Philadelphia Housing Association.
RU SSI AN SOI L, Amkino.
SOLD I ERS OF T HE S K Y, Truman Tally, 20th CenturyFox.
W AR CLOU D S I N T H E PA C I F I C , National Film Board
of Canada, M-G-M.
T O REY SCOT T for his extraordinary achievement in
producing Kukan, the lm record of Chinas struggle,

including its photography with a 16mm camera
under the most difcult and dangerous conditions.
(certicate)
T O T HE BRI T I SH MI N I S T R Y O F I N F O R MA T I O N for
its vivid and dramatic presentation of the heroism of
the RAF in the documentary lm Target for Tonight.
(certicate)
T O LEOP OLD ST O K O W S K I and his associates for
their unique achievement in the creation of a new
form of visualized music in Walt Disneys production,
Fantasia, thereby widening the scope of the motion
picture as entertainment and as an art form.
(certicate)
T O W ALT D I SN EY, W I L L I A M G A R I T Y, J O H N N . A .
HAW K I N S and the R C A MA N U F A C T U R I N G C O . ,
for their outstanding contribution to the advancement

of the use of sound in motion pictures through the
production of Fantasia. (certicates)

T O W ALT D I SN EY
None.
ELECT RI CAL RESE A R C H PR O DU C T S DI V I S I O N
OF W EST ERN EL E C T R I C C O . , I N C . , for the
73
development of the precision integrating sphere

densitometer.
RCA M AN U FACT UR I N G C O . for the design and
development of the MI-3043 Uni-directional
microphone.
RAY W I LK I NSON and the PA R A MO U N T S T U DI O
LABORAT ORY ;
CHARLES LOOT E N S and the R E PU B L I C S T U DI O
SOU N D D EP T . ;
W I LBU R SI LVERT O O T H and the PA R A MO U N T
ST U D I O ENGI N E E R I N G DE PT . ;
P ARAM OU N T P I C T U R E S , I N C . , and 20 T H
CEN T U RY - FOX F I L M C O R P. ;
D OU G LAS SHEAR E R and the ME T R O - G O L DW YN M AY ER ST U D I O S O U N D DE PT . and to L O R E N
RY D ER and the PA R A MO U N T S T U DI O S O U N D
D EP ART M EN T .
AD VEN T U RE I N T HE BRONX , Film Assocs.

BOM BER, U.S. Ofce for Emergency Management Film
Unit, Motion Picture Committee Cooperating for

National Defense.
CHRI ST M AS U N D ER FI RE, British Ministry of
Information, Warner Bros.
8/8/13 7:23 PM
1942
The Fifteenth Year
t the 1942 Academy Awards banquet,

held March 4, 1943, at the Cocoanut
Grove in the Los Angeles Ambassador Hotel, Greer Garson received the Oscar
as best actress of the year for Mrs. Miniver
and gave a speech that is still a subject for
discussion. Legend has it that her thank
you oratory lasted nearly an hour, causing
Academy ofcials thereafter to put a time
limit on all Academy acceptance speeches. As
sometimes happens in Hollywood, the facts
may have been devoured by exaggeration.
Years later, Miss Garson said good-naturedly,
Reports on the length of my speech that
night seem to be a bit like that one report of
Mark Twains death: slightly exaggerated. Actually, it was clocked at about ve-and-a-half
minutes, but I think the reason people remembered it is because I somewhat fractured
a long-standing rule which was that a winner
should simply say thank you and then
dissolve into a ood of tears and sit down.
I felt very sincerely about what I had to say,
that there were no losers in the room that
night, that we were all winners, but I know I
didnt do a long, one-woman libuster as the
reports now have it. I admit I do have a gift
of gab, and it seems to have gotten me in hot
water that time, but I did use it to advantage
later while selling war bonds all over the
country. And the Academy did not put a
limit on the length of acceptance speeches.
Mrs. Miniver also won ve other Academy
Awards, including those for best picture, best
director William Wyler, and best supporting actress Teresa Wright. It was a big year
for Miss Wright; she was also nominated in
the best actress category, for The Pride of the

Yankees. James Cagney was named best actor
for Yankee Doodle Dandy, and Van Hein
was chosen best supporting actor for Johnny
Eager. Four winners were chosen in the best
documentary division, and thereafter that
category was more clearly dened between
short subjects and features. Best song of
the year was Irving Berlins White Christmas, introduced in Holiday Inn by Bing
Crosby and Marjorie Reynolds. Berlin himself announced the winner in that category;
when he opened the sealed envelope bearing
his name, he told the onlookers, Im glad to
present the award. Ive known the fellow for
a long time.
Bob Hope was again master of ceremonies for the evening, Jeanette MacDonald
sang the National Anthem, and the Oscar
ceremony itself carried a distinctly military avor, with honored guests from all
branches of the military services. Before the
actual winners were announced, Marine
private Tyrone Power and Army private Alan
Ladd unfurled an industry ag disclosing
that 27,677 members of the motion picture
industry were in uniform. For the rst time,
the usual metal-lled, gold-plated Oscar
statues were made out of plaster, due to wartime shortages; they were all replaced by the
real thing when the war was over. It was also
the last time Academy Awards were handed
out at small, industry banquets. With a
world at war and many facing starvation, it
seemed insensitive to continue presenting
awards at elegant dinner parties, so Oscar
moved into a theater.
74
b e s t p i c t ure : MRS. MINIVER (M-G-M; produced by Sidney
Franklin) and be s t d i r ecto r : WILLIAM WYLER (right) for
Mrs. Miniver. Wyler was in military action overseas when he
was announced as 1942s Oscar winner as director; his award
was accepted by his wife. Mrs. Miniver was a war picture
without a battle scene but showed an English familys everyday
adjustments to wartime problems with courage and warmth, and
could not have come to the screen at a more apt time. It starred
Greer Garson and Walter Pidgeon, supported by Teresa Wright,
Dame May Whitty, Richard Ney, Reginald Owen, Henry Travers
and Henry Wilcoxon.
8/8/13 7:23 PM
be s t a ct or : JAMES CAGNEY as George M. Cohan in Yankee

Doodle Dandy (Warner Bros.; directed by Michael Curtiz).
Cagney became the rst actor to win an Academy Award for a
musical performance, playing the theaters prolic actor-writermusician Cohan, born on the fourth of July and a perennial
agwaver. It was a major change of pace for Cagney, best known
for tough-guy roles such as in 1938s Angels with Dirty Faces,
which brought him his rst Academy Award nomination. After
Dandy and his Oscar win, Cagney took leave from his longtime
Warner Bros. employers to become an independent lm actor
and his appearances became rarer. But the quality of his work
always remained rst-rate, and in 1955 he was again a nominee,
for Love Me or Leave Me. He also played Cohan again in an
unbilled cameo appearance in 1955s The Seven Little Foys with
Bob Hope.
75
be s t a ct r e s s : GREER GARSON (near left) as Mrs. Miniver

and be s t s u p p or t ing ac tress: TERESA WRIGHT (far
left) as Carol Beldon with Walter Pidgeon (center) in Mrs.
Miniver. Norma Shearer had been the rst choice to play Mrs.
Miniver but turned down the role; Greer Garson was equally
apprehensive, at age 33, of playing the mother of a mature and
married son. But Miss Garson eventually relented, and her
performance became one of the most popular of the World War II
years, enthroning her as the First Lady of M-G-M and the new
leading female draw at the nations box ofces. For ve consecutive years (194145) she was an Academy Award nominee,
bookended by additional best actress nominations in 1939 and
1960. Teresa Wright played her daughter-in-law, tragically killed
by German aircraft re and bringing the war even closer to the
close-knit Miniver family. Miss Wright was also a 1942 best
actress nominee for The Pride of the Yankees.
8/8/13 7:23 PM
Nominations 1942
T HE I NVAD ERS, Ortus, Columbia (British).

K I N G S ROW , Warner Bros.
T HE M AGNI FI CENT AM BERSON S, Mercury,
RKO Radio.
* M RS. M I NI VER, M-G-M.

T HE P I ED P I P ER, 20th Century-Fox.
T HE P RI D E OF T HE Y ANK EES, Goldwyn, RKO Radio.
RAND OM HARVEST , M-G-M.
T HE T ALK OF T HE T OW N . Columbia.
W AK E I SLAND , Paramount.
Y AN K EE D OOD LE D AND Y , Warner Bros.
A C TO R
* JAM ES CAGNEY in Yankee Doodle Dandy, Warner Bros.

RON ALD COLM AN in Random Harvest, M-G-M.
GARY COOP ER in The Pride of the Yankees, Goldwyn,
RKO Radio.
W ALT ER P I D GEON in Mrs. Miniver, M-G-M.
M ONT Y W OOLLEY in The Pied Piper, 20th CenturyFox.
A C TR E S S
BET T E D AVI S in Now, Voyager, Warner Bros.

* GREER GARSON in Mrs. Miniver, M-G-M.
K AT HARI NE HEP BU RN in Woman of the Year, M-G-M.
ROSALI N D RU SSELL in My Sister Eileen, Columbia.
T ERESA W RI G HT in The Pride of the Yankees, Goldwyn,
RKO Radio.
W I LLI AM BEND I X in Wake Island, Paramount.

* VAN HEFLI N in Johnny Eager, M-G-M.
W ALT ER HU ST ON in Yankee Doodle Dandy, Warner
Bros.
FRAN K M ORG AN in Tortilla Flat, M-G-M.
HENRY T RAVERS in Mrs. Miniver, M-G-M.
b e s t s u p p o r t i n g a c t o r : V A N H E F L I N as Jeff Hartnett
(above, holding Robert Taylor) in Johnny Eager (M-G-M; directed by Mervyn LeRoy). At age 32, Hein became the youngest actor to that date to win an Academy Award. He played a
booze-soaked friend and conscience to an underworld tough guy
(Taylor) who came to a no-good end despite Hein/Hartnetts
loyalty-to-the-last. Heins career was curtailed during the
war period, but in subsequent years the roles got larger and he
was always regarded as a welcome asset to any lm in which
he worked.
GLAD Y S COOP ER in Now, Voyager, Warner Bros.

AGNES M OOREHEAD in The Magnicent Ambersons,
Mercury, RKO Radio.
SU SAN P ET ERS in Random Harvest, M-G-M.

D AM E M AY W HI T T Y in Mrs. Miniver, M-G-M.
* T ERESA W RI G HT in Mrs. Miniver, M-G-M.
D I R E C TI N G
K I N G S ROW , Warner Bros. Sam Wood.

* M RS. M I NI VER, M-G-M. William Wyler.
RAND OM HARVEST , M-G-M. Mervyn LeRoy.
W AK E I SLAND , Paramount. John Farrow.
Y AN K EE D OOD LE D AND Y , Warner Bros. Michael
Curtiz.
WR I TI N G
(or ig in a l mot ion p ict u r e s t or y)
HOLI D AY I N N , Paramount. Irving Berlin.

* T HE I NVAD ERS, Ortus, Columbia (British). Emeric
T AK E A LET T ER, D AR L I N G , Paramount. John Mescall.

T HE T ALK OF T HE T O W N , Columbia. Ted Tetzlaff.
T EN GENT LEM EN FR O M W E S T PO I N T , 20th
Century-Fox. Leon Shamroy.
T HI S ABOVE ALL, 20th Century-Fox. Arthur Miller.
(color )
ARABIAN NIGHTS, Wanger, Universal. Milton Krasner,
William V. Skall and W. Howard Greene.

* T HE BLACK SW AN, 20th Century-Fox. Leon Shamroy.
CAP T AI N S OF T HE C L O U DS , Warner Bros. Sol Polito.
J U NGLE BOOK , Korda, UA. W. Howard Greene.
REAP T HE W I LD W I N D, Paramount. Victor Milner
and William V. Skall.
T O T HE SHORES OF T R I PO L I , 20th Century-Fox.
Edward Cronjager and William V. Skall.
I N TE R I O R DECORATION
(bla ck- a n d w h it e )
G EORGE W ASHI NG T O N S L E PT H E R E , Warner Bros.
Max Parker and Mark-Lee Kirk; Casey Roberts.
T HE M AG N I FI CEN T A M B E R S O N S , Mercury, RKO
Radio. Albert S. DAgostino; Al Fields and Darrell

Silvera.
T HE P RI D E OF T HE Y A N K E E S , Goldwyn, RKO Radio.
Perry Ferguson; Howard Bristol.
RAN D OM HARVEST , M-G-M. Cedric Gibbons and
Randall Duell; Edwin B. Willis and Jack Moore.
T HE SHAN G HAI GES T U R E , Arnold, UA. Boris Leven.
SI LVER Q U EEN, Sherman, UA. Ralph Berger; Emile
Kuri.
T HE SP OI LERS, Frank Lloyd, Universal. John B.
Goodman and Jack Otterson; Russell A. Gausman and
Edward R. Robinson.
T AK E A LET T ER, D AR L I N G , Paramount. Hans Dreier
and Roland Anderson; Sam Comer.
T HE T ALK OF T HE T O W N , Columbia. Lionel Banks
and Rudolph Sternad; Fay Babcock.
* T HI S ABOVE ALL, 20th Century-Fox. Richard Day and
Joseph Wright; Thomas Little.
(color )
ARABI AN N I GHT S, Wanger, Universal. Alexander
Golitzen and Jack Otterson; Russell A. Gausman and

Ira S. Webb.
CAP T AI N S OF T HE C L O U DS , Warner Bros. Ted Smith;
Casey Roberts.
J U NGLE BOOK , Korda, UA. Vincent Korda; Julia Heron.
* M Y GAL SAL, 20th Century-Fox. Richard Day and
Joseph Wright; Thomas Little.
REAP T HE W I LD W I N D, Paramount. Hans Dreier and
Roland Anderson; George Sawley.
ARABI AN N I GHT S, Wanger, Universal. Universal

Director.
BAM BI , Disney, RKO Radio. Walt Disney Studio Sound
Dept., Sam Slyeld, Sound Director.
Paul Gallico.
FLY I NG T I GERS, Republic. Republic Studio Sound
T HE T ALK OF T HE T OW N , Columbia. Sidney Harmon.
Dept., Daniel Bloomberg, Sound Director.
Y AN K EE D OOD LE D AND Y , Warner Bros. Robert
FRI EN D LY EN EM I ES , Small, UA. Sound Service, Inc.,
Buckner.
Jack Whitney, Sound Director.
T HE GOLD RU SH, Chaplin, UA. RCA Sound, James
(or ig in a l s cr e e n p la y)
Fields, Sound Director.
ON E OF OU R AI RCRAFT I S M I SSI N G , Powell, UA
M RS. M I N I VER, M-G-M. M-G-M Studio Sound Dept.,
(British). Michael Powell and Emeric Pressburger.
ROAD T O M OROCCO, Paramount. Frank Butler and
ONCE U P ON A HON E YMO O N , RKO Radio. RKO
Don Hartman.
Radio Studio Sound Dept., Steve Dunn, Sound
W AK E I SLAND , Paramount. W.R. Burnett and Frank
Director.
Butler.
T HE P RI D E OF T HE Y A N K E E S , Goldwyn, RKO Radio.
T HE W AR AG AI NST M RS. HAD LEY , M-G-M. George
Samuel Goldwyn Studio Sound Dept., Thomas T.
Oppenheimer.
Moulton, Sound Director.
* W OM AN OF T HE Y EAR, M-G-M. Michael Kanin and
ROAD T O M OROCC O , Paramount. Paramount Studio
Ring Lardner, Jr.
Sound Dept., Loren Ryder, Sound Director.
T HI S ABOVE ALL, 20th Century-Fox. 20th Century(s cr e e n p la y)
Fox Studio Sound Dept., E.H. Hansen, Sound Director.
T HE I NVAD ERS, Ortus, Columbia (British). Rodney
* Y AN K EE D OOD LE DA N DY, Warner Bros. Warner
Ackland and Emeric Pressburger.
* M RS. M I NI VER, M-G-M. George Froeschel, James
Director.
Hilton, Claudine West and Arthur Wimperis.
Y OU W ERE N EVER L O V E L I E R , Columbia. Columbia
Herman J. Mankiewicz and Jo Swerling.
RAND OM HARVEST , M-G-M. George Froeschel,
F
I LM E D I TI NG
Claudine West and Arthur Wimperis.
M RS. M I N I VER, M-G-M. Harold F. Kress.
T HE T ALK OF T HE T OW N , Columbia. Sidney
* T HE P RI D E OF T HE YA N K E E S , Goldwyn, RKO Radio.
Buchman and Irwin Shaw.
Daniel Mandell.
T HE T ALK OF T HE T O W N , Columbia. Otto Meyer.
T HI S ABOVE ALL, 20th Century-Fox. Walter
Thompson.
K I N G S ROW , Warner Bros. James Wong Howe.
Y ANK EE D OOD LE D A N DY, Warner Bros. George Amy.
T HE M AGNI FI CENT AM BERSON S, Mercury, RKO
Radio. Stanley Cortez.
* M RS. M I NI VER, M-G-M. Joseph Ruttenberg.
T HE BLACK SW AN , 20th Century-Fox. Photographic
M OON T I D E, 20th Century-Fox. Charles Clarke.
Effects by Fred Sersen. Sound Effects by Roger Heman
T HE P I ED P I P ER, 20th Century-Fox. Edward Cronjager.
and George Leverett.
Rudolph Mat.
Pressburger.
76
(M-G-M; produced by Joseph L.

Mankiewicz) marked the rst screen teaming of Katharine
Hepburn and Spencer Tracy (above), and won the original
screenplay award for Michael Kanin and Ring Lardner, Jr. It
was directed by George Stevens and matched a tough New York
sportswriter (Tracy) with a political columnist (Hepburn);
the Hepburn-Tracy chemistry was contagious, inspiring eight
more pairings from Keeper of the Flame (1942) through Guess
Whos Coming to Dinner (1967), twenty-ve years later.
WOMAN OF THE YEAR
8/8/13 7:23 PM
D E SP E R A TE JO U RNEY, Warner Bros. Photographic
Effects by Byron Haskin. Sound Effects by Nathan

Levinson.
FL Y ING TIGE R S , Republic. Photographic Effects
by Howard Lydecker. Sound Effects by Daniel J.
Bloomberg.
INVIS IBL E A GE NT, Universal. Photographic Effects by
John Fulton. Sound Effects by Bernard B. Brown.
JU NGL E BO O K , Korda, UA. Photographic Effects
by Lawrence Butler. Sound Effects by William H.
Wilmarth.
MR S . MINIVE R , M-G-M. Photographic Effects by
A. Arnold Gillespie and Warren Newcombe. Sound
Effects by Douglas Shearer.
THE NA VY C O MES THROUGH, RKO Radio.
Photographic Effects by Vernon L. Walker. Sound
Effects by James G. Stewart.
O NE O F O U R A IRCRAFT IS MISSING, Powell, UA
(British). Photographic Effects by Ronald Neame.
Sound Effects by C.C. Stevens.
THE P R ID E O F THE YANKEES, Goldwyn, RKO Radio.
Photographic Effects by Jack Cosgrove and Ray (R.O.)
Binger. Sound Effects by Thomas T. Moulton.
* R E A P THE W IL D WIND, Paramount. Photographic
Effects by Farciot Edouart, Gordon Jennings and
William L. Pereira. Sound Effects by Louis Mesenkop.
(c art oon s )
A L L O U T F O R V , 20th Century-Fox. (Terrytoons)

BL ITZ W O L F , M-G-M.
* D E R F UE HR E R S FACE, Disney, RKO Radio.
JU K E BO X JA MBOREE, Lantz, Universal. (Swing
Symphony)
P IGS IN A P O L K A, Schlesinger, Warner Bros. (Merrie
Melodies)
TU L IP S SHA L L G ROW, George Pal, Paramount.
(20th Century-Fox; produced by Robert

Bassler) starred Tyrone Power and Maureen OHara (above)
in the dazzling kind of Technicolor swashbuckling adventure
that was a common (and always welcome) screen commodity
THE BLACK SWAN
in the 1940s. Swan was a cut above most; directed by Henry

King and based on a Rafael Sabatini novel (with a Ben Hecht
screenplay), it received an Oscar for its color cinematography by
Leon Shamroy.
(George Pal Puppetoon)
(on e - re e l )
D E SE R T W O ND ERLAND, 20th Century-Fox. (Magic
Carpet)
MA R INE S IN THE MAKING, Pete Smith, M-G-M.
(Pete Smith Specialties)
* S P E A KING O F A NIMALS AND TH EIR FAMILIES,

Paramount. (Speaking of Animals)
U NITE D S TA TE S MARINE B AND, Warner Bros.
(Melody Master Bands)
(t w o- re e l )
* BE Y O ND THE L INE OF DUTY, Warner Bros.

D O N T TA L K , M-G-M. (Crime Does Not Pay)
P R IVA TE S MITH OF TH E U. S. A. , RKO Radio. (This Is
America)
MUSIC
(s on g)
A L W A Y S IN MY HEART (Always in My Heart, Warner
Bros.); Music by Ernesto Lecuona. Lyrics by Kim

Gannon.
D E A R L Y BE L O VED (You Were Never Lovelier,
Columbia); Music by Jerome Kern. Lyrics by Johnny
Mercer.
HO W A BO UT Y OU? (Babes on Broadway, M-G-M);
Music by Burton Lane. Lyrics by Ralph Freed.
IT S E E MS I HE A RD TH AT SONG B EFORE (Youth
on Parade, Republic); Music by Jule Styne. Lyrics by
Sammy Cahn.
I VE GO T A GA L IN KALAMAZOO (Orchestra Wives,
20th Century-Fox); Music by Harry Warren. Lyrics by
Mack Gordon.
L O VE IS A SO NG (Bambi, Disney, RKO Radio); Music
by Frank Churchill. Lyrics by Larry Morey.
P E NNIE S FO R P EPPINO (Flying with Music, Roach,
UA); Music by Edward Ward. Lyrics by Chet Forrest
and Bob Wright.
P IG F O O T P E TE (Keep Em Flying, Universal); Music by
Gene de Paul. Lyrics by Don Raye.
THE R E S A BR E E ZE ON LAKE LOUISE (The Mayor of
44th Street, RKO Radio); Music by Harry Revel. Lyrics
by Mort Greene.
* W HITE C HR IS TMAS (Holiday Inn, Paramount); Music
and Lyrics by Irving Berlin.
(m us i c s c ore of a dr a m a ti c o r co m ed y pi ctu r e)
A R A BIA N NIGHTS, Wanger, Universal. Frank Skinner.

BA MBI, Disney, RKO Radio. Frank Churchill and
Edward Plumb.
THE BL A C K SW AN, 20th Century-Fox. Alfred
Newman.
THE C O R SIC A N B ROTH ERS, Small, UA. Dimitri
Tiomkin.
FL Y ING TIGE R S , Republic. Victor Young.

THE GO L D R US H, Chaplin, UA. Max Terr.
I MA R R IE D A W I TCH , Paramount-Cinema Guild, UA.
Roy Webb.
JO A N O F P A R IS, RKO Radio. Roy Webb.
J U NGLE BOOK , Korda, UA. Miklos Rozsa.

K LOND I K E FU RY , Monogram. Edward Kay.
* NOW , VOY AGER, Warner Bros. Max Steiner.
T HE P RI D E OF T HE Y AN K EES, Goldwyn, RKO Radio.
Leigh Harline.
RAN D OM HARVEST , M-G-M. Herbert Stothart.

T HE SHAN G HAI GEST U RE, Arnold, UA. Richard
Hageman.
SI LVER Q U EEN, Sherman, UA. Victor Young.

T AK E A LET T ER, D ARLI NG, Paramount. Victor Young.
T HE T ALK OF T HE T OW N, Columbia. Frederick
Hollander and Morris Stoloff.
T O BE OR N OT T O BE, Lubitsch, UA. Werner
Heymann.
(s cor in g of a mu s ica l p ict u r e )
FLY I NG W I T H M U SI C, Roach, UA. Edward Ward.

FOR M E AND M Y G AL, M-G-M. Roger Edens and
Georgie Stoll.
HOLI D AY I NN, Paramount. Robert Emmett Dolan.

I T ST ART ED W I T H EVE, Universal. Charles Previn and
Hans Salter.
J OHN N Y D OU GHBOY , Republic. Walter Scharf.

M Y G AL SAL, 20th Century-Fox. Alfred Newman.
* Y AN K EE D OOD LE D AND Y , Warner Bros. Ray
Heindorf and Heinz Roemheld.
Y OU W ERE N EVER LOVELI ER, Columbia. Leigh
Harline.
D O C UM E N TA R Y
AFRI CA, P RELU D E T O VI CT ORY , The March of Time,
20th Century-Fox.
* T HE BAT T LE OF M I D W AY , U.S. Navy, 20th CenturyFox.
COM BAT REP ORT , U.S. Army Signal Corps.
CON Q U ER BY T HE CLOCK , U.S. Ofce of War
Information, RKO Path. Frederic Ullman, Jr.,
producer.
T HE GRAI N T HAT BU I LT A HEM I SP HERE, Ofce
of the Coordinator of Inter-American Affairs. Walt
Disney, producer.
HEN RY BROW NE, FARM ER, U.S. Department of
Agriculture, Republic.
HI GH OVER T HE BORD ERS, National Film Board of
Canada.
HI GH ST AK ES I N T HE EAST , The Netherlands
Information Bureau.
I NSI D E FI G HT I N G CHI N A, National Film Board of
Canada, UA. (War in Action)
I T S EVERY BOD Y S W AR, U.S. Ofce of War
Information, 20th Century-Fox.
* K OK OD A FRON T LI N E!, Australian News &
Information Bureau.
LI ST EN T O BRI T AI N, British Ministry of Information.
LI T T LE BELG I U M , Belgian Ministry of Information.
LI T T LE I SLES OF FREED OM , Warner Bros. Victor
Stoloff and Edgar Loew, producers. (Broadway
Brevities)
M R. BLABBERM O U T H ! , U.S. Ofce of War
Information, M-G-M.
M R. GARD EN I A J O N E S , U.S. Ofce of War
Information, M-G-M.
* M OSCOW ST RI K E S B A C K , Artkino (Russian).
T HE NEW SP I RI T , U.S. Department of the Treasury.
Walt Disney, producer.
* P RELU D E T O W A R , U.S. Army Special Services.
T HE P RI CE OF VI C T O R Y, U.S. Ofce of War
Information, Paramount. William H. Pine, producer.
A SHI P I S BORN, U.S. Merchant Marine, Warner Bros.
T W ENT Y - ONE M I L E S , British Ministry of Information.
W E REFU SE T O DI E , U.S. Ofce of War Information,
Paramount. William C. Thomas, producer.
W HI T E EAG LE, Cocanen Films (Polish).
W I NNI N G Y OU R W I N G S , U.S. Army Air Force,
Warner Bros.
(note: Four winners this year only.)
T O CHARLES BOYE R for his progressive cultural
achievement in establishing the French Research

Foundation in Los Angeles as a source of reference for
the Hollywood motion picture industry. (certicate)
T O N OEL COW AR D for his outstanding production
achievement in In Which We Serve. (certicate)
T O M ET RO- G OLD W YN - M A YE R S T U DI O for its
achievement in representing the American way of life
in the production of the Andy Hardy series of lms.
(certicate)

T O SI D NEY FRAN K L I N
77
None.
CARROLL CLARK, F . T H O MA S T H O M PS O N , and
the RK O RAD I O S T U DI O A R T and MI N I A T U R E
D EP ART M EN T S for the design and construction of a
moving cloud and horizon machine.
D ANI EL B. CLARK and the 20 T H C E N T U R Y- F O X

FI LM CORP . for the development of a lens calibration
system and the application of this system to exposure

control in cinematography.
ROBERT HEND ER S O N and the PA R A MO U N T
ST U D I O EN G I N E E R I N G and T R A N S PA R E N C Y
D EP ART M EN T S;
D ANI EL J . BLOOM B E R G and the R E PU B L I C S T U DI O
SOU ND D EP ART ME N T .
8/8/13 7:23 PM
1943
The Sixteenth Year
he Oscar ceremony moved from a

banquet setting into a theater for the
rst time on March 2, 1944, when
awards were given for movie world achievement during 1943. The site of the new-style
gala was the large and legendary Graumans
Chinese Theatre on Hollywood Boulevard,
with a seating capacity of 2,258; increased
attendance at the Academys big night had
made further banquets impractical so, after
15 years, the intimate little industry dinners
became a thing of the past. The extra space
afforded by Graumans not only gave Oscar
a new look but also gave the industry a
chance to invite a large number of servicemen and women from all military branches
to come share in the excitement.
Something else new was added, too. For
the rst time since the supporting actor
and supporting actress categories were
inaugurated in 1936, winners in those divisions were given full-size statues instead of
plaques (and, so no one would feel slighted,
the Academy in later years replaced earlier
plaques with statuettes for all acting award
winners). The two most honored motion
pictures of the year were The Song of Bernadette with four awards, including best actress
(Jennifer Jones), and Casablanca with three,
including best picture and best director
(Michael Curtiz). Photographers had a eld
day when Miss Jones arrived at the theater
with Ingrid Bergman, both of them under
contract to David O. Selznick, close friends,
and leading nominees for that best actress
trophy. Later, Miss Bergman told reporters, I cried all the way through Bernadette
because Jennifer was so moving and because

I realized then I had lost the award.
Despite the fact the number of award
categories had swelled to twenty-seven, as
compared to twelve in Oscars rst year,
the only other movie to receive more than
one award was Phantom of the Opera, with
nods for color cinematography and color art
direction. Paul Lukas was chosen best actor
for Watch on the Rhine, a role he created
on the Broadway stage with great success,
and the supporting award statuettes went
to Charles Coburn in The More the Merrier
and Katina Paxinou in For Whom the Bell
Tolls. Warner Bros. Hal Wallis received the
Irving G. Thalberg award and, soon after,
moved from Burbank over to Paramount to
become an independent producer, one of
the industrys most prolic and prestigious.
Awards for the evening were presented by
Academy President Walter Wanger, producer Sidney Franklin, writer James Hilton,
radio star Dinah Shore, and actresses Greer
Garson, Teresa Wright, Rosalind Russell and
Carole Landis. Jack Benny was the master
of ceremonies for a radio broadcast of the
ceremony sent to Armed Forces ghting
overseas. And that ghting was nearing an
important campaign. Just three months after Oscars sixteenth celebration, on D-Day,
the sixth of June, 1944, the Allied invasion
of Nazi-occupied West Europe would begin
in Normandy, and World War II would be
entering its nal chapters.
78
be s t p i c t ure : CASABLANCA (Warner Bros; produced by
Hal B. Wallis) and be s t d i r ecto r : MICHAEL CURTIZ for
Casablanca. Filled with the kind of punchy, hard-boiled melodrama for which Warner Bros. was most famous in the 1940s,
Casablanca also reaped an unexpected publicity windfall during
its initial release when World War II events splashed the name of
the French African seaport town in headlines all over the world.
But besides the topical title, it had a wealth of other qualities
going for it, including timeless characters colorfully played by
Humphrey Bogart and Ingrid Bergman (right) and a knockout
supporting cast consisting of Paul Henreid, Claude Rains,
Conrad Veidt, Sydney Greenstreet, Peter Lorre, Dooley Wilson
and S.Z. (Cuddles) Sakallplus a haunting Max Steiner score.
8/8/13 7:23 PM
be s t a ct r e s s : JENNIFER JONES as Bernadette in The Song

of Bernadette (20th Century-Fox; directed by Henry King). A
twenty-four-year-old screen newcomer, Jennifer Jones (left) was
luminous as the simple peasant girl of Lourdes who became the
center of a spiritual tornado in the mid-1800s when she claimed
to have seen a vision of the Virgin Mary while gathering rewood. Based on the novel by Franz Werfel, Bernadette was one
of the years most distinguished successes, and the years biggest
Oscar winner, with additional awards for cinematography, art
direction and music score.
79
be s t a ct or : PAUL LUKAS as Kurt Muller in Watch on the

Rhine (Warner Bros.; directed by Herman Shumlin). Lukas
(left, with Janis Wilson and Eric Roberts) re-created his Broadway role of a gentle German engineer, married to an American
(Bette Davis) and a member of the German Underground ghting Fascism. Lillian Hellman wrote the original playa topical
warning about the threat of Fascism inltrating American
homes.
8/8/13 7:23 PM
* CASABLANCA, Warner Bros.
Nominations 1943
FOR W HOM T HE BELL T OLLS, Paramount.

HEAVEN CAN W AI T , 20th Century-Fox.
T HE HU M AN COM ED Y , M-G-M.
IN W HI CH W E SERVE, Two Cities, UA (British).
MADAME CURIE, M-G-M.
T HE M ORE T HE M ERRI ER, Columbia.
T HE OX - BOW I N CI D ENT , 20th Century-Fox.
T HE SON G OF BERNAD ET T E, 20th Century-Fox.
W AT CH ON T HE RHI N E, Warner Bros.
A C TO R
HU M P HREY BOG ART in Casablanca, Warner Bros.

GARY COOP ER in For Whom the Bell Tolls, Paramount.
* P AU L LU K AS in Watch on the Rhine, Warner Bros.
W ALT ER P I D GEON in Madame Curie, M-G-M.
M I CK EY ROONEY in The Human Comedy, M-G-M.
A C TR E S S
JEAN ART HU R in The More the Merrier, Columbia.

IN G RI D BERGM AN in For Whom the Bell Tolls,
Paramount.
JOAN FONTAINE in The Constant Nymph, Warner Bros.

GREER GARSON in Madame Curie, M-G-M.
* JEN N I FER J ON ES in The Song of Bernadette, 20th
Century-Fox.
CHARLES BI CK FORD in The Song of Bernadette, 20th
Century-Fox.
* CHARLES COBU RN in The More the Merrier, Columbia.
J. CARROL N AI SH in Sahara, Columbia.
CLAU D E RAI N S in Casablanca, Warner Bros.
AK I M T AM I ROFF in For Whom the Bell Tolls,
Paramount.
GLAD Y S COOP ER in The Song of Bernadette, 20th
Century-Fox.
P AU LET T E G OD D ARD in So Proudly We Hail!,
(Universal; produced by George

Waggner) featured Claude Rains (above) as the mad musician
who secretly lives in the catacombs under the Paris Opera House
and saws down a crystal chandelier during a sold-out performance. The lm won two Academy Awards: for color cinematography and color art direction. Universal was a specialist in the
horror genre, but this remake of Lon Chaneys Phantom marked
only the third time the studio had worked in the three-strip
Technicolor genre (following 1942s Arabian Nights and 1943s
White Savage).
PHANTOM OF THE OPERA
Paramount.
* K AT I NA P AX I N OU in For Whom the Bell Tolls,
Paramount.
ANNE REVERE in The Song of Bernadette, 20th CenturyFox.
LU CI LE W AT SON in Watch on the Rhine, Warner Bros.
D I R E C TI N G
* CASABLAN CA, Warner Bros. Michael Curtiz.

HEAVEN CAN WAIT, 20th Century-Fox. Ernst
Lubitsch.
T HE HU M AN COM ED Y , M-G-M. Clarence Brown.

T HE M ORE T HE M ERRI ER, Columbia. George Stevens.
T HE SON G OF BERNAD ET T E, 20th Century-Fox.
Henry King.
WR I TI N G
ACT I ON I N T HE NORT H AT LAN T I C, Warner Bros.
Guy Gilpatric.
D EST I NAT I ON T OK Y O, Warner Bros. Steve Fisher.

* T HE HU M AN COM ED Y , M-G-M. William Saroyan.
T HE M ORE T HE M ERRI ER, Columbia. Frank Ross and
Robert Russell.
SHAD OW OF A D OU BT , Universal. Gordon McDonell.
AI R FORCE, Warner Bros. Dudley Nichols.

IN W HI CH W E SERVE, Two Cities, UA (British). Noel
Coward.
T HE N ORT H ST AR, Goldwyn, RKO Radio. Lillian
80
Hellman.
* P RI NCESS O ROU RKE , Warner Bros. Norman Krasna.
SO P ROU D LY W E HA I L ! , Paramount. Allan Scott.
(s cr e e n p la y)
* CASABLAN CA, Warner Bros. Julius J. Epstein, Philip G.

Epstein and Howard Koch.
HOLY M AT RI M ONY , 20th Century-Fox. Nunnally
Johnson.
T HE M ORE T HE M ER R I E R , Columbia. Richard
Flournoy, Lewis R. Foster, Frank Ross and Robert
Russell.
T HE SONG OF BERN A DE T T E , 20th Century-Fox.
George Seaton.
W AT CH ON T HE RH I N E , Warner Bros. Dashiell
Hammett.
AI R FORCE, Warner Bros. James Wong Howe, Elmer
Dyer and Charles Marshall.
CASABLANCA, Warner Bros. Arthur Edeson.

CORVET T E K - 225 , Universal. Tony Gaudio.
FI VE GRAVES T O CA I R O , Paramount. John Seitz.
T HE HU M AN COM ED Y, M-G-M. Harry Stradling.
M AD AM E CU RI E, M-G-M. Joseph Ruttenberg.
T HE NORT H ST AR, Goldwyn, RKO Radio. James Wong
Howe.
SAHARA, Columbia. Rudolph Mat.

SO P ROU D LY W E HA I L ! , Paramount. Charles Lang.
* T HE SON G OF BERN A DE T T E , 20th Century-Fox.
Arthur Miller.
(color )
FOR W HOM T HE BE L L T O L L S , Paramount. Ray
Rennahan.
HEAVEN CAN W AI T , 20th Century-Fox. Edward
Cronjager.
HELLO, FRI SCO, HE L L O , 20th Century-Fox. Charles
G. Clarke and Allen Davey.
LASSI E COM E HOM E , M-G-M. Leonard Smith.

* P HAN T OM OF T HE O PE R A . Universal. Hal Mohr and
W. Howard Greene.
T HOU SAND S CHEER , M-G-M. George Folsey.
FI VE GRAVES T O CA I R O , Paramount. Hans Dreier
and Ernst Fegte; Bertram Granger.
FLI G HT FOR FREEDO M , RKO Radio. Albert S.
DAgostino and Carroll Clark; Darrell Silvera and

Harley Miller.
M AD AM E CU RI E, M-G-M. Cedric Gibbons and Paul
Groesse; Edwin B. Willis and Hugh Hunt.
M I SSI ON T O M OSCO W , Warner Bros. Carl Weyl;
George J. Hopkins.
T HE NORT H ST AR, Goldwyn, RKO Radio. Perry
Ferguson; Howard Bristol.
* T HE SON G OF BERN A DE T T E , 20th Century-Fox.
James Basevi and William Darling; Thomas Little.
(color )
FOR W HOM T HE BE L L T O L L S , Paramount. Hans
Dreier and Haldane Douglas; Bertram Granger.
T HE GANG S ALL HE R E , 20th Century-Fox. James
Basevi and Joseph C. Wright; Thomas Little.

* P HAN T OM OF T HE O PE R A , Universal. Alexander
Golitzen and John B. Goodman; Russell A. Gausman
and Ira S. Webb.
T HI S I S T HE ARM Y , Warner Bros. John Hughes and
Lt. John Koenig; George J. Hopkins.
T HOU SAND S CHEER , M-G-M. Cedric Gibbons
and Daniel Cathcart; Edwin B. Willis and Jacques
Mersereau.
HAN G M EN ALSO D I E , Arnold, UA. Sound Service,
Inc., Jack Whitney, Sound Director.
I N OLD OK LAHOM A , Republic. Republic Studio Sound
Dept., Daniel J. Bloomberg, Sound Director.
M AD AM E CU RI E. M-G-M. M-G-M Studio Sound
T HE NORT H ST AR, Goldwyn, RKO Radio. Samuel
Goldwyn Studio Sound Dept., Thomas T. Moulton,
be s t s u p p or t in g a ct ress: KATINA PAXINOU as Pilar

in For Whom the Bell Tolls (Paramount; directed by Sam
Wood). Long recognized as the rst lady of Greek theater and
a vital force in that nations Royal Theatre of Athens, Katina
Paxinou made her rst Hollywood lm appearanceand won the
Academy Awardas a powerful, strong-willed hill woman and
guerrilla ghter in the Spanish Civil War. For Whom, based on
the Ernest Hemingway novel, was one of the most touted lms of
the year, initially shown as a roadshow, reserved-seat attraction
and well known for its romantic scenes (especially one in a sleeping bag, though innocent by later standards) featuring Ingrid
Bergman and Gary Cooper (at left, with Paxinou).
8/8/13 7:23 PM
Sound Director.
P HA NTO M O F THE OPERA, Universal. Universal

Director.
R ID ING HIGH, Paramount. Paramount Studio Sound
SA HA R A , Columbia. Columbia Studio Sound Dept.,
John Livadary, Sound Director.
SA L UD O S A MIGOS, Disney, RKO Radio. Walt Disney
Studio Sound Dept., C.O. Slyeld, Sound Director.
SO THIS IS W A SH INGTON, Votion, RKO Radio. RCA
Sound, J.L. Fields, Sound Director.
THE S O NG O F BERNADETTE, 20th Century-Fox. 20th
Director.
THIS IS THE A R MY, Warner Bros. Warner Bros. Studio
* THIS L A ND IS MI NE, RKO Radio. RKO Radio Studio
Sound Dept., Stephen Dunn, Sound Director.
F I LM ED I T I N G
* A IR FO R C E , Warner Bros. George Amy.

C A S A BL A NC A , Warner Bros. Owen Marks.
FIVE GR A VE S TO CAIRO, Paramount. Doane
Harrison.
FO R W HO M THE B ELL TOLLS, Paramount. Sherman
Todd and John Link.
THE S O NG O F BERNADETTE, 20th Century-Fox.
Barbara McLean.
S P ECI A L E F F E C T S
A IR F O R C E , Warner Bros. Photographic Effects by Hans
b e s t s u p p o r t i n g a c t o r : C H A R L E S C O B U R N as Benjamin Dingle (anked by Joel McCrea and Jean Arthur) in The

More the Merrier (Columbia; directed by George Stevens).
The setting was overcrowded, wartime Washington, D.C., and
Coburn played a delightful old sharpie looking for a room to

rent, which Jean Arthur happened to have. In 1966, the famous
Coburn role reappeared in Walk, Dont Run and was played by
Cary Grant.
Koenekamp and Rex Wimpy. Sound Effects by Nathan

Levinson.
BO MBA R D IE R , RKO Radio. Photographic Effects by
Vernon L. Walker. Sound Effects by James G. Stewart
Copland.
Services Field Photographic Bureau.
and Roy Granville.
P LAN FOR D EST R U C T I O N , M-G-M.
* T HE SON G OF BERNAD ET T E, 20th Century-Fox.
* C R A S H D IVE , 20th Century-Fox. Photographic Effects
SW ED ES I N AM ER I C A , U.S. Ofce of War Information
Alfred Newman.
by Fred Sersen. Sound Effects by Roger Heman.
VI CT ORY T HROU G H AI R P OW ER. Disney, UA.
Overseas Motion Picture Bureau.
THE NORTH STAR, Goldwyn, RKO Radio. Photographic
T O T HE P EOP LE O F T H E U N I T E D S T A T E S , Walter
Edward H. Plumb, Paul J. Smith and Oliver G. Wallace.
Effects by Clarence Slifer and R.O. Binger. Sound
Wanger, U.S. Public Health Service. Walter Wanger,
Effects by Thomas T. Moulton.
producer.
SO P R O UD L Y W E HAIL!, Paramount. Photographic
CON EY I SLAND , 20th Century-Fox. Alfred Newman.
T OM ORROW W E F L Y, U.S. Navy Bureau of
Effects by Farciot Edouart and Gordon Jennings.
HI T P ARAD E OF 1943 , Republic. Walter Scharf.
Aeronautics.
Sound Effects by George Dutton.
P HANT OM OF T HE OP ERA, Universal. Edward Ward.
Y OU T H I N CRI SI S , The March of Time, 20th CenturySTA ND BY FO R ACTION, M-G-M. Photographic
SALU D OS AM I G OS, Disney, RKO Radio. Edward H.
Fox.
Effects by A. Arnold Gillespie and Donald Jahraus.
Plumb, Paul J. Smith and Charles Wolcott.
Sound Effects by Michael Steinore.
T HE SK Y S T HE LI M I T , RKO Radio. Leigh Harline.
(fe a t u r e s )
SOM ET HI NG T O SHOU T ABOU T , Columbia. Morris
BAP T I SM OF FI RE , U.S. Army. (Fighting Men)
MUSIC
T HE BAT T LE OF R U S S I A , U.S. Department of War
Stoloff.
(s on g)
ST AG E D OOR CAN T EEN, Principal Artists-Lesser, UA.
Special Service Division, 20th Century-Fox. (Why We
A C HA NGE O F HEART (Hit Parade of 1943, Republic);
Frederic E. Rich.
Fight)
Music by Jule Styne. Lyrics by Harold Adamson.
ST AR SP AN G LED RHY T HM , Paramount. Robert
* D ESERT VI CT ORY , British Ministry of Information,
HA P P INE S S IS A TH ING CALLED JOE (Cabin in the
Emmett Dolan.
20th Century-Fox.
Sky, M-G-M); Music by Harold Arlen. Lyrics by E.Y.
REP ORT FROM T H E A L E U T I A N S , U.S. Army Pictorial
* T HI S I S T HE ARM Y , Warner Bros. Ray Heindorf.
Harburg.
T HOU SAND S CHEER, M-G-M. Herbert Stothart.
Service. (Combat Film)
MY S HINING HOUR (The Skys the Limit, RKO Radio);
W AR D EP ART M EN T R E PO R T , U.S. Ofce of Strategic
Music by Harold Arlen. Lyrics by Johnny Mercer.
Services Field Photographic Bureau.
SA L UD O S A MIGOS (Saludos Amigos, Disney, RKO
(ca r t oon s )
S PE C I A L A WARD
Radio); Music by Charles Wolcott. Lyrics by Ned
T HE D I Z Z Y ACROBAT , Lantz, Universal (Woody
T O G EORGE P AL for the development of novel
Washington.
Woodpecker). Walter Lantz, producer.
methods and techniques in the production of short
SA Y A P R A Y R F OR THE B OYS OV ER TH ERE (Hers to
T HE 500 HAT S OF BART HOLOM EW CU BBI NS,
subjects known as Puppetoons. (plaque)
Hold, Universal); Music by Jimmy McHugh. Lyrics by
George Pal, Paramount (George Pal Puppetoon).
Herb Magidson.
George Pal, producer.
THA T O L D BL A CK MAGIC (Star Spangled Rhythm,
G REET I N G S, BAI T !, Warner Bros. (Merrie Melodies).
Paramount); Music by Harold Arlen. Lyrics by Johnny
Leon Schlesinger, producer.
T O HAL B. W ALLI S
Mercer.
I M AG I NAT I ON , Columbia (Color Rhapsody). Dave
THE Y R E E ITHE R TOO YOUNG OR TOO OLD
Fleischer, producer.
(Thank Your Lucky Stars, Warner Bros); Music by
REASON AN D EM OT I ON , Disney, RKO Radio. Walt
Arthur Schwartz. Lyrics by Frank Loesser.
Disney, producer.
W E MUS TN T SA Y GOODB YE (Stage Door Canteen,
None.
* Y AN K EE D OOD LE M OU SE, M-G-M (Tom & Jerry).
Principal Artists-Lesser, UA); Music by James Monaco.
Frederick Quimby, producer.
Lyrics by Al Dubin.
FARCI OT ED OU A R T , E A R L E M O R G A N ,
(on e - r e e l)
Y O U D BE S O NI CE TO COME HOME TO (Something
BART ON T HOMPS O N , and the PA R A MO U N T
* AM P HI BI OU S FI G HT ERS, Paramount. (Grantland
to Shout About, Columbia); Music and Lyrics by Cole
ST U D I O ENGI N E E R I N G and T R A N S PA R E N C Y
Rice Sportlights). Grantland Rice, producer.
Porter.
D EP ART M EN T S for the development and practical
CAVALCAD E OF D ANCE W I T H VELOZ AND
* Y O U L L NE VE R KNOW (Hello, Frisco, Hello, 20th
application to motion picture production of a
Y OLAND A, Warner Bros. (Melody Master Bands).
Century-Fox); Music by Harry Warren. Lyrics by Mack
method of duplicating and enlarging natural color
Gordon Hollingshead, producer.
Gordon.
photographs, transferring the image emulsions to
CHAM P I ONS CARRY ON, 20th Century-Fox. (Ed
glass plates and projecting these slides by especially
Thorgersons Sports Review). Edmund Reek, producer.
THE A MA Z ING MRS. HOLLIDAY, Universal. Hans J.
designed stereopticon equipment.
HOLLY W OOD I N U N I FORM , Columbia. (Screen
Salter and Frank Skinner.
P HOT O P ROD U C T S DE PA R T ME N T , E . I . DU PO N T
Snapshots). Ralph Staub, producer.
C A S A BL A NC A , Warner Bros. Max Steiner.
D E N EM OU RS A N D C O . , I N C . for the development
SEEI N G HAN D S, Pete Smith, M-G-M. (Pete Smith
C O MMA ND O S STRIKE AT DAWN, Columbia. Louis
of ne-grain motion picture lms.
Specialty). Pete Smith, producer.
Gruenberg and Morris Stoloff.
(t w o- r e e l)
THE F A L L E N SP ARROW, RKO Radio. C. Bakaleinikoff
D ANI EL J . BLOOM B E R G and the R E PU B L I C S T U DI O
* HEAVEN LY M U SI C, M-G-M. Jerry Bresler and Sam
and Roy Webb.
SOU ND D EP ART ME N T ;
Coslow, producers.
FO R W HO M THE B ELL TOLLS, Paramount. Victor
CHARLES G ALLO W A Y C L A R K E and the 20 T H
LET T ER T O A HERO, RKO Radio. (This Is America).
Young.
CENT U RY - FOX S T U DI O C A M E R A DE PA R T ME N T ;
Frederic Ullman, Jr., producer.
HA NGME N A L SO DIE, Arnold, UA. Hanns Eisler.
FARCI OT ED OU A R T and the PA R A MO U N T S T U DI O
M ARD I GRAS, Paramount. (Musical Parade). Walter
HI D ID D L E D ID DLE, Stone, UA. Phil Boutelje.
T RANSP ARENCY DE PA R T M E N T ;
MacEwen, producer.
IN O L D O K L A HOMA, Republic. Walter Scharf.
W I LLARD H. T U R N E R and the R K O R A DI O S T U DI O
W OM EN AT W AR, U.S. Army, Warner Bros.
JO HNNY C O ME LATELY, Cagney, UA. Leigh Harline.
SOU ND D EP ART ME N T .
(Technicolor Special). Gordon Hollingshead, producer.
THE KA NSA N, Sherman, UA. Gerard Carbonara.
L A D Y O F BUR L E SQUE, Stromberg, UA. Arthur Lange.
D O C UM E N TA R Y
MA D A ME C UR IE , M-G-M. Herbert Stothart.
(s h or t s u bje ct s )
THE MO O N A ND SIXPENCE, Loew-Lewin, UA.
CHI LD REN OF M ARS, RKO Radio. (This Is America)
Dimitri Tiomkin.
* D ECEM BER 7 T H, U.S. Navy, U.S. Ofce of Strategic
THE NO R TH STAR, Goldwyn, RKO Radio. Aaron
81
8/8/13 7:23 PM
1944
The Seventeenth Year
ollywood was in the midst of a labor

strike on March 15, 1945, when
the Academy honors for 1944 were
handed out at Graumans Chinese Theatre,
Hollywood. The setting again was broadcast over network radio, via the American
Broadcasting Company system. It was also
the last time plaster statuettes were given
to the winners. Wartime austerity still had
its effect on Oscar, buthappilythe news
from Europe was optimistic. Within two
months, Germany would surrender and the
European siege would be over; by August,
1945, the Japanese would follow suit.
Once again, Bob Hope was master of
ceremonies for the Academy party, sharing
the job with director John Cromwell, whose
Since You Went Away had been nominated
in nine award categories. The two most
honored lms of the year were Darryl F.
Zanucks mammoth Wilson and Leo McCareys gentle Going My Way, each nominated
for ten awards. Ultimately, Wilson won ve
Oscars and Going My Way received seven,
including those for best picture, best actor
(Bing Crosby), best supporting actor (Barry
Fitzgerald), best director (Leo McCarey),
and best song (Swinging on a Star by
James Van Heusen and Johnny Burke). It
was a particular triumph for Crosby, best
known not as an actor, but as the countrys
best-selling crooner.
Ingrid Bergman was named best actress
for Gaslight, and Ethel Barrymore was
chosen best supporting actress for None but
the Lonely Heart, her rst lm since Rasputin and the Empress in 1932. She was absent,
but Miss Barrymores award was accepted

by RKOs Charles Koerner. Norma Shearer,
retired from the screen for three years,
presented the Irving G. Thalberg Memorial
Award to Darryl F. Zanuck; it was the rst
time Thalbergs widow had presented the
award herself.
Margaret OBrien, age eight and a new
star via four 1944 releases (Jane Eyre, Lost
Angel, The Canterville Ghost, and Meet Me
in St. Louis), received a miniature statuette
as the years outstanding child actress and,
years later, recalled the evening warmly.
I was very excited and apprehensive, she
said. Excited because I received the award
from Bob Hope, who was my secret heartthrob, and apprehensive because I was
afraid one of the false teeth the studio made
me wear to cover my missing baby teeth
might fall out, as they often did when I was
working. Nevertheless, all went well. I was
thrilled when Bob Hope later hugged me. As
a matter of fact, he hugged most of the other
actresses, too, but I felt special because I was
the only one he both hugged and lifted.
82
b e s t s up p ort i n g actr es s : ETHEL BARRYMORE as Ma
Mott (here with Cary Grant) in None but the Lonely Heart
(RKO Radio; directed by Clifford Odets). Long regarded as one of
the genuine great ladies of the American stage, Miss Barrymore
hadnt made a motion picture since 1932s Rasputin and the
Empress, in which she played the sympathetic and terminally
ill mother of cynical Ernie Mott (Grant), living in Londons
preWorld War II slums and destined to nally die of cancer in
a prison hospital. Miss Barrymore also received Oscar nominations in 1946 (for The Spiral Staircase), 1947 (for The Paradine
Case), and 1949 (for Pinky).
8/8/13 7:23 PM
be s t a ct r e s s : INGRID BERGMAN (here with Charles

Boyer) as Paula Alquist Anton in Gaslight (M-G-M; directed by
George Cukor). It was a choice role, awlessly played: a helpless,
frightened young bride returns to the home where her aunt has
been murdered, only to discover her new husband is attempting
to drive her insane. Based on a play by Patrick Hamilton called
Angel Street, the story had also been lmed as a 1940 British thriller starring Diana Wynyard, but was withheld from
showing in the United States until 1952 due to Ingrid Bergmans
Oscar-winning version. Bergman was to win Academy Awards
again, in 1956 as best actress for Anastasia and in 1974 as best
supporting actress for Murder on the Orient Express.
83
be s t p i c t ure : GOING MY WAY (Paramount; produced and

directed by Leo McCarey), b es t di r ecto r : LEO MCCAREY,
and be s t ac t or: BING CROSBY as Father OMalley and
be s t s up p ort i n g a cto r : BARRY FITZGERALD as Father
Fitzgibbon in Going My Way. A warm and inspiring story of a
frisky young priest on his rst assignment in an insolvent New
York parish, it provided Crosby with a challenging change of pace
and gave Fitzgerald a unique niche in Oscar history: he became
the rst (and only) performer to be nominated both as best actor
and as best supporting actor for the same performance, something no longer possible under present voting rules. One of the
years most popular lms, Going provided an ideal combination
of entertainment and inspiration for a country in the midst of
war and also inspired an immediate sequel, 1945s The Bells of
St. Marys with Crosby but without Fitzgerald. But they were
later teamed twice again, in Welcome Stranger (1947) and Top
o the Morning (1949).
8/8/13 7:23 PM
Nominations 1944
(20th Century-Fox; directed by Otto Preminger) won

less Oscar attention in 1944 than Wilson, a much more heavily
hyped lm from the same studio, but through the years Laura,
not Wilson, has gone on to become a much-loved, genuine classic. Starring Dana Andrews (pictured staring at a portrait of
co-star Gene Tierney), Laura won an Oscar for Joseph LaShelles
black-and-white cinematography and was nominated in four
other categories but, curiously, not for its most famous asset, a
haunting musical score by David Raksin. Although there were
twenty nominations in 1944 in the music score of a dramatic or
comedy picture category, Raksins score was not one of them.
LAURA
B E S T M O TI O N PI C TUR E
D OU BLE I ND EM NI T Y , Paramount.
GASLI GHT , M-G-M.
* GOI NG M Y W AY , Paramount.
SI NCE Y OU W EN T AW AY , Selznick, UA.
W I LSON , 20th Century-Fox.
A C TO R
CHARLES BOY ER in Gaslight, M-G-M.

* BI NG CROSBY in Going My Way, Paramount.
BARRY FI T Z GERALD in Going My Way, Paramount.
CARY GRANT in None but the Lonely Heart, RKO Radio.
ALEX AN D ER K NOX in Wilson, 20th Century-Fox.
A C TR E S S
* IN G RI D BERGM AN in Gaslight, M-G-M.

CLAU D ET T E COLBERT in Since You Went Away,
Selznick, UA.
BET T E D AVI S in Mr. Skefngton, Warner Bros.
GREER GARSON in Mrs. Parkington, M-G-M.
BARBARA ST ANW Y CK in Double Indemnity,
Paramount.
HU M E CRON Y N in The Seventh Cross, M-G-M.

* BARRY FI T Z GERALD in Going My Way, Paramount.
CLAU D E RAI N S in Mr. Skefngton, Warner Bros.
CLI FT ON W EBB in Laura, 20th Century-Fox.
M ONT Y W OOLLEY in Since You Went Away, Selznick,
UA.
* ET HEL BARRY M ORE in None but the Lonely Heart, RKO

Radio.
JENNIFER JONES in Since You Went Away, Selznick, UA.
ANGELA LANSBU RY in Gaslight, M-G-M.
ALI N E M ACM AHON in Dragon Seed, M-G-M.
AGNES M OOREHEAD in Mrs. Parkington, M-G-M.
D I R E C TI N G
84
D OU BLE I ND EM NI T Y , Paramount. Billy Wilder.

* GOI NG M Y W AY , Paramount. Leo McCarey.
LAU RA, 20th Century-Fox. Otto Preminger.
LI FEBOAT , 20th Century-Fox. Alfred Hitchcock.
W I LSON , 20th Century-Fox. Henry King.
WR I TI N G
* GOI NG M Y W AY , Paramount. Leo McCarey.

A GU Y N AM ED J OE, M-G-M. David Boehm and
Chandler Sprague.
LI FEBOAT , 20th Century-Fox. John Steinbeck.
NON E SHALL ESCAP E, Columbia. Alfred Neumann
and Joseph Than.
T HE SU LLI VANS, 20th Century-Fox. Edward Doherty
and Jules Schermer.
HAI L T HE CONQ U ERI N G HERO, Paramount. Preston
Sturges.
T HE M I RACLE OF M ORGAN S CREEK , Paramount.
Preston Sturges.
T W O GI RLS AND A SAI LOR, M-G-M. Richard
Connell and Gladys Lehman.

* W I LSON , 20th Century-Fox. Lamar Trotti.
W I N G AN D A P RAY ER, 20th Century-Fox. Jerome
Cady.
(s cr e e n p la y)
D OU BLE I ND EM NI T Y , Paramount. Raymond
Chandler and Billy Wilder.
G ASLI G HT , M-G-M. John L. Balderston, Walter Reisch
and John Van Druten.

* GOI NG M Y W AY , Paramount. Frank Butler and Frank
Cavett.
LAU RA, 20th Century-Fox. Jay Dratler, Samuel
Hoffenstein and Betty Reinhardt.
M EET M E I N ST . LOUI S , M-G-M. Irving Brecher and
Fred F. Finklehoffe.
D OU BLE I N D EM N I T Y, Paramount. John Seitz.

D RAGON SEED , M-G-M. Sidney Wagner.
G ASLI G HT , M-G-M. Joseph Ruttenberg.
G OI N G M Y W AY , Paramount. Lionel Lindon.
* LAU RA, 20th Century-Fox, Joseph LaShelle.
LI FEBOAT , 20th Century-Fox. Glen MacWilliams.
SI N CE Y OU W ENT A W A Y, Selznick, UA. Stanley Cortez
and Lee Garmes.
T HI RT Y SECOND S O V E R T O K YO , M-G-M. Robert
Surtees and Harold Rosson.
T HE U NI N VI T ED , Paramount. Charles Lang.

T HE W HI T E CLI FFS O F DO V E R , M-G-M. George
Folsey.
(color )
COVER GI RL, Columbia. Rudolph Mat and Allen M.
Davey.
HOM E I N I N D I AN A, 20th Century-Fox. Edward
Cronjager.
K I SM ET , M-G-M. Charles Rosher.

LAD Y I N T HE D ARK, Paramount. Ray Rennahan.
M EET M E I N ST . LOUI S , M-G-M. George Folsey.
* W I LSON , 20th Century-Fox. Leon Shamroy.
AD D RESS U N K N OWN , Columbia. Lionel Banks and
Walter Holscher; Joseph Kish.
T HE AD VENT U RES O F M A R K T W A I N , Warner Bros.
John J. Hughes; Fred MacLean.
CASAN OVA BROW N , International, RKO Radio. Perry
Ferguson; Julia Heron.

* GASLI GHT , M-G-M. Cedric Gibbons and William
Ferrari; Edwin B. Willis and Paul Huldschinsky.
LAU RA, 20th Century-Fox. Lyle Wheeler and Leland
Fuller; Thomas Little.
N O T I M E FOR LOVE , Paramount. Hans Dreier and
Robert Usher; Sam Comer.
SI N CE Y OU W ENT A W A Y, Selznick, UA. Mark-Lee
Kirk; Victor A. Gangelin.
ST EP LI VELY , RKO Radio. Albert S. DAgostino and
Carroll Clark; Darrell Silvera and Claude Carpenter.
(color )
T HE CLI M AX , Universal. John B. Goodman and
Alexander Golitzen; Russell A. Gausman and Ira S.

Webb.
COVER GI RL, Columbia. Lionel Banks and Cary Odell;
Fay Babcock.
T HE D ESERT SON G , Warner Bros. Charles Novi; Jack
McConaghy.
K I SM ET , M-G-M. Cedric Gibbons and Daniel B.
Cathcart; Edwin B. Willis and Richard Pefferle.
LAD Y I N T HE D ARK, Paramount. Hans Dreier and
Raoul Pene du Bois; Ray Moyer.
T HE P RI NCESS AN D T H E PI R A T E , Regent, RKO Radio.
Ernst Fegte; Howard Bristol.
* W I LSON , 20th Century-Fox. Wiard Ihnen; Thomas
Little.
8/8/13 7:23 PM
F I LM ED I T I N G
GO ING MY W A Y, Paramount. Leroy Stone.

JA NIE , Warner Bros. Owen Marks.
NO NE BUT THE LONELY HEART, RKO Radio. Roland
Gross.
SINC E Y O U W E NT AWAY, Selznick, UA. Hal C. Kern
and James E. Newcom.

* W IL S O N, 20th Century-Fox. Barbara McLean.
THE A D VE NTUR ES OF MARK TWAIN, Warner Bros.
Photographic Effects by Paul Detlefsen and John

Crouse. Sound Effects by Nathan Levinson.
D A Y S O F GL O R Y, RKO Radio. Photographic Effects by
Vernon L. Walker. Sound Effects by James G. Stewart
and Roy Granville.
SE C R E T C O MMAND, Columbia. Photographic Effects
by David Allen, Ray Cory and Robert Wright. Sound
Effects by Russell Malmgren and Harry Kusnick.
SINC E Y O U W E NT AWAY, Selznick, UA. Photographic
Effects by John R. Cosgrove. Sound Effects by Arthur
Johns.
THE S TO R Y O F DR. WASSELL, Paramount.
Photographic Effects by Farciot Edouart and Gordon
Jennings. Sound Effects by George Dutton.
* THIR TY SE C O NDS OV ER TOKYO, M-G-M.
Photographic Effects by A. Arnold Gillespie, Donald
Jahraus and Warren Newcombe. Sound Effects by
Douglas Shearer.
W IL SO N, 20th Century-Fox. Photographic Effects by
Fred Sersen. Sound Effects by Roger Heman.
s p e cia l a w a r d: M ARGARET OBRIEN (left with Judy

Garland in Meet Me in St. Louis) as the outstanding child
actress of 1944. The Academy rst presented miniature Oscar
statuettes to pint-sized performers in 1934 when Shirley Temple
was honored; since then, other juveniles similarly singled out
have been Deanna Durbin and Mickey Rooney (1938), Judy
Garland (1939), Peggy Ann Garner (1945), Claude Jarman, Jr.
(1946), Ivan Jandl (1948), Bobby Driscoll (1949), Jon Whiteley
and Vincent Winter (1954) and Hayley Mills (1960). Since
1960, juvenile performers such as Patty Duke, Tatum ONeal
and others have had to win their Oscars in regular competitive
categories, alongside their elders.
CASAN OVA BROW N , International, RKO Radio.
M OVI E P EST S, Pete Smith, M-G-M. (Pete Smith
CHRI ST M AS HOLI D AY , Universal. H.J. Salter.

D OU BLE I N D EM N I T Y , Paramount. Miklos Rozsa.
T HE FI GHT I NG SEABEES, Republic. Walter Scharf and
SCREEN SNAP SHO T S 50 T H A N N I V E R S A R Y O F

M OT I ON P I CT U R E S , Columbia. (Screen Snapshots).
Arthur Lange.
Roy Webb.
Ralph Staub, producer.

* W HO S W HO I N A N I MA L L A N D, Paramount.
(Speaking of Animals). Jerry Fairbanks, producer.
T HE HAI RY AP E, Levey, UA. Michel Michelet and

Edward Paul.
Daniel J. Bloomberg, Sound Director.
(t w o- r e e l)
IT HAPPENED TOMORROW, Arnold, UA. Robert Stolz.
C A S A NO VA BR OWN, International, RKO Radio.
BOM BALERA, Paramount. (Musical Parade). Louis
J ACK LOND ON, Bronston, UA. Frederic Efrem Rich.
Samuel Goldwyn Studio Sound Dept., Thomas T.
Harris, producer.
K I SM ET , M-G-M. Herbert Stothart.
* I W ON T P LAY , Warner Bros. (Featurette). Gordon
N ONE BU T T HE LONELY HEART , RKO Radio.
C O VE R GIR L , Columbia. Columbia Studio Sound
Hollingshead, producer.
C. Bakaleinikoff and Hanns Eisler.
Dept., John Livadary, Sound Director.
M AI N ST REET T O DA Y, M-G-M. (Two-reel Special).
T HE P RI NCESS AN D T HE P I RAT E, Regent, RKO Radio.
D O UBL E IND E MNITY, Paramount. Paramount Studio
Jerry Bresler, producer. Herbert Moulton, associate
David Rose.
Sound Dept., Loren L. Ryder, Sound Director.
producer.
* SI NCE Y OU W EN T AW AY , Selznick, UA. Max Steiner.
HIS BUTL E R S SISTER, Universal. Universal Studio
SU M M ER ST ORM , Angelus, UA. Karl Hajos.
Sound Dept., Bernard B. Brown, Sound Director.
D O C UM E N TARY
T HREE RU SSI AN G I RLS, R & F Prods., UA. Franke
HO L L Y W O O D C ANTEEN, Warner Bros. Warner
Harling.
ART U RO T OSCAN I N I , U.S. Ofce of War Information
U P I N M ABEL S ROOM , Small, UA. Edward Paul.
Director.
Overseas Motion Picture Bureau.
VOI CE I N T HE W I ND , Ripley-Monter, UA. Michel
IT HA P P E NE D TOMORROW, Arnold, UA. Sound
N EW AM ERI CANS , RKO Radio. (This Is America).
Michelet.
Service, Inc., Jack Whitney, Sound Director.
* WITH THE MARINES AT TARAWA, U.S. Marine Corps.
W I LSON, 20th Century-Fox. Alfred Newman.
K IS ME T, M-G-M. M-G-M Studio Sound Dept., Douglas
W OM AN OF T HE T OW N, Sherman, UA. Miklos Rozsa.
Shearer, Sound Director.
(fe a t u r e s )
MU SIC IN MA NHATTAN, RKO Radio. RKO Radio
* T HE FI G HT I N G LA DY, U.S. Navy, 20th Century-Fox.
Studio Sound Dept., Stephen Dunn, Sound Director.
RESI ST I NG ENEM Y I N T E R R O G A T I O N , U.S. Army
BRAZ I L, Republic. Walter Scharf.
VO IC E IN THE WIND, Ripley-Monter, UA. RCA Sound,
Air Force.
* COVER G I RL, Columbia. Carmen Dragon and Morris
W. M. Dalgleish, Sound Director.
Stoloff.
* W IL S O N, 20th Century-Fox. 20th Century-Fox Studio
HI GHER AND HI GHER, RKO Radio. C. Bakaleinikoff.
T O M ARGARET O B R I E N , outstanding child actress of
Sound Dept., E. H. Hansen, Sound Director.
HOLLY W OOD CAN T EEN, Warner Bros. Ray Heindorf.
1944. (miniature statuette)
I RI SH EY ES ARE SM I LI NG, 20th Century-Fox. Alfred
MUSIC
T O BOB HOP E for his many services to the Academy.
Newman.
(Life Membership in the Academy of Motion Picture
(s on g)
K N I CK ERBOCK ER HOLI D AY , PCA, UA. Werner R.
Arts and Sciences)
I C O UL D N T SL EEP A WINK LAST NIGHT (Higher
Heymann and Kurt Weill.
and Higher, RKO Radio); Music by Jimmy McHugh.
LAD Y I N T HE D ARK , Paramount. Robert Emmett
Lyrics by Harold Adamson.
Dolan.
I L L W A L K A L O NE (Follow the Boys, Feldman,
LAD Y , LET S D AN CE, Scott R. Dunlap, Monogram.
T O D ARRY L F. Z A N U C K
Universal); Music by Jule Styne. Lyrics by Sammy
Edward Kay.
Cahn.
M EET M E I N ST . LOU I S, M-G-M. Georgie Stoll.
I M MA K ING BE LIEV E (Sweet and Lowdown, 20th
T HE M ERRY M ONAHANS, Universal. H.J. Salter.
Century-Fox); Music by James V. Monaco. Lyrics by
M I N ST REL M AN, PRC. Leo Erdody and Ferde Grofe.
None.
Mack Gordon.
SENSAT I ONS OF 1945 , Stone, UA. Mahlon Merrick.
L O NG A GO A ND FAR AWAY (Cover Girl, Columbia);
SON G OF T HE OP EN ROAD , Rogers, UA. Charles
Music by Jerome Kern. Lyrics by Ira Gershwin.
Previn.
ST EP HEN D U N N and the R K O R A DI O
NO W I KNO W (Up in Arms, Avalon, RKO Radio);
U P I N ARM S, Avalon, RKO Radio. Louis Forbes and Ray
ST U D I O SOU N D DE PA R T ME N T and R A DI O
Music by Harold Arlen. Lyrics by Ted Koehler.
Heindorf.
CORP ORAT I ON O F A M E R I C A for the design and
R E ME MBE R ME TO CAROLINA (Minstrel Man, PRC);
development of the electronic compressor-limiter.
Music by Harry Revel. Lyrics by Paul Webster.
R IO D E JA NE IR O (Brazil, Republic); Music by Ary
(ca r t oon s )
Barroso. Lyrics by Ned Washington.
LI NW OOD D U NN , C E C I L L O V E and A C ME T O O L
AN D T O T HI NK I SAW I T ON M U LBERRY ST REET ,
SIL VE R SHA D O WS AND GOLDEN DREAMS (Lady,
AN D M AN U FAC T U R I N G C O . ;
George Pal, Paramount. (Puppetoon). George Pal,
Lets Dance, Scott R. Dunlap, Monogram); Music by
GROVER LAU BE and the 20 T H C E N T U R Y- F O X
producer.
Lew Pollack. Lyrics by Charles Newman.
ST U D I O CAM ER A DE PA R T ME N T ;
D OG , CAT AN D CAN ARY , Columbia. (Color
SW E E T D R E A MS SWEETH EART (Hollywood Canteen,
W EST ERN ELECT R I C C O . ;
Rhapsody). Screen Gems.
Warner Bros.); Music by M.K. Jerome. Lyrics by Ted
RU SSELL BROW N , R A Y H I N S DA L E , and J O S E PH E .
FI SH FRY . Lantz, Universal. (Cartune Classic). Walter
Koehler.
ROBBI N S;
Lantz, producer.
* S W INGING O N A STAR (Going My Way, Paramount);
G ORD ON J EN N I N G S ;
HOW T O P LAY FOOT BALL, Disney, RKO Radio.
Music by James Van Heusen. Lyrics by Johnny Burke.
RAD I O CORP ORA T I O N O F A M E R I C A and the R K O
(Goofy). Walt Disney, producer.
TO O MUC H IN LOV E (Song of the Open Road, Rogers,
RAD I O ST U D I O S O U N D DE PA R T M E N T ;
* M OU SE T ROU BLE, M-G-M. (Tom & Jerry). Frederick
UA); Music by Walter Kent. Lyrics by Kim Gannon.
D AN I EL J . BLOOM B E R G and the R E PU B L I C S T U DI O
C. Quimby, producer.
THE TR O L L E Y SONG (Meet Me in St. Louis, M-G-M);
SOU ND D EP ART ME N T ;
M Y BOY J OHNNY , 20th Century-Fox. (Terrytoon).
Music and Lyrics by Ralph Blane and Hugh Martin.
BERNARD B. BRO W N and J O H N P. L I V A DA R Y;
Paul Terry, producer.
P AU L Z EFF, S. J . T W I N I N G , and G E O R G E S E I D of
SW OONER CROON ER, Warner Bros. (Looney Tunes
Columbia Studio Laboratory;
Porky Pig)
A D D R E S S U NK NOWN, Columbia. Morris Stoloff and
P AU L LERP AE.
Ernst Toch.
(on e - r e e l)
THE A D VE NTUR ES OF MARK TWAIN, Warner Bros.
BLU E GRASS GENT LEM EN, 20th Century-Fox. (Ed
Max Steiner.
THE BR ID GE O F SAN LUIS REY, Bogeaus, UA. Dimitri
J AM M I N T HE BLU ES, Warner Bros. (Melody Master
Tiomkin.
Bands). Gordon Hollingshead, producer.
BR A Z IL , Republic. Republic Studio Sound Dept.,
85
8/8/13 7:23 PM
1945
The Eighteenth Year
he year 1945 had been good for movies

(critically, as well as at the box ofce)
and a historic one for the world:
President Roosevelt had died in ofce, World
War II had ended, the rst atom bomb was
exploded on Hiroshima, the United Nations
was founded in San Francisco, and everyone
began readjusting to peace. When it came
time to salute 1945 with Oscars on March 7,
1946, at Graumans Chinese Theatre, Hollywood again dressed up in tuxedos and nery
as it had in those prewar days, and the Hollywood staplesearchlightsagain beamed
over the city.
Most-nominated pictures of the year were
The Bells of St. Marys, a sequel to the previous years Oscar-winning Going My Way,
competing in eight categories, and The Lost
Weekend, with seven nominations. Weekend
ultimately won four: best picture, best actor
(Ray Milland), best director (Billy Wilder)
and best screenplay (Charles Brackett and
Wilder). Anne Revere was named best
supporting actress for National Velvet, and
James Dunn was chosen best supporting
actor for A Tree Grows in Brooklyn. The biggest newsmaker of the evening, however,
was Joan Crawford, named best actress for
Mildred Pierce. A durable Hollywood headliner for twenty years, she was a rst-time
nominee for Oscar honors and in the midst
of a major career comeback after several
years of indifferent screen roles. Conned
to bed at her Brentwood home (reportedly
because of the u and a fever), she was unable to attend the ceremony, so her award
was accepted in her behalf by her director
Michael Curtiz. But, she said later, It was

the greatest moment of my life.
Bob Hope and James Stewart were cohosts of the awards program, and additional
Oscars were rather evenly distributed
among a variety of ne lms, including The
True Glory, Anchors Aweigh, Spellbound, State
Fair, The Picture of Dorian Gray, Leave Her
to Heaven, Marie-Louise, The House on 92nd
Street, and Frenchmans Creek. For the last
time, there were a myriad of nominees in
the categories of sound recording (twelve),
song (fourteen), scoring of a drama or comedy (twenty-one), and scoring of a musical
(twelve); hereafter, there would be no more
than ve nominees in those divisions.
Outgoing Academy President Walter
Wanger received a special plaque for his
six-year term as head of the Academy, and
Peggy Ann Garner of 1945s A Tree Grows in
Brooklyn, Junior Miss, and Nob Hill received
a miniature statuette as the years outstanding child actress. Perhaps the most signicant award of the night was the special
Oscar awarded to The House I Live In, a
ten-minute short subject distributed by RKO
and involving the talents of bobby-sox idol
Frank Sinatra, Frank Ross, Mervyn LeRoy
and Albert Maltz. The lm made a plea for
racial tolerance, a growing concern now
that the problems of a world war had been
solvedat least temporarily.
86
be s t s up p ort i n g actr es s : ANNE REVERE (here with
Elizabeth Taylor) as Mrs. Brown in National Velvet (M-G-M;
directed by Clarence Brown). A longtime veteran of playing gentle, understanding mums with strong values, Anne Revere this
time played the mother of a horse-loving girl who wants to race
her horse in Englands Grand National Steeplechase. Previously
nominated as Jennifer Joness mother in The Song of Bernadette
in 1943, she was again an Oscar contender in 1947 as Gregory
Pecks mother in Gentlemans Agreement, but her career in the
1950s and after was severely curtailed by accusations made during the 1950s House Un-American Activities investigations.
8/8/13 7:23 PM
b e s t p i c t u r e : T H E L O S T W E E K E N D (Paramount; produced
by Charles Brackett), b e s t d i r e c t o r : B I L L Y W I L D E R and
b e s t a c t o r : R A Y M I L L A N D as Don Birnam in The Lost
Weekend. Decidedly off the beaten track among 1945 screen
fare, it followed Milland as would-be writer on a booze-lled

weekend in New York City, trying to hock his typewriter for
setups, attempting to beg drinks and suffering the D.T.s, as
audiences were let loose inside an alcoholics psyche. Producer
Brackett and director Wilder also won Oscars for the Lost
screenplay. Milland got his Oscar-winning role when the
rst choice to play Birnam, Broadway actor Jos Ferrer, was
unavailable.
87
be s t a ct r e s s : JOAN CRAWFORD as Mildred Pierce in

Mildred Pierce (Warner Bros.; directed by Michael Curtiz).
Bette Davis, Barbara Stanwyck and Ann Sheridan all turned
down the role of James M. Cains middle-class housewife who
works as a waitress, becomes a wealthy businesswoman and
ultimately tries to take the blame for a murder committed by her
overindulged daughter (Ann Blyth, left with Crawford). But
Joan Crawford grabbed the part because her career was at a low
ebb, and shed been off the screen two years attempting to nd
a solid role to reestablish her reputation in Hollywood circles.
Mildred Pierce did the trick, bringing Joan Crawford back to
the front ranks of stardom and making her an Academy Award
winner.
8/8/13 7:23 PM
Nominations 1945
be s t s up p ort i n g acto r : JAMES DUNN as Johnny Nolan

(with Peggy Ann Garner) in A Tree Grows in Brooklyn (20th
Century-Fox; directed by Elia Kazan). Like Ray Milland, James
Dunn won his Oscar for playing a man fond of the spirits; like
Joan Crawford, he was in the midst of a comeback to screen
prominence after several years of secondary roles. Young Miss
Garner also received a miniature Oscar statuette as the outstanding child actress of the year for her performance as Dunns
daughter Francie, the pivotal character of A Tree, through whose
eyes the popular story by Betty Smith unfolds.
ANCHORS AW EI GH, M-G-M.

T HE BELLS OF ST . M ARY S, Rainbow, RKO Radio.
* T HE LOST W EEK END , Paramount.
M I LD RED P I ERCE, Warner Bros.
SP ELLBOU ND , Selznick, UA.
D I LLI N G ER, King Bros., Monogram. Philip Yordan.

* M ARI E- LOU I SE, Praesens Films (Swiss). Richard
Schweizer.
M U SI C FOR M I LLI ONS, M-G-M. Myles Connolly.
SALT Y O ROU RK E, Paramount. Milton Holmes.
W HAT N EX T , CORP ORAL HARG ROVE? M-G-M.
Harry Kurnitz.
(s cr e e n p la y)
G. I . J OE, Cowan, UA. Leopold Atlas, Guy Endore and
Philip Stevenson.
* T HE LOST W EEK END , Paramount. Charles Brackett

and Billy Wilder.
M I LD RED P I ERCE, Warner Bros. Ranald MacDougall.
P RI D E OF T HE M ARI NES, Warner Bros. Albert Maltz.
A T REE G ROW S I N BROOK LY N, 20th Century-Fox.
Frank Davis and Tess Slesinger.
T HE K EY S OF T HE K I N G D OM , 20th Century-Fox.
Arthur Miller.
T HE LOST W EEK END , Paramount. John F. Seitz.

M I LD RED P I ERCE, Warner Bros. Ernest Haller.
* T HE P I CT U RE OF D ORI AN GRAY , M-G-M. Harry
Stradling.
SP ELLBOU ND , Selznick, UA. George Barnes.
(color )
ANCHORS AW EI GH, M-G-M. Robert Planck and
Charles Boyle.
* LEAVE HER T O HEAVEN, 20th Century-Fox. Leon

Shamroy.
NAT I ON AL VELVET , M-G-M. Leonard Smith.
A SONG T O REM EM BER, Columbia. Tony Gaudio and
Allen M. Davey.
T HE SP AN I SH M AI N , RKO Radio. George Barnes.
* BLOOD ON T HE SU N , Cagney, UA. Wiard Ihnen;

A. Roland Fields.
EX P ERI M EN T P ERI L O U S , RKO Radio. Albert S.
DAgostino and Jack Okey; Darrell Silvera and Claude
A C TO R
Carpenter.
BI NG CROSBY in The Bells of St. Marys, Rainbow, RKO
T HE K EY S OF T HE K I N G DO M, 20th Century-Fox.
Radio.
James Basevi and William Darling; Thomas Little and
GENE K ELLY in Anchors Aweigh, M-G-M.
Frank E. Hughes.
* RAY M I LLAN D in The Lost Weekend, Paramount.
LOVE LET T ERS, Wallis, Paramount. Hans Dreier and
GREGORY P ECK in The Keys of the Kingdom, 20th
Roland Anderson; Sam Comer and Ray Moyer.
Century-Fox.
T HE P I CT U RE OF D O R I A N G R A Y, M-G-M. Cedric
CORNEL W I LD E in A Song to Remember, Columbia.
Gibbons and Hans Peters; Edwin B. Willis, John Bonar
and Hugh Hunt.
A C TR E S S
IN G RI D BERGM AN in The Bells of St. Marys, Rainbow,
(color )
RKO Radio.
* FREN CHM AN S CRE E K , Paramount. Hans Dreier and
* JOAN CRAW FORD in Mildred Pierce, Warner Bros.
Ernst Fegte; Sam Comer.
GREER GARSON in The Valley of Decision, M-G-M.
LEAVE HER T O HEAV E N , 20th Century-Fox. Lyle
JEN N I FER J ON ES in Love Letters, Wallis, Paramount.
Wheeler and Maurice Ransford; Thomas Little.
GENE T I ERNEY in Leave Her to Heaven, 20th CenturyN AT I ONAL VELVET , M-G-M. Cedric Gibbons and Urie
Fox.
McCleary; Edwin B. Willis and Mildred Grifths.
SAN ANT ONI O, Warner Bros. Ted Smith; Jack
McConaghy.
M I CHAEL CHEK HOV in Spellbound, Selznick, UA.
A T HOU SAND AN D O N E N I G H T S , Columbia.
JOHN D ALL in The Corn Is Green, Warner Bros.
Stephen Goosson and Rudolph Sternad; Frank Tuttle.
* JAM ES D U NN in A Tree Grows in Brooklyn, 20th
Century-Fox.
ROBERT M I T CHU M in G.I. Joe, Cowan, UA.
* T HE BELLS OF ST . M A R YS , Rainbow, RKO Radio.
J. CARROL N AI SH in A Medal for Benny, Paramount.
RKO Radio Studio Sound Dept., Stephen Dunn, Sound
Director.
FLAME OF BARBARY COAST, Republic. Republic
EVE ARD EN in Mildred Pierce, Warner Bros.
Studio Sound Dept., Daniel J. Bloomberg, Sound
ANN BLY T H in Mildred Pierce, Warner Bros.
Director.
ANGELA LANSBU RY in The Picture of Dorian Gray,
LAD Y ON A T RAI N, Universal. Universal Studio Sound
M-G-M.
Dept., Bernard B. Brown, Sound Director.
JOAN LORRI NG in The Corn Is Green, Warner Bros.
LEAVE HER T O HEAV E N , 20th Century-Fox. 20th
* ANNE REVERE in National Velvet. M-G-M.
Century-Fox Studio Sound Dept., Thomas T. Moulton,
Sound Director.
D I R E C TI N G
RHAPSODY IN BLUE, Warner Bros. Warner Bros.
T HE BELLS OF ST . M ARY S, Rainbow, RKO Radio. Leo
Studio Sound Dept., Nathan Levinson, Sound Director.
McCarey.
A SON G T O REM EM B E R , Columbia. Columbia Studio
* T HE LOST W EEK END , Paramount. Billy Wilder.
Sound Dept., John P. Livadary, Sound Director.
NAT I ON AL VELVET , M-G-M. Clarence Brown.
T HE SOU T HERN ER, Loew-Hakim, UA. General Service,
T HE SOU T HERNER, Loew-Hakim, UA. Jean Renoir.
Inc., Jack Whitney, Sound Director.
SP ELLBOU ND , Selznick, UA. Alfred Hitchcock.
T HEY W ERE EX P EN DA B L E , M-G-M. M-G-M Studio
WR I TI N G
T HE T HREE CABALL E R O S , Disney, RKO Radio. Walt
Disney Studio Sound Dept., C. O. Slyeld, Sound
T HE AFFAI RS OF SU SAN , Wallis, Paramount. Laszlo
Director.
Gorog and Thomas Monroe.
T HREE I S A FAM I LY , Master Productions, UA. RCA
* T HE HOU SE ON 92 ND ST REET , 20th Century-Fox.
Sound, W. V. Wolfe, Sound Director.
Charles G. Booth.
T HE U NSEEN , Paramount. Paramount Studio Sound
A M ED AL FOR BEN N Y , Paramount. John Steinbeck
and Jack Wagner.
W OND ER M AN, Beverly Prods., RKO Radio. Samuel
OBJ ECT I VE, BU RM A!, Warner Bros. Alvah Bessie.
Goldwyn Studio Sound Dept., Gordon Sawyer, Sound
A SONG T O REM EM BER, Columbia. Ernst Marischka.
Director.
88
F I LM E D I TI NG
T HE BELLS OF ST . M A R YS , Rainbow, RKO Radio.
Harry Marker.
T HE LOST W EEK EN D, Paramount. Doane Harrison.

* NAT I ON AL VELVET , M-G-M. Robert J. Kern.
OBJ ECT I VE, BU RM A ! , Warner Bros. George Amy.
A SON G T O REM EM B E R , Columbia. Charles Nelson.
CAP T AI N ED D I E, 20th Century-Fox. Photographic
Effects by Fred Sersen and Sol Halprin. Sound Effects

by Roger Heman and Harry Leonard.
SP ELLBOU N D , Selznick, UA. Photographic Effects by
Jack Cosgrove.
T HEY W ERE EX P EN DA B L E , M-G-M. Photographic
Effects by A. Arnold Gillespie, Donald Jahraus and
Robert A. MacDonald. Sound Effects by Michael
Steinore.
A T HOU SAND AN D O N E N I G H T S , Columbia.
Photographic Effects by Lawrence W. Butler. Sound
Effects by Ray Bomba.
* W ON D ER M AN , Beverly Prods., RKO Radio.
Photographic Effects by John Fulton. Sound Effects by
Arthur W. Johns.
M US I C
(s on g )
ACCEN T U AT E T HE P O S I T I V E (Here Come the Waves,
Paramount); Music by Harold Arlen. Lyrics by Johnny

Mercer.
AN Y W HERE (Tonight and Every Night, Columbia);
Music by Jule Styne. Lyrics by Sammy Cahn.
AREN T Y OU G LAD YO U R E YO U ? (The Bells of St.
Marys, Rainbow, RKO Radio); Music by James Van
Heusen. Lyrics by Johnny Burke.
T HE CAT AND T HE C A N A R Y (Why Girls Leave Home,
PRC); Music by Jay Livingston. Lyrics by Ray Evans.
EN D LESSLY (Earl Carroll Vanities, Republic); Music by
Walter Kent. Lyrics by Kim Gannon.
I FALL I N LOVE T OO E A S I L Y (Anchors Aweigh,
8/8/13 7:23 PM
THE PICTURE OF DORIAN GRAY (M-G-M; produced by Pandro S. Berman) featured Hurd Hateld as Oscar Wildes famous
young sinner who stayed young while his portrait grew old, and
won Harry Stradling an Academy Award for his moody and effective cinematography. Until the 1970s, only a few cinematographers were known outside industry circles, but the Academy has
been honoring them since the rst 192728 Awards ceremony.
M-G-M); Music by Jule Styne. Lyrics by Sammy Cahn.
I L L BU Y THA T DREAM (Sing Your Way Home,
RKO Radio); Music by Allie Wrubel. Lyrics by Herb

Magidson.
* IT MIGHT A S W ELL B E SPRING (State Fair, 20th
Century-Fox); Music by Richard Rodgers. Lyrics by
Oscar Hammerstein II.
L IND A (G.I. Joe, Cowan, UA); Music and Lyrics by Ann
Ronell.
L O VE L E TTE R S (Love Letters, Wallis, Paramount);
Music by Victor Young. Lyrics by Eddie Heyman.
MO R E A ND MO RE (Cant Help Singing, Universal);
Music by Jerome Kern. Lyrics by E.Y. Harburg.
SL E IGHR ID E IN JULY (Belle of the Yukon,
International, RKO Radio); Music by James Van
Heusen. Lyrics by Johnny Burke.
SO IN L O VE (Wonder Man, Beverly Prods., RKO Radio);
Music by David Rose. Lyrics by Leo Robin.
SO ME S UND A Y MORNING (San Antonio, Warner
Bros.); Music by Ray Heindorf and M.K. Jerome. Lyrics
by Ted Koehler.
THE BE L L S O F ST. MARYS, Rainbow, RKO Radio.
Robert Emmett Dolan.
BR E W STE R S MILLIONS, Small, UA. Lou Forbes.

C A P TA IN KID D , Bogeaus, UA. Werner Janssen.
THE E NC HA NTE D COTTAGE, RKO Radio. Roy Webb.
FL A ME O F BA R BARY COAST, Republic. Dale Butts
and Morton Scott.
G.I. HO NE Y MO ON, Monogram. Edward J. Kay.

G.I. JO E , Cowan, UA. Louis Applebaum and Ann
Ronell.
GU E S T IN THE HOUSE, Guest in the House, Inc., UA.
Werner Janssen.
GU E S T W IF E , Greentree Prods., UA. Daniele
Amtheatrof.
THE KE Y S O F THE KINGDOM, 20th Century-Fox.
Alfred Newman.
THE L O ST W E E KEND, Paramount. Miklos Rozsa.

L O VE L E TTE R S, Wallis, Paramount. Victor Young.
THE MA N W HO WALKED ALONE, PRC. Karl Hajos.
O BJE C TIVE , BURMA!, Warner Bros. Franz Waxman.
P A R ISUND E R GROUND, Bennett, UA. Alexander
Arthur Lange.
CAN T HELP SI N G I NG, Universal. Jerome Kern and
H.J. Salter.
HI T CHHI K E T O HAP P I NESS, Republic. Morton Scott.

I NCEN D I ARY BLOND E, Paramount. Robert Emmett
Dolan.
RHAP SOD Y I N BLU E, Warner Bros. Ray Heindorf and
George Templeton, producer.

* ST AR I N T HE NI G H T , Warner Bros. (Broadway
Brevities). Gordon Hollingshead, producer.
D O C UM E N TARY
Max Steiner.
ST AT E FAI R, 20th Century-Fox. Charles Henderson and * HI T LER LI VES? , Warner Bros. (Featurette). Gordon
Alfred Newman.
Hollingshead, producer.
SU NBONNET SU E, Monogram. Edward J. Kay.
LI BRARY OF CON G R E S S , U.S. Ofce of War
THE THREE CABALLEROS, Disney, RKO Radio. Edward
Information Overseas Motion Picture Bureau.
Plumb, Paul J. Smith and Charles Wolcott.
T O T HE SHORES O F I W O J I M A , U.S. Marine Corps.
T ON I GHT AN D EVERY NI G HT , Columbia. Marlin
(fe a t u r e s )
Skiles and Morris Stoloff.
T HE LAST BOM B, U.S. Army Air Force.
W HY GI RLS LEAVE HOM E, PRC. Walter Greene.
* T HE T RU E GLORY, U.S. Ofce of War Information,
W OND ER M AN, Beverly Prods., RKO Radio. Lou Forbes
Columbia. The Governments of Great Britain and the
and Ray Heindorf.
USA.
(ca r t oon s )
D ON ALD S CRI M E, Disney, RKO Radio. (Donald
Duck). Walt Disney, producer.
J ASP ER AND T HE BEAN ST ALK , George Pal,
Paramount. (Jasper Puppetoon). George Pal, producer.
LI FE W I T H FEAT HERS, Warner Bros. (Merrie
MelodiesSylvester). Eddie Selzer, producer.
M I G HT Y M OU SE I N G Y P SY LI FE, 20th Century-Fox.
(Terrytoon). Paul Terry, producer.
T HE P OET AN D P EASANT , Lantz, Universal. (Lantz
Technicolor Cartune). Walter Lantz, producer.

* Q U I ET P LEASE!, M-G-M. (Tom & Jerry). Frederick
Quimby, producer.
RI P P LI N G ROM AN CE, Columbia. (Color Rhapsodies).
Screen Gems.
(on e - r e e l)
ALONG T HE RAI NBOW T RAI L, 20th Century-Fox.
(Movietone Adventure). Edmund Reek, producer.
SCREEN SNAP SHOT S 25 T H ANNI VERSARY ,
Columbia. (Screen Snapshots). Ralph Staub, producer.

* ST AI RW AY T O LI G HT , M-G-M. (John Nesbitt Passing
Parade). Herbert Moulton, producer. Jerry Bresler,
executive producer.
Tansman.
ST ORY OF A D OG , U.S. Coast Guard, Warner Bros.
A SO NG TO R E MEMB ER, Columbia. Miklos Rozsa and
(Vitaphone Varieties). Gordon Hollingshead,
Morris Stoloff.
producer.
THE S O UTHE R NER, Loew-Hakim, UA. Werner Janssen.
W HI T E RHAP SOD Y , Paramount. (Grantland Rice
Sportlights). Grantland Rice, producer.
* S P E L L BO UND , Selznick, UA. Miklos Rozsa.
THIS L O VE O F OURS, Universal, H.J. Salter.
Y OU R N AT I ONAL GALLERY , Universal. (Variety
THE VA L L E Y O F DECISION, M-G-M. Herbert
Views). Joseph OBrien and Thomas Mead, producers.
Stothart.
(t w o- r e e l)
THE W O MA N IN THE WINDOW, International, RKO
A G U N I N HI S HAND , M-G-M. (Crime Does Not Pay).
Radio. Hugo Friedhofer and Arthur Lange.
Chester Franklin, producer. Jerry Bresler, executive
(s c ori n g of a m u s i ca l pi ctu r e)
producer.
T HE J U RY GOES ROU N D N ROU N D , Columbia. (All
* A NC HO R S A W E IGH , M-G-M. Georgie Stoll.
BE L L E O F THE Y UKON, International, RKO Radio.
Star Comedies). Jules White, producer.
T HE LI T T LE W I T C H , Paramount. (Musical Parade).
T O W ALT ER W AN G E R for his six years service as
President of the Academy of Motion Picture Arts and

Sciences. (special plaque)
T O P EGGY AN N G A R N E R , outstanding child actress
of 1945. (miniature statuette)
T O T H E H O U SE I L I V E I N , tolerance short subject;
produced by Frank Ross and Mervyn LeRoy; directed
by Mervyn LeRoy; screenplay by Albert Maltz; song The
House I Live In, music by Earl Robinson, lyrics by Lewis
Allan; starring Frank Sinatra; released by RKO Radio.
(statuette)
T O REP U BLI C ST U DI O , DA N I E L J . B L O O MB E R G ,
and the REP U BLI C S T U DI O S O U N D DE PA R T M E N T
89
for the building of an outstanding musical scoring

auditorium which provides optimum recording
conditions and combines all elements of acoustic and
engineering design. (certicates)

None.
None.
LOREN L. RY D ER , C H A R L E S R . DA I L Y, and the
P ARAM OU NT S T U DI O S O U N D DE PA R T M E N T ;
M I CHAEL S. LESH I N G , B E N J A M I N C . R O B I N S O N ,
ART HU R B. CHA T E L A I N , and R O B E R T C . S T E V E N S
of 20th Century-Fox Studio and J O H N G . C A PS T A F F
of Eastman Kodak Co.
8/8/13 7:23 PM
1946
The Nineteenth Year
he Academy made a major change in

its voting rules for the 1946 awards
year. Instead of having nearly 10,000
members of the lm community select the
nominees and nal Academy Award winners as they had during the past nine years,
the rules were altered so the nal decision
would be made solely by bona de Academy
members. Not surprisingly, the announcement caused Academy membership rolls to
swell from its 700 to a new high of 1,675. The
new voting policy created a more reliable
set of judges for the Academy, since votes
would now be more specically in the hands
of craftspeople actually involved in picture making. Some say the new ruling also
helped stimulate something the Academy
has always abhorred: active campaigning for
voter attention in trade publications.
There were other signicant changes as
well. After three years of presenting the
Oscars at Graumans Chinese Theatre, the
Academy moved its setting to the mammoth
Shrine Auditorium with a seating capacity
of 6,700 seats, ve hundred more than the
Radio City Music Hall in New York. Because
of the extra capacity, the general public for
the rst time was allowed to buy tickets and
attend, side by side with industry members. The program on March 13, 1947, was
produced for the Academy by Mervyn LeRoy
and hosted by Jack Benny.
Samuel Goldwyns distinctly American
The Best Years of Our Lives received seven of
the 1946 awards, including those for best
picture, best actor (Fredric March), best
director (William Wyler), and best support-
ing actor (Harold Russell). It was the second

time both March and Wyler were honored
by the Academy. Olivia de Havilland was
named the years best actress for To Each His
Own, and Anne Baxter was named best supporting actress for The Razors Edge.
Two other lms dealing with aspects of
AmericanaThe Yearling and The Jolson
Storyeach won two awards, but in some
ways Americana took a back seat to European lms. It had not happened before in an
Oscar competition, but lms from overseas
were almost as prominent as American
products, with six English-made movies
(Henry V, Brief Encounter, Caesar and Cleopatra, Vacation from Marriage, The Seventh
Veil, and Blithe Spirit) winning eleven of
the years nominations, and three of the
nal awards. Both France (with Children of
Paradise) and Italy (via Open City) were also
represented. It was a sign of things to come,
and, beginning the next awards year, the
Academy began to specically acknowledge
the vibrant postwar contributions of the
European cinema.
90
b e s t p i c t ure : THE BEST YEARS OF OUR LIVES (RKO
Radio; produced by Samuel Goldwyn), b es t d i r ecto r :
WILLIAM WYLER, be s t a cto r : FREDRIC MARCH as Al
Stephenson, and be s t s u ppo r ti ng a cto r : HAROLD RUSSELL as Homer Parrish. Some speculated that 1946 audiences
wouldnt want to be reminded of the recent World War II and the
complexities of returning to civilian life, but William Wyler and
his company examined the problem so artfully in The Best Years
of Our Lives, it became the picture of the year, and a genuine
classic. Based on a blank-verse essay by MacKinlay Kantor titled
Glory for Me, it examined the problems faced by three veterans
(Harold Russell, Dana Andrews and Fredric March, right) when
returning home after the war and readjusting to the lives they
left behind. It brought March his second Oscar (the rst, for
193132s Dr. Jekyll and Mr. Hyde); he played a devoted family
man who suddenly nds his old bank job oddly unsatisfying.
Russell, a nonprofessional and real-life arm amputee, won two
Academy Awards as a sailor returning with his hands replaced by
hooks; one was the supporting actor award, and the second was a
special award for bringing hope and courage to his fellow veterans. The expert Best Years cast also included Myrna Loy, Teresa
Wright, Virginia Mayo, Hoagy Carmichael, Gladys George,
Cathy ODonnell and Steve Cochran.
8/8/13 7:23 PM
s p e cia l a w a r d: LAURENCE OLIVIER (above) for his outstanding achievement as actor, producer and director in bringing
Henry V to the screen. Olivier made Henry in England during the war, and, despite limitations of money and production
materials, and other adversities, it became the rst successful
Olivier adaptation of Shakespeare on the screen, although he had
appeared in celluloid Shakespeare before (1936s As You Like It),
then solely as a performer.
91
be s t a ct r e s s : OLIVIA DE HAVILLAND as Jody Norris (left,

with Griff Barnett) in To Each His Own (Paramount; directed
by Mitchell Leisen). The year 1946 marked an important screen
comeback for Olivia de Havilland, important because shed been
unable to work for two years, waging a court battle against
her home studio, Warner Bros., over an unenforced California
law which limited to seven years the period any employer could
enforce a contract against an employee, something Warner Bros.
disputed. She won the case (ofcially on the books as The de
Havilland Decision) and new freedom for all actors thereafter.
When she returned to work, she had immediate success in two
important dramas, The Dark Mirror and To Each His Own,
and won the Academy Award for the latter. In it, she played an
unwed mother who loses custody of her son and becomes his
Aunt Jody when he is adopted by another family. Spanning
two wars and covering a twenty-seven-year period, the lm
required her to age from a fresh-faced young girl to a brusque,
no-nonsense businesswoman, and, after previous Academy
nominations in 1939 and 1941, she became an Oscar winner.
Three years later she won again, for The Heiress.
8/8/13 7:23 PM
(M-G-M; produced by Sidney Franklin) starred

Jane Wyman, Claude Jarman, Jr., and Gregory Peck (above)
as the embodiment of the Baxter family, from Marjorie Kinnan
Rawlingss magnicent novel about lifeand growing upin the
backwoods of Florida. One of the years best-liked lms, it won
Academy Awards for color cinematography and color art direction, plus a special award to Jarman as the outstanding child
actor of 1946.
THE YEARLING
92
be s t s up p ort i n g actr es s : ANNE BAXTER as Sophie

MacDonald (in center at right, with John Payne) in The Razors
Edge (20th Century-Fox; directed by Edmund Goulding). Created in a novel by Somerset Maugham, and acted by Anne Baxter,
Sophie MacDonald was one of the screens memorable characters
of the 1940s: a gentle young mother who loses her husband
and child in an automobile accident, then becomes a tragic and
alcoholic wanton in Paris whom an old friend (played by Tyrone
Power) unsuccessfully attempts to rehabilitate. By a paradox,
Anne Baxter was not the rst choice for her Oscar-winning role;
producer Darryl F. Zanuck originally had assigned it to Betty
Grable, who refused to do it on the grounds that the role was beyond her range as an actress. The nal Razors cast also included
Gene Tierney, Clifton Webb, Herbert Marshall, Frank Latimore
(as Sophies husband), and Lucile Watson.
8/8/13 7:23 PM
Nominations 1946
B ES T MO T I ON P I C T UR E
* THE BE ST Y E A R S OF OUR LIV ES, Goldwyn,

RKO Radio.
HE NR Y V, Rank-Two Cities, UA (British).
IT S A W O ND E R FUL LIFE, Liberty, RKO Radio.
THE R A Z O R S E DGE, 20th Century-Fox.
THE Y E A R L ING, M-G-M.
A CT O R
* F R E D R IC MA R C H in The Best Years of Our Lives,

Goldwyn, RKO Radio.
L A U R E NC E O L IV IER in Henry V, Rank-Two Cities, UA
(British).
L A R R Y P A R KS in The Jolson Story, Columbia.
GR E GO R Y P E C K in The Yearling, M-G-M.
JA ME S STE W A R T in Its a Wonderful Life, Liberty, RKO
Radio.
A CT RES S
* O L IVIA D E HA VILLAND in To Each His Own,

Paramount.
C E L IA JO HNS O N in Brief Encounter, Rank-CineguildPrestige, U-I (British).
JE NNIF E R JO NE S in Duel in the Sun, Vanguard,
Selznick Releasing Organization.
R O S A L IND R U SSELL in Sister Kenny, RKO Radio.
JA NE W Y MA N in The Yearling, M-G-M.
C HA R L E S C O BURN in The Green Years, M-G-M.

W IL L IA M D E MA REST in The Jolson Story, Columbia.
C L A U D E R A INS in Notorious, RKO Radio.
* HA R O L D R U SS E LL in The Best Years of Our Lives,
Goldwyn, RKO Radio.
C L IF TO N W E BB in The Razors Edge, 20th Century-Fox.
E THE L BA R R Y MORE in The Spiral Staircase, RKO Radio.

* A NNE BA XTE R in The Razors Edge, 20th Century-Fox.
L IL L IA N GIS H in Duel in the Sun, Vanguard, Selznick
Releasing Organization.
FL O R A R O BS O N in Saratoga Trunk, Warner Bros.
GA L E SO ND E R G AARD in Anna and the King of Siam,
20th Century-Fox.
D I RECT I N G
* THE BE ST Y E A R S OF OUR LIV ES, Goldwyn, RKO

Radio. William Wyler.
BR IE F E NC O UNTER, Rank-Cineguild-Prestige, U-I
(British). David Lean.
IT S A W O ND E R FUL LIFE, Liberty, RKO Radio. Frank
Capra.
THE KIL L E R S , Hellinger, Universal. Robert Siodmak.
THE Y E A R L ING, M-G-M. Clarence Brown.
W RI T I NG
(ori g i n al m ot i o n pi ctu r e s to r y )
THE D A R K MIR ROR, U-I. Vladimir Pozner.

THE S TR A NGE L OV E OF MARTH A IV ERS, Wallis,
Paramount. Jack Patrick.

THE S TR A NGE R , International, RKO Radio. Victor
Trivas.
TO E A C H HIS O WN, Paramount. Charles Brackett.
* VA C A TIO N F R O M MARRIAGE, London Films,
M-G-M (British). Clemence Dane.
(ori g i n al s c re e npl a y )
THE BL UE D A HL IA, Paramount. Raymond Chandler.

C HIL D R E N O F P ARADISE, Pathe-Cinema, Tricolore
Films (French). Jacques Prevert.

NO TO R IO US , RKO Radio. Ben Hecht.
R O A D TO UTO P IA, Paramount. Norman Panama and
Melvin Frank.
* THE SE VE NTH VEIL, Rank-Box-Ortus, Universal
(British). Muriel Box and Sydney Box.
(s c re e n p l ay)
A NNA A ND THE KING OF SIAM, 20th Century-Fox.
Sally Benson and Talbot Jennings.
* THE BE ST Y E A R S OF OUR LIV ES, Goldwyn, RKO

Radio. Robert E. Sherwood.
BR IE F E NC O UNTER, Rank-Cineguild-Prestige, U-I
(British). Anthony Havelock-Allan, David Lean and
Ronald Neame.
THE KIL L E R S , Hellinger, Universal. Anthony Veiller.
O P E N C ITY , Minerva, Mayer-Burstyn (Italian). Sergio
Amidei and Federico Fellini.
* ANNA AND T HE K I N G OF SI AM , 20th Century-Fox.

Arthur Miller.
T HE G REEN Y EARS, M-G-M. George Folsey.
(color )
T HE J OLSON ST ORY , Columbia. Joseph Walker.

* T HE Y EARLI N G , M-G-M. Charles Rosher, Leonard
Smith and Arthur Arling.
I N TE R I O R D E C O R A TI O N
* ANNA AND T HE K I N G OF SI AM , 20th Century-Fox.

Lyle Wheeler and William Darling; Thomas Little and
Frank E. Hughes.
K I T T Y , Paramount. Hans Dreier and Walter Tyler; Sam
Comer and Ray Moyer.
T HE RAZ OR S ED GE, 20th Century-Fox. Richard Day
and Nathan Juran; Thomas Little and Paul S. Fox.
S H O R T S UBJECTS
(ca r t oon s )
* T HE CAT CON CER T O , M-G-M. (Tom & Jerry).

Frederick Quimby, producer.
CHOP I N S M U SI C A L M O ME N T S , Universal. (Musical
Miniatures). Walter Lantz, producer.
J OHN HEN RY AN D T H E I N K Y PO O , Paramount.
(Puppetoon). George Pal, producer.
SQ U AT T ER S RI G H T S , Disney, RKO Radio. (Mickey
Mouse). Walt Disney, producer.
W ALK Y T ALK Y HA W K Y, Warner Bros. (Merrie
MelodiesFoghorn Leghorn). Edward Selzer, producer.
(on e - r e e l)
D I VE- HI CHAM P S , Paramount. (Grantland Rice
Sportlights). Jack Eaton, producer.

* FACI N G Y OU R D A N G E R , Warner Bros. (Sports
Parade). Gordon Hollingshead, producer.
G OLD EN HORSES , 20th Century-Fox. (Ed
SM ART AS A FOX , Warner Bros. (Vitaphone Varieties).
(color )
SU RE CU RES, M-G-M. (Pete Smith Specialties). Pete
CAESAR AN D CLEOP AT RA, Rank-Pascal, UA (British).
Smith, producer.
John Bryan.
(t
w o- r e e l)
HENRY V, Rank-Two Cities, UA (British). Paul Sheriff
* A BOY AN D HI S D O G , Warner Bros. (Featurettes).
and Carmen Dillon.
* T HE Y EARLI N G , M-G-M. Cedric Gibbons and Paul
COLLEG E Q U EEN , Paramount. (Musical Parade).
Groesse; Edwin B. Willis.
George B. Templeton, producer.
HI SS AND Y ELL, Columbia. (All Star Comedies). Jules
White, producer.
T HE BEST Y EARS OF OU R LI VES, Goldwyn, RKO
T HE LU CK I EST GUY I N T H E W O R L D, M-G-M.
Radio. Samuel Goldwyn Studio Sound Dept., Gordon
(Crime Does Not Pay). Jerry Bresler, producer.
Sawyer, Sound Director.
I T S A W ON D ERFU L LI FE, Liberty, RKO Radio. RKO
D O C UM E N TARY
Radio Studio Sound Dept., John Aalberg, Sound
Director.
AT OM I C P OW ER, The March of Time, 20th Century* T HE J OLSON ST ORY , Columbia. Columbia Studio
Fox.
LI FE AT T HE Z OO , Artkino (U.S.S.R.).
F I LM E D I TI N G
* T HE BEST Y EARS OF OU R LI VES, Goldwyn, RKO

Radio. Daniel Mandell.
I T S A W ON D ERFU L LI FE, Liberty, RKO Radio.
William Hornbeck.
T HE J OLSON ST ORY , Columbia. William Lyon.
T HE K I LLERS, Hellinger, Universal. Arthur Hilton.
T HE Y EARLI N G , M-G-M. Harold Kress.
* BLI T HE SP I RI T , Rank-Coward-Cineguild, UA (British).

Special Visual Effects by Thomas Howard.
A ST OLEN LI FE, Warner Bros. Special Visual Effects by
William McGann. Special Audible Effects by Nathan
Levinson.
M US I C
(s on g )
ALL T HROU GH T HE D AY (Centennial Summer, 20th
Century-Fox); Music by Jerome Kern. Lyrics by Oscar

Hammerstein II.
I CAN T BEG I N T O T ELL Y OU (The Dolly Sisters, 20th
Century-Fox); Music by James Monaco. Lyrics by
Mack Gordon.
OLE BU T T ERM I LK SK Y (Canyon Passage, Wanger,
Universal); Music by Hoagy Carmichael. Lyrics by Jack
Brooks.
* ON T HE AT CHI SON , T OP EK A AND T HE SAN T A FE
(The Harvey Girls, M-G-M); Music by Harry Warren.
Lyrics by Johnny Mercer.
Y OU K EEP COM I N G BACK LI K E A SONG (Blue Skies,
Paramount); Music and Lyrics by Irving Berlin.
(mu s ic s cor e of a dr a ma t ic or come dy p ict u r e )
ANNA AND T HE K I N G OF SI AM , 20th Century-Fox.
Bernard Herrmann.
* T HE BEST Y EARS OF OU R LI VES, Goldwyn, RKO
Radio. Hugo Friedhofer.
HENRY V, Rank-Two Cities, UA (British). William
Walton.
HU M ORESQ U E, Warner Bros. Franz Waxman.
T HE K I LLERS, Hellinger, Universal. Miklos Rozsa.
BLU E SK I ES, Paramount. Robert Emmett Dolan.

CEN T ENNI AL SU M M ER, 20th Century-Fox. Alfred
Newman.
T HE HARVEY G I RLS, M-G-M. Lennie Hayton.

* T HE J OLSON ST ORY , Columbia. Morris Stoloff.
NI G HT AND D AY , Warner Bros. Ray Heindorf and Max
Steiner.
P ARAM OU NT N EW S I S S U E # 37 ( T W E N T I E T H
AN N I VERSARY I S S U E ! 1927 . . . 1947 ) , Paramount.
* SEED S OF D EST I N Y, U.S. Department of War.
T RAFFI C W I T H T H E DE V I L , M-G-M. (Theatre of Life).
Herbert Morgan, producer.
(fe a t u r e s )
None nominated this year.
T O LAU REN CE OL I V I E R for his outstanding
achievement as actor, producer and director in

bringing Henry V to the screen. (statuette)
T O HAROLD RU S S E L L for bringing hope and courage
to his fellow veterans through his appearance in The
Best Years of Our Lives. (statuette)
T O ERN ST LU BI T S C H for his distinguished
contributions to the art of the motion picture. (scroll)
T O CLAU D E J ARM A N , J R . , outstanding child actor of
1946. (miniature statuette)

T O SAM U EL G OLD W YN
None.
None.
HARLAN L. BAU M B A C H and the PA R A MO U N T W E S T
COAST LABORA T O R Y;
HERBERT E. BRI T T ;
BU RT ON F. M I LLE R and the W A R N E R B R O S .
ST U D I O SOU ND and E L E C T R I C A L
D EP ART M ENT S ;
CARL FAU LK N ER of the 20th Century-Fox Studio
93
Sound Department;
M OLE- RI CHARD S O N C O . ;
ART HU R F. BLI N N , R O B E R T O . C O O K , C . O .
SLY FI ELD , and the W A L T DI S N E Y S T U DI O S O U N D
D EP ART M EN T ;
BU RT ON F. M I LLE R and the W A R N E R B R O S .
ST U D I O SOU ND DE PA R T M E N T ;
M ART Y M ART I N and H A L A DK I N S of the RKO Radio
Studio Miniature Department;
HAROLD N Y E and the W A R N E R B R O S . S T U DI O

ELECT RI CAL D E PA R T M E N T .
8/8/13 7:23 PM
1947
The Twentieth Year
t was the year of Gentlemans Agreement

and Life with Father and Forever Amber
and The Egg and I, but many people best
remember the Academys twentieth birthday
party as the year of a wildly incorrect straw
poll taken by a Hollywood trade publication.
As was the custom, Daily Variety took a preshow sampling of numerous Academy members asking how each voted in various awards
categories, then published the resultsand
predictionson Oscar day. On March 20,
1948, the paper bannered that nights winners for 1947 would probably be Gentlemans
Agreement as best picture, Ronald Colman in
A Double Life as best actor (in a narrow margin over Gregory Peck of Gentlemans), and
Edmund Gwenn (in Miracle on 34th Street)
and Celeste Holm (in Gentlemans) winning
in the supporting divisions.
Among the nominees for best actress, the
prediction was a sure thing for Rosalind
Russell in Mourning Becomes Electra, with
her runners-up listed, in order, as Dorothy
McGuire, Joan Crawford, Susan Hayward,
and, in the nal spot, Loretta Young. By
the end of the evening most of the guesses
were correct, but in the case of best actress
they could not have been more wrong. Not
only did the anticipated sure thing fail
to happen, but the winner was the trailing
dark horse, Loretta Young in The Farmers
Daughter. It was the last time such a poll was
regularly published; thereafter, the Academy
requested its members keep mum on how
ballots were marked.
Basically, the 1947 awards were quite
evenly distributed, with Gentlemans Agree-
ment winning three (including Elia Kazans

as best director); Miracle on 34th Street
receiving three; A Double Life, Great Expectations, and Black Narcissus each winning two;
and six other achievements winning one:
Body and Soul, Green Dolphin Street, Mother
Wore Tights, The Bachelor and the BobbySoxer, Song of the South, and The Bishops
Wife. For the rst time, the Academy specically honored a foreign language lm,
Italys Shoe-Shine, as part of its special
awards category; not until the 1956 awards
year were foreign language lms saluted in
a category of their own, with nominations.
Also honored with a special Oscar statuette
was James Baskett, the endearing Uncle
Remus of Walt Disneys Song of the South. A
special award plaque went to another delight
for the younger audiences, Ken Murrays Bill
and Coo, the story of a humanized lifestyle
as enacted by birds. The Academy saluted it
because artistry and patience blended in a
novel and entertaining use of the medium
of motion pictures.
94
be s t ac t re s s : LORETTA YOUNG as Katrin Holstrom
(right, with Keith Andes, James Arness and Lex Barker) in The
Farmers Daughter (RKO Radio; directed by H.C. Potter).
Loretta Young, like Ronald Colman, was a longtime screen
veteran when she won her Oscar. After early days as a child
extra, she played her rst role at age 14 in 1927s Naughty but
Nice with Colleen Moore, then became the personication of an
elegant leading ladycharming, well-groomed, classyin frothy
comedies, major spectacles and romantic dramas. The Farmers
Daughter had originally been planned for Ingrid Bergman, but it
t the Young talents perfectly: with a Swedish accent and blonde
hair, she was a Minnesota farm girl who begins as the household
maid of a Congressman (Joseph Cotten) and ultimately is elected
to Congress herself.
8/8/13 7:23 PM
be s t p ict u r e : GENTLEMANS AGREEMENT (20th CenturyFox; produced by Darryl F. Zanuck), be s t dir e ct o r: ELIA
KAZAN, and be s t s u p p or t in g a ct r e s s : CELESTE HOLM
as Anne Dettrey (above, with Gregory Peck, John Gareld,
Robert Karnes and Gene Nelson) in Gentlemans Agreement.
In 1947, Hollywood used the screen to take microscopic looks at
minority groups and prejudice running rampant in the United
States; one of the most successful was Gentlemans Agreement,
based on Laura Z. Hobsons powerful novel about a writer who
poses as a Jew for six months in order to research a series of
articles he intends to write on anti-Semitism. The cast included
Dorothy McGuire, Anne Revere, Albert Dekker, June Havoc, Jane
Wyatt, Dean Stockwell and Sam Jaffe. Celeste Holm, in her third
screen role, won the Academy Award as a compassionate friend
of the writer; she was later nominated for Academy Awards in
1949 (for Come to the Stable) and again in 1950 (for All about
Eve). Kazan himself later said he felt Gentlemans skated over
the surface of an issue that needed a more penetrating treatment, but 1947 audiences and critics found it potent drama, a
deft mix of preachment with entertainment.
95
be s t a ct or : RONALD COLMAN as Anthony John in A

Double Life (Universal-International; directed by George
Cukor). Ronald Colman won his rst recognition in the movies
silent era opposite Lillian Gish in The White Sister (1923) and
received ever-wider popularity when the screen learned to speak,
due to his unique, resonant voice. On the celebration of his 25th
year as a star, he had one of his most demanding roles, as an
actor so immersed in playing Othello that his stage character
begins to take possession of his offscreen personality. A Double
Life was written by Ruth Gordon and Garson Kanin, co-starred
Signe Hasso and Edmond OBrien and gave Shelley Winters her
rst important screen role as a waitress murdered by the actor.
Shakespearean veteran Walter Hampden coached Colman for the
slices of Othello incorporated into the lm. At left, Colman as
the actor in performance.
8/8/13 7:23 PM
Nominations 1947
T HE BI SHOP S W I FE, Goldwyn, RKO Radio.

CROSSFI RE, RKO Radio.
* GENT LEM AN S AGREEM EN T , 20th Century-Fox.
GREAT EX P ECT AT I ONS, Rank-Cineguild, U-I
(British).
M I RACLE ON 34 T H ST REET , 20th Century-Fox.
A C TO R
* RON ALD COLM AN in A Double Life, Kanin, U-I.

JOHN GARFI ELD in Body and Soul, Enterprise, UA.
GREGORY P ECK in Gentlemans Agreement, 20th
Century-Fox.
W I LLI AM P OW ELL in Life with Father, Warner Bros.
M I CHAEL RED GRAVE in Mourning Becomes Electra,
RKO Radio.
(color )
* BLACK NARCI SSU S, Rank-Archers, U-I (British). Jack

Cardiff.
LI FE W I T H FAT HER, Warner Bros. Peverell Marley and
William V. Skall.
M OT HER W ORE T I G H T S , 20th Century-Fox. Harry
Jackson.
S E T D E C O R ATION
(New classication)
(Winning art directors given statuettes; set decorator
of the winning lm given Academy plaque until 1955)
T HE FOX ES OF HAR R O W , 20th Century-Fox. Lyle
Wheeler and Maurice Ransford; Thomas Little and

Paul S. Fox.
* GREAT EX P ECT AT I O N S , Rank-Cineguild, U-I
JOAN CRAW FORD in Possessed, Warner Bros.
(British). John Bryan; Wilfred Shingleton.
SU SAN HAY W ARD in Smash UpThe Story of a Woman,
Wanger, U-I.
(color )
D OROT HY M CG U I RE in Gentlemans Agreement, 20th
* BLACK NARCI SSU S, Rank-Archers, U-I (British).
Century-Fox.
Alfred Junge; Alfred Junge.
ROSALI N D RU SSELL in Mourning Becomes Electra, RKO
LI FE W I T H FAT HER, Warner Bros. Robert M. Haas;
Radio.
George James Hopkins.
* LORETTA YOUNG in The Farmers Daughter, RKO Radio.
A C TR E S S
CHARLES BI CK FORD in The Farmers Daughter, RKO
Radio.
T HOM AS GOM EZ in Ride the Pink Horse, U-I.

* ED M U ND G W EN N in Miracle on 34th Street, 20th
Century-Fox.
ROBERT RY AN in Crossre, RKO Radio.

RI CHARD W I D M ARK in Kiss of Death, 20th Century-
Fox.
ET HEL BARRY M ORE in The Paradine Case, Vanguard,
Selznick Releasing Organization.

GLORI A GRAHAM E in Crossre, RKO Radio.
* CELEST E HOLM in Gentlemans Agreement, 20th
Century-Fox.
M ARJ ORI E M AI N in The Egg and I, U-I.
ANNE REVERE in Gentlemans Agreement, 20th
Century-Fox.
D I R E C TI N G
T HE BI SHOP S W I FE, Goldwyn, RKO Radio. Henry
Koster.
CROSSFI RE, RKO Radio. Edward Dmytryk.

A D OU BLE LI FE, Kanin, U-I. George Cukor.
* GENT LEM AN S AGREEM EN T , 20th Century-Fox. Elia
Kazan.
s p e c i al award : SHOE- SHINE from Italy (Lopert Films;

produced in Italy by Paolo W. Tamburella) received an Academy
Award from the Board of Governors because the high quality
of this Italian-made motion picture, brought to eloquent life in
a country scarred by war, is proof to the world that the creative
spirit can triumph over adversity. It was the rst time the Academy had specically honored a foreign-language lm. Directed
by Vittorio De Sica, Shoe-Shine was peopled with a cast of nonprofessional children and mirrored the struggle of two hungry,
homeless boys to survive on the streets after the fall of Fascism
in Italy. The gritty, realistic look of the lm, coming as it did on
the heels of Roberto Rossellinis Open City and other postwar
European pictures, was to have a major effect on altering the
glossy, glamourized look of Hollywood movies in the next decade.
96
(British). David Lean.
WR I TI N G
(mot ion p ict u r e s t or y)
A CAG E OF N I GHT I NGALES, Gaumont, Lopert Films
(French). Georges Chaperot and Ren Wheeler.

IT HAP P ENED ON FI FT H AVEN U E, Del Ruth, Allied
Artists. Herbert Clyde Lewis and Frederick Stephani.
K I SS OF D EAT H, 20th Century-Fox. Eleazar Lipsky.
* M I RACLE ON 34 T H ST REET , 20th Century-Fox.
Valentine Davies.
SMASH- UPTHE STORY OF A WOMAN, Wanger, U-I.
Dorothy Parker and Frank Cavett.
F I LM E D I TI NG
T HE BI SHOP S W I FE , Goldwyn, RKO Radio. Monica
Collingwood.
* BOD Y AND SOU L, Enterprise, UA. Francis Lyon and
Robert Parrish.
G EN T LEM AN S AG R E E M E N T , 20th Century-Fox.
Harmon Jones.
G REEN D OLP HI N ST R E E T , M-G-M. George White.
OD D M AN OU T . Rank-Two Cities, U-I (British). Fergus
McDonell.
* GREEN D OLP HI N ST R E E T , M-G-M. Special Visual

Effects by A. Arnold Gillespie and Warren Newcombe.
Special Audible Effects by Douglas Shearer and
Michael Steinore.
U N CON Q U ERED , Paramount. Special Visual Effects by
Farciot Edouart, Devereux Jennings, Gordon Jennings,
Wallace Kelley and Paul Lerpae. Special Audible Effects
by George Dutton.
M US I C
(s on g )
A G AL I N CALI CO (The Time, the Place and the Girl,
Warner Bros.); Music by Arthur Schwartz. Lyrics by

Leo Robin.
I W I SH I D I D N T LO V E YO U S O (The Perils of Pauline,
Paramount); Music and Lyrics by Frank Loesser.
P ASS T HAT P EACE P I PE (Good News, M-G-M); Music
and Lyrics by Ralph Blane, Hugh Martin and Roger
Edens.
Y OU D O (Mother Wore Tights, 20th Century-Fox);
Music by Josef Myrow. Lyrics by Mack Gordon.
* Z I P - A- D EE- D OO- D A H (Song of the South, Disney, RKO
Radio); Music by Allie Wrubel. Lyrics by Ray Gilbert.
* T HE BACHELOR AND T HE BOBBY -SOX ER, RKO

Radio. Sidney Sheldon.
(mu s ic s cor e of a d ramatic o r c o med y pic ture)
BOD Y AND SOU L, Enterprise, UA. Abraham Polonsky.
T HE BI SHOP S W I FE , Goldwyn, RKO Radio. Hugo
A D OU BLE LI FE, Kanin, U-I. Ruth Gordon and Garson
Friedhofer.
Kanin.
CAP T AI N FROM CAS T I L E , 20th Century-Fox. Alfred
M ONSI EU R VERD OU X , Chaplin, UA. Charles Chaplin.
Newman.
SHOE- SHI N E, A.L.F.A. Cinematograca, Lopert Films
A D OU BLE LI FE, Kanin, U-I. Dr. Miklos Rozsa.
(Italian). Sergio Amidei, Adolfo Franci, C.G. Viola and *
FOREVER AM BER, 20th Century-Fox. David Raksin.
Cesare Zavattini.
LI FE W I T H FAT HER, Warner Bros. Max Steiner.
(s cr e e n p la y)
BOOM ERANG!, 20th Century-Fox. Richard Murphy.

CROSSFI RE, RKO Radio. John Paxton.
GENT LEM AN S AGREEM EN T , 20th Century-Fox.
Moss Hart.
(British). David Lean, Ronald Neame and Anthony

Havelock-Allan.
* M I RACLE ON 34 T H ST REET , 20th Century-Fox.
George Seaton.
T HE G HOST AND M RS. M U I R, 20th Century-Fox.
Charles Lang, Jr.
* GREAT EX P ECT AT I ONS, Rank-Cineguild, U-I

(British). Guy Green.
GREEN D OLP HI N ST REET , M-G-M. George Folsey.
* T HE BI SHOP S W I FE , Goldwyn, RKO Radio. Samuel

Director.
G REEN D OLP HI N ST R E E T , M-G-M. M-G-M Studio
T - M EN, Reliance Pictures, Eagle-Lion. Sound Service,
Inc., Jack R. Whitney, Sound Director.
(s cor in g of a mu s ical pic ture)
FI EST A, M-G-M. Johnny Green.

* M OT HER W ORE T I G H T S , 20th Century-Fox. Alfred
Newman.
M Y W I LD I RI SH ROS E , Warner Bros. Ray Heindorf
and Max Steiner.
ROAD T O RI O, Crosby-Hope, Paramount. Robert
Emmett Dolan.
SON G OF T HE SOU T H , Disney, RKO Radio. Daniele
Amtheatrof, Paul J. Smith and Charles Wolcott.
(ca r t oon s )
CHI P AN D ALE, Disney, RKO Radio. (Donald Duck).
D R. J EK Y LL AND M R . M O U S E , M-G-M. (Tom &
Jerry). Frederick Quimby, producer.
8/8/13 7:23 PM
P L UTO S BL U E NOTE, Disney, RKO Radio. (Pluto).

TU BBY THE TU BA, Paramount. (Puppetoon). George
Pal, producer.
* TW E E TIE P IE , Warner Bros. (Merrie Melodies
Tweety & Sylvester). Edward Selzer, producer.
(on e - re e l )
BR O O K L Y N, U .S . A. , Universal-International.
(Variety Views). Thomas Mead, producer.

* GO O D - BY E MIS S TURLOCK, M-G-M. (John Nesbitt
Passing Parade). Herbert Moulton, producer.
MO O N R O C K E TS, Paramount. (Popular Science).
Jerry Fairbanks, producer.
NO W Y O U S E E IT , M-G-M. (Pete Smith Specialty).
Pete Smith, producer.
SO Y O U W A NT T O B E IN PICTURES, Warner Bros.
(Joe McDoakes). Gordon Hollingshead, producer.
(t w o- re e l )
C HA MP A GNE F OR TWO, Paramount. (Musical
Parade Featurette). Harry Grey, producer.

* C L IMBING THE MATTERHORN, Monogram.
(Color). Irving Allen, producer.
FIGHT O F THE WILD STALLIONS, U-I. (Featurette).
Thomas Mead, producer.
GIVE US THE E A RTH, M-G-M. (Special). Herbert
Morgan, producer.
A VO IC E IS BO R N: THE STORY OF NIKLOS
GA FNI, Columbia. (Musical Featurette). Ben Blake,
producer.
D O CU M EN T AR Y
(s hort s ubj e c t s )
* F IR ST STE P S, United Nations Division of Films and

Visual Information. (Canada)
P ASSP ORT T O N OW HERE, RKO Pathe. (This Is
America Series). Frederic Ullman, Jr., producer.

SCHOOL I N T HE M AI LBOX , Australian News &
Information Bureau. (Australia)
(fe a t u r e s )
* D ESI G N FOR D EAT H, RKO Radio. Sid Rogell,

executive producer; Theron Warth and Richard O.
Fleischer, producers.
J OU RN EY I N T O M ED I CI NE, U.S. Department
of State Ofce of Information and Educational
Exchange.
T HE W ORLD I S RI CH, British Information Services.
Paul Rotha, producer.
T O J AM ES BASK ET T for his able and heart-warming
characterization of Uncle Remus, friend and story

teller to the children of the world, in Walt Disneys
Song of the South. (statuette)
T O B I LL A N D C O O , in which artistry and patience
blended in a novel and entertaining use of the
medium of motion pictures. (plaque)
T O SH O E - SH I N E the high quality of this Italian-made
motion picture, brought to eloquent life in a country
scarred by war, is proof to the world that the creative
spirit can triumph over adversity. (statuette)
T O COLONEL W I LLI AM N . SELI G , ALBERT E.
SM I T H, T HOM AS ARM AT , and GEORG E K .
SP OOR (one of) the small group of pioneers whose
belief in a new medium, and whose contributions

to its development, blazed the trail along which the
motion picture has progressed, in their lifetime, from
obscurity to world-wide acclaim. (statuettes)
(Universal-International; produced by
Ronald Neame) won Academy Awards for Guy Greens blackand-white cinematography and John Bryans black-and-white
art direction (with set decoration by Wilfred Shingleton) and
helped give a noticeable impetus to the popularity of British-made
GREAT EXPECTATIONS

None.
C. C. D AVI S and EL E C T R I C A L R E S E A R C H
P ROD U CT S D I V I S I O N O F W E S T E R N E L E C T R I C
CO. , for the development and application of an
improved lm drive lter mechanism.
C. R. D AI LY and the PA R A M O U N T S T U DI O F I L M
LABORAT ORY , S T I L L and E N G I N E E R I N G
D EP ART M EN T S for the development and rst
practical application to motion picture and still

photography of a method of increasing lm speed
as rst suggested to the industry by E.I. duPont de
Nemours & Co.
N AT HAN LEVI NSO N and the W A R N E R B R O S .
ST U D I O SOU ND DE PA R T M E N T ;
FARCI OT ED OU A R T , C . R . DA I L Y, H A L C O R L ,
H. G . CART W RI G H T , and the PA R A M O U N T
ST U D I O T RAN S PA R E N C Y and E N G I N E E R I N G
D EP ART M EN T S;
FRED P ONED EL of Warner Bros. Studio;
K U RT SI NGER and the R C A - V I C T O R DI V I S I O N O F
RAD I O CORP O R A T I O N O F A ME R I C A ;
J AM ES G I BBON S of Warner Bros. Studio.
lms in Americas general movie market. At the time, most lms

from England only found acceptance in specialized art houses.
It was based on the adventurous Charles Dickens novel and featured John Mills, Valerie Hobson, Alec Guinness, Jean Simmons,
and (above) Martita Hunt and Anthony Wager.
97
be s t s up p ort i n g a cto r : EDMUND GWENN as Kris Kringle (left, with Natalie Wood) in
Miracle on 34th Street (20th Century-Fox; directed by George Seaton). Is he or isnt he? In Valentine Daviess fresh and original story, the man hired to be Macys Santa Claus claims to be the real
thing, and even gets sent as far as the Supreme Court on the question of his sanity. Edmund Gwenn
won the Academy Award for his portrayal of Mr. Claus, alias Mr. Kringle, aided and abetted by
Maureen OHara, John Payne and Thelma Ritter, among others. Mr. Davies also won an Oscar for
his story.
s p e cia l a w a r d: JAMES BASKETT s easygoing embodiment of Uncle Remus made such an

impression on 1947 audiences that he was honored with a special Oscar at that years ceremonies.
Seen above with young admirers Bobby Driscoll and Luana Patten, Baskett, best known before
Song of the South as the fast-talking lawyer Gabby Gibson on radios Amos n Andy show, died
only four months after receiving his award.
8/8/13 7:23 PM
19481957
The Academys Third Decade
he war years (194245) had been a

period of prosperity for the motion
picture industry. Movie attendance
soared to 85 million paid admissions per
week, which had been the best nancial
news for lmmakers since the introduction
of sound in the late 1920s. But, when the
war ended, a multiplicity of problems hit
Hollywood that forced a complete revolution in the production and distribution of
lms. The effect on the industry, naturally,
had a corresponding effect on the Academy.
For many years, major studios had either
owned, been owned by, or been connected
to vast theater chains, insuring outlets for
their constant supply of product. It was an
unquestioned way of life for the companies,
as was block-booking, in which lms were
rented to theaters in multiple numbers, sold
by blocks, offering a guarantee of playdates
for weaker lms when packaged in a block
with several strong ones. However, after
the war, independent theater owners led
an antitrust suit against the studios, which
resulted in companies like Metro-GoldwynMayer (connected to Loews theater chain),
RKO Radio, Warner Bros., and 20th CenturyFox having to divest themselves of their
theater-chain afliations, and block-booking
was similarly declared illegal, both of which
cut off guaranteed incomes for the studios
at a time when production costs were rising
dramatically. Increasing taxes on personal
income also encouraged actors, writers and
directors to forego studio contracts for certain advantages offered by personal incorporation. Others were dropped by studios that
no longer felt nancially able to pay weekly

salaries except to those artists who were currently at work on a production. There was
confusion and upheaval everywhere because
now, for the rst time, in order to obtain top
talent, lm companies had to offer substantial salaries and percentages of pictures on a
regular basisrather than as an occasional
enticementwhich upped the cost of production budgets even higher.
The sudden popularity of television
also exploded during the Academys third
decade, although it had been a dark cloud
hovering over the industry as early as
1939. Wartime restrictions had limited
the development of television and thus
forestalled development of the formidable
competition for a time. However, once the
postwar manufacturing of sets resumed
and programming improvedadded to
the fact that television was free to viewers
once the initial investment in a receiver
was madeattendance in movie theaters
dropped sharply. It would have been enormously advantageous for the studios to
have controlled the new medium, but they
were thwarted by FCC regulations in their
attempts to gain a foothold; they were also
thwarted by the lack of vision of many in
high decision-making places.
Competition between the two giant mass
media appeared for a while to be a standoff.
In order to block television from gaining
any more ground, studios refused to permit
their stars to appear on any TV programs,
barred the use of lm clips on the airwaves
and stood guard over their most precious
C L A I RE T R E V O R
Thats what it meant to tough guy Bogart, too,

when he won for African Queen. I know because I
had presented an award and was one of the first to
see him when he came backstage clutching his Oscar,
beamingfull of glory!
98
There are many jokeslike what to say if you win.
Bogarts advice to me was Tell em you dont owe
anybody anythingyou did it all by yourself. This
was a few days before the awards when I won it for
Key Largo. He was playing it cool in his usual screw
you Bogart character.
So you try to play it cool and not care too much.
You go to the theater and you see almost everyone you
ever worked witheveryone youve always admired
and youre thrilled and nervous.
Then it narrows down to your category. There are
years between the announcement of each nominee,
and thenthe winners name.
Theres sort of an explosion which makes you half
dead and blind. Somehow you find yourself on the
stage and you begin to hear the applauseand it
doesnt stop! The proof is there, with every clap of the
hand, that these are my people, whom Ive worked
with and loved all my life, and they seem to love me
back!
Its hard to say anythingits hard not to cry. All
the dues paid are overwhelmingly worthwhile. Its
pure glory.
Claire Trevor
KARL MALDEN
To achieve within yourself the definition and understanding of a specific role is a challenge that, when
successfully met, brings a glowing personal satisfaction.
To have that achievement recognized by the craftsmen and actors of the motion picture industry is an
unrivaled thrill.
I received an Academy Award for a supporting role
in A Streetcar Named Desire when Oscar was only
twenty-four years old. I have not forgotten it. I never
will!
Karl Malden
8/8/13 7:24 PM
Judy Holliday, Jos Ferrer, Gloria Swanson, George Cukor, Celeste Holm (23rd Awards)
James Stewart, Olivia de Havilland, Broderick Crawford, Jane Wyman (22nd Awards)
99
HO AGY CAR M ICH A EL
Naturally, I was overjoyed at receiving my Oscar for

the song In the Cool, Cool, Cool of the Evening.
Im not sure that my lyricist, Johnny Mercer, was as
overjoyed as I because he already had a vulgar display
of three Oscars at his home from former years.
Possibly we didnt deserve it because we both forgot
to thank Jane Wyman and Danny Kaye for singing
it the night of the Oscar show, and Im not too sure
we thanked Jane and Bing for making it a hit in the
picture. On this occasion Johnny and I were pulling
together, but once we were worlds apart when his
song On the Atchison, Topeka and the Santa Fe beat
out my Ole Buttermilk Sky.
Hoagy Carmichael
Music (Song), 1951
JO HNNY GR EEN
Since November 16, 1944, the date on which the

Academy of Motion Picture Arts and Sciences invited
me to regular membership in its music branch, the
Academy and I have been going steady, having an
affair, a liaison, a constant assignationcall it what

you will. Like any intense romance, it has had its ups,
its downs, its highs, its lows, its tears and laughter
(much more of the latter than the former), its awful
problems with happy resolutions to most of them, its
violent lovers quarrels with equally violent kiss-andmake-up fests.
Dont ever sell Oscar short. Carpers, critics,
detractors and out-and-out slanderers come and go,
but Oscar sails on as the number one, most respected,
most prestigious award of its kind worldwide. For me,
no doorstop, no closet item he! My fourteen nominations and my five Oscars are on unashamedly proud,
conspicuous and constant display in my home and
office.
Ten times I have been music director and conductor
of the Awards show. Having been present at several
of the shows prior to my rst time on the podium,
and having been appalled at the number of missed
or delayed music cues, endless repetition of the same
meaningless fanfare, no real connection between the
music in the pit and the achievements being honored, I
am the one who dreamed up the actually simple device
by which the right music for the specic achievement

hits instantaneously with the last syllable of the
announcement of the winnerand this despite the
fact that the conductor and his players have absolutely no advance inkling of any kind as to who the
winner will be. The double whammy of this has been
that, while being regarded as some sort of a miracle of
precision, the device has been used as alleged evidence
that the secrecy of the Awards is a myth and that
of course, the conductor and the orchestra know in
advance. Year after year I have been interviewed by
every branch of the media (local, national and international) about this item. I have the impression that
the proper and showmanly catching of music cues is
nally being recognized for its true colors and is no
longer being regarded as a piece of crafty chicanery.
John Green
Music (Scoring of a Musical Picture),
1948; 1951; 1961
Producer (One-reel Short Subject), 1953
Music (Score of a Musical Picture
Original or Adaptation), 1968
8/8/13 7:24 PM
asset: the valuable backlog of feature lms

accumulating in the vaults since the movies
began. The deadlock was nally ended when
the studios, desperate for production funds
and feeling the pinch at the box ofce,
nally relented and allowed stars still under
contract to appear on certain television
projects. They also began to use the new
medium as a publicity tool for promoting
new motion pictures made for theatrical
showing. Further, they began releasing older
blocks of their feature lms to television,
and the once-distinct lines drawn between
the two media began disappearing dramatically. Probably no single thing made this
fact more apparent than the twenty-fth
Academy Awards presentation on March 19,
1953, when Hollywoods Oscar ceremony
was broadcast for the rst time on television. Movie attendance across the country
that night hit a new low, but the show collected the largest single audience in televisions ve-year commercial history, and the
Academy helped to underscore dramatically
the fact that the two media could possibly
work together for everyones mutual benet.
Thanks to that rst televised Awards gala,
a large chunk of the public had its rst opportunity to watch an Oscar ceremony in
progress, and saw more major stars and Hollywood creators on their television screens
than had ever been seen before. A majority
of the celebrities were making their live
television debuts that evening, and the collection of names either participating or attending was noteworthy, including the rst
two ladies to win Academy Awards, Janet
Gaynor and Mary Pickford, in addition to
movie names such as Loretta Young, Greer
Garson, Olivia de Havilland, Joan Fontaine,
Cecil B. DeMille, Gloria Swanson, Harold
Lloyd, Victor McLaglen, Luise Rainer, Paul
Muni, James Stewart, Ginger Rogers, Jane
Darwell, Donald Crisp, Teresa Wright,
Charles Coburn, Joan Crawford, Ray Milland, Fredric March, Anne Baxter, Ronald
Walter and John Huston (21st Awards)
Colman, Celeste Holm, Edmund Gwenn,

Jane Wyman, Claire Trevor, Broderick
Crawford, Dean Jagger, Kim Hunter, Darryl
F. Zanuck, Walt Disney, Frank Capra, Jean
Hersholt, Dimitri Tiomkin, Piper Laurie, Tex
Ritter, John Wayne, Shirley Booth, Gloria
Grahame, Bob Hope, and others. It set a
precedent that became an Academy tradition; the Oscar telecast became the one
television show, above all others, on which
even stars who usually shied from the TV

medium would willingly take part, without
payment, in order to support their industry.
The Academy also had another brush
with political involvement as its third
decade came to an end, brought about by
investigations that began in 1947 of Communist inltration into the motion picture
industry, conducted by the Committee on
Un-American Activities of the House of
100
RED BUTTO NS
I am proud to own an Oscar. Some of the greatest

people in the history of the world never got an Oscar.
Adamwho said in the Garden of Eden, Ive got
more ribs, have you got more girls?never got an
Oscar.
Moseswho said at the Red Sea, Surfs up!never
got an Oscar.
King Solomonwho said to his thousand wives,
For better service, take a numbernever got an
Oscar.
Amelia Earhartwho said, Stop looking for me; see
if you can find my luggagenever got an Oscar.
I repeat: I am proud to own an Oscar.
Red Buttons
DEL BERT MA N N
I am sure I was in a state of shock. I guess I couldnt

believe it was all real. I know that I lurched into the
wings without a word of thanks or appreciation to
anyone.
So I appreciate the opportunity to say thanks to

Paddy, to Harold Hecht, who believed in Marty so
completely, to Ernie Borgnine, Betsy Blair, Joe Mantell,
and the rest of that beautiful company of actors, to a
truly supportive staffPaul Helmick, Joe LaShelle, Ted
Haworth, and all the othersand most of all to my
mentor and teacher, Fred Coe, who launched me and
guided me and made my whole career possible.
I wish I had pulled myself together enough to say it
then. Im glad to say it now!
Delbert Mann
Best Director, 1955
KIM HUNTER
As thrilled as I was to win my Oscar, I question the

possibility of choosing Bests in any artistic eld. But
this occasion shouldnt go by without also cheering for
the countless individuals whove contributed as much
or more to the excellence of motion pictures without
receiving the Academys glamorous, ofcial accolade.
Kim Hunter
GENE KELLY
My relations with Oscar were always distant but

remain quite warm in my memory. Let me explain:
When I was nominated in 1945 for Anchors Aweigh,
I was away with the U.S. Naval Air Force. When I
was actually presented with a Special Oscar in 1952,
in appreciation of his versatility as an actor, singer,
director and dancer, and specifically for his brilliant
achievements in the art of choreography on film, I
was making a picture in Europe for M-G-M, and was
told the good news over the long-distance telephone.
That explains the distance factor, but the warmth, of
course, remains with me forever.
Gene Kelly
DEAN JAGGER
They said I would have to spend money advertising.

I didnt spend two cents . . . and when I won . . . it
was beautiful!
Dean Jagger
8/8/13 7:24 PM
Marlene Dietrich, Italian Consul Mario Ungaro (23rd Awards)
Humphrey Bogart, Claire Trevor (24th Awards)
March 19, 1953: Shirley Booth and the rst Oscar telecast
DANIEL TAR A D A S H
I am grateful indeed to the Academy for two of the

most thrilling moments in my life. Each was connected with an Oscar, one that I won, one that I
presented. The winner was for the Best Screenplay
(adaptation from another medium) for From Here to
Eternity. I cant say I was surprised because the film
already had won extraordinary critical acclaim and
commercial success, in part because it was based on a
bold book which, in 1953, just couldnt be made. Still,
among the other screenplays nominated in my category were those for Roman Holiday and Shane, and
these were certainly magnificent works of writing. So
I was on tenterhooks until Kirk Douglas announced
my name. And that moment, as Im sure every Oscar
winner will testify, is one you never forget.
The second Oscar delight came in 1972 when, as
President of the Academy, I presented a Special Honorary Academy Award (an Oscar statuette) to Charlie
Chaplin. To be part of the climactic moment which
included the return of Chaplin to Hollywood and the
Academy taking him to its heart was a thrill which is
still alive in my mind and will always continue to be.
Daniel Taradash
Writing (Screenplay), 1953
FRED ZINNEMANN
Everything went blank when I heard my name being

called as the Oscar winner for directing From Here to
Eternity. There seemed to be lots of applause coming
from far away throughout the Pantages Theatre, and
a blinding light shone on my head. I only came to
when I felt someone thump my back and shout Congratulations. It was a friend and fellow nominee,
George Stevens, who was seated directly behind me.
From then on, everything became a golden blur.
Fred Zinnemann
Producer (Documentary Short Subject), 1951
Best Picture, 1966
DIMITRI TIOMKIN
I remember so vividly the fun, the excitement, the

hopes and the natural disappointments leading to the
final days of the Academy Award presentations.
By nature I have always been a sucker for awards
and recognition. I like them both. They help me to
forget the necessary daily routine (or process of trying
to make money!). The Motion Picture Academy devel-
101
oped in its members a sense of trial and responsibility,

and a desire to better themselves. Now, in my old age,
I would like to express my thanks that providence gave
me the chance to participate, for so many years, in the
excitements, triumphs, and sorrows connected with
the results of that great night of Academy Awards
decisions.
God bless you all. Be happy, healthy, stubborn and
reasonable.
Dimitri Tiomkin
Music (Music Score of a Dramatic or Comedy
Picture), 1952; 1954; 1958
Music (Song), 1952
A L E C G U I N NES S
With the proliferation of awards in the cinema there

is only one that everyone knows about and that is the
Oscar, and it is the most highly prized of all.
Alec Guinness
Best Actor, 1957
8/8/13 7:24 PM
Representatives in Washington, D.C. At

these hearings, nineteen members of the
motion picture industry were called as
witnesses, and ten of them questioned the
committees right to interrogate, after which
they became known as the Unfriendly
Ten. Those ten were blacklisted from
employment within the motion picture
industry and, in June of 1950, received jail
sentences of up to one year. Though the
Academy stayed clear of the blacklisting
controversy, either directly or implied, it
became involved later when certain scripts
by writers involved in the so-called UnAmerican investigations became eligible for
Oscar consideration although their authors
were denied screen credit. This was based on
a 1952 agreement between individual studios
and the Screen Writers Guild. To avoid further confusion, at a meeting on February 6,
1957, the Academy revised a bylaw to read:
Any person who, before any duly constituted
Federal legislative committee or body, shall have
admitted that he is a member of the Communist
Party, (and has not since publicly renounced
the party) or who shall have refused to answer
whether or not he is, or was, a member of the
Communist Party, or who shall have refused to
respond to a subpoena to appear before such a committee or body, shall not be eligible for any Academy Award so long as he persists in such a refusal.
It was a gesture made in the spirit of the

political times, but it proved to be an embarrassment almost at once. The following
year, several Academy members, including
Academy President George Seaton, urged
the repeal of the rule and, on January 12,
1959, it was revoked by the Academys
Board of Governors. The Board issued an
ofcial statement calling the rule unworkable and impractical to administer and
enforce. The statement brought an ofcial
end to Hollywoods mystery-shrouded
blacklist era.
As the third decade drew to a close,
something new was also tried, briey. At the
1957 Academy Awards ceremony, for the rst
Marlon Brando, Bette Davis (27th Awards)
102
GRACE KEL L Y
Being nominated for an Academy Award by your fellow actors is quite an honor; winning one is a special
honor and a fantastic, though numbing, experience.
After the nominations are announced, speculation
begins and the fever mounts. This period of waiting
seems to bring out the best and worst in everyone connected with the business. No one nominated escapes
the jaundiced eye of criticism as to this ones worth
and that ones talent. Even the Academy takes it on
the nose. Why all this fuss? Is it really worthwhile?
How important is an Oscar anyway? So-and-so
never won an award and it didnt hurt her career, etc.
Besides, who needs it?
Well, I suppose no one really needs it; but, believe
me, it is awfully nice to have. When my turn came, I
was longing to win, and wanted to so badly that I was
afraid that I would stand up no matter which name
was read out. I said to Don Hartman of Paramount,
who was next to me, Hold me down, if it isnt my
name. And when it was, I kept asking him, Are you
sure, are you sure? Then, all I could think was, Just
try to get up there, Grace, without tripping. Well, I
managed to make it without tripping on my dress or

the steps, but didnt do so well on the speech.
Grace Kelly
Best Actress, 1954
AL A N J A Y L E R N E R
I have won three Oscars. The first was for the original screenplay for An American in Paris in 1951,
and I was not present because of an illness in the
family. When I was nominated for the screenplay and
song for Gigi in 1959, I was in the arena. I was more
astonished and more incredulous when I was not
there than when I was there, due, I suppose, to the
fact that I am ill at ease in the hot lights. I remember
feeling that no one knew how I feltbut, alas, today
I do not remember how I felt. But it must have been
lovely.
Alan Jay Lerner

Writing (Story and Screenplay), 1951
Writing (Screenplay, Adapted), 1958
Music (Song/Lyrics), 1958
E RN E ST B O RG NINE
It was one bet I hoped Id lose. I had wagered a grand

total of $1.98 with Jerry Lewis, who was the host of
that years show, that I wouldnt win. If you have an
opportunity to look at an old film clip of that evening,
you will notice that right after Grace Kelly opened the
envelope and said, And the winner is Ernest Borgnine, I rushed on stage and handed Jerry something.
What I handed him was 198 pennies wrapped in a red
sock belonging to my daughter. Two weeks later, when
my life was starting to return to normal, a telegram
arrived from Jerry saying, I saved the money, but
spent the sock!
Ernest Borgnine
Best Actor, 1955
E V A M A RI E SAINT
I received the Oscar and one day later gave birth to

Darrel. Both fellows have been a joy in my life.
Eva Marie Saint

8/8/13 7:24 PM
time, the motion picture industry itself

instead of commercial sponsorsbegan
nancing the annual Oscar telecasts, and
continued to do so for the telecasts honoring 1958 and 1959 achievements.
a c ad e my p r e s i de n t s
t he t hi r d d e ca de
May 1947May 1948 . . . . . . . . . . . . . . . . Jean Hersholt
May 1948May 1949. . . . . . . . . . . . . . . . Jean Hersholt
May 1949May 1950 . . . . . . . . . . . . . .Charles Brackett
June 1954May 1955 . . . . . . . . . . . . . .Charles Brackett
June 1955May 1956 . . . . . . . . . . . . . . . George Seaton
Judy Garland, Greer Garson, Jane Wyman at 1955s experimental telecast of the Oscar nominations
103
SAMMY CAHN
I really believe that I have lost more Oscars than

I have won (four, count them, four) and mainly
because the membership thinks I have won so many.
I actually lost thirteen straight times and was starting to feel like the eternal loser when I won for the
first time with Jule Styne for Three Coins in the
Fountain. But the losers are my favorite songs and
stories. I would like to ask the Board of Governors not
to seat the contestants in the same category together;
it really makes for over-politeness and lousy acting.
One year there we were seated behind our nemesis
(or is it nemesi?) the talented team of Livingston &
Evans. They were nominated for Buttons and Bows
and Nicholas Brodszky and I for Be My Love. Now
the contents of the Academy Awards envelopes are the
best-kept secrets of all award shows, and I always felt
that if I really was the winner someone would whisper in my ear, Relax, it is you! No one ever does. So
you devise little tricks of trying to catch a hint of the
result. That year I watched the lips of the presenter
after he had opened the envelope, and sure enough his
lips formed the letter B so Brodszky and I started to
rise when he said, Buttons and Bows. Of course we

slunk back in our seats, Brodszky snarling in my ear,
Its a fix! I smiled my customary losers smile and
said, If it were a fix, we would be up there! The last
time we thought we had a winner was the night when
the genius James Van Heusen and I were nominated
for Thoroughly Modern Millie, and the songs
against us were the formidable David and Bacharach
smash The Look of Love and an ingenious song called
Talk to the Animals. Wellthere we were, all the
contestants seated together. Bacharach turned to me
and said, Looks like its you again. I, half-lying because I did think it could be me again, said, No way,
you and Hal have never won and this has to be your
year! And so it went, No its you! and No its you!
until they announced the winner for the best scoring
of a musical, Elmer Bernstein! That could only mean
that Van Heusen and I had to win for Millie because
there just wasnt that much scoring to the film. By
now I am half meaning it when I say to Hal and Burt,
You two are a cinch! I am sure you know that the
winner was Talk to the Animals! Finally let me say
there is no thrill quite like the thrill of hearing the
man say and the winner is and walking to the stage

and being handed the Oscar. My cahn-tempt is total
for those who refuse it and for those who use it as a
doorstop! Some doorstop! Mine are proudly displayed
in my home, and I carry the miniature Oscars in my
pocket; they are the most marvelous worry-beads,
and I am never without them!
Sammy Cahn
Music (Song/Lyrics), 1954; 1957; 1959; 1963
J A N E W YM AN
On your twenty-first birthday, it was my great privilege to bring you to my home, having been honored by
you for my performance in Johnny Belinda.
Your artistic excellence and love have lived on
through the years only because of the integrity, challenge and respect you command among our peers.
I hope you continue to bring as much joy to others
as you did to me.
Jane Wyman
Best Actress, 1948
8/8/13 7:24 PM
Grace Kelly, William Holden and the press (27th Awards)
104
Cinematographer Robert Burks, Claudette Colbert (28th Awards)
F RANK SINAT R A
Ive been up and down in my life more often than a

roller coaster on the Fourth of July. At thirty-eight
years old, I was a has-been. Sitting by a phone that
wouldnt ring. Wondering what happened to all the
friends who grew invisible when the music stopped.
Finding out fast how tough it is to borrow money
when youre all washed up.
Yes, when 1953 slid down the pole in Times Square,
my only collateral was a dream. A dream to end my
nightmare. And what a dream it was.
It began when I dozed off after finishing an
absolutely fascinating book written by a giant, James
Jones. More than a book, it was a portrait of people
I knew, understood and could feel, and in it I saw
myself as clearly as I see myself every morning when
I shave. I was Maggio. No matter who said what, I
was Maggio, and Maggio was I. And I would prove it,
up there on the big screen. I would prove it no matter
how many tests I was asked to make, nor what the
money was. I was going to become Maggio if it was
the last thing I ever did in life.
It was that gifted actress Mercedes McCambridge
who woke me out of the dream. She stood there on
the stage of the old RKO Pantages with half the world
watching. I was never in better company than on
that night of March 25, 1954. Eddie Albert had been
brilliant in Roman Holiday. In Shane, Brandon De
Wilde and Jack Palance had more than proven they
were winners. And Bob Strauss had pulled off a tour
de force in Stalag 17.
But God chose to smile on me that night. Mercedes,
my dear, I dont know what was written on that
slip of paper, but Ill thank you eternally for saying:
And the winner is Frank Sinatra for From Here to
Eternity.
Its quite a dream. I still have it three nights a
week. Id have it seven nights a week, but I dont go to
bed four nights a week.
Talk about being born again. Its the one time
in my life when I had such happiness I couldnt
even share it with another human being. I ducked
the party, lost the crowds and took a walk. Just me
and Oscar. I think I relived my entire lifetime that
night as I walked up and down the streets of Beverly
Hills.
Even when the cop stopped me, he couldnt bring me
down to earth. He was very nice about it, although I
did have to wait till his partner got out of the cruiser
to assure him I was who I said I was and that I hadnt
stolen the statue I was carrying.
Since that night, the roller coaster evened out and
every day is the Fourth of July.
Yes, I started out the third decade of the Academy
of Motion Picture Arts and Sciences as the man least
likely and closed it out as a grateful human being,
given a second shot at life.
As far as my thoughts are now in retrospect,
I recall presenting a Special Oscar to Cary Grant
on behalf of the Academy in 1970. In his gracious
acceptance, Cary began by saying, Ours is a collaborative business. True. Very true. We all help each
other.
Just as armies of grips and boom men, lighting
men and extras helped me on the set of Eternity in
1953, so too, now on motion picture sets all over the
world, people in our industry are helping other people
in our industry. Just as Burt Lancaster, Monty Clift,
Deborah Kerr, Donna Reed, Ernie Borgnine and so
many other warm people pushed me up on that stage
of the Pantages by pushing me harder on the set in
Hawaii, other artists continue in the Fraternity
8/8/13 7:24 PM
Anna Magnani at a party in her honor at Paramounts ofce in Rome on March 22, 1956 (the day after the 28th Awards ceremony)
105
of Helpers which has long been the motion picture
industry.
God bless you all.
Frank Sinatra
Special Award, 1945
For me, an award from the Academy of Motion Picture Arts and Sciences is the most meaningful award
in the film world. I have won other awards but the
Academy Award is the one I treasure most.
Edmond OBrien
GLORIA GRAHAME
EDMO ND O BR IEN
If an actor does not have the right words, hell never

win anything.
I was lucky enough in The Barefoot Contessa to
have my words written, produced and directed by one
of the great talents of our time, Mr. Joseph Mankiewicz. He also wrote All about Eve, etc., etc.
One year before The Barefoot Contessa, Joe
Mankiewicz had directed me in his production of
Shakespeares Julius Caesar.
Joe Mankiewicz actually wrote the part in Contessa with me in mind. He sent me the script from
Connecticut. I read it, called him and said, Yes!
It takes great writing and directing to win an Academy Award. I had them both, thanks to Joe Mankiewicz.
My deepest feeling about the Oscar is that the people

with whom I worked liked what I did.
Gloria Grahame
M E R C E D E S M cC A M B RI D G E
Some women have a sable,

Some women have a yacht,
But my lovely golden Oscar
Not many women have got
And I am ever grateful.
Mercedes McCambridge
F R E D A ST A IRE
I am of course delighted to have received my Honorary

Academy Award given to me in 1949. Also to have
been nominated for Best Supporting Actor in 1974.
In my opinion the whole Oscar thing is an exciting
and inspiring experience for both the public and the
performers.
Fred Astaire
Special Award, 1949
YU L B R YN N E R
My advice:
1. Be content to be just nominated.
2. When your name is called out, make sure you
dont stumble on the way to the stage, which would
entitle you only to a cheap laugh.
3. Never prepare an acceptance speech until you
have your hands firmly on the Oscar, otherwise
it will be haunting you in the years to come as an
unfulfilled dream.
Yul Brynner
Best Actor, 1956
8/8/13 7:24 PM
106
Academy Secretary Johnny Green belatedly presents Vivien Leigh her 1951 award in London
JO VAN F L EET
I have very vivid and warm feelings about that eventful night that I won the Oscar for East of Eden. I
believe the voting was something different at that
time. I know I was competing against myself for the
nominations for Ill Cry Tomorrow and East of
Eden.
I was working at Paramount at the time on
Gunfight at the O.K. Corral. Edith Head kindly
helped me get an evening gown, stole, gloves, etc.
I was given a hair dryer in my dressing room, where
I made myself up, did my own hair and dressed. I
was picked up by Helen Roses limousine and was
escorted to the Awards ceremony by Sydney Guilleroff. The nominees for Best Supporting Actress were
seated near the rear of the theater. When my name
was called as having won, I simply did not hear it!
Mr. Guilleroff said, poking me in the ribs, Go on.
You won! And I ran all the way down the aisle and
up the steps. I was presented the Oscar by Edmond
OBrien, who was crying, and that almost made me
cry too. (I did later.)
As I said, it was totally unexpectedmy winning
that nightand I took great pride in the fact that
Miyoshi Umeki, Red Buttons (30th Awards)
I did not put an advertisement in the trade papers,

though I recall being asked to by some reporters, who
warned me that if I didnt advertise I had no chance
of winning!!
Later, Jerry Lewis kindly gave me a film clip of my
part of the ceremony, which I still have in my possession.
It was a great night, a beautiful experience and one
I shall never forget.
Jo Van Fleet
DOROTHY MALONE
CARRY ON!
At times when things seem perfect all about us,

And Lady Luck grants us a lucky star,
We must try to keep these memories forever,
For things cannot remain just as they are.
There are times when all our universe seems hopeless,
And all our hopes and dreams are smashed to bits.
It is then we have to keep our wits about us,
And strive against all odds to keep those wits!
For if all our happy moments were unending,

We wouldnt know the heartbreak when theyre gone,
And learn to grit our teeth at disappointment
To hold our head up high and carry on!
Dorothy Malone
JACK LEMMON
With whatever problems one faces in trying to decide

which of five different performances is the best, there
is still no question that the fortunate winner is receiving a very high honor indeed.
But there are many who may justifiably feel that
the nomination itself is an equal honor.
Though the craft of acting is basically geared to a
general audience acceptance, there is still the understandable and special pride that the actor feels when
his peers deem his efforts to be worthy of an Oscar.
Long may that joy persist.
Jack Lemmon
Best Actor, 1973
8/8/13 7:24 PM
Elizabeth Taylor, Walt Disney (26th Awards)
107
SIDNEY SHELD ON
In show business, where even the biggest names

go through up and down periods of being hot
and cold, there is one name that has always been
hotOscar. Everybody wants him. Come each
January, studios spend millions of dollars in trade
advertising, trying to coax Oscar onto their trophy
shelves. It is rumored that certain stars would kill to
get him. Myths and rumors surround Oscar: If you
win him youll never want again; if you win him,
youll never work again. Its all politics. Oscar
can be bought. Oscar night is a glamorous, rigged
spectacle. The nominees know in advance whos
going to win. The myths are exactly that. Myths.
It is true Oscar winners do go through dry spells
sometimes, but then, so do the losers. You cant
advertise your way to an Oscar, nor is he for sale. He
is awarded solely by the vote of ones peers.
As for knowing in advance who the winners are,
I can refute that from my own experience. When a
screenplay I wrote was nominated I was so sure I
would not win that I did not even bother to think
about an acceptance speech. When my name was
called, I was in a state of shock. I mumbled some
ridiculous acceptance speech, grabbed Oscar and fled.

No, the winners dont know in advance. The suspense
of the evening is legitimate.
Over the years, since the evening I received my
Oscar, I have been working on the acceptance speech I
would like to have given. It is witty and warm, touching and modest, yet filled with sincerity. It begins,
Ladies and gentlemen . . .
Sidney Sheldon
Writing (Original Screenplay), 1947
ELIA KAZAN
I resigned from the Academy because I dont believe in

lists, ten bests, awards and so on. The contrary fact
remains that I sure as hell enjoyed getting my two
Oscars. I wish the organization would become not
less, but more active, actually do more about the Motion Picture Arts and Sciences. Or does it and I dont
know about it?
Academy means Academy. The only thing I know
about the organization is the show it puts on once a
year, which I watch with the rest of the movie fans
and gossip hounds. Its sometimes fun, sometimes
silly and every once in a while grand. I dont think

the Academy is serious enough. At least whatever it
has tried to do of more worth has never filtered down
to me. Why hasnt it?
Elia Kazan
I R E N E SH A R AF F
I, of course, appreciate very much indeed the nominations and Oscars awarded me by the Academy and
am glad for this opportunity to thank warmly the
members of the Academy for noticing my work. It is
recognition also of the many people in the costume
departments and workrooms who worked with me
to produce the results on film. Many, many happy
returns to all of them, too!
Irene Sharaff
Costume Design (Color),
1951; 1956; 1961; 1963
Costume Design (Black-and-white), 1966
8/8/13 7:24 PM
1948
The Twenty-First Year
fter two Oscar presentations at the

Shrine Auditorium, the 1948 awards
party on March 24, 1949, was given
at the Academys own theater, a 985-seat
house. The primary reason for the change
of locales (and the loss of some 5,750
extra seats at the Shrine) was because the
major Hollywood studiosM-G-M, 20th
Century-Fox, Warner Bros., Paramount and
RKO Radiohad withdrawn their nancial
support of the awards in order to remove rumors that they had been trying to exert their
inuence on voters. The new, shrunken
seating capacity made it impossible to accommodate more than a fraction of those
who hoped to attend, and that last-minute
withdrawal of studio support had left no
time for Academy ofcials to raise the
needed funds to rent a larger location.
But the show went on, produced for the
Academy by William Dozier, with Johnny
Green as musical director and Robert Montgomery as master of ceremonies; presenters included the previous years winners
(Ronald Colman, Loretta Young, Edmund
Gwenn, Celeste Holm) plus new screen
beauties like Ava Gardner, Elizabeth Taylor
and Arlene Dahl. Warner Bros. dominated
the years nominations, with three of its
lmsJohnny Belinda, The Treasure of the
Sierra Madre and Key Largopulling in a
total of seventeen nominations.
But England clearly dominated Oscar
itself. Two British-made imports, Hamlet
and The Red Shoes, won six of the nights
awards, including Oscars to Hamlet as best
picture and to Laurence Olivier as best actor.
Douglas Fairbanks, Jr., accepted the award

for Olivier, who was in England.
Warner Bros. ultimately won ve awards:
Jane Wyman in Johnny Belinda as best
actress; Claire Trevor in Key Largo as best
supporting actress; and three awards for
Treasure, including two for John Huston (as
best director and for his screenplay) and
one for his father, Walter Huston, as best
supporting actor. Said the elder Huston in
his acceptance speech: Many, many years
ago, I raised a son and I said to him, If you
ever become a writer or director, please nd
a good part for your old man. Said Miss
Trevor: May my three sons grow up to give
their old lady a part. . . .
In their constant attempt to clarify awards
categories, and extend honors where justied, Academy ofcials decided in 1948 toat
lasthonor the eld of motion picture
costume design, an area long neglected by
Oscar. Nominees were separately classied
between color lms and those in black-andwhite, and the rst winners were Roger K.
Furse for Hamlet (black-and-white costume
design) and Dorothy Jeakins and Karinska
for Joan of Arc (color costume design).
108
(Warner Bros.;
produced by Henry Blanke) won Oscars for b es t di r ecto r :
JOHN HUSTON and (pictured with Humphrey Bogart and Tim
Holt) be s t s up p ort i n g a cto r : WALTER HUSTON as
Howard, a grizzled old-time prospector of an ill-fated expedition
for gold into the treacherous Sierra Madre terrain in Mexico.
Never before had a father-son team been similarly honored by
the Academy; son John also received an Oscar for Treasures best
screenplay. Thirty-seven years later, John also directed his daughter Anjelica into an Oscar, with 1985s Prizzis Honor.
THE TREASURE OF THE SIERRA MADRE
8/8/13 7:24 PM
be s t p i c t ure : HAMLET (Rank-Two Cities/UniversalInternational release; produced and directed by Laurence Olivier) and be s t ac t o r : LAURENCE OLIVIER as the Prince
of Denmark (above, dueling with Terence Morgan on the left)
in Hamlet. Not until the dynamic Olivier came along did the
movie medium seem a very advantageous place for Shakespeares
plays, although over sixty-six motion pictures had been based
on his works since Macbeth in the silent days of 1905. Olivier
seemed to have the key: he used the Bard as the basis for a movie
that moved, and turned his Hamlet not only into a rst-rate
suspense thriller but also into the rst lm from a foreign land to
win the Academys best picture award.
109
be s t a ct r e s s : JANE WYMAN as Belinda McDonald (left,

menaced by Stephen McNally) in Johnny Belinda (Warner
Bros.; directed by Jean Negulesco). As a stage play, Johnny Belinda had not been a success, but a movie adaptation produced by
Jerry Wald was one of 1948s most popular tickets, primarily due
to Jane Wymans pivotal performance as a deaf-mute farm girl
in rural Nova Scotia who is befriended by a country doctor (Lew
Ayres), who helps her through the birth of an illegitimate son she
names Johnny. Throughout the lms 102-minute running time,
she didnt speak a word, and later, in receiving her Oscar, she
said, I accept this very gratefully for keeping my mouth shut. I
think Ill do it again. . . .
8/8/13 7:24 PM
Nominations 1948
* HAM LET , Rank-Two Cities, U-I (British).

JOHNNY BELI N D A, Warner Bros.
T HE RED SHOES, Rank-Archers, Eagle-Lion (British).
T HE SNAK E P I T , 20th Century-Fox.
T HE T REASU RE OF T HE SI ERRA M AD RE, Warner
Bros.
A C TO R
LEW AY RES in Johnny Belinda, Warner Bros.

M ONT G OM ERY CLI FT in The Search, Praesens Films,
M-G-M (Swiss).
D AN D AI LEY in When My Baby Smiles at Me, 20th
Century-Fox.
* LAU RENCE OLI VI ER in Hamlet, Rank-Two Cities, U-I
(British).
CLI FT ON W EBB in Sitting Pretty, 20th Century-Fox.
A C TR E S S
IN G RI D BERGM AN in Joan of Arc, Sierra, RKO Radio.

OLI VI A D E HAVI LLAN D in The Snake Pit, 20th
Century-Fox.
IREN E D U NNE in I Remember Mama, RKO Radio.

BARBARA STANWYCK in Sorry, Wrong Number, Wallis,
Paramount.
* JAN E W Y M AN in Johnny Belinda, Warner Bros.
CHARLES BI CK FORD in Johnny Belinda, Warner Bros.

JOS FERRER in Joan of Arc, Sierra, RKO Radio.
OSCAR HOM OLK A in I Remember Mama, RKO Radio.
* W ALT ER HU ST ON in The Treasure of the Sierra Madre,
Warner Bros.
CECI L K ELLAW AY in The Luck of the Irish, 20th
Century-Fox.
BARBARA BEL G ED D ES in I Remember Mama, RKO
Radio.
ELLEN CORBY in I Remember Mama, RKO Radio.

AGNES M OOREHEAD in Johnny Belinda, Warner Bros.
JEAN SI M M ONS in Hamlet, Rank-Two Cities, U-I
be s t s up p ort i n g actr es s : CLAIRE TREVOR as Gaye

Dawn in Key Largo (Warner Bros.; directed by John Huston).
Long a Hollywood workhorse, and always a favorite with moviegoers, Claire Trevor won her Award playing the whiskey-soaked
mistress of a cruel gangster (Edward G. Robinson, above with
Trevor) on a rampage in Florida. She was also nominated for
Dead End in 1937, and in 1954 for The High and the Mighty.
(British).
* CLAI RE T REVOR in Key Largo, Warner Bros.
D I R E C TI N G
HAM LET , Rank-Two Cities, U-I (British). Laurence
Olivier.
JOHNNY BELI N D A, Warner Bros. Jean Negulesco.

T HE SEARCH, Praesens Films, M-G-M (Swiss). Fred
Zinnemann.
T HE SNAK E P I T , 20th Century-Fox. Anatole Litvak.

* T HE T REASU RE OF T HE SI ERRA M AD RE, Warner
Bros. John Huston.
A FOREI G N AFFAI R, Paramount. Charles B. Lang, Jr.

I REM EM BER M AM A, RKO Radio. Nicholas Musuraca.
JOHNNY BELI N D A, Warner Bros. Ted McCord.
* T HE N AK ED CI T Y , Hellinger, U-I. William Daniels.
P ORT RAI T OF J ENNI E, Vanguard, Selznick Releasing
Organization. Joseph August.
(color )
GREEN GRASS OF W Y OM I NG, 20th Century-Fox.
Charles G. Clarke.
* JOAN OF ARC, Sierra, RKO Radio. Joseph Valentine,
William V. Skall and Winton Hoch.
T HE LOVES OF CARM EN, Beckworth, Columbia.
William Snyder.
T HE T HREE M U SK ET EERS, M-G-M. Robert Planck.
110
WR I TI N G
(New classications)
LOU I SI ANA ST ORY , Robert Flaherty, Lopert. Frances
Flaherty and Robert Flaherty.
T HE N AK ED CI T Y , Hellinger, U-I. Malvin Wald.

RED RI VER, Monterey, UA. Borden Chase.
Emeric Pressburger.
* T HE SEARCH, Praesens Films, M-G-M (Swiss). Richard
Schweizer and David Wechsler.
(s cr e e n p la y)
A FOREI G N AFFAI R, Paramount. Charles Brackett,
Billy Wilder and Richard L. Breen.
JOHNNY BELI N D A, Warner Bros. Irmgard Von Cube
and Allen Vincent.
T HE SEARCH, Praesens Films, M-G-M (Swiss). Richard
Schweizer and David Wechsler.
T HE SNAK E P I T , 20th Century-Fox. Frank Partos and
Millen Brand.
* T HE T REASU RE OF T HE SI ERRA M AD RE, Warner

Bros. John Huston.
* HAM LET , Rank-Two Cities, U-I (British). Roger K. Furse;

Carmen Dillon.
J OHN N Y BELI ND A, Warner Bros. Robert Haas;
William Wallace.
(color )
J OAN OF ARC, Sierra, RKO Radio. Richard Day; Edwin
Casey Roberts and Joseph Kish.

* T HE RED SHOES, Rank-Archers, Eagle-Lion (British).
Hein Heckroth; Arthur Lawson.
C O S TUM E D ESIGN
(New category)
B. F. S D AU GHT ER, M-G-M. Irene.

* HAM LET , Rank-Two Cities, U-I (British). Roger K. Furse.
(color )
T HE EM P EROR W AL T Z, Paramount. Edith Head and
Gile Steele.
* J OAN OF ARC, Sierra, RKO Radio. Dorothy Jeakins and
Karinska.
J OHN N Y BELI ND A, Warner Bros. Warner Bros.
Studio Sound Dept., Col. Nathan Levinson, Sound

Director.
M OONRI SE, Grant, Republic. Republic Studio Sound
Dept., Daniel J. Bloomberg, Sound Director.
* T HE SNAK E P I T , 20th Century-Fox. 20th CenturyFox Studio Sound Dept., Thomas T. Moulton, Sound
Director.
F I LM E D I TI NG
J OAN OF ARC, Sierra, RKO Radio. Frank Sullivan.

J OHN N Y BELI ND A, Warner Bros. David Weisbart.
* T HE N AK ED CI T Y , Hellinger, U-I. Paul Weatherwax.
RED RI VER, Monterey, UA. Christian Nyby.
Reginald Mills.
D EEP W AT ERS, 20th Century-Fox. Special Visual
Effects by Ralph Hammeras, Fred Sersen and Edward

Snyder. Special Audible Effects by Roger Heman.
* P ORT RAI T OF J ENN I E , Vanguard, Selznick Releasing
Organization. Special Visual Effects by Paul Eagler,
J. McMillan Johnson, Russell Shearman and Clarence
Slifer. Special Audible Effects by Charles Freeman and
James G. Stewart.
(ca r t oon s )
* T HE LI T T LE ORP HAN , M-G-M (Tom & Jerry). Fred

Quimby, producer.
M I CK EY AN D T HE S E A L , Disney, RKO Radio. (Mickey
Mouse). Walt Disney, producer.
M OU SE W RECK ERS, Warner Bros. (Merrie Melodies
Hubie & Bertie). Edward Selzer, producer.
ROBI N HOOD LU M , UPA, Columbia. (Fox & Crow).
United Productions of America, producer.
T EA FOR T W O HU N DR E D, Disney, RKO Radio.
(Donald Duck). Walt Disney, producer.
(on e - r e e l)
AN N I E W AS A W ON DE R , M-G-M. (John Nesbitt
Passing Parade). Herbert Moulton, producer.
CI N D ERELLA HORS E , Warner Bros. (Sports Parade).
SO Y OU W AN T T O B E O N T H E R A DI O , Warner Bros.

* SY M P HON Y OF A CI T Y, 20th Century-Fox.
(Movietone Specialty). Edmund H. Reek, producer.
(Sweden)
Y OU CAN T W I N , M-G-M. (Pete Smith Specialty). Pete
Smith, producer.
(t w o- r e e l)
CALGARY ST AM P EDE , Warner Bros. (Technicolor
Special). Gordon Hollingshead, producer.
G OI N G T O BLAZ ES, Fact Film Organization, M-G-M.
(Theatre of Life). Herbert Morgan, producer.
SAM BA- M ANI A, Paramount. (Musical Parade
Featurette). Harry Grey, producer.

* SEAL I SLAN D , Disney, RKO Radio. (True Life
Adventure). Walt Disney, producer.
SNOW CAP ERS, U-I. (Special Series). Thomas Mead,
producer.
D O C UM E N TARY
HEART T O HEART , Fact Film Organization. (Theatre of
Life). Herbert Morgan, producer.
OP ERAT I ON VI T T LE S , U.S. Army Air Force.

* T OW ARD I ND EP EN DE N C E , U.S. Army.
8/8/13 7:24 PM
THE RED SHOES (Rank-Archers, released by Eagle-Lion; produced and directed by Michael Powell and Emeric Pressburger)
starred Moira Shearer (right, dancing The Red Shoes Ballet
with Robert Helpmann and Leonide Massine) and won Oscars
for color art direction and music score of a dramatic or comedy
picture. Like Hamlet, it was a British-made stunner which
elevated the movies postwar image and found great favor with
audiences and with Hollywoods Academy membership.
JOAN OF ARC (RKO Radio; produced by Walter Wanger) was

the rst lm to win an Oscar for color costume design; prior to
1948, the eld of costume design had not been honored by the
Academy. Joan of Arc also received a special award for producer
Wanger, and an Academy Award for color cinematography. It
starred Ingrid Bergman (right) as the Maid of Orleans who effected the coronation of Charles VII in 1429 amid court intrigue
and conspiracy.
(f e at ure s )
THE Q UIE T O NE , Film Documents, Mayer-Burstyn.
Janice Loeb, producer.

* THE SE C R E T L A ND, U.S. Navy, M-G-M. Orville O.
Dull, producer.
MUSIC
(s on g)
* BU TTO NS A ND B OWS (The Paleface, Paramount),

Music and Lyrics by Jay Livingston and Ray Evans.
FO R E VE R Y MA N THERES A WOMAN (Casbah,
Marston, U-I); Music by Harold Arlen. Lyrics by Leo
Robin.
IT S MA GIC (Romance on the High Seas, Curtiz,
Warner Bros.); Music by Jule Styne. Lyrics by Sammy
Cahn.
THIS IS THE MO MENT (That Lady in Ermine, 20th
Century-Fox); Music by Frederick Hollander. Lyrics
by Leo Robin.
THE W O O D Y W OODPECKER SONG (Wet Blanket
Policy, Lantz, UA. [Woody Woodpecker series]); Music
and Lyrics by Ramey Idriss and George Tibbles.
HA ML E T, Rank-Two Cities, U-I (British). William
Walton.
JO A N O F A R C , Sierra, RKO Radio. Hugo Friedhofer.

JO HNNY BE L INDA, Warner Bros. Max Steiner.
* THE R E D SHO E S , Rank-Archers, Eagle-Lion (British).
Brian Easdale.
THE S NA K E P IT, 20th Century-Fox. Alfred Newman.
* EAST ER P ARAD E, M-G-M. Johnny Green and Roger

Edens.
T HE EM P EROR W ALT Z , Paramount. Victor Young.
T HE P I RAT E, M-G-M. Lennie Hayton.
ROM AN CE ON T HE HI G H SEAS, Curtiz, Warner Bros.
Ray Heindorf.
W HEN M Y BABY SM I LES AT M E, 20th Century-Fox.
Alfred Newman.
T O M O N SI E U R V I N C E N T (French)voted by the
Academy Board of Governors as the most outstanding

foreign language lm released in the United States
during 1948. (statuette)
T O I VAN J AND L for the outstanding juvenile
performance of 1948 in The Search. (miniature
statuette)
T O SI D GRAU M AN , master showman, who raised the
standard of exhibition of motion pictures. (statuette)
T O AD OLP H Z U K OR, a man who has been called the
father of the feature lm in America, for his services to
the industry over a period of forty years. (statuette)
T O W ALT ER W ANGER for distinguished service to the
industry in adding to its moral stature in the world
community by his production of the picture Joan of
Arc. (statuette)
T O J EAN HERSHOLT , in recognition of his service
to the Academy during four terms as president.
(statuette) [Presented on Jean Hersholt Night,
June 26, 1949, at the Academy building.]

T O J ERRY W ALD
None.
VI CT OR CACCI AL A N ZA , M A U R I C E A YE R S , and
the P ARAM OU N T S T U DI O S E T C O N S T R U C T I O N
D EP ART M ENT for the development and application
111
of Paralite, a new lightweight plaster process for set

construction.
N I CK K ALT EN, LO U I S J . W I T T E , and the 20 T H
CEN T U RY - FOX S T U DI O ME C H A N I C A L E F F E C T S
D EP ART M ENT for a process of preserving and ame-
proong foliage.
M ART Y M ART I N , J A C K L A N N O N , R U S S E L L
SHEARM AN, and the R K O R A DI O S T U DI O
SP ECI AL EFFECT S DE PA R T M E N T ;
A. J . M ORAN and the W A R N E R B R O S . S T U DI O
ELECT RI CAL D E PA R T M E N T .
8/8/13 7:24 PM
1949
The Twenty-Second Year
n the late 1940s, Hollywoods entire approach to lmmaking began changing.

Studios dropped long-term star contracts, the inuence of television was growing, costs were being pared, new postwar
personalities were attracting attention, and
stark semidocumentary lms were gaining
popularity with audiences.
One thing didnt change: the Academys
appreciation of quality lms. On March 23,
1950, at the 1949 Academy Awards presentation, the most honored picture of the
year was Paramounts The Heiress with four
awards, including one to Olivia de Havilland as best actress, the second time she had
been so honored in three years. Columbias
stark, powerful All the Kings Men received
three awards (best picture, Broderick
Crawford as best actor, newcomer Mercedes
McCambridge as best supporting actress),
and A Letter to Three Wives won two, both
of them for Joseph L. Mankiewicz (as best
director and author of best screenplay).
Best supporting actor was Dean Jagger
in Twelve OClock High, a lm also honored
for its sound recording. The booming war
story Battleground won two awards: one for
Robert Piroshs story and screenplay, and
one for Paul C. Vogels black-and-white
cinematography.
The site for the awards was moved again,
for the third time in four years, this time to
the 2,812-seat RKO Pantages Theatre, the
biggest motion picture house in Hollywood.
The ceremony remained there for the next
eleven years. Paul Douglas, a longtime
stage veteran but new Hollywood name via
Mankiewiczs A Letter to Three Wives, was

the evenings emcee, and Johnny Green
turned over his musical baton to Robert
Emmett Dolan and was sole producer of the
Academy show.
Two other special awards provided the
evening with sizable impact, primarily
because they went to a pair of screen innovators who had never been honored before,
both of whom were helpful in keeping the
public on the big screen and away from that
(supposedly) threatening television box.
One went to Fred Astaire; it was presented
by Ginger Rogers, with whom he had been
reunited after a ten-year absence in 1949s
The Barkleys of Broadway. The other special award went to Cecil B. DeMille for his
thirty-seven years of screen showmanship;
Samson and Delilah, his rst new lm in two
years, had not been released in Los Angeles
in time for 1949 awards eligibility, but it was
helpful in bringing public focus to a grand
old lmmaker.
112
be s t p ict u r e : ALL THE KINGS MEN (Columbia; produced
and directed by Robert Rossen), and (at right) b est ac to r:
BRODERICK CRAWFORD as Willie Stark and b est supp or t in g a ct r e s s : MERCEDES MCCAMBRIDGE as Sadie
Burke in All the Kings Men. A bold and blunt drama based on
Robert Penn Warrens Pulitzer Prizewinning novel about a
corrupt political boss who bore a close resemblance to Louisianas
powerful Huey Long, stopped by an assassins bullet in 1935.
It was a rst lm for Mercedes McCambridge, a veteran radio
actress, and a bellringer for Crawford, whod made three dozen
lms before but never had such a meaty role to play. The cast
included Joanne Dru, John Ireland, John Derek and Shepperd
Strudwick (Rossen also wrote the screenplay).
8/8/13 7:24 PM
be s t a ct r e s s : OLIVIA DE HAVILLAND as Catherine Sloper (above, with Ralph Richardson) in

The Heiress (Paramount; directed by William Wyler). The Heiress was derived via a Broadway
play from Henry Jamess novel Washington Square, about an awkward girl of the 1850s dominated
by her wealthy father and bitterly disillusioned by a handsome fortune hunter, on whom she nally
gets sweet revenge. Olivia de Havilland brilliantly played the multifaceted woman and won the
second Academy Award of her career; the picture itself also won more Oscars than any other 1949
lm, including ones for art direction (black-and-white), costume design (black-and-white), and
music score.
113
saw Rogers and Astaire teamed together for the rst time in a
decade, in the tenth and last of their co-starring vehicles. Not the most distinguished picture in the
series, Barkleys was nevertheless the only one of the ten shot in color, and though it received not a
single music nomination it provided the occasion for a special career Oscar for the incomparable
Fred Astairemany of whose nest lms were still ahead of him.
THE BARKLEYS OF BROADWAY
8/8/13 7:24 PM
SHE WORE A YELLOW RIBBON (RKO Radio; directed by

John Ford) was a big-boned and Technicolored western with
John Wayne as a United States Cavalry captain leading troops
through dangerous Indian territory. It won Winton Hoch the

Oscar for color cinematography and remains one of the best-liked
lms in the Ford-Wayne list of collaborations.
114
be s t s up p ort i n g acto r : DEAN JAGGER as Major Stovall (above, with Gregory Peck) in
Twelve OClock High (20th Century-Fox; directed by Henry King). A personal production of
Darryl F. Zanuck, Twelve OClock High was a psychological drama of World War II, dealing with
problems inside an American bomber base in England; Jagger was a middle-aged major assigned to the
base that Peckas a young generalturns into an inspired, forceful unit.
be s t dir e ct or : JOSEPH L. MANKIEWICZ for A Letter to Three Wives (20th Century-Fox;

produced by Sol C. Siegel) presented Ann Sothern, Linda Darnell and Jeanne Crain as three wives
who receive a letter from a local friend informing them she has just run off with the husband of one.
But which one? An intriguing premise, artfully handled, A Letter also won a second 1949 Academy
Award for Mankiewicz: as author of the years best screenplay. The following year, with 1950s All
about Eve, he again won in the same two Oscar categories.
8/8/13 7:24 PM
T HE BI CY CLE T HI EF, De Sica, Mayer-Burstyn (Italian).
Nominations 1949
* A L L THE K ING S MEN, Rossen, Columbia.

BA TTL E GR O UND, M-G-M.
THE HE IR E S S , Paramount.
A L E TTE R TO THREE WIV ES, 20th Century-Fox.
TW E L VE O C L O CK H IGH, 20th Century-Fox.
A CT O R
* BR O D E R IC K C R AWFORD in All the Kings Men,

Rossen, Columbia.
K IR K D O UGL A S in Champion, Screen Plays Corp., UA.
GR E GO R Y P E C K in Twelve OClock High, 20th
Century-Fox.
R IC HA R D TO D D in The Hasty Heart, Warner Bros.
(United Kingdom)
JO HN W A Y NE in Sands of Iwo Jima, Republic.
A CT RES S
JE A NNE C R A IN in Pinky, 20th Century-Fox.

* O L IVIA D E HA VILLAND in The Heiress, Paramount.
SUS A N HA Y W A RD in My Foolish Heart, Goldwyn,
RKO Radio.
D E BO R A H KE R R in Edward, My Son, M-G-M. (United
Kingdom/U.S.A.)
L O R E TTA Y O UNG in Come to the Stable, 20th
Century-Fox.
JO HN IR E L A ND in All the Kings Men, Rossen,
Columbia.
* D E A N JA GGE R in Twelve OClock High, 20th CenturyFox.
A R THUR KE NNE DY in Champion, Screen Plays Corp.,
UA.
R A L P H R IC HA R DSON in The Heiress, Paramount.
JA ME S W HITMO RE in Battleground, M-G-M.
E THE L BA R R Y MORE in Pinky, 20th Century-Fox.

C E L E S TE HO L M in Come to the Stable, 20th Century-
Fox.
E L SA L A NC HE S TER in Come to the Stable, 20th
Century-Fox.
* ME R C E D E S MC CAMB RIDGE in All the Kings Men,
Rossen, Columbia.
E THE L W A TE R S in Pinky, 20th Century-Fox.
D I RECT I N G
A L L THE KING S MEN, Rossen, Columbia. Robert
Rossen.
BA TTL E GR O UND, M-G-M. William A. Wellman.

THE F A L L E N ID OL, London Films, Selznick Releasing
Organization (British). Carol Reed.

THE HE IR E S S , Paramount. William Wyler.
* A L E TTE R TO TH REE WIV ES, 20th Century-Fox.
Joseph L. Mankiewicz.
A RT D I REC T I ON
S ET D ECO R AT I ON
C O ME TO THE STAB LE, 20th Century-Fox. Lyle
Wheeler and Joseph C. Wright; Thomas Little and

Paul S. Fox.
* THE HE IR E SS , Paramount. John Meehan and Harry
Horner; Emile Kuri.
MA D A ME BO VA RY, M-G-M. Cedric Gibbons and
Jack Martin Smith; Edwin B. Willis and Richard A.
Pefferle.
(c ol or)
THE A D VE NTUR ES OF DON JUAN, Warner Bros.
Edward Carrere; Lyle Reifsnider.
* L ITTL E W O ME N, M-G-M. Cedric Gibbons and Paul

Groesse; Edwin B. Willis and Jack D. Moore.
SA R A BA ND , Rank-Ealing, Eagle-Lion (British). Jim
Morahan, William Kellner and Michael Relph.
W RI T I NG
(New classications)
(m ot i on p i c t ure s to r y )
C O ME TO THE STAB LE, 20th Century-Fox. Clare
Boothe Luce.
IT HA P P E NS E VE RY SPRING, 20th Century-Fox.
Shirley W. Smith and Valentine Davies.

SA ND S O F IW O J IMA, Republic. Harry Brown.
* THE STR A TTO N STORY, M-G-M. Douglas Morrow.
W HITE HE A T, Warner Bros. Virginia Kellogg.
(s c re e n p l ay)
A L L THE KING S MEN, Rossen, Columbia. Robert
Rossen.
Cesare Zavattini.
CHAM P I ON , Screen Plays Corp., UA. Carl Foreman.
T HE FALLEN I D OL, London Films, Selznick Releasing
Organization (British). Graham Greene.
* A LET T ER T O T HREE W I VES, 20th Century-Fox.
Joseph L. Mankiewicz.
(s t or y a n d s cr e e n p la y)
* BAT T LEG ROU ND , M-G-M. Robert Pirosh.

J OLSON SI NGS AG AI N, Buchman, Columbia. Sidney
Buchman.
P AI SAN , Rossellini, Mayer-Burstyn (Italian). Alfred
Hayes, Federico Fellini, Sergio Amidei, Marcello
Pagliero and Roberto Rossellini.
P ASSP ORT T O P I M LI CO, Rank-Ealing, Eagle-Lion
(British). T.E.B. Clarke.
T HE Q U I ET ONE, Film Documents, Mayer-Burstyn.
Helen Levitt, Janice Loeb and Sidney Meyers.
* BAT T LEG ROU ND , M-G-M. Paul C. Vogel.

CHAM P I ON , Screen Plays Corp., UA. Frank Planer.
COM E T O T HE ST ABLE, 20th Century-Fox. Joseph
LaShelle.
T HE HEI RESS, Paramount. Leo Tover.
P RI NCE OF FOX ES, 20th Century-Fox. Leon Shamroy.
T OY T I NK ERS, Disney, RKO Radio. (Donald Duck).
(on e - r e e l)
* AQ U AT I C HOU SE - PA R T Y, Paramount. (Grantland

Rice Sportlights). Jack Eaton, producer.
ROLLER D ERBY G I R L , Paramount. (Pacemaker).
Justin Herman, producer.
SO Y OU T HI N K YO U R E N O T G U I L T Y, Warner Bros.
SP I LLS AN D CHI L L S , Warner Bros. (Sports News
Review). Walton C. Ament, producer.
W AT ER T RI X , M-G-M. (Pete Smith Specialty). Pete
Smith, producer.
(t w o- r e e l)
T HE BOY AN D T H E E A G L E , RKO Pathe, RKO Radio.
William Lasky, producer.
CHASE OF D EAT H , Irving Allen Productions. (Color).
Irving Allen, producer.
T HE GRASS I S ALWA YS G R E E N E R , Warner Bros.
(Two-reel Black-and-White). Gordon Hollingshead,

producer.
SNOW CARNI VAL , Warner Bros. (Two-reel
Technicolor). Gordon Hollingshead, producer.
* VAN G OGH, Socit du Cinma du Panthon, CantonWeiner. Gaston Diehl and Robert Haessens, producers.
C O S TUM E DESIGN
(color )
(bla ck- a n d- w h it e)
D O C UM E N TARY
T HE BARK LEY S OF BROAD W AY , M-G-M. Harry
* T HE HEI RESS, Paramount. Edith Head and Gile Steele.

P RI N CE OF FOX E S , 20th Century-Fox. Vittorio Nino
Stradling.
J OLSON SI NGS AG AI N, Buchman, Columbia. William
Novarese.
Snyder.
(color )
LI T T LE W OM EN , M-G-M. Robert Planck and Charles
* T HE AD VENT U RES O F DO N J U A N , Warner Bros. Leah
Schoenbaum.
Rhodes, Travilla and Marjorie Best.
SAN D , 20th Century-Fox. Charles G. Clarke.
M OT HER I S A FRE S H MA N , 20th Century-Fox. Kay
* SHE W ORE A Y ELLOW RI BBON, Argosy, RKO Radio.
Nelson.
Winton Hoch.
ON CE M ORE, M Y D ARLI NG, Neptune Films, U-I.
Universal-International Studio Sound Dept., Leslie I.

Carey, Sound Director.
SAN D S OF I W O J I M A, Republic. Republic Studio
Sound Dept., Daniel J. Bloomberg, Sound Director.
* T W ELVE O CLOCK HI GH, 20th Century-Fox. 20th
Century-Fox Studio Sound Dept., Thomas T. Moulton,
Sound Director.
F I LM E D I TI N G
ALL T HE K I NG S M EN , Rossen, Columbia. Robert
Parrish and Al Clark.

BAT T LEG ROU ND , M-G-M. John Dunning.
* CHAM P I ON , Screen Plays Corp., UA. Harry Gerstad.
SAN D S OF I W O J I M A, Republic. Richard L. Van Enger.
T HE W I ND OW , RKO Radio. Frederic Knudtson.
* M I GHT Y J OE Y OU NG, ARKO Prods., RKO Radio.

T U LSA, Wanger, Eagle-Lion.
M US I C
(s on g )
* BABY , I T S COLD OU T SI D E (Neptunes Daughter,

M-G-M); Music and Lyrics by Frank Loesser.
I T S A GREAT FEELI N G (Its a Great Feeling, Warner
Bros.); Music by Jule Styne. Lyrics by Sammy Cahn.
LAVEN D ER BLU E (So Dear to My Heart, Disney, RKO
Radio); Music by Eliot Daniel. Lyrics by Larry Morey.
M Y FOOLI SH HEART (My Foolish Heart, Goldwyn,
RKO Radio); Music by Victor Young. Lyrics by Ned
Washington.
T HROU GH A LON G AN D SLEEP LESS NI G HT (Come
to the Stable, 20th Century-Fox); Music by Alfred
Newman. Lyrics by Mack Gordon.
BEY ON D T HE FOREST , Warner Bros. Max Steiner.

CHAM P I ON , Screen Plays Corp., UA. Dimitri Tiomkin.
* T HE HEI RESS, Paramount. Aaron Copland.
J OLSON SI NGS AG AI N, Buchman, Columbia. Morris
Stoloff and George Duning.
LOOK FOR T HE SI LVER LI N I NG, Warner Bros. Ray
Heindorf.
* ON T HE T OW N, M-G-M. Roger Edens and Lennie
Hayton.
(ca r t oon s )
* FOR SCENT - I M ENT AL REASON S, Warner Bros.

(Merrie MelodiesPepe LePew). Edward Selzer,
producer.
HAT CH U P Y OU R T ROU BLES, M-G-M. (Tom & Jerry).
Fred Quimby, producer.
T HE M AGI C FLU K E, UPA, Columbia. (Fox & Crow).
Stephen Bosustow, producer.
* A CHAN CE T O LI V E , The March of Time, 20th

Century-Fox. Richard de Rochemont, producer.
1848 , A.F. Films. French Cinema General Cooperative,
producer.
T HE RI SI N G T I D E , National Film Board of Canada. St.
Francis-Xavier University (Nova Scotia), producer.
* SO M U CH FOR SO L I T T L E , Warner Bros. Cartoons,
Warner Bros. Edward Selzer, producer.
(fe a t u r e s )
* D AY BREAK I N U D I , British Information Services.

Crown Film Unit, producer.
K EN J I COM ES HO M E , Protestant Film Commission.
Paul F. Heard, producer.
T O T H E B I C Y C LE T H I E F (Italian)voted by the
Academy Board of Governors as the most outstanding

foreign language lm released in the United States
T O BOBBY D RI SC O L L , as the outstanding juvenile
actor of 1949. (miniature statuette)
T O FRED AST AI RE for his unique artistry and his
contributions to the technique of musical pictures.
(statuette)
T O CECI L B. D EM I L L E , distinguished motion picture
pioneer, for 37 years of brilliant showmanship.
(statuette)
T O J EAN HERSHO L T , for distinguished service to the
motion picture industry. (statuette)

115
EAST M AN K OD AK C O . for the development and
introduction of an improved safety base motion

picture lm.
None.
LOREN L. RY D ER , B R U C E H . DE N N E Y, R O B E R T
CARR, and the PA R A M O U N T S T U DI O S O U N D
D EP ART M EN T ;
M . B. P AU L;
HERBERT E. BRI T T ;
AND RE COU T ANT and J A C Q U E S M A T H O T ;
CHARLES R. D AI L Y, S T E V E C S I L L A G , and
the P ARAM OU N T S T U DI O E N G I N E E R I N G ,
ED I T ORI AL and M U S I C DE PA R T M E N T S ;
I NT ERN AT I ONAL PR O J E C T O R C O R P. ;
ALEX AND ER VELC O F F .
8/8/13 7:24 PM
1950
The Twenty-Third Year
ollywood took some sharp jabs at

the world of the legitimate theater
in 1950s All about Eve, then told
some equally painful truths about itself in
Sunset Blvd., easily two of the best lms of
the year. Between them, they were nominated for twenty-ve Academy Awards. Eve,
in fact, became Oscars most-nominated
lm to that date, with fourteen acknowledgments, competing with itself in the
categories best actress (Bette Davis and
Anne Baxter) and best supporting actress
(Celeste Holm and Thelma Ritter). There
was an abundance of other good work, too:
Born Yesterday (ve nominations), Samson
and Delilah (ve), The Third Man (three),
Father of the Bride (three), The Asphalt Jungle
(four), Annie Get Your Gun (four), King
Solomons Mines (three), and Adams Rib
(one), among others.
When awards were handed out on
March 29, 1951, at the RKO Pantages
Theatre in Hollywood, Eve and Sunset still
held center stage with the biggest Oscar
totals for the year. All about Eve was honored
with six awards, including best picture,
best director (Joseph L. Mankiewicz), and
best supporting actor (George Sanders).
Mankiewicz also won for best screenplay,
making the second year in a row he had won
in both the director and screenplay categories. Sunset Blvd. received three awards: best
story and screenplay, best art direction and
best dramatic score.
The world of the theater was also evident
in the evenings other acting awards. Judy
Holliday was named best actress for Born
Yesterday, a role she had played extensively

on the Broadway stage. Jos Ferrer was chosen best actor for Cyrano de Bergerac, which
he had also played before on the boards.
The same is true of Josephine Hull, named
best supporting actress for Harvey. Louis B.
Mayer, outgoing head of the M-G-M Studio
empire, was voted an honorary Oscar for his
distinguished service to the motion picture
industry, and the Franco-Italian The Walls of
Malapaga received an honorary award as the
years outstanding foreign language lm.
The ceremony itself was produced by
Richard L. Breen and hosted by Fred Astaire,
but most of the winners (and several nominees) who were currently in New York plays
held their own party at the La Zambra caf
there, listening to the results on an ABC radio broadcast. Back in Hollywood, Marlene
Dietrich wore a dress that exposed the famous Dietrich legs to the knee and stole the
show as she climbed the stairs to the stage
to present an award. Thanks to Dietrich,
the evening was blessed with showmanship,
just as 1950 had been brightened by some
superior lms.
116
SUNSET BLVD. (Paramount; produced by Charles Brackett)
gave Hollywood the same kind of naked examination All about
Eve gave to Broadway with Gloria Swanson (right) as a pasttense movie queen unable to make a transition into private life
as a human being. It was directed by Billy Wilder, co-starred
William Holden, Erich von Stroheim and Nancy Olson, and won
three Oscars, including writing statuettes for Wilder, Brackett
and D.M. Marshman, Jr. Sunset Blvd. also helped make
moviegoing decidedly worthwhile in the days when television
was beginning to grab a foothold on the affectionand the
pocketbooksof audiences.
8/8/13 7:24 PM
be s t p i c t ure : ALL ABOUT EVE (20th Century-Fox; produced

by Darryl F. Zanuck), b es t d i r ecto r : JOSEPH L. MANKIEWICZ, and be s t s up po r ti ng a cto r : GEORGE SANDERS
as Addison DeWitt (above, with Anne Baxter, Bette Davis and
Marilyn Monroe) in All about Eve. Mankiewicz used a Mary
Orr short story, The Wisdom of Eve, as a foundation for his
stingingly comic examination of the New York theatrical jungle

and came up with a creative and original zinger ultimately
nominated for a record fourteen Academy Awards, winning six of
them. All about Eve followed the intermingled lives of an aging
Broadway actress, a young director, a dedicated playwright, and
his nonprofessional wife as they are affected by a dangerously
ambitious young actress. Sanders won his Oscar as a cynical

critic who takes the girl under his wing. Everyone involved was
meticulously cast, including Celeste Holm, Hugh Marlowe, Gary
Merrill, Thelma Ritter and Gregory Ratoff.
117
best actor: JOS FERRER as Cyrano (above) in Cyrano de Bergerac (United Artists; directed
by Michael Gordon). Cyrano, produced by Stanley Kramer, was an adaptation of Edmond Rostands
famous love story about a poetic, swaggering swordsman in 17th-century Paris who possessed an
oversize nose and a secret passion for a damsel named Roxanne; in the title role Ferrer gave a robustly
appealing performance, wearing a lengthy 234-inch beak which was created by Josef and Gustaf
Norin. Earlier, Pierre Magnier had played Cyrano in a silent 1925 movie version, and Ferrer again
played him in a 1964 French lm, Cyrano and DArtagnan. Steve Martin played a modernized
Cyrano in a 1987 comedy version called Roxanne, and Grard Depardieu took on the role in 1990.
be s t a ct r e s s : JUDY HOLLIDAY as Billie Dawn in Born Yesterday (Columbia; directed by

George Cukor). Judy Holliday played Billie Dawn on the Broadway stage for three years and 1,200
performances to enormous success but almost didnt get the movie role; Columbia studio boss Harry
Cohn bought the property for Rita Hayworth, then spent two years also testing and considering
every other young actress in Hollywood. When she did play it on lm, Holliday was an instant
success as the dumb blonde mistress of a corrupt tycoon (Broderick Crawford) who is tutored by
a magazine writer (William Holden, above with Holliday) while visiting Washington, D.C., and
learns to think for herself.
8/8/13 7:25 PM
(M-G-M; produced by Sam Zimbalist). M-G-M actually took cast and crew to Africa to shoot
the major portions of this remake of H. Rider Haggards adventure classic about a safari into uncharted areas of the continent,
searching for a lost explorer who had gone hunting for the leg-
KING SOLOMONS MINES
endary diamond mine. It starred Stewart Granger, Deborah Kerr

and Richard Carlson (facing a rhino above), featured dozens
of Watusi natives, and won Oscars for color cinematography
by Robert Surtees and the lm editing of Ralph E. Winters and
Conrad A. Nervig.
THE THIRD MAN (Selznick Releasing Organization; directed by

Carol Reed) won an Oscar for Robert Kraskers cinematography
(black-and-white), most of it done on Viennas cobbled and
starkly colorful streets. Orson Welles (left) starred as a mystery
man named Harry Lime, involved in postwar black marketeering, while eerie zither music strummed The Third Man Theme
in the background. Graham Greene wrote the screenplay from
his own novel. The novella was published after the movie was
released.
118
be s t s u p p or t in g a ct ress: JOSEPHINE HULL as Veta

Louise Simmons in Harvey (Universal-International; directed
by Henry Koster). Josephine Hull had an extremely abbreviated
screen careeronly ve movies in the sound erabut two of those
appearances preserved on lm a pair of her most famous stage
roles: the sweet little poison-serving aunt in Arsenic and Old
Lace and (at left, surrounded by Billy Lynn and Victoria Horne)
in Harvey as the daffy, long-suffering sister of a man who chums
around with an invisible rabbit, for which she won an Academy
Award. Her nal lm, in 1951, was called The Lady from Texas.
8/8/13 7:25 PM
(color )
Nominations 1950
* A L L A BO UT E VE , 20th Century-Fox.
BO R N Y E STE R D AY, Columbia.
FA THE R O F THE B RIDE, M-G-M.
K ING SO L O MO N S MINES, M-G-M.
SUNS E T BL VD ., Paramount.
A CT O R
L O UIS C A L HE R N in The Magnicent Yankee, M-G-M.

* JO S F E R R E R in Cyrano de Bergerac, Kramer, UA.
W IL L IA M HO L D EN in Sunset Blvd., Paramount.
JA ME S STE W A R T in Harvey, U-I.
SP E NC E R TR A C Y in Father of the Bride, M-G-M.
A CT RES S
A NNE BA XTE R in All about Eve, 20th Century-Fox.

BE TTE D A VIS in All about Eve, 20th Century-Fox.
* JUD Y HO L L ID A Y in Born Yesterday, Columbia.
E L E A NO R P A R K ER in Caged, Warner Bros.
GL O R IA SW A NS ON in Sunset Blvd., Paramount.
JE F F C HA ND L E R in Broken Arrow, 20th Century-Fox.

E D MU ND GW E N N in Mister 880, 20th Century-Fox.
SA M JA FF E in The Asphalt Jungle, M-G-M.
* GE O R GE S A ND ERS in All about Eve, 20th Century-Fox.
E R IC H VO N STR OHEIM in Sunset Blvd., Paramount.
HO P E E ME R SO N in Caged, Warner Bros.

C E L E S TE HO L M in All about Eve, 20th Century-Fox.
* JO S E P HINE HU L L in Harvey, U-I.
NA NC Y O L S O N in Sunset Blvd., Paramount.
THE L MA R ITTE R in All about Eve, 20th Century-Fox.
D I RECT I N G
* A L L A BO UT E VE , 20th Century-Fox. Joseph L.

Mankiewicz.
THE A SP HA L T JUNGLE, M-G-M. John Huston.
BO R N Y E STE R D AY, Columbia. George Cukor.
SUNS E T BL VD ., Paramount. Billy Wilder.
THE THIR D MA N, Selznick-London Films, Selznick
Releasing Organization (British). Carol Reed.
W RI T I NG
(m ot i on p i c t ure s to r y )
BITTE R R IC E , Lux Films (Italian). Giuseppe De Santis
and Carlo Lizzani.
THE GUNF IGHTER, 20th Century-Fox. William Bowers
and Andre de Toth.
MY STE R Y STR E E T , M-G-M. Leonard Spigelgass.

* P A NIC IN THE S TREETS, 20th Century-Fox. Edna
Anhalt and Edward Anhalt.
W HE N W IL L IE C OMES MARCH ING HOME, 20th
Century-Fox. Sy Gomberg.
(s c re e n p l ay)
* A L L A BO UT E VE , 20th Century-Fox. Joseph L.

Mankiewicz.
THE A SP HA L T JUNGLE, M-G-M. Ben Maddow and
John Huston.
BO R N Y E STE R D AY, Columbia. Albert Mannheimer.
BR O K E N A R R O W, 20th Century-Fox. Albert Maltz.
FA THE R O F THE B RIDE, M-G-M. Frances Goodrich
and Albert Hackett.
(s t ory an d s c re enpl a y )
A D A M S R IB, M-G-M. Ruth Gordon and Garson
Kanin.
C A GE D , Warner Bros. Virginia Kellogg and Bernard C.
Schoenfeld.
THE ME N, Kramer, UA. Carl Foreman.
NO W A Y O U T, 20th Century-Fox. Joseph L.
Mankiewicz and Lesser Samuels.
* S UNS E T BL VD ., Paramount. Charles Brackett, Billy
Wilder and D.M. Marshman, Jr.
A L L A BO U T E VE , 20th Century-Fox. Milton Krasner.

THE A SP HA L T JUNGLE, M-G-M. Harold Rosson.
THE F UR IE S , Wallis, Paramount. Victor Milner.
SUNS E T BL VD ., Paramount. John F. Seitz.
* THE THIR D MA N, Selznick-London Films, Selznick
Releasing Organization (British). Robert Krasker.
ANNI E G ET Y OU R GU N, M-G-M. Charles Rosher.

BROK EN ARROW , 20th Century-Fox. Ernest Palmer.
T HE FLAM E AN D T HE ARROW , Norma-F.R., Warner
N O SAD SONGS F O R M E , Columbia. George Duning.

SAM SON AN D D E L I L A H , DeMille, Paramount. Victor
Young.
* SU N SET BLVD . , Paramount. Franz Waxman.
Bros. Ernest Haller.

(s cor in g of a music al pic ture)
* K I N G SOLOM ON S M I NES, M-G-M. Robert Surtees.
SAM SON AND D ELI LAH, DeMille, Paramount. George * ANNI E GET Y OU R G U N , M-G-M. Adolph Deutsch and
Roger Edens.
Barnes.
CI N D ERELLA, Disney, RKO Radio. Oliver Wallace and
Paul J. Smith.
I LL G ET BY , 20th Century-Fox. Lionel Newman.
S E T D E C O R A TI O N
T HREE LI T T LE W O R DS , M-G-M. Andr Previn.
T HE W EST P OI N T S T O R Y, Warner Bros. Ray Heindorf.
ALL ABOU T EVE, 20th Century-Fox. Lyle Wheeler and
George W. Davis; Thomas Little and Walter M. Scott.
S H O R T S UBJECTS
T HE RED D AN U BE, M-G-M. Cedric Gibbons and Hans
(ca r t oon s )
Peters; Edwin B. Willis and Hugh Hunt.
* GERALD M CBOI N G - B O I N G , UPA, Columbia. (Jolly
SU
N
SET
BLVD
.
,
Paramount.
Hans
Dreier
and
John
*
Frolics). Stephen Bosustow, producer.
Meehan; Sam Comer and Ray Moyer.
J ERRY S COU SI N , M-G-M. (Tom & Jerry). Fred
Quimby, producer.
(color )
T ROU BLE I N D EM N I T Y, UPA, Columbia. (Mister
ANNI E G ET Y OU R GU N, M-G-M. Cedric Gibbons and
Magoo). Stephen Bosustow, producer.
Paul Groesse; Edwin B. Willis and Richard A. Pefferle.
D EST I NAT I ON M OON, Pal, Eagle-Lion Classics. Ernst
(on e - r e e l)
Fegte; George Sawley.
BLAZ E BU ST ERS, Warner Bros. (Vitaphone Novelties).
* SAM SON AND D ELI LAH, DeMille, Paramount. Hans
Robert Youngson, producer.
Dreier and Walter Tyler; Sam Comer and Ray Moyer.
* GRAND AD OF RA C E S , Warner Bros. (Sports Parade).
C O S TUM E D E S I G N
W RONG W AY BUT C H , M-G-M. (Pete Smith
* ALL ABOU T EVE, 20th Century-Fox. Edith Head and
(t w o- r e e l)
Charles LeMaire.
G RAN D M A M OSE S , Falcon Films, Inc., A.F. Films.
BORN Y EST ERD AY , Columbia. Jean Louis.
Falcon Films, Inc., producer.
T HE M AGNI FI CENT Y ANK EE, M-G-M. Walter
Plunkett.
* I N BEAVER VALLE Y, Disney, RKO Radio. (True Life
(color )
M Y COU N T RY T I S O F T H E E , Warner Bros.
T HE BLACK ROSE, 20th Century-Fox (United
(Featurette). Gordon Hollingshead, producer.
Kingdom). Michael Whittaker.
* SAM SON AND D ELI LAH, DeMille, Paramount. Edith
D O C UM E N TARY
Head, Dorothy Jeakins, Elois Jenssen, Gile Steele and
Gwen Wakeling.
T HE FI GHT : SCI EN C E A G A I N S T C A N C E R , National
T HAT FORSY T E W OM AN , M-G-M. Walter Plunkett
Film Board of Canada in cooperation with the Medical
and Valles.
Film Institute of the Association of American Medical
Colleges (Canada/U.S.A.). Guy Glover, producer.

T HE ST AI RS, Film Documents, Inc.
* ALL ABOU T EVE, 20th Century-Fox. 20th Century* W HY K OREA? , 20th Century-Fox Movietone. Edmund
Fox Studio Sound Dept., Thomas T. Moulton, Sound
Reek, producer.
Director.
CI ND ERELLA, Disney, RKO Radio. Walt Disney Studio
(fe a t u r e s )
Sound Dept., C.O. Slyeld, Sound Director.
* T HE T I T AN: ST OR Y O F MI C H E L A N G E L O ,
LOU I SA, U-I. Universal-International Studio Sound
Michelangelo Co., Classic Pictures, Inc. Robert Snyder,
Dept., Leslie I. Carey, Sound Director.
producer.
OU R VERY OW N, Goldwyn, RKO Radio. Samuel
W I T H T HESE HAN DS , Promotional Films Co., Inc. Jack
Arnold and Lee Goodman, producers.
Director.
T RI O, Rank-Sydney Box, Paramount (British).
HONORARY AND OTHER AWARDS
Pinewood Studio Sound Dept., Cyril Crowhurst, Sound
(New classication)
Director.
T O G EORGE M U R PH Y for his services in interpreting
the lm industry to the country at large. (statuette)
F I LM E D I TI N G
T O LOU I S B. M AY E R for distinguished service to the
ALL ABOU T EVE, 20th Century-Fox. Barbara McLean.
ANNI E G ET Y OU R GU N, M-G-M. James E. Newcom.
T O T H E WA LLS OF M AL APAG A (Franco-Italian)
* K I N G SOLOM ON S M I NES, M-G-M. Ralph E. Winters
voted by the Board of Governors as the most
and Conrad A. Nervig.
outstanding foreign language lm released in the
SU N SET BLVD . , Paramount. Arthur Schmidt and
United States in 1950. (statuette)
Doane Harrison.
T HE T HI RD M AN , Selznick-London Films, Selznick
Releasing Organization (British). Oswald
Hafenrichter.
T O D ARRY L F. Z A N U C K
* D EST I NAT I ON M OON, Pal, Eagle-Lion Classics.

SAM SON AND D ELI LAH, DeMille, Paramount.
M US I C
(s on g )
BE M Y LOVE (The Toast of New Orleans, M-G-M);
Music by Nicholas Brodszky. Lyrics by Sammy Cahn.
BI BBI D I - BOBBI D I - BOO (Cinderella, Disney, RKO
Radio); Music and Lyrics by Mack David, Al Hoffman

and Jerry Livingston.
* M ONA LI SA (Captain Carey, U.S.A., Paramount); Music
and Lyrics by Ray Evans and Jay Livingston.
M U LE T RAI N (Singing Guns, Palomar Pictures,
Republic); Music and Lyrics by Fred Glickman, Hy
Heath and Johnny Lange.
W I LHELM I N A (Wabash Avenue, 20th Century-Fox);
Music by Josef Myrow. Lyrics by Mack Gordon.
ALL ABOU T EVE, 20th Century-Fox. Alfred Newman.

T HE FLAM E AN D T HE ARROW , Norma-F.R., Warner
None.
119
J AM ES B. G ORD O N and the 20 T H C E N T U R Y- F O X
ST U D I O CAM ER A DE PA R T ME N T for the design and
development of a multiple image lm viewer.
J OHN P AU L LI VA DA R Y, F L O YD C A M PB E L L , L . W .
RU SSELL, and the C O L U MB I A S T U DI O S O U N D
D EP ART M ENT for the development of a multi-track
magnetic re-recording system.
LOREN L. RY D ER and the PA R A MO U N T S T U DI O

SOU ND D EP ART ME N T for the rst studio-wide
application of magnetic sound recording to motion

picture production.
None.
Bros. Max Steiner.
8/8/13 7:25 PM
1951
The Twenty-Fourth Year
umphrey Bogart won his one and

only Academy Award at the 1951
awards ceremony, held March 20,
1952, at the RKO Pantages Theatre in Hollywood. It obviously rattled the famous tough
guy, who had gone to the ceremony, he told
friends, expecting Marlon Brando to win.
But the unexpected has always been a fascinating ingredient of the Academy Awards
story. No matter what fortunetellers, Ouija
boards and the crystal ball may predict,
every year seems to produce a lively upset
or two to make Oscar-watching especially
interesting. Said Bogart when he received
the best actor award for The African Queen,
Its a long way from the Belgian Congo to
the Pantages Theatre, but Id rather be here
than there.
Another major surprise occurred in
1951 when Jesse L. Lasky opened the sealed
envelope and announced the musical An
American in Paris as the years best picture; only twice before had a musical been
voted the Academys highest accolade (The
Broadway Melody in 192829, The Great
Ziegfeld in 1936). Most awards-watchers
predicted one of two heavy dramaseither
A Streetcar Named Desire or A Place in the
Sunwould be honored. Even M-G-M,
producers of the winning lm, were
caught off guard, and ran a whimsical
trade advertisement afterwards which had
a caricature of the studios Leo the Lion
trademark looking modestly at an Oscar
statue, saying with some embarrassment,
Honestly, I was just standing in the Sun
waiting for A Streetcar.
Danny Kaye was emcee for the program;

it was produced by Arthur Freed, with
Johnny Green as musical director (and a
set designed by Mitchell Leisen). A Streetcar
Named Desire became the rst motion picture to win three awards for acting: Vivien
Leigh was named the years best actress, Karl
Malden was chosen best supporting actor,
and Kim Hunter was announced as best
supporting actress. Miss Leigh was in New
York, co-starring with husband Laurence
Olivier in a stage production of Antony and
Cleopatra, and heard the news via radio.
Special Oscars were voted to Japans
Rashomon as the outstanding foreign language lm, and to Gene Kelly for his screen
versatility and choreographic contributions
to An American in Paris. Paris and A Place in
the Sun tied for the most wins of the night,
with six each. No one knew it at the time,
but something else unexpected was about to
happen: after this year, television cameras
would be a permanent part of the Academy
Awards story.
120
be s t p i c t ure : AN AMERICAN IN PARIS (M-G-M; produced
by Arthur Freed). Exuberant moviemaking at its do-re-mi best,
An American in Paris provedif proof was neededthat nobody
could make a musical quite like Hollywood, especially those artists in the prolic Arthur Freed unit at M-G-M. Vincente Minnelli directed, the score was wall-to-wall Gershwin, and Gene
Kelly starred with nineteen-year-old Leslie Caron from the Ballet
des Champs-lyses in Paris (right, in a portion of a 1712-minute
ballet sequence which climaxed the lm). The cast included Oscar
Levant, Nina Foch and Georges Guetary; the nale featured 120
dancers working in settings and styles patterned after paintings
of Paris by Utrillo, Toulouse-Lautrec, Dufy, Renoir, Rousseau
and Van Gogh.
8/8/13 7:25 PM
be s t ac t or: HUMPHREY BOGART as Charlie Allnut (above,

with Katharine Hepburn) in The African Queen (United
Artists; directed by John Huston). Bogart played a scruffy, ginloving vagabond aboard a thirty-foot river steamboat heading
down a thousand miles of uncharted, risky rivers in German

East Africa during World War I, battling the elements on one
hand and, on the other, a chatty spinster who is accompanying
him. Bogart was also nominated for Oscars in 1943 for Casa-
blanca and in 1954 for The Caine Mutiny, but made no secret
of the fact he was not generally in favor of awards for actors.
The only true test would be to have every actor play Hamlet and
decide who is best, he said.
121
A STREETCAR NAMED DESIRE (Warner Bros.; directed by Elia Kazan) was based on the powerful
play by Tennessee Williams and became the rst motion picture to win three Academy Awards for
acting, for (at left) be s t a ctr es s : VIVIEN LEIGH as Blanche DuBois, be s t s u p p or t in g
ac t re s s : KIM HUNTER (next to Leigh) as Stella Kowalski, and b est s u p p or t in g a ct or :
KARL MALDEN (at right of Leigh, Hunter and Peg Hillias). It marked the second Oscar for Vivien
Leigh, this time as a desperate, faded beauty who hides her sexual maladjustments beneath a coquettish and ladylike surface, then clashes with the animal honesty of her brother-in-law, played by
Marlon Brando. Kim Hunter played her sister; Malden, a would-be suitor.
8/8/13 7:25 PM
Nominations 1951
* AN AM ERI CAN I N P ARI S, M-G-M. Produced by

Arthur Freed.
D ECI SI ON BEFORE D AW N, 20th Century-Fox.
Produced by Anatole Litvak and Frank McCarthy.
A P LACE I N T HE SU N , Paramount. Produced by
George Stevens.
Q U O VAD I S, M-G-M. Produced by Sam Zimbalist.
A ST REET CAR NAM ED D ESI RE, Feldman, Warner
Bros. Produced by Charles K. Feldman.
A C TO R
* HU M P HREY BOG ART in The African Queen, Horizon,

UA (United Kingdom/U.S.A.).
M ARLON BRAN D O in A Streetcar Named Desire,
Feldman, Warner Bros.
M ONT G OM ERY CLI FT in A Place in the Sun,
Paramount.
ART HU R K EN N ED Y in Bright Victory, U-I.
FRED RI C M ARCH in Death of a Salesman, Kramer,
Columbia.
A C TR E S S
K AT HARI NE HEP BU RN in The African Queen, Horizon,
UA (United Kingdom/U.S.A.).
* VI VI EN LEI G H in A Streetcar Named Desire, Feldman,
Warner Bros.
ELEANOR P ARK ER in Detective Story, Paramount.
SHELLEY W I N T ERS in A Place in the Sun, Paramount.
JAN E W Y M AN in The Blue Veil, Wald-Krasna, RKO
Radio.
LEO G EN N in Quo Vadis, M-G-M.

K EVI N M CCART HY in Death of a Salesman, Kramer,
Columbia.
* K ARL M ALD EN in A Streetcar Named Desire, Feldman,

Warner Bros.
P ET ER U ST I N OV in Quo Vadis, M-G-M.
GI G Y OU N G in Come Fill the Cup, Warner Bros.
JOAN BLOND ELL in The Blue Veil, Wald-Krasna, RKO
Radio.
s p e c i al award : RASHOMON (Japanese; produced by Jingo

Minoura) received an Oscar statuette from the Board of Governors as the outstanding foreign language lm released during
1951. It starred Toshiro Mifune and Machiko Kyo (above) and
told the story of a bandit attack and rape from three individual
viewpoints. In 1964, director Martin Ritt used Rashomon as the
basis for The Outrage, with Paul Newman and Claire Bloom.
M I LD RED D U N N OCK in Death of a Salesman, Kramer,
Columbia.
LEE GRANT in Detective Story, Paramount.

* K I M HU NT ER in A Streetcar Named Desire, Feldman,
Warner Bros.
T HELM A RI T T ER in The Mating Season, Paramount.
D I R E C TI N G
T HE AFRI CAN Q U EEN, Horizon, UA (United
Kingdom/U.S.A.). John Huston.
AN AM ERI CAN I N P ARI S, M-G-M. Vincente Minnelli.

D ET ECT I VE ST ORY , Paramount. William Wyler.
* A P LACE I N T HE SU N , Paramount. George Stevens.
A ST REET CAR NAM ED D ESI RE, Feldman, Warner
Bros. Elia Kazan.
WR I TI N G
(mot ion p ict u r e s t o ry )
BU LLFI GHT ER AN D T H E L A DY, Republic. Budd
Boetticher and Ray Nazarro.
T HE FROGM EN , 20th Century-Fox. Oscar Millard.

HERE COM ES T HE G R O O M, Paramount. Robert
Riskin and Liam OBrien.

* SEVEN D AY S T O N O O N , Boulting Bros., MayerKingsley-Distinguished Films (British). Paul Dehn and
James Bernard.
T ERESA, M-G-M. Alfred Hayes and Stewart Stern.
(s cr e e n p la y)
T HE AFRI CAN Q U EE N , Horizon, UA (United
Kingdom/U.S.A.). James Agee and John Huston.
D ET ECT I VE ST ORY , Paramount. Philip Yordan and
Robert Wyler.
LA ROND E, Sacha Gordine, Commercial Pictures
(French). Jacques Natanson and Max Ophuls.

* A P LACE I N T HE SU N , Paramount. Michael Wilson
and Harry Brown.
A ST REET CAR N AM E D DE S I R E , Feldman, Warner
Bros. Tennessee Williams.
(s t or y a n d s cr e e n p lay )
* AN AM ERI CAN I N P A R I S , M-G-M. Alan Jay Lerner.

T HE BI G CARN I VAL , Paramount. Billy Wilder, Lesser
Samuels and Walter Newman.
D AVI D AN D BAT HSH E B A , 20th Century-Fox. Philip
Dunne.
G O FOR BROK E!, M-G-M. Robert Pirosh.
T HE W ELL, Popkin, UA. Clarence Greene and Russell
Rouse.
D EAT H OF A SALESM A N , Kramer, Columbia. Frank
Planer.
T HE FROGM EN , 20th Century-Fox. Norbert Brodine.

* A P LACE I N T HE SU N , Paramount. William C. Mellor.
ST RAN G ERS ON A T R A I N , Warner Bros. Robert Burks.
A ST REET CAR N AM E D DE S I R E , Feldman, Warner
Bros. Harry Stradling.
(color )
* AN AM ERI CAN I N P A R I S , M-G-M. Alfred Gilks; Ballet

Photography by John Alton.
D AVI D AN D BAT HSH E B A , 20th Century-Fox. Leon
Shamroy.
Q U O VAD I S, M-G-M. Robert Surtees and William V.
Skall.
SHOW BOAT , M-G-M. Charles Rosher.
W HEN W ORLD S CO L L I DE , Paramount. John F. Seitz
and W. Howard Greene.
FOU RT EEN HOU RS, 20th Century-Fox. Lyle Wheeler
and Leland Fuller; Thomas Little and Fred J. Rode.
HOU SE ON T ELEG RA PH H I L L , 20th Century-Fox. Lyle
Wheeler and John DeCuir; Thomas Little and Paul S.

Fox.
LA ROND E, Sacha Gordine, Commercial Pictures
(French). DEaubonne.
* A ST REET CAR NAM E D DE S I R E , Feldman, Warner
Bros. Richard Day; George James Hopkins.
T OO Y OU NG T O K I S S , M-G-M. Cedric Gibbons and
Paul Groesse; Edwin B. Willis and Jack D. Moore.
122
WHEN WORLDS COLLIDE (Paramount; produced by George

Pal) showed the havoc that happenedat least in the imagination of original authors Edwin Balmer and Philip Wyliewhen
another planet collided with Earth. It was voted an Oscar for
special effects under a new 1951 Academy ruling that specied
such an award would be presented only at such times there was
an outstanding achievement deserving to be honored.
8/8/13 7:25 PM
(c ol or)
* A N A ME R IC A N I N PARIS, M-G-M. Cedric Gibbons

and Preston Ames; Edwin B. Willis and Keogh
Gleason.
D A VID A ND BA T HSHEB A, 20th Century-Fox. Lyle
Wheeler and George Davis; Thomas Little and Paul S.
Fox.
O N THE R IVIE R A, 20th Century-Fox. Lyle Wheeler
and Leland Fuller; Thomas Little and Walter M. Scott;
Musical Settings: Joseph C. Wright.
Q U O VA D IS, M-G-M. William A. Horning, Cedric
Gibbons and Edward Carfagno; Hugh Hunt.
TA L E S O F HO F F MANN, Powell-Pressburger, Lopert
(British). Hein Heckroth.
(c art oon s )
L A MBE R T, THE SHEEPISH LION, Disney, RKO Radio.
(Special). Walt Disney, producer.
R O O TY TO O T TOOT, UPA, Columbia (Jolly Frolics).

* THE TW O MO U SEKETEERS, M-G-M. (Tom & Jerry).
Fred Quimby, producer.
(on e - re e l )
R ID IN THE R A ILS, Paramount. (Grantland Rice
THE S TO R Y O F T IME, A Signal Films Production
by Robert G. Lefngwell, Cornell Film Company

(British).
* W O R L D O F K ID S, Warner Bros. (Vitaphone
Novelties). Robert Youngson, producer.
(t w o- re e l )
BA L Z A C , Les Films du Compass, A.F. Films, Inc.
(French). Les Films du Compass, producer.
D A NGE R UND E R TH E SEA, U-I. Tom Mead, producer.

* NA TU R E S HA L F ACRE, Disney, RKO Radio. (True Life
D O CU M EN T AR Y
* BE NJY , Made by Fred Zinnemann with the cooperation

of Paramount Pictures Corp. for the Los Angeles
Orthopaedic Hospital.
O NE W HO C A ME B ACK, Owen Crump, producer.
(Film sponsored by the Disabled American Veterans,
in cooperation with the United States Department
of Defense and the Association of Motion Picture
Producers.)
THE S E E ING E Y E, Warner Bros. Gordon Hollingshead,
producer.
(f e at ure s )
I W A S A C O MMUNIST FOR THE F. B . I. , Warner Bros.
Bryan Foy, producer.

* KO N- TIKI, Artlm Prod., RKO Radio (Norwegian).
Olle Nordemar, producer.
(n ot e : 1951 through 1953, Special Effects classied as

an other award [not necessarily given each year];
hence, no nominations.)
* W HE N W O R L D S COLLIDE, Paramount.
MUSIC
(s on g)
* IN THE C O O L , COOL, COOL OF THE EV ENING

(Here Comes the Groom, Paramount); Music by Hoagy
Carmichael. Lyrics by Johnny Mercer.
A K IS S TO BU IL D A DREAM ON (The Strip,
M-G-M); Music and Lyrics by Bert Kalmar, Harry
Ruby and Oscar Hammerstein II.
NE VE R (Golden Girl, 20th Century-Fox); Music by
Lionel Newman. Lyrics by Eliot Daniel.
TO O L A TE NO W (Royal Wedding, M-G-M); Music by
Burton Lane. Lyrics by Alan Jay Lerner.
W O ND E R W HY (Rich, Young and Pretty, M-G-M);
Music by Nicholas Brodszky. Lyrics by Sammy
Cahn.
D A VID A ND BA T HSHEB A, 20th Century-Fox. Alfred
Newman.
D E A TH O F A SA LESMAN, Kramer, Columbia. Alex
North.
* A P L A C E IN THE SUN, Paramount. Franz Waxman.
Q U O VA D IS, M-G-M. Miklos Rozsa.
A STR E E TC A R NAMED DESIRE, Feldman, Warner
Bros. Alex North.
A L IC E IN W O NDERLAND, Disney, RKO Radio. Oliver
Wallace.
* A N A ME R IC A N I N PARIS, M-G-M. Johnny Green and

Saul Chaplin.
THE GR E A T C A R USO, M-G-M. Peter Herman Adler
and Johnny Green.
O N THE R IVIE R A, 20th Century-Fox. Alfred
Newman.
be s t dir e ct or : GEORGE STEVENS (at left, directing

Montgomery Clift and Elizabeth Taylor) for A Place in the
Sun, an adaptation of Theodore Dreisers classic An American
Tragedy, which had earlier been lmed in 1931 by Paramount.
The dramatic A Place in the Sun gave enormous career boosts to
the popularity of Taylor and Clift, but started Shelley Winters
on a new career of essaying young character roles. It also won

Oscars for screenplay (by Michael Wilson and Harry Brown),
cinematography (by William C. Mellor), dramatic music score
(by Franz Waxman), lm editing (by William Hornbeck), and
costume design (by Edith Head).
SHOW BOAT , M-G-M. Adolph Deutsch and Conrad
Salinger.
K I ND LAD Y , M-G-M. Walter Plunkett and Gile Steele.

T HE M OD EL AN D T HE M ARRI AG E BROK ER, 20th
Century-Fox. Charles LeMaire and Renie.
T HE M U D LARK , 20th Century-Fox (United Kingdom).
Edward Stevenson and Margaret Furse.

* A P LACE I N T HE SU N , Paramount. Edith Head.
A ST REET CAR N AM ED D ESI RE, Feldman, Warner
Bros. Lucinda Ballard.
(color )
* AN AM ERI CAN I N P ARI S, M-G-M. Orry-Kelly, Walter

Plunkett and Irene Sharaff.
D AVI D AN D BAT HSHEBA, 20th Century-Fox. Charles
LeMaire and Edward Stevenson.
T HE GREAT CARU SO, M-G-M. Helen Rose and Gile
Steele.
Q U O VAD I S, M-G-M. Herschel McCoy.
T ALES OF HOFFM AN N , Powell-Pressburger, Lopert
(British). Hein Heckroth.
BRI G HT VI CT ORY , U-I. Universal-International Studio
Sound Dept., Leslie I. Carey, Sound Director.

* T HE G REAT CARU SO, M-G-M. M-G-M Studio Sound
I W ANT Y OU , Goldwyn, RKO Radio. Samuel Goldwyn
Studio Sound Dept., Gordon Sawyer, Sound Director.
A ST REET CAR N AM ED D ESI RE, Feldman, Warner
Bros. Warner Bros. Studio Sound Dept., Col. Nathan
T W O T I CK ET S T O BROAD W AY , RKO Radio. RKO
Radio Studio Sound Dept., John O. Aalberg, Sound
Director.
F I LM E D I TI N G
AN AM ERI CAN I N P ARI S, M-G-M. Adrienne Fazan.

D ECI SI ON BEFORE D AW N , 20th Century-Fox.
Dorothy Spencer.
* A P LACE I N T HE SU N , Paramount. William Hornbeck.
Q U O VAD I S, M-G-M. Ralph E. Winters.
T HE W ELL, Popkin, UA. Chester Schaeffer.
T O G EN E K ELLY in appreciation of his versatility as an
actor, singer, director and dancer, and specically for

his brilliant achievements in the art of choreography
on lm. (statuette)
T O R A SH O M O N (Japanese)voted by the Board of
Governors as the most outstanding foreign language
lm released in the United States during 1951.
(statuette)

T O ART HU R FREE D
None.
G ORD ON J EN N I N G S , S . L . S T A N C L I F F E , and the
P ARAM OU NT S T U DI O S PE C I A L PH O T O G R A PH I C
and EN G I NEERI N G DE PA R T ME N T S for the design,
construction and application of a servo-operated

recording and repeating device.
OLI N L. D U P Y of M-G-M Studio for the design,
construction and application of a motion picture
reproducing system.
123
RAD I O CORP ORA T I O N O F A M E R I C A , V I C T O R

D I VI SI ON , for pioneering direct positive recording
with anticipatory noise reduction.
RI CHARD M . HAF F , F R A N K P. H E R R N F E L D,
GARLAND C. M I S E N E R , and the A N S C O F I L M
D I VI SI ON OF G E N E R A L A N I L I N E A N D F I L M
CORP . ;
FRED P ON ED EL, R A L PH A YR E S , and G E O R G E
BROW N of Warner Bros. Studio;
G LEN ROBI NSON and the ME T R O - G O L DW YN M AY ER ST U D I O C O N S T R U C T I O N DE PA R T ME N T ;
JACK GAYLORD and the METRO- GOLDWYN- MAYER
ST U D I O CONST R U C T I O N DE PA R T M E N T ;
CARLOS RI VAS of Metro-Goldwyn-Mayer Studio.
8/8/13 7:25 PM
1952
The Twenty-Fifth Year
elevision loomed as a frightening

ogre to most motion picture makers
in the early 1950s. Hollywood studio
bosses were justiably concerned with
the new mediums seemingly insatiable
appetite, and rightfully worried about the
publics growing interest in it as an entertainment source. Most studios went so far
as to forbid their contractees to work for
the competition, but sooner or later it was
inevitable the walls would come tumbling
down. It nally happened on March 19, 1953;
television cameras covered the twenty-fth
Academy Awards presentation, and they
have been an integral part of the Oscar story
every year since.
It happened partly by default. The Academy had consistently turned down requests
from the networks to buy the rights for TV
coverage of the annual show, mainly to help
protect the interests of the industry it represented. However, close to the time for the
1952 Oscar show to take form, several major
lm companies (Warner Bros., Columbia,
Universal-International and Republic)
refused to come up with their usual share of
expenses to help underwrite the ceremony.
The timing seemed right. Had NBC-RCA not
made a $100,000 bid for radio and TV rights
at that moment, there would have been no
Oscar ceremony that year.
The show itself worked remarkably well
for a rst-timer. The presentation originated
in Hollywood at the RKO Pantages Theatre
with Bob Hope as emcee. A companion
show took place in New York at the NBC
International Theatre, hosted by Conrad

Nagel. Cameras switched back and forth
from the two coasts, depending on which
city held the presenter, or the winner.
Johnny Green produced for the Academy,
with Adolph Deutsch as musical director.
Robert L. Welch produced for NBC-TV, and
William A. Bennington directed for the
network. The show was a refreshing novelty
for home viewers, unaccustomed to seeing
such a large collection of famous names,
and it received the largest single audience to
that date in televisions ve-year commercial history.
The Bad and the Beautiful won the most
Oscars of the night, a total of ve, including the best supporting actress award to
Gloria Grahame. Gary Cooper (in High
Noon) won the best actor award for the
second time in his career, and Anthony
Quinn was chosen best supporting actor
(for Viva Zapata!); both men were working
together on location in Mexico and absent
from the festivities in Hollywood. Shirley
Booth, in New York appearing on stage in
Time of the Cuckoo, was named best actress
for Come Back, Little Sheba and came close
to taking a public pratfall when she rushed
on stage to accept her award and momentarily stumbled. John Ford was named best
director for the fourth time in his career
(this one for The Quiet Man) and, also for
the fourth time, was not present to accept
his statuette. Once again, there was also a
major surprise when the best picture winner
was announced. Decidedly a dark horse,
124
be s t ac t or: GARY COOPER as Will Kane (right, with
Grace Kelly) in High Noon (United Artists; directed by Fred
Zinnemann). Cooper played a small-town marshal of the 1870s,
struggling to round up a posse that might help him deal with
four desperadoes arriving on a noon train to kill him; deserted
by former friends and misunderstood by his new bride, he is
forced to meet the gunmen singlehandedly. On the soundtrack,
an unseen Tex Ritter sang a plaintive lament, in the manner of a
Greek chorus, and High Noon became one of the years genuine
triumphs. It brought Cooper his second Academy Award (after
1941s Sergeant York) and also received awards for lm editing,
song, and music scoring of a drama.
8/8/13 7:25 PM
Cecil B. DeMilles The Greatest Show on

Earth was chosen, the rst DeMille movie
so honored by Oscar. The award was appropriately presented by another motion
picture pioneer, Mary Pickford.
be s t ac t re s s : SHIRLEY BOOTH as Lola Delaney (right,

with Burt Lancaster on the oor) in Come Back, Little Sheba
(Paramount; directed by Daniel Mann). In the 1950s, juicy
stage roles didnt often go to their original Broadway creators,
even when theyd had as much critical success as Shirley Booth
did playing Lola Delaney, a slovenly but good-hearted housewife
who endlessly waddles around her home, munching chocolates,
listening to radio soap operas, mourning her lost pup, Sheba, and
inadvertently driving her husband to drink. When Hal Wallis
transferred Sheba to lm, however, he cast it with an eye more
to interpretation than to box ofce and got botha brilliant
performance by Miss Booth in her rst lm role, and a successful
moneymaker as well.
125
be s t p i c t ure : THE GREATEST SHOW ON EARTH (Paramount; produced and directed by Cecil B. DeMille) was a 2-hour,
31-minute spectacle-drama using the Ringling Bros.-Barnum &
Bailey Circus as a backdropand as a focal point. Among the
cast were (at right) James Stewart as a clown hiding from the
police, Cornel Wilde as an aerial star who falls during a performance and dooms his career, and Charlton Heston as the circus
manager, struggling to keep the Big Top show going through
thick and thin. Other co-stars included Betty Hutton, Dorothy
Lamour, Gloria Grahame, Henry Wilcoxon and a tent full of
others contributing to the splashy, rousing entertainment. The
lm also won an Academy Award for its story, while DeMille
himselfHollywoods old master showmanreceived the 1952
Irving G. Thalberg Memorial Award for consistent high quality
of production.
8/8/13 7:25 PM
Nominations 1952
P AT AN D M I K E, M-G-M. Ruth Gordon and Garson
* T HE G REAT EST SHO W O N E A R T H , DeMille,

* T HE G REAT EST SHOW ON EART H, DeMille,
Paramount. Fredric M. Frank, Theodore St. John and
Paramount. Produced by Cecil B. DeMille.
Frank Cavett.
HIGH NOON, Kramer, UA. Produced by Stanley Kramer.
M Y SON J OHN , Rainbow, Paramount. Leo McCarey.
IVANHOE, M-G-M. Produced by Pandro S. Berman.
T HE NARROW M ARG I N , RKO Radio. Martin
M OU LI N ROU GE, Romulus, UA. Romulus Films.
Goldsmith and Jack Leonard.
T HE Q U I ET M AN, Argosy, Republic. Produced by John
T HE P RI D E OF ST . L O U I S , 20th Century-Fox. Guy
Ford and Merian C. Cooper.
Trosper.
T HE SN I P ER, Kramer, Columbia. Edna Anhalt and
A C TO R
Edward Anhalt.
M ARLON BRAN D O in Viva Zapata!, 20th Century-Fox.
* GARY COOP ER in High Noon, Kramer, UA.
(s cr e e n p la y)
K I RK D OU G LAS in The Bad and the Beautiful, M-G-M.
* T HE BAD AN D T HE B E A U T I F U L , M-G-M. Charles
JOS FERRER in Moulin Rouge, Romulus, UA.
Schnee.
ALEC G U I NNESS in The Lavender Hill Mob, RankFI VE FI NGERS, 20th Century-Fox. Michael Wilson.
Ealing, U-I. (British).
HI GH NOON, Kramer, UA. Carl Foreman.
T HE M AN I N T HE W H I T E S U I T , Rank-Ealing, U-I
A C TR E S S
(British). Roger MacDougall, John Dighton and
* SHI RLEY BOOT H in Come Back, Little Sheba, Wallis,
Alexander Mackendrick.
Paramount.
T HE Q U I ET M AN , Argosy, Republic. Frank S. Nugent.
JOAN CRAW FORD in Sudden Fear, Kaufman, RKO
Radio.
BET T E D AVI S in The Star, Friedlob, 20th Century-Fox.
T HE AT OM I C CI T Y , Paramount. Sydney Boehm.
JU LI E HARRI S in The Member of the Wedding, Kramer,
BREAK I N G T HE SOUN D B A R R I E R , London Films, UA
Columbia.
(British). Terence Rattigan.
SU SAN HAY W ARD in With a Song in My Heart, 20th
* T HE LAVEND ER HI L L MO B , Rank-Ealing, U-I
Century-Fox.
(British). T.E.B. Clarke.
RI CHARD BU RT ON in My Cousin Rachel, 20th
Century-Fox.
ART HU R HU N N I CU T T in The Big Sky, Winchester,
RKO Radio.
VI CT OR M CLAG LEN in The Quiet Man, Argosy,
Republic.
JACK P ALAN CE in Sudden Fear, Kaufman, RKO Radio.

* ANT HONY Q U I NN in Viva Zapata!, 20th Century-Fox.
b e s t d i re c t or: JOHN FORD for The Quiet Man (Argosy,

Republic; produced by Ford and Merian C. Cooper). John Wayne
starred as an ex-prizeghter from Pittsburgh who returns to his
Irish birthplace seeking peace and quiet and, instead, nds roughand-tumble problems with a marriageable spitre (Maureen
OHara, above with Wayne), and her ill-tempered brother (Victor
McLaglen). It was peopled with familiar Ford players (including
Barry Fitzgerald, Ward Bond, Mildred Natwick, Arthur Shields
and Francis Ford), lmed in Ireland in Technicolor, and acclaimed
as one of the years most robust delights. It also won Ford his
fourth Oscar for direction, the largest total won by an individual
in that category during Oscars rst 80 years.
* GLORI A GRAHAM E in The Bad and the Beautiful,

M-G-M.
JEAN HAG EN in Singin in the Rain, M-G-M.
COLET T E M ARCHAND in Moulin Rouge, Romulus, UA.
T ERRY M OORE in Come Back, Little Sheba, Wallis,
Paramount.
T HELM A RI T T ER in With a Song in My Heart, 20th
Century-Fox.
D I R E C TI N G
FI VE FI N G ERS, 20th Century-Fox. Joseph L.
Mankiewicz.
T HE G REAT EST SHOW ON EART H, DeMille,
Paramount. Cecil B. DeMille.
HI G H N OON , Kramer, UA. Fred Zinnemann.

M OU LI N ROU GE, Romulus, UA. John Huston.
* T HE Q U I ET M AN, Argosy, Republic. John Ford.
WR I TI N G
Kanin.
VI VA Z AP AT A!, 20th Century-Fox. John Steinbeck.
* T HE BAD AN D T HE B E A U T I F U L , M-G-M. Robert

Surtees.
T HE BI G SK Y , Winchester, RKO Radio. Russell Harlan.
M Y COU SI N RACHE L , 20th Century-Fox. Joseph
LaShelle.
N AVAJ O, Bartlett-Foster, Lippert. Virgil E. Miller.
SU D D EN FEAR, Kaufman, RKO Radio. Charles B.
Lang, Jr.
(color )
HAN S CHRI ST I AN A N DE R S E N , Goldwyn, RKO Radio.
Harry Stradling.
I VAN HOE, M-G-M. F.A. Young.

M I LLI ON D OLLAR M E R M A I D, M-G-M. George J.
Folsey.
* T HE Q U I ET M AN, Argosy, Republic. Winton C. Hoch
and Archie Stout.
T HE SN OW S OF K I L I MA N J A R O , 20th Century-Fox.
Leon Shamroy.
* T HE BAD AN D T HE B E A U T I F U L , M-G-M. Cedric

Gibbons and Edward Carfagno; Edwin B. Willis and
Keogh Gleason.
CARRI E, Paramount. Hal Pereira and Roland Anderson;
Emile Kuri.
M Y COU SI N RACHE L , 20th Century-Fox. Lyle Wheeler
and John DeCuir; Walter M. Scott.
RASHOM ON , Daiei, RKO Radio (Japanese).
Matsuyama; H. Motsumoto.
VI VA Z AP AT A!, 20th Century-Fox. Lyle Wheeler and
Leland Fuller; Thomas Little and Claude Carpenter.
(color )
HAN S CHRI ST I AN A N DE R S E N , Goldwyn, RKO Radio.
Richard Day and Clave; Howard Bristol.
126
T HE M ERRY W I D OW , M-G-M. Cedric Gibbons and
Paul Groesse; Edwin B. Willis and Arthur Krams.

* M OU LI N ROU GE, Romulus, UA. Paul Sheriff; Marcel
Vertes.
T HE Q U I ET M AN , Argosy, Republic. Frank Hotaling;
John McCarthy, Jr., and Charles Thompson.
T HE SN OW S OF K I L I MA N J A R O , 20th Century-Fox.
Lyle Wheeler and John DeCuir; Thomas Little and
Paul S. Fox.
C O S TUM E D ESIGN
be s t s u p p or t in g a ct ress: GLORIA GRAHAME as Rosemary Bartlow (left, with Dick Powell) in The Bad and the
Beautiful (M-G-M; directed by Vincente Minnelli). It was a
productive year for the actress, with strong roles in four wellseen, well-liked releases: The Greatest Show on Earth, Sudden
Fear, Macao, and The Bad and the Beautiful. For the latter,
playing the coquettish Southern-belle wife of a novelist-turnedscreenwriter, she ofcially won her Academy Award. The Bad
was also the years most-honored lm by the Academy, winning
four additional awards.
8/8/13 7:25 PM
be s t s u p p or t in g ac to r: ANTHONY QUINN as Eufemio

Zapata (left, with Marlon Brando) in Viva Zapata! (20th
Century-Fox; directed by Elia Kazan). Quinn made his motion
picture debut in 1936s Parole and spent the next sixteen years
supporting everyone from Anna May Wong to Bing Crosby in
lucrative but lackluster roles; as the wild dissolute brother of
Mexican rebel leader Emiliano Zapata, he won his rst Academy
Award, a milestone in his prolic career.
D O C UM E N TARY
D EVI L T AK E U S, Theatre of Life Prod. (Theatre of Life).
T HE GARD EN SP I DE R ( E PE I R A DI A DE MA ) , Cristallo
A F F A IR IN TR INI DAD, Beckworth, Columbia. Jean
Louis.
* THE BA D A ND THE B EAUTIFUL, M-G-M. Helen

Rose.
C A R R IE , Paramount. Edith Head.
MY C O US IN R A CH EL, 20th Century-Fox. Charles
LeMaire and Dorothy Jeakins.
SUD D E N F E A R , Kaufman, RKO Radio. Sheila OBrien.
(c ol or)
THE GR E A TE S T SH OW ON EARTH, DeMille,
Paramount. Edith Head, Dorothy Jeakins and Miles

White.
HA NS C HR ISTIA N ANDERSEN, Goldwyn, RKO Radio.
Clave, Mary Wills and Madame Karinska.
THE ME R R Y W IDOW, M-G-M. Helen Rose and Gile
Steele.
* MO UL IN R O U GE, Romulus, UA. Marcel Vertes.
W ITH A S O NG IN MY H EART, 20th Century-Fox.
Charles LeMaire.
* BR E A KING THE SOUND B ARRIER, London Films,

UA (British). London Films Sound Dept.
HA NS C HR ISTIA N ANDERSEN, Goldwyn, RKO Radio.
Samuel Goldwyn Studio Sound Dept., Gordon Sawyer,
Sound Director.
THE P R O MO TE R, Rank-Neame, U-I (British).
Pinewood Studios Sound Dept.
THE Q UIE T MA N, Argosy, Republic. Republic Studio
Sound Dept., Daniel J. Bloomberg, Sound Director.
W ITH A S O NG IN MY H EART, 20th Century-Fox.
20th Century-Fox Studio Sound Dept., Thomas T.
F I LM ED I T I N G
C O ME BA C K , L IT TLE SHEB A, Wallis, Paramount.
Warren Low.
FL A T TO P , Monogram. William Austin.
THE GR E A TE S T SH OW ON EARTH, DeMille,
Paramount. Anne Bauchens.
* HIGH NO O N, Kramer, UA. Elmo Williams and Harry
Gerstad.
MO U L IN R O UGE, Romulus, UA. Ralph Kemplen.
( N O T E : 1951 through 1953, Special Effects classied as

* P L Y MO U TH A D VENTURE, M-G-M.
MUSIC
(s on g)
A M I IN L O VE (Son of Paleface, Hope, Paramount);
Music and Lyrics by Jack Brooks.

BE C A US E Y O U RE MINE (Because Youre Mine,
M-G-M); Music by Nicholas Brodszky. Lyrics by
Sammy Cahn.
* HIGH NO O N (D O NOT FORSAKE ME, OH MY
D ARLI N ) (High Noon, Kramer, UA); Music by
Dimitri Tiomkin. Lyrics by Ned Washington.
T HU M BELI N A (Hans Christian Andersen, Goldwyn,
RKO Radio); Music and Lyrics by Frank Loesser.
Z I N G A LI T T LE Z ONG (Just for You, Paramount);
Music by Harry Warren. Lyrics by Leo Robin.
* HI G H N OON , Kramer, UA. Dimitri Tiomkin.

I VAN HOE, M-G-M. Miklos Rozsa.
M I RACLE OF FAT I M A, Warner Bros. Max Steiner.
T HE T HI EF, Fran, UA. Herschel Burke Gilbert.
VI VA Z AP AT A!, 20th Century-Fox. Alex North.
HAN S CHRI ST I AN AN D ERSEN , Goldwyn, RKO Radio.
Walter Scharf.
T HE J AZ Z SI N G ER, Warner Bros. Ray Heindorf and
Max Steiner.
T HE M ED I U M , Translm, Lopert (Italian). Gian-Carlo
Menotti.
SI N G I N I N T HE RAI N, M-G-M. Lennie Hayton.

* W I T H A SONG I N M Y HEART , 20th Century-Fox.
Alfred Newman.
(ca r t oon s )
* J OHANN M OU SE, M-G-M. (Tom & Jerry). Fred

Quimby, producer.
LI T T LE J OHNNY J ET , M-G-M. (M-G-M Series). Fred
Quimby, producer.
M AD ELI NE, UPA, Columbia. (Jolly Frolics). Stephen
Bosustow, executive producer.
P I N K AN D BLU E BLU ES, UPA, Columbia. (Mister
Magoo). Stephen Bosustow, executive producer.
ROM AN CE OF T RAN SP ORT AT I ON, National Film
Board of Canada. (Canadian). Tom Daly, producer.
Films, I.F.E. Releasing Corp. (Italian). Alberto

Ancilotto, producer.
M AN ALI VE!, UPA for the American Cancer Society.
Stephen Bosustow, executive producer.
* NEI G HBOU RS, National Film Board of Canada,
Mayer-Kingsley, Inc. (Canadian). Norman McLaren,
producer.
(fe a t u r e s )
T HE HOAX T ERS, M-G-M. Dore Schary, producer.

N AVAJ O, Bartlett-Foster, Lippert. Hall Bartlett,
producer.
* T HE SEA AROU N D U S , RKO Radio. Irwin Allen,
producer.

T O G EORGE ALFR E D MI T C H E L L for the design and
development of the camera which bears his name and

for his continued and dominant presence in the eld
of cinematography. (statuette)
T O J OSEP H M . SC H E N C K for long and distinguished
service to the motion picture industry. (statuette)
T O M ERI AN C. CO O PE R for his many innovations
and contributions to the art of motion pictures.
(statuette)
T O HAROLD LLO YD, master comedian and good
citizen. (statuette)
T O BOB HOP E for his contribution to the laughter of
the world, his service to the motion picture industry,
and his devotion to the American premise. (statuette)
T O F O R B I DDE N GAM E S (French)Best Foreign
Language Film rst released in the United States

T O CECI L B. D EM I L L E
127
(on e - r e e l)
EAST M AN K OD AK C O . for the introduction of
Rice Sportlights). Jack Eaton, producer.

D ESERT K I LLER, Warner Bros. (Sports Parade).
AN SCO FI LM D I V I S I O N , G E N E R A L A N I L I N E A N D
FI LM CORP . , for the introduction of Ansco color
AT HLET ES OF T HE SAD D LE, Paramount. (Grantland
* LI G HT I N T HE W I N D OW : T HE ART OF VERM EER,

Art Film Prods., 20th Century-Fox. (Art Film Series).
Boris Vermont, producer.
N EI GHBOU RS, National Film Board of Canada,
Mayer-Kingsley, Inc. (Canadian). Norman McLaren,
producer.
ROY AL SCOT LAN D , Crown Film Unit, British
Information Services (British).
(t w o- r e e l)
BRI D GE OF T I M E, London Films, British Information
Services (British).
D EVI L T AK E U S, Theatre of Life Prod. (Theatre of Life).
T HAR SHE BLOW S!, Warner Bros. (Two-reel
Technicolor Special). Gordon Hollingshead, producer.

* W AT ER BI RD S, Disney, RKO Radio. (True Life
Eastman color negative and Eastman color print lm.
negative and Ansco color print lm.
T ECHN I COLOR M O T I O N PI C T U R E C O R P. for an
improved method of color motion picture photography

under incandescent light.
P ROJ ECT I ON, STI L L PH O T O G R A PH I C , and
D EVELOP M ENT E N G I N E E R I N G DE PA R T M E N T S of
M ET RO- G OLD W YN - MA YE R S T U DI O ;
J OHN G. FRAY NE and R . R . S C O V I L L E and W E S T R E X
CORP . ;
P HOT O RESEARC H C O R P. ;
G U ST AV J I ROU CH ;
CARLOS RI VAS of Metro-Goldwyn-Mayer Studio.
8/8/13 7:25 PM
1953
The Twenty-Sixth Year
he year 1953 had been one of great

Hollywood revitalization and
enthusiasm, most of it connected
to a wide-screen boom of Technicolored
CinemaScope projection methods and 3-D
gimmicks, which were heavily promoted to
lure audiences away from their television
sets at home. Curiously, however, the big
Oscar winners of the yearFrom Here to
Eternity, Roman Holiday, and Stalag 17were
all lmed in black-and-white, in standardsize ratios, sans gimmicks of any kind. Once
again, voters had obviously opted for quality,
rst and foremost.
On March 25, 1954, the night Hollywood
recognized screen achievements for 1953
movies, Frank Sinatra was named best supporting actor for his work in From Here to
Eternity and put the nal stroke on a show
business comeback of sizable proportions.
Eternity itself was named best picture, the
rst lm to come along and tie the longstanding record of eight Academy Awards
set by Gone with the Wind fourteen years
before. Other winners for Eternity included
Donna Reed (best supporting actress) and
Fred Zinnemann (best director). Next mosthonored lm was Roman Holiday, with three
awards, including one for Audrey Hepburn
as best actress of the year. William Holden
was named best actor for Stalag 17.
An estimated 43,000,000 television viewers watched the 1953 awards show, which
was again telecast over NBC-TV, with cutins from New York (when Audrey Hepburn
won) and Philadelphia (where Shirley Booth
presented the award to Holden by long
distance). Donald OConnor was master of

ceremonies from the RKO Pantages Theatre
base in Hollywood; Fredric March was the
emcee in New York at the NBC Center
Theatre. Audrey Hepburn was appearing on
Broadway at the time in Ondine and, after
her nal curtain, was rushed by police motorcycle escort to the NBC Center Theatre
just in time to hear her name announced.
The show itself was given a two-hour running time by NBC and ran late, necessitating William Holden to cut his acceptance
speech to a thank you before exiting into
the wings. Mitchell Leisen produced for the
Academy, Andre Previn was musical director
and William A. Bennington (in Hollywood)
and Gray Lockwood (in New York) shared
directorial duties for NBC.
Most conspicuous man of the night, next
to Oscar himself, was Walt Disney. During
the course of the evening, he was called to
the stage four times to accept awards for
The Alaskan Eskimo (documentary short
subject), The Living Desert (documentary
feature), Toot, Whistle, Plunk and Boom
(cartoon short), and Bear Country (two-reel
short). No personmale or femalehad
personally collected so many Oscars in one
session.
128
be s t ac t or: WILLIAM HOLDEN as Sefton in Stalag 17
(Paramount; directed by Billy Wilder). John Ericson created
the role of Stalags Sefton on Broadway; on lm, Holden played
the hero-heel, a cynical World War II prisoner in a German
POW barracks who is suspected by his fellow inmates of being
an informer. Previously, Holden had been nominated in 1950
for Sunset Blvd. (also directed by Billy Wilder) and was again
nominated in 1976 for Network. Holden became slightly miffed
the night of his Oscar victory when, because the telecast was
running long, he was only allowed enough time to blurt out a
hurried Thank you before having to exit the stage with his
Stalag prize.
8/8/13 7:25 PM
be s t d i re c t or: FRED ZINNEMANN for From Here to

Eternity, and be s t s u ppo r ti ng a ctr es s : DONNA REED
as Lorene in From Here to Eternity. One reason for the Eternity
impact was the casting of rst-class players in offbeat roles,
among them Donna Reed (center, anked by co-player Mont-
gomery Clift and director Zinnemann), as a somewhat embittered play-for-pay hostess who falls in love with soldier Clift. The
part was a far cry from the sweet and unspoiled ingenues shed
played at M-G-M, Paramount and Columbia for the preceding
twelve years. She received the Oscar, and deservedly.
129
be s t s up p ort i n g a cto r : FRANK SINATRA as Angelo Maggio in From Here to Eternity. At

rst, no one but Frank Sinatra envisioned Frank Sinatra as Eternitys hard-luck Maggio, the feisty
little Italian soldier who tragically locks horns with a sadistic stockade supervisor. Sinatra campaigned for the non-starring role, won it although it had earlier been earmarked for Eli Wallach, and
delivered a performance which sparked one of the genuinely impressive comebacks in Hollywoods
scrapbook. He won the Academy Award, then two years later was nominated as 1955s best actor for
The Man with the Golden Arm, and in 1971 received the Jean Hersholt Humanitarian Award. And
since Eternity, his career was never less than rst-string.
be s t p ict u r e : FROM HERE TO ETERNITY (Columbia; produced by Buddy Adler) was based on
James Joness scorching novel about Army life at the Schoeld Barracks in Hawaii just prior to the
1941 Japanese air attack, considered too salty to be ideal lm material. But it became a powerful and
tasteful blockbuster, acted by a meticulously chosen cast including (above) Burt Lancaster and Deborah Kerr, and won eight Academy Awards, more than any lm since Gone with the Wind of 1939.
8/8/13 7:25 PM
WR I TI N G
ABOVE AND BEY ON D, M-G-M. Beirne Lay, Jr.

T HE CAP T AI N S P AR A DI S E , London Films, Lopert-UA
Nominations 1953
(British). Alec Coppel.
LI T T LE FU G I T I VE, Little Fugitive Prod., Burstyn
Releasing. Ray Ashley, Morris Engel and Ruth Orkin.

* ROM AN HOLI D AY , Paramount. Dalton Trumbo.
(s cr e e n p la y)
T HE CRU EL SEA, Rank-Ealing, U-I (British). Eric
Ambler.
* FROM HERE T O ET E R N I T Y, Columbia. Daniel
Taradash.
LI LI , M-G-M. Helen Deutsch.
ROM AN HOLI D AY , Paramount. Ian McLellan Hunter
and John Dighton.
SHANE, Paramount. A.B. Guthrie, Jr.
T HE BAN D W AGON , M-G-M. Betty Comden and
Adolph Green.
T HE D ESERT RAT S, 20th Century-Fox. Richard
Murphy.
T HE NAK ED SP U R, M-G-M. Sam Rolfe and Harold Jack
Bloom.
T AK E T HE HI GH GR O U N D, M-G-M. Millard
Kaufman.
* T I T AN I C, 20th Century-Fox. Charles Brackett, Walter
Reisch and Richard Breen.
be s t ac t re s s : AUDREY HEPBURN as Princess Anne (above)

in Roman Holiday (Paramount; directed by William Wyler).
Audrey Hepburn made her initial impact in 1951 on Broadway
in Gigi, then two years later had the same effect on moviegoers
when she played the princess who sneaks away from her royal
duties while on a visit to Rome, and investigates the Eternal
Cityincognitowith a reporter (Gregory Peck) and a photog-
rapher (Eddie Albert). It was a genuinely delightful performance,

and won her the Oscar; after that, she was also nominated for
Sabrina (1954), The Nuns Story (1959), Breakfast at Tiffanys (1961), and Wait until Dark (1967) before she semiretired
from acting. In 1993 she was posthumously honored with the
Jean Hersholt Humanitarian Award.
T HE FOU R P OST ER, Kramer, Columbia. Hal Mohr.

* FROM HERE T O ET E R N I T Y, Columbia. Burnett
Guffey.
J U LI U S CAESAR, M-G-M. Joseph Ruttenberg.
M ART I N LU T HER, Lutheran Church Prods. & LutherFilm GmbH, Louis de Rochemont Assocs. Joseph C.
Brun.
ROM AN HOLI D AY , Paramount. Frank Planer and
Henri Alekan.
(color )
ALL T HE BROT HERS W E R E V A L I A N T , M-G-M.
George Folsey.
BENEAT H T HE 12 -M I L E R E E F , 20th Century-Fox.
Edward Cronjager.
* FROM HERE T O ET ERNI T Y , Columbia. Produced by

Buddy Adler.
JU LI U S CAESAR, M-G-M. Produced by John
Houseman.
T HE ROBE, 20th Century-Fox. Produced by Frank Ross.
ROM AN HOLI D AY , Paramount. Produced by William
Wyler.
SHAN E, Paramount. Produced by George Stevens.
A C TO R
M ARLON BRAN D O in Julius Caesar, M-G-M.

RI CHARD BU RT ON in The Robe, 20th Century-Fox.
M ONT G OM ERY CLI FT in From Here to Eternity,
Columbia.
* W I LLI AM HOLD EN in Stalag 17, Paramount.
BU RT LANCAST ER in From Here to Eternity, Columbia.
A C TR E S S
LESLI E CARON in Lili, M-G-M.

AVA G ARD NER in Mogambo, M-G-M.
* AU D REY HEP BU RN in Roman Holiday, Paramount.
D EBORAH K ERR in From Here to Eternity, Columbia.
M AG G I E M CNAM ARA in The Moon Is Blue, Preminger-
130
Herbert, UA.
ED D I E ALBERT in Roman Holiday, Paramount.

BRAN D ON D E W I LD E in Shane, Paramount.
JACK P ALAN CE in Shane, Paramount.
* FRAN K SI N AT RA in From Here to Eternity, Columbia.
ROBERT ST RAU SS in Stalag 17, Paramount.
SHANE (Paramount; produced by George Stevens) starred Alan
Ladd (above, with Brandon De Wilde), Jean Arthur and Van
Hein in a Technicolor outdoor drama lmed near the Grand
Tetons in Wyoming. A classic of its kind, it won an Oscar for
color cinematography, and its producer-director, George Stevens,
received 1953s Irving G. Thalberg Memorial Award for consistently high quality of production.
GRACE K ELLY in Mogambo, M-G-M.

GERALD I NE P AG E in Hondo, Wayne-Fellows, Warner
Bros.
M ARJ ORI E RAM BEAU in Torch Song, M-G-M.

* D ONNA REED in From Here to Eternity, Columbia.
T HELM A RI T T ER in Pickup on South Street, 20th
Century-Fox.
D I R E C TI N G
* FROM HERE T O ET ERNI T Y , Columbia. Fred

Zinnemann.
LI LI , M-G-M. Charles Walters.
ROM AN HOLI D AY , Paramount. William Wyler.
SHAN E, Paramount. George Stevens.
ST ALAG 17 , Paramount. Billy Wilder.
LI LI , M-G-M. Robert Planck.

T HE ROBE, 20th Century-Fox. Leon Shamroy.
* SHAN E, Paramount. Loyal Griggs.
* J U LI U S CAESAR, M-G-M. Cedric Gibbons and Edward

Carfagno; Edwin B. Willis and Hugh Hunt.
M ART I N LU T HER, Lutheran Church Prods. & LutherFilm GmbH, Louis de Rochemont Assocs. Fritz
Maurischat and Paul Markwitz.
T HE P RESI D ENT S LA DY, 20th Century-Fox. Lyle
Wheeler and Leland Fuller; Paul S. Fox.
ROM AN HOLI D AY , Paramount. Hal Pereira and Walter
Tyler.
T I T ANI C, 20th Century-Fox. Lyle Wheeler and Maurice
Ransford; Stuart Reiss.
(color )
K N I GHT S OF T HE RO U N D T A B L E , M-G-M. Alfred
Junge and Hans Peters; John Jarvis.
LI LI , M-G-M. Cedric Gibbons and Paul Groesse;
Edwin B. Willis and Arthur Krams.

* T HE ROBE, 20th Century-Fox. Lyle Wheeler and
George W. Davis; Walter M. Scott and Paul S. Fox.
T HE ST ORY OF T HRE E L O V E S , M-G-M. Cedric
Gibbons, Preston Ames, Edward Carfagno and Gabriel
Scognamillo; Edwin B. Willis, Keogh Gleason, Arthur
Krams and Jack D. Moore.
Y OU N G BESS, M-G-M. Cedric Gibbons and Urie
McCleary; Edwin B. Willis and Jack D. Moore.
C O S TUM E D ESIGN
T HE ACT RESS, M-G-M. Walter Plunkett.

D REAM W I FE, M-G-M. Helen Rose and Herschel
McCoy.
FROM HERE T O ET E R N I T Y, Columbia. Jean Louis.

T HE P RESI D ENT S LA DY, 20th Century-Fox. Charles
LeMaire and Renie.

* ROM AN HOLI D AY , Paramount. Edith Head.
(color )
T HE BAN D W AGON , M-G-M. Mary Ann Nyberg.

CALL M E M AD AM , 20th Century-Fox. Irene Sharaff.
HOW T O M ARRY A M I L L I O N A I R E , 20th Century-
Fox. Charles LeMaire and Travilla.

* T HE ROBE, 20th Century-Fox. Charles LeMaire and
Emile Santiago.
Y OU N G BESS, M-G-M. Walter Plunkett.
8/8/13 7:25 PM
THE ROBE (20th Century-Fox; produced by Frank Ross) was

the rst motion picture photographed and released in CinemaScope, a new wide-screen process requiring an anamorphic
lens (and more horizontal screen) for projection. It was based
C A L A MITY JA NE, Warner Bros. Warner Bros. Studio
Sound Dept., William A. Mueller, Sound Director.

* F R O M HE R E TO ETERNITY, Columbia. Columbia
Studio Sound Dept., John P. Livadary, Sound
Director.
K NIGHTS O F THE ROUND TAB LE, M-G-M. M-G-M
Studio Sound Dept., A.W. Watkins, Sound Director.
THE MIS S IS S IP P I GAMB LER, U-I. UniversalInternational Studio Sound Dept., Leslie I. Carey,
Sound Director.
THE W A R O F THE WORLDS, Paramount. Paramount
Studio Sound Dept., Loren L. Ryder, Sound Director.
F I LM ED I T I N G
C R A Z Y L E GS, Bartlett, Republic. Irvine (Cotton)
Warburton.
* F R O M HE R E TO ETERNITY, Columbia. William

Lyon.
THE MO O N IS BLUE, Preminger-Herbert, UA. Otto
Ludwig.
R O MA N HO L ID AY, Paramount. Robert Swink.

THE W A R O F THE WORLDS, Paramount. Everett
Douglas.
( N O T E : 1951 through 1953, Special Effects classied as

* THE W A R O F THE WORLDS, Paramount.
MUSIC
(s on g)
THE MO O N IS BLUE (The Moon Is Blue, Preminger-
on Lloyd C. Douglass best-seller, starred Jean Simmons and

Richard Burton (above, with Jay Robinson as Emperor Caligula)
and won Academy Awards for color art direction and color
costume design. 20th Century-Fox was also awarded a special
* CALL M E M AD AM , 20th Century-Fox. Alfred Newman.

T HE 5 ,000 FI NGERS OF D R. T , Kramer, Columbia.
Frederick Hollander and Morris Stoloff.
K I SS M E K AT E, M-G-M. Andr Previn and Saul
Chaplin.
(ca r t oon s )
CHRI ST OP HER CRU M P ET , UPA, Columbia. (Jolly
Frolics). Stephen Bosustow, producer.
FROM A T O Z - Z - Z - Z , Warner Bros. (Looney Tunes).
Edward Selzer, producer.
RU G G ED BEAR, Disney, RKO Radio. (Donald Duck).
THE TELL TALE HEART, UPA, Columbia. (UPA Cartoon
Special). Stephen Bosustow, producer.
* T OOT , W HI ST LE, P LU NK AND BOOM . Disney,

Buena Vista. (Adventures in Music). Walt Disney,
producer.
(on e - r e e l)
CHRI ST AM ON G T HE P RI M I T I VES, Lucci-Chiarissi,
I.F.E. Releasing Corp. (Italian). Vincenzo LucciChiarissi, producer.

HERRI NG HU NT , National Film Board of Canada, RKO
Pathe, Inc. (Canadian). (Canada Carries On).
J OY OF LI VI N G , Art Film Prods., 20th Century-Fox.
(Art Film). Boris Vermont, producer.
* T HE M ERRY W I VES OF W I N D SOR OVERT U RE,
M-G-M. (Overture). Johnny Green, producer.
W EE W AT ER W ON D ERS, Paramount. (Grantland Rice
(t w o- r e e l)
* BEAR COU N T RY , Disney, RKO Radio. (True Life

BEN AND M E, Disney, Buena Vista (Disney Cartoon
Special). Walt Disney, producer.
RET U RN T O GLENNASCAU L, Dublin Gate Theatre
SADIE THOMPSONS SONG (BLUE PACIFIC BLUES)
Prod., Mayer-Kingsley Inc.
(Miss Sadie Thompson, Beckworth, Columbia); Music
VESU VI U S EX P RESS, 20th Century-Fox. (CinemaScope
by Lester Lee. Lyrics by Ned Washington.
Shorts). Otto Lang, producer.
* S E C R E T L O VE (Calamity Jane, Warner Bros.); Music
W I NT ER P ARAD I SE, Warner Bros. (Two-reel
by Sammy Fain. Lyrics by Paul Francis Webster.
Technicolor Special). Cedric Francis, producer.
THATS AMORE (The Caddy, York Pictures, Paramount);
Music by Harry Warren. Lyrics by Jack Brooks.
D O C UM E N TA R Y
Herbert, UA); Music by Herschel Burke Gilbert. Lyrics
by Sylvia Fine.
MY F L A MING HEART (Small Town Girl, M-G-M);
Music by Nicholas Brodszky. Lyrics by Leo Robin.
A BO VE A ND BE YOND, M-G-M. Hugo Friedhofer.
FR O M HE R E TO ETERNITY, Columbia. Morris
Stoloff and George Duning.
JU L IUS C A E SA R , M-G-M. Miklos Rozsa.

* L IL I, M-G-M. Bronislau Kaper.
THIS IS C INE R A MA, Cinerama Corp. Louis Forbes.
THE BA ND W A GON, M-G-M. Adolph Deutsch.

C A L A MITY JA NE, Warner Bros. Ray Heindorf.
* T HE ALASK AN ESK I M O, Disney, RKO Radio. (People

and Places). Walt Disney, producer.
T HE LI VI N G CI T Y , Encyclopaedia Britannica Films,
Inc. John Barnes, producer.
OP ERAT I ON BLU E J AY , U.S. Army Signal Corps.
T HEY P LANT ED A ST ON E, World Wide Pictures,
British Information Services (British). James Carr,
producer.
statuette in recognition of their imagination, showmanship

and foresight in introducing the revolutionary process known as
CinemaScope.
T HE W ORD , 20th Century-Fox. John Healy and John
Adams, producers.
(fe a t u r e s )
T HE CONQ U EST O F E V E R E S T , Countryman Films &
Group 3 Ltd., UA (British). John Taylor, Leon Clore

and Grahame Tharp, producers.
* T HE LI VI NG D ESE R T , Disney, Buena Vista. (True Life
A Q U EEN I S CROW N E D, J. Arthur Rank, U-I (British).
Castleton Knight, producer.

T O P ET E SM I T H for his witty and pungent observations
on the American scene in his series of Pete Smith

Specialties. (statuette)
T O 20 T H CEN T U R Y- F O X F I L M C O R PO R A T I O N in
recognition of their imagination, showmanship and

foresight in introducing the revolutionary process
known as CinemaScope. (statuette)
T O J OSEP H I . BRE E N for his conscientious, openminded and dignied management of the Motion
Picture Production Code. (statuette)
T O BELL AND HO W E L L C O M PA N Y for their
pioneering and basic achievements in the advancement
of the motion picture industry. (statuette)

T O G EORGE ST EV E N S
131
P ROFESSOR HEN R I C H R T I E N and E A R L
SP ONABLE, SOL H A L PR I N , L O R I N G R I G N O N ,
HERBERT BRAG G , and C A R L F A U L K N E R of 20th
Century-Fox Studios for creating, developing and

engineering the equipment, processes and techniques
known as CinemaScope.
FRED W ALLER for designing and developing the
multiple photographic and projection systems that
culminated in Cinerama.
REEVES SOU N D CR A F T C O R P. for their development
of a process of applying stripes of magnetic oxide

to motion picture lm for sound recording and
reproduction.
W EST REX CORP .
8/8/13 7:25 PM
1954
The Twenty-Seventh Year
reta Garbo, retired from motion

pictures for thirteen years and
never an Academy Award winner
during her active screen career, was voted
an honorary Academy Award statuette at
the 1954 awards, held March 30, 1955, and
telecast both from Hollywood (at the RKO
Pantages Theatre, with Bob Hope as emcee)
and from New York (at the NBC Century
Theatre, with Thelma Ritter as hostess). Earlier in the year, Garbo had been the subject
of a biographical series in Life magazine,
sparking a renewed interest in revivals of her
lms, capped by the Academy paying tribute
to her timeless career. The elusive Garbo,
of course, did not attend the ceremony; the
award was accepted for her by Nancy Kelly.
Another major actress, this one a nominee, was also absent. Judy Garland, nominated for A Star Is Born, was a patient in
Cedars of Lebanon Hospital, the mother
of a day-old son. NBC-TV, anticipating a
possible Garland victory as best actress,
had television equipment set up outside
her hospital room window, balanced on a
special scaffolding, ready for on-the-spot
coverage, just in case. However, Grace Kelly,
present at the RKO Pantages Theatre in Hollywood, was ultimately announced as the
years best actress for The Country Girl, and
quickly switched the focus away from Cedars. Biggest winner of the night was On the
Waterfront with eight awards, including best
picture, best actor (Marlon Brando), best
supporting actress (Eva Marie Saint), and
best director (Elia Kazan). With its total, it
tied the all-time Oscar record set by Gone
with the Wind in 1939, and equaled by 1953s

From Here to Eternity. Edmond OBrien was
chosen best supporting actor for The Barefoot Contessa.
Danny Kaye received an honorary Oscar
for his unique talents and service to the
Academy, the industry and the American
people; and Japans Gate of Hell was voted
an honorary statuette as the years nest foreign language lm released in the
United States. Dimitri Tiomkin, winner of
the best music score award for The High and
the Mighty, accepted his Oscar by thanking a few helpers by name: Brahms, Bach,
Beethoven, Richard Strauss and Johann
Strauss . . .
Two months earlier, on February 12, 1955,
the announcement of nominees was made
on a live telecast aired over NBC-TV and
beamed from Romanoffs restaurant in
Hollywood, Ciros nightclub on the Sunset
Strip, the Cocoanut Grove near downtown
Los Angeles, and the NBC-TV studios in
Burbank. It was not considered a success,
and the experiment was never repeated in
that specic form.
132
be s t s up p ort i n g acto r : EDMOND OBRIEN as Oscar
Muldoon in The Barefoot Contessa (United Artists; directed
by Joseph L. Mankiewicz). Humphrey Bogart, Ava Gardner and
Rossano Brazzi were the stars of this brittle but glamorous assessment of the tragedy behind a beautiful actresssex symbols
rise and death; Edmond OBrien (right, with Marius Goring)
won the Academys highest honor as a sweating, harassed and
overbearing press agent involved in his clients lives.
8/8/13 7:25 PM
be s t p ict u r e : ON THE WATERFRONT (Columbia; produced by Sam Spiegel), b est d irec to r: ELIA KAZAN, b est
a ct or : MARLON BRANDO as Terry Malloy, and b est supp or t in g a ct r e s s : EVA MARIE SAINT as Edie Doyle in On
the Waterfront. Produced on a small budget ($820,000) in an
era when most picture makers were concentrating on new widescreen processes and CinemaScopic projects, it stemmed from a
series of crusading newspaper articles by Malcolm Johnson fashioned into a tight script by Budd Schulberg about brutality and
corruption on the New York-New Jersey shipping docks. Brando
played a longshoreman who awakens to the fact its morally
wrong to be enslaved by a crooked boss; Eva Marie Saint, in her
rst screen role, played his sensitive girlfriend, who encourages
the longshoremans better instincts. Told in semidocumentary
style, it was strong screen fare and 1954s most honored lm
with 12 nominations for awards and, ultimately, eight Oscars
to its credit. Brandos role was originally to have been played by
Frank Sinatra; he sued producer Spiegel and Columbia when they
dropped him from the project and began lming with Brando in
the leading role.
133
s p e cia l a w a r d: GRETA GARBO. Greta Garbo (left, in a

still from M-G-Ms 1941 lm Two-Faced Woman) had been
nominated for Academy Awards in 192930 (for Anna Christie
and Romance), in 1937 (for Camille), and in 1939 (for
Ninotchka) but had never been voted the nal Oscar statuette.
To make up for the oversight and, at last, to honor one of the
industrys nest artists, the Board of Governors voted her a
special 1954 Academy Award for her unforgettable screen performances. Not unexpectedly, she didnt appear at the award
ceremony to collect her prize.
8/8/13 7:25 PM
WR I TI N G
BREAD , LOVE AN D DR E A M S , Titanus, I.F.E. Releasing
Nominations 1954
(Italian). Ettore Margadonna.

* BROK EN LANCE, 20th Century-Fox. Philip Yordan.
FORBI D D EN G AM ES , Silver Films, Times Film Corp.
(French). Franois Boyer.
N I GHT P EOP LE, 20th Century-Fox. Jed Harris and Tom
Reed.
T HERE S NO BU SI NE S S L I K E S H O W B U S I N E S S , 20th
Century-Fox. Lamar Trotti.
(s cr e e n p la y)
T HE CAI NE M U T I N Y, Kramer, Columbia. Stanley
Roberts.
* T HE COU N T RY G I RL , Perlberg-Seaton, Paramount.
George Seaton.
REAR W I ND OW , Patron, Paramount. John Michael
Hayes.
SABRI NA, Paramount. Billy Wilder. Samuel Taylor and
Ernest Lehman.
SEVEN BRI D ES FOR S E V E N B R O T H E R S , M-G-M.
Albert Hackett, Frances Goodrich and Dorothy
Kingsley.
T HE BAREFOOT CON T E S S A , Figaro, UA. Joseph L.
Mankiewicz.
G EN EVI EVE, Rank-Sirius, U-I (British). William Rose.

T HE GLENN M I LLER S T O R Y, U-I. Valentine Davies
and Oscar Brodney.
K N OCK ON W OOD , Dena, Paramount. Norman
be s t ac t re s s : GRACE KELLY as Georgie Elgin (left, with

William Holden) in The Country Girl (Paramount; directed
by George Seaton). Uta Hagen created the role on Broadway;
Jennifer Jones was originally set to star in the lm version with
William Holden and Bing Crosby but had to withdraw because
of pregnancy. Grace Kelly, relatively new to the lm scene, then
got the part andagainst typeplayed the plain, embittered wife
of an aging and alcoholic matinee idol who tries to cover up for
her husbands weaknesses but is misunderstood in her motives.
The preceding year, she had also been a part of the Oscar story,
nominated for her supporting performance in Mogambo (1953).
A year after winning her Country Girl prize, Grace Kelly permanently retired from acting to become Princess Grace of Monaco.
Panama and Melvin Frank.

* ON T HE W AT ERFRO N T , Horizon-American,
Columbia. Budd Schulberg.
T HE CAI N E M U T I NY , Kramer, Columbia. Produced by
Stanley Kramer.
T HE COU N T RY G I RL, Perlberg-Seaton, Paramount.
Produced by William Perlberg.

* ON T HE W AT ERFRON T , Horizon-American,
Columbia. Produced by Sam Spiegel.
SEVEN BRI D ES FOR SEVEN BROT HERS, M-G-M.
Produced by Jack Cummings.
T HREE COI NS I N T HE FOU N T AI N , 20th CenturyFox. Produced by Sol C. Siegel.
A C TO R
HU M P HREY BOG ART in The Caine Mutiny, Kramer,
Columbia.
* M ARLON BRAN D O in On the Waterfront, HorizonAmerican. Columbia.
BI NG CROSBY in The Country Girl, Perlberg-Seaton,
Paramount.
JAM ES M ASON in A Star Is Born, Transcona, Warner
Bros.
D AN O HERLI HY in The Adventures of Robinson Crusoe,
Dancigers-Ehrlich, UA.
A C TR E S S
D OROT HY D AND RI D G E in Carmen Jones, Preminger,
20th Century-Fox.
JU D Y G ARLAN D in A Star Is Born, Transcona, Warner
Bros.
AU D REY HEP BU RN in Sabrina, Paramount.
* GRACE K ELLY in The Country Girl, Perlberg-Seaton,
Paramount.
JAN E W Y M AN in Magnicent Obsession, UniversalInternational.
LEE J . COBB in On the Waterfront, Horizon-American,
Columbia.
134
K ARL M ALD EN in On the Waterfront, Horizon-
American, Columbia.
* ED M ON D O BRI EN in The Barefoot Contessa, Figaro,
UA.
ROD ST EI G ER in On the Waterfront, HorizonAmerican, Columbia.
T OM T U LLY in The Caine Mutiny, Kramer, Columbia.
NI N A FOCH in Executive Suite, M-G-M.

K AT Y J U RAD O in Broken Lance, 20th Century-Fox.
* EVA M ARI E SAI N T in On the Waterfront, Horizon-
American, Columbia.
JAN ST ERLI NG in The High and the Mighty, WayneFellows, Warner Bros.
CLAI RE T REVOR in The High and the Mighty, WayneFellows, Warner Bros.
D I R E C TI N G
T HE COU N T RY G I RL, Perlberg-Seaton, Paramount.
George Seaton.
(opposite page) 20, 000 LEAGUES UNDER THE SEA (Buena

Vista; produced by Walt Disney) was honored for color art direction and for special effects. Kirk Douglas, James Mason, Paul
Lukas and Peter Lorre starred in the undersea adventure, based
on the tale by Jules Verne, in whichamong other perilsthe men
of the submarine Nautilus battle a giant squid.
T HE HI GH AND T HE M I GHT Y , Wayne-Fellows,
T HE COU NT RY GI RL , Perlberg-Seaton, Paramount.
John F. Warren.
EX ECU T I VE SU I T E, M-G-M. George Folsey.

Columbia. Boris Kaufman.
ROGU E COP , M-G-M. John Seitz.

SABRI NA, Paramount. Charles Lang, Jr.
(color )
T HE EGY P T I AN, 20th Century-Fox. Leon Shamroy.

REAR W I ND OW , Patron, Paramount. Robert Burks.
SEVEN BRI D ES FOR S E V E N B R O T H E R S , M-G-M.
George Folsey.
T HE SI LVER CHALI C E , Saville, Warner Bros. William
V. Skall.
* T HREE COI NS I N T H E F O U N T A I N , 20th CenturyFox. Milton Krasner.
T HE COU NT RY GI RL , Perlberg-Seaton, Paramount.
Hal Pereira and Roland Anderson; Sam Comer and

Grace Gregory.
EX ECU T I VE SU I T E, M-G-M. Cedric Gibbons and
Edward Carfagno; Edwin B. Willis and Emile Kuri.
LE P LAI SI R, Stera Film-CCFC, Mayer-Kingsley
(French). Max Ophuls.
Columbia. Richard Day.
SABRI NA, Paramount. Hal Pereira and Walter Tyler;
Sam Comer and Ray Moyer.
(color )
BRI G AD OON, M-G-M. Cedric Gibbons and Preston
Ames; Edwin B. Willis and Keogh Gleason.
D ESI RE, 20th Century-Fox. Lyle Wheeler and Leland
Fuller; Walter M. Scott and Paul S. Fox.
RED GART ERS, Paramount. Hal Pereira and Roland
Anderson; Sam Comer and Ray Moyer.
A ST AR I S BORN , Transcona, Warner Bros. Malcolm
Bert, Gene Allen and Irene Sharaff; George James

Hopkins.
* 20 , 000 LEAG U ES U N DE R T H E S E A , Disney, Buena
Vista. John Meehan; Emile Kuri.
C O S TUM E D ESIGN
T HE EARRI N G S OF M A DA M E DE . . . , Franco-
London Prods., Arlan Pictures (French). Georges

Annenkov and Rosine Delamare.
EX ECU T I VE SU I T E, M-G-M. Helen Rose.
I ND I SCRET I ON OF A N A M E R I C A N W I F E , De Sica,
Columbia. Christian Dior.
I T SHOU LD HAP P EN T O YO U , Columbia. Jean Louis.
* SABRI N A, Paramount. Edith Head.
(color )
Warner Bros. William Wellman.
BRI G AD OON, M-G-M. Irene Sharaff.
* ON T HE W AT ERFRON T , Horizon-American,
D ESI RE, 20th Century-Fox. Charles LeMaire and Ren
Columbia. Elia Kazan.
Hubert.
REAR W I N D OW , Patron, Paramount. Alfred Hitchcock.
* GAT E OF HELL, Daiei, Edward Harrison (Japanese).
SABRI N A, Paramount. Billy Wilder.
Sanzo Wada.
8/8/13 7:25 PM
A STA R IS BO R N , Transcona, Warner Bros. Jean
Louis, Mary Ann Nyberg and Irene Sharaff.
THE R E S NO BU SINESS LIKE SH OW B USINESS,
20th Century-Fox. Charles LeMaire, Travilla and

Miles White.
BR IGA D O O N, M-G-M. M-G-M Studio Sound Dept.,
Wesley C. Miller, Sound Director.
THE C A INE MU T INY, Kramer, Columbia. Columbia
Studio Sound Dept., John P. Livadary, Sound

Director.
* THE GL E NN MILLER STORY, U-I. UniversalInternational Studio Sound Dept., Leslie I. Carey,
Sound Director.
R E A R W IND O W , Patron, Paramount. Paramount
Studio Sound Dept., Loren L. Ryder, Sound Director.
SUS A N S L E P T HERE, RKO Radio. RKO Radio Studio
Sound Dept., John Aalberg, Sound Director.
F I LM ED I T I N G
THE C A INE MU T INY, Kramer, Columbia. William A.
Lyon and Henry Batista.
THE HIGH A ND THE MIGHTY, Wayne-Fellows,
Warner Bros. Ralph Dawson.

* O N THE W A TE R FRONT, Horizon-American,
Columbia. Gene Milford.
SE VE N BR ID E S FOR SEV EN B ROTHERS, M-G-M.
Ralph E. Winters.
20 , 000 L E A GU E S UNDER THE SEA, Disney, Buena
Vista. Elmo Williams.
(A regular Award category for the rst time since
1950)
HE L L A ND HIGH WATER, 20th Century-Fox.
THE M! , Warner Bros.
* 20 , 000 L E A GUE S UNDER TH E SEA, Walt Disney
Studios.
MUSIC
(s on g)
C O U NT Y O UR BLESSINGS INSTEAD OF SHEEP
(White Christmas, Paramount); Music and Lyrics by

Irving Berlin.
THE HIGH A ND THE MIGHTY (The High and the
Mighty, Wayne-Fellows, Warner Bros.); Music by
Dimitri Tiomkin. Lyrics by Ned Washington.
HO L D MY HA ND (Susan Slept Here, RKO Radio);
Music and Lyrics by Jack Lawrence and Richard
Myers.
THE MA N THA T GOT AWAY (A Star Is Born,
Transcona, Warner Bros.); Music by Harold Arlen.
Lyrics by Ira Gershwin.
* THR E E C O INS IN TH E FOUNTAIN (Three Coins in
the Fountain, 20th Century-Fox); Music by Jule Styne.
Lyrics by Sammy Cahn.
THE C A INE MU T INY, Kramer, Columbia. Max
Steiner.
GE NE VIE VE , Rank-Sirius, U-I (British). Larry Adler.

( N O T E : Because of the political climate of the times,
Genevieves arranger and orchestra conductor Muir
Mathieson was credited as composer on American
prints of this British-made lm, and was thus credited with the nomination. Academy records have
been updated to give Mr. Adler his proper credit, which

Mr. Mathieson had never claimed.)
* T HE HI GH AND T HE M I GHT Y , Wayne-Fellows,
Warner Bros. Dimitri Tiomkin.
ON T HE W AT ERFRONT , Horizon-American,
Columbia. Leonard Bernstein.
T HE SI LVER CHALI CE, Saville, Warner Bros. Franz
Waxman.
CARM EN J ON ES, Preminger, 20th Century-Fox.
Herschel Burke Gilbert.
T HE GLENN M I LLER ST ORY , U-I. Joseph Gershenson
and Henry Mancini.

* SEVEN BRI D ES FOR SEVEN BROT HERS, M-G-M.
Adolph Deutsch and Saul Chaplin.
A ST AR I S BORN , Transcona, Warner Bros. Ray
Heindorf.
T HERE S NO BU SI NESS LI K E SHOW BU SI NESS, 20th
Century-Fox. Alfred Newman and Lionel Newman.
(ca r t oon s )
CRAZ Y M I X ED U P P U P , Lantz, U-I. (Lantz Cartoon
Special). Walter Lantz, producer.
P I G S I S P I GS, Disney, RKO Radio. (Disney Cartoon
Special). Walt Disney, producer.

T O BAU SCH & LO M B O PT I C A L C O MPA N Y for their
contributions to the advancement of the motion

picture industry. (statuette)
T O K EM P R. N I VE R for the development of the
Renovare Process, which has made possible the
restoration of the Library of Congress Paper Film
Collection. (statuette)
T O G RET A GARBO for her unforgettable screen
performances. (statuette)
T O D ANNY K AY E for his unique talents, his service to
the Academy, the motion picture industry, and the
American people. (statuette)
T O J ON W HI T ELE Y for his outstanding juvenile
performance in The Little Kidnappers. (miniature
statuette)
T O VI N CENT W I N T E R for his outstanding juvenile
performance in The Little Kidnappers. (miniature
statuette)
T O G A TE O F H E LL (Japanese)Best Foreign Language
Film rst released in the United States during 1954.
(statuette)

SAND Y CLAW S, Warner Bros. (Looney TunesTweety
T OU CH, P U SSY CAT , M-G-M. (Tom & Jerry). Fred
P ARAM OU NT P I C T U R E S , I N C . , L O R E N L . R YDE R ,
J OHN R. BI SHO P, and all the members of the
& Sylvester). Edward Selzer, producer.

Quimby, producer.
* W HEN M AG OO FLEW , UPA, Columbia. (Mister

Magoo). Stephen Bosustow, producer.
(on e - r e e l)
T HE FI RST P I ANO Q U ART ET T E, 20th Century-Fox.
technical and engineering staff for developing a

method of producing and exhibiting motion pictures
known as VistaVision.
(Music Series). Otto Lang, producer.
Johnny Green, producer.
D AVI D S. HORSLE Y and the U N I V E R S A L I NT ERN AT I ONA L S T U DI O S PE C I A L
P HOT OG RAP HI C DE PA R T M E N T ;
K ARL FREU ND and F R A N K C R A N DE L L of Photo
T HE ST RAU SS FAN T ASY , M-G-M. (Musical Gems).
* T HI S M ECHAN I CAL AG E, Warner Bros. (Warner

Varieties). Robert Youngson, producer.
(t w o- r e e l)
BEAU T Y AND T HE BU LL, Warner Bros. (Two-reel
Technicolor Special). Cedric Francis, producer.
J ET CARRI ER, 20th Century-Fox. Otto Lang, producer.

SI AM , Disney, Buena Vista. (People and Places). Walt
Disney, producer.
* A T I M E OU T OF W AR, Carnival Prods. Denis and
Terry Sanders, producers.
D O C UM E N TA R Y
J ET CARRI ER, 20th Century-Fox. Otto Lang, producer.

REM BRAN D T : A SELF- P ORT RAI T , Roizman,
Distributors Corp. of America. Morrie Roizman,

producer.
* T HU RSD AY S CHI LD REN , British Information Services
(British). World Wide Pictures and Morse Films,
producers.
(fe a t u r e s )
T HE ST RAT FORD AD VENT U RE, National Film Board
of Canada, Continental (Canadian). Guy Glover,

producer.
* T HE VANI SHI N G P RAI RI E, Disney, Buena Vista. (True
Life Adventure). Walt Disney, producer.
None.
135
Research Corp.;
W ESLEY C. M I LLE R , J . W . S T A F F O R D, K . M .
FRI ERSON, and the M E T R O - G O L DW YN - MA YE R
ST U D I O SOU ND DE PA R T ME N T ;
J OHN P . LI VAD AR Y, L L O YD R U S S E L L , and the
COLU M BI A ST UDI O S O U N D DE PA R T M E N T ;
ROLAN D M I LLER and MA X G O E PPI N G E R of
Magnascope Corp.;
CARLOS RI VAS, G . M . S PR A G U E , and the

M ET RO- G OLD W YN - MA YE R S T U DI O S O U N D
D EP ART M EN T ;
FRED W I LSON of the Samuel Goldwyn Studio Sound
Department;
P . C. Y OU N G of the M-G-M Studio Projection
Department;
FRED K N OT H and O R I E N E R N E S T of the Universal-
International Studio Technical Department.
8/8/13 7:25 PM
1955
The Twenty-Eighth Year
efore 1955, Oscars had been given

to numerous revamped Broadway
shows, novels and short stories, but at
the twenty-eighth session, March 21, 1956,
Academy members voted their top prize to
a motion picture based on a television play.
Never before had the lm industry been so
complimentary to its archenemy, the TV
world. It was an omen of things to come.
Marty, in its transition from tube to
big screen, received four of the 1955 awards,
including best picture, best actor (Ernest
Borgnine), and best director (Delbert
Mann), plus a screenplay award to the
man who created it all, Paddy Chayefsky.
Among the actors nominated alongside
Borgnine was James Dean, who had been
killed in an auto accident six months before,
the rst actor posthumously nominated
for an Academy Award. The next year, he
would again be nominated, for Giant, completed just prior to his death. Italys vibrant
Anna Magnani was named best actress for
The Rose Tattoo, her rst Hollywood-made
movie; she was asleep at home in Rome
when she received the news in a transatlantic telephone call.
Jack Lemmon was chosen best supporting actor for Mister Roberts, and Jo Van Fleet
was named best supporting actress for East
of Eden (she had also been prominent in two
other 1955-nominated lms, The Rose Tattoo,
with Magnani, and Ill Cry Tomorrow, with
Susan Hayward). Samurai, The Legend of
Musashi was voted an honorary award as the
outstanding foreign language lm, the second Japanese lm in two years so recognized.
The Academy Award ceremony itself was

again telecast on NBC-TV as a two-coast
affair, with Jerry Lewis handling emcee
responsibilities in Hollywood at the RKO
Pantages Theatre, and Claudette Colbert
sharing similar duties with Joseph L.
Mankiewicz (for whom she almost made
All about Eve six years before) at New Yorks
NBC Century Theatre.
Robert Emmett Dolan produced and
George Seaton directed for the Academy,
and William A. Bennington again directed
for the network. Most of the awards were
presented by the years acting nominees
or the previous years winners. The main
thrust of attention on this Academy Award
night fell on Grace Kelly, on hand to present
the years best actor award. Three months
before, she had announced both her engagement to Prince Rainier of Monaco and her
screen retirement. The 1955 Academy Award
show was her last public appearance before
heading to New York days later, then on to
Monaco for the wedding.
136
be s t s up p ort i n g actr es s : JO VAN FLEET as Kate (right,
with James Dean) in East of Eden (Warner Bros.; directed by
Elia Kazan). Jo Van Fleet had three strong lm roles in 1955: as
Susan Haywards ambitious mother in Ill Cry Tomorrow, as
Anna Magnanis visitor in The Rose Tattoo, and as the mysterious madam-mother of James Dean and Richard Davalos in East
of Eden. For the latter, based on the book by John Steinbeck, she
won the Academy Award; it was her rst lm appearanceand
an auspicious debut for the New Yorkbased actress.
8/8/13 7:25 PM
be s t ac t re s s : ANNA MAGNANI as Serana Delle Rose

(above, on the set with director Daniel Mann and Burt Lancaster) in The Rose Tattoo (Paramount; directed by Mann).
Tennessee Williams originally wrote The Rose Tattoo for Italys
Magnani to play on Broadway, but she rejected the offer because
of her difculty at the time with the English language; by the
time Hal B. Wallis was ready to roll movie cameras on Tattoo,
however, she was ready, and she delivered a blistering performance as the seamstress who neurotically worships the memory
of a deceased (and unfaithful) husband.
137
be s t p i c t ure : MARTY (United Artists; produced by Harold

Hecht), best director: DELBERT MANN, and best actor:
ERNEST BORGNINE as Marty (right, with Minerva Urecal)
in Marty. Written by Paddy Chayefsky and originally done as
a television play with Rod Steiger and Nancy Marchand, Marty
became the rst born-in-TV drama to win the Academys best
picture award. Made for a slim $343,000, it told the simple,
poignant story of two lonely, plain-looking people (Ernest Borgnine and Betsy Blair) who nd each other; Borgnine turned the
role of the ordinary, fattish Brooklyn butcher into a star-making
part, and the picture additionally won the Academys Screenplay
Award for the man who started it all, author Chayefsky.
8/8/13 7:25 PM
Nominations 1955
be s t s up p ort i n g acto r : JACK LEMMON as Ensign Pulver

in Mister Roberts (Warner Bros.; directed by John Ford and
Mervyn LeRoy). The Thomas Heggen-Joshua Logan play of 1948
was perfect and robust screen material, one of the years most
popular pictures and allowed newcomer Lemmon, in his fourth
lm, to underscore his growing reputation as an ace new comedian. He played Robertss wily and mischievous Pulver aboard
the ship Reluctant during World War II, among a crew that
included Henry Fonda, James Cagney and William Powell. He
won a second Oscar in 1973 for Save the Tiger, this time in the
leading actor division.
LOVE I S A M AN Y - SP LEN D ORED T HI NG, 20th
Century-Fox. Produced by Buddy Adler.

* M ART Y , Hecht-Lancasters Steven Prod., UA. Produced
by Harold Hecht.
M I ST ER ROBERT S, Orange, Warner Bros. Produced by
Leland Hayward.
P I CN I C, Columbia. Produced by Fred Kohlmar.
T HE ROSE T AT T OO, Wallis, Paramount. Produced by
Hal B. Wallis.
A C TO R
* ERNEST BORGNI N E in Marty, Hecht-Lancasters

Steven Prod., UA.
JAM ES CAGNEY in Love Me or Leave Me, M-G-M.
JAM ES D EAN in East of Eden, Warner Bros.
FRAN K SI N AT RA in The Man with the Golden Arm,
Preminger, UA.
SP ENCER T RACY in Bad Day at Black Rock, M-G-M.
A C TR E S S
SU SAN HAY W ARD in Ill Cry Tomorrow, M-G-M.

K AT HARI NE HEP BU RN in Summertime, Lopert-Lean,
EAST OF ED EN, Warner Bros. Paul Osborn.

LOVE M E OR LEAVE M E , M-G-M. Daniel Fuchs and
Isobel Lennart.
* M ART Y , Hecht-Lancasters Steven Prod., UA. Paddy
Chayefsky.
T HE COU RT - M ART I A L O F B I L L Y M I T C H E L L , United
States Pictures, Warner Bros. Milton Sperling and

Emmet Lavery.
* I N T ERRU P T ED M ELO DY, M-G-M. William Ludwig
and Sonya Levien.
I T S ALW AY S FAI R W E A T H E R , M-G-M. Betty Comden
and Adolph Green.
M R. HU LOT S HOLI D A Y, Fred Orain, GBD
International Releasing (French). Jacques Tati and
Henri Marquet.
T HE SEVEN LI T T LE F O YS , Hope & Scribe, Paramount.
Melville Shavelson and Jack Rose.
BLACK BOARD J U N G L E , M-G-M. Russell Harlan.

I LL CRY T OM ORRO W , M-G-M. Arthur E. Arling.
UA (Anglo-American).
M ART Y , Hecht-Lancasters Steven Prod., UA. Joseph
JEN N I FER J ON ES in Love Is a Many-Splendored Thing,
LaShelle.
20th Century-Fox.
* ANNA MAGNANI in The Rose Tattoo, Wallis, Paramount. Q U EEN BEE, Columbia. Charles Lang.
* T HE ROSE T AT T OO, Wallis, Paramount. James Wong
ELEANOR P ARK ER in Interrupted Melody, M-G-M.
Howe.
ART HU R K EN N ED Y in Trial, M-G-M.

* JACK LEMMON in Mister Roberts, Orange, Warner Bros.
JOE M AN T ELL in Marty, Hecht-Lancasters Steven
Prod., UA.
SAL M I N EO in Rebel without a Cause, Warner Bros.
ART HU R O CON N ELL in Picnic, Columbia.
BET SY BLAI R in Marty, Hecht-Lancasters Steven Prod.,
UA.
138
P EG G Y LEE in Pete Kellys Blues, Mark VII, Warner Bros.

M ARI SA P AVAN in The Rose Tattoo, Wallis, Paramount.
* JO VAN FLEET in East of Eden, Warner Bros.
NATALIE WOOD in Rebel without a Cause, Warner Bros.
D I R E C TI N G
BAD D AY AT BLACK ROCK , M-G-M. John Sturges.

EAST OF ED EN , Warner Bros. Elia Kazan.
* M ART Y , Hecht-Lancasters Steven Prod., UA. Delbert
Mann.
P I CN I C, Columbia. Joshua Logan.

SU M M ERT I M E, Lopert-Lean, UA (Anglo-American).
David Lean.
WR I TI N G
(color )
GUYS AND DOLLS, Goldwyn, M-G-M. Harry Stradling.

LOVE I S A M ANY - SPL E N DO R E D T H I N G , 20th
Century-Fox. Leon Shamroy.
A M AN CALLED P ET E R , 20th Century-Fox. Harold
Lipstein.
OK LAHOM A!, Rodgers & Hammerstein, Magna Theatre
Corp. Robert Surtees.

* T O CAT CH A T HI EF, Paramount. Robert Burks.
(For the rst time, set decorators as well as art directors of winning lms received a full-sized Academy
statuette, instead of a certicate or plaque)
BLACK BOARD J U N G L E , M-G-M. Cedric Gibbons and
Randall Duell; Edwin B. Willis and Henry Grace.
I LL CRY T OM ORRO W , M-G-M. Cedric Gibbons and
Malcolm Brown; Edwin B. Willis and Hugh B. Hunt.
T HE M AN W I T H T HE G O L DE N A R M , Preminger, UA.
Joseph C. Wright; Darrell Silvera.
M ART Y , Hecht-Lancasters Steven Prod., UA. Edward S.
(Ted) Haworth and Walter Simonds; Robert Priestley.

* T HE ROSE T AT T OO, Wallis, Paramount. Hal Pereira
and Tambi Larsen; Sam Comer and Arthur Krams.
* LOVE M E OR LEAVE M E, M-G-M. Daniel Fuchs.

T HE P RI VAT E W AR OF M AJ OR BEN SON , U-I. Joe
(color )
Connelly and Bob Mosher.
D AD D Y LONG LEGS , 20th Century-Fox. Lyle Wheeler
REBEL WITHOUT A CAUSE, Warner Bros. Nicholas Ray.
and John DeCuir; Walter M. Scott and Paul S. Fox.
T HE SHEEP HAS FI VE LEG S, Ploquin, United Motion
G U Y S AN D D OLLS, Goldwyn, M-G-M. Oliver Smith
Picture Organization (French). Jean Marsan, Henry
and Joseph C. Wright; Howard Bristol.
Troyat, Jacques Perret, Henri Verneuil and Raoul
LOVE I S A M ANY - SPL E N DO R E D T H I N G , 20th
Ploquin.
Century-Fox. Lyle Wheeler and George W. Davis;
ST RAT EG I C AI R COM M AND , Paramount. Beirne
Walter M. Scott and Jack Stubbs.
Lay, Jr.
* P I CN I C, Columbia. William Flannery and Jo Mielziner;
Robert Priestley.
(s cr e e n p la y)
TO CATCH A THIEF, Paramount. Hal Pereira and Joseph
BAD DAY AT BLACK ROCK, M-G-M. Millard Kaufman.
McMillan Johnson; Sam Comer and Arthur Krams.
BLACK BOARD J U NGLE, M-G-M. Richard Brooks.
8/8/13 7:25 PM
hon orary aw ard: SAMURAI, THE LEGEND OF MUSASHI

(Fine Arts Films; produced in Japan by Kazuo Takimura) starred
Toshiro Mifune as a 16th-century villager who wants to become
a samurai warrior, joins a losing war and ultimately ends his
days as a missionary. The Academy honored Samurai as the best
foreign language lm released in the United States during 1955,
as chosen by the Board of Governors. Hereafter, beginning with
the 1956 Awards, foreign lms were honored in their own regular
award category, with nominations, rather than as special or
honorary awards.
CO S T U ME D E S I GN
* I L L C R Y TO MO RROW, M-G-M. Helen Rose.

THE P IC KW IC K PAPERS, Renown, Kingsley
International (British). Beatrice Dawson.
Q U E E N BE E , Columbia. Jean Louis.
THE R O SE TA TTOO, Wallis, Paramount. Edith Head.
U GE TS U, Daiei, Edward Harrison Releasing
(Japanese). Tadaoto Kainoscho.
(c ol or)
GU Y S A ND D O L LS, Goldwyn, M-G-M. Irene Sharaff.

INTE R R UP TE D M ELODY, M-G-M. Helen Rose.
* L O VE IS A MA NY- SPLENDORED THING, 20th
Century-Fox. Charles LeMaire.

TO C A TC H A THIEF, Paramount. Edith Head.
THE VIR GIN Q U EEN, 20th Century-Fox. Charles
LeMaire and Mary Wills.
L O VE IS A MA NY- SPLENDORED TH ING, 20th
Century-Fox. 20th Century-Fox Studio Sound Dept.,

Carl Faulkner, Sound Director.
L O VE ME O R L E AV E ME, M-G-M. M-G-M Studio
Sound Dept., Wesley C. Miller, Sound Director.
MISTE R R O BE R T S, Orange, Warner Bros. Warner
Bros. Studio Sound Dept., William A. Mueller, Sound
Director.
NO T A S A STR A NGER, Kramer, UA. RCA Sound
Dept., Watson Jones, Sound Director.
* O KL A HO MA ! , Rodgers & Hammerstein, Magna
Theatre Corp. Todd-AO Sound Dept., Fred Hynes,
Sound Director.
F I LM ED I T I N G
BL A C KBO A R D JUNGLE, M-G-M. Ferris Webster.

THE BR ID GE S A T TOKO- RI, Perlberg-Seaton,
Paramount. Alma Macrorie.

O K L A HO MA ! , Rodgers & Hammerstein, Magna
Theatre Corp. Gene Ruggiero and George Boemler.
* P IC NIC , Columbia. Charles Nelson and William A.
Lyon.
THE R O SE TA TTOO, Wallis, Paramount. Warren Low.
* THE BR ID GE S A T TOKO- RI, Perlberg-Seaton,

Paramount.
THE D A M BUS TERS, Associated British, Warner Bros.
(British).
THE R A INS O F R ANCH IPUR, 20th Century-Fox.
MUSIC
(s on g)
I L L NE VE R STO P LOV ING YOU (Love Me or Leave
Me, M-G-M); Music by Nicholas Brodszky. Lyrics by

Sammy Cahn.
* L O VE IS A MA NY- SPLENDORED THING (Love Is a
Many-Splendored Thing, 20th Century-Fox); Music by
Sammy Fain. Lyrics by Paul Francis Webster.
SOM ET HI NG S GOT T A G I VE (Daddy Long Legs, 20th
Century-Fox); Music and Lyrics by Johnny Mercer.

( LOVE I S) T HE T EN D ER T RAP (The Tender Trap,
M-G-M); Music by James Van Heusen. Lyrics by
Sammy Cahn.
U N CHAI N ED M ELOD Y (Unchained, Bartlett, Warner
Bros.); Music by Alex North. Lyrics by Hy Zaret.
BAT T LE CRY , Warner Bros. Max Steiner.

* LOVE I S A M AN Y - SP LEN D ORED T HI NG, 20th
Century-Fox. Alfred Newman.
T HE M AN W I T H T HE GOLD EN ARM , Preminger, UA.
Elmer Bernstein.
P I CNI C, Columbia. George Duning.

T HE ROSE T AT T OO, Wallis, Paramount. Alex North.
D AD D Y LONG LEGS, 20th Century-Fox. Alfred
Newman.
G U Y S AN D D OLLS, Goldwyn, M-G-M. Jay Blackton
and Cyril J. Mockridge.
I T S ALW AY S FAI R W EAT HER, M-G-M. Andr Previn.

LOVE M E OR LEAVE M E, M-G-M. Percy Faith and
George Stoll.
* OK LAHOM A!, Rodgers & Hammerstein, Magna Theatre

Corp. Robert Russell Bennett, Jay Blackton and Adolph
Deutsch.
(ca r t oon s )
G OOD W I LL T O M EN, M-G-M. (M-G-M Cartoon
Special). Fred Quimby, William Hanna and Joseph

Barbera, producers.
T HE LEGEND OF ROCK - A- BY E P OI NT , Lantz, U-I.
(Lantz Cartoon Special). Walter Lantz, producer.
N O HU NT I NG, Disney, RKO Radio. (Donald Duck).
* SP EED Y GON Z ALES, Warner Bros. (Merrie Melodies
Speedy Gonzales & Sylvester). Edward Selzer, producer.
(on e - r e e l)
G AD GET S GALORE, Warner Bros. (Warner Varieties).
Robert Youngson, producer.

* SU RVI VAL CI T Y , 20th Century-Fox. (Movietone
CinemaScope). Edmund Reek, producer.
3 RD AVE. EL, Davidson Prods., Ardee Films. Carson
Davidson, producer.
T HREE K I SSES, Paramount. (Topper Special). Justin
Herman, producer.
(t w o- r e e l)
T HE BAT T LE OF G ET T Y SBU RG, M-G-M. (M-G-M
Special). Dore Schary, producer.

* T HE FACE OF LI NCOLN, University of Southern
California, Cavalcade Pictures. Wilbur T. Blume,
producer.
ON THE TWELFTH DAY . . . , Go Pictures, George Brest
& Assocs. (U.K. Special). George K. Arthur, producer.
SW I T Z ERLAN D , Disney, Buena Vista. (People and
Places). Walt Disney, producer.
24 -HOU R ALERT , Warner Bros. (Warner Bros. Three-
reel Special). Cedric Francis, producer.
D O C UM E N TARY
T HE BAT T LE OF G E T T YS B U R G , M-G-M. (M-G-M
Special). Dore Schary, producer.
T HE FACE OF LI N C O L N , University of Southern
California, Cavalcade Pictures. Wilbur T. Blume,

producer.
* M EN AG AI NST T H E A R C T I C , Disney, Buena Vista.
(People and Places). Walt Disney, producer.
(fe a t u r e s )
HEART BREAK RI D G E , Rene Risacher Prod., Tudor
Pictures (French). Rene Risacher, producer.

* HELEN K ELLER I N H E R S T O R Y, Nancy Hamilton
Presentation. Nancy Hamilton, producer.

T O SA M U R A I , T H E L E G E N D OF M U S AS H I
(Japanese)Best Foreign Language Film rst released

in the United States during 1955. (statuette)

139
N AT I ONAL CARB O N C O . for the development and
production of a high efciency yellow ame carbon for

motion picture color photography.
EAST M AN K OD AK C O . for Eastman Tri-X
panchromatic negative lm.
FARCI OT ED OU A R T , H A L C O R L , and the

P ARAM OU NT S T U DI O T R A N S PA R E N C Y DE PT . for
the engineering and development of a double-frame,

triple-head background projector.
20 T H CENT U RY - F O X S T U DI O and B A U S C H &
LOM B CO. ;
W ALT ER J OLLEY , MA U R I C E L A R S O N , and R . H .
SP I ES of 20th Century-Fox Studio;
ST EVE K RI LAN OV I C H ;
D AVE AN D ERSON of 20th Century-Fox Studio;
LOREN L. RY D ER , C H A R L E S W E S T , H E N R Y
FRACK ER, and PA R A MO U N T S T U DI O S ;
FARCI OT ED OU A R T , H A L C O R L , and the
P ARAM OU NT S T U DI O T R A N S PA R E N C Y
D EP ART M EN T .
8/8/13 7:25 PM
1956
The Twenty-Ninth Year
ngrid Bergman received a rousing welcome back to the Hollywood (and international) movie scene on March 27,
1957, when she was announced as the
Academys best actress winner of 1956
for Anastasia. For the preceding six years,
the star had worked exclusively in Italianmade lms, most of them directed by her
husband, Roberto Rossellini, none of them
as commercially successful as her earlier
work in Hollywood under the management
of David O. Selznick. At the time of the
Oscar announcement, she was in Paris, appearing on stage in Tea and Sympathy, and
her award was accepted by former co-star
Cary Grant.
Controversy erupted in the Academys
writing category. Early in 1956, the name
of screenwriter Michael Wilson had been
deleted from the credits of Friendly Persuasion by Allied Artists, the lms distributor,
based on a 1952 agreement between the
Screen Writers Guild and various production companies. That agreement gave
studios the right to omit from the screen
the name of any individual who had failed
to clear himself before a duly constituted
legislative committee of Congress if accused
of Communist afliations, as was the case
with Wilson at the time. The Academy, in
the awkward position of possibly conferring
its highest honor on someone whose name
had been omitted from screen credit, revised
its bylaws at a special February 6, 1957, meeting. That revision, in essence, allowed that
in such cases, the achievement itself could
be eligible for nomination, but the specic
writer would be ineligible. (The bylaw was

repealed by the Academy as unworkable
on January 12, 1959.)
Also, when nominations were announced, Edward Bernds and Elwood Ullman, the authors of a Bowery Boys quickie
titled High Society, were among the contenders but respectfully withdrew their own
names, aware that voters had probably mistaken their High Society with another 1956
release of the same title that was written by
John Patrick and starred Bing Crosby, Grace
Kelly and Frank Sinatra. There was further
confusion when the nal winners were announced (at the RKO Pantages Theatre in
Hollywood, plus New Yorks NBC Century
Theatre, telecast by NBC) and the best motion picture story winner was The Brave One,
credited to Robert Rich. The Rich name was
later acknowledged as a pseudonym, with
exact writer credit not ofcially established
for several years until Dalton Trumbo was
conrmed as the author; in 1956, he had
been unable to work under his own name
because of the earlier House Un-American
Activities investigations into the motion
picture industry. Shortly before Trumbos
death in 1976, the Academys then-President
Walter Mirisch presented the screenwriter
his overdue Oscar.
Most-honored lms of the year were
Around the World in 80 Days (ve awards,
including best picture) and The King and I
(ve awards, including best actor Yul Brynner). Anthony Quinn, Dorothy Malone
and director George Stevens were also honored and, for the rst year, foreign language
140
be s t p i c t ure : AROUND THE WORLD IN 80 DAYS (United
Artists; produced by Michael Todd). Broadway showman Michael Todd had never made a motion picture before, and he didnt
tiptoe in with his rst one, based on Jules Vernes lampoon of
Victorian manners in which a proper Britisher of 1872 sets out to
win a wager that he can circle the globe in precisely 80 days. Todd
turned it into a 178-minute movie carnivaland an exceptionally super lmfeaturing (right) Robert Newton, Cantinas,
Shirley MacLaine and David Niven. He also coined a new show
business phrase, cameo role, to cover major stars he had enticed
into playing bit roles, including Frank Sinatra, Marlene Dietrich, Jos Greco, Ronald Colman, Noel Coward, Beatrice Lillie,
Red Skelton, Victor McLaglen, Buster Keaton, and others who
did unexpected walk-ons. Michael Anderson directed.
8/8/13 7:25 PM
lms were classied in a separate category,

nominated and voted on along with other
awards instead of being presented as an
honorary award with no nominations.
Emcee of the Oscar night show itself was
Jerry Lewis in Hollywood, with Celeste Holm
handling hostess duties on the New York
sister-show.
be s t a ct r e s s : INGRID BERGMAN as The Woman in

Anastasia (20th Century-Fox; directed by Anatole Litvak).
With lming done entirely in Europe, Ingrid Bergman (above)
played a Paris derelict, saved from suicide by a trio of White
Russians who train her to pose as the missing daughter of Czar
Nicholas II of Russia, who had supposedly escaped death in the
1918 assassination of the Royal Family; plagued by fears of insanity and with only vague recollections
of her own past, the woman wins recognition from the Dowager
Empress (Helen Hayes) and even gives evidence she might be
the real Anastasia. Originally a Broadway success with Viveca
Lindfors in the title role, Anastasia brought Ingrid Bergman
back into the front line of the motion picture world after a sixyear absence and earned her a second Oscar. A third one came
eighteen years later, for best supporting actress in Murder on
the Orient Express.
141
be s t ac t or: YUL BRYNNER as the King of Siam in The King

and I (20th Century-Fox; directed by Walter Lang). Yul Brynner had appeared on screen only once before (in 1949s minor
Port of New York), but in 1956 he made an imposing screen impression in three of the years most conspicuous lms: The King
and I, The Ten Commandments, and Anastasia. He won the
Academy Award for the rst, as the virile Siamese tyrant of the
1800s whose desire to be a cultivated and educated man clashes
with his traditional, royal arrogance and with an imported
governess, played by Deborah Kerr. Brynner had played the King
before, on Broadway opposite Gertrude Lawrence, when the story
was rst set to Rodgers and Hammerstein music in 1951. The
King had also been in the movies before, portrayed by Rex Harrison in a 1946 nonmusical version, Anna and the King of Siam,
and, later, in another nonmusical version, Anna and the King
(1999), starring Jodie Foster with Yun-Fat Chow as the King.
8/8/13 7:25 PM
Nominations 1956
* AROU N D T HE W ORLD I N 80 D AY S, Todd, UA.

Produced by Michael Todd.
FRI END LY P ERSU ASI ON , Allied Artists. Produced by
William Wyler.
GI AN T , Giant Prod., Warner Bros. Produced by George
Stevens and Henry Ginsberg.
T HE K I NG AND I , 20th Century-Fox. Produced by
Charles Brackett.
T HE T EN COM M AND M ENT S, Motion Picture Assocs.,
Paramount. Produced by Cecil B. DeMille.
A C TO R
* Y U L BRY N N ER in The King and I, 20th Century-Fox.

JAM ES D EAN in Giant, Giant Prod., Warner Bros.
K I RK D OU G LAS in Lust for Life, M-G-M.
ROCK HU D SON in Giant, Giant Prod., Warner Bros.
SI R LAU RENCE OLI VI ER in Richard III, London Films,
Lopert Films (British).
A C TR E S S
(s cr e e n p la yor ig inal )
T HE BOLD AN D T HE B R A V E , Filmakers Releasing,
RKO Radio. Robert Lewin.
J U LI E, Arwin, M-G-M. Andrew L. Stone.

LA ST RAD A, Ponti-De Laurentiis, Trans-Lux Dist. Corp.
(Italian). Federico Fellini and Tullio Pinelli.
T HE LAD Y K I LLERS, Ealing, Continental Dist. (British).
William Rose.
* T HE RED BALLOON , Films Montsouris, Lopert Films
(French). Albert Lamorisse.
BABY D OLL, Newtown, Warner Bros. Boris Kaufman.

T HE BAD SEED , Warner Bros. Hal Rosson.
T HE HARD ER T HEY F A L L , Columbia. Burnett Guffey.
* SOM EBOD Y U P T HE R E L I K E S M E , M-G-M. Joseph
NANCY K ELLY in The Bad Seed, Warner Bros.

D EBORAH K ERR in The King and I, 20th Century-Fox.
ST AG ECOACH T O FU R Y, Regal Films, 20th Century-
(color )
D ON M U RRAY in Bus Stop, 20th Century-Fox.

ANT HONY P ERK I N S in Friendly Persuasion, Allied
Artists.
* ANT HONY Q U I NN in Lust for Life, M-G-M.

M I CK EY ROONEY in The Bold and the Brave, Filmakers
Releasing, RKO Radio.
ROBERT ST ACK in Written on the Wind, U-I.
M I LD RED D U N N OCK in Baby Doll, Newtown, Warner
Ruttenberg.
Fox. Walter Strenge.
* AROU N D T HE W OR L D I N 80 DAYS, Todd, UA. Lionel

Lindon.
T HE ED D Y D U CHI N S T O R Y, Columbia. Harry
Stradling.
T HE K I N G AN D I , 20th Century-Fox. Leon Shamroy.
T HE T EN COM M AN DME N T S , Motion Picture Assocs.,
Paramount. Loyal Griggs.
W AR AN D P EACE, Ponti-De Laurentiis, Paramount
(Italo-American). Jack Cardiff.
Bros.
Warner Bros.
EI LEEN HECK ART in The Bad Seed, Warner Bros.

M ERCED ES M CCAM BRI D G E in Giant, Giant Prod.,
P AT T Y M CCORM ACK in The Bad Seed, Warner Bros.
* D OROT HY M ALON E in Written on the Wind, U-I.
D I R E C TI N G
AROU N D T HE W ORLD I N 80 D AY S, Todd, UA.
Michael Anderson.
FRI END LY P ERSU ASI ON , Allied Artists. William
Wyler.
* GI AN T , Giant Prod., Warner Bros. George Stevens.
T HE K I NG AND I , 20th Century-Fox. Walter Lang.
W AR AND P EACE, Ponti-De Laurentiis, Paramount
(Italo-American). King Vidor.
WR I TI N G
* T HE BRAVE ONE, King Bros., RKO Radio. Dalton

Trumbo (aka Robert Rich).
T HE ED D Y D U CHI N ST ORY , Columbia. Leo Katcher.
HI G H SOCI ET Y , Allied Artists. Edward Bernds and
Elwood Ullman. (Withdrawn from nal ballot.)
T HE P ROU D AND T HE BEAU T I FU L, La Compagnie
Industrielle Commerciale Cinmatographique,
Kingsley International (French). Jean-Paul Sartre.
U M BERT O D . , Rizzoli-De Sica-Amato, Harrison &
Davidson Releasing (Italian). Cesare Zavattini.
(s cr e e n p la ya da p t e d)
* AROU N D T HE W ORLD I N 80 D AY S, Todd, UA. James

Poe, John Farrow and S.J. Perelman.
BABY D OLL, Newtown, Warner Bros. Tennessee
Williams.
142
Michael Wilson ineligible for nomination under 1956

Academy bylaws. Nomination was reinstated by the
Academys Board of Governors in 2002.)
G I ANT , Giant Prod., Warner Bros. Fred Guiol and Ivan
Moffat.
LU ST FOR LI FE, M-G-M. Norman Corwin.
CARROLL BAKER in Baby Doll, Newtown, Warner Bros.

* IN G RI D BERGM AN in Anastasia, 20th Century-Fox.
K AT HARI NE HEP BU RN in The Rainmaker, Wallis,
Paramount.
be s t s up p ort i n g actr es s : DOROTHY MALONE as

Marylee Hadley (above, with Rock Hudson) in Written on the
Wind (Universal-International; directed by Douglas Sirk). After
a long career (14 years, 39 lms) of workhorse roles, the majority
of them B-budget projects, Dorothy Malone had an actresss eld
day playing a sexually maladjusted, poor-little-rich-girl sister
of Robert Stack, out to conquer family friend Rock Hudson. She
won the Oscar, although the character played by Hudson forever
eluded her.
FRI EN D LY P ERSU AS I O N , Allied Artists. (Writer
T HE M AG N I FI CEN T S E V E N , Toho, Kingsley
International (Japanese). Takashi Matsuyama.
T HE P ROU D AN D P R O F A N E , Perlberg-Seaton,
Paramount. Hal Pereira and A. Earl Hedrick;

Samuel M. Comer and Frank R. McKelvy.
T HE SOLI D GOLD C A DI L L A C , Columbia. Ross Bellah;
William R. Kiernan and Louis Diage.
* SOM EBOD Y U P T HE R E L I K E S M E , M-G-M. Cedric
Gibbons and Malcolm F. Brown; Edwin B. Willis and
F. Keogh Gleason.
T EENAGE REBEL, 20th Century-Fox. Lyle R. Wheeler
and Jack Martin Smith; Walter M. Scott and Stuart A.
Reiss.
(color )
AROU ND T HE W OR L D I N 80 DA YS , Todd, UA.
James W. Sullivan and Ken Adam; Ross J. Dowd.
G I ANT , Giant Prod., Warner Bros. Boris Leven; Ralph S.
Hurst.
* T HE K I NG AND I , 20th Century-Fox. Lyle R. Wheeler
LU ST FOR LI FE, M-G-M. Cedric Gibbons, Hans Peters
and Preston Ames; Edwin B. Willis and F. Keogh
Gleason.
T HE T EN COM M AN DME N T S , Motion Picture Assocs.,
Paramount. Hal Pereira, Walter H. Tyler and Albert
Nozaki; Sam M. Comer and Ray Moyer.
C O S TUM E D ESIGN
T HE M AG N I FI CEN T S E V E N , Toho, Kingsley
International (Japanese). Kohei Ezaki.
(RKO Radio; produced by Maurice King

and Frank King) featured Michel Ray (at right) as a young
Mexican boy who attempts to save his pet bull from being sent
into the bullring. The lm received an Oscar for motion picture
story and unintentionally spawned confusion: the name of the
writer credited with authorship, Robert Rich, turned out to be
an alias. Two decades later, the mystery was ofcially solved and
the Academy statuette went to its rightful owner, screenwriter
Dalton Trumbo, blacklisted in 1956 by the industry for political
afliations.
THE BRAVE ONE
8/8/13 7:25 PM
be s t d i re c t or: GEORGE STEVENS (above, with James Dean) for Giant (Warner Bros.; also
produced by Stevens, with Henry Ginsberg). Based on the Edna Ferber novel, Giant was a mammoth (198 minutes) and sprawling epic focusing on the Benedict clan (headed by Rock Hudson with
Elizabeth Taylor) of Texas. Stevens had previously won the Academy Award for 1951s A Place in the
Sun, also with Elizabeth Taylor, and was additionally nominated in 1943 (for The More the Merrier), 1953 (for Shane), and 1959 (for The Diary of Anne Frank). He also received the 1953
Irving G. Thalberg Memorial Award.
THE P O W E R A ND THE PRIZE, M-G-M. Helen Rose.

THE P R O U D A ND PROFANE, Perlberg-Seaton,
Paramount. Edith Head.
* THE SO L ID GO L D CADILLAC, Columbia. Jean

Louis.
TE E NA GE R E BE L, 20th Century-Fox. Charles LeMaire
and Mary Wills.
(c ol or)
A R O U ND THE WORLD IN 80 DAYS, Todd, UA. Miles
White.
GIA NT, Giant Prod., Warner Bros. Moss Mabry and
Marjorie Best.
* THE K ING A ND I, 20th Century-Fox. Irene Sharaff.
THE TE N C O MMANDMENTS, Motion Picture
Assocs., Paramount. Edith Head, Ralph Jester, John
Jensen, Dorothy Jeakins and Arnold Friberg.
W A R A ND P E A C E, Ponti-De Laurentiis, Paramount
(Italo-American). Marie De Matteis.
THE BR A VE O NE, King Bros., RKO Radio. King
Bros. Productions Sound Dept., John Myers, Sound

Director.
THE E D D Y D U C HIN STORY, Columbia. Columbia
FR IE ND L Y P E R SUASION, Allied Artists. Westrex
Sound Services, Inc., Gordon R. Glennan, Sound
Director; and Samuel Goldwyn Studio Sound Dept.,
Gordon Sawyer, Sound Director.
* THE K ING A ND I, 20th Century-Fox. 20th CenturyFox Studio Sound Dept., Carl Faulkner, Sound
Director.
Assocs., Paramount. Paramount Studio Sound Dept.,
Loren L. Ryder, Sound Director.
F I LM ED I T I N G
* A R O UND THE WORLD IN 80 DAYS, Todd, UA. Gene

Ruggiero and Paul Weatherwax.
THE BR A VE O NE, King Bros., RKO Radio. Merrill G.
White.
GIA NT, Giant Prod., Warner Bros. William Hornbeck,
Philip W. Anderson and Fred Bohanan.
SO ME BO D Y UP T HERE LIKES ME, M-G-M. Albert
Akst.
Assocs., Paramount. Anne Bauchens.
FO R BID D E N P L ANET, M-G-M. A. Arnold Gillespie,
Irving Ries and Wesley C. Miller.

* THE TE N C O MMANDMENTS, Motion Picture
Assocs., Paramount. John Fulton.
MUSIC
(s on g)
FR IE ND L Y P E R SUASION (TH EE I LOV E) (Friendly
Persuasion, Allied Artists); Music by Dimitri Tiomkin.

Lyrics by Paul Francis Webster.
JU L IE (Julie, Arwin, M-G-M); Music by Leith Stevens.
Lyrics by Tom Adair.
T RU E LOVE (High Society, Siegel, M-G-M); Music and
Lyrics by Cole Porter.
* W HAT EVER W I LL BE, W I LL BE ( Q U E SERA, SERA)

(The Man Who Knew Too Much, Filwite Prods.,
Paramount); Music and Lyrics by Jay Livingston and
Ray Evans.
W RI T T EN ON T HE W I N D (Written on the Wind, U-I);
Music by Victor Young. Lyrics by Sammy Cahn.
AN AST ASI A, 20th Century-Fox. Alfred Newman.

* AROU N D T HE W ORLD I N 80 D AY S, Todd, UA. Victor
Young.
BET W EEN HEAVEN AND HELL, 20th Century-Fox.
Hugo Friedhofer.
G I ANT , Giant Prod., Warner Bros. Dimitri Tiomkin.

T HE RAI N M AK ER, Wallis, Paramount. Alex North.
T HE BEST T HI N G S I N LI FE ARE FREE, 20th Century-
Fox. Lionel Newman.
T HE ED D Y D U CHI N ST ORY , Columbia. Morris Stoloff
and George Duning.
HI GH SOCI ET Y , Siegel, M-G-M. Johnny Green and
Saul Chaplin.
* T HE K I NG AND I , 20th Century-Fox. Alfred Newman
and Ken Darby.
M EET M E I N LAS VEG AS, M-G-M. George Stoll and
Johnny Green.
(ca r t oon )
G ERALD M CBOI N G - BOI N G ON P LAN ET M OO,
UPA, Columbia. (Jolly Frolics). Stephen Bosustow,

producer.
T HE J AY W ALK ER, UPA, Columbia. (UPA Special).
* M I ST ER M AG OO S P U D D LE J U M P ER, UPA,
Columbia. (Mister Magoo). Stephen Bosustow,
producer.
(on e - r e e l)
* CRASHI N G T HE W AT ER BARRI ER, Warner Bros.

(Sports Parade). Konstantin Kalser, producer.
I NEVER FORG ET A FACE, Warner Bros. (Warner
Special). Robert Youngson, producer.
T I M E ST OOD ST I LL, Warner Bros. (Scope Gem).
Cedric Francis, producer.
(t w o- r e e l)
* T HE BESP OK E OVERCOAT , George K. ArthurGo

Pictures, Inc. Romulus Films, producer.
COW D OG , Disney, Buena Vista. Larry Lansburgh,
producer.
T HE D ARK W AVE, 20th Century-Fox. John Healy,
producer.
SAM OA, Disney, Buena Vista. (People and Places). Walt
Disney, producer.
D O C UM E N TA R Y
A CI T Y D ECI D ES, Charles Guggenheim & Assocs.

T HE D ARK W AVE, 20th Century-Fox. John Healy,
producer.
be s t s u p p or t in g a ct or : ANTHONY QUINN as Paul Gauguin (above, with Kirk Douglas)

in Lust for Life (M-G-M; directed by Vincente Minnelli). Quinn won his second Supporting Actor
Oscar as the real-life Gauguin, ego-ridden painter and housemate of the tormented Vincent Van
Gogh. He played the role with vitality and dark humor, and it was one of the shortest performances
ever to win an Academy Award, constituting only a matter of eight minutes of total screen time, a
supporting performance in the best sense of the word.
T HE HOU SE W I T H O U T A N A ME , U-I. Valentine
Davies, producer.
M AN I N SP ACE, Disney, Buena Vista. Ward Kimball,
producer.
* T HE T RU E ST ORY O F T H E C I V I L W A R , Camera Eye
Pictures. Louis Clyde Stoumen, producer.
(fe a t u r e s )
T HE NAK ED EY E, Camera Eye Pictures, Film
Representations. Louis Clyde Stoumen, producer.

* T HE SI LEN T W OR L D, Filmad-F.S.J.Y.C., Columbia
(French). Jacques-Yves Cousteau, producer.
W HERE M OU N T A I N S F L O A T , Arno Studios, Brandon
Films (Danish). The Government Film Committee of
Denmark, producer.
F O R E I G N LANGU AGE FIL M

(First year of nominations; previously honored in the
Special Award division)
T HE CAP T AI N OF K O PE N I C K (West Germany).
Gyula Trebitsch and Walter Koppel, producers.
G ERVAI SE (France). Annie Dorfmann, producer.
HARP OF BU RM A (Japan). Masayuki Takagi, producer.
* LA ST RAD A (Italy). Dino De Laurentiis and Carlo
Ponti, producers.
Q I VI T OQ (Denmark). O. Dalsgaard-Olsen, producer.
HONORARY AND OTHER

AWARDS
T O ED D I E CAN T O R for distinguished service to the
lm industry. (statuette)

T O BU D D Y AD LER
143
1956 JE A N HERSHOL T
H UM A N I TARIAN AWARD
(New category)
T O Y . FRAN K FRE E M A N
None.
None.
RI CHARD H. RAN G E R of Rangertone Inc.;
T ED HI RSCH, CAR L H A U G E , and E DW A R D
REI CHARD of Consolidated Film Industries;
T HE T ECHNI CAL DE PA R T ME N T S of PA R A MO U N T
P I CT U RES COR P. ;
ROY C. ST EW ART A N D S O N S of Stewart-Trans Lux
Corp., D R. C. R. DA I L Y and the T R A N S PA R E N C Y
D EP ART M EN T of PA R A M O U N T PI C T U R E S C O R P. ;
T HE CON ST RU CT I O N DE PA R T ME N T of M E T R O GOLD W Y N - M A YE R S T U DI O ;
D ANI EL J . BLOOMB E R G , J O H N PO N D, W I L L I A M
W AD E, and the E N G I N E E R I N G and C A M E R A
D EP ART M EN T S of R E PU B L I C S T U DI O .
8/8/13 7:25 PM
1957
The Thirtieth Year
n newspaper parlance, 30 means the

end, but when the Academy turned
thirty with the 1957 awards ceremony,
March 26, 1958, it was the start of something new: for the rst time in the six years
Oscar shows had been televised, the show
itself was TV-sponsored solely by the motion
picture industry, nanced by the major
studios, independent producers and theater
owners, who used the telecast to promote
new lm products instead of unallied commercial products, as had been the case. It
was an auspicious idea and continued for
three television years, but ultimately proved
too much of an organizational and nancial
burden.
Voting rules were also drastically altered.
Since 1946, the nal voting decision on
Oscars had been made by the Academys
approximately 2,000 members, but yearly
nominations for awards had been chosen by
more than 12,000 individuals, members of
the Academy, industry guilds and unions;
beginning with the 1957 awards, both the
nominations and nal selections were left
strictly in the hands of the Academy members. The number of categories, which had
swelled to thirty in the previous year, was
also streamlined down to twenty-four.
Because the NBC telecast was wholly an
industry affair, it was especially crowded
with major box ofce names, several of
whomlike Clark Gable and Jennifer
Joneshad never appeared on television
before. It was produced for the Academy
by Jerry Wald. Five people shared master of
ceremonies duties (James Stewart, David
Niven, Jack Lemmon, Rosalind Russell, and

Bob Hope), with some animated help from
Donald Duck, who hosted a seven-minute
combined live-action and cartoon history
of the movies. The entire show came from
the RKO Pantages Theatre in Hollywood,
with no New York cut-in, another rst
for Oscars television career. Among the
entertainment highlights of the evening was
the opening number: a medley of previous
Oscar-winning songs, done by Betty Grable
and Harry James, Mae West and Rock
Hudson, Marge and Gower Champion,
Bob Hope and Rhonda Fleming, Shirley
MacLaine and others.
The Bridge on the River Kwai dominated
the evenings awards, winning seven,
including best picture, best actor (Alec
Guinness), and best director (David Lean).
Sayonara was runner-up with four Oscars,
including those for best supporting actor (Red Buttons) and best supporting
actress (Miyoshi Umeki). Best actress was
28-year-old Joanne Woodward in The Three
Faces of Eve, and Italys The Nights of Cabiria
was selected as best foreign language lm.
All the acting winners were on hand at the
RKO Pantages, except Guinness, who was
in England lming The Horses Mouth. His
award was accepted by Jean Simmons.
144
be s t d i re c t or: DAVID LEAN and b es t a cto r : ALEC
as Colonel Nicholson for The Bridge on the River
Kwai (Columbia; produced by Sam Spiegel). Englands David
Lean had been a part of the Academy Awards story since 1946
when he was twice nominated for Brief Encounter (as director
and for cowriting the screenplay); the following year, he was
again nominated in the same two divisions for Great Expectations, and in 1955 for directing Summertime. Guinness had
been nominated for acting in 1952 for The Lavender Hill Mob,
and both gentlemen won their rst Oscars for 1957s Bridge.
Both were also to collect additional Academy Awards in the
years ahead.
GUINNESS
8/8/13 7:25 PM
be s t ac t re s s : JOANNE WOODWARD as Eve White (above)

in The Three Faces of Eve (20th Century-Fox; directed by
Nunnally Johnson). First offered to Jean Simmons, then to Judy
Garland and Carroll Baker, among others, Eve was based on an
actual split-personality case, recorded by two Georgia psychiatrists, in which a drab housewife suffered severe headaches and
during subsequent blackouts underwent a striking personality
change (to Eve Black), then under psychiatric treatment gave
way to a third personality (Jane). It was a plump and showy

role, nally entrusted to newcomer Joanne Woodward, and she
gave it her own indelible mark. Eve won her the Academy Award
and made her a major star.
145
be s t p i c t ure : THE BRIDGE ON THE RIVER KWAI, which

took a hot and uncomfortable three-and-a-half months to lm
in the Ceylon jungle. Based on Pierre Boulles grim novel about
the folly of men unwittingly involved in the useless game of war,
it paid off on lm as the most realistic antiwar movie since All
Quiet on the Western Front 27 years before. It won seven
Academy Awards, including one for Alec Guinnesss performance

as a British colonel held captive with his men in a World War II
Japanese prisoner-of-war camp. A strict disciplinarian, the
colonel has a rigid conict of wills with his Japanese captors over
military protocol, and later supervises the building of a railway
bridge for the Japanese without regard for the aid it gives the
enemy, obsessed instead with proving his battalion is superior to

his enemy. Guinnesss fellow players included William Holden,
Jack Hawkins, Sessue Hayakawa (above right, with Guinness)
and Geoffrey Horne.
8/8/13 7:25 PM
Nominations 1957
(right) be s t s up p ort i ng a cto r : RED BUTTONS as Sgt.

Joe Kelly and be s t s up po r ti ng a ctr es s : MIYOSHI UMEKI
as Katsumi (at right of James Garner and Marlon Brando)
in Sayonara (Warner Bros.; directed by Joshua Logan). As an
ill-fated interracial married couple hounded by prejudiceand
military red tapein postwar Japan, Miyoshi Umeki and Red
Buttons gave poignant, touching performances in this sumptuous
and romantic version of James A. Micheners novel, and both
received Academy Awards. Brando played an Air Force major
who champions their cause before it tragically ends in a double
suicide pact.
146
s p e c i al award to GILBERT M. BRONCHO BILLY

(at right, with his daughter and receiving his
Oscar from Hugh OBrian). Although western movies enjoyed a
long popularity with movie audiences, and more than once had
to pay the studio mortgage when loftier endeavors fell short, very
few lms of the genreand virtually no performers primarily
associated with the western moviereceived Oscar attention.
But, long after hed hung up his six-gun and deserted cardboard
sagebrush, Broncho Billy Andersonbest known as a western
hero, par excellence, of the silent screen era, received an honorary
Oscar, specically for his contributions to the development of
motion pictures as entertainment.
ANDERSON
8/8/13 7:25 PM
* THE BR ID GE O N TH E RIV ER KWAI, Horizon,

P E Y TO N P L A C E , Wald, 20th Century-Fox. Produced
by Jerry Wald.
SA Y O NA R A , Goetz, Warner Bros. Produced by
William Goetz.
12 A NGR Y ME N, Orion-Nova Prod., UA. Produced by
Henry Fonda and Reginald Rose.
W ITNE SS FO R TH E PROSECUTION, SmallHornblow, UA. Produced by Arthur Hornblow, Jr.
A CT O R
MA R L O N BR A NDO in Sayonara, Goetz, Warner Bros.

A NTHO NY F R A NCIOSA in A Hatful of Rain, 20th
Century-Fox.
* A L E C GUINNE SS in The Bridge on the River Kwai,
Horizon, Columbia.
C HA R L E S L A U GHTON in Witness for the Prosecution,
Small-Hornblow, UA.
A NTHO NY Q UINN in Wild Is the Wind, Wallis,
Paramount.
A CT RES S
D E BO R A H KE R R in Heaven Knows, Mr. Allison, 20th
Century-Fox.
A NNA MA GNA NI in Wild Is the Wind, Wallis,
Paramount.
E L IZ A BE TH TA Y LOR in Raintree County, M-G-M.

L A NA TU R NE R in Peyton Place, Wald, 20th Century-
Fox.
* JO A NNE W O O D WARD in The Three Faces of Eve, 20th

Century-Fox.
* R E D BU TTO NS in Sayonara, Goetz, Warner Bros.

VITTO R IO D E SICA in A Farewell to Arms, Selznick,
20th Century-Fox.
SE SS UE HA Y A K A WA in The Bridge on the River Kwai,
Horizon, Columbia.
A R THUR KE NNE DY in Peyton Place, Wald, 20th
Century-Fox.
R US S TA MBL Y N in Peyton Place, Wald, 20th CenturyFox.
C A R O L Y N JO NE S in The Bachelor Party, Norma, UA.

E L SA L A NC HE S TER in Witness for the Prosecution,
Small-Hornblow, UA.
HO P E L A NGE in Peyton Place, Wald, 20th Century-
Fox.
* MIY O S HI UME K I in Sayonara, Goetz, Warner Bros.
DIANE VARSI in Peyton Place, Wald, 20th Century-Fox.
D I RECT I N G

Columbia. David Lean.
P E Y TO N P L A C E , Wald, 20th Century-Fox. Mark
Robson.
SA Y O NA R A , Goetz, Warner Bros. Joshua Logan.
12 A NGR Y ME N, Orion-Nova Prod., UA. Sidney
Lumet.
W ITNE SS FO R TH E PROSECUTION, SmallHornblow, UA. Billy Wilder.
W RI T I NG
(New rules; two categories for writing instead of
three as previously given since 1940)
(screenplaybased on material from another medium)

Columbia. Pierre Boulle, Carl Foreman and Michael
Wilson.
( N O T E : Because of the political climate of the time,
only Pierre Boulle was given ofcial on-screen credit,
but actual screenwriters Foreman and Wilson have
since been acknowledged by the Academy for their
contributions.)
HE A VE N K NO W S, MR. ALLISON, 20th Century-Fox.
John Lee Mahin and John Huston.
P E Y TO N P L A C E , Wald, 20th Century-Fox. John
Michael Hayes.
SA Y O NA R A , Goetz, Warner Bros. Paul Osborn.
12 A NGR Y ME N, Orion-Nova Prod., UA. Reginald
Rose.
(s t ory an d s c re enpl a y w r i tten di r ectl y f o r th e
s c re e n )
* D E S IGNING W OMAN, M-G-M. George Wells.

FUNNY FA C E , Paramount. Leonard Gershe.
MA N O F A THO USAND FACES, U-I. Story by Ralph
Wheelwright. Screenplay by R. Wright Campbell,
Ivan Goff and Ben Roberts.
THE TIN STA R , Perlberg-Seaton, Paramount. Story by
Barney Slater and Joel Kane. Screenplay by Dudley
Nichols.
VITE L L O NI, Peg Film/Cit Film, API-Janus (Italian).
Story by Federico Fellini, Ennio Flaiano and Tullio
Pinelli. Screenplay by Federico Fellini and Ennio
Flaiano.
(New classication; one award instead of separate
awards for black-and-white and color lms, for the
rst year since 1938)
AN AFFAI R T O REM EM BER, Wald, 20th Century-Fox.
Milton Krasner.
* T HE BRI D GE ON T HE RI VER K W AI , Horizon,
Columbia. Jack Hildyard.
FU NNY FACE, Paramount. Ray June.
P EY T ON P LACE, Wald, 20th Century-Fox. William
Mellor.
SAY ONARA, Goetz, Warner Bros. Ellsworth Fredricks.
rst year since 1939)
FU NNY FACE, Paramount. Hal Pereira and George W.
Davis; Sam Comer and Ray Moyer.
LES GI RLS, Siegel, M-G-M. William A. Horning and
Gene Allen; Edwin B. Willis and Richard Pefferle.
P AL J OEY , Essex-Sidney, Columbia. Walter Holscher;
William Kiernan and Louis Diage.
RAI NT REE COU N T Y , M-G-M. William A. Horning
and Urie McCleary; Edwin B. Willis and Hugh Hunt.
* SAY ON ARA, Goetz, Warner Bros. Ted (Edward S.)
Haworth; Robert Priestley.
rst time in this category)
Charles LeMaire.
FU NNY FACE, Paramount. Edith Head and Hubert de
Givenchy.
* LES G I RLS, Siegel, M-G-M. Orry-Kelly.
P AL J OEY , Essex-Sidney, Columbia. Jean Louis.
RAI NT REE COU N T Y , M-G-M. Walter Plunkett.
G U N FI G HT AT T HE O. K . CORRAL, Wallis,
P ERRI , Disney, Buena Vista. (True Life Fantasy). Paul
Smith.
RAI NT REE COU N T Y, M-G-M. Johnny Green.
S H O R T S UBJECTS
(New rules: two categories for short subjects instead of
three as previously given)
(ca r t oon s )
* BI RD S ANON Y M O U S , Warner Bros. (Merrie

MelodiesTweety & Sylvester). Edward Selzer,
producer.
ONE D ROOP Y K N I G H T , M-G-M. (Droopy). William
Hanna and Joseph Barbera, producers.
T ABASCO ROAD , Warner Bros. (Merrie Melodies
Speedy Gonzales & Sylvester). Edward Selzer, producer.
T REES and J AM AI C A DA DDY, UPA, Columbia. (Ham
and Hattie). Stephen Bosustow, producer.
T HE T RU T H ABOUT M O T H E R G O O S E , Disney, Buena
Vista. Walt Disney, producer.
(liv e a ct ion )
A CHAI RY T ALE, National Film Board of Canada,
Kingsley International. Norman McLaren, producer.
CI T Y OF G OLD , National Film Board of Canada,
Kingsley International. Tom Daly, producer.
FOOT HOLD ON A N T A R C T I C A , World Wide Pictures,
Schoenfeld Films. James Carr, producer.
P ORT U GAL, Disney, Buena Vista. (People and Places).
Ben Sharpsteen, producer.

* T HE W ET BACK HO U N D, Disney, Buena Vista. Larry
Lansburgh, producer.
D O C UM E N TARY
No nominations or award this year.

(fe a t u r e s )
* ALBERT SCHW EI T ZE R , Hill and Anderson Prod., Louis

de Rochemont Assocs. Jerome Hill, producer.
ON T HE BOW ERY, Rogosin, Film Representations, Inc.
Lionel Rogosin, producer.
T ORERO!, Producciones Barbachano Ponce, Columbia
(Mexican). Manuel Barbachano Ponce, producer.

Paramount. Paramount Studio Sound Dept., George
T HE D EVI L CAM E A T N I G H T (West Germany).
Dutton, Sound Director.
G AT ES OF P ARI S (France).
LES GI RLS, Siegel, M-G-M. M-G-M Studio Sound
M OT HER I N D I A (India).
Dept., Wesley C. Miller, Sound Director.
P AL J OEY , Essex-Sidney, Columbia. Columbia Studio
* T HE N I GHT S OF C A B I R I A (Italy).
N I NE LI VES (Norway).
Sound Dept., John P. Livadary, Sound Director.
* SAY ON ARA, Goetz, Warner Bros. Warner Bros. Studio
Sound Dept., George Groves, Sound Director.
T O CHARLES BRA C K E T T for outstanding service to
W I T N ESS FOR T HE P ROSECU T I ON , Small-Hornblow,
the Academy. (statuette)
UA. Samuel Goldwyn Studio Sound Dept., Gordon E.
T O B. B. K AHAN E for distinguished service to the
F I LM E D I TI N G

Columbia. Peter Taylor.
G U N FI G HT AT T HE O. K . CORRAL, Wallis,
Paramount. Warren Low.
P AL J OEY , Essex-Sidney, Columbia. Viola Lawrence and
Jerome Thoms.
SAY ONARA, Goetz, Warner Bros. Arthur P. Schmidt
and Philip W. Anderson.
W I T N ESS FOR T HE P ROSECU T I ON , Small-Hornblow,
UA. Daniel Mandell.
* T HE EN EM Y BELOW , 20th Century-Fox. Audible

Effects by Walter Rossi.
T HE SP I RI T OF ST . LOU I S, Hayward-Wilder, Warner
Bros. Visual Effects by Louis Lichteneld.
M US I C
(s on g )
AN AFFAI R T O REM EM BER (An Affair to Remember,
Wald, 20th Century-Fox); Music by Harry Warren.

Lyrics by Harold Adamson and Leo McCarey.
* ALL THE WAY (The Joker Is Wild, A.M.B.L., Paramount);
Music by James Van Heusen. Lyrics by Sammy Cahn.
AP RI L LOVE (April Love, 20th Century-Fox); Music by
Sammy Fain. Lyrics by Paul Francis Webster.
TAMMY (Tammy and the Bachelor, U-I); Music and Lyrics
by Ray Evans and Jay Livingston.
W I LD I S T HE W I N D (Wild Is the Wind, Wallis,
Paramount); Music by Dimitri Tiomkin. Lyrics by Ned
Washington.
(s cor in g )
(New classication; one award for Scoring instead of

two, for the rst year since 1937)
Hugo Friedhofer.
BOY ON A D OLP HI N , 20th Century-Fox. Hugo
Friedhofer.
Columbia. Malcolm Arnold.
T O G I LBERT M . ( B R O N C H O B I L L Y ) A N DE R S O N ,
motion picture pioneer, for his contributions to the

development of motion pictures as entertainment.
(statuette)
T O T HE SOCI ET Y O F MO T I O N PI C T U R E A N D
T ELEVI SI ON EN G I N E E R S for their contributions
to the advancement of the motion picture industry.

(statuette)

T O SAM U EL G OLD W YN
147
T OD D - AO CORP . and W E S T R E X C O R P. for
developing a method of producing and exhibiting

wide-lm motion pictures known as the Todd-AO
System.
M OT I ON P I CT U R E R E S E A R C H C O U N C I L for the
design and development of a high efciency projection
screen for drive-in theaters.
SOCI T D OP T I QU E E T DE M C A N I Q U E DE
HAU T E P RCI SI O N for the development of a high
speed vari-focal photographic lens.
HARLAN L. BAU M B A C H , L O R A N D W A R G O ,
HOW ARD M . LI T T L E , and the U N I C O R N
EN G I NEERI N G C O R P. for the development of an
automatic printer light selector.
CHARLES E. SU T T E R , W I L L I A M B . S M I T H ,
P ARAM OU N T P I C T U R E S C O R P. , and G E N E R A L
CABLE CORP .
8/8/13 7:25 PM
19581967
The Academys Fourth Decade
nlike the preceding years, which had

seen the Academy of Motion Picture
Arts and Sciences actively (and
often inadvertently) involved in studio-labor
disputes, political controversies and other
weighty industry problems, the organizations fourth decade was one of relative
serenity. Conversely, the lm industry itself
spent most of those ten years in a state
of turmoil and confusion, caused by the
ever-changing tastes of moviegoers and the
tumultuous times through which everyone
was living. There seemed to be one blow
after another: the Vietnam War, the Cuban
missile crisis, equal rights demonstrations,
the assassinations of President John F. Kennedy and Martin Luther King, Jr., and social
changes such as the beginning of the drug
culture. On the more positive side were major advances in space exploration, medicine
and technology.
The Academy, still housed in its Melrose
Avenue headquarters, continued to expand,
rapidly making a future move to larger quarters and a new Academy building of its own
not only a distinct possibility but a necessity.
The library acquired more and more material
for its research les, including clippings, still
photographs, periodicals, press books and
memorabilia; there was now barely room to
house the numerous scrapbooks and private
collections of valuable materials donated to
the Academy by individuals and organizations related to the motion picture industry.
Other Academy activities also continued:
private screenings for members of new
and older lms in the downstairs Academy
Award Theater, as well as publication three

times each year of both the Academy Players
Directory and the Screen Achievement Records
Bulletin. In 1965, the Academy also began
sponsoring a scholarship program for lm
students (which, beginning in 1973, would
also include ofcial Student Film Awards
presented by the Academy). In cooperation
with the American Film Institute and the
Society of Motion Picture and Television
Engineers, an internship program for young
lmmakers was also inaugurated.
Also, with spectacular results, the
Academy Awards presentations continued
to thrive and capture the interest and the
imagination of the worlds public and press.
Since March 23, 1950, the annual ceremony
had been held at the RKO Pantages Theatre
in the heart of Hollywood, a few doors east
of the intersection of Hollywood and Vine.
Beginning April 17, 1961, on the night the
thirty-third Awards were distributed, the
Oscar Awards were moved to a new location, the Santa Monica Civic Auditorium,
in Santa Monica, California, miles away
from the nearest lm studio. The presentations continued there annually for eight
years. Also during the decade, the Academy
ceremony was telecast in color for the rst
time (April 18, 1966) and two new records
were set: 1959s Ben-Hur became the most
honored of all Academy Awardwinning
lms, the rst to win eleven awards, and
1961s West Side Story became a close runnerup, winning ten awards plus a special award
voted by the Board of Governors to Jerome
Robbins for his choreography on the lm.
E L I Z A B E T H T A YL O R
I have no recollection at all of what I said except

thank youI still say thank you.
148
The Oscar is the highest award in motion picture
history given to you by your peers; therefore, I feel to
every actor its the most important one. Ive known
the disappointment of losing. Ive known the amazing
feeling of excitement of winning two Oscars. I will
never forget the night I won my first one for Butterfield 8. I had been nominated before and lost, so
I had become almost superstitious about having any
acceptance speech even remotely in mind.
A great friend of mine, Yul Brynner, who had won
the year before, was presenting the womans award,
and he teased me over dinner the previous evening that
if my name was in the envelope he was going to milk it.
On that evening there were five of us sitting on
the aisle. I watched Yul open the envelope, take the
longest pause in the history of my memory, case every
actress in the house and finally settle his eyes on me;
then beat, beat, beat, his mischievous smile lit up and
he said, the winner isand vaguely from somewhere
I heard my name, somebody poking me in the ribs,
somebody else telling me to stand up and walk down
the aislethat I had won.
Elizabeth Taylor
RI C H A RD M . S HERMAN &
RO B E R T B . SHERMAN
Ever since that incredible night thirteen years ago,

when we each won two Oscars, we have worn with
pride the designation, Academy Award winners.
Now, each time we begin a new film-musical, those
Golden Gentlemen are there to remind us that all
it will take for us to achieve something excellent is
hard work, a shipload of good luck and an army of
talented people all doing their thing on the same
project with us.
Richard M. Sherman
Robert B. Sherman
Music Score (Substantially Original), 1964
Music (Song), 1964
8/8/13 7:26 PM
Stage full of stars: 31st awards show, April 6, 1959
Eligibility rules, especially those for judging the best foreign language lm award,
continued to change from year to year as
the Academy Board attempted to make
rules for Awards judging as fair as possible.
If anything, the most rigid thing about the
Academy was its determination to remain
exible.
From time to time, as before, speculation
occasionally surfaced suggesting that pressures from certain studios might be responsible for the outcome of Academy members
voting, or that some members of the lm
community were attempting to buy Academy attention by purchasing full-page ads in
the trade papers and Los Angeles newspapers
to bring attention to a specic accomplishment. No one was more disapproving of
industry pressuresif they really did exist
or more against the extravagant use of
David Niven, Susan Hayward (31st Awards)
149
GEO RGE CUKOR
The great, the unique thing about the Academy Awards

is that its on the levelabsolutely on the level.
Ive been around a long time, and never in my experience has anyone offered me a bribe, or tried in any
way to influence me in how I voted. Even friendship
doesnt count for much. You may think in advance
that you will vote for a good pal, but when the chips
are down, and you are alone with your God and your
ballot, you find yourself voting for what you really
think. It is sometimes said, disparagingly, that an
Oscar is just a reward for popularity. Ina Claire told
me that when she was a young star on the stage she
was introduced to Sarah Bernhardt as a great American actress. She modestly said, Oh no, I happen
to be a popular actress. Bernhardt, then at the end
of her long and distinguished career, replied, Very
well, very well, first come popular, then come great.
The public is never wrong. Old Sarah was absolutely
right. True popularity means something; it cannot be
faked. If you look back over the history of the Awards,
in a curious way the truth does come out; the choices
of the Academy withstand the test of time.
I am not one of those who think prizes are ignoble.

But some are obviously more valuable than others.
The Academy Award is most valuable because it is
dearly won. It is an expert, professional judgment,
at once the most merciless and, sometimes, the most
amazingly generous.
It is good for the soul, if not very pleasant, to sit
there with your nomination and be turned down in
front of a hundred million people. But when you
do get it, it is a glory. Mine seemed to be an inordinately long time coming, but when at last I got it, it
meant more to me than any other award I have ever
received.
George Cukor
Best Director, 1964
W A L T E R M I RI SC H
I recall sitting in the end seat of a row at the Academy

Awards presentation in 1968. Sitting in front of me
and behind me were the producers of Bonnie and
Clyde, The Graduate, Guess Whos Coming to
Dinner, and Doctor Dolittle.
I had by then pretty well insulated myself against

the disappointment of losing by the traditional
method: namely, convincing myself that another
film was practically a foregone certainty to win.
Of course, under that method one still leaves just a
tiny glimmer of hope to remain until that very last
second.
As Julie Andrews began to name the Best Picture
nominees, that tiny glimmer of hope suddenly rose
to mountainous proportions. When she read In the
Heat of the Night and my name, the surging hope
reached an unbelievable climax, and I rose almost
mechanically to walk to the podium. I accepted the
award from Julie and I began to speak bits and pieces
of things I had sorted out just in case. In essence,
Thank you to all. I then walked to the wings. Sidney
Poitier and Rod Steiger both came out to greet me. I
threw my arms around Sidney and kissed him.
Walter Mirisch
Best Picture, 1967
Irving G. Thalberg Memorial Award, 1977
8/8/13 7:26 PM
blatant advertising for voteswhich was

considerablethan the Academy itself. Further, the Academy issued a statement in the
1960s denouncing the latter practice, and it
is something they have done almost annually
since, but with only limited success at correcting the problem. The soliciting of votes
proves to still be a habitual embarrassment.
Preparations for the yearly Awards show, as
might be expected, require Herculean efforts
on the part of the Academys own staff. In a
special section devoted to the awards in 1962,
the Hollywood Citizen News paper reported:
Unsung heroes of the Awards presentations
are the staff members of the Academy of
Motion Picture Arts and Sciences. The 30odd employees have literally led a dogs life
during the past six weeks while doggedly
toiling to make the affair a success.
This dogged existence hit its stride the
day the nominations (for the 34th Awards
presentations) were announced on February 26 at the Academy Award Theater.
Many of them were imprisoned there
from 2 a.m. until the announcements were
made at 10 a.m. This is a precautionary
measure taken each year to ensure secrecy
of the nominations.
the Academy, following the announcements.

As a ten-year employee of the Academy,
she knew whereof she spoke. She explained
that between then and the grand nale last
night, the staff would have to contact all the
nominees and work out all the details for
them or their representatives to be present,
plus handling the myriad other details connected with the arrangements for the show.
One of the female staffers observations last
night as she stood backstage watching the
proceedings on a television set reected the
employees point-of-view on the affair: Do
you know that I wore out three typewriter
ribbons, and wore an inch-long callus on my
dialing nger trying to get a simple answer
from that actress as to whether she was going
to be here tonight, or send someone else?
She was referring to a blonde smiling
broadly at one of emcee Bob Hopes barbs,
and explained that the actress had been
moving around on movie locations in

Europe for the past several months. The
staffer then sighed resignedly while massaging her callused nger and said, And
just think of all the thank-you notes were
going to have to write after all this is over
for everybody else!
During the decade, Bob Hope continued
to be Oscars most conspicuous host, acting
as master of ceremonies (at least partially)
at eight of the ten Awards shows, missing
only the 1962 Awards and the 1963 Awards
due to a conict of interests between the
sponsors of the Academy show and Hopes
own television shows. There were also a few
provocative and newsworthy incidents that
occurred during those Academy Awards
nights. The 1958 show, with Jerry Lewis as
cohost, nished twenty minutes earlier than
had been anticipated. In order to make the
best of an ill-timed situation, Lewis took a
Some of the staff had to come to work at

2 a.m. to begin assembling photographs and
biographies of the nominees as soon as the
list was delivered in an armored car from
the auditing rm which tabulated the secret
ballots. They werent allowed to leave the
library area of the Theater or use telephones
until the announcement, together with the
photos and biographies, were released to
almost 100 members of the press.
However, that was only the forerunner of
the countless hours of leg work which had
to be done from then until the grand nale
last night. Our work is just beginning
now, said Mrs. Joseph Segar, secretary to
Sam Brown, assistant executive director of
Simone Signoret, Yves Montand
150
L IL A K EDRO VA
To win the Oscar for Best Supporting Actress was

not only a great honor, but was, without question,
the most exciting and moving moment in my career.
It opened up a new life to me, and has given me the
great joy and opportunity to play in many, many
countries around the world. I will always be deeply
grateful to the members of the Academy who opened
their hearts to Bouboulina!
Lila Kedrova
F REDDIE Y O U N G
Three of the highlights in my life were winning my

three Oscars. Whatever anybody might say to the
contrary, to win an Oscar is a very special thing.
To be nominated is very exciting, but to actually
win an Oscar! Well, you just have to be lucky.
Freddie Young
Cinematography (Color), 1962; 1965
Cinematography, 1970
M A U RI C E J A RRE
You are a kid in Lyon, France, living under the Nazi

occupation. Not much to eat, not much to smile
about. But one dream to hold on to: I am going to be
a COMPOSER some day.
Fade out.
Paris radio announces that you have been nominated for an Academy Award for the music of a film
called Lawrence of Arabia.
The excitement you feel is somewhat dampened
when you hear the lugubrious voice of the producer
telling you, Baby, you havent got a chance. The
competition is ferocious.
Okay.
So you go to bed like Harry Truman and the next
thing you hear is the Paris radio announcing: You
have WON!
Wrestling my Oscar from the reluctant grip of the
producer was perhaps the most difficult task of all.
So I was determined to be present when I was in the
running again for Dr. Zhivago. This time I literally
hurled myself onto the stage, took a firm hold on
my gold statue and haltingly said the words that had
been filling my heart: To be chosen by my fellow
composers for a nomination is already the achievement. With my deep respect I say for these thrilling
moments of my life, thank you, thank you all.
Maurice Jarre
Music Score (Substantially Original),
1962; 1965
Music (Original Score), 1984
M A R T I N B A L SAM
Aside from remembering the precise moment of my

name being called, I remember feeling as if someone
put a sky hook in my collar and yanked me from my
chair and put me on stage to receive my Oscar.
My memories of that night include someone saying Dont scratch it. There may be chocolate underneath. There wasnt. It was sturdy and solid, but
sweet.
Looking at it, or it looking at me, still gives me the
pleasure of a treasured moment.
Martin Balsam
8/8/13 7:26 PM
Elizabeth Taylor, Burt Lancaster (33rd Awards)
William Wyler, Charlton Heston (32nd Awards)
Edmond OBrien, Shelley Winters (32nd Awards)
151
CL AUDE L E LOUCH
Nothing is more suspect than an award . . . and

nothing is more delightful to receive.
Claude Lelouch
Writing (Story and Screenplaywritten directly
for the screen), 1966
W AL TER MAT T H A U
The night I won my Academy Award I was still in a

state of shock from an accident the day before. I had
fallen off a bicycle on the Pacific Coast Highway. I was
speeding and hit a bump in the road and flew through
the air and landed heavily on my left elbow, breaking
it in sixteen places and getting about three pounds of
gravel into my eyes, nose and throat. And so when my
name was announced as the winner of the Academy
Award, I thought it was still part of the accident. I
thought it was some sort of aftershock. But it seemed
strange to me that an accident could be so thrilling.
Walter Matthau
C H A R L T O N H E ST O N
There are many awards given to filmmakers, perhaps

too many. It seems to me the reason the Academy
Award remains the most highly prized is clear: it
represents the opinion of your peers. When you receive
an Academy nomination, it means that the people who
do the work you do thought you did it well. Each of us
would rather have that approval than any other.
Charlton Heston
Best Actor, 1959
H E N RY M A N C I N I
I would like to take my space here to thank the

Academy for two marvelous nights shared with my
huckleberry friend Johnny Mercer.
Henry Mancini
Music (Music Score of a Dramatic or
Comedy Picture), 1961
Music (Song), 1961; 1962
Music (Original Song Score and Its Adaptation),
1982
V I N C E N T E MINNEL L I
I was nominated for An American in Paris but something happened. That something was George Stevens
for directing A Place in the Sun.
So when I was nominated again for Gigi and was
leaving very early the next morning on location to
direct the drama Home from the Hill with Robert
Mitchum, I almost didnt attend the ceremony, thinking theyll never give an Oscar to a musical.
Then I heard my name called; it was a miraculous,
glorious, earth-shattering feeling and one I shall
treasure always.
Vincente Minnelli
Best Director, 1958
M I K E N I C H OL S
I was so out of it when I received the Oscar that Ive

often wished I could go back and do it again. This
time I would really enjoy it.
Mike Nichols
Best Director, 1967
8/8/13 7:26 PM
The Santa Monica Civic Auditorium, April 18, 1966
Patty Duke, Joan Crawford (35th Awards)
baton, briey conducted the orchestra, and

clowned, while a stage full of stars began
dancing (including Cary Grant, Ingrid
Bergman, Laurence Olivier, Sophia Loren,
Bette Davis, James Cagney, Gary Cooper,
Irene Dunne, John Wayne, Joan Fontaine,
Rock Hudson, Elizabeth Taylor, David
Niven, Susan Hayward and June Allyson)
until the program nally came to an embarrassing end.
At the 1961 Awards ceremony, on April 9,
1962, a professional gate-crasher somehow got past an army of uniformed police
guards, sprinted onto the stage of the
Santa Monica Civic Auditorium during the
program and presented a small, handmade
Oscar to a briey startled Hope. Who needs
Price Waterhouse? What we need is a door-
man, smiled the comedian. He was equally

surprised four years later when he was
presented the Academys rst Gold Medal,
for unique and distinguished service to the
motion picture industry and the Academy,
voted by the Board of Governors. Hope had
previously been presented a special silver
Academy plaque at the 1940 ceremony in
recognition of his unselsh services to the
motion picture industry, a life membership
in the Academy at the 1944 ceremony for
his many services to the Academy, a Special
Award Oscar statuette in 1952 for his
contribution to the laughter of the world,
his service to the motion picture industry,
and his devotion to the American premise,
and an Oscar statuette as winner of the 1959
Jean Hersholt Humanitarian Award.
The 1966 Oscar TV show was almost

canceled, due to a lingering strike by the
theatrical union governing live telecasts,
the American Federation of Television and
Radio Artists (AFTRA), but three hours
before the ceremony was to begin the strike
was settled, allowing telecast coverage
after all.
The following year, the ceremony was
postponed two days due to the assassination
of Martin Luther King, Jr. The annual Board
of Governors Ball that year was canceled
altogether.
Music also played an unusually striking part in the Academys fourth decade
of existence. At the 34th Awards show on
April 9, 1962, one of the nominees as Best
Song of 1961, Bachelor in Paradise, was
GREGO RY PECK
the lead line in ones obituary will read, Academy

Award winner, etc., etc., etc.
intelligible sounds to save your souland nothing left

but twenty years to look back and plan the way it
SHOULD have gone!!!
Ah, Oscar, you can WIN one, but you CANT
WIN!!!
152
When I was about eight years old, a typical California small-town kid (in La Jolla), freckle-faced
and bare-footed, a Hollywood movie company came
to town. Roped off at a safe distance with the other
locals, I watched in amazement as Lew Cody, in orange makeup, eye shadow and black lips, frolicked on
the beach and brandished a long cigarette holder (no
fooling) at a collection of bathing beauties. Creatures
from another planet, I thought.
Later on, I became one of those creatures, and
eventually was voted an Academy Award for To Kill
a Mockingbird. It remains the high point of my
professional life, precisely because of my respect and
affection for my acting colleagues who nominated
me for the honor. I had long since discovered that,
orange makeup and all, performers in the theater and
in films are the most interesting, the most generous,
the most vulnerable, and, at the same time, the most
courageous people I know. I was thrilled to be honored
by the Academy then, in 1962, and I still am. Incidentally, since we all have to turn in our dinner pail one
day, it is no small comfort to know in advance that
Gregory Peck
Best Actor, 1962
S H I RL E Y J O N E S
The funny thing about Oscar is that you actually plan

your whole life to get one, from childhood on. And
the little kid dream never ends, even after the little kid
does. It only grows more vivid as reality brings you
into some proximity. You plan furtherwith every
picture, every script, every ideamaybe this one,
maybe this one. Then, a good roll of the diceone
of them gets near the winners circle, and the dream
is close. You plan the night, you plan the dress, and
you plan the speech. And there you arethe envelope
openmy God, its me. The music, the cheers, the
mike, and all the world awaiting the simple words
youve been planning for twenty years. AND YOURE
A ZOMBIE; A BABBLING, GIGGLING, SLOBBERING ZOMBIEwithout a two-cent string of
Shirley Jones
P A T R I C I A N E AL
When I was nominated for an Oscar for my part in

Hud, I was unable to attend the ceremony because
I was heavily pregnant. I therefore asked my great
friend Annabella to deputize for me in case I was lucky
enough to win. California was then nine hours behind
England in time so that when the announcement was
made in Los Angeles, I was asleep in bed here at 6 a.m.
the next day. At 6:15 a.m. the long-distance telephone
call awoke me, and the voice of Betsy Drake shouted
down the phone, Youve won! Wasnt that lovely?
Patricia Neal
Best Actress, 1963
8/8/13 7:26 PM
Julie Christie, Rex Harrison (38th Awards)
acting awards. Mitzi Gaynor had a spectacular moment on the 1966 Awards show
performing a mod musical interpretation
of Georgy Girl with four male partners,
as did Angela Lansbury as she Charlestoned
with her partners to Thoroughly Modern
Millie on the 1967 Awards program.
But if music and the recognition of lm
excellence and the myriad of other activities
was an ongoing fact of life to the Academy
itself as the decade drew to a conclusion, so
was the unavoidable problem of spaceor
the lack of it. The Academy had once again
outgrown its home base and, in the decade
ahead, would make a nal, long-awaited
move.
a ca d em y pr e siden ts
th e four th dec ade
Jack L. Warner, Audrey Hepburn, Rex Harrison, George Cukor (37th Awards)
sung by a little-known performer named

Ann-Margret, delivered in an unabashed
style that literally launched her motion
picture career; Ann-Margret was never
unknown again, and later became a twotime nominee for acting honors. Angela
Lansbury, Joan Collins and Dana Wynter
in 1959 did a special-material number, Its

Bully Not To Be Nominated, a parody of a
number done the previous year, Its Great
Not To Be Nominated, performed by Burt
Lancaster and Kirk Douglas as a humorous
sour grapes ballad giving tongue-in-cheek
reasons they werent in the competition for

June 1958May 1959 . . . . . . . . . . . . . . . George Stevens
June 1959May 1960 . . . . . . . . . . . . . . . . . B.B. Kahane
June 1960September 1960 . . . . . . . . . . . B.B. Kahane*
September 1960May 1961 . . . . . . . . Valentine Davies
June 1961July 1961 . . . . . . . . . . . . . . Valentine Davies**
August 1961May 1962 . . . . . . . . . . . . . Wendell Corey
June 1962May 1963 . . . . . . . . . . . . . . . Wendell Corey
June 1963May 1964 . . . . . . . . . . . . . . . . . Arthur Freed
*Died during second term

**Died during second term
153
W ENDY HIL LER
The first Oscar I ever saw was on Mr. Shaws mantelshelf in his home at Ayot St. Lawrence. My first
thought on hearing that I had got one was that if the
great G.B.S. thought it was respectable then who was
I to worry?
Wendy Hiller
DAVID NIVEN
Many think I am the first self-confessed drunk to

win the Oscar. When my name was read out, and
the odds are always four to one against this happening, I thought I had better get up on that stage
before everybody changed their minds. I rushed down
to the front of the theater, my coattail flapping,
and fell headlong up the steps onto the stage. Not
having prepared an acceptance speech for fear of
attracting bad luck, I grabbed the proffered Oscar
and the microphone and tried to explain my rather
peculiar arrival. The reason I just fell over, I said,
and I intended to continue, was because I was so
loaded with good luck charms that I was top heavy.
Unfortunately, I made an idiot pause after the word

loaded. This brought down the house, and knowing
I could never top that I tottered off the stage with
my prize.
David Niven
Best Actor, 1958
EDITH HEAD
When I received my first awardThe Heiress, in

1950I was so terrified I merely mumbled Thank
you and scurried off.
When I received my eighth awardThe Sting, in
1974I dont actually remember what I said, but at
least people laughed and applauded.
People who work in the motion picture industry
have stimulating lives, but nothing will ever compare
with the actual receiving of the Oscar.
Edith Head
Costume Design (Black-and-white),
1949; 1950; 1951; 1953; 1954; 1960
Costume Design (Color), 1950
Costume Design, 1973
R O B E RT W I S E
In early 1962, I was assured that meeting and appearing before the Queen of England at the Command
Performance of West Side Story in London would be
a memorable eveningand it was.
However, the evening was definitely overshadowed
a few weeks later by the Academy Awards and by
being called to the stage twice for Oscars for my part
in West Side Story. Few experiences can match the
excitement and reward of approval by ones peers.
Robert Wise
Best Picture, 1961; 1965
B I L L T H O M AS
Winning an Oscar was the culmination of an exciting career in this exciting business of ours. It makes
each new assignment even more of a challenge, hoping
that the Academy might again see a possibility for a
mate for Oscar Number One.
Bill Thomas
Costume Design (Color), 1960
8/8/13 7:26 PM
1958
The Thirty-First Year
new decade and a new record! On

April 6, 1959, the start of Oscars
fourth decade, M-G-Ms gilded Gigi
set a new, all-time Academy record to date,
with nine Oscar awards for 1958 achievement; the previous record holders had
been Gone with the Wind (1939), From Here
to Eternity (1953), and On the Waterfront
(1954), with eight awards each. The Gigi
total included awards for best picture, best
director (Vincente Minnelli), best costume design (Cecil Beaton), and best song
(Gigi by Alan Jay Lerner and Frederick
Loewe), and it was additionally responsible
for an honorary award to Maurice Chevalier, specically cited for his contributions
to the entertainment world for over a half
century. Gigi didnt hold its record long (it
would be broken the next year), but it was
an interesting Oscar paradox on two levels:
it was one of the few lms to win all awards
for which it had been nominated, and it was
one of only ten best picture winners in the
Academys rst eighty years not to receive a
single acting nomination for any of its cast
members. The others: Wings (192728), All
Quiet on the Western Front (192930), Grand
Hotel (193132), An American in Paris (1951),
The Greatest Show on Earth (1952), Around
the World in 80 Days (1956), The Last Emperor (1987), Braveheart (1995), and The Lord
of the Rings: The Return of the King (2003).
For the second year, NBCs telecast of the
ceremony was fully sponsored by the motion
picture industry itself, produced by Jerry
Wald for the Academy; it was produced and
directed for NBC by Alan Handley from the
RKO Pantages Theatre in Hollywood. Once

again, six personalities shared hosting
duties in turn: Bob Hope, David Niven,
Tony Randall, Mort Sahl, Sir Laurence
Olivier and Jerry Lewis. As the nal emcee
of the night, Jerry Lewis found himself in
the awkward position of having to stretch
out the show when all business at hand was
completed. With twenty minutes of a scheduled two hours of air time still to be lled,
NBC nally switched its cameras to a sports
review ller.
Susan Hayward, on her fth nomination as best actress, won for I Want to Live!;
David Niven, on his rst, won as best actor
for Separate Tables. Supporting awards went
to Wendy Hiller (for Separate Tables) and
Burl Ives (for The Big Country), and Frances
comedy My Uncle was chosen best foreign
language lm. It was also a big night for
the durable Bugs Bunny. After a long life
on the Hollywood drawing boards, he won
his very rst Oscar when Warner Bros.
Knighty Knight Bugs won the statuette as
best cartoon.
154
be s t p i c t ure : GIGI (M-G-M; produced by Arthur Freed)
and be s t d i re c t or: VINCENTE MINNELLI for Gigi. Gigi
was Hollywoods answer to Broadways My Fair Lady, which
had opened in New York in 1956 and also featured a captivating
musical score by Alan Jay Lerner and Frederick Loewe, and awesome costumes by Cecil Beaton. The basis for the new project was
a sixty-page novelette by French writer Colette, which became a
French play, later a French movie, and nally a Broadway play
with Audrey Hepburn. This latest reincarnation had a blithe
spirit and a French sense of humor; in Paris of 1900, a teenage
girl is trained by a wealthy aunt to be a courtesan in the tradition of her family, only to eventually upset the plan by opting for
marriage. The cast included (right) Hermione Gingold, Louis
Jourdan and Leslie Caron, plus Maurice Chevalier, Isabel Jeans,
Eva Gabor and Jacques Bergerac. It set a new Academy record
with nine awards plus an honorary Oscar for Chevalier.
8/8/13 7:26 PM
be s t ac t re s s : SUSAN HAYWARD as Barbara Graham in I

Want to Live! (United Artists; directed by Robert Wise). The
story was based on fact: a California woman named Barbara
Graham was executed in the San Quentin gas chamber on June 3,
1955, for allegedly joining two men in the murder of a Burbank
widow during an attempted robbery. The movie was produced
by Walter Wanger, and its rst half swiftly tells how Miss
Graham was caught. Part two chronicles her nal, agonizing
days on death row, enduring stays of execution, last-minute
postponements, and the nal walk to the gas chamber. As Barbara, Susan Hayward (being led through the gas chamber door
by John Marley, at right) gave a tour-de-force performance and
won the Academy Award that had elusively passed her by four
times previously, when she was nominated in 1947 for Smash
UpThe Story of a Woman, in 1949 for My Foolish Heart,
in 1952 for With a Song in My Heart, and in 1955 for Ill Cry
Tomorrow. Ill admit I wanted to win. Very much, Hayward
later conceded.
155
be s t ac t or: DAVID NIVEN as Major Pollock and b es t s u pp ort i n g ac t re s s : WENDY HILLER as Miss Cooper (right)
in Separate Tables (United Artists; directed by Delbert Mann).
When originally presented on stage, Terence Rattigans story,
set in a small English hotel on the south coast of Britain, was
written as two single-act plays, with Eric Portman and Margaret Leighton each playing dual roles. The screenplay united the
plays and had four starring roles instead of two. Niven played
a phony major who covers up his basic fears and frustrations
with boring lies about desert campaigns during World War II
but is later exposed as a fake when arrested for molesting a
woman in a theater; Miss Hiller, in a small but important role,
played an efcient, lonely hotel manager who loses the one interesting man in her life (Burt Lancaster) because of the unexpected
arrival at the hotel of his ex-wife (Rita Hayworth). It marked
rst Oscars for both Hiller, a stage legend who rarely made lms,
and Niven, whod made fty-two lms during the preceding
twenty-three years.
8/8/13 7:26 PM
WR I TI N G
CAT ON A HOT T I N R O O F , Avon, M-G-M. Richard
Nominations 1958
Brooks and James Poe.

* GI G I , Freed, M-G-M. Alan Jay Lerner.
T HE HORSE S M OU T H , Knightsbridge Films, UA
(British). Alec Guinness.
I W ANT T O LI VE!, Figaro, UA. Nelson Gidding and
Don Mankiewicz.
SEP ARAT E T ABLES, Clifton, UA. Terence Rattigan and
John Gay.
(s t or y a n d s cr e e n p lay written d irec tl y f o r the
s cr e e n )
* T HE D EFI ANT ONES , Kramer, UA. Nedrick Young and

Harold Jacob Smith.
T HE GOD D ESS, Carnegie, Columbia. Paddy Chayefsky.
HOU SEBOAT , Paramount and Scribe, Paramount.
Melville Shavelson and Jack Rose.
T HE SHEEP M AN , M-G-M. Story by James Edward
Grant. Screenplay by William Bowers and James
Edward Grant.
T EACHER S P ET , Perlberg-Seaton, Paramount. Fay and
Michael Kanin.
(After a one-year change in 1957, two awards again
given for cinematography achievement)
* T HE D EFI ANT ONES , Kramer, UA. Sam Leavitt.

D ESI RE U ND ER T HE E L M S , Hartman, Paramount.
Daniel L. Fapp.
I W ANT T O LI VE!, Figaro, UA. Lionel Lindon.
SEP ARAT E T ABLES, Clifton, UA. Charles Lang, Jr.
T HE Y OU NG LI ONS, 20th Century-Fox. Joe
MacDonald.
(color )
(United Artists; directed by Stanley
Kramer) was a powerful preachment about racial intolerance and
brotherhood, with Sidney Poitier and Tony Curtis as convicts
shackled togethera black and a white man attempting to escape
prison, and each other. It won Oscars for story and screenplay
(Nedrick Young and Harold Jacob Smith) and for black-andwhite cinematography (Sam Leavitt).
THE DEFIANT ONES
AU NT I E M AM E, Warner Bros.
CAT ON A HOT T I N ROOF, Avon, M-G-M. Produced
by Lawrence Weingarten.
T HE D EFI ANT ONES, Kramer, UA. Produced by Stanley
Kramer.
* GI G I , Freed, M-G-M. Produced by Arthur Freed.
SEP ARAT E T ABLES, Clifton, UA. Produced by Harold
Hecht.
A C TO R
T ONY CU RT I S in The Deant Ones, Kramer, UA.

P AU L N EW M AN in Cat on a Hot Tin Roof, Avon,
M-G-M.
156
AU N T I E M AM E, Warner Bros. Harry Stradling, Sr.

CAT ON A HOT T I N R O O F , Avon, M-G-M. William
Daniels.
* GI G I , Freed, M-G-M. Joseph Ruttenberg.
T HE OLD M AN AN D T H E S E A , Hayward, Warner Bros.
James Wong Howe.
SOU T H P ACI FI C, South Pacic Enterprises, Magna
Theatre Corp. Leon Shamroy.
(bla ck- a n d- w h it e or c o l o r)
AU N T I E M AM E, Warner Bros. Malcolm Bert; George
James Hopkins.
BELL, BOOK AN D C A N DL E , Phoenix, Columbia. Cary
Odell; Louis Diage.

* D AVI D NI VEN in Separate Tables, Clifton, UA.
A CERT AI N SM I LE, 20th Century-Fox. Lyle Wheeler
SI D N EY P OI T I ER in The Deant Ones, Kramer, UA.
SP ENCER T RACY in The Old Man and the Sea, Hayward,
* GI G I , Freed, M-G-M. William A. Horning and Preston
Warner Bros.
Ames; Henry Grace and Keogh Gleason.
VERT I GO, Hitchcock, Paramount. Hal Pereira and
A C TR E S S
Henry Bumstead; Sam Comer and Frank McKelvy.
* SU SAN HAY W ARD in I Want to Live!, Figaro, UA.
D EBORAH K ERR in Separate Tables, Clifton, UA.
C O S TUM E D ESIGN
SHI RLEY M ACLAI NE in Some Came Running, Siegel,
(bla ck- a n d- w h it e or c o l o r)
M-G-M.
BELL, BOOK AN D C A N DL E , Phoenix, Columbia. Jean
ROSALI N D RU SSELL in Auntie Mame, Warner Bros.
Louis.
ELI Z ABET H T AY LOR in Cat on a Hot Tin Roof, Avon,
T HE BU CCAN EER, DeMille, Paramount. Ralph Jester,
M-G-M.
Edith Head and John Jensen.
A CERT AI N SM I LE, 20th Century-Fox. Charles LeMaire
T HEOD ORE BI K EL in The Deant Ones, Kramer, UA.
and Mary Wills.
LEE J . COBB in The Brothers Karamazov, Avon, M-G-M. * GI G I , Freed, M-G-M. Cecil Beaton.
BU
RL
I
VES
in
The
Big
Country,
AnthonyWorldwide,
SOM E CAM E RU NNI N G , Siegel, M-G-M. Walter
*
UA.
Plunkett.
ART HU R K EN N ED Y in Some Came Running, Siegel,
S O UN D
M-G-M.
GI G Y OU N G in Teachers Pet, Perlberg-Seaton,
(No longer categorized as Sound Recording)
Paramount.
I W ANT T O LI VE!, Figaro, UA. Samuel Goldwyn Studio
Sound Dept., Gordon E. Sawyer, Sound Director.
* SOU T H P ACI FI C, South Pacic Enterprises, Magna
P EG G Y CASS in Auntie Mame, Warner Bros.
Theatre Corp. Todd-AO Sound Dept., Fred Hynes,
* W END Y HI LLER in Separate Tables, Clifton, UA.
Sound Director.
M ART HA HY ER in Some Came Running, Siegel, M-G-M.
A T I M E T O LOVE AN D A T I ME T O DI E , U-I.
M AU REEN ST AP LET ON in Lonelyhearts, Schary, UA.
Universal-International Studio Sound Dept., Leslie I.
CARA W I LLI AM S in The Deant Ones, Kramer, UA.
Carey, Sound Director.
VERT I GO, Hitchcock, Paramount. Paramount Studio
D I R E C TI N G
Sound Dept., George Dutton, Sound Director.
CAT ON A HOT T I N ROOF, Avon, M-G-M. Richard
T HE Y OU NG LI ONS, 20th Century-Fox. 20th CenturyBrooks.
Fox Studio Sound Dept., Carl Faulkner, Sound
T HE D EFI ANT ONES, Kramer, UA. Stanley Kramer.
Director.
* GI G I , Freed, M-G-M. Vincente Minnelli.
I W AN T T O LI VE!, Figaro, UA. Robert Wise.
F I LM E D I TI NG
T HE I NN OF T HE SI X T H HAP P I NESS, 20th CenturyAU N T I E M AM E, Warner Bros. William Ziegler.
Fox. Mark Robson.
COW BOY , Phoenix, Columbia. William A. Lyon and Al
Clark.
8/8/13 7:26 PM
be s t s up p ort i n g a cto r : BURL IVES as Rufus Hannassey

(above with Charles Bickford) in The Big Country (United
Artists; directed by William Wyler). Best known as a folksinger
THE D E F IA NT O NES, Kramer, UA. Frederic Knudtson.

* GIGI, Freed, M-G-M. Adrienne Fazan.
I W A NT TO L IVE!, Figaro, UA. William Hornbeck.
* TO M THUMB, Pal, M-G-M. Visual Effects by Tom

Howard.
TO R P E D O R UN, M-G-M. Visual Effects by A. Arnold
Gillespie. Audible Effects by Harold Humbrock.
MUSIC
(s on g)
A L MO ST IN Y O UR ARMS (Love Song from
Houseboat) (Houseboat, Paramount and Scribe,

Paramount); Music and Lyrics by Jay Livingston and
Ray Evans.
A C E R TA IN SMILE (A Certain Smile, 20th CenturyFox); Music by Sammy Fain. Lyrics by Paul Francis
Webster.
* GIGI (Gigi, Freed, M-G-M); Music by Frederick Loewe.
Lyrics by Alan Jay Lerner.
TO L O VE A ND BE LOV ED (Some Came Running,
Siegel, M-G-M); Music by James Van Heusen. Lyrics
by Sammy Cahn.
A VE R Y P R E C IO US LOV E (Marjorie Morningstar,
Beachwold, Warner Bros.); Music by Sammy Fain.
Lyrics by Paul Francis Webster.
( n ot e : After a one-year change in 1957, two awards
were again given for achievement in Music Scoring)
THE BIG C O UNTRY, Anthony-Worldwide, UA.
Jerome Moross.
* THE O L D MA N AND TH E SEA, Hayward, Warner

Bros. Dimitri Tiomkin.
SE P A R A TE TA BL ES, Clifton, UA. David Raksin.
W HITE W IL D E R NESS, Disney, Buena Vista. (True Life
Adventure). Oliver Wallace.
THE Y O UNG L IONS, 20th Century-Fox. Hugo
Friedhofer.
THE BOLSHOI BALLET, Rank-Harmony, Rank
Releasing (British). Yuri Faier and G. Rozhdestvensky.
D A MN Y A NK E E S , Warner Bros. Ray Heindorf.

* GIGI, Freed, M-G-M. Andr Previn.
MA R D I GR A S, Wald, 20th Century-Fox. Lionel
Newman.
SO UTH P A C IFIC , South Pacic Enterprises, Magna
Theatre Corp. Alfred Newman and Ken Darby.
and balladeer, Burl Ives co-starred in three important 1958 dramas without singing a note: Desire under the Elms, Cat on a
Hot Tin Roof and The Big Country. He won his Academy Award
for the latter, an impressive 2-hour, 46-minute western epic in

which he played a tough cattle baron at war over water rights
with another strong-willed rancher.
(ca r t oon s )
* K NI G HT Y K N I GHT BU GS, Warner Bros. (Looney

TunesBugs Bunny). John W. Burton, producer.
P AU L BU N Y AN, Disney, Buena Vista. Walt Disney,
producer.
SI D NEY S FAM I LY T REE, Terrytoons, 20th CenturyFox. (Silly Sidney). William M. Weiss, producer.
(liv e a ct ion )
* GRAND CANY ON, Disney, Buena Vista. Walt Disney,

producer.
J OU RN EY I N T O SP RI NG, British Transport Films,
Lester A. Schoenfeld Films. Ian Ferguson, producer.
T HE K I SS, Cohay Prods., Continental Distributing, Inc.
John Patrick Hayes, producer.
SNOW S OF AORAN G I , New Zealand Screen Board,
George Brest Assocs.
T I S FOR T U M BLEW EED , Lebenthal, Continental
Distributing, Inc. James A. Lebenthal, producer.
D O C UM E N TA R Y
* AM A G I RLS, Disney, Buena Vista. (People and Places).

Ben Sharpsteen, producer.
EM P LOY EES ON LY , Hughes Aircraft Co. Kenneth G.
Brown, producer.
J OU RN EY I N T O SP RI NG, British Transport Films,
Lester A. Schoenfeld Films. Ian Ferguson, producer.
T HE LI VI N G ST ONE, National Film Board of Canada.
Tom Daly, producer.
OVERT U RE, United Nations Film Services, Kingsley
International Pictures. Thorold Dickinson, producer.
T O M AU RI CE CHE V A L I E R for his contributions to the
world of entertainment for more than half a century.

(statuette)

T O J ACK L. W ARN E R
None.
D ON W . P RI D EAUX , L E R O Y G . L E I G H T O N , and the
LAM P D I VI SI ON of G E N E R A L E L E C T R I C C O . for
the development and production of an improved 10

kilowatt lamp for motion picture set lighting.
P ANAVI SI ON , I N C . , for the design and development
of the Auto Panatar anamorphic photographic lens for
35mm CinemaScope photography.
W I LLY BORBERG of the General Precision Laboratory,
157
Inc.;
FRED P ON ED EL, G E O R G E B R O W N , and C O N R A D

BOY E of the Warner Bros. Special Effects Dept.
(fe a t u r e s )
AN T ARCT I C CROSSI N G , World Wide Pictures, Lester
A. Schoenfeld Films. James Carr, producer.
THE HIDDEN WORLD, Small World Co. Robert Snyder,
producer.
PSYCHIATRIC NURSING, Dynamic Films, Inc. Nathan
Zucker, producer.
* W HI T E W I LD ERNESS, Disney, Buena Vista. (True Life
Adventure). Ben Sharpsteen, producer.
F O R E I G N LA N G UA G E F I LM
ARM S AN D T HE M AN (West Germany).

LA VENGANZ A (Spain).
* M Y U NCLE (France).
T HE ROAD A Y EAR LONG (Yugoslavia).
T HE U SU AL U N I D EN T I FI ED T HI EVES (Italy).
8/8/13 7:26 PM
1959
The Thirty-Second Year
or the second year in a row, M-G-M

was the noise and the news at the
Academy Awards ceremony. Held
April 4, 1960, at the RKO Pantages Theatre
in Hollywood, and telecast by NBC, the
studios Ben-Hur, nominated for twelve
Academy Awards, won eleven of them, a
new Oscar record, topping the previous
high of nine awards won by M-G-Ms Gigi
in the preceding year. The Ben-Hur awards
included best picture, best actor (Charlton Heston), best supporting actor (Hugh
Grifth), and best director (William Wyler,
his third Oscar in that category). The only
area where Ben-Hur was nominated and
bested was in the best screenplay division,
where Neil Paterson received the award
for Room at the Top, a British-made drama.
Ben-Hur was also the second remake in two
years to win a best picture statuette (following 1958s Gigi).
Next to Ben-Hur, the evening had a
distinctly French avor. Frances Simone
Signoret, who had never appeared in a
Hollywood-made motion picture, won the
best actress award (for Room at the Top) and
became the rst actress to win the Academy
Award for a performance in a foreignmade lm (the rst actor was Charles
Laughton in 193233). Frances Black
Orpheus was chosen best foreign language lm; Miss Signorets husband, Yves
Montand, entertained at the awards show,
and two-time Oscar winner Olivia de
Havilland, a resident of Paris, returned to
her native Hollywood to present one of the
evenings awards.
Other award winners included Shelley

Winters as best supporting actress for The
Diary of Anne Frank, which, next to Ben-Hur,
won the most awards of the evening with
a total of three, including black-and-white
cinematography and black-and-white art direction. Buster Keaton received an honorary
Oscar for his comedic talents. This award
was not presented on the awards show but
at the post-award Board of Governors Ball
at the Beverly Hilton in Beverly Hills.
The telecast itself was again hosted by Bob
Hope, who was also the recipient of the evenings Jean Hersholt Humanitarian Award.
It was the last time the motion picture
industry sponsored the Academy ceremony.
The nancial burden had become too steep,
anddue to one-studio sweeps such as Gigi
and Ben-Hurit had become increasingly
difcult to get studios to pay for an expensive telecast that might spotlight a rivals
product. But it had been worth the try.
158
be s t p ict u r e : BEN- HUR (M-G-M; produced by Sam Zimbalist), be s t dir e ct or : WILLIAM WYLER (immediate right),
and be s t a ct or : CHARLTON HESTON as Judah Ben-Hur
(far right) in Ben-Hur. M-G-Ms decision to make a second version of Lew Wallaces Ben-Hur was risky: at the time, the studio
was teetering on nancial bankruptcy, and yet the decision was
made to pour $15 millionan enormous investment at the time
into the single do-or-die project. But the lm turned out to be a
great critical success, and a box-ofce bonanza, savingat least
temporarilyCulver Citys Lion for more roars in the future.
The most awesome sequence in Ben-Hur was a mind-blowing
chariot race which ran 11 minutes of the lms 3-hour, 32-minute
running time, and Charlton Heston was equally impressive as
a wealthy Jew sentenced to life as a galley slave by his once-best
friend, played by Stephen Boyd. Director Wyler also deservedly
received great praise for Ben-Hur; he proved conclusively it was
possible to make a rousing spectacle in which audiences could
also care about the people involved.
8/8/13 7:26 PM
159
8/8/13 7:26 PM
ANAT OM Y OF A M U RD ER, Preminger, Columbia.
Nominations 1959
Produced by Otto Preminger.

* BEN - HU R, M-G-M. Produced by Sam Zimbalist.
T HE D I ARY OF ANNE FRAN K , 20th Century-Fox.
Produced by George Stevens.
T HE N U N S ST ORY , Warner Bros. Produced by Henry
Blanke.
ROOM AT T HE T OP , Romulus, Continental (British).
Produced by John and James Woolf.
A C TO R
LAU RENCE HARVEY in Room at the Top, Romulus,
Continental (British).
* CHARLT ON HEST ON in Ben-Hur, M-G-M.
JACK LEM M ON in Some Like It Hot, Ashton & Mirisch,
UA.
P AU L M U NI in The Last Angry Man, Kohlmar,
Columbia.
JAM ES ST EW ART in Anatomy of a Murder, Preminger,
Columbia.
A C TR E S S
D ORI S D AY in Pillow Talk, Arwin, U-I.

AU D REY HEP BU RN in The Nuns Story, Warner Bros.
K AT HARI NE HEP BU RN in Suddenly, Last Summer,
Horizon, Columbia.
* SI M ONE SI GNORET in Room at the Top, Romulus,
ELI Z ABET H T AY LOR in Suddenly, Last Summer,
Horizon, Columbia.
(color )
* BEN - HU R, M-G-M. Robert L. Surtees.

T HE BI G FI SHERM AN , Rowland V. Lee, Buena Vista.
Lee Garmes.
T HE FI VE P ENNI ES, Dena, Paramount. Daniel L. Fapp.
T HE NU N S ST ORY , Warner Bros. Franz Planer.
P ORG Y AND BESS, Goldwyn, Columbia. Leon
Shamroy.
(After a change in 195758, two awards again given for
achievements in this category)
CAREER, Wallis, Paramount. Hal Pereira and Walter
Tyler; Sam Comer and Arthur Krams.

* T HE D I ARY OF ANN E F R A N K , 20th Century-Fox.
Lyle R. Wheeler and George W. Davis; Walter M. Scott
and Stuart A. Reiss.
T HE LAST ANGRY MA N , Kohlmar, Columbia. Carl
Anderson; William Kiernan.
SOM E LI K E I T HOT , Ashton & Mirisch, UA. Ted
Haworth; Edward G. Boyle.
SU D D ENLY , LAST SUMM E R , Horizon, Columbia.
Oliver Messel and William Kellner; Scot Slimon.
(color )
* BEN - HU R, M-G-M. William A. Horning and Edward

Carfagno; Hugh Hunt.
T HE BI G FI SHERM AN , Rowland V. Lee, Buena Vista.
John DeCuir; Julia Heron.
J OU RN EY T O T HE C E N T E R O F T H E E A R T H , Schenck
& Cooga Mooga Films, 20th Century-Fox. Lyle R.
* HU GH GRI FFI T H in Ben-Hur, M-G-M.
Wheeler, Franz Bachelin and Herman A. Blumenthal;
ART HU R O CON N ELL in Anatomy of a Murder,
Walter M. Scott and Joseph Kish.
Preminger, Columbia.
N ORT H BY N ORT HW E S T , M-G-M. William A.
GEORGE C. SCOTT in Anatomy of a Murder, Preminger,
Horning, Robert Boyle and Merrill Pye; Henry Grace
Columbia.
and Frank McKelvy.
ROBERT VAU GHN in The Young Philadelphians, Warner
P I LLOW T ALK , Arwin, U-I. Richard H. Riedel; Russell
Bros.
A. Gausman and Ruby R. Levitt.
ED W Y NN in The Diary of Anne Frank, 20th CenturyFox.
C O S TUM E D ESIGN
HERM I ON E BAD D ELEY in Room at the Top, Romulus,
be s t s up p ort i n g actr es s : SHELLEY WINTERS as Mrs.

Van Daan in The Diary of Anne Frank (20th Century-Fox;
directed by George Stevens). She spent the rst phase of her career playing svelte glamour girls, but Shelley Winters found her
niche in lms as a character actressand a superb one. As Mrs.
Van Daan, she was one of eight Jews attempting to survive in
Nazi-occupied Amsterdam by hiding in a cramped attic for two
years. She won the Academy Award and later won a second Oscar
in 1965 for A Patch of Blue.
SU SAN K OHN ER in Imitation of Life, U-I.

JU AN I T A M OORE in Imitation of Life, U-I.
T HELM A RI T T ER in Pillow Talk, Arwin, U-I.
* SHELLEY W I N T ERS in The Diary of Anne Frank, 20th
Century-Fox.
D I R E C TI N G
* BEN - HU R, M-G-M. William Wyler.

T HE D I ARY OF ANNE FRAN K , 20th Century-Fox.
George Stevens.
T HE N U N S ST ORY , Warner Bros. Fred Zinnemann.
ROOM AT T HE T OP , Romulus, Continental (British).
Jack Clayton.
SOM E LI K E I T HOT , Ashton & Mirisch, UA. Billy
Wilder.
WR I TI N G
ANAT OM Y OF A M U RD ER, Preminger, Columbia.
Wendell Mayes.
BEN - HU R, M-G-M. Karl Tunberg.

T HE N U N S ST ORY , Warner Bros. Robert Anderson.
* ROOM AT T HE T OP , Romulus. Continental (British).
Neil Paterson.
SOM E LI K E I T HOT , Ashton & Mirisch, UA. Billy
Wilder and I.A.L. Diamond.
160
(s t or y a n d s cr e e n p la yw r it t e n dir e ct ly for
t h e s cr e e n )
T HE 400 BLOW S, Les Films du Carrosse & SEDIF,
(After a change in 195758, two awards again given for

costume design achievements)
CAREER, Wallis, Paramount. Edith Head.

T HE D I ARY OF AN N E F R A N K , 20th Century-Fox.
Charles LeMaire and Mary Wills.
T HE GAZ EBO, Avon, M-G-M. Helen Rose.

* SOM E LI K E I T HOT , Ashton & Mirisch, UA. Orry-Kelly.
T HE Y OU NG P HI LAD E L PH I A N S , Warner Bros.
Howard Shoup.
(color )
* BEN - HU R, M-G-M. Elizabeth Haffenden.

T HE BEST OF EVERY T H I N G , Company of Artists, 20th
Century-Fox. Adele Palmer.
T HE BI G FI SHERM AN , Rowland V. Lee, Buena Vista,
Renie.
T HE FI VE P ENNI ES, Dena, Paramount. Edith Head.
P ORG Y AND BESS, Goldwyn, Columbia. Irene Sharaff.
S O UN D
* BEN - HU R, M-G-M. Metro-Goldwyn-Mayer Studio

Sound Dept., Franklin E. Milton, Sound Director.
& Cooga Mooga Films, 20th Century-Fox. 20th
Century-Fox Studio Sound Dept., Carl Faulkner,
Sound Director.
LI BEL!, Anatole De Grunwald, M-G-M (British).
Metro-Goldwyn-Mayer London Sound Dept., A.W.
Watkins, Sound Director.
T HE NU N S ST ORY , Warner Bros. Warner Bros. Studio
Sound Dept., George R. Groves, Sound Director.
P ORG Y AND BESS, Goldwyn, Columbia. Samuel
Goldwyn Studio Sound Dept., Gordon E. Sawyer,
Sound Director; and Todd-AO Sound Dept.,
Fred Hynes, Sound Director.
Zenith International (French). Franois Truffaut and

Marcel Moussy.
NORT H BY NORT HW EST , M-G-M. Ernest Lehman.
OP ERAT I ON P ET T I COAT , Granart, U-I. Story by Paul
F I LM E D I TI NG
King and Joseph Stone. Screenplay by Stanley Shapiro
AN AT OM Y OF A M UR DE R , Preminger, Columbia.
and Maurice Richlin.
Louis R. Loefer.
* P I LLOW T ALK , Arwin, U-I. Story by Russell Rouse and
* BEN - HU R, M-G-M. Ralph E. Winters and John D.
Clarence Greene. Screenplay by Stanley Shapiro and
Dunning.
Maurice Richlin.
N ORT H BY N ORT HW E S T , M-G-M. George Tomasini.
W I LD ST RAW BERRI ES, A.B. Svensk Filmindustri, Janus
T HE NU N S ST ORY , Warner Bros. Walter Thompson.
Films (Swedish) Ingmar Bergman.
ON T HE BEACH, Lomitas, UA. Frederic Knudtson.
ANAT OM Y OF A M U RD ER, Preminger, Columbia. Sam
Leavitt.
CAREER, Wallis, Paramount. Joseph LaShelle.

* T HE D I ARY OF ANNE FRAN K , 20th Century-Fox.
William C. Mellor.
SOM E LI K E I T HOT , Ashton & Mirisch, UA. Charles
Lang, Jr.
* BEN - HU R, M-G-M. Visual Effects by A. Arnold

Gillespie and Robert MacDonald. Audible Effects by
Milo Lory.
& Cooga Mooga Films, 20th Century-Fox. Visual
Effects by L.B. Abbott and James B. Gordon. Audible
Effects by Carl Faulkner.
T HE Y OU N G P HI LAD ELP HI ANS, Warner Bros. Harry
Stradling, Sr.
8/8/13 7:26 PM
be s t ac t re s s : SIMONE SIGNORET as Alice Aisgill (above, with Laurence Harvey) in Room

at the Top (Continental Distributing; directed by Jack Clayton). When we made the lm, we
thought it would be a picture we would like and some of our friends would like, said Simone
Signoret. Its success came as a great surprise. Made in England, the lm was about an ambitious
young schemer (Harvey) in a Yorkshire mill town who has an affair with an unhappily married
woman, ten years his senior, played by Miss Signoret; when he discards her to marry a mill owners
young daughter who can help his career, the older woman tragically dies in an automobile accident.
Sultry, plumpish and frankly forty, the German-born Signoret was a new kind of leading lady to
American audiences in the late 1950s, and an immediate success. In 1965 she received a second Oscar
nomination, for Ship of Fools.
MUSIC
(s on g)
THE BE S T O F E VERYTH ING (The Best of Everything,
Company of Artists, 20th Century-Fox); Music by

Alfred Newman. Lyrics by Sammy Cahn.
THE F IVE P E NNIES (The Five Pennies, Dena,
Paramount); Music and Lyrics by Sylvia Fine.
THE HA NGING T REE (The Hanging Tree, Baroda,
Warner Bros.); Music by Jerry Livingston. Lyrics
by Mack David.
* HIGH HO P E S (A Hole in the Head, Sincap, UA); Music
by James Van Heusen. Lyrics by Sammy Cahn.
STR A NGE A R E TH E WAYS OF LOV E (The Young
Land, C.V. Whitney, Columbia); Music by Dimitri
Tiomkin. Lyrics by Ned Washington.
* BE N- HU R , M-G-M. Miklos Rozsa.

THE D IA R Y O F ANNE FRANK, 20th Century-Fox.
Alfred Newman.
THE NUN S STO RY, Warner Bros. Franz Waxman.
O N THE BE A C H, Lomitas, UA. Ernest Gold.
P IL L O W TA L K , Arwin, U-I. Frank DeVol.
THE F IVE P E NNIES, Dena, Paramount. Leith Stevens.

L I L A BNE R , Panama and Frank, Paramount. Nelson
Riddle and Joseph J. Lilley.

* P O R GY A ND BE SS, Goldwyn, Columbia. Andr
Previn and Ken Darby.
SA Y O NE F O R ME, Crosby, 20th Century-Fox. Lionel
Newman.
SL E E P ING BE A U T Y, Disney, Buena Vista. George
Bruns.
(c art oon s )
ME XIC A L I SHMOES, Warner Bros. (Looney Tunes
Speedy Gonzales). John W. Burton, producer.

* MO O NBIR D , Storyboard, Harrison. John Hubley,
producer.
NO A H S A R K , Disney, Buena Vista. Walt Disney,
producer.
THE VIO L INIS T, Pintoff Prods., Kingsley
International. Ernest Pintoff, producer.
be s t s u p p or t in g a ct or : HUGH GRIFFITH as Sheik Ilderim in Ben-Hur. In his Oscarwinning performance, Englands prolic scene-stealer played the man who befriends Judah Ben-Hur
(Charlton Heston) and sponsors him in a mammoth Roman chariot race. Grifth was also a
nominee in 1963 as the daffy squire in Tom Jones and is one of only a handful of performers who
have appeared in three Oscar-winning best pictures. In Grifths case: Ben-Hur (1959), Tom Jones
(1963), and Oliver! (1968).
(liv e a ct ion )
BET W EEN T HE T I D ES, British Transport Films,
Schoenfeld Films (British). Ian Ferguson, producer.

* T HE G OLD EN FI SH, Les Requins Associs, Columbia
(French). Jacques-Yves Cousteau, producer.
M Y ST ERI ES OF T HE D EEP , Disney, Buena Vista. Walt
Disney, producer.
T HE RU NNI N G , J U M P I N G AN D ST AND I NG- ST I LL
FI LM , Lion International, Kingsley-Union Films
(British). Peter Sellers, producer.

SK Y SCRAP ER, Tishman Realty and Construction Co.,
Burstyn Film Enterprises. Shirley Clarke, Willard Van
Dyke and Irving Jacoby, producers.
D O C UM E N TA R Y
D ON ALD I N M AT HM AGI C LAND , Disney, Buena
FROM GENERAT I ON T O G EN ERAT I ON, Cullen
Assocs., Maternity Center Assoc. Edward F. Cullen,

producer.
* GLASS, Netherlands Government, George K. Arthur
Go Pictures (The Netherlands). Bert Haanstra,
producer.
(fe a t u r e s )
T HE RACE FOR SP ACE, Wolper, Inc. David L. Wolper,
producer.
* SEREN G ET I SHALL NOT D I E, Okapia-Film Prods.,
Transocean Film (West Germany). Bernhard Grzimek,
producer.
* BLACK ORP HEU S (France).

T HE BRI D G E (West Germany).
T HE GREAT W AR (Italy).
P AW (Denmark).
T HE VI LLAGE ON T HE RI VER (The Netherlands).

T O LEE D E FOREST for his pioneering inventions
which brought sound to the motion picture.

(statuette)
T O BU ST ER K EAT ON for his unique talents which
brought immortal comedies to the screen. (statuette)

T O BOB HOP E
None.
D OU G LAS G. SHE A R E R of M-G-M, Inc., and
ROBERT E. GOT T S C H A L K and J O H N R . M O O R E
of Panavision, Inc., for the development of a system

of producing and exhibiting wide lm motion pictures
known as Camera 65.
W AD SW ORT H E. PO H L , W I L L I A M E V A N S ,
W ERNER HOP F, S . E . H O W S E , T H O M A S P.
D I X ON, ST ANFO R D R E S E A R C H I N S T I T U T E ,
and T ECHN I CO L O R C O R P. for the design and
development of the Technicolor electronic printing

timer.
W AD SW ORT H E. PO H L , J A C K A L F O R D, H E N R Y
I M U S, J OSEP H S C H M I T , PA U L F A S S N A C H T , A L
LOFQ U I ST , and T E C H N I C O L O R C O R P. for the
161
development and practical application of equipment

for wet printing.
D R. HOW ARD S. C O L E MA N , DR . A . F R A N C I S
T U RN ER, HARO L D H . S C H R O E DE R , J A M E S R .
BEN FORD , and H A R O L D E . R O S E N B E R G E R of
the Bausch & Lomb Optical Co. for the design and
development of the Balcold projection mirror.
ROBERT P . G U T T E R MA N of General Kinetics, Inc.,
and the LI P SNER - S MI T H C O R P. for the design and
development of the CF-2 Ultra-sonic Film Cleaner.
U B I W ERK S of Walt Disney Prods.;
E. L. ST ONES, G LE N R O B I N S O N , W I N F I E L D
HU BBARD , and L U T H E R N E W M A N of the M-G-M
Studio Construction Dept.
8/8/13 7:26 PM
1960
The Thirty-Third Year
or the 1960 Academy Awards presentations, Oscar moved to a new setting:

the Santa Monica Civic Auditorium,
sixteen and one-half miles away from the
Hollywood-Los Angeles area, which had
played host for the previous thirty-two
years. There were several reasons for the
move. Interest in Oscar and the awards
continued to grow, requiring more seating
space for nominees, guests and supporters.
Simultaneously, the audience capacity at
the Pantages Theatre in Hollywood had been
reduced in order to install a larger screen for
a roadshow presentation of Spartacus; and,
after investigation, no other auditorium in
the area was found by the Academy to be
either big enough or available on the dates
required. So, on April 17, 1961, Hollywoods
nest drove away from the cinema hub into
nearby Santa Monica to attend the festivities. That location remained Oscars home
for the next seven awards presentations.
Also for the rst time, the ceremony itself
was telecast over the ABC-TV network,
under a newly signed ve-year contract with
the Academy for exclusive television and
radio rights. Richard Dunlap produced and
directed for the network, while Arthur Freed
produced and Vincente Minnelli directed
for the Academy. Andr Previn was the
evenings musical director and Bob Hope
was again master of ceremonies while an
estimated seventy million viewers watched.
Of added interest was Elizabeth Taylor, one
of the nominees (and eventual winner) as
best actress for Buttereld 8; she was making
her rst public appearance, accompanied
by husband Eddie Fisher, since surviving

a much-headlined bout with pneumonia. Other acting winners included Burt
Lancaster (best actor for Elmer Gantry),
Shirley Jones (best supporting actress in
Elmer Gantry), and Peter Ustinov (best supporting actor in Spartacus).
The Apartment was the biggest winner
of the evening, with ve awards including
Oscars for best picture, best director (Billy
Wilder), and best story and screenplay
(Wilder and I.A.L. Diamond). Swedens The
Virgin Spring was honored as best foreign
language lm, andanother rst-time
occurrencea song from a foreign-made
lm was named the winner in the music
category (Manos Hadjidakiss Never on
Sunday).
Honorary awards went to Hayley Mills,
Stan Laurel and Gary Cooper andnext to
the drama surrounding Elizabeth Taylors
appearancethe Cooper award caused the
major talk of the night. The actor did not
attend, and his statuette was accepted by
friend James Stewart, the man who had
presented Cooper with his 1941 Oscar
for Sergeant York. Stewarts speech was so
emotional it caused speculation that Cooper
might be ill. He was, and died one month
later, on May 13, 1961.
162
be s t p i c t ure : THE APARTMENT (United Artists; produced
by Billy Wilder) and be s t di r ecto r : BILLY WILDER for The
Apartment. Swinging like a pendulum between farce and neartragic drama, The Apartment was about a struggling insurance
clerk (played by Jack Lemmon, right, with Shirley MacLaine)
who lends his Manhattan apartment to company executives for
their extracurricular activities, in return for promotions. The
lm was the pick of 1960s lms with Academy voters, and it
won ve awards, including three to the man behind the whole sly
idea: Billy Wilder, as producer of the years best picture, as director, and as coauthor, with I.A.L. Diamond.
8/8/13 7:26 PM
163
be s t ac t re s s : ELIZABETH TAYLOR as Gloria Wandrous (above) in Buttereld 8 (M-G-M;
directed by Daniel Mann). Elizabeth Taylor never cared for the Buttereld 8 script, based on John
OHaras novel about a New York model and part-time call girl who tragically falls in love with a
wealthy, disillusioned married man. But she made the lm, primarily to complete contractual ties to
M-G-M, so she could be free to accept an unprecedented offer of $1 million from 20th Century-Fox
to do a lm about Cleopatra. Buttereld turned out to be her Oscar charm; after three previous
nominations in a row, she won the Academy Award, her rst. A second arrived six years later, for
1966s Whos Afraid of Virginia Woolf?
be s t s u p p or t in g a ct r e s s : SHIRLEY JONES as Lulu Bains and b est ac to r: BURT

LANCASTER as Elmer in Elmer Gantry (United Artists; directed by Richard Brooks). It was a
sharp change of pace for Shirley Jones, playing a tough-talking, hardened prostitute who blows the
whistle on a hypocritical do-gooder; in her previous ve lms, she had played soft ingenues, usually
singing Rodgers and Hammerstein songs to Gordon MacRae. For Burt Lancaster, Elmer Gantry
offered a denitive role, marvelously suited to his unique vitality and mannerisms. Both won Academy Awards for the lm, based on the rst half of a thirty-three-year-old novel by Sinclair Lewis
about a traveling salesman and con man who becomes a successful revivalist-preacher, sells salvation, and ultimately crashes to a fall. Jean Simmons, Dean Jagger, Arthur Kennedy and Patti Page
were also in the cast; director Brooks also received an Oscar for writing Elmers screenplay.
8/8/13 7:26 PM
Nominations 1960
T HE ALAM O, Batjac, UA. Produced by John Wayne.

* T HE AP ART M ENT , Mirisch, UA. Produced by Billy
Wilder.
ELM ER G AN T RY , Lancaster-Brooks, UA. Produced by
Bernard Smith.
SONS AN D LOVERS, Company of Artists, 20th
Century-Fox. Produced by Jerry Wald.
T HE SU ND OW NERS, Warner Bros. Produced by Fred
Zinnemann.
A C TO R
T REVOR HOW ARD in Sons and Lovers, Company of
Artists, 20th Century-Fox.

* BU RT LANCAST ER in Elmer Gantry, Lancaster-Brooks,
UA.
JACK LEM M ON in The Apartment, Mirisch, UA.
SI R LAU RENCE OLI VI ER in The Entertainer, Woodfall,
SP ENCER T RACY in Inherit the Wind, Kramer, UA.
A C TR E S S
GREER GARSON in Sunrise at Campobello, Schary,
Warner Bros.
D EBORAH K ERR in The Sundowners, Warner Bros.

SHI RLEY M ACLAI NE in The Apartment, Mirisch, UA.
M ELI NA M ERCOU RI in Never on Sunday, Melinalm,
Lopert Pictures (Greek).

* ELI Z ABET H T AY LOR in Buttereld 8, Afton-Linebrook,
M-G-M.
P ET ER FALK in Murder, Inc., 20th Century-Fox.

JACK K RU SCHEN in The Apartment, Mirisch, UA.
SAL M I N EO in Exodus, Carlyle-Alpina, UA.
* P ET ER U ST I N OV in Spartacus, Bryna, U-I.
CHI LL W I LLS in The Alamo, Batjac, UA.
hon orary aw ard : HAYLEY MILLS (above, in Pollyanna)

for the outstanding juvenile performance during 1960. The
daughter of Englands acting family headed by John Mills, she
was the twelfth juvenile performer (and the last) to receive the
Academys miniature Oscar, voted by the Academys Board of
Governors. Her statuette was presented at the Awards ceremony
by the rst talented tot to win one, Shirley Temple.
(s t or y a n d s cr e e n p lay written d irec tl y f o r

t h e s cr e e n )
T HE ANGRY SI LEN C E , Beaver Films, Harris-Shore
(British). Story by Richard Gregson and Michael

Craig. Screenplay by Bryan Forbes.
* T HE AP ART M ENT , Mirisch, UA. Billy Wilder and I.A.L.
Diamond.
T HE FACT S OF LI FE, Panama and Frank, UA. Norman
Panama and Melvin Frank.
HI ROSHI M A, M ON A M O U R , Argos Films-Como
Films-Daiei Pictures-Pathe Overseas, Zenith
International (French-Japanese). Marguerite Duras.
N EVER ON SU ND AY, Melinalm, Lopert Pictures
(Greek). Jules Dassin.
T HE AP ART M EN T , Mirisch, UA. Joseph LaShelle.

T HE FACT S OF LI FE, Panama and Frank, UA.
Charles B. Lang, Jr.
I NHERI T T HE W I ND , Kramer, UA. Ernest Laszlo.

P SY CHO, Hitchcock, Paramount. John L. Russell.
* SONS AN D LOVERS, Company of Artists, 20th
Century-Fox. Freddie Francis.
(color )
T HE ALAM O, Batjac, UA. William H. Clothier.

BU T T ERFI ELD 8 , Afton-Linebrook, M-G-M. Joseph
Ruttenberg and Charles Harten.
EX OD U S, Carlyle-Alpina, UA. Sam Leavitt.

P EP E, G.S.-Posa Films, Columbia. Joe MacDonald.
* SP ART ACU S, Bryna, U-I. Russell Metty.
* T HE AP ART M ENT , Mirisch, UA. Alexander Trauner;

Edward G. Boyle.
T HE FACT S OF LI FE, Panama and Frank, UA. Joseph
GLY N I S J OHN S in The Sundowners, Warner Bros.
McMillan Johnson and Kenneth A. Reid; Ross Dowd.
* SHI RLEY J ON ES in Elmer Gantry, Lancaster-Brooks,
P SY CHO, Hitchcock, Paramount. Joseph Hurley and
UA.
Robert Clatworthy; George Milo.
SHI RLEY K N I GHT in The Dark at the Top of the Stairs,
SON S AND LOVERS, Company of Artists, 20th
Warner Bros.
Century-Fox. Tom Morahan; Lionel Couch.
JAN ET LEI G H in Psycho, Hitchcock, Paramount.
VI SI T T O A SM ALL P L A N E T , Wallis, Paramount.
M ARY U RE in Sons and Lovers, Company of Artists, 20th
Hal Pereira and Walter Tyler; Sam Comer and Arthur
Century-Fox.
Krams.
D I R E C TI N G
* T HE AP ART M ENT , Mirisch, UA. Billy Wilder.

NEVER ON SU N D AY , Melinalm, Lopert Pictures
(Greek). Jules Dassin.
P SY CHO, Hitchcock, Paramount. Alfred Hitchcock.
Century-Fox. Jack Cardiff.
T HE SU ND OW NERS, Warner Bros. Fred Zinnemann.
(color )
CI M ARRON , M-G-M. George W. Davis and Addison
Hehr; Henry Grace, Hugh Hunt and Otto Siegel.
I T ST ART ED I N NAP L E S , Paramount & Capri,
Paramount. Hal Pereira and Roland Anderson; Sam

Comer and Arrigo Breschi.
P EP E, G.S.-Posa Films, Columbia. Ted Haworth;
William Kiernan.
* SP ART ACU S, Bryna, U-I. Alexander Golitzen and Eric
WR I TI N G
Orbom; Russell A. Gausman and Julia Heron.
SU NRI SE AT CAM P O B E L L O , Schary, Warner Bros.
ELM
ER
G
AN
T
RY
,
LancasterBrooks,
UA.
Richard
*
Edward Carrere; George James Hopkins.
Brooks.
IN HERI T T HE W I N D , Kramer, UA. Nedrick Young and
C O S TUM E D ESIGN
Harold Jacob Smith.
* T HE FACT S OF LI FE, Panama and Frank, UA. Edith
Century-Fox. Gavin Lambert and T.E.B. Clarke.
Head and Edward Stevenson.
T HE SU ND OW NERS, Warner Bros. Isobel Lennart.
N EVER ON SU ND AY, Melinalm, Lopert Pictures
T U N ES OF GLORY , H.M. Films, Lopert Pictures
(Greek). Deni Vachlioti.
(British). James Kennaway.
T HE RI SE AND FALL O F L E G S DI A MO N D, United
States Pictures Prod., Warner Bros. Howard Shoup.
SEVEN T HI EVES, 20th Century-Fox. Bill Thomas.

T HE VI RGI N SP RI NG , A.B. Svensk Filmindustri, Janus
Films (Swedish). Marik Vos.
164
(color )
CAN- CAN, Suffolk-Cummings, 20th Century-Fox.
Irene Sharaff.
M I D NI G HT LACE, Hunter-Arwin, U-I. Irene.

P EP E, G.S.-Posa Films, Columbia. Edith Head.
* SP ART ACU S, Bryna, U-I. Valles and Bill Thomas.
SU NRI SE AT CAM P O B E L L O , Schary, Warner Bros.
Marjorie Best.
be s t for e ig n la n g u age f il m: THE VIRGIN SPRING

from Sweden (Janus Films; directed by Ingmar Bergman).
Birgitta Pettersson (in center, at left) was featured as an innocent Swedish maiden who is raped and murdered by three
goatherds in the Middle Ages, a story based on a 13th-century
Swedish legend about revenge and repentance. Academy voters
chose it as the years outstanding foreign language lm, the rst
Ingmar Bergman lm so honored. In its country of origin, it
was called Jungfrukllan; Max von Sydow, Birgitta Valberg and
Gunnel Lindblom were also in the cast.
8/8/13 7:26 PM
S O U ND
* THE A L A MO , Batjac, UA. Samuel Goldwyn Studio

Sound Dept., Gordon E. Sawyer, Sound Director; and
Todd-AO Sound Dept., Fred Hynes, Sound Director.
THE A P A R TME NT, Mirisch, UA. Samuel Goldwyn
Studio Sound Dept., Gordon E. Sawyer, Sound
Director.
C IMA R R O N, M-G-M. Metro-Goldwyn-Mayer Studio
P E P E , G.S.-Posa Films, Columbia. Columbia Studio
Sound Dept., Charles Rice, Sound Director.
SUNR ISE A T C A M POB ELLO, Schary, Warner Bros.
Warner Bros. Studio Sound Dept., George R. Groves,
Sound Director.
F I LM ED I T I N G
THE A L A MO , Batjac, UA. Stuart Gilmore.

* THE A P A R TME NT , Mirisch, UA. Daniel Mandell.
INHE R IT THE W I ND, Kramer, UA. Frederic Knudtson.
P E P E , G.S.-Posa Films, Columbia. Viola Lawrence and
Al Clark.
SP A R TA C U S, Bryna, U-I. Robert Lawrence.
THE L A S T VO Y A GE, Stone, M-G-M. Visual Effects by
A.J. Lohman.
* THE TIME MA C H INE, Galaxy Films, M-G-M. Visual
Effects by Gene Warren and Tim Baar.
MUSIC
(s on g)
THE F A C TS O F L IFE (The Facts of Life, Panama and
Frank, UA); Music and Lyrics by Johnny Mercer.
FA R A W A Y P A R T OF TOWN (Pepe, G.S.-Posa Films,
Columbia); Music by Andr Previn. Lyrics by Dory

Langdon.
THE GR E E N L E A VES OF SUMMER (The Alamo,
Batjac, UA); Music by Dimitri Tiomkin. Lyrics by Paul
Francis Webster.
* NE VE R O N S UNDAY (Never on Sunday, Melinalm,
Lopert Pictures; Greek); Music and Lyrics by Manos
Hadjidakis.
THE S E C O ND TIME AROUND (High Time, Crosby,
20th Century-Fox); Music by James Van Heusen.
THE A L A MO , Batjac, UA. Dimitri Tiomkin.

ELMER GANTRY, Lancaster-Brooks, UA. Andr Previn.
* E XO D US , Carlyle-Alpina, UA. Ernest Gold.
THE MA GNIFIC ENT SEV EN, Mirisch-Alpha, UA.
Elmer Bernstein.
SP A R TA C U S, Bryna, U-I. Alex North.
BE L L S A R E R INGING, Freed, M-G-M. Andr Previn.

C A N- C A N, Suffolk-Cummings, 20th Century-Fox.
Nelson Riddle.
L E T S MA KE L O VE, Company of Artists, 20th
Century-Fox. Lionel Newman and Earle H. Hagen.
P E P E , G.S.-Posa Films, Columbia. Johnny Green.

* S O NG W ITHO U T END ( T H E S T O R Y O F F R A N Z
L I S Z T ),
Goetz-Vidor, Columbia. Morris Stoloff and

Harry Sukman.
be s t s u p p or t in g a ct or : PETER USTINOV as Batiatus

(here, left, with Charles Laughton) in Spartacus (UniversalInternational; directed by Stanley Kubrick). The big-scale
Spartacus was a saga of Roman gladiators, emperors and
intrigues, and received four Academy Awards, one for Ustinov
as a clownish slave in B.C. Rome, plus additional ones for color
cinematography, for color art direction, and for color costume
design. Spartacus was based on a novel by Howard Fast and featured a distinguished cast including Kirk Douglas, Sir Laurence
Olivier, Charles Laughton, John Gavin, Tony Curtis, Nina Foch
and John Dall. Ustinov was also prominent during 1960 in Fred
Zinnemanns superb The Sundowners, and he won a second
Oscar four years later, for Topkapi.
(c art oon s )
GO L IA TH II, Disney, Buena Vista. Walt Disney,
producer.
HIGH NO TE , Warner Bros. (Looney Tunes)

MO U SE A ND GA RDEN, Warner Bros. (Looney
TunesSylvester)
* MUNR O , Rembrandt Films, Film Representations.
(Noveltoon). William L. Snyder, producer.
A P L A C E IN THE SUN, George K. ArthurGo Pictures
(Czechoslovakian). Frantisek Vystrecil, producer.
(l i ve ac t i on )
THE C R E A TIO N OF WOMAN, Trident Films, Sterling
World Distributors (Indian). Charles F. Schwep and

Ismail Merchant, producers.
* D A Y O F THE P A I NTER, Little Movies, Kingsley-Union
Films. Ezra R. Baker, producer.
ISL A ND S O F THE SEA, Disney, Buena Vista. (True
Life Adventure). Walt Disney, producer.
A SP O R T IS BO RN, Paramount. (Sports Illustrated).
Leslie Winik, producer.
D O CU M EN T AR Y
BE Y O ND SIL E NCE, U.S. Information Agency.

A C ITY C A L L E D COPENH AGEN, Statens
Filmcentral, Danish Government Film Ofce

(Danish).
GE O R GE GR O S Z INTERREGNUM, Educational
Communications Corp. Charles and Altina Carey,
producers.
* GI U SEP P I N A, Hill, Schoenfeld Films (British). James

Hill, producer.
U N I VERSE, National Film Board of Canada, Schoenfeld
Films (Canadian). Colin Low, producer.
(fe a t u r e s )
* T HE HORSE W I T H T HE FLY I N G T AI L, Disney, Buena

Vista. Larry Lansburgh, producer.
REBEL I N P ARAD I SE, Tiare Co. Robert D. Fraser,
producer.
K AP O (Italy).
LA VRI T (France).
M ACARI O (Mexico).
T HE NI N T H CI RCLE (Yugoslavia).
* T HE VI RG I N SP RI N G (Sweden).

T O G ARY COOP ER for his many memorable screen
performances and the international recognition he,

as an individual, has gained for the motion picture
industry. (statuette)
T O ST AN LAU REL for his creative pioneering in the
eld of cinema comedy. (statuette)
T O HAY LEY M I LLS for Pollyanna, the most outstanding
juvenile performance during 1960. (miniature
statuette)

165
T O SOL LESSER
None.
AM P EX P ROFESSI O N A L PR O DU C T S C O . for the
production of a well-engineered multi-purpose sound

system combining high standards of quality with
convenience of control, dependable operation and
simplied emergency provisions.
ART HU R HOLCOMB , PE T R O V L A H O S , and
COLU M BI A ST UDI O C A M E R A DE PT . ;
ANT HONY P AGLI A and the 20 T H C E N T U R Y- F O X
ST U D I O M ECHA N I C A L E F F E C T S DE PT . ;
CARL HAU GE, RO B E R T G R U B E L , and E DW A R D
REI CHARD of Consolidated Film Industries.
8/8/13 7:26 PM
1961
The Thirty-Fourth Year
dvertising for Academy votes in

Hollywood trade publications had
become a major embarrassment
to the Academy by the early 1960s, reaching a crescendo with a blatant campaign
launched on behalf of supporting actor
nominee Chill Wills. It caused the Board
of Governors to issue a statement of policy
on the subject. We feel it has now become
necessary to state our position in regard to
all potential nominees, it read, and we
are mindful that throughout the years
the great majority of those nominated, or
seeking nominations, have exercised restraint in reminding the voting members of
the Academy of their achievements. Regrettably, however, last year a few resorted to
outright, excessive and vulgar solicitation of
votes. This became a serious embarrassment
to the Academy and our industry. We are
hesitant to set down specic rules governing advertising [and] leave the decision
for this year to the good conscience of the
nominees.
The statement further requested a cooperative effort to eliminate those advertising practices which are irrelevant to the
honest evaluation of artistic and technical
accomplishments and violate the principles
under which the Academy was established.
Any honorary organization such as the
Academy can command respect only as
long as its members and the nominees take
unto themselves the responsibility of dignied conduct. The statement concluded:
We are hopeful this reminder will be sufcient. Unfortunately, similar admonish-
ments have had to be made in succeeding

years.
The awards for 1961 were presented
April 9, 1962, again at the Santa Monica
Civic Auditorium. Sophia Loren, winner as
best actress for Two Women, wasnt on hand
to accept her statuette (Greer Garson did
stand-in duty for Sophia); she was at home
in Rome awaiting the outcome. She was
the rst performer in a foreign language
lm to be nominated for an Academy
Award, and so became Oscars initial subtitled acting winner. It was an evening for
Oscar rsts. Maximilian Schell, chosen
best actor for Judgment at Nuremberg, became the rst performer to win an Academy
Award for re-creating on screen a role he
had originally done on television. Also for
the initial time, two directors won in the
best director category: Jerome Robbins and
Robert Wise of West Side Story. West Side
Story was the big winner of the year with
ten awards, including ones for best picture, supporting actor (George Chakiris),
supporting actress (Rita Moreno), plus a
special Oscar to Robbins for his West Side
Story choreography.
Earlier, there had been another rst.
Shortly after the nominations were announced, George C. Scott informed
Academy ofcials he wished to decline
his nomination in the supporting actor
category; his name, however, remained on
the ballot.
ABC-TV again carried the telecast, with
Richard Dunlap producing-directing for
the network, and Arthur Freed produc-
b e s t p ict u r e : WEST SIDE STORY (United Artists; produced

by Robert Wise), be s t dir e ct or s : ROBERT WISE and
JEROME ROBBINS, be s t s u p p or t in g a ct or : GEORGE
CHAKIRIS as Bernardo, and be s t s u p p or t in g a ct r e s s :
RITA MORENO (right, center) as Anita. On the Broadway
stage, West Side Story opened Sept. 26, 1957, and was a spellbinder; four years later, it became a 153-minute motion picture,
with its qualities enhanced even further by the ability of the lm
medium to give limitless elbow room to its vitality. It was also
Romeo and Juliet set to music (by Leonard Bernstein, lyrics
by Stephen Sondheim), with the Capulet-Montague friction in
Verona translated into a Puerto RicanAmerican gang rivalry
on the streets of Manhattans Upper West Side. Natalie Wood,

beginning her adult screen career, and Richard Beymer were the
star-crossed lovers, and, among the cast, Chakiris and Moreno
made particularly striking impressionsand won Oscarsas the
leader of the Puerto Rican Shark gang and his ery girlfriend.
Considerable attention was given to the fact Marni Nixon was
the off-camera singing voice for Wood; Beymer was musically
dubbed by Jim Bryant. Ultimately, West Side Story won a nearrecord ten Academy Awards, including those for color cinematography, color art direction, color costume design, sound, scoring
of a musical, lm editing, plus a special award to Robbins for his
choreography.
166
8/8/13 7:26 PM
ing for the Academy. Johnny Green was

musical director, Bob Hope was master of
ceremonies, and Ann-Margret, a relative
newcomer to movie circles, attracted major
attention when she delivered a version of
Bachelor in Paradise, one of the years

nominees as best song. There was also
an unabashed (and uninvited) visitor
on stage: Stan Berman, a professional
gate-crasher, bypassed 125 uniformed police
guards during the evening and went on

stage to hand a homemade Oscar to a
surprised Bob Hope.
167
8/8/13 7:26 PM
Nominations 1961
b e s t ac t or: MAXIMILIAN SCHELL as Hans Rolfe in Judgment at Nuremberg (United Artists; directed by Stanley
Kramer). Maximilian Schell rst played Hans Rolfe in an April
1959 CBS-TV version of Judgment at Nuremberg, directed by
George Roy Hill; when Stanley Kramer expanded the story into
a 3-hour, 15-minute movie, Schell was one of the only actors
chosen to repeat his role, and he was the least-known face among
the lms powerhouse cast, which included Spencer Tracy, Burt
Lancaster, Richard Widmark, Montgomery Clift, Marlene
Dietrich and Judy Garland. Schell played a German lawyer in the
1948 war crimes trial held in Nuremberg, Germany, defending
four Nazis on trial for their part in supporting Hitlers precepts
during World War II. His argument: in wartime, it was their
dutynot a choiceto accept the orders of their leader and follow
them. Ultimately, Hans Rolfe lost the case, but actor Schell won
the Academy Award. He was again nominated as best actor in
1975 for The Man in the Glass Booth and as best supporting
actor in 1977 for Julia. He also co-produced and directed First
Love, a 1970 Academy nominee as best foreign language lm.
FAN N Y , Manseld, Warner Bros. Produced by Joshua
Logan.
T HE G U N S OF NAVARONE, Foreman, Columbia.
Produced by Carl Foreman.

T HE HU ST LER, Rossen, 20th Century-Fox. Produced by
Robert Rossen.
JU D GM EN T AT N U REM BERG , Kramer, UA. Produced
by Stanley Kramer.
* W EST SI D E ST ORY , Mirisch-B&P Enterprises, UA.
Produced by Robert Wise.
A C TO R
CHARLES BOY ER in Fanny, Manseld, Warner Bros.

P AU L N EW M AN in The Hustler, Rossen, 20th Century-
Fox.
* M AX I M I LI AN SCHELL in Judgment at Nuremberg,
Kramer, UA.
SP ENCER T RACY in Judgment at Nuremberg, Kramer,
UA.
ST U ART W HI T M AN in The Mark, Stross-Buchman,
A C TR E S S
AU D REY HEP BU RN in Breakfast at Tiffanys, Jurow-
Shepherd, Paramount.
P I P ER LAU RI E in The Hustler, Rossen, 20th Century-
Fox.
* SOP HI A LOREN in Two Women, Champion-Les
Films Marceau-Cocinor & Socit Gnrale de
Cinmatographie Prod., Embassy (Italian).
GERALD I NE P AG E in Summer and Smoke, Wallis,
Paramount.
NAT ALI E W OOD in Splendor in the Grass, NBI Prod.,
Warner Bros.
168
* GEORG E CHAK I RI S in West Side Story, Mirisch-B&P

Enterprises, UA.
M ONT G OM ERY CLI FT in Judgment at Nuremberg,
Kramer, UA.
P ET ER FALK in Pocketful of Miracles, Franton, UA.
JACK I E G LEASON in The Hustler, Rossen, 20th
Century-Fox.
GEORG E C. SCOT T in The Hustler, Rossen, 20th
Century-Fox.
FAY BAI NT ER in The Childrens Hour, Mirisch-
Worldwide, UA.
WR I TI N G
BREAK FAST AT T I FF A N YS , Jurow-Shepherd,
Paramount. George Axelrod.
T HE GU NS OF N AVA R O N E , Foreman, Columbia. Carl
Foreman.
T HE HU ST LER, Rossen, 20th Century-Fox. Sidney
Carroll and Robert Rossen.

* J U D GM EN T AT N U R E MB E R G , Kramer, UA. Abby
Mann.
W EST SI D E ST ORY , Mirisch-B&P Enterprises, UA.
Ernest Lehman.
t h e s cr e e n )
BALLAD OF A SOLDI E R , Moslm Studios, Kingsley
International-M.J.P. (Russian). Valentin Yoshov and

Grigori Chukhrai.
G EN ERAL D ELLA RO V E R E , Zebra & S.N.E. Gaumont,
Continental Distributing (Italian). Sergio Amidei,
Diego Fabbri and Indro Montanelli.
LA D OLCE VI T A, Riama Film, Astor Pictures (Italian).
Federico Fellini, Tullio Pinelli, Ennio Flaiano and
Brunello Rondi.
LOVER COM E BACK, U-I-7 Pictures Corp.-Nob HillArwin, U-I. Stanley Shapiro and Paul Henning.
* SP LEND OR I N T HE G R A S S , NBI Prod., Warner Bros.
William Inge.
T HE ABSENT -M I ND E D PR O F E S S O R , Disney, Buena
Vista. Edward Colman.
T HE CHI LD REN S HO U R , Mirisch-Worldwide, UA.
Franz F. Planer.
* T HE HU ST LER, Rossen, 20th Century-Fox. Eugen
Shuftan.
J U D G M ENT AT NU R E MB E R G , Kramer, UA. Ernest
Laszlo.
ONE, T W O, T HREE, Mirisch-Pyramid, UA. Daniel L.
Fapp.
(color )
FANNY , Manseld, Warner Bros. Jack Cardiff.

FLOW ER D RU M SON G , U-I-Hunter-Fields, U-I. Russell
Metty.
A M AJ ORI T Y OF ON E , Warner Bros. Harry
Stradling, Sr.
ONE- EY ED J ACK S, Pennebaker, Paramount. Charles
Lang, Jr.
JUDY GARLAND in Judgment at Nuremberg, Kramer, UA.

LOT T E LEN Y A in The Roman Spring of Mrs. Stone, Seven
Arts, Warner Bros.
U NA M ERK EL in Summer and Smoke, Wallis,
Paramount.
* RI T A M ORENO in West Side Story, Mirisch-B&P
Enterprises, UA.
D I R E C TI N G
T HE G U N S OF NAVARONE, Foreman, Columbia. J. Lee
Thompson.
T HE HU ST LER, Rossen, 20th Century-Fox. Robert
Rossen.
JU D GM EN T AT N U REM BERG , Kramer, UA. Stanley
Kramer.
Federico Fellini.
Robert Wise and Jerome Robbins.
Daniel L. Fapp.
T HE ABSENT -M I ND E D PR O F E S S O R , Disney, Buena
Vista. Carroll Clark; Emile Kuri and Hal Gausman.
T HE CHI LD REN S HO U R , Mirisch-Worldwide, UA.
Fernando Carrere; Edward G. Boyle.

* T HE HU ST LER, Rossen, 20th Century-Fox. Harry
Horner; Gene Callahan.
J U D G M ENT AT NU R E MB E R G , Kramer, UA. Rudolph
Sternad; George Milo.
Piero Gherardi.
(color )
BREAK FAST AT T I FF A N YS , Jurow-Shepherd,

Comer and Ray Moyer.
8/8/13 7:27 PM
E L C ID , Bronston-Dear Film, Allied Artists. Veniero
Colasanti and John Moore.
FL O W E R D R U M SONG, U-I-Hunter-Fields, U-I.
Alexander Golitzen and Joseph Wright; Howard

Bristol.
SUMME R A ND S MOKE, Wallis, Paramount. Hal
Pereira and Walter Tyler; Sam Comer and Arthur
Krams.
* W E S T SID E STO RY, Mirisch-B&P Enterprises, UA.
Boris Leven; Victor A. Gangelin.
THE C HIL D R E N S HOUR, Mirisch-Worldwide, UA.
Dorothy Jeakins.
C L A U D E L L E INGLISH, Warner Bros. Howard Shoup.

JUDGMENT AT NUREMBERG, Kramer, UA. Jean Louis.
* L A D O L C E VITA , Riama Film, Astor Pictures (Italian).
Piero Gherardi.
Y O JIMBO , Toho Co. & Kurosawa Prod., Toho
Company (Japanese). Yoshiro Muraki.
(c ol or)
BA BE S IN TO Y L AND, Disney, Buena Vista. Bill
Thomas.
BACK STREET, U-I-Hunter-Carrollton, U-I. Jean Louis.

FL O W E R D R U M SONG, U-I-Hunter-Fields, U-I. Irene
Sharaff.
P O C K E TFUL O F MIRACLES, Franton, UA. Edith
Head and Walter Plunkett.

Irene Sharaff.
S O U ND
THE C HIL D R E N S HOUR, Mirisch-Worldwide, UA.
Samuel Goldwyn Studio Sound Dept., Gordon E.

FL O W E R D R U M SONG, U-I-Hunter-Fields, U-I.
Revue Studio Sound Dept., Waldon O. Watson,
Sound Director.
THE GUNS O F NAV ARONE, Foreman, Columbia.
Shepperton Studio Sound Dept., John Cox, Sound
Director.
THE PARENT TRAP, Disney, Buena Vista. Walt Disney
Studio Sound Dept., Robert O. Cook, Sound Director.
Todd-AO Sound Dept., Fred Hynes, Sound Director;
and Samuel Goldwyn Studio Sound Dept., Gordon E.
F I LM ED I T I N G
FA NNY , Manseld, Warner Bros. William H. Reynolds.

Alan Osbiston.
be s t a ct r e s s : SOPHIA LOREN as Cesira in Two Women

(Embassy; directed by Vittorio De Sica). The rolevolcanic,
lusty and warmwas originally designed for Anna Magnani;
in the hands of Sophia Loren, it became the rst performance
delivered in a foreign language lm to win an Academy Award.
Loren played a passionate Italian widow, unable to face 1943
wartime dangers in Rome, who leaves the city with her 13-yearold daughter (Eleonora Brown) in order to sit out the war in
the safety of her mountainside birthplace, miles away; on their
BABES I N T OY LAND , Disney, Buena Vista. George
Bruns.
FLOW ER D RU M SON G , U-I-Hunter-Fields, U-I. Alfred
Newman and Ken Darby.

K HOVAN SHCHI NA, Moslm Studios, Artkino
(Russian). Dimitri Shostakovich.
P ARI S BLU ES, Pennebaker, UA. Duke Ellington.
* W EST SI D E ST ORY , Mirisch-B&P Enterprises, UA. Saul
Chaplin, Johnny Green, Sid Ramin and Irwin Kostal.
JU D GME NT A T NUREMB ERG, Kramer, UA. Frederic
Knudtson.
THE P A R E NT TR AP, Disney, Buena Vista. Philip W.
(ca r t oon s )
Anderson.
AQ U AM ANI A, Disney, Buena Vista. Walt Disney,

Thomas Stanford.
THE A BS E NT- MIN DED PROFESSOR, Disney, Buena
Vista. Visual Effects by Robert A. Mattey and Eustace

Lycett.
* THE GU NS O F NAV ARONE, Foreman, Columbia.
Visual Effects by Bill Warrington. Audible Effects by
Vivian C. Greenham.
MUSIC
(s on g)
BA C HE L O R IN P ARADISE (Bachelor in Paradise,
Richmond, M-G-M); Music by Henry Mancini.

Lyrics by Mack David.
L O VE THE ME FR OM EL CID (The Falcon and the
Dove) (El Cid, Bronston-Dear Film, Allied Artists);
Music by Miklos Rozsa. Lyrics by Paul Francis
Webster.
* MO O N R IVE R (Breakfast at Tiffanys, Jurow-Shepherd,
Paramount); Music by Henry Mancini. Lyrics by
Johnny Mercer.
P O C K E TFUL O F M IRACLES (Pocketful of Miracles,
Franton, UA); Music by James Van Heusen. Lyrics by
Sammy Cahn.
TO W N W ITHO U T PITY (Town without Pity, MirischGloria, UA); Music by Dimitri Tiomkin. Lyrics by
Ned Washington.
(m us i c s c ore of a d r a m a ti c o r co m ed y pi ctu r e)
* BR E A KF A ST A T T IFFANYS, Jurow-Shepherd,
Paramount. Henry Mancini.
E L C ID , Bronston-Dear Film, Allied Artists. Miklos
Rozsa.
FA NNY , Manseld, Warner Bros. Morris Stoloff and
Harry Sukman.
Dimitri Tiomkin.
SUMME R A ND S MOKE, Wallis, Paramount. Elmer
Bernstein.
producer.
BEEP P REP ARED , Warner Bros. (Merrie Melodies
Road Runner). Chuck Jones, producer.

* ERSAT Z ( T HE SU BST I T U T E) , Zagreb Film, Herts-Lion
International Corp.
N ELLY S FOLLY , Warner Bros. (Merrie Melodies).
Chuck Jones, producer.
T HE P I ED P I P ER OF GU AD ALU P E, Warner Bros.
(Looney TunesSpeedy Gonzales & Sylvester). Friz
Freleng, producer.
(liv e a ct ion )
BALLON VOLE (Play Ball!), Cin-Documents,
Kingsley International.
T HE FACE OF J ESU S, Jenga, Stern, Inc. Dr. John D.
Jennings, producer.
ROOFT OP S OF NEW Y ORK , McCarty-Rush-Gaffney,
Columbia. (Musical Travelbook). Robert Gaffney,
producer.
* SEAW ARD S T HE GREAT SHI P S, Templar Film Studios,
Schoenfeld Films.
VERY N I CE, VERY N I CE, National Film Board of
Canada, Kingsley International.
D O C UM E N TA R Y
BREAK I N G T HE LANGU AGE BARRI ER, U.S. Air Force.
(Travel Adventure).
CRAD LE OF G EN I U S, Plough Prods. (Irish). Jim
OConnor and Tom Hayes, producers.

K AHL, Dido-Film-GmbH., AEG-Filmdienst (West
Germany).
L U OM O I N GRI G I O (The Man in Gray), Benedetti
(Italian). Benedetto Benedetti, producer.
* P ROJ ECT HOP E, MacManus, John & Adams/Klaeger
Films, Ex-Cell-O Corp. Frank P. Bibas, producer.
(fe a t u r e s )
LA G RAN D E OLI M P I AD E (Olympic Games 1960),
DellIstituto Nazionale Luce, Comitato Organizzatore

Del Giochi Della XVII Olimpiade, Cineriz (Italian).
* LE CI EL ET LA BOU E (Sky Above and Mud Beneath),
Ardennes Films/Michael Arthur Film, Rank Film Dist.
journey, both are raped in a gutted church by Moroccan soldiers,

and the resultant trauma threatens to wreck the daughters life
and the mother-daughter relationship. Filmed in Italy, in Italian,
Two Women co-starred Jean-Paul Belmondo and Raf Vallone
and was one of the rst subtitled foreign language lms to nd a
wide popular acceptance by the public in the United States; it also
proved Loren, then most famous as a movie sex symbol, could
hold her own with anyone as an actress.
of America (French). Arthur Cohn and Rene Lafuite,

producers.
HARRY AND T HE B U T L E R (Denmark).

I M M ORT AL LOVE (Japan).
T HE I M P ORT AN T M A N (Mexico).
P LACI D O (Spain).
* T HROU GH A GLA S S DA R K L Y (Sweden).

T O W I LLI AM L. H E N DR I C K S for his outstanding
patriotic service in the conception, writing and

production of the Marine Corps lm, A Force in
Readiness, which has brought honor to the Academy
and the motion picture industry. (statuette)
T O FRED L. M ET ZL E R for his dedication and
outstanding service to the Academy of Motion Picture
Arts and Sciences. (statuette)
T O J EROM E ROBB I N S for his brilliant achievements in
the art of choreography on lm. (statuette)

T O ST AN LEY K RA ME R
T O G EORGE SEAT O N
169
None.
SY LVANI A ELECT R I C PR O DU C T S , I N C . , for the
development of a hand held high-power photographic

lighting unit known as the Sun Gun Professional.
J AM ES D ALE, S. WI L S O N , H . E . R I C E , J O H N
RU D E, LAU RI E A T K I N , W A DS W O R T H E . PO H L ,
H. P EASGOOD , and T E C H N I C O L O R C O R P. for a
process of automatic selective printing.
20 TH CENTURY- FOX RESEARCH DEPT., under
the direction of E.I. SPONABLE and HERBERT E.

BRAGG, and DELUXE LABORATORIES, INC., with
the assistance of F.D. LESLIE, R.D. WHITMORE, A.A.
ALDEN, ENDEL POOL, and JAMES B. GORDON,
for a system of decompressing and recomposing
CinemaScope pictures for conventional aspect ratios.
HU RLET RON , I NC . , E L E C T R I C E YE E Q U I PME N T
D I VI SI ON ;
W AD SW ORT H E. PO H L and T E C H N I C O L O R C O R P.
8/8/13 7:27 PM
1962
The Thirty-Fifth Year
rank Sinatra made his rst appearance

as an Academy Awards host on April 8,
1963the night 1962 lm achievements were honoredbut he almost missed
the show. Running late, he forgot to apply
the proper sticker to his car and was refused
admittance to the Santa Monica Civic Auditorium arrival area. He had to park his car
himself, then rush on foot to the stage area.
Bob Hope, usually in the host spot, had to
sit this one out because of a product conict
between the sponsors of the Academy telecast and his own television specials.
The thirty-fth Academy ceremony
was telecast on ABC-TV, produced for the
Academy for the fth time by Arthur Freed,
with Alfred Newman as musical director.
Richard Dunlap produced and directed for
the network.
Lawrence of Arabia, a prize example of the
kind of international moviemaking becoming more prevalent in the industry, received
a total of seven awards (including ones for
best picture and for David Lean as best director); Gregory Peck, on his fth nomination
as best actor, won for To Kill a Mockingbird,
and told reporters, I hate to give it [the
statuette] back to the Academy, even if its
only to have my name engraved on it! Anne
Bancroft, appearing on stage in New York in
Mother Courage, was named best actress in
The Miracle Worker; her award was accepted
in her absence by Joan Crawford.
Sixteen-year-old Patty Duke, best supporting actress in The Miracle Worker, was
the rst under-eighteen performer to win a
competitive Academy Award; for the preced-
ing twenty-eight years, child actors had been

honored by the Academy only in the special
award division. One of her fellow nominees,
Mary Badham of To Kill a Mockingbird, was
even younger; she was ten at the time. Veteran character actor Ed Begley won as the
years best supporting actor (for Sweet Bird
of Youth), and Frances Sundays and Cybele
was chosen best foreign language lm, the
sixth French lm similarly honored.
A slight preshow controversy surrounded
the planned entertainment portions of
the 1962 telecast. Since Ethel Merman had
been asked to sing a medley of Irving Berlin
songs, and Eddie Fisher had also agreed to
do a medley of eleven past Oscar-winning
tunes, program planners announced the ve
best song nominees would not be performed
during the program, breaking an Oscar
tradition. That decision struck a negative
response from members in the Academys
Music Branch, so the songs were quickly
reinstated, but with a slight alteration. This
year, for the rst time, they were not sung
individually, but as a medley. Robert Goulet
did the honors.
170
be s t ac t re s s : ANNE BANCROFT as Annie Sullivan and b es t
s up p ort i n g ac t re s s : PATTY DUKE as Helen Keller in The
Miracle Worker (United Artists; directed by Arthur Penn).
The Miracle Worker rst appeared as a 1957 television play
with Teresa Wright and Patty McCormack, then became a 1959
Broadway play with Anne Bancroft and Patty Duke and, nally,
a 1962 motion picture, again with Bancroft and Duke (right).
The story followed real-life Annie Sullivan, half-blind from a
childhood illness, as she attempts to teach deaf-and-blind young
Helen how to speak through the sense of touch, concurrently having to battle the girls animal-like stubbornness. It became one of
1962s most-admired, and best-acted, dramas.
8/8/13 7:27 PM
b e s t p i c t u r e : L A W R E N C E O F A R A B I A (Columbia; produced by Sam Spiegel). For their rst reteaming after their
highly successful The Bridge on the River Kwai in 1957, Sam
Spiegel and director David Lean rst toyed with the idea of lming the life of Mahatma Gandhi, then discarded it when Spiegel
was able to purchase the rights to Thomas Edward Lawrences
Seven Pillars of Wisdom. Marlon Brando was the rst choice
to play Lawrence but he was lming Mutiny on the Bounty

and unable to accept, so the role went to twenty-eight-year-old
Peter OToole, an actor relatively unknown in lm circles. Location lming went on for many months in raw temperatures, but
the hardships ultimately added to the authenticity and grandeur
of the nished lm, a visually stunning epic which concentrated
on the guerrilla desert campaigns of Lawrence at the time of
World War I, leading Arab raids against the Turks; at times, it

also pondered the mans mysterious nature and his occasional
streaks of sadism. Lawrence co-starred Alec Guinness, Anthony
Quinn, Jack Hawkins, Jos Ferrer, Omar Sharif, Claude Rains,
Arthur Kennedy, and Anthony Quayle, and won a total of seven
Academy Awards for its excellence.
171
be s t a ct or : GREGORY PECK as Atticus Finch (at left, in

court) in To Kill a Mockingbird (Universal-International;
directed by Robert Mulligan). The mainspring of Harper Lees
best-selling novel set in 1932, Atticus was a wise and gentle small
town Alabama lawyer rearing his motherless offspring and
defending a black man falsely accused of rape. Under the softspoken guidance of Atticus, his youngsters emerge from the world
of childhood fantasy towards maturity, but in the courtroom,
Southern prejudice defeats his case. Gregory Pecks performance
won him his rst Academy Award after four previous nominations in 1945, 1946, 1947 and 1949; in 1967, he was voted the
Jean Hersholt Humanitarian Award by the Academys Board of
Governors. He also served as Academy president for three
terms, 196770.
8/8/13 7:27 PM
Nominations 1962
B E S T PI C TUR E
WR I TI N G
A C TO R

s cr e e n )
* LAW RENCE OF ARABI A, Horizon-Spiegel-Lean,

D AVI D AN D LI SA, Heller-Perry, Continental. Eleanor
T HE LONGEST D AY , Zanuck, 20th Century-Fox.
Perry.
Produced by Darryl F. Zanuck.
LAW REN CE OF ARA B I A , Horizon-Spiegel-Lean,
M ERED I T H W I LLSON S T HE M U SI C M AN , Warner
Columbia. Robert Bolt and Michael Wilson.
Bros. Produced by Morton Da Costa.
LOLI T A, Seven Arts, M-G-M. Vladimir Nabokov.
M U T I N Y ON T HE BOU NT Y , Arcola, M-G-M. Produced
T HE M I RACLE W OR K E R , Playlms, UA. William
by Aaron Rosenberg.
Gibson.
T O K I LL A M OCK I N G BI RD , U-I-Pakula-Mulligan* T O K I LL A M OCK I N G B I R D, U-I-Pakula-MulliganBrentwood, U-I. Produced by Alan J. Pakula.
Brentwood, U-I. Horton Foote.
BU RT LANCAST ER in Birdman of Alcatraz, Hecht, UA.
JACK LEM M ON in Days of Wine and Roses, Manulis-
* D I VORCEI T ALI AN S T YL E , Lux-Vides-Galatea Film,

Embassy Pictures (Italian). Ennio de Concini, Alfredo
M ARCELLO M AST ROI ANNI in DivorceItalian Style,
Giannetti and Pietro Germi.
Lux-Vides-Galatea Film, Embassy Pictures (Italian).
FREU D , U-I-Huston, U-I. Story by Charles Kaufman.
P ET ER O T OOLE in Lawrence of Arabia, HorizonScreenplay by Charles Kaufman and Wolfgang
Spiegel-Lean, Columbia.
Reinhardt.
LAST Y EAR AT M ARI E N B A D, Preceitel-Terra Film,
* GREGORY P ECK in To Kill a Mockingbird, U-I-PakulaMulligan-Brentwood, U-I.
Astor Pictures (French). Alain Robbe-Grillet.
T HAT T OU CH OF M I N K , U-I-Granley-Arwin-Nob Hill,
A C TR E S S
U-I. Stanley Shapiro and Nate Monaster.
* ANNE BANCROFT in The Miracle Worker, Playlms, UA. T HROU G H A G LASS DA R K L Y, A.B. Svensk
BET T E D AVI S in What Ever Happened to Baby Jane?,
Filmindustri, Janus Films (Swedish). Ingmar Bergman.
Seven Arts-Associates & Aldrich, Warner Bros.
K AT HARI NE HEP BU RN in Long Days Journey into
Night, Landau, Embassy Pictures.
GERALD I NE P AG E in Sweet Bird of Youth, Roxbury,
BI RD M AN OF ALCA T R A Z, Hecht, UA. Burnett Guffey.
M-G-M.
* T HE LONGEST D AY , Zanuck, 20th Century-Fox. Jean
LEE REM I CK in Days of Wine and Roses, Manulis-Jalem,
Bourgoin and Walter Wottitz.
Warner Bros.
T O K I LL A M OCK I N G B I R D, U-I-Pakula-MulliganJalem, Warner Bros.
* ED BEGLEY in Sweet Bird of Youth, Roxbury, M-G-M.

VI CT OR BU ON O in What Ever Happened to Baby Jane?,
Seven Arts-Associates & Aldrich, Warner Bros.
T ELLY SAVALAS in Birdman of Alcatraz, Hecht, UA.
OM AR SHARI F in Lawrence of Arabia, Horizon-SpiegelLean, Columbia.
T EREN CE ST AM P in Billy Budd, Harvest, Allied Artists.
M ARY BAD HAM in To Kill a Mockingbird, U-I-Pakula-
(Warner Bros.; produced by Robert Aldrich) gave rousing screen roles to Joan Crawford and Bette Davis (above) and was voted the Academy Award
for Norma Kochs black-and-white costume designs. The actresses
played former celebrities living like recluses in a decaying Hollywood mansion; one is an apparent cripple, the other a grotesque
mist who cant forget she was once a child star in vaudeville.
Robert Aldrich directed the lm.
WHAT EVER HAPPENED TO BABY JANE?
Mulligan-Brentwood, U-I.
* P AT T Y D U K E in The Miracle Worker, Playlms, UA.
SHI RLEY K N I GHT in Sweet Bird of Youth, Roxbury,
M-G-M.
ANGELA LANSBU RY in The Manchurian Candidate,
M.C. Prod., UA.
T HELM A RI T T ER in Birdman of Alcatraz, Hecht, UA.
D I R E C TI N G
D AVI D AND LI SA, Heller-Perry, Continental. Frank
Perry.
D I VORCEI T ALI AN ST Y LE, Lux-Vides-Galatea Film,
Embassy Pictures (Italian). Pietro Germi.

* LAW RENCE OF ARABI A, Horizon-Spiegel-Lean,
Columbia. David Lean.
T HE M I RACLE W ORK ER, Playlms, UA. Arthur Penn.
T O K I LL A M OCK I N G BI RD , U-I-Pakula-MulliganBrentwood, U-I. Robert Mulligan.
Brentwood, U-I. Russell Harlan.
T W O FOR T HE SEES A W , Mirisch-Argyle-Talbot-Seven
Arts, UA. Ted McCord.
W HAT EVER HAP P EN E D T O B A B Y J A N E ? , Seven Arts-
Associates & Aldrich, Warner Bros. Ernest Haller.
(color )
G Y P SY , Warner Bros. Harry Stradling, Sr.

HAT ARI !, Malabar, Paramount. Russell Harlan.
* LAW RENCE OF ARA B I A , Horizon-Spiegel-Lean,
Columbia. Fred A. Young.
M U T I NY ON T HE BO U N T Y, Arcola, M-G-M. Robert
L. Surtees.
T HE W ON D ERFU L W O R L D O F T H E B R O T H E R S
GRI M M , M-G-M and Cinerama. Paul C. Vogel.
M US I C
(s on g )
* D AY S OF W I NE AND R O S E S (Days of Wine and Roses,

Manulis-Jalem, Warner Bros.); Music by Henry
Mancini. Lyrics by Johnny Mercer.
LOVE SON G FROM M U T I N Y ON T H E BOU N T Y
(Follow Me) (Mutiny on the Bounty, Arcola,

M-G-M); Music by Bronislau Kaper. Lyrics by Paul
Francis Webster.
SON G FROM TWO F OR T H E S E E S AW (Second
Chance) (Two for the Seesaw, Mirisch-Argyle-TalbotSeven Arts, UA); Music by Andr Previn. Lyrics by Dory
Langdon.
T END ER I S T HE NI G H T (Tender Is the Night, 20th
Century-Fox); Music by Sammy Fain. Lyrics by Paul
Francis Webster.
W ALK ON T HE W I LD S I DE (Walk on the Wild Side,
Famous Artists, Columbia); Music by Elmer Bernstein.
(mu s ic s cor e s u bs tantial l y o riginal )
(New classication)
172
FREU D , U-I-Huston, U-I. Jerry Goldsmith.

* LAW RENCE OF ARA B I A , Horizon-Spiegel-Lean,
Columbia. Maurice Jarre.
M U T I NY ON T HE BO U N T Y, Arcola, M-G-M.
Bronislau Kaper.
T ARAS BU LBA, Hecht, UA. Franz Waxman.

T O K I LL A M OCK I N G B I R D, U-I-Pakula-Mulligan-
Brentwood, U-I. Elmer Bernstein.
be s t dir e ct or : DAVID LEAN (left, on camera boom) for

Lawrence of Arabia. Few directors racked up a portfolio to
match the accomplishments of Lean who, within only a nineyear span, made 1957s The Bridge on the River Kwai (seven
Oscars), 1962s Lawrence of Arabia (seven Oscars) and 1965s
Doctor Zhivago (ve Oscars). Lean personally won Academy
Awards for Bridge and Lawrence and was nominated for
Zhivago; he was also a nominee again in 1984 for A Passage to
India. In all, he received seven nominations as a director during
his lifetime, the same total achieved by Fred Zinnemann, and
topped only by William Wyler (with 12 nominations) and Billy
Wilder (eight nominations as a director).
8/8/13 7:27 PM
(s c ori n g of m us i ca d a pta ti o n o r tr ea tm ent)
(New classication)
BIL L Y R O S E S JUMB O, Euterpe-Arwin, M-G-M.
George Stoll.
GIGO T, Seven Arts, 20th Century-Fox. Michel Magne.

GY P SY , Warner Bros. Frank Perkins.
* ME R E D ITH W IL LSONS TH E MUSIC MAN, Warner
Bros. Ray Heindorf.
THE W O ND E R F UL WORLD OF TH E B ROTH ERS

GR IMM, M-G-M and Cinerama. Leigh Harline.
A RT D I REC T I ON
DAYS OF WINE AND ROSES, Manulis-Jalem, Warner
Bros. Joseph Wright; George James Hopkins.
THE L O NGE S T DAY, Zanuck, 20th Century-Fox. Ted
Haworth, Leon Barsacq and Vincent Korda; Gabriel

Bechir.
P E R IO D O F A D JUSTMENT, Marten, M-G-M.
George W. Davis and Edward Carfagno; Henry Grace
and Richard A. Pefferle.
THE P IGE O N THAT TOOK ROME, Llenroc,
Comer and Frank R. McKelvy.
* TO K IL L A MO C KINGB IRD, U-I-Pakula-MulliganBrentwood, U-I. Alexander Golitzen and Henry
Bumstead; Oliver Emert.
(c ol or)
* L A W R E NC E O F ARAB IA, Horizon-Spiegel-Lean,

Columbia. John Box and John Stoll; Dario Simoni.
ME R E D ITH W IL LSONS TH E MUSIC MAN, Warner
Bros. Paul Groesse; George James Hopkins.
MU TINY O N THE B OUNTY, Arcola, M-G-M.
George W. Davis and J. McMillan Johnson; Henry
Grace and Hugh Hunt.
THA T TO UC H O F MINK, U-I-Granley-Arwin-Nob
Hill, U-I. Alexander Golitzen and Robert Clatworthy;
George Milo.
THE W O ND E R F UL WORLD OF TH E B ROTH ERS
GR IMM, M-G-M and Cinerama. George W. Davis
and Edward Carfagno; Henry Grace and Richard A.

Pefferle.
be s t s u p p or t in g a ct or : ED BEGLEY as Boss Finley in

Sweet Bird of Youth (M-G-M; directed by Richard Brooks).
Tennessee Williams wrote it, Sidney Blackmer originated the
character on Broadway, and (above, balking at a photographer
and anked by Rip Torn) Ed Begley played Boss Finley on lm as
a corrupt and powerful Florida political boss determined to keep

his daughter (Shirley Knight) away from an aging beachboyhustler (Paul Newman) who loves her. Geraldine Page costarred as a has-been movie star on a lost weekend in the town
Boss Finley controls.
M U T I NY ON T HE BOU N T Y , Arcola, M-G-M. Visual
DAYS OF WINE AND ROSES, Manulis-Jalem, Warner
Bros. Don Feld.
THE MA N W HO SH OT LIB ERTY V ALANCE, Ford,
Paramount. Edith Head.
THE MIR A C L E WORKER, Playlms, UA. Ruth Morley.

P HA E D R A , Dassin-Melinalm, Lopert Pictures, Denny
Vachlioti.
* W HA T E VE R HA PPENED TO B AB Y JANE?, Seven

Arts-Associates & Aldrich, Warner Bros. Norma
Koch.
(c ol or)
BO N VO Y A GE ! , Disney, Buena Vista. Bill Thomas.

GY P SY , Warner Bros. Orry-Kelly.
Bros. Dorothy Jeakins.

MY GE ISHA , Sachiko, Paramount. Edith Head.
* THE W O ND E R FUL WORLD OF TH E B ROTH ERS

GR IMM, M-G-M and Cinerama. Mary Wills.
S O U ND
BO N VO Y A GE ! , Disney, Buena Vista. Walt Disney

Columbia. Shepperton Studio Sound Dept., John
Cox, Sound Director.
Bros. Warner Bros. Studio Sound Dept., George R.
Groves, Sound Director.
THA T TO UC H O F MINK, U-I-Granley-Arwin-Nob
Hill, U-I. Universal City Studio Sound Dept.,
Waldon O. Watson, Sound Director.
W HA T E VE R HA PPENED TO B AB Y JANE?, Seven
Arts-Associates & Aldrich, Warner Bros. Glen Glenn
Sound Dept., Joseph Kelly, Sound Director.
F I LM ED I T I N G

Columbia. Anne Coates.
THE L O NGE S T DAY, Zanuck, 20th Century-Fox.
Samuel E. Beetley.
THE MA NC HUR IAN CANDIDATE, M.C. Prod., UA.
Ferris Webster.
Bros. William Ziegler.
MU TINY O N THE B OUNTY, Arcola, M-G-M. John
McSweeney, Jr.
* THE L O NGE ST DAY, Zanuck, 20th Century-Fox.

Visual Effects by Robert MacDonald. Audible Effects
by Jacques Maumont.
Effects by A. Arnold Gillespie. Audible Effects by Milo

Lory.
(ca r t oon s )
* T HE HOLE, Storyboard Inc., Brandon Films. John and

Faith Hubley, producers.
I CARU S M ONT G OLFI ER W RI G HT , Format Films, UA.
Jules Engel, producer.
N OW HEAR T HI S, Warner Bros. (Looney Tunes)
SELF D EFEN SEFOR COW ARD S, Rembrandt Films,
Film Representations. (Self-Help). William L. Snyder,
producer.
SY M P OSI U M ON P OP U LAR SON G S, Disney, Buena
(liv e a ct ion )
BI G CI T Y BLU ES, Mayfair Pictures. Martina and
Charles Huguenot van der Linden, producers.

T HE CAD I LLAC, Clouse, United Producers Releasing.
Robert Clouse, producer.
T HE CLI FF D W ELLERS, (aka One Plus One), Group
II Film Prods., Schoenfeld Films. Hayward Anderson,
producer.
* HEU REU X AN N I VERSAI RE (Happy Anniversary),
C.A.P.A.C., Atlantic Pictures (French). Pierre taix and
J.C. Carrire, producers.
P AN, Van der Horst, Mayfair Pictures. Herman van der
Horst, producer.
D O C UM E N TA R Y
* D Y LAN T HOM AS, TWW Ltd., Janus Films (Welsh).

Jack Howells, producer.
T HE J OHN GLENN ST ORY , U.S. Navy, Warner Bros.
William L. Hendricks, producer.
T HE ROAD T O T HE W ALL, CBS Films, U.S. Dept. of
Defense. Robert Saudek, producer.
(fe a t u r e s )
ALVORAD A (Brazils Changing Face), MW
Filmproduktion (West Germany). Hugo Niebeling,

producer.
* BLACK FOX , Image Prods., Heritage Films. Louis Clyde
Stoumen, producer.
ELECT RA (Greece).
T HE FOU R D AY S O F N A PL E S (Italy).
K EEP ER OF P ROM I S E S (The Given Word) (Brazil).
* SU N D AY S AND C YB E L E (France).
T LAY U CAN (Mexico).


T O ST EVE BROI DY
None.
RALP H CHAP M AN for the design and development of
173
an advanced motion picture camera crane.
ALBERT S. P RAT T , J A ME S L . W A S S E L L , and H A N S C .

W OHLRAB of the Professional Equipment Division,
Bell & Howell Co., for the design and development of a

new and improved automatic motion picture additive
color printer.
N ORT H AM ERI CA N PH I L I PS C O . , I N C . , for the
design and engineering of the Norelco Universal
70/35mm motion picture projector.
CHARLES E. SU T T E R , W I L L I A M B R YS O N S MI T H ,
and LOU I S C. K E N N E L L of Paramount Pictures
Corp. for the engineering and application to motion

picture production of a new system of electric power
distribution.
ELECT RO- VOI CE, I N C . ;
LOU I S G. M ACK E N ZI E .
8/8/13 7:27 PM
1963
The Thirty-Sixth Year
his was a serious year, with political

questions relating to Vietnam becoming more difcult, strong actions in
the civil rights corner and the assassination
of President John F. Kennedy. If laughter was
ever needed this was the time and, almost
on cue, came a ribald, scampish British
laugh-inducer named Tom Jones. It won
great favor with audiences and Academy
voters, and was honored with four Oscars,
including best picture and best director
(Tony Richardson). It was only the second
time in Academy annals a British-made lm
had won the best picture statuette, the rst
occasion being Hamlets 1948 Oscar.
Cleopatra, probably the most publicized
motion picture of the decade, also won four
Academy Awards: best color cinematography, best color art direction, best costume
design and best special effects. Other multiple winners included Hud (three awards,
including best actress Patricia Neal and best
supporting actor Melvyn Douglas), How the
West Was Won (three awards), and Federico
Fellinis 8 from Italy with two awards,
including best foreign language lm. Sidney
Poitier was named best actor for Lilies of the
Field and became the rst black actor to win
one of the Academys two upstairs acting
awards. Englands Margaret Rutherford
was named best supporting actress for
The V.I.P.s.
Oscar nightApril 13, 1964showed the
strong inuence of English talents on the
1963 movie world: ten of the twenty acting
nominees were either British-born or cited
for their work in British lms.
The awards were presented at the Santa

Monica Civic Auditorium. Jack Lemmon
was the evenings emcee, and George Sidney
produced the program for the Academy.
Richard Dunlap again produced and directed for the ABC network.
Among the acting winners, only Poitier
was present to receive his award. Annabella
accepted for Patricia Neal, who was in England, Peter Ustinov accepted for Margaret
Rutherford, also in England, and Brandon
De Wilde did stand-in duty for Melvyn
Douglas, who was working in Spain.
Sammy Davis, Jr., provided the biggest offthe-cuff laugh of the evening. When he was
handed the incorrect envelope to announce
the music awards, he quipped, Wait until
the NAACP hears about this. . . .
174
be s t ac t or: SIDNEY POITIER as Homer Smith (left, with
Lilia Skala) in Lilies of the Field (United Artists; directed by
Ralph Nelson). It was a little lm and a labor of love, modestly
budgeted at $450,000 and based on a ninety-two-page novelette
by W.E. Barrett. Sidney Poitier charmingly played a footloose
handyman and ex-G.I., traveling the Arizona countryside in
a station wagon, who stops to repair a farmhouse roof for ve
refugee German nuns; the nuns are convinced he is the answer
to prayers for a helper, so they cajole him into helping them build
a chapel on some desolate desert land bequeathed to them. Lilies
helped establish a precedent for black actors in American lms,
spotlighting the Poitier character as an individual rather than by
his race, and was free of racial preachments or violence. When
voting time came for the Academy Awards, Poitier was a popular
choice for his performance as handyman Homer.
8/8/13 7:27 PM
be s t p ict u r e : TOM JONES (United Artists; produced by

Tony Richardson) and b est d irec to r: TONY RICHARDSON
for Tom Jones. Boisterous and bawdy, it was derived from the
Henry Fielding classic about a bastard baby boy born in mysterious circumstances. Raised as the son of an English squire,
Tom is later banished from his home, pegged as a thief, and
almost hanged on the gallows before he is left with his rightful
inheritance. Albert Finney (left, with Susannah York) starred
as the lusty Tom, and director Richardson and editor Antony
Gibbs (the latter curiously not nominated for his contribution)
inected the picture with a frenetic pace, wild st ghts, an eyeboggling fox hunt (with crosscuts between a handheld camera
and helicopter views), even occasional asides by the actors to
the camera. Audiences loved it; Academy voters did, too. Besides
being a ne lm, it was probably the least stuffy costume picture
ever put on celluloid.
175
be s t a ct r e s s : PATRICIA NEAL as Alma (left, with Paul

Newman) in Hud (Paramount; directed by Martin Ritt). I
thought the days when I would be offered a part like Alma were
over, said Neal. Alma was a brief role but a strong one: shes
the wise but slatternly housekeeper for the Bannon household
in modern Texas, which consists of an honest, cattleman father
(Melvyn Douglas), his ruthless, virile son (Paul Newman), and
a seventeen-year-old nephew (Brandon De Wilde) whos still in
his formative and impressionable years. Alma cooks and cleans
for the clan, mockingly aware of the sons corruption; after he attempts to rape her, she boards a bus and leaves town, well aware
shes too fascinated by him to stay. Unlike most Oscar-winning
roles, Alma had no high, dramatic soliloquies or moments and
was played mostly in the background to the other characters, all
the more credit to Patricia Neals superb abilities as an actress to
make it so memorable.
8/8/13 7:27 PM
B E S T PI C TUR E
AM ERI CA AM ERI CA, Athena, Warner Bros. Produced
Nominations 1963
by Elia Kazan.
CLEOP AT RA, 20th Century-Fox-MCL Films-WALWA
Films, 20th Century-Fox. Produced by Walter Wanger.
HOW T HE W EST W AS W ON, M-G-M and Cinerama.
Produced by Bernard Smith.
LI LI ES OF T HE FI ELD , Rainbow, UA. Produced by
Ralph Nelson.
* T OM J ON ES, Woodfall, UA-Lopert (British). Produced
by Tony Richardson.
A C TO R
ALBERT FI NNEY in Tom Jones, Woodfall, UA-Lopert
(British).
be s t s up p ort i n g actr es s : MARGARET RUTHERFORD

as the Duchess of Brighton in The V.I.P.s (M-G-M; directed
by Anthony Asquith). In the style of Grand Hotel, with an
all-star cast of unrelated characters in a common environment,
The V.I.P.s was written by Terence Rattigan and took place in
Londons bustling airport, involving the plights of travelers
such as Elizabeth Taylor, Richard Burton, Louis Jourdan, Orson
Welles and Maggie Smith. The tweedy Miss Rutherford was at
her quivering best as a confused and eccentric dowager traveling tourist class to Florida, grounded at the terminal by fog. On
hearing shed won an Oscar, the seventy-two-year-old actress told
newsmen in England, Im absolutely thrilled. This may sound
presumptuous at my age, but I like to feel that this will be the
starting point of a new little phase for me in lms.
176
T HE CARD I N AL, Gamma, Columbia. Leon Shamroy.

* CLEOP AT RA, 20th Century-Fox-MCL Films-WALWA
Films, 20th Century-Fox. Leon Shamroy.
HOW T HE W EST W A S W O N , M-G-M and Cinerama.
William H. Daniels, Milton Krasner, Charles Lang, Jr.,
and Joseph LaShelle.
IRMA LA DOUCE, Mirisch-Phalanx, UA. Joseph LaShelle.
I T S A M AD , M AD , MA D, MA D W O R L D, Casey, UA.
Ernest Laszlo.
* AM ERI CA AM ERI CA , Athena, Warner Bros. Gene

RI CHARD HARRI S in This Sporting Life, Wintle-Parkyn,
Callahan.
Reade-Sterling-Continental (British).
FED ERI CO FELLI NI S 8 , Cineriz, Embassy Pictures
REX HARRI SON in Cleopatra, 20th Century-Fox-MCL
(Italian). Piero Gherardi.
Films-WALWA Films, 20th Century-Fox.
HU D , Salem-Dover, Paramount. Hal Pereira and Tambi
P AU L N EW M AN in Hud, Salem-Dover, Paramount.
Larsen; Sam Comer and Robert R. Benton.
* SI D N EY P OI T I ER in Lilies of the Field, Rainbow, UA.
LOVE W I T H T HE P RO PE R S T R A N G E R , BoardwalkRona, Paramount. Hal Pereira and Roland Anderson;
A C TR E S S
Sam Comer and Grace Gregory.
LESLI E CARON in The L-Shaped Room, Romulus,
T W I LI GHT OF HON O R , Perlberg-Seaton, M-G-M.
Columbia (British).
George W. Davis and Paul Groesse; Henry Grace and
SHI RLEY M ACLAI NE in Irma La Douce, MirischHugh Hunt.
Phalanx, UA.
P
AT
RI
CI
A
N
EAL
in
Hud,
SalemDover,
Paramount.
(color )
*
RACHEL ROBERT S in This Sporting Life, Wintle-Parkyn,
T HE CARD I N AL, Gamma, Columbia. Lyle R. Wheeler;
Reade-Sterling-Continental (British).
Gene Callahan.
NAT ALI E W OOD in Love with the Proper Stranger,
Boardwalk-Rona, Paramount.
Films, 20th Century-Fox. John DeCuir, Jack Martin
Smith, Hilyard Brown, Herman Blumenthal, Elven
Webb, Maurice Pelling and Boris Juraga; Walter M.
NI CK AD AM S in Twilight of Honor, Perlberg-Seaton,
Scott, Paul S. Fox and Ray Moyer.
M-G-M.
COM E BLOW Y OU R H O R N , Essex-Tandem,
BOBBY D ARI N in Captain Newman, M.D., UniversalParamount. Hal Pereira and Roland Anderson; Sam
Brentwood-Reynard, Universal.
Comer and James Payne.
* M ELVY N D OU G LAS in Hud, Salem-Dover, Paramount.
HU GH GRI FFI T H in Tom Jones, Woodfall, UA-Lopert
George W. Davis, William Ferrari and Addison Hehr;
(British).
Henry Grace, Don Greenwood, Jr., and Jack Mills.
JOHN HU ST ON in The Cardinal, Gamma, Columbia.
T OM J ONES, Woodfall, UA-Lopert (British). Ralph
Brinton, Ted Marshall and Jocelyn Herbert; Josie
MacAvin.
D I ANE CI LENT O in Tom Jones, Woodfall, UA-Lopert
(British).
C O S TUM E D ESIGN
D AM E ED I T H EVANS in Tom Jones, Woodfall, UA(bla ck- a n d- w h it e )
Lopert (British).
* FED ERI CO FELLI N I S 8 , Cineriz, Embassy Pictures
JOY CE RED M AN in Tom Jones, Woodfall, UA-Lopert
(Italian). Piero Gherardi.
(British).
LOVE W I T H T HE P RO PE R S T R A N G E R , Boardwalk* M ARG ARET RU T HERFORD in The V.I.P.s, M-G-M.
Rona, Paramount. Edith Head.
LI LI A SK ALA in Lilies of the Field, Rainbow, UA.
T HE ST RI P P ER, Wald, 20th Century-Fox. Travilla.
TOYS IN THE ATTIC, Mirisch-Claude, UA. Bill Thomas.
D I R E C TI N G
W I VES AND LOVERS , Wallis, Paramount. Edith Head.
AM ERI CA AM ERI CA, Athena, Warner Bros. Elia Kazan.
T HE CARD I NAL, Gamma, Columbia. Otto Preminger.
(color )
FED ERI CO FELLI N I S 8 , Cineriz, Embassy Pictures
T HE CARD I N AL, Gamma, Columbia. Donald Brooks.
(Italian). Federico Fellini.
HU D , Salem-Dover, Paramount. Martin Ritt.
Films, 20th Century-Fox. Irene Sharaff, Vittorio Nino
* T OM J ON ES, Woodfall, UA-Lopert (British). Tony
Novarese and Renie.
Richardson.
Walter Plunkett.
WR I TI N G
T HE LEOP ARD , Titanus, 20th Century-Fox. Piero Tosi.
A N EW K I ND OF LO V E , Llenroc, Paramount. Edith
CAP T AI N NEW M AN , M . D . , Universal-BrentwoodHead.
Reynard, Universal. Richard L. Breen, Phoebe and
Henry Ephron.
S O UN D
HU D , Salem-Dover, Paramount. Irving Ravetch and
BYE BYE BIRDIE, Kohlmar-Sidney, Columbia. Columbia
Harriet Frank, Jr.
Studio Sound Dept., Charles Rice, Sound Director.
LI LI ES OF T HE FI ELD , Rainbow, UA. James Poe.
CAP T AI N N EW M AN , M. D. , Universal-BrentwoodSU N D AY S AND CY BELE, Terra Film-Fides-Orsay FilmsReynard, Universal. Universal City Studio Sound Dept.,
Les Films du Trocadero, Columbia (French). Serge
Waldon O. Watson, Sound Director.
Bourguignon and Antoine Tudal.
T
OM
J
ON
ES,
Woodfall,
UALopert
(British).
John
Films, 20th Century-Fox. 20th Century-Fox Studio
*
Osborne.
Sound Dept., James P. Corcoran, Sound Director; and
Todd-AO Sound Dept., Fred Hynes, Sound Director.
(s t or y a n d s cr e e n p la yw r it t e n dir e ct ly for t h e
* HOW T HE W EST W A S W O N , M-G-M and Cinerama.
s cr e e n )
Metro-Goldwyn-Mayer Studio Sound Dept.,
AM ERI CA AM ERI CA, Athena, Warner Bros. Elia Kazan.
Franklin E. Milton, Sound Director.
FED ERI CO FELLI N I S 8 , Cineriz, Embassy Pictures
I T S A M AD , M AD , MA D, MA D W O R L D, Casey, UA.
(Italian). Federico Fellini, Ennio Flaiano, Tullio Pinelli
Samuel Goldwyn Studio Sound Dept., Gordon Sawyer,
and Brunello Rondi.
Sound Director.
T HE FOU R D AY S OF NAP LES, Titanus-Metro,
M-G-M (Italian). Story by Pasquale Festa Campanile,
F I LM E D I TI NG
Massimo Franciosa, Nanni Loy and Vasco Pratolini.
T HE CARD I N AL, Gamma, Columbia. Louis R. Loefer.
Screenplay by Carlo Bernari, Pasquale Festa
Campanile, Massimo Franciosa and Nanni Loy.
Films, 20th Century-Fox. Dorothy Spencer.
* HOW T HE W EST W AS W ON, M-G-M and Cinerama.
THE GREAT ESCAPE, Mirisch-Alpha, UA. Ferris Webster.
James R. Webb.
* HOW T HE W EST W A S W O N , M-G-M and Cinerama.
LOVE W I T H T HE P ROP ER ST RANGER, BoardwalkHarold F. Kress.
Rona, Paramount. Arnold Schulman.
ITS A MAD, MAD, MAD, MAD WORLD, Casey, UA.
Frederic Knudtson, Robert C. Jones and Gene Fowler, Jr.
T HE BALCONY , Reade-Sterling-Allen Hodgdon, Reade-
Sterling-Continental Dist. George Folsey.

T HE CARET AK ERS, Bartlett, UA. Lucien Ballard.
* HU D , Salem-Dover, Paramount. James Wong Howe.
LI LI ES OF T HE FI ELD , Rainbow, UA. Ernest Haller.
LOVE W I T H T HE P ROP ER ST RANGER, BoardwalkRona, Paramount. Milton Krasner.
(color )
(New classication)
T HE BI RD S, Hitchcock, Universal. Ub Iwerks.

Films, 20th Century-Fox. Emil Kosa, Jr.
8/8/13 7:27 PM
S O U ND EF F E C T S
(New classication)
A GA THE R ING OF EAGLES, Universal. Robert L.
Bratton.
* IT S A MA D , MA D, MAD, MAD WORLD, Casey, UA.
Walter G. Elliott.
MUSIC
(s on g)
* C A L L ME IR R E SPONSIB LE (Papas Delicate

Condition, Amro, Paramount); Music by James Van
Heusen. Lyrics by Sammy Cahn.
C HA R A D E (Charade, Universal-Donen, Universal);
Music by Henry Mancini. Lyrics by Johnny Mercer.
IT S A MA D , MA D, MAD, MAD WORLD (Its a Mad,
Mad, Mad, Mad World, Casey, UA); Music by Ernest
Gold. Lyrics by Mack David.
MO R E (Mondo Cane, Cineriz Prods., Times Film);
Music by Riz Ortolani and Nino Oliviero. Lyrics by
Norman Newell.
SO L ITTL E TIME (55 Days at Peking, Bronston, Allied
Artists); Music by Dimitri Tiomkin. Lyrics by Paul
Francis Webster.
(m us i c s c ore s u b s ta nti a l l y o r i g i na l )
C L E O P A TR A , 20th Century-Fox-MCL Films-WALWA
Films, 20th Century-Fox. Alex North.
55 D A Y S A T P E KING, Bronston, Allied Artists.
Dimitri Tiomkin.
HO W THE W E ST WAS WON, M-G-M and Cinerama.
Alfred Newman and Ken Darby.
IT S A MA D , MA D, MAD, MAD WORLD, Casey, UA.
Ernest Gold.
* TO M JO NE S , Woodfall, UA-Lopert (British). John
Addison.
BY E BY E BIR D IE , Kohlmar-Sidney, Columbia. John
Green.
* IRMA LA DOUCE, Mirisch-Phalanx, UA. Andr Previn.
A NE W KIND O F LOV E, Llenroc, Paramount. Leith
Stevens.
SUND A Y S A ND CYB ELE, Terra Film-Fides-Orsay
Films-Les Films du Trocadro, Columbia (French).
Maurice Jarre.
THE S W O R D IN T H E STONE, Disney, Buena Vista.
George Bruns.
(c art oon s )
A UTO MA NIA 2000 , Halas and Batchelor, Pathe
Contemporary Films. John Halas, producer.

* THE C R ITIC , Pintoff-Crossbow Prods., Columbia.
Ernest Pintoff, producer.
THE GA ME (Igra), Zagreb Films, Rembrandt FilmsFilm Representations. Dusan Vukotic, producer.
MY F INA NC IA L CAREER, National Film Board
of Canada, Walter Reade-Sterling-Continental
Distributing. Colin Low and Tom Daly, producers.
P IA NIS S IMO , DAvino, Cinema 16. Carmen DAvino,
producer.
(l i ve ac t i on )
THE C O NC E R T, King Corp., George K. ArthurGo
Pictures. Ezra Baker, producer.
HO ME - MA D E C AR, BP (North America), Schoenfeld
Films. James Hill, producer.

* A N O C C UR R E NCE AT OWL CREEK B RIDGE, Films
du Centaure-Filmartic, Cappagariff-Janus Films. Paul
de Roubaix and Marcel Ichac, producers.
SIX- S ID E D TR IA NGLE, Milesian Film Prod., Lion
International Films. Christopher Miles, producer.
THA T S ME , Stuart, Pathe Contemporary Films.
Walker Stuart, producer.
D O CU M EN T AR Y
* C HA GA L L , Auerbach-Flag Films, Union Films. Simon

Schiffrin, producer.
THE F IVE C ITIE S OF JUNE, U.S. Information Agency.
George Stevens, Jr., producer.
THE S P IR IT O F AMERICA, Spotlight News. Algernon
G. Walker, producer.
THIR TY MIL L IO N LETTERS, British Transport Films.
Edgar Anstey, producer.
TO L IVE A GA IN, Wilding, Inc., St. Barnabas Hospital,
Bronx, NY. Mel London, producer.
(f e at ure s )
L E MA IL L O N E T LA CH AINE (The Link and the
Chain), Films du Centaure-Filmartic (French). Paul

de Roubaix, producer.
* ROBERT FROST: A LOVERS QUARREL WITH THE

WORLD, WGBH Educational Foundation, Holt,
Rinehart and Winston, Inc. Robert Hughes, producer.
THE Y A NK S A R E COMING, David L. Wolper Prods.
Marshall Flaum, producer.
F O REI G N L AN GUAGE F I L M
be s t s u p p or t in g a ct or : MELVYN DOUGLAS as Homer

Bannon (above, being aided by Brandon De Wilde and Paul
Newman) in Hud (Paramount; directed by Martin Ritt).
Melvyn Douglas, who rst established himself in movies as a
suave, aristocratic leading man to actresses like Greta Garbo,
Marlene Dietrich, Katharine Hepburn and Merle Oberon, then
concentrated his talents on the legitimate theater in the 1950s.
After an eleven-year absence, he returned to moviemaking in

1962s Billy Budd, then the following year he made Hud, playing
an aging cattle rancher with old-fashioned, idealistic principles,
a man in sharp contrast to a greedy, insensitive son (played by
Paul Newman). Hud also won an Academy Award for James
Wong Howes magnicent black-and-white cinematography.
Douglas won a second supporting Oscar in 1979 for Being There.
LOS T ARANT OS (Spain).

T HE RED LAN T ERNS (Greece).
T W I N SI ST ERS OF K Y OT O (Japan).

1963 I R VI N G G . TH A LB E R G
M E M O R I A L A WA R D
T O SAM SP I EGEL
1963 JE A N H E R S H O LT
H UM A N I TA R I A N A WA R D
177
None.
None.
D OU G LAS G. SHE A R E R and A . A R N O L D G I L L E S PI E
of M-G-M Studios.
* F E D E R IC O FE L L I NIS 8 (Italy).
K NIF E IN THE WATER (Poland).
8/8/13 7:27 PM
1964
The Thirty-Seventh Year
wo musical ladiesMary Poppins and

My Fair Ladyshared the Academy
Awards spotlight on April 5, 1965,
when awards for 1964 achievements were
announced at the Santa Monica Civic Auditorium. Poppins was nominated for thirteen
awards, My Fair Lady was nominated for
twelve, and they had something more in
common: Julie Andrews, star of the Poppins
movie, had earlier created the My Fair Lady
Eliza Doolittle role on the stage. When the
nal tally was in, My Fair Lady received eight
awards, including best picture, best actor
(Rex Harrison), and best director (George
Cukor), and Mary Poppins received ve,
including Julie Andrews as best actress.
For director Cukor, it was his rst Oscar
in a distinguished thirty-ve-year career,
during which he had directed ve actors
into Academy wins (James Stewart, Ingrid
Bergman, Ronald Colman, Judy Holliday
and Harrison) and some fteen others to
nominations.
Peter Ustinov received his second Academy Award as best supporting actor, this
one for Topkapi, and Lila Kedrova was
chosen best supporting actress for Zorba the
Greek. Italys Yesterday, Today and Tomorrow was named best foreign language lm,
and makeup expert William Tuttle was
given an honorary award for his achievement on 7 Faces of Dr. Lao, the rst time the
area of makeup had been singled out by the
Academys Board of Governors.
Joe Pasternak produced the presentation
show for the Academy, telecast over ABC-TV,
and Bob Hope was master of ceremonies.
Among the presenters, Martha Raye and

Jimmy Durante created an Oscar highlight
when they got tongue-tied reading the
names of a few foreign-born nominees.
Two popular television doctors, Dr. Kildare
(Richard Chamberlain) and Dr. Ben Casey
(Vince Edwards), appeared together for the
rst time, Judy Garland sang a special medley of Cole Porter songs, and Peter Gennaro
danced to Gershwins I Got Rhythm. It
was also the last year home viewers would
see an Academy Awards ceremony telecast
only in black-and-white.
178
be s t p i c t ure : MY FAIR LADY (Warner Bros.; produced by
Jack L. Warner) and be s t a cto r : REX HARRISON as Professor Henry Higgins (right, with Audrey Hepburn) in My Fair
Lady. The story of a Cockney ower girl named Eliza Doolittle
who blooms from a weed into an orchid under the tutelage of a
crusty English professor, My Fair Lady was a musical version of
George Bernard Shaws Pygmalion and had become the longestrunning musical in American theater history when Warner Bros.
outbid all competitors for the screen rights in 1962. On screen, it
became as much of a classic as it had been on stage, with Audrey
Hepburn as the movie Eliza (with her singing dubbed by Marni
Nixon) and Rex Harrisonfull of rascally charm and likable
brashnessplaying Higgins for the 1,007th time since hed created the singing enry iggins on stage. My Fair Lady won eight
Academy Awards in all.
8/8/13 7:27 PM
be s t a ct r e s s : JULI E ANDREWS as Mary Poppins (left) in

Mary Poppins (Buena Vista; directed by Robert Stevenson).
Julie Andrews had made a major success on stage in the original
My Fair Lady opposite Rex Harrison but was bypassed for the
lm version. Instead, she made her movie debut the same year
for Walt Disney in his musical version of P.L. Traverss Mary
Poppins books, as a circa-1910 English nanny who travels
through the air via an open umbrella, and takes charge of two
unruly children and an unsettled household, helped by liberal
doses of magic. The movie won Miss Andrews the Academy
Award, and received others for song (Chim Chim Cher-ee),
original music score, lm editing and visual effects. It also
started Julie Andrews on a popular screen career that brought
additional Oscar nominations for 1965s The Sound of Music
and 1982s Victor/Victoria.
179
be s t dir e ct or : GEORGE CUKOR (left, directing Audrey

Hepburn) for My Fair Lady. Not all of the great talents of the
motion picture business become Academy Award winners, and
many conspicuous contributors have been inexplicably overlooked for years. George Cukor was nominated four times (for
193233s Little Women, 1940s The Philadelphia Story, 1947s
A Double Life, and 1950s Born Yesterday) and had directed numerous performers toward Oscars and/or nominations without
receiving an Award himself. Then along came My Fair Lady and,
at long last, Mr. Cukor got his due.
8/8/13 7:27 PM
B E S T PI C TUR E
Nominations 1964
BECK ET , Wallis, Paramount. Produced by Hal B. Wallis.

D R. ST RAN G ELOVE OR: HOW I LEARNED T O ST OP
W ORRY I NG AND LOVE T HE BOM B, Hawk Films,
Columbia. Produced by Stanley Kubrick.
M ARY P OP P I N S, Disney, Buena Vista. Produced by
Walt Disney and Bill Walsh.

* M Y FAI R LAD Y , Warner Bros. Produced by Jack L.
Warner.
Z ORBA T HE GREEK , Rochley, International Classics.
Produced by Michael Cacoyannis.
A C TO R
RI CHARD BU RT ON in Becket, Wallis, Paramount.

* REX HARRI SON in My Fair Lady, Warner Bros.
P ET ER O T OOLE in Becket, Wallis, Paramount.
ANT HONY Q U I NN in Zorba the Greek, Rochley,
International Classics.
P ET ER SELLERS in Dr. Strangelove or: How I Learned
to Stop Worrying and Love the Bomb, Hawk Films,
Columbia.
WR I TI N G
* BECK ET , Wallis, Paramount. Edward Anhalt.
D R. ST RANGELOVE O R : H O W I L E A R N E D T O S T O P
W ORRY I N G AN D L O V E T H E B O M B , Hawk Films,
Columbia. Stanley Kubrick, Peter George and Terry

Southern.
M ARY P OP P I NS, Disney, Buena Vista. Bill Walsh and
Don DaGradi.
M Y FAI R LAD Y , Warner Bros. Alan Jay Lerner.
Z ORBA T HE G REEK , Rochley, International Classics.
Michael Cacoyannis.

s cr e e n )
* FAT HER GOOSE, Universal-Granox, Universal. Story by

S.H. Barnett. Screenplay by Peter Stone, Frank Tarloff.
A HARD D AY S NI G H T , Shenson, UA (British). Alun
Owen.
ONE P OT AT O, T W O PO T A T O , Bawalco, Cinema V.
Story by Orville H. Hampton. Screenplay by Raphael
Hayes, Orville H. Hampton.
A C TR E S S
T HE ORG AN I Z ER, Lux-Vides-Mediterrane Cinma,
JU
LI
E
AND
REW
S
in
Mary
Poppins,
Disney,
Buena
Vista.
*
Reade-Sterling-Continental (Italian). Age, Scarpelli
ANNE BAN CROFT in The Pumpkin Eater, Romulus,
and Mario Monicelli.
Royal Films International (British).
THAT MAN FROM RIO, Ariane-Les Artistes, Lopert
SOP HI A LOREN in Marriage Italian Style, ChampionPictures (French). Jean-Paul Rappeneau, Ariane
Les Films Concordia, Embassy Pictures (Italian).
Mnouchkine, Daniel Boulanger and Philippe De Broca.
D EBBI E REY N OLD S in The Unsinkable Molly Brown,
Marten, M-G-M.
K I M ST ANLEY in Seance on a Wet Afternoon,
Attenborough-Forbes, Artixo (British).
T HE AM ERI CAN I Z AT I O N O F E MI L Y, Ransohoff,
JOHN GI ELG U D in Becket, Wallis, Paramount.

ST ANLEY HOLLOW AY in My Fair Lady, Warner Bros.
ED M ON D O BRI EN in Seven Days in May, Joel,
Paramount.
LEE T RACY in The Best Man, Millar-Turman, UA.

* P ET ER U ST I N OV in Topkapi, Filmways, UA.
GLAD Y S COOP ER in My Fair Lady, Warner Bros.

D AM E ED I T H EVANS in The Chalk Garden, Quota
Rentals-Hunter, Universal.
GRAY SON HALL in The Night of the Iguana, Seven Arts,
M-G-M.
* LI LA K ED ROVA in Zorba the Greek, Rochley,
International Classics.
AGNES M OOREHEAD in Hush . . . Hush, Sweet
Charlotte, Associates & Aldrich, 20th Century-Fox.
D I R E C TI N G
BECK ET , Wallis, Paramount. Peter Glenville.

D R. ST RAN G ELOVE OR: HOW I LEARNED T O ST OP
W ORRY I NG AND LOVE T HE BOM B, Hawk Films,
Columbia. Stanley Kubrick.

M ARY P OP P I N S, Disney, Buena Vista. Robert
Stevenson.
* M Y FAI R LAD Y , Warner Bros. George Cukor.
Z ORBA T HE GREEK , Rochley, International Classics.
Michael Cacoyannis.
180
M-G-M. Philip H. Lathrop.
FAT E I S T HE HU NT E R , Arcola, 20th Century-Fox.
Milton Krasner.
HU SH . . . HU SH, SWE E T C H A R L O T T E , Associates &
Aldrich, 20th Century-Fox. Joseph Biroc.
T HE NI G HT OF T HE I G U A N A , Seven Arts, M-G-M.
Gabriel Figueroa.
* Z ORBA T HE GREEK , Rochley, International Classics.
Walter Lassally.
(color )
BECK ET , Wallis, Paramount. Geoffrey Unsworth.

CHEY EN N E AU T U M N , Ford-Smith, Warner Bros.
William H. Clothier.
M ARY P OP P I NS, Disney, Buena Vista. Edward Colman.

* M Y FAI R LAD Y , Warner Bros. Harry Stradling.
T HE U NSI NK ABLE MO L L Y B R O W N , Marten,
M-G-M. Daniel L. Fapp.
T HE AM ERI CAN I Z AT I O N O F E MI L Y, Ransohoff,
M-G-M. George W. Davis, Hans Peters and Elliot

Scott; Henry Grace and Robert R. Benton.
HU SH . . . HU SH, SWE E T C H A R L O T T E , Associates &
Aldrich, 20th Century-Fox. William Glasgow; Raphael
Bretton.
T HE NI G HT OF T HE I G U A N A , Seven Arts, M-G-M.
Stephen Grimes.
be s t s up p ort i n g acto r : PETER USTINOV as Arthur

Simpson (above) in Topkapi (United Artists; directed by Jules
Dassin). Ustinov won his second Oscar (the rst one came in
1960) as a small-time con man and tourguide in a Greek seaport
town, mixed up in an attempt to steal an emerald-studded dagger from a museum in Istanbul. Ustinov was again an Academy
Award nominee in 1968, as coauthor of the story and screenplay
of Hot Millions.
best supporting actress: LILA KEDROVA as Madame

Hortense (above, with Anthony Quinn) in Zorba the Greek
(International Classics; directed by Michael Cacoyannis). Born
in Petrograd (St. Petersburg) and well known as a European stage
actress, she played an eccentric, aging courtesan briey involved
with a lusty and vibrant Greek, played by Quinn. Simone Signoret

had begun lming the role, then withdrew, and Miss Kedrova replaced her and won the Academy Award. Miss Kedrova later won
a Tony award for the same role when she and Quinn co-starred on
stage in a musical version of the story called, simply, Zorba.
8/8/13 7:27 PM
SE VE N D A Y S IN MAY, Joel, Paramount. Cary Odell;
Edward G. Boyle.
* Z O R BA THE GR EEK, Rochley, International Classics.
Vassilis Fotopoulos.
(c ol or)
BE C K E T, Wallis, Paramount. John Bryan and Maurice
Carter; Patrick McLoughlin and Robert Cartwright.
MA R Y P O P P INS , Disney, Buena Vista. Carroll
Clark and William H. Tuntke; Emile Kuri and Hal

Gausman.
* MY FA IR L A D Y , Warner Bros. Gene Allen and Cecil
Beaton; George James Hopkins.
THE UNS INKA BLE MOLLY B ROWN, Marten,
M-G-M. George W. Davis and Preston Ames; Henry
Grace and Hugh Hunt.
W HA T A W A Y TO GO!, Apjac-Orchard, 20th
Century-Fox. Jack Martin Smith and Ted Haworth;
Walter M. Scott and Stuart A. Reiss.
A HO US E IS NO T A H OME, Greene-Rouse, Embassy
Pictures. Edith Head.
HUS H . . . HU SH , SWEET CH ARLOTTE, Associates
& Aldrich, 20th Century-Fox. Norma Koch.
K IS S E S FO R MY PRESIDENT, Pearlayne, Warner
Bros. Howard Shoup.

* THE NIGHT O F T H E IGUANA, Seven Arts, M-G-M.
Dorothy Jeakins.
THE VISIT, Cinecitt-Dear Film-Les Films du SicleP.E.C.S., 20th Century-Fox. Ren Hubert.
(c ol or)
BE C K E T, Wallis, Paramount. Margaret Furse.

MA R Y P O P P INS , Disney, Buena Vista. Tony Walton.
* MY FA IR L A D Y , Warner Bros. Cecil Beaton.
M-G-M. Morton Haack.
Achievements by the lm industrys master makeup artists were

not recognized on any regular basis until 1981. William Tuttles
tour-de-force transformation of Tony Randall into a whole
playbills worth of characters, however, for the offbeat 7 Faces of

Dr. Lao (M-G-M; directed by George Pal) won Tuttle an Honorary Oscar for 1964.
W HA T A W A Y TO GO!, Apjac-Orchard, 20th
Century-Fox. Edith Head and Moss Mabry.
S O U ND
BE C K E T, Wallis, Paramount. Shepperton Studio Sound
Dept., John Cox, Sound Director.
FA THE R GO O SE , Universal-Granox, Universal.
Universal City Studio Sound Dept., Waldon O.

Watson, Sound Director.
MA R Y P O P P INS , Disney, Buena Vista. Walt Disney
* MY FA IR L A D Y , Warner Bros. Warner Bros. Studio
Sound Dept., George R. Groves, Sound Director.
M-G-M. Metro-Goldwyn-Mayer Studio Sound Dept.,
Franklin E. Milton, Sound Director.
F I LM ED I T I N G
BE C K E T, Wallis, Paramount. Anne Coates.

FA THE R GO O SE , Universal-Granox, Universal. Ted J.
Kent.
HUS H . . . HU SH , SWEET CHARLOTTE, Associates
& Aldrich, 20th Century-Fox. Michael Luciano.

* MA R Y P O P P INS, Disney, Buena Vista. Cotton
Warburton.
MY F A IR L A D Y , Warner Bros. William Ziegler.
S P ECI A L VI S UAL E F F E C T S
* MA R Y P O P P INS, Disney, Buena Vista. Peter

Ellenshaw, Hamilton Luske and Eustace Lycett.
7 F A C E S O F D R . LAO, Galaxy-Scarus, M-G-M. Jim
Danforth.
* GO L D F INGE R , Eon, UA (British). Norman Wanstall.

THE L IVE L Y SE T, Universal. Robert L. Bratton.
MUSIC
(s on g)
* C HIM C HIM C HER- EE (Mary Poppins, Disney, Buena

Vista); Music and Lyrics by Richard M. Sherman and
Robert B. Sherman.
D E A R HE A R T (Dear Heart, W.B.-The Out-of-Towners
Co., Warner Bros.); Music by Henry Mancini. Lyrics
by Jay Livingston and Ray Evans.
HUS H . . . HU SH , SWEET CH ARLOTTE
(Hush . . . Hush, Sweet Charlotte, Associates &

Aldrich, 20th Century-Fox); Music by Frank DeVol.
MY KIND O F TO WN (Robin and the 7 Hoods, P-C
Prod., Warner Bros.); Music by James Van Heusen.
W HE R E L O VE HAS GONE (Where Love Has Gone,
Paramount-Embassy Pictures, Paramount); Music by
James Van Heusen. Lyrics by Sammy Cahn.
BE C K E T, Wallis, Paramount. Laurence Rosenthal.

THE F A L L O F THE ROMAN EMPIRE, Bronston-
Roma, Paramount. Dimitri Tiomkin.
HUS H . . . HU SH , SWEET CH ARLOTTE, Associates
& Aldrich, 20th Century-Fox. Frank DeVol.
* M ARY P OP P I N S, Disney, Buena Vista. Richard M.

Sherman and Robert B. Sherman.
T HE P I NK P AN T HER, Mirisch-G-E Prod., UA. Henry
Mancini.
(s cor in g of mu s ica da p t a t ion or t r e a t me n t )
A HARD D AY S NI G HT , Shenson, UA (British). George
Martin.
M ARY P OP P I NS, Disney, Buena Vista. Irwin Kostal.

* M Y FAI R LAD Y , Warner Bros. Andr Previn.
ROBI N AND T HE 7 HOOD S, P-C Prod., Warner Bros.
Nelson Riddle.
T HE U NSI NK ABLE M OLLY BROW N, Marten,
M-G-M. Robert Armbruster, Leo Arnaud, Jack Elliott,

Jack Hayes, Calvin Jackson and Leo Shuken.
(ca r t oon s )
CHRI ST M AS CRACK ER, National Film Board of
Canada, Favorite Films of California.

HOW T O AVOI D FRI END SHI P , Rembrandt Films,
Film Representations. (Self-Help). William L. Snyder,
producer.
N U D NI K # 2 , Rembrandt Films, Film Representations.
(Nudnik). William L. Snyder, producer.
* T HE P I N K P HI N K , Mirisch-Geoffrey, UA. (Pink
Panther). David H. DePatie and Friz Freleng,
producers.
(liv e a ct ion )
* CASALS CON D U CT S: 1964 , Thalia Films, Beckman

Film Corp. Edward Schreiber, producer.
HELP ! M Y SNOW M AN S BU RN I NG D OW N,
Davidson, Pathe Contemporary Films. Carson

Davidson, producer.
T HE LEGEND OF J I M M Y BLU E EY ES, Clouse, Topaz
Film Corp. Robert Clouse, producer.
D O C UM E N TA R Y
BREAK I N G T HE HABI T , American Cancer Society,
Modern Talking Picture Service. Henry Jacobs and

John Korty, producers.
CHI LD REN W I T HOU T , Guggenheim Productions,
National Education Association. Charles Guggenheim,
producer.
K EN OJ U AK , National Film Board of Canada.
* NI N E FROM LI T T LE ROCK , Guggenheim Productions,
U.S. Information Agency. Charles Guggenheim,
producer.
140 D AY S U N D ER T HE W ORLD , New Zealand
National Film Unit, Rank Film Dists. of New Zealand.
Geoffrey Scott and Oxley Hughan, producers.
(fe a t u r e s )
T HE FI NEST HOU RS, Le Vien Films, Columbia. Jack Le
Vien, producer.
FOU R D AY S I N N O V E MB E R , David L. Wolper Prods.,
UA. Mel Stuart, producer.
T HE HU M AN D U T C H , Haanstra Filmproductie. Bert
Haanstra, producer.
* J ACQ U ES- Y VES C O U S T E A U S W O R L D W I T H O U T
SU N, Filmad-Les Requins-Orsay-CEIAP, Columbia.
Jacques-Yves Cousteau, producer.
OVER T HERE, 1914 18 , Zodiac Prods., Pathe
Contemporary Films. Jean Aurel, producer.
RAVEN S END (Sweden).

SALLAH (Israel).
T HE U M BRELLAS O F C H E R B O U R G (France).
W OM AN I N T HE DU N E S (Japan).
* Y EST ERD AY , T ODA Y A N D T O M O R R O W (Italy).

T O W I LLI AM T U T T L E for his outstanding makeup
achievement for 7 Faces of Dr. Lao. (statuette)

181
P ET RO VLAHOS, W A DS W O R T H E . PO H L , and
U B I W ERK S for the conception and perfection of
techniques for Color Traveling Matte Composite

Cinematography.
SI D NEY P . SOLOW , E DW A R D H . R E I C H A R D,
CARL W . HAU G E , and J O B S A N DE R S O N of
Consolidated Film Industries for the design and

development of a versatile Automatic 35mm
Composite Color Printer.
P I ERRE AN G EN I E U X for the development of a ten-toone Zoom Lens for cinematography.
M I LT ON FORM AN , R I C H A R D B . G L I C K MA N , and
D ANI EL J . P EAR L MA N of ColorTran Industries;
ST EW ART FI LM S C R E E N C O R PO R A T I O N ;
ANT HONY P AGLI A and the 20 T H C E N T U R Y- F O X
ST U D I O M ECHA N I C A L E F F E C T S DE PT . ;
ED W ARD H. REI C H A R D (2 citations) and C A R L W .
HAU G E (2 citations) and L E O N A R D L . S O K O L O W
of Consolidated Film Industries;
N ELSON T Y LER.
8/8/13 7:27 PM
1965
The Thirty-Eighth Year
he rst telecast of an Academy Awards

ceremony in color took place April 18,
1966, when awards for 1965 were announced on ABC-TV, produced and directed
for the network by Richard Dunlap, and
produced for the Academy by Joe Pasternak.
To heighten the impact given Oscar by color
hues, art directors Alexander Golitzen and
William Morris designed an unusually
spectacular setting as a backdrop, which
employed forty-two fountains spraying
water. Bob Hope was again emcee, and, as in
the preceding year, a musicalThe Sound of
Musicwas named best picture.
Both The Sound of Music and Doctor
Zhivago were nominated for ten awards, and
both won ve of them, to become the most
honored lms of the year. Lee Marvin in Cat
Ballou was named best actor, Julie Christie
in Darling was chosen best actress, and
Martin Balsam in A Thousand Clowns was
awarded the best supporting actor Oscar.
Shelley Winters was named best supporting actress in A Patch of Blue and became
the rst actress to win two Oscars in that
category. Robert Wise (for The Sound of
Music) received the best director statuette,
Czechoslovakias The Shop on Main Street
was chosen best foreign language lm, and
Bob Hope was presented an honorary award
in the form of a gold medal for his services
to the Academy and the motion picture
industry.
Nominated songs were sung by, among
others, Liza Minnelli, Robert Goulet, and
Michel Legrand, and Cyd Charisse joined
James Mitchell in a dance specialty to music
by George Gershwin and Leonard Bernstein.

An added highlight was the showing of lm
clips in which past Oscar winners discussed
how it felt to win. It was a big and colorful evening for Oscar at the Santa Monica
Civic Auditorium, but the biggest single star
attraction of the night was someone not
afliated with the motion picture industry:
Lynda Bird Johnson, daughter of the president of the United States, was in Hollywood
to attend her rst Academy Awards presentation, escorted by actor George Hamilton.
182
be s t p i c t ure : THE SOUND OF MUSIC (20th Century-Fox;
produced by Robert Wise) and b es t d i r ecto r : ROBERT
WISE for The Sound of Music. It was a rare thing: a movie
everyone agreed was an improvement over its stage original. By
doing extensive location lming in Salzburg, Austria, Robert
Wise and his troupe (including Julie Andrews, right, with kids)
were able to open up the vistas that The Sound of Musics
real-life story required; audiences liked it as much as Oscar did,
and it immediately became one of the movies all-time best-loved
entertainments. The story followed the adventures of real-life
Maria von Trapp, rst as a music-loving postulant in Austrias
Nonnberg Abbey, then as a governess to seven children, later as
the wife of widower Capt. von Trapp (Christopher Plummer),
a strong-willed opposer to the Nazi annexation of Austria in
1938. Eleanor Parker, Richard Haydn, Peggy Wood and Anna Lee
were also in the cast; the musica major assetwas by Richard
Rodgers and Oscar Hammerstein II. Sound eventually became
the rst movie in twenty-six years to unseat Gone with the
Wind as the all-time top grosser in motion picture history, and
Wise became the president who led the Academy through its
58th, 59th and 60th years.
8/8/13 7:27 PM
be s t a ct or : LEE MARVIN as Kid Shelleen and as Tim Strawn

in Cat Ballou (Columbia; directed by Elliot Silverstein). A western spoof starring Jane Fonda (left, with Marvin) and set in
Wyoming, circa 1894, Cat Ballou was lmed in a fast thirty-two
days, partially on location in Colorado, and became the years
most talked-about sleeper. It also gave Lee Marvin a chance to
have an actors eld day, playing two outrageous roles: one as a
seedy, booze-soaked gunman whos been hired to battle a desperado even though he can barely stand; the other as the gunmans
cool, evil brother who wears an articial silver nose because the
real one was bit off in a ght. It was a daffy, beautifully conceived performance, in sharp contrast to Marvins dramatic role
the same year in Ship of Fools, and Academy voters chose him as
best actor of the year. Receiving his award, he said, I think half
of this belongs to a horse somewhere out in the Valley, referring
to an animal with whom he shared some of the lms most hilarious and picturesque moments.
183
be s t ac t re s s : JULIE CHRISTIE as Diana Scott in Darling

(Embassy; directed by John Schlesinger). Told in ashback, Darling opens as an English beauty named Diananow the Princess
della Romitanarrates her life story, in a somewhat misleading
manner, to a womans magazine; in reality, she bounces from
one affair to another, progresses from a fun-loving model to an
international swinger, and ends up as the bored wife of an aging
Italian prince, a victim of the very world she set out to conquer.
Julie Christie, previously unknown to most lm audiences, won
the Academy Award as the restless Diana; during the year, she
also sealed her reputation as a bright new actress in Young Cassidy and Doctor Zhivago. Dirk Bogarde (above, on phone) and
Laurence Harvey were her Darling co-stars.
8/8/13 7:27 PM
B E S T PI C TUR E
A P AT CH OF BLU E, Berman-Green, M-G-M. Robert
(color )
Burks.
* SHI P OF FOOLS, Columbia. Ernest Laszlo.
(British). Produced by Joseph Janni.
D OCT OR Z HI VAGO, Sostar S.A.-M-G-M British
(color )
Studios, M-G-M. Produced by Carlo Ponti.
T HE AGON Y AND T H E E C S T A S Y, International
SHIP OF FOOLS, Columbia. Produced by Stanley Kramer.
Classics, 20th Century-Fox. Leon Shamroy.
* T HE SOU N D OF M U SI C, Argyle, 20th Century-Fox.
* D OCT OR Z HI VAGO , Sostar S.A.-M-G-M British
Studios, M-G-M. Freddie Young.
A T HOU SAN D CLOW NS, Harrell, UA. Produced by
T HE GREAT RACE, Patricia-Jalem-Reynard, Warner
Fred Coe.
Bros. Russell Harlan.
T HE GREAT EST ST O R Y E V E R T O L D, Stevens, UA.
A C TO R
William C. Mellor and Loyal Griggs.
RI CHARD BU RT ON in The Spy Who Came In from the
T HE SOU N D OF M U S I C , Argyle, 20th Century-Fox. Ted
Cold, Salem, Paramount.
McCord.
* LEE M ARVI N in Cat Ballou, Hecht, Columbia.
SI R LAU RENCE OLI VI ER in Othello, B.H.E., Warner
Bros. (British).
ROD STEIGER in The Pawnbroker, Ely Landau, American
International Pictures.
K I NG RAT , Coleytown, Columbia. Robert Emmet
OSK AR W ERNER in Ship of Fools, Columbia.
Smith; Frank Tuttle.
A P AT CH OF BLU E, Berman-Green, M-G-M. George
A C TR E S S
W. Davis and Urie McCleary; Henry Grace and
JU LI E AND REW S in The Sound of Music, Argyle, 20th
Charles S. Thompson.
Century-Fox.
* SHI P OF FOOLS, Columbia. Robert Clatworthy; Joseph
* JU LI E CHRI ST I E in Darling, Anglo-Amalgamated,
Kish.
Embassy Pictures (British).
T HE SLEN D ER T HRE A D, Paramount. Hal Pereira and
SAM ANT HA EG G AR in The Collector, The Collector
Jack Poplin; Robert R. Benton and Joseph Kish.
Company, Columbia.
T HE SP Y W HO CAME I N F R O M T H E C O L D, Salem,
ELI Z ABET H HART M AN in A Patch of Blue, BermanParamount. Hal Pereira, Tambi Larsen and Edward
Green, M-G-M.
Marshall; Josie MacAvin.
SI M ONE SI GNORET in Ship of Fools, Columbia.
D ARLI NG, Anglo-Amalgamated, Embassy Pictures
Nominations 1965
* M ART I N BALSAM in A Thousand Clowns, Harrell, UA.

IAN BANNEN in The Flight of the Phoenix, Associates &
Aldrich, 20th Century-Fox.
T OM COU RT ENAY in Doctor Zhivago, Sostar S.A.M-G-M British Studios, M-G-M.
M I CHAEL D U NN in Ship of Fools, Columbia.
FRAN K FI N LAY in Othello, B.H.E., Warner Bros.
(British).
RU T H G ORD ON in Inside Daisy Clover, Park Place,
Warner Bros.
JOY CE RED M AN in Othello, B.H.E., Warner Bros.
(British).
M AG G I E SM I T H in Othello, B.H.E., Warner Bros.
(British).
* SHELLEY W I N T ERS in A Patch of Blue, Berman-Green,

M-G-M.
P EG G Y W OOD in The Sound of Music, Argyle, 20th
Century-Fox.
D I R E C TI N G
T HE COLLECT OR, The Collector Company, Columbia.
William Wyler.
D ARLI NG, Anglo-Amalgamated, Embassy Pictures
(British). John Schlesinger.

D OCT OR Z HI VAGO, Sostar S.A.-M-G-M British
Studios, M-G-M. David Lean.
* T HE SOU N D OF M U SI C, Argyle, 20th Century-Fox.
Robert Wise.
W OM AN I N T HE D U N ES, Teshigahara, Pathe
Contemporary Films (Japanese). Hiroshi Teshigahara.
WR I TI N G
CAT BALLOU , Hecht, Columbia. Walter Newman and
Frank R. Pierson.
T HE COLLECT OR, The Collector Company, Columbia.
184
Stanley Mann and John Kohn.

* D OCT OR Z HI VAGO, Sostar S.A.-M-G-M British
Studios, M-G-M. Robert Bolt.
SHI P OF FOOLS, Columbia. Abby Mann.
A T HOU SAN D CLOW NS, Harrell, UA. Herb Gardner.
(s t or y a n d s cr e e n p la yw r it t e n dir e ct ly for t h e
s cr e e n )
CASANOVA 70 , Champion-Les Films Concordia,
Embassy Pictures (Italian). Age, Scarpelli, Mario

Monicelli, Tonino Guerra, Giorgio Salvioni and Suso
Cecchi DAmico.
* D ARLI NG, Anglo-Amalgamated, Embassy Pictures
(British). Frederic Raphael.
T HOSE M AGNI FI CENT M EN I N T HEI R FLY I NG

M ACHI NES, 20th Century-Fox. Jack Davies and Ken
Annakin.
T HE T RAI N , Les Productions Artistes Associs, UA.
Franklin Coen and Frank Davis.
T HE U M BRELLAS OF CHERBOU RG , Parc-Madeleine-
Beta Films, American International Pictures (French).

Jacques Demy.
IN HARM S W AY , Sigma, Paramount. Loyal Griggs.

K I N G RAT , Coleytown, Columbia. Burnett Guffey.
M ORI T U RI , Arcola-Colony, 20th Century-Fox. Conrad
Hall.
Classics, 20th Century-Fox. John DeCuir and Jack

Martin Smith; Dario Simoni.
* DOCTOR ZHIVAGO, Sostar S.A.-M-G-M British Studios,
M-G-M. John Box and Terry Marsh; Dario Simoni.
Richard Day, William Creber and David Hall; Ray
Moyer, Fred MacLean and Norman Rockett.
I NSI D E D AI SY CLOV E R , Park Place, Warner Bros.
Robert Clatworthy; George James Hopkins.
T HE SOU ND OF M US I C , Argyle, 20th Century-Fox.
Boris Leven; Walter M. Scott and Ruby Levitt.
C O S TUM E D ESIGN
* D ARLI NG, Anglo-Amalgamated, Embassy Pictures

(British). Julie Harris.
M ORI T U RI , Arcola-Colony, 20th Century-Fox. Moss
Mabry.
A RAG E T O LI VE, Mirisch-Araho, UA. Howard Shoup.
SHIP OF FOOLS, Columbia. Bill Thomas and Jean Louis.
T HE SLEN D ER T HRE A D, Paramount. Edith Head.
(color )
Classics, 20th Century-Fox. Vittorio Nino Novarese.

* D OCT OR Z HI VAGO , Sostar S.A.-M-G-M British
Studios, M-G-M. Phyllis Dalton.
Vittorio Nino Novarese and Marjorie Best.
I NSI D E D AI SY CLOV E R , Park Place, Warner Bros.
Edith Head and Bill Thomas.
T HE SOU ND OF M US I C , Argyle, 20th Century-Fox.
Dorothy Jeakins.
S O UN D
Classics, 20th Century-Fox. 20th Century-Fox Studio

Sound Dept., James P. Corcoran, Sound Director.
D OCT OR Z HI VAG O , Sostar S.A.-M-G-M British
Studios, M-G-M. M-G-M British Studio Sound Dept.,
A.W. Watkins, Sound Director; and M-G-M Studio
Bros. Warner Bros. Studio Sound Dept., George R.
Groves, Sound Director.
SHENAND OAH, Universal. Universal City Studio Sound
Dept., Waldon O. Watson, Sound Director.
* T HE SOU N D OF M U S I C , Argyle, 20th Century-Fox.
20th Century-Fox Studio Sound Dept., James P.
Corcoran, Sound Director; and Todd-AO Sound Dept.,
Fred Hynes, Sound Director.
F I LM E D I TI NG
CAT BALLOU , Hecht, Columbia. Charles Nelson.

D OCT OR Z HI VAG O , Sostar S.A.-M-G-M British
Studios, M-G-M. Norman Savage.
T HE FLI GHT OF T HE PH O E N I X , Associates & Aldrich,
20th Century-Fox. Michael Luciano.
Bros. Ralph E. Winters.

* T HE SOU N D OF M U S I C , Argyle, 20th Century-Fox.
William Reynolds.
S PE C I A L VI SU AL EFFECTS
J. McMillan Johnson.
* T HU N D ERBALL, Broccoli-Saltzman, UA (British). John
Stears.
8/8/13 7:27 PM
* THE GR E A T R A CE, Patricia-Jalem-Reynard, Warner

Bros. Tregoweth Brown.
VO N R Y A N S E XPRESS, P-R Prods., 20th CenturyFox. Walter A. Rossi.
MUSIC
(s on g)
THE BA L L A D O F CAT B ALLOU (Cat Ballou, Hecht,
Columbia); Music by Jerry Livingston. Lyrics by Mack

David.
I W IL L W A IT FO R YOU (The Umbrellas of Cherbourg,
Parc-Madeleine-Beta Films, American International
Pictures; French); Music by Michel Legrand. Lyrics by
Jacques Demy. English Lyrics by Norman Gimbel.
* THE SHA D O W OF YOUR SMILE (The Sandpiper,
Filmways-Venice, M-G-M); Music by Johnny
Mandel. Lyrics by Paul Francis Webster.
THE S W E E THE A RT TREE (The Great Race, PatriciaJalem-Reynard, Warner Bros.); Music by Henry
W HA T S NE W P USSYCAT? (Whats New Pussycat?,
Famous Artists-Famartists, UA); Music by Burt
Bacharach. Lyrics by Hal David.
THE A GO NY A ND THE ECSTASY, International
Classics, 20th Century-Fox. Alex North.

* D O C TO R Z HIVA GO, Sostar S.A.-M-G-M British
Studios, M-G-M. Maurice Jarre.
THE GR E A TE S T STORY EV ER TOLD, Stevens, UA.
Alfred Newman.
A P A TC H O F BL UE, Berman-Green, M-G-M. Jerry
Goldsmith.
THE UMBRELLAS OF CHERBOURG, ParcMadeleine-Beta Films, American International
Pictures (French). Michel Legrand and Jacques Demy.
C A T BA L L O U , Hecht, Columbia. Frank DeVol.

THE P L E A SUR E SEEKERS, 20th Century-Fox. Lionel
be s t s u p p or t in g a ct or : MARTIN BALSAM as Arnold

Burns in A Thousand Clowns (United Artists; directed by Fred
Coe). A veteran of televisions early days of live drama, Balsam
was honored by the Academy for his performance as the conven-
tional brother of a decidedly offbeat New Yorker (Jason Robards,

at left above, with Balsam), the latter a cheery rebel determined
to remain a nonconformist. The screenplay was by Herb Gardner,
based on his original Broadway comedy.
Newman and Alexander Courage.

* THE SO UND O F MUSIC, Argyle, 20th Century-Fox.
Irwin Kostal.
A THO US A ND C LOWNS, Harrell, UA. Don Walker.
THE UMBR E L L A S OF CH ERB OURG, ParcMadeleine-Beta Films, American International
Pictures (French). Michel Legrand.
(c art oon s )
C L A Y O R THE O RIGIN OF SPECIES, Harvard
University, Pathe Contemporary Films. Eliot Noyes,

Jr., producer.
* THE D O T A ND TH E LINE, M-G-M. Chuck Jones and
Les Goldman, producers.
THE THIE VING MAGPIE (La Gazza Ladra), GianiniLuzzati, Allied Artists. Emanuele Luzzati, producer.
(l i ve ac t i on )
* THE CHICKEN (Le Poulet), Renn Prods., Pathe

Contemporary Films (French). Claude Berri, producer.
FORTRESS OF PEACE, Lothar Wolff Prods. for FarnerLooser Films, Cinerama. Lothar Wolff, producer.
SKA TE R D A TE R , Byway Prods., UA. Marshal Backlar
and Noel Black, producers.
SNO W , British Transport Films-Jones, Manson
Distributing. Edgar Anstey, producer.
TIME P IE C E , Muppets, Inc., Pathe Contemporary
Films. Jim Henson, producer.
D O CU M EN T AR Y
185
MURAL ON OUR STREET, Henry Street Settlement,
Pathe Contemporary Films. Kirk Smallman, producer.

O U VE R TUR E , Malm Prods., Hungarolm-Pathe
Contemporary Films.
P O INT O F VIE W , Vision Associates Prods., National
Tuberculosis Assoc.
* TO BE A L IVE ! , Johnson Wax. Francis Thompson,
producer.
Y E A TS C O U NTR Y, Aengus Films for the Dept. of
External Affairs of Ireland. Patrick Carey and Joe
Mendoza, producers.
(f e at ure s )
THE BATTLE OF THE BULGE . . . THE BRAVE
RIFLES, Mascott Prods. Laurence E. Mascott, producer.
* THE E L E A NO R R OOSEV ELT STORY, Glazier,
American International Pictures. Sidney Glazier,

producer.
THE FORTH ROAD BRIDGE, Random Film Prods.,
Shell-Mex and B.P. Film Library. Peter Mills, producer.
L E T MY P E O P L E GO, David L. Wolper Prods.
Marshall Flaum, producer.
TO D IE IN MA D RID, Ancinex, Altura Films
International. Frdric Rossif, producer.
BL O O D O N THE LAND (Greece).
D E A R JO HN (Sweden).
be s t s u p p or t in g a ct r e s s : SHELLEY WINTERS as RoseAnn DArcey (above, screeching at Sidney Poitier) in A Patch

of Blue (M-G-M; directed by Guy Green). Winters, a previous
supporting actress winner in 1959 for The Diary of Anne Frank,
won her second statuette as the amoral, savage mother of a blind
K W AI D AN (Japan).
M ARRI AG E I T ALI AN ST Y LE (Italy).
* T HE SHOP ON M AI N ST REET (Czechoslovakia).

T O BOB HOP E for unique and distinguished service to
our industry and the Academy. (gold medal)
T O W I LLI AM W Y LER
T O ED M OND L. D EP AT I E
girl (Elizabeth Hartman) who was befriended by a gentle black

man, played by Poitier. Winters also received two other Academy
nominations; in 1951 as best actress for A Place in the Sun and
in 1972 for her supporting role in The Poseidon Adventure.
None.
ART HU R J . HAT CH of the Strong Electric Corporation
subsidiary of General Precision Equipment

Corporation, for the design and development of an Air
Blown Carbon Arc Projection Lamp.
ST EFAN K U D ELSKI for the design and development
of the Nagra portable " tape recording system for
motion picture sound recording.
None.
8/8/13 7:27 PM
1966
The Thirty-Ninth Year
he telecast of the 1966 Academy

Awards presentations came hairline
close to being canceled on April 10,
1967, because of a strike involving the
American Federation of Television and
Radio Artists (AFTRA), the theatrical union
governing live telecasts. The blackout of TV
coverage would have meant a loss to the
Academy of approximately $700,000 in
revenue paid by the ABC network for rights,
but the Academy was prepared to proceed
with the awards at the Santa Monica Civic
Auditorium without the usual TV coverage.
Happily, all was settled in movie serial fashion, just three hours before the ceremony
was scheduled to begin.
Most nominated picture of the year
was Whos Afraid of Virginia Woolf? with a
near-record thirteen nominations (topped
only by the fourteen accorded All about
Eve in 1950); it won in ve categories,
including awards to Elizabeth Taylor as
best actress and to Sandy Dennis as best
supporting actress. A Man for All Seasons
won six awards, including best picture,
best actor (Paul Scoeld), and best director (Fred Zinnemann). Best supporting
actor was Walter Matthau in The Fortune
Cookie; Matthau received his award with
a broken arm and bruised face, the result
of a cycling accident. It was the rst time
in twenty-ve years two sisters (Vanessa
Redgrave and Lynn Redgrave) were both
nominees in the best actress category. It
had happened before in 1941, when Olivia
de Havilland and Joan Fontaine were
dually nominated.
The program, again telecast in color and

produced for the Academy by Joe Pasternak
with Bob Hope as emcee, was notable for
Mitzi Gaynors high-energy rendition of
Georgy Girl, one of the years nominees
as best song, plus an impromptu dance by
Fred Astaire and Ginger Rogers when they
momentarily reteamed to present one of the
evenings awards. Patricia Neal, making her
rst Hollywood appearance since a nearfatal stroke of two years before, received a
standing ovation from the audience. Among
the guests in the audience was Californias
Governor Ronald Reagan, a longtime Academy member and supporter.
186
be s t s up p ort i n g acto r : WALTER MATTHAU as Willie
Gingrich (right, with Ron Rich and, in bed with neck brace, Jack
Lemmon) in The Fortune Cookie (United Artists; directed by
Billy Wilder). Matthau was a comical but shady lawyer, of the
ambulance-chasing variety, who maneuvers his brother-in-law
into an elaborate accident-insurance swindle. Since his role and
billing were of equal size in Fortune to that of co-star Lemmon,
there was some controversy whether or not Matthau more properly belonged in Oscars lead, not supporting, actor category.
8/8/13 7:27 PM
be s t p i c t ure : A MAN FOR ALL SEASONS (Columbia;

produced by Fred Zinnemann), b es t d i r ecto r : FRED
ZINNEMANN, and b es t a cto r : PAUL SCOFIELD as Sir
Thomas More (above right, with co-star and supporting actor
nominee Robert Shaw). It began as a 1960 play by Robert Bolt,
rst on the London stage, then later in New York, and it told of
the last seven years in the life of Sir Thomas More, the respected
16th-century English chancellor beheaded by King Henry VIII.
Scoeld, a superb artist generally unknown to 1966 moviegoers,
re-created his original stage role and permanently preserved on
celluloid one of the great performances of the decade. The lm
itself won a total of six awards.
187
be s t ac t re s s : ELIZABETH TAYLOR as Martha (at right,

being held by George Segal as Richard Burton watches) and
be s t s up p ort i n g a ctr es s : SANDY DENNIS as Honey (at
right, on couch) in Whos Afraid of Virginia Woolf? (Warner
Bros.; directed by Mike Nichols). The picture itself, outspoken
and sprinkled with graphic profanities, won ve Oscars and
was a bold step forward for those who wanted to tackle stronger
themes than had previously been allowed. For Taylor, it seemed
like unlikely casting: Hollywoods thirty-three-year-old personication of beauty as Edward Albees middle-aged, venomous
Martha, a woman engaged in a drunken, all-night battle with
her husband. But Taylor astounded the doubters, gave a bravura
performance, and enjoyed her nest hour to date as an actress.
Dennis, in her second lm role (the rst: in Elia Kazans 1961
Splendor in the Grass), played the nervous and naive wife of
a college professor (Segal), beyond her depth when they became
guestsand targetsat the home of the destructive and battling
older couple.
8/8/13 7:27 PM
S UPPO R TI N G ACTOR
M AK O in The Sand Pebbles, Argyle-Solar, 20th Century-
Fox.
Nominations 1966
J AM ES M ASON in Georgy Girl, Everglades, Columbia
(British).
* W ALT ER M AT T HAU in The Fortune Cookie, PhalanxJalem-Mirisch, UA.
G EORGE SEG AL in Whos Afraid of Virginia Woolf?,
Chenault, Warner Bros.
ROBERT SHAW in A Man for All Seasons, Highland
Films, Columbia.
S UPPO R TI N G ACTRESS
* SAN D Y D ENNI S in Whos Afraid of Virginia Woolf?,

W EN D Y HI LLER in A Man for All Seasons, Highland
Films, Columbia.
J OCELY N E LAG ARDE in Hawaii, Mirisch, UA.
VI VI EN M ERCHAN T in Ale, Sheldrake, Paramount
(British).
G ERALD I N E P AGE in Youre a Big Boy Now, Seven Arts.
D I R E C TI N G
BLOW - U P , Ponti, Premier Productions (British).
Michelangelo Antonioni.
A M AN AND A W OM A N , Les Films 13, Allied Artists
(French). Claude Lelouch.

* A M AN FOR ALL SEA S O N S , Highland Films,
Columbia. Fred Zinnemann.
T HE P ROFESSI ON AL S , Pax Enterprises, Columbia.
Richard Brooks.
W HO S AFRAI D OF V I R G I N I A W O O L F ?, Chenault,
Warner Bros. Mike Nichols.
WR I TI N G
ALFI E, Sheldrake, Paramount (British). Bill Naughton.

Columbia. Robert Bolt.
Richard Brooks.
T HE RU SSI AN S ARE C O MI N G T H E R U S S I A N S A R E
COM I NG, Mirisch, UA. William Rose.
W HO S AFRAI D OF V I R G I N I A W O O L F ?, Chenault,
Warner Bros. Ernest Lehman.

t h e s cr e e n )
BLOW- UP, Ponti, Premier Productions (British). Story by
FANTASTIC VOYAGE (20th Century-Fox; produced by Saul

David) was a superb example of Hollywoods ability to conjure
up wild visual magic; the Academy honored it in the categories
of art direction and special visual effects. Directed by Richard
Fleischer and starring Stephen Boyd, Raquel Welch, Edmond
OBrien and Donald Pleasence, it had a unique premise, even for

imaginative science-ction lms: a group of scientists, shrunken
to minute proportions, are injected into the bloodstream of an
injured man and take an eye-boggling trip through his body.
Michelangelo Antonioni. Screenplay by Michelangelo

Antonioni, Tonino Guerra and Edward Bond.
T HE FORT U N E COO K I E , Phalanx-Jalem-Mirisch, UA.
Billy Wilder and I.A.L. Diamond.
K HART OU M , Blaustein, UA. Robert Ardrey.
* A M AN AN D A W OMA N , Les Films 13, Allied Artists
(French). Story by Claude Lelouch. Screenplay by
Claude Lelouch and Pierre Uytterhoeven.
T HE NAK ED P REY , Theodora, Paramount. Clint
Johnston and Don Peters.
B E S T PI C TUR E
ALFI E, Sheldrake, Paramount (British). Produced by
Lewis Gilbert.
* A M AN FOR ALL SEASONS, Highland Films,
Columbia. Produced by Fred Zinnemann.
T HE RU SSI ANS ARE COM I N G T HE RU SSI AN S

ARE COM I N G , Mirisch, UA. Produced by Norman
Jewison.
T HE SAND P EBBLES, Argyle-Solar, 20th Century-Fox.
188
W HO S AFRAI D OF VI RGI N I A W OOLF? , Chenault,
Warner Bros. Produced by Ernest Lehman.
A C TO R
ALAN ARK I N in The Russians Are Coming The Russians
Are Coming, Mirisch, UA.

RI CHARD BU RT ON in Whos Afraid of Virginia Woolf?,
M I CHAEL CAI N E in Ale, Sheldrake, Paramount
(British).
ST EVE M CQ U EEN in The Sand Pebbles, Argyle-Solar,
20th Century-Fox.
* P AU L SCOFI ELD in A Man for All Seasons, Highland
Films, Columbia.
A C TR E S S
ANOU K AI M E in A Man and a Woman, Les Films 13,
Joseph LaShelle.
G EORGY G I RL, Everglades, Columbia (British). Ken
Higgins.
I S P ARI S BU RN I NG? , Transcontinental Films-
Marianne, Paramount. Marcel Grignon.
SECOND S, The Seconds Company, Paramount. James
Wong Howe.
* W HO S AFRAI D OF V I R G I N I A W O O L F ?, Chenault,
Warner Bros. Haskell Wexler.
(color )
FANTASTIC VOYAGE, 20th Century-Fox. Ernest Laszlo.

HAW AI I , Mirisch, UA. Russell Harlan.
Columbia. Ted Moore.
Conrad Hall.
T HE SAN D P EBBLES , Argyle-Solar, 20th Century-Fox.
Joseph MacDonald.
Robert Luthardt; Edward G. Boyle.
T HE G OSP EL ACCO R DI N G T O S T . MA T T H E W , Arco-
Lux Cie Cinmatograque de France, Walter ReadeContinental Distributing (Italian). Luigi Scaccianoce.
I S P ARI S BU RN I NG? , Transcontinental FilmsCeskoslovensky Film Co., Prominent Films
Marianne, Paramount. Willy Holt; Marc Frederix and
(Czechoslovakia).
Pierre Guffroy.
LY N N RED GRAVE in Georgy Girl, Everglades, Columbia
M I ST ER BU D D W I N G , DDD-Cherokee, M-G-M.
(British).
George W. Davis and Paul Groesse; Henry Grace and
VAN ESSA RED GRAVE in Morgan!, Quintra Films,
Hugh Hunt.
Cinema V (British).
* W HO S AFRAI D OF V I R G I N I A W O O L F ?, Chenault,
* ELI Z ABET H T AY LOR in Whos Afraid of Virginia
Warner Bros. Richard Sylbert; George James Hopkins.
Woolf?, Chenault, Warner Bros.
Allied Artists (French).
ID A K AM I NSK A in The Shop on Main Street,
8/8/13 7:27 PM
(c ol or)
* F A NTA S TIC VO YAGE, 20th Century-Fox. Jack Martin

Smith and Dale Hennesy; Walter M. Scott and Stuart
A. Reiss.
GA MBIT, Universal. Alexander Golitzen and George C.
Webb; John McCarthy and John Austin.
JU L IE T O F THE S PIRITS, Rizzoli Films (Italian). Piero
Gherardi.
THE O S C A R , Greene-Rouse, Embassy Pictures. Hal
Pereira and Arthur Lonergan; Robert R. Benton and
James Payne.
THE S A ND P E BBLES, Argyle-Solar, 20th Century-Fox.
Boris Leven; Walter M. Scott, John Sturtevant and
William Kiernan.
THE GO S P E L A C CORDING TO ST. MATTHEW,
Arco-Lux Cie Cinmatograque de France, Walter

Reade-Continental Distributing (Italian). Danilo
Donati.
MA ND R A GO L A , Europix-Consolidated (Italian).
Danilo Donati.
MISTE R BUD D WING, DDD-Cherokee, M-G-M.
Helen Rose.
MO R GA N! , Quintra Films, Cinema V (British).
Jocelyn Rickards.
* W HO S A F R A ID OF V IRGINIA WOOLF?, Chenault,
Warner Bros. Irene Sharaff.
(c ol or)
GA MBIT, Universal. Jean Louis.

HA W A II, Mirisch, UA. Dorothy Jeakins.
JU L IE T O F THE S PIRITS, Rizzoli Films (Italian). Piero
Gherardi.
* A MA N F O R A L L SEASONS, Highland Films,
Columbia. Elizabeth Haffenden and Joan Bridge.
THE O S C A R , Greene-Rouse, Embassy Pictures. Edith
Head.
S O U ND
GA MBIT, Universal. Universal City Studio Sound
Dept., Waldon O. Watson, Sound Director.

* GR A ND P R IX, Douglas-Lewis-FrankenheimerCherokee, M-G-M. Metro-Goldwyn-Mayer Studio
HA W A II, Mirisch, UA. Samuel Goldwyn Studio Sound
Dept., Gordon E. Sawyer, Sound Director.
THE S A ND P E BBLES, Argyle-Solar, 20th CenturyFox. 20th Century-Fox Studio Sound Dept., James P.
Corcoran, Sound Director.
W HO S A F R A ID OF V IRGINIA WOOLF?, Chenault,
Warner Bros. Warner Bros. Studio Sound Dept.,
George R. Groves, Sound Director.
F I LM ED I T I N G
FA NTA S TIC VO YAGE, 20th Century-Fox. William B.
Murphy.
* GR A ND P R IX, Douglas-Lewis-FrankenheimerCherokee, M-G-M. Fredric Steinkamp, Henry
Berman, Stewart Linder and Frank Santillo.
THE R U SS IA NS ARE COMING TH E RUSSIANS

A R E C O MING, Mirisch, UA. Hal Ashby and J. Terry
Williams.
William Reynolds.
W HO S A F R A ID OF V IRGINIA WOOLF?, Chenault,
Warner Bros. Sam OSteen.
* F A NTA S TIC VO YAGE, 20th Century-Fox. Art

Cruickshank.
HA W A II, Mirisch, UA. Linwood G. Dunn.
FANTASTIC VOYAGE, 20th Century-Fox. Walter Rossi.

* GR A ND P R IX, Douglas-Lewis-FrankenheimerCherokee, M-G-M. Gordon Daniel.
MUSIC
(s on g)
A L FIE (Ale, Sheldrake, Paramount; British); Music by
Burt Bacharach. Lyrics by Hal David.

* BO R N FR E E (Born Free, Open Road-Atlas Films,
Columbia; British); Music by John Barry. Lyrics by
Don Black.
GEORGY GIRL (Georgy Girl, Everglades, Columbia;
British); Music by Tom Springeld. Lyrics by Jim Dale.
MY W ISHING D OLL (Hawaii, Mirisch, UA); Music by
Elmer Bernstein. Lyrics by Mack David.
A TIME FO R L O VE (An American Dream, Warner
Bros.); Music by Johnny Mandel. Lyrics by Paul
Francis Webster.
(ori g i n al m us i c s co r e)
THE BIBL E , Thalia, 20th Century-Fox. Toshiro
Mayuzumi.
* BO R N FR E E , Open Road-Atlas Films, Columbia
(British). John Barry.
HA W A II, Mirisch, UA. Elmer Bernstein.
Jerry Goldsmith.
BORN FREE
(Columbia), based on the popular novel by Joy

Adamson, starred Bill Travers and Virginia McKenna (above, at
far right) and became one of the years best-liked movies. It also
won two Academy Awards for music, for its title song by John
Barry and Don Black, and for its original music score by Barry.
Like most lms of the year, it was also photographed in color; so

few black-and-white lms were now being made, in fact, that
the 1966 award year was the last time the Academy had separate
designations for black-and-white and color lms in the categories
of cinematography, art direction and costume design.
W HO S AFRAI D OF VI RG I NI A W OOLF? , Chenault,
HELI COP T ER CAN A DA , NFBC Centennial
Warner Bros. Alex North.
Commission, National Film Board of Canada. Peter

Jones and Tom Daly, producers.
LE VOLCAN I N T E R DI T (The Forbidden Volcano),
A
FU
N
N
Y
T
HI
NG
HAP
P
ENED
ON
T
HE
W
AY
T
O
T
HE
*
Cin Documents Tazieff, Athos Films. Haroun Tazieff,
FORU M , Frank, UA. Ken Thorne.
producer.
T HE G OSP EL ACCORD I NG T O ST . M AT T HEW, ArcoT HE REALLY BI G F A M I L Y, David L. Wolper Prod. Alex
Lux Cie Cinmatograque de France, Walter ReadeGrasshoff, producer.
Continental Distributing (Italian). Luis Enrique
* T HE W AR G AM E, BBC Prod. for the British Film
Bacalov.
Institute, Pathe Contemporary Films. Peter Watkins,
RET U RN OF T HE SEVEN , Mirisch, UA. Elmer
producer.
Bernstein.
T HE SI NGI N G N U N , M-G-M. Harry Sukman.
ST OP T HE W ORLD I W AN T T O GET OFF, Warner
T HE BAT T LE OF A L G I E R S (Italy).
Bros. Al Ham.
LOVES OF A BLON DE (Czechoslovakia).
* A M AN AN D A W O MA N (France).
P HARAOH (Poland).
(ca r t oon s )
T HREE (Yugoslavia).
T HE D RAG , National Film Board of Canada, Favorite
Films of California (Canada). Wolf Koenig and Robert
T O Y . FRAN K FRE E M A N for unusual and outstanding
Verrall, producers.
service to the Academy during his thirty years in
* HERB ALP ERT AN D T HE T I J U ANA BRASS D OU BLE
Hollywood. (statuette)
FEAT U RE, Hubley Studios, Paramount (One-reel
T O Y AK I M A CAN U T T for achievements as a stunt man
Special). John and Faith Hubley, producers.
and for developing safety devices to protect stunt men
T HE P I NK BLU EP RI N T , Mirisch-Geoffrey-DePatieeverywhere. (statuette)
Freleng, UA (Pink Panther). David H. DePatie and Friz
Freleng, producers.
(s cor in g of mu s ica da p t a t ion or t r e a t me n t )
(liv e a ct ion )
T U RK EY T HE BRI D G E, Samaritan Prods., Schoenfeld
Films. Derek Williams, producer.

* W I LD W I N G S, British Transport Films, Manson
Distributing. Edgar Anstey, producer.
T HE W I N N I NG ST RAI N , Winik Films, Paramount
(Sports in Action). Leslie Winik, producer.
D O C UM E N TA R Y
AD OLESCEN CE, M.K. Prods. Marin Karmitz and
Vladimir Forgency, producers.

COW BOY , Ahnemann/Schlosser Prods., U.S.
Information Agency. Michael Ahnemann and Gary
Schlosser, producers.
T HE OD D S AGAI N ST , Vision Associates Prod. for The
American Foundation Institute of Corrections. Lee R.
Bobker and Helen Kristt Radin, producers.
SAI N T M AT T HEW P ASSI ON, Malm Studio,
Hungarolm.
* A Y EAR T OW ARD T OM ORROW , Sun Dial Films for
Ofce of Economic Opportunity. Edmond A. Levy,
producer.
(fe a t u r e s )
T HE FACE OF GENI U S, WBZ-TV, Group W, Boston.

189
T O ROBERT W I SE
T O G EORGE BAG N A L L
None.
M I T CHELL CAM ER A C O R PO R A T I O N for the design
and development of the Mitchell Mark II 35mm

Portable Motion Picture Reex Camera.
ARN OLD & RI CH T E R K G for the design and
development of the Arriex 35mm Portable Motion
Picture Reex Camera.
P ANAVI SI ON , I N C O R PO R A T E D;
CARROLL K N U D S O N ;
RU BY RAK SI N .
Alfred R. Kelman, producer.
8/8/13 7:27 PM
1967
The Fortieth Year
am enormously touched, Katharine

Hepburn told a reporter in Nice when
informed she had won the 1967 Academy Award as best actress for Guess Whos
Coming to Dinner. They dont usually give
these things to the old girls, you know.
Miss Hepburn later cabled an ofcial reply
to the Academy, saying, It was delightful,
a total surprise. I feel I have received a big,
affectionate hug from my fellow workers.
The awards were presented April 10, 1968,
at the Santa Monica Civic Auditorium,
postponed because of the assassination of
civil rights leader Dr. Martin Luther King,
Jr., on April 4.
In the Heat of the Night received the most
awards of the evening, a total of ve including best picture and best actor (Rod Steiger);
it was the rst lm in the detective genre to
be honored by Academy voters through the
years. Mike Nichols was named best director for The Graduate, George Kennedy was
chosen best supporting actor in Cool Hand
Luke, and Estelle Parsons was best supporting actress for Bonnie and Clyde. Next to In
the Heat of the Night, the most honored lm
of the year was Camelot with three awards.
For the fteenth year, Bob Hope handled
emcee duties, and it was Oscars eighth
visit to the Santa Monica Civic Auditorium.
Arthur Freed produced for the Academy, and
Richard Dunlap produced and directed for
the ABC network. Due to an all-out push
by the Academys president, Gregory Peck,
eighteen of the twenty acting nominees
were present at the ceremony; only Miss
Hepburn, lming The Madwoman of Chaillot
in France, and the late Spencer Tracy, nominated posthumously, were missing. Alfred
Hitchcock received the Irving G. Thalberg
Memorial Award, Peck was presented the
Jean Hersholt Humanitarian Award, and
the Board of Governors voted an honorary
Oscar to Arthur Freed.
Color, now an integral part of Academy
Awards telecasts, had also begun to dominate the motion picture screen so completely, with black-and-white lms so rare,
it was decided to restructure the art direction, cinematography and costume design
categories to one award per division rather
than continue separate awards for blackand-white and color achievements.
190
be s t p i c t ure : IN THE HEAT OF THE NIGHT (United Artists; produced by Walter Mirisch) and b es t a cto r : ROD
STEIGER as Bill Gillespie in In the Heat of the Night. It was
the rst detective story to win Oscars best picture honors, and
centered on a ctional black detective named Virgil Tibbs from
Philadelphia (played by Sidney Poitier) who is called on in a
sleepy little Mississippi town to solve a murder, much to the irritation of the local police chief, whos slow-moving, bigoted and
white. Directed by Norman Jewison, Rod Steiger (right, with
Poitier) won the Academy Award as the drawling sheriff, and
the success of the lm inspired two later sequels, They Call Me
Mister Tibbs! (1970) and The Organization (1971). John Ball
authored the original novel, and In the Heat of the Night won
additional awards for screenplay, sound and lm editing.
8/8/13 7:27 PM
be s t a ct r e s s : KATHARINE HEPBURN as Christina Drayton

(left) in Guess Whos Coming to Dinner (Columbia; directed
by Stanley Kramer). Katharine Hepburn had been totally
absent from the screen for ve years when she made Guess
Whos Coming to Dinner, playing a socially prominent, liberalthinking parent whose daughter suddenly informs the family
she plans to marry a distinguished black physician. It was one of
the less demanding roles of her career, but she was enormously
fond of it; it also marked the rst time in her enduring career
Katharine Hepburn had ever played a happily married wife and
mother. It was her ninth and last lm opposite Spencer Tracy,
andthirty-four years after her rst Oscar victoryshe was
again voted the years best actress. Two more awards were also to
follow, in 1968 and 1981.
191
be s t d i re c t or: MIKE NICHOLS for The Graduate (Embassy; produced by Lawrence Turman). One of the years most
intensely liked and best-made successes, The Graduate made
a star of movie newcomer Dustin Hoffman (above, oating in
pool, as Nichols, in white pants, oversees). Hoffman played a
bewildered and comical grad who is seduced by the wife of his

fathers law partner, then falls in love with the ladys beautiful
daughter. Anne Bancroft and Katharine Ross co-starred, and The
Graduate won the Academy Award for the man who made it all
happen: Mike Nichols.
8/8/13 7:27 PM
Nominations 1967
b e s t s up p ort i n g acto r : GEORGE KENNEDY as Dragline

(right, helping Paul Newman) in Cool Hand Luke (Warner
Bros.; directed by Stuart Rosenberg). The movie was a strong
essay on individuality, a pertinent and well-liked theme in the
late 1960s, and Kennedy won his Academy Award as a chaingang convict in a Southern state who battles Luke (played by
Newman) for leadership of the gang, then ends up Lukes friend
and would-be protector.
B E S T PI C TUR E
BONNI E AN D CLY D E, Tatira-Hiller, Warner Bros.-
Seven Arts. Produced by Warren Beatty.

D OCT OR D OLI T T LE, Apjac, 20th Century-Fox.
Produced by Arthur P. Jacobs.
T HE G RAD U AT E, Nichols-Turman, Embassy Pictures.
Produced by Lawrence Turman.
GU ESS W HO S COM I N G T O D I N N ER, Columbia.
Produced by Stanley Kramer.
* IN T HE HEAT OF T HE NI G HT , Mirisch, UA. Produced
by Walter Mirisch.
A C TO R
W ARREN BEAT T Y in Bonnie and Clyde, Tatira-Hiller,
Warner Bros.-Seven Arts.

D U ST I N HOFFM AN in The Graduate, Nichols-Turman,
Embassy Pictures.
P AU L N EW M AN in Cool Hand Luke, Jalem, Warner
Bros.-Seven Arts.
* ROD ST EI G ER in In the Heat of the Night, Mirisch, UA.
SP ENCER T RACY in Guess Whos Coming to Dinner,
Columbia.
A C TR E S S
ANNE BAN CROFT in The Graduate, Nichols-Turman,
Embassy Pictures.
FAY E D U N AW AY in Bonnie and Clyde, Tatira-Hiller,
D AM E ED I T H EVANS in The Whisperers, Seven Pines,
UA (British).
AU D REY HEP BU RN in Wait until Dark, Warner Bros.-
Seven Arts.
* K AT HARI NE HEP BU RN in Guess Whos Coming to
Dinner, Columbia.
JOHN CASSAVET ES in The Dirty Dozen, MKH Prods.,
M-G-M.
GENE HACK M AN in Bonnie and Clyde, Tatira-Hiller,
CECI L K ELLAW AY in Guess Whos Coming to Dinner,
Columbia.
* GEORG E K EN N ED Y in Cool Hand Luke, Jalem, Warner

Bros.-Seven Arts.
M I CHAEL J . P OLLARD in Bonnie and Clyde, TatiraHiller, Warner Bros.-Seven Arts.
192
CAROL CHAN N I NG in Thoroughly Modern Millie,
Hunter-Universal, Universal.
M I LD RED NAT W I CK in Barefoot in the Park, Wallis,
be s t s up p ort i n g actr es s : ESTELLE PARSONS as Blanche

Barrow in Bonnie and Clyde (Warner Bros.; directed by Arthur
Penn). Produced by Warren Beatty, Bonnie and Clyde made
waves and caused talk; there was considerable controversy about
whether or not it glamorized violence, but no argument whatsoever about its brilliance as a well-made motion picture or about
Estelle Parsonss performance as the noisy wife of Buck Barrow
(Gene Hackman) and sister-in-law of Clyde Barrow (Warren
Beatty), a team of real-life bank robbers and killers in Texas and
Oklahoma, just after the Depression.
Paramount.
* EST ELLE P ARSON S in Bonnie and Clyde, Tatira-Hiller,
BEAH RI CHARD S in Guess Whos Coming to Dinner,
Columbia.
K AT HARI NE ROSS in The Graduate, Nichols-Turman,
Embassy Pictures.
D I R E C TI N G
BONNI E AN D CLY D E, Tatira-Hiller, Warner Bros.-
Seven Arts. Arthur Penn.

* T HE G RAD U AT E, Nichols-Turman, Embassy Pictures.
Mike Nichols.
GU ESS W HO S COM I N G T O D I N N ER, Columbia.
Stanley Kramer.
IN COLD BLOOD , Pax Enterprises, Columbia. Richard
Brooks.
IN T HE HEAT OF T HE NI G HT , Mirisch, UA. Norman
Jewison.
WR I TI N G
COOL HAND LU K E, Jalem, Warner Bros.-Seven Arts.
Donn Pearce and Frank R. Pierson.
T HE GRAD U AT E, Nichols-Turman, Embassy Pictures.
Calder Willingham and Buck Henry.
I N COLD BLOOD , Pax Enterprises, Columbia. Richard
Brooks.
* I N T HE HEAT OF T H E N I G H T , Mirisch, UA. Stirling
Silliphant.
U LY SSES, Reade-Strick, Walter Reade-Continental
Distributing. Joseph Strick and Fred Haines.

s cr e e n )
BON N I E AND CLY DE , Tatira-Hiller, Warner Bros.-
Seven Arts. David Newman and Robert Benton.
D I VORCE AM ERI CA N S T YL E , Tandem-National
General, Columbia. Story by Robert Kaufman.

Screenplay by Norman Lear.
* GU ESS W HO S COM I N G T O DI N N E R , Columbia.
William Rose.
LA G U ERRE EST FI N I E , Sofracima-Europa, Brandon
Films (French). Jorge Semprun.
T W O FOR T HE ROAD, Donen, 20th Century-Fox.
Frederic Raphael.
(New classication: one award instead of separate
awards for black-and-white and color achievements)
* BONNI E AN D CLY D E , Tatira-Hiller, Warner Bros.Seven Arts. Burnett Guffey.
CAM ELOT , Warner Bros.-Seven Arts. Richard H. Kline.
D OCT OR D OLI T T LE , Apjac, 20th Century-Fox. Robert
Surtees.
T HE GRAD U AT E, Nichols-Turman, Embassy Pictures.
Robert Surtees.
I N COLD BLOOD , Pax Enterprises, Columbia. Conrad
Hall.
* CAM ELOT , Warner Bros.-Seven Arts. John Truscott and
Edward Carrere; John W. Brown.
D OCT OR D OLI T T LE , Apjac, 20th Century-Fox. Mario
Chiari, Jack Martin Smith and Ed Graves; Walter M.
Scott and Stuart A. Reiss.
G U ESS W HO S COM I N G T O DI N N E R , Columbia.
Robert Clatworthy; Frank Tuttle.
T HE T AM I N G OF T H E S H R E W , Royal Films
International-Films Artistici Internazionali,
Columbia. Renzo Mongiardino, John DeCuir, Elven
Webb and Giuseppe Mariani; Dario Simoni and Luigi
Gervasi.
T HOROU GHLY M ODE R N MI L L I E , Hunter-Universal,
Universal. Alexander Golitzen and George C. Webb;
Howard Bristol.
C O S TUM E D ESIGN
BON N I E AND CLY DE , Tatira-Hiller, Warner Bros.Seven Arts. Theadora Van Runkle.
* CAM ELOT , Warner Bros.-Seven Arts. John Truscott.
T HE HAP P I EST M I LL I O N A I R E , Disney, Buena Vista.
Bill Thomas.
8/8/13 7:27 PM
D OCT OR D OLI T T L E , Apjac, 20th Century-Fox. Leslie
Bricusse.
FAR FROM T HE M A DDI N G C R O W D, Appia, M-G-M.
Richard Rodney Bennett.
I N COLD BLOOD , Pax Enterprises, Columbia. Quincy
Jones.
* T HOROU G HLY M O DE R N M I L L I E , Hunter-Universal,
Universal. Elmer Bernstein.
(s cor in g of mu s ic ad aptatio n o r treatment)
* CAM ELOT , Warner Bros.-Seven Arts. Alfred Newman

and Ken Darby.
D OCT OR D OLI T T L E , Apjac, 20th Century-Fox. Lionel
Newman and Alexander Courage.
G U ESS W HO S CO M I N G T O DI N N E R , Columbia.
Frank DeVol.
T HOROU GHLY M O DE R N MI L L I E , Hunter-Universal,
Universal. Andr Previn and Joseph Gershenson.
VALLEY OF T HE D O L L S , Red Lion, 20th Century-Fox.
John Williams.
S H O R T S UBJECTS
(ca r t oon s )
* T HE BOX , Murakami-Wolf Films, Brandon Films. Fred

Wolf, producer.
HY P OT HESE BET A , Films Orzeaux, Pathe
Contemporary Films. Jean-Charles Meunier, producer.
W HAT ON EART H ! , National Film Board of Canada,
Columbia. Robert Verrall and Wolf Koenig, producers.
(liv e a ct ion )
P AD D LE T O T HE S E A , National Film Board of Canada,
Favorite Films of California. Julian Biggs, producer.

* A P LACE T O ST AN D, T.D.F. Prod. for The Ontario
Dept. of Economics and Development, Columbia.
Christopher Chapman, producer.
SKY OVER HOLLAND, Ferno Prod. for The Netherlands,
Warner Bros.-Seven Arts. John Ferno, producer.
ST OP , LOOK AN D L I S T E N , M-G-M. Len Janson and
Chuck Menville, producers.
D O C UM E N TARY
M ON U M ENT T O T H E DR E A M, Guggenheim Prods.
Charles E. Guggenheim, producer.
A P LACE T O ST AN D, T.D.F. Prod. for The Ontario
Department of Economics and Development,

Columbia. Christopher Chapman, producer.
* T HE RED W OOD S , King Screen Prods. Mark Harris and
Trevor Greenwood, producers.
SEE Y OU AT T HE P I L L A R , Associated British-Pathe
Prod. Robert Fitchett, producer.
W HI LE I RU N T HI S R A C E , Sun Dial Films for VISTA.
Carl V. Ragsdale, producer.
(fe a t u r e s )
t hal be rg aw ard w i nner : ALFRED HITCHCOCK (above,

receiving the award from Robert Wise). Its one of the Oscar
ironies that the great and prolic Alfred Hitchcock never won
an actual Academy Award statuette during his legendary career.
Although his rst American-made lm, Rebecca, received the
Oscar as 1940s best picture, and despite ve personal nominations (for Rebecca, 1944s Lifeboat, 1945s Spellbound, 1954s
THE TA MING O F TH E SH REW, Royal Films
International-Films Artistici Internazionali,

Columbia. Irene Sharaff and Danilo Donati.
THO R O U GHL Y MODERN MILLIE, HunterUniversal, Universal. Jean Louis.
S O U ND
C A ME L O T, Warner Bros.-Seven Arts. Warner Bros.-
Seven Arts Studio Sound Dept.

THE D IR TY D O Z EN, MKH Prods., M-G-M. MetroGoldwyn-Mayer Studio Sound Dept.
D O C TO R D O L ITTLE, Apjac, 20th Century-Fox. 20th
Century-Fox Studio Sound Dept.
* IN THE HE A T O F THE NIGH T, Mirisch, UA. Samuel
Goldwyn Studio Sound Dept.
THO R O U GHL Y MODERN MILLIE, HunterUniversal, Universal. Universal City Studio Sound
Dept.
F I LM ED I T I N G
BE A C H R E D , Theodora, UA. Frank P. Keller.

THE D IR TY D O Z EN, MKH Prods., M-G-M. Michael
Luciano.
D O C TO R D O L ITTLE, Apjac, 20th Century-Fox.
Samuel E. Beetley and Marjorie Fowler.
GU E S S W HO S COMING TO DINNER, Columbia.
Robert C. Jones.
* IN THE HE A T O F THE NIGH T, Mirisch, UA. Hal
Ashby.
Rear Window, and 1960s Psycho) and awards won by others

for work in or on Hitchcock lms, the master himself never
received an Oscar statuette. But he became an award winner in
1967 when he received, if not a statuette, a bust of Irving Thalberg as the prestigious Irving G. Thalberg Memorial Award for
consistently high quality of production throughout his long and
remarkable career.
S PE C I A L VI S UA L E F F E C TS
* D OCT OR D OLI T T LE, Apjac, 20th Century-Fox. L.B.

Abbott.
T OBRU K , Gibraltar-Corman-Universal, Universal.
Howard A. Anderson, Jr., and Albert Whitlock.
S O UN D E F F E C TS
(Not given after this year)

* THE DIRTY DOZEN, MKH Prods., M-G-M. John Poyner.
I N T HE HEAT OF T HE N I GHT , Mirisch, UA. James A.
Richard.
M US I C
(s on g )
* CLOSELY W AT CH E D T R A I N S (Czechoslovakia).
EL AM OR BRU J O (Spain).
I EVEN M ET HAP P Y G YPS I E S (Yugoslavia).
LI VE FOR LI FE (France).
P ORT RAI T OF CH I E K O (Japan).
HONORARY AND OTHER AWARDS 193

T O ART HU R FREE D for distinguished service to the
Academy and the production of six top-rated Awards
telecasts. (statuette)

T O ALFRED HI T C H C O C K
T O G REG ORY P EC K
T HE BARE N ECESSI T I ES (The Jungle Book, Disney,
T HE EY ES OF LOVE (Banning, Universal); Music by
Buena Vista); Music and Lyrics by Terry Gilkyson.
Quincy Jones. Lyrics by Bob Russell.

T HE LOOK OF LOVE (Casino Royale, Famous Artists,
Columbia); Music by Burt Bacharach. Lyrics by Hal
David.
* T ALK T O T HE ANI M ALS (Doctor Dolittle, Apjac, 20th
Century-Fox); Music and Lyrics by Leslie Bricusse.
T HOROU GHLY M OD ERN M I LLI E (Thoroughly Modern
Millie, Hunter-Universal, Universal); Music and Lyrics
by James Van Heusen and Sammy Cahn.
(or ig in a l mu s ic s cor e )
COOL HAND LU K E, Jalem, Warner Bros.-Seven Arts.
Lalo Schifrin.
* T HE AN D ERSON P L A T O O N , French Broadcasting

System. Pierre Schoendoerffer, producer.
FEST I VAL, Patchke Prods. Murray Lerner, producer.
HARVEST , U.S. Information Agency. Carroll Ballard,
producer.
A K I NG S ST ORY , Jack Le Vien Prod. Jack Le Vien,
producer.
A T I M E FOR BU RN I N G , Quest Prods. for Lutheran
Film Associates. William C. Jersey, producer.
None.
None.
ELECT RO- OP T I C A L DI V I S I O N of the
K OLLM ORGEN C O R PO R A T I O N ;
P AN AVI SI ON I N C O R PO R A T E D; F R E D R . W I L S O N
of the Samuel Goldwyn Studio Sound Dept.;
W ALD ON O. W AT S O N and the U N I V E R S A L C I T Y

ST U D I O SOU ND DE PT .
8/8/13 7:27 PM
19681977
The Academys Fifth Decade
he Academys fth decade saw the

fulllment of that dream which had
been in the making for almost fty
years: a new, specially designed headquarters for the organization, and for the rst
time all of the Academys many facilities
would be located under one roof. At last
Oscar would have a home of its own.
The new building, located at 8949
Wilshire Boulevard in Beverly Hills, was
designed by Maxwell Starkman and built
by the Buckeye Construction Company of
Los Angeles. The Academys activities were
initially organized into the seven oors as
follows:
Ground oor: grand lobby, patio, building foyer,
theater managers ofce, caterers workroom;
Second oor: Samuel Goldwyn Theater (1,111
seats), lobby display of one-sheet posters of past
Academy Awardwinning lms;
Third oor: special screening room (80 seats),
projection booth, editing room, lm storage
area;
Fourth oor: Margaret Herrick Research Library;
Fifth oor: library storage area;
Sixth oor: Academy membership ofce, Academy
Players Directory ofce, Scientic and Technical Awards ofce, theater operations ofce,
administrative ofce;
Seventh oor: executive ofces for the Academy
president, executive director, Board of Governors conference room.
Groundbreaking for the site took place on

September 18, 1973, and the ofcial dedication ceremony was held a little over two
years later, on December 8, 1975. At that
time the Academy hosted a series of grand
opening parties in the lobby of the new

complex for Academy members, press, civic
leaders and industry friends. Among those
attending the rst evening were sixteen
performers who had won Academy Awards
during preceding years: Red Buttons, Patty
Duke, Ben Johnson, Jack Lemmon, Karl
Malden, Walter Matthau, Sir Laurence
Olivier, Sidney Poitier, Ginger Rogers,
Harold Russell, Eva Marie Saint, Maximilian
Schell, Rod Steiger, Claire Trevor, Peter
Ustinov, and Shelley Winters. In addition to
organized tours of the building, guests were
invited into the Samuel Goldwyn Theater for
a special screening of sequences from all the
past Academy Award-winning best pictures,
beginning with Wings, the 192728 winner.
The whole decade was an active one for
the Academy. In 1969, it received one of
its most extensive donations to date, from
Paramount Pictures. The collection encompasses stills, scripts and press material from
more than 2,200 Paramount releases, dating to the earliest silent lm days. The opening of the new Academy building provided
the space for the proper ling and storage of
such collections donated to the Academy,
which now included the valuable RKO Radio
Studios still photos collection, the papers of
writer-director Lamont Johnson, the Cecil
B. DeMille still photograph books, the Howard Estabrook papers, the William Wright
collection, the Technicolor Film Continuity
Sheets, the Ivan Kahn collection, the Mack
Sennett collection, and the Lever Brothers
Lux Radio Theatre collection, among others.
The Margaret Herrick Library, named for
194
C A RY G R A N T
Im very grateful to the Academys Board for this

happy tribute, and to Frank for coming here especially
to give it to me, and to all the fellows who worked so
hard in finding and assembling those film clips. . . .
You know, I may never look at this without remembering the quiet patience of the directors who were
so kind to me, who were kind enough to put up with
me more than oncesome of them even three or four
times. There were Howard Hawks, Alfred Hitchcock,
the late Leo McCarey, George Stevens, George Cukor
and Stanley Donen. And all the writers . . . There
were Philip Barry, Dore Schary, Bob Sherwood, Ben
Hecht, dear Clifford Odets, Sidney Sheldon and more
recently Stanley Shapiro and Peter Stone. Well, I trust
they and all the other directors, writers and producers, and leading women, have all forgiven me what I
didnt know.
I realize its conventional and usual to praise ones
fellow workers on these occasions . . . but why not?
Ours is a collaborative medium; we all need each
other! And what better opportunity is there to publicly express ones appreciation and admiration and
affection for all those who contribute so much to each

of our welfare?
You know, Ive never been a joiner or a member of
anyoh, particularsocial set, but Ive been privileged to be a part of Hollywoods most glorious era.
And yet, tonight, thinking of all the empty screens
that are waiting to be filled with marvelous images,
ideologies, points of viewwhateverand considering all the students who are studying film techniques
in the universities throughout the world, and the
astonishing young talents that are coming up in our
midst, I think theres an even more glorious era right
around the corner.
So, before I leave you, I want to thank you very
much for signifying your approval of this. I shall
cherish it until I die . . . because probably no greater
honor can come to any man than the respect of his
colleagues.
Thank you.
Cary Grant
April 7, 1970, when receiving his 1969
Honorary Award
8/8/13 7:28 PM
John Wayne, Barbra Streisand (42nd Awards)
Cary Grant (42nd Awards)
195
JO HN WAY NE
For us in the industry the Oscar is the highest and

most cherished award. It is a goal for which all of
us instinctively strive. It is our most coveted honor,
because it means recognition from our peers.
It is also the only way we who work in front of
the camera have to publicly thank those wonderful
craftsmen, technicians and artists whose invention,
skill and imagination make us who paint our faces
popular, interesting, or at least palatable to the public
taste. To these people I will be forever grateful.
I spent nearly fifty years chasing this elusive fellow
with good performances and bad, so I was extremely
delighted when he was handed to me by Barbra
Streisand.
John Wayne
Best Actor, 1969
JOEL GREY
The night I won my Oscar for Cabaret, I went to the

ceremonies all but convinced I wouldnt win so, when
Diana Ross opened the envelope and the name she
announced was mine, it was like this incredible shot
of electricity or adrenalin swept through me, and the
moment seemed to stand still in time. All I remember
was kissing my wife, and then I guess my feet did
their stuff because the next thing I knew, I was no
longer in my seat but up on stage warming in the
affection and approval of my peers and finally saying,
Dont let anybody tell you this isnt terrific.
Joel Grey
M A RT H A RA YE
One of the proudest moments of my life was receiving the Oscar for the Jean Hersholt Humanitarian
Award.
Ever grateful.
Martha Raye
ONNA WHITE
Dear Oscar,
It is with great pleasure that I have been made a
part of your association by being named the first
female choreographer for a Special Oscar. Thank you.
Onna White
A L A N A N D M ARIL YN BERG MAN
About winning the Oscar? Its all been saidand all

of it is true.
But if you want to recall that feeling up there, our
advice is: win two.
Our first (for Windmills of Your Mind) was
dazzlinga thrillbut, alas, a blur. The second was
sweeter simply because we remember The Way We
Were!
Alan and Marilyn Bergman

Music (Song), 1968; 1973
Original Song Score, 1983
8/8/13 7:28 PM
The Dorothy Chandler Pavilion of the Los Angeles Music Center
the Academys rst librarian and later its

executive director who retired in 1970 after
forty years of service, also established a new
collection of its own: the Black American
Film History collection, to recognize and
preserve important contributions made by
blacks in the lm industry.
In 1970, the Academy joined with the
Writers Guild to jointly publish an extensive directory of screenwriting credits called
Who Wrote the Movie and What Else Did
He Write?, covering the years 1936 through
1969, lling a research need that had existed

for years. Two years later, in 1972, another
attempt was made in the area of publishing
an ongoing magazine, called Academy Leader,
offering news, reviews and photographs
about the motion picture industry. This was
planned as a quarterly publication, but it
only existed for three issues. A comprehensive book, Introduction to the Photoplay, was
published in 1978 as a limited edition by the
National Film Society, with the Academys
involvement and cooperation. The book
is based on previously unpublished works

compiled from fteen lectures delivered
back in 1929 at the University of Southern
California by leading lm professionals,
including Irving G. Thalberg, William
Cameron Menzies, William C. de Mille,
Conrad Nagel and Benjamin Glazer.
Both the Academy Players Directory and
the Screen Achievement Records Bulletin continued to ourish throughout the decade.
The Directory, still an invaluable aid for
casting purposes, had grown to include in
196
INGRID BERG M A N
I belong to the group of people who like the tradition

of the Academy Award under the friendly name of Oscar. I am aware that many people find that too many
artists have been overlooked. Too many people have
been given awards, as they used to say, for sentimental reasons. In other words, after several nominations
and losing the award, you would get it for a picture
less worthy. Well, I am not against the sentimentality of these awards. I am sad that people like Greta
Garbo and Ernst Lubitsch were overlooked. That
people like Charles Chaplin and Jean Renoir were
given Special Awards so late in their creative careers.
Despite its shortcomings, it is still the most valuable
award in the film industry of the entire world, and no
one can deny the excitement felt by the people present
at the award-giving ceremony or those watching it
at home on television. I look with pride on my three
and feel immensely happy and proud to have received
them.
Ingrid Bergman
J O E L H I RSC H H O RN
As a youngster I used to race to the Kingsbridge

Theatre in the Bronx and sit through all the popular
musicals, fantasizing about the day I could be a part
of Hollywood. My favorite was An American in
Paris, which I saw at least twenty times. You can
imagine, then, my sense of joy and fulfillment when I
won an Oscar, and the further excitement I felt being
presented the award by Gene Kelly.
Joel Hirschhorn
Music (Song), 1972; 1974
LEE GRANT
The Oscar has endured because of our yearning

for excellence. Getting one is like being appointed
valedictorian from the bottom of the class. The outs
like me, get their moment to be in, for as long as it
lasts.
Lee Grant
G E N E H A C K MAN
The Academy Award did one thing for me. It made me

far more patient of those sometimes protracted thankyou speeches of acceptance. Standing there, feeling the
weight of the statue for the rst time, you suddenly are
overwhelmed with the thought of thirty years of people
to be thanked and how to squeeze it into thirty seconds.
The Oscar meant two other things to me, two of the
lms I take a certain pride in having worked on. Ive
been told by the people who made them that the glow of
that Oscar had something to do with the opportunity
to get Scarecrow and Francis Coppolas The Conversation made. Its hard for me to believe that the power of
the scripts and the talent-value of the creators involved
wouldnt have made the lms inevitable. But Hollywood is lled with that kind of contradiction. If my
Oscar was put into the realization of two worthwhile
lms, chalk another two up for Oscar.
Gene Hackman
Best Actor, 1971
8/8/13 7:28 PM
Roger Moore, Liv Ullmann, Sacheen Littlefeather (45th Awards)
Lillian Gish, Melvyn Douglas (43rd Awards)
Charlie Chaplin comes home, April 10, 1972
197
CL O RIS L EA CH M A N
The American ethic is to be the best. From the Nobel

Prize to Queen for a Day, from the Olympics to the
best apple pie. At worst it is merchandising our business. It creates jobs and opportunities for everyone,
and in the tradition of great American competition
the Oscar reflects that.
We take turns being the catalyst for other professionals. We actors, producers, directors, writers,
etc., all motivate each other. My mother always said
there is plenty of room at the top. That to me means
excellence. With all the ramifications of the Academy
Awards, excellence encourages excellence. It nourishes
each of us.
I was astonished and literally swept off my feet by
the response that night I was honored. Suddenly it
was no longer a committee or a faceless group, it was
everybody cheering YEAH!! for you, and I can pass
that on. I felt that night that it wasnt necessary at
that point in my career but I certainly felt loved, and
it was terrific!
Cloris Leachman
C L I F F R O B E RT SO N
Charly was not an easy delivery . . . seven years. I

am indebted to all attendants. I am in debt to all who
believed.
Cliff Robertson
Best Actor, 1968
GOLDIE HAWN
I was in London when I first heard the news that I

won the Award. I was so sure that I was not going to
get it, that when I received the call at six in the morning, I had no idea who could be calling me at that hour.
After the hysterics and tears were over, I then wished
so hard that I could have been there to accept my
Oscar. Receiving an Academy Award for my first motion picture was, I realized, a great achievement, but it
didnt carry the impact for me as it would have, had I
done other pictures prior to winning and thereby been
more aware of how difficult it is to earn an Oscar.
But I am forever grateful.
Goldie Hawn
T A T U M O N EAL
That night was like a shining light which never

goes out. I sat with most of my beloved family and
suddenly my name was calledI was lifted up into
another world, leaving many childish things behind,
but happily.
I love my profession. It is important and noble.
Tatum ONeal
V E RN A F I E LDS
Winning the Oscar is for anyone in our industry the

ultimate accolade from ones peers. It is an honor to
receive and a feeling of great personal pride to feel one
has accomplished something to deserve it. As I glance
up and see my Oscar, it reminds me of the many years
it took to learn what I needed to know to achieve that
honor.
Verna Fields
Film Editing, 1975
8/8/13 7:28 PM
excess of ten thousand individual players.

More than fteen hundred copies per issue
were now being distributed. The Bulletin had
become equally indispensable, as the only
regularly published reference book compiling current individual screen credits.
The Student Film Awards program was inaugurated in 1973 as a program of the Academy and the Academy Foundation, and later
co-sponsored by the American Telephone
and Telegraph company, to recognize and
encourage excellence in college lmmaking. Since the annual program began, over
four hundred students per year from across
the United States were now taking part in
the competition, vying for awards and cash
grants, with their student lms judged in
four specic categories: dramatic, animated,
documentary and experimental lms. Honorary awards were now also given to lms of
exceptional merit not otherwise recognized
in the competition.
The Marvin Borowsky Lectureship on
Screenwriting was established in 1974 by Mr.
Borowskys widow, Maxine, and overseen
by the Academy as a series in which noted
screenwriters lecture on their craft, then answer questions posed by Academy members,
students of screenwriting and professionals
in attendance.
Throughout the decade, the Academy also
continued to extend Hollywood beyond
its own borders, with an extensive Visiting
Artists Program, providing distinguished
members of the lm industry for speaking engagements on college and university
campuses throughout the United States.
Eileen Heckart, Joel Grey, Liza Minnelli (45th Awards)
This program has been an attempt to bridge

the gap between the classroom and the
world of professional lmmakers, and
traveling participants during the decade
included such Academy members as Frank
Capra, King Vidor, Robert Towne, Rouben
Mamoulian, Lee Garmes, Thomas Stanford,
Verna Fields, Paul Schrader and Linwood
Dunn. Members waived any fees offered for
their speaking services, and the Academy
accepted no compensation for administering the program.
One of the projects of the Academy
Foundation (established in 1944) has been
the annual disbursement of grants, fellowships and internships to individuals and/or

organizations, to support and encourage a
wide spectrum of lm-related projects. The
Academy Internship Program, administered
by the American Film Institute, allows lm
students and professionals to study the
making of motion pictures from inception
through completion, working side by side
with distinguished directors. There have also
been scholarship grants to students majoring
in the lm sciences, selected with the cooperation of the Society of Motion Picture and
Television Engineers, and nancial assistance
198
SIR JO HN MILLS
Expressing my thoughts on receiving the Oscar proves

rather difficult, as on that particular evening my
mind was almost a complete blank, but I do know
that it was one of the most exciting things that has
ever happened to me. In fact, I have barely recovered
from the shock yet.
I send my very best wishes to the Academy.
Sir John Mills, C.B.E.

GEO RGE RO Y H ILL
Awards for any of the arts have always struck me as

unavoidably capricious and, more often than not,
given for reasons other than for genuine artistic
achievement. Time is going to be the final judge of
merit regardless of what the contemporary awards say.
But knowing this somehow did not diminish one whit
my delight in receiving it. It was a hell of a thrill.
George Roy Hill

Best Director, 1973
LIONEL NEWMAN
One of the odd sensations with respect to winning an

Oscar is that the magic moment and the Cinderella
evening inevitably have to end. Actually, upon hearing ones name called, one doesnt care about himself,
but is concerned that his wife, children and friends
are proud of himto say nothing of his peers.
So many people make it all possible. I have been
nominated eleven times and finally received the Oscar
for Hello, Dolly! Im damned proud to display it
where it can be seen. No bullshit about a doorstop or
using it as a paperweight.
I love our industry and am very grateful to be a
small part of it.
Lionel Newman
Score of a Musical Picture (Original or
Adaptation), 1969
B E N J O H N SO N
I will always be grateful to the Academy for the fair

and impartial way in which it conducts the Oscar
Awards.
For an Oklahoma cowboy-turned-actor to win
a major award, without a campaign or war-chest,
proved to me beyond a shadow of doubt that the
Academy always deals from the top of the deck. And
as I said when I received the Award, It couldnt have
happened to a nicer feller!
Ben Johnson
L I Z A M I N N E L LI
It was wonderful to be even nominated, and then

receiving the Oscar knowing that my peers had voted
for me was totally thrilling and an honor I will cherish always.
Liza Minnelli
Best Actress, 1972
8/8/13 7:28 PM
James Caan, Raquel Welch (46th Awards)
199
JO HN SCHL ES IN G ER
I was in England shooting Sunday Bloody Sunday

when the Academy Awards were to be announced for
the previous year, and Midnight Cowboy was one of
the nominations. Obviously, we had all prepared ourselves not to win, and although United Artists said
they would stop shooting and pay for me to fly over
for the occasion, I thought there would be nothing
worse than the possibility of my returning emptyhanded to my unit, who might have been hanging
around for three days waiting for a jet-lagged director.
At 5:15 English time on the morning of the Awards,
the telephone rang, and my secretary from Midnight
Cowboy (who was by now working for the Academy
Awards show) was backstage, and they were just
coming up to the writer awards. She certainly had a
sense of timing. Everyone in my house grabbed extension phones, and we listened to the distant sounds
of the Academy Awards night over the transatlantic
phone connected backstage, where my ex-secretary
screamed with delight every time Cowboy won
another award.
In many ways it was the best way to hear the

news. There was not much work done on the set
that daytoo many interruptions and celebratory
drinks, but I was happy to share the occasion with
my unit and cast. After all, the pleasure of winning an Academy Award is that it is an accolade from
ones colleagues and peers.
John Schlesinger
Best Director, 1969
B E A T R I C E ST RA I G H T
Next to my marriage and the birth of my children,

winning the Oscar was one of the most exciting and
happy moments of my lifefull of deep gratitude to
my fellow actors and partners in work, and the joy of
being an artist. I was also fully aware that I was only
one of many, but had been lucky enough to be in the
right part at the right time.
Beatrice Straight
E I L E E N H E C KART
All the people who have touched your life win

with you. You suddenly even hear from that frecklefaced boy who sat behind you in psychology class
in 1942.
Eileen Heckart
C A R M I N E C OP P OL A
As I get older, I realize how much more I need to learn;

how different it is than when I was a young composer,
out to dazzle everyone. I knew everything.
When I received the Oscar for Best Music Score I
finally realized, not only a great prize and honor, but
also that possibly I had started to learn something
about music and in a little while longer could learn
even more. My years with Juilliard, Toscanini and
Joseph Schellinger in composition served me well.
Carmine Coppola
Music (Original Dramatic Score), 1974
8/8/13 7:28 PM
David Niven and friend (46th Awards)
to several scholarly projects involving such

elds as animation and set design.
But the decade wasnt all conned to
scholarly endeavors. On May 11, 1977, fty
years to the day after the initial Academy of
Motion Picture Arts and Sciences organization meeting in the Crystal Ballroom of
the Los Angeles Biltmore Hotel, a yearlong
celebration of Oscars Fiftieth Anniversary
ofcially began in the same room, lled
with a towering birthday cake, attended by
Academy leaders, lm industry executives,
civic ofcials and friends, and emceed by
Bob Hope.
Katharine Hepburn (46th Awards)
Proclamations honoring the Academy

and its contributions were presented by the
City of Los Angeles, the State of California,
the United States Senate, the House of Representatives, and President Jimmy Carter.
Life memberships were presented to sixteen
lm professionals who were admitted to
the Academy during its rst year, and a
twenty-two-minute lm called The First Fifty
Years, hosted by Jack Lemmon, was shown.
It marked the rst time the Academy had
described its own broad range of activities
on lm, and the featurette was later made
available to schools, museums, service clubs,
and other organizations for showing. A

special seven-minute version was also made
available to theaters across the country,
prior to the Fiftieth Academy Awards presentation, to further enhance public interest in Oscars golden anniversary.
While the Academy itself began a retrospective series showing all of the past
Oscar-winning best picture selections in the
Samuel Goldwyn Theater, the organization
also participated in a series of television
specials aired on the ABC-TV network. They
included Oscars Best Music (telecast
November 25, 1975), Oscars Best Movies
WILLIAM GOLDMAN
Personally, I dont believe that movies are good or

bad when they are released. They either work or
dont work. I think the former terms are something
only to be used when time has had a chance to operate. But the awards, as they should be, are about
movies that work or dont work for the public. Has a
flop ever won anything? Doubtful.
Okay, to try and sum up: if we knew who was close
to winning, or the order of the five, or at least the
runner-up, we would have a wonderful way of trying
to gauge the sentiment and thoughts of the industry
at a particular point in time.
200
EL L EN BURST Y N
When I was awarded my Oscar, I couldnt be there to

receive it in person because I was working in a play
in New York. Two nights later, Jack Lemmon and
Walter Matthau delivered my gold statue to the
theater in New York, then took me out to dinner with
a few friends afterwards. During dinner Oscar sat
on the floor in a little felt bag between Walter and
me. Over coffee, I turned to Walter and said, What
is that down there in the bag, Walter? What is an
Oscar? What does it mean? And Walter said, Lets
put it this way, Ellen. When you die, the newspapers
will say, The Academy Awardwinning actress Ellen
Burstyn died today.
Oh, said the Academy Awardwinning actress,
and finished her coffee, silent and informed.
Ellen Burstyn
Best Actress, 1974
I understand the voting is secret, the specific results

never announced; and that is as it should be. But
why couldnt we have a listing of the order of the five
candidates? Or, if you feel that would be embarrassing, why not make some kind of note when the voting
was particularly close? (Say, for example, when the
second place winner was within a certain percentage
of winning.)
I think this is valid for one reason and one reason
only. We all knowthose of us who work in the movie
businessthat it is an industry award. And only
occasionally do we sense the mood of the industry
clearly. Example: I dont think theres any doubt in
most peoples minds that Taylor won Best Actress
in 1960, not for Butterfield 8, but because she had
pneumonia and came back, and the industry properly
loves survivors. Also, Taylor had not won for either
Cat on a Hot Tin Roof or, most particularly, the year
before in Suddenly, Last Summer.
William Goldman
Writing (Story and Screenplay based
on material not previously published
or produced), 1969
Writing (Screenplay based on material
from another medium), 1976
8/8/13 7:28 PM
Carmine Coppola, Francis Ford Coppola (47th Awards)
201
RICHARD D R EY FUS S
The night was a complete fuzz out. At the time, it

seemed highly rational that I was being considered for
an Academy Award. It was only later I realized that,
my God, I won the Best Actor Award of 1977.
I wanted to be in control so that when I turned to
the audience I could appreciate the experience moment
by moment, but my mind turned to Jell-O and all I
could do was guffaw into the microphone.
Weve all participated in two rituals: one is the
watching of the Academy Awards and the other is the
putting down of the Academy Awards. Both are very
sacred and traditional American events. I always
vowed that I would never go to an Academy Awards
presentation that I was involved in. (This was in my
days of chutzpah and cockiness.) But as the reality
became closer and closer and I saw myself in a vision:
driving the Pacific Coast Highway alone in my car
listening to the Academy Awards presentation on the
radio, and hearing my name and saying to myself
Schmuck . . . what are you doing here? So, I decided I

would go to the Oscars.
It is extraordinary, but the most relevant part of
the experience to me is not from that night, but from
what I have been carrying with me ever since. And
that is this: I would have to work very hard to deny
my success now. I would have to expend an enormous amount of effort to say that Im not doing well
in this business. The accolade, the acceptance, the
acknowledgment that this award has given me, to my
surprise, more whiffs of personal happiness in my
soul than I ever expected it to do. Usually once every
two or three days, for periods of two or three minutes
at a time, an enormous giggle of happiness comes over
me . . . not only that I won, that I am the winner, but
that Im here and Im me and I can enjoy it and its
all wonderful.
Richard Dreyfuss
Best Actor, 1977
F A YE D U N A WAY
All my years of work as an actress seemed to come

together the night I won the Oscar for Network, and
for a brief moment I felt that I had reached the pinnacle. That kind of elation lasts only for a few hours,
but its something Ill always remember.
In this business you go on to the next film, or play,
or whatever, and its almost like starting from scratch
every time. Winning an Oscar doesnt mean you can
rest on your laurels, and it certainly shouldnt become
a bench mark for measuring subsequent performances
because you have to approach each new role as a totally separate entity if youre going to maintain your
integrity as an artist. If you dwell too long in past
achievements, youre in trouble.
Success is a relative quotient, and fame can be
ephemeral. An Oscar is something that becomes a
part of your record, a tangible acknowledgment that
your efforts have made a difference.
Faye Dunaway
Best Actress, 1976
8/8/13 7:28 PM
(February 13, 1977), Oscar Presents the

War Movies and John Wayne (November
22, 1977), and Oscars Best Actors (aired
May 23, 1978). These activities culminated,
with an appropriate serving of spectacle, at
the actual Fiftieth Academy Awards presentation, April 3, 1978, which also had many
television viewers.
It was a far, far cry from those beginning
days when only a handful of interested
pioneers started it all. At the conclusion of
its fth decade, the Academy was already
a survivor of wars, depressions, prosperity,
political unrest, criticisms, revolutionary
inventions, changing styles, and even a
gate-crasher and a streaker. And more noteworthy times were still to come.
t he fi ft h d e c a de
June 1967May 1968 . . . . . . . . . . . . . . . . Gregory Peck
June 1970May 1971 . . . . . . . . . . . . . .Daniel Taradash
June 1973May 1974 . . . . . . . . . . . . . . .Walter Mirisch
June 1977May 1978 . . . . . . . . . . . . . Howard W. Koch
Ingrid Bergman (47th Awards)
202
BURT BACHA R A CH
When I was nominated three years in a row, it was a

tremendously exciting thing, but the night that I won
two Oscars has to just about qualify as one of the
greatest nights in my life.
Burt Bacharach
Music (Song), 1969; 1981
AL K ASHA
My father was a barber and I lived over a store in

Brooklyn. The possibility of winning an award like this
seemed an impossible dream. It was an overwhelming
feeling that night when my name was announced. I
remembered the days over that store and said to myself,
This cant be happening to Al Kasha!
MILOS FORMAN
I was sitting in the auditorium at the Academy

Awards with my two twelve-year-old sons. They had
arrived the night before from Czechoslovakia. It was
their first time in America, and I hadnt seen them in
five years. We were strangers to each other that evening. They didnt speak English, but they had learned
the name of my film: Cuksunext.
The film was mentioned as a nominee for Best
Supporting Actor. The boys got very excited, and when
George Burns won in this category for The Sunshine
Boys, my boys gave me a standing ovation.
Cut it, I said. You are making fools of yourselves.
We lost.
They looked at me like I was making a very bad
joke. After we lost four nominations in a row, Petr
fell asleep and Matej started concentrating on his

bubble gum. I realized that if I didnt win, the boys
would never understand what they had come for.
Finally, I won. I was filled with pride and selfconfidence as a father. Tell me anything in the world
you want, I said generously. Ill get it for you.
Anything? They looked at each other.
Anything.
Without hesitation, they replied, We want to meet
that Columbo guy Peter Falk, and then we want to see
Jaws!
Milos Forman
Al Kasha
Music (Song), 1972; 1974
8/8/13 7:28 PM
Louise Fletcher (48th Awards)
Diane Keaton (50th Awards)
203
DO NAL D W. M A CD OUG A LL
And the winner is, . . . the sound of silence that follows those words is deafening. In that brief instant,
you relive all the torturous hours spent in personal
anguish breathing life into an image on the screen.
When Star Wars won Best Sound for 1977, I was
immediately filled with an overwhelming sense of
accomplishment and pride for my colleagues, for our
work, for having made a journey filled with great
adventure.
Donald W. MacDougall
Sound, 1977
JO HN BARR Y
It was without doubt the high point of my career as a

designer. The number of foreign technicians who have
been honored in this way illustrates the generosity of
the Academy and the truly international nature of the
industry.
John Barry
Art Direction, 1977
R O B E RT B L A L A C K
The release of Star Wars became a phenomenon in

America and the world, rivaled perhaps only by the
Hula Hoop. My surprise at its instant success was
only surpassed by my astonishment that we might
win an Oscar for the visual effects. I was completely
uncertain whether Close Encounters would win, and
I felt that as their effects might be seen as more traditional, we might well not be the Oscar recipients.
I was focused on the part of the event which was the
Visual Effects Oscar, and when they started to list the
contenders, I felt like I was walking a tightrope across
a significant divide. The envelope please statement
made me want to freeze time and suspend it there: I
didnt want to know the results. As Joan Fontaine
started to read our names, I felt transformed, completely acknowledged, and elated. We all ran up to the
stage, hugging each other and laughing uncontrollably.
I had prepared a speech in case we won, and I had
been careful in it to say that the award was possible
only because of the past effects workers, and the optical effects crew. I wanted to be clear that this is our
Oscar.
Having received it, I am now much more credible

to filmmakers and producers, and I do not have to
explain or justify what I did on Star Wars.
The little fellow carries a great deal of weight.
Robert Blalack
Visual Effects, 1977
G E O R G E B U RNS
I was thrilled when I was nominated, but it was very,

very exciting to win an Oscar. Imagine, winning an
Oscar when youre eighty years old. Ive been in show
business all my life, and Ive always played myself,
George Burns. Here I make one movie, The Sunshine
Boys, where for the first time I didnt play myself.
I played a character, Al Lewis, and won an Oscar. I
guess that could mean Ive been doing the wrong thing
for the last eighty years. Its a good thing I found out
before its too late.
George Burns
8/8/13 7:28 PM
1968
The Forty-First Year
t almost required a certied public accountant to keep tabs on the records set
during the 1968 Oscar awards, held April
14, 1969. Katharine Hepburn became the
rst person to win three Academy Awards in
either the best actor or best actress categories (Walter Brennan had earlier won three
in the supporting classication), winning
this time for The Lion in Winter. Having also
won the preceding year, she became the
third individual (following Luise Rainer and
Spencer Tracy) to win the honor in consecutive years. Her eleven acting nominations
were also a new industry record. Further,
Miss Hepburn won this latest award in a tie
with Barbra Streisand (for Funny Girl), the
second time in history two performers had
tied for a single Oscar honor.
This tie, however, was precedent-setting.
In 193132, when Fredric March and Wallace Beery were announced as co-winners as
best actor, a tie was ofcially declared, but at
that time the policy was to award a tie when
any runner-up came within three votes of
a winner. Beery, it was announced, had
come within one vote of Marchs total. To
share the honor under 1968 rules, both Miss
Hepburn and Miss Streisand had to receive
the exact same number of votes from the
Academys 3,030 voting members. Streisand
was present to receive her Oscar; Hepburn
was not.
For the rst time in years, the Oscar show
also changed residences, moving to the
3,400-seat Dorothy Chandler Pavilion of
the Los Angeles Music Center for the awards
presentation. Gower Champion produced,
directed and choreographed the program

for the Academy, while Richard Dunlap produced and directed for ABC. There was no
single emcee; instead, awards were handed
out by a rotating group of ten Oscars Best
Friends, including Ingrid Bergman, Rosalind Russell, Frank Sinatra, Burt Lancaster,
Sidney Poitier, Walter Matthau, Jane Fonda,
Natalie Wood, Diahann Carroll and Tony
Curtis.
Oliver! received ve awards including best
picture and best director (Carol Reed), the
biggest total of the evening. Cliff Robertson in Charly was named best actor, Jack
Albertson in The Subject Was Roses was
best supporting actor, and Ruth Gordon in
Rosemarys Baby was best supporting actress.
The U.S.S.R.s mammoth War and Peace was
chosen best foreign language lm.
Bob Hope, in a brief appearance, received
an ovation from the industry audience
as did one of his former co-stars, Martha
Raye. She was presented the Jean Hersholt
Humanitarian Award, the rst woman so
honored. For the rst time in forty years,
the actual ceremony was not carried on any
radio station, but it was telecast worldwide
in thirty-seven countries, in a fty-six minute capsule version, bringing Oscar and the
awards to an estimated international audience of somewhere between two hundred
fty million and six hundred million people.
204
be s t p i c t ure : OLIVER! (Columbia; produced by John Woolf)
and be s t d i re c t or: CAROL REED for Oliver! Charles
Dickenss 130-year-old story Oliver Twist, following the adventures of a nine-year-old runaway orphan in 19th-century London,
had been lmed eight times as a straight Dickens drama, then
was streamlined as a London stage musical in 1960 with music,
lyrics and book by Lionel Bart, then became an Academy Award
winning picture. It marked a distinct change of pace for director
Carol Reed, best known for mystery-dramas such as those which
had won him earlier Oscar nominations, 1949s The Fallen Idol
and 1950s The Third Man. The lively Oliver! cast included Ron
Moody, Oliver Reed, Shani Wallis, Hugh Grifth, Jack Wild,
and (at right, holding empty bowl) Mark Lester. The picture
won ve awards, plus a special award to Onna White for her
choreography.
8/8/13 7:28 PM
best actor: CLIFF ROBERTSON as Charly Gordon in Charly

(Cinerama Releasing; directed by Ralph Nelson). Robertson
had played Charly on television, as a 1961 U.S. Steel Hour drama,
then bought the property and helped bring it to the screen. He
portrayed a mentally retarded adult of thirty who undergoes an
experimental brain operation and briey becomes a man of superior intellect before tragically regressing to his former condition.
Filming was done in Boston, and Claire Bloom co-starred as a
therapist with whom Charly (at left, in center) has a romantic
attachment.
205
For the second time in Academy Awards history, two performers tied in a single acting category.
be s t ac t re s s : KATHARINE HEPBURN as Eleanor of Aquitaine (above, left) in The Lion in
Winter (Avco Embassy; directed by Anthony Harvey) and b es t a ctr e s s : BARBRA STREISAND
as Fanny Brice (above, right) in Funny Girl (Columbia; directed by William Wyler). For Miss
Hepburn, it was her 36th lm and her third Oscar for acting, a new record in that category, as the
estranged wife of aging King Henry II; for Miss Streisand, it was her rst lm, a re-creation and
extension of her 1964 Broadway success as Ziegfelds great musical comedienne.
8/8/13 7:28 PM
Nominations 1968
b e s t f ore i g n l an gu a g e f i l m : WAR AND PEACE from

Union of Soviet Socialist Republics. It was a truly monumental
undertaking, an adaptation of Leo Tolstoys epic novel, directed
by Sergei Bondarchuk, which took ve years to lm at a reported
cost of $100 million, and ran 7 hours and 14 minutes in its
original form (but cut to 6 hours, 13 minutes for United States
distribution). Filled with awesome scenes of a magnitude rarely
(if ever) captured on lm before, War and Peace set a new standard for the grandiose lm, and became the rst Russian-made
lm honored by the Academy in its foreign language lm award
category. Sergei Bondarchuk directed and co-starred (as Pierre),
with Ludmila Savelyeva (as Natasha) and Vyacheslav Tihonov
(as Andrei).
B E S T PI C TUR E
t h e s cr e e n )
FU N N Y GI RL, Rastar, Columbia. Produced by Ray Stark.

T HE LI ON I N W I N T ER, Haworth, Avco Embassy.
T HE BAT T LE OF ALG I E R S , Igor-Casbah, Allied Artists
A C TO R
A C TR E S S
(Italian). Franco Solinas and Gillo Pontecorvo.

FACES, Cassavetes, Walter Reade-Continental. John
Produced by Martin Poll.
Cassavetes.
* OLIVER!, Romulus, Columbia. Produced by John Woolf.
HOT M I LLI ON S, Alberg, M-G-M. Ira Wallach and Peter
RACHEL, RACHEL, Kayos, Warner Bros.-Seven Arts.
Ustinov.
Produced by Paul Newman.
* T HE P ROD U CERS, Glazier, Avco Embassy. Mel Brooks.
ROM EO AN D J U LI ET , B.H.E.-Verona-De Laurentiis,
2001 : A SP ACE OD Y S S E Y, Polaris, M-G-M. Stanley
Paramount. Produced by Anthony Havelock-Allan and
Kubrick and Arthur C. Clarke.
John Brabourne.
FU NNY G I RL, Rastar, Columbia. Harry Stradling.
I CE ST AT I ON Z EBRA , Filmways, M-G-M. Daniel L.
Bros.-Seven Arts.
Fapp.
ALAN BAT ES in The Fixer, Frankenheimer-Lewis,
OLI VER! Romulus, Columbia. Oswald Morris.
M-G-M.
* ROM EO AN D J U LI ET , B.H.E.-Verona-De Laurentiis,
RON M OOD Y in Oliver!, Romulus, Columbia.
Paramount. Pasqualino De Santis.
P ET ER O T OOLE in The Lion in Winter, Haworth, Avco
ST AR!, Wise, 20th Century-Fox. Ernest Laszlo.
Embassy.
* CLI FF ROBERT SON in Charly, ABC-Selmur, Cinerama.
ALAN ARK I N in The Heart Is a Lonely Hunter, Warner
* K AT HARI NE HEP BU RN in The Lion in Winter,

Haworth, Avco Embassy.
P AT RI CI A N EAL in The Subject Was Roses, M-G-M.
VAN ESSA RED GRAVE in Isadora, Hakim-Universal,
Universal.
* BARBRA ST REI SAND in Funny Girl, Rastar, Columbia.
JOANNE W OOD W ARD in Rachel, Rachel, Kayos,
* JACK ALBERT SON in The Subject Was Roses, M-G-M.

SEY M OU R CASSEL in Faces, Cassavetes, Walter ReadeContinental.
D AN I EL M ASSEY in Star!, Wise, 20th Century-Fox.
JACK W I LD in Oliver! Romulus, Columbia.
GENE W I LD ER in The Producers, Glazier, Avco Embassy.
LY N N CARLI N in Faces, Cassavetes, Walter Reade-
206
Continental.
* RU T H G ORD ON in Rosemarys Baby, Castle,
Paramount.
SOND RA LOCK E in The Heart Is a Lonely Hunter,
K AY M ED FORD in Funny Girl, Rastar, Columbia.
EST ELLE P ARSON S in Rachel, Rachel, Kayos, Warner
Bros.-Seven Arts.
D I R E C TI N G
T HE BAT T LE OF ALGI ERS, Igor-Casbah, Allied Artists
(Italian). Gillo Pontecorvo.
T HE LI ON I N W I N T ER, Haworth, Avco Embassy.
Anthony Harvey.
* OLI VER!, Romulus, Columbia. Carol Reed.
ROM EO AN D J U LI ET , B.H.E.-Verona-De Laurentiis,
Paramount. Franco Zefrelli.
2001 : A SP ACE OD Y SSEY , Polaris, M-G-M. Stanley
Kubrick.
* OLI VER! Romulus, Columbia. John Box and Terence

Marsh; Vernon Dixon and Ken Muggleston.
T HE SHOES OF T HE F I S H E R MA N , Englund, M-G-M.
George W. Davis and Edward Carfagno.
ST AR!, Wise, 20th Century-Fox. Boris Leven; Walter M.
Scott and Howard Bristol.
2001 : A SP ACE OD Y S S E Y, Polaris, M-G-M. Tony
Masters, Harry Lange and Ernie Archer.
WAR AND PEACE, Moslm, Walter Reade-Continental
(Russian). Mikhail Bogdanov and Gennady
Myasnikov; G. Koshelev and V. Uvarov.
C O S TUM E D ESIGN
T HE LI ON I N W I NT E R , Haworth, Avco Embassy.
Margaret Furse.
OLI VER!, Romulus, Columbia. Phyllis Dalton.

P LANET OF T HE AP E S , Apjac, 20th Century-Fox.
Morton Haack.
* ROM EO AN D J U LI ET , B.H.E.-Verona-De Laurentiis,
Paramount. Danilo Donati.
ST AR!, Wise, 20th Century-Fox. Donald Brooks.
S O UN D
BU LLI T T , Solar, Warner Bros.-Seven Arts. Warner Bros.-
Seven Arts Studio Sound Dept.
FI N I AN S RAI N BOW , Warner Bros.-Seven Arts.
Warner Bros.-Seven Arts Studio Sound Dept.
FU NNY G I RL, Rastar, Columbia. Columbia Studio
Sound Dept.
* OLI VER, Romulus, Columbia. Shepperton Studio Sound
Dept.
ST AR!, Wise, 20th Century-Fox. 20th Century-Fox
Studio Sound Dept.
F I LM E D I TI NG
* BU LLI T T , Solar, Warner Bros.-Seven Arts. Frank P.

Keller.
FU NNY G I RL, Rastar, Columbia. Robert Swink, Maury
Winetrobe and William Sands.
WR I TI N G
T HE OD D COU P LE, Koch, Paramount. Frank Bracht.
OLI VER!, Romulus, Columbia. Ralph Kemplen.
* T HE LI ON I N W I N T ER, Haworth, Avco Embassy. James W I LD I N T HE ST REE T S , American International
Pictures. Fred Feitshans and Eve Newman.
Goldman.
T HE OD D COU P LE, Koch, Paramount. Neil Simon.
S
PE C I A L VI SU AL EFFECTS
OLI VER!, Romulus, Columbia. Vernon Harris.
I CE ST AT I ON Z EBRA , Filmways, M-G-M. Hal Millar
RACHEL, RACHEL, Kayos, Warner Bros.-Seven Arts.
and J. McMillan Johnson.
Stewart Stern.
* 2001 : A SP ACE OD YS S E Y, Polaris, M-G-M. Stanley
ROSEM ARY S BABY , Castle, Paramount. Roman
Kubrick.
Polanski.
(s t or y a n d s cr e e n p la yw r it t e n dir e ct ly for
M US I C
8/8/13 7:28 PM
(s on g ori g i n al f o r th e pi ctu r e)
C HITTY C HITTY B ANG B ANG (Chitty Chitty Bang
Bang, Wareld, UA); Music and Lyrics by Richard M.

Sherman and Robert B. Sherman.
FO R L O VE O F IVY (For Love of Ivy, ABC-Palomar,
Cinerama); Music by Quincy Jones. Lyrics by Bob
Russell.
FUNNY GIR L (Funny Girl, Rastar, Columbia); Music
by Jule Styne. Lyrics by Bob Merrill.
STA R ! (Star!, Wise, 20th Century-Fox); Music by
James Van Heusen. Lyrics by Sammy Cahn.
* THE WINDMILLS OF YOUR MIND (The Thomas
Crown Affair, Mirisch-Simkoe-Solar, UA); Music by
Michel Legrand. Lyrics by Alan and Marilyn Bergman.
(ori g i n al s c ore f o r a m o ti o n pi ctu r e
[ n ot a m us i c al ] )
THE F O X, Stross-Motion Pictures International,
Claridge Pictures. Lalo Schifrin.

* THE L IO N IN W I NTER, Haworth, Avco Embassy.
John Barry.
P L A NE T O F THE APES, Apjac, 20th Century-Fox.
Jerry Goldsmith.
THE S HO E S O F T H E FISHERMAN, Englund, M-G-M.
Alex North.
THE THO MA S C ROWN AFFAIR, Mirisch-SimkoeSolar, UA. Michel Legrand.
(s c ore of a m us ica l pi ctu r eo r i g i na l o r
ad ap t at i on )
be s t s u p p or t in g a ct r e s s : RUTH GORDON as Minnie

Castevet (above, with Mia Farrow) in Rosemarys Baby (Paramount; directed by Roman Polanski). Gordon was no stranger to
the Academys honor rolls when she won her Oscar as a mysterious neighbor (and witch) in Ira Levins chiller story about dark
powers in modern day Manhattan. Earlier nominated as a per-
former for 1965s Inside Daisy Clover, she also had been nominated three times for her screenwriting: for 1947s A Double
Life, 1950s Adams Rib, and 1952s Pat and Mike. Receiving her
rst Oscar at age seventy-two, she smiled and said, I cant tell
ya how encouragin a thing like this is. . . .
be s t s u p p or t in g a ct or : JACK ALBERTSON as John

Cleary in The Subject Was Roses (M-G-M; directed by Ulu
Grosbard). Author Frank Gilroy refused to sell the rights to his
Pulitzer Prizewinning play unless it was agreed Jack Albertson
would replay his original role in the screen version. Gilroy got his
way, and Albertson got an Oscar for his exacting performance

as the hostile husband of Patricia Neal and the vitriolic father
of Martin Sheen (above, at right, sparring with Albertson), all
living out their damaged lives in a Bronx apartment.
FINIA N S R A INBOW, Warner Bros.-Seven Arts.
Adaptation score by Ray Heindorf.
FUNNY GIR L , Rastar, Columbia. Adaptation score by
Walter Scharf.
* O L IVE R ! , Romulus, Columbia. Adaptation score by
John Green.
STA R ! , Wise, 20th Century-Fox. Adaptation score by
Lennie Hayton.
THE Y O UNG GIRLS OF ROCHEFORT, Mag BodardGilbert de Goldschmidt-Parc Film-Madeleine Films,
Warner Bros.-Seven Arts (French). Music and
adaptation score by Michel Legrand. Lyrics by Jacques
Demy.
(c art oon s )
THE HO U SE THA T JACK B UILT, National Film Board
of Canada, Columbia. Wolf Koenig and Jim MacKay,

producers.
THE MA GIC P E A R TREE, Murakami-Wolf Films, Bing
Crosby Prods. Jimmy Murakami, producer.
W IND Y D A Y , Hubley Studios, Paramount. John and
Faith Hubley, producers.
* W INNIE THE P O OH AND TH E B LUSTERY DAY,
Disney, Buena Vista. Walt Disney, producer.
(l i ve ac t i on )
THE D O VE , Coe-Davis, Schoenfeld Films. George Coe,
Sidney Davis and Anthony Lover, producers.
D UO , National Film Board of Canada, Columbia.

P R E L UD E , Prelude Company, Excelsior Dist. John
Astin, producer.
* R O BE R T K E NNE DY REMEMB ERED, Guggenheim
Prods., National General. Charles Guggenheim,
producer.
D O CU M EN T AR Y
THE HO U SE THA T ANANDA B UILT, Films Division,
Government of India. Fali Bilimoria, producer.
THE R E VO L VING DOOR, Vision Associates for
American Foundation Institute of Corrections. Lee R.

Bobker, producer.
A SP A C E TO GR OW, Ofce of Economic Opportunity
for Project Upward Bound. Thomas P. Kelly, Jr.,
producer.
A W A Y O UT O F T HE WILDERNESS, John Sutherland
Prods. Dan E. Weisburd, producer.
* W HY MA N C R E ATES, Saul Bass & Associates. Saul
Bass, producer.
(f e at ure s )
A FE W NO TE S O N OUR FOOD PROB LEM, U.S.
Information Agency. James Blue, producer.

* JO UR NE Y INTO SELF, Western Behavioral Sciences
Institute. Bill McGaw, producer.
THE L E GE ND A R Y CHAMPIONS, Turn of the Century
Fights. William Cayton, producer.
O THE R VO IC E S, DHS Films. David H. Sawyer,
producer.
Y O U NG A ME R ICANS, The Young Americans Prod.
Robert Cohn and Alex Grasshoff, producers.
(n ot e : you n g a merican s was originally voted the
award but later on [May 7, 1969] was declared ineligible after it was learned picture was rst shown in
a theater in October 1967 and therefore not eligible
for a 1968 Award. jou rn ey in to s elf, rst runnerup, was announced as the ofcial winner on May 8,
1969.)
T HE BOY S OF P AU L ST REET (Hungary).

T HE FI REM EN S BALL (Czechoslovakia).
T HE GI RL W I T H T HE P I ST OL (Italy).
ST OLEN K I SSES (France).
* W AR AND P EACE (U.S.S.R.).

T O J OHN CHAM BERS for his outstanding makeup
achievement for Planet of the Apes. (statuette)
T O ONNA W HI T E for her outstanding choreography
achievement for Oliver! (statuette)
T O M ART HA RAY E
S C I E N TI F I C O R TE C H N I C A L
CLASS I (s t a t u e t t e )
P HI LI P V. P ALM Q U I ST of Minnesota Mining and
Manufacturing Co., to D R. HERBERT M EY ER of the
Motion Picture and Television Research Center, and

to CHARLES D . ST AFFELL of the Rank Organization
for the development of a successful embodiment of
the reex background projection system for composite
cinematography.
EAST M AN K OD AK COM P ANY for the development
and introduction of a color reversal intermediate lm
for motion pictures.
D ON ALD W . NOR W O O D for the design and
development of the Norwood Photographic Exposure

Meters.
EAST M AN K OD AK C O M PA N Y and PR O DU C E R S
SERVI CE COM P A N Y for the development of a new
high-speed step-optical reduction printer.
ED M U N D M . D I G I U L I O , N I E L S G . PE T E R S E N
and N ORM AN S . H U G H E S of the Cinema Product
Development Company for the design and application

of a conversion which makes available the reex
viewing system for motion picture cameras.
OP T I CAL COAT I N G L A B O R A T O R I E S , I N C . , for the
development of an improved anti-reection coating
for photographic and projection lens systems.
EAST M AN K OD AK C O M PA N Y for the introduction of
a new high-speed motion picture color negative lm.
P ANAVI SI ON I NC O R PO R A T E D for the conception,
design and introduction of a 65mm hand-held motion
picture camera.
T OD D - AO COM P A N Y and the MI T C H E L L C A ME R A
COM P ANY for the design and engineering of the
Todd-AO hand-held motion picture camera.
207
CARL W. HAUGE and EDWARD H. REICHARD of
Consolidated Film Industries and E. MICHAEL
MEAHL and ROY J. RIDENOUR of Ramtronics;
EASTMAN KODAK COMPANY and CONSOLIDATED
FILM INDUSTRIES.
CLASS I I (p la qu e )
8/8/13 7:28 PM
1969
The Forty-Second Year
he 1969 Academy Awards had a distinctly western avor. Butch Cassidy

and the Sundance Kid, a blockbuster
about two real-life, turn-of-the-century
gunmen, received the most Oscars for the
yearfour, including two statuettes to composer Burt Bacharach for his music. Midnight Cowboy, a stark contemporary drama
about a different sort of western hero,
won three awards, including best picture
and best director (John Schlesinger). And
the most durable cowboy of all, John Wayne,
was named best actor for True Grit, playing a
paunchy and ctional U.S. Marshal.
The awards were presented April 7, 1970,
again at the Dorothy Chandler Pavilion of
the Los Angeles Music Center, produced by
M.J. Frankovich and directed by Jack Haley,
Jr., with Richard Dunlap producing and
directing for the ABC-TV network. For the
second year, there was no ofcial master
of ceremonies. Awards were presented by
seventeen Friends of Oscar: Bob Hope,
John Wayne, Barbra Streisand, Fred Astaire,
Jon Voight, Myrna Loy, Clint Eastwood,
Raquel Welch, Candice Bergen, James Earl
Jones, Katharine Ross, Cliff Robertson, Ali
MacGraw, Barbara McNair, Elliott Gould,
Claudia Cardinale andwearing a muchpublicized $1.5 million diamondElizabeth
Taylor.
The years best actress award went to
Englands Maggie Smith for The Prime of
Miss Jean Brodie, Goldie Hawn was named
best supporting actress for Cactus Flower,
and Gig Young was chosen best supporting
actor for They Shoot Horses, Dont They?
Z, also nominated in the best picture

category, was honored as the best foreign
language lm, possible under 1969 qualication rules.
Possibly the most popular award of the
evening was the honorary statuette presented to Cary Grant, a durable screen
contributor who had never been honored
previously by Academy voters. He received
a standing ovation after a montage of
lm clips from his thirty-four-year screen
career was shown. Frank Sinatra made the
presentation to Grant, an actor and gentleman whose image was a 180 turn from the
cowboy image that dominated the rest of
the evening.
208
be s t ac t re s s : MAGGIE SMITH as Jean Brodie in The Prime
of Miss Jean Brodie (20th Century-Fox; directed by Ronald
Neame). Miss Brodie, an odd and spinsterish Edinburgh schoolteacher with a air for unconsciously imparting dangerous
misinformation to her students, was created on the London stage
by Vanessa Redgrave and on Broadway by Zoe Caldwell; in her
screen incarnation, she was played by Maggie Smithand played
brilliantly. Smith was a winner again in 1978, for her supporting
performance in California Suite.
8/8/13 7:28 PM
be s t a ct or : JOHN WAYNE as Rooster Cogburn in True

Grit (Paramount; directed by Henry Hathaway). Hollywoods
durable Duke, at age sixty-two, celebrated his fortieth year in
the lm business with a towering role and performance, as a
hard-drinking, one-eyed, old U.S. Marshal who helps a young
girl (Kim Darby, above, with Wayne) and a Texas Ranger (Glen
Campbell) avenge a murder in 1880 Arkansas. Wayne had also
been an Academy Award nominee in 1949 for Sands of Iwo
Jima and again played crusty Rooster in a 1975 sequel, Rooster
Cogburn, with Katharine Hepburn. He made his nal public appearance at an Academy Awards telecast in April 1979, just two
months before his death.
209
be s t p ict u r e : MIDNIGHT COWBOY (United Artists;

produced by Jerome Hellman) and be s t dir e ct or : JOHN
SCHLESINGER for Midnight Cowboy. At the time, Midnight
Cowboy had been given an X-rating by the Motion Picture Association of America, making it the rst lm with that rating
to win the Academys highest award; in later years, however, it
was reclassied to an R (for Restricted). Tough and hard-hitting,
it took a compassionate look at some humanity encased at the
bottom of the world, and starred (right) Dustin Hoffman as a
sickly con man and Jon Voight as a would-be male hustler, attempting to survive together. It also won an Oscar for Waldo
Salts screenplay.
8/8/13 7:28 PM
Nominations 1969
BUTCH CASSIDY AND THE SUNDANCE KID (20th CenturyFox; produced by John Foreman) told the tongue-in-cheek exploits
of two real-life, turn-of-the-century outlaws, played by Paul
Newman and Robert Redford (above), and was a genuine audience pleaser. It was also the years most honored lm by Academy
voters, with four awards: for story and screenplay (by William
Goldman), cinematography (Conrad Hall), song (Raindrops
Keep Fallin on My Head by Burt Bacharach and Hal David),
and original score of a nonmusical (Burt Bacharach).
B E S T PI C TUR E
ANNE OF T HE T HOU SAND D AY S, Wallis-Universal,
be s t s up p ort i n g acto r : GIG YOUNG as Rocky in They

Shoot Horses, Dont They? (Cinerama Releasing; directed by
Sydney Pollack). Nominated for Oscars in 1951 for Come Fill
the Cup and in 1958 for Teachers Pet, and best known as a
light comedian, Gig Young won his Academy statuette as a jaded,
puffy-eyed, and dissipated dance marathon emcee of the Depression years in the drama based on a 1935 novel by Horace McCoy.
The cast also included Jane Fonda, Michael Sarrazin, Susannah
York, Red Buttons and Bruce Dern.
Universal. Produced by Hal B. Wallis.
BU T CH CASSI D Y AN D T HE SU ND AN CE K I D ,
Hill-Monash, 20th Century-Fox. Produced by John

Foreman.
HELLO, D OLLY !, Chenault, 20th Century-Fox.
Produced by Ernest Lehman.
* M I D N I GHT COW BOY , Hellman-Schlesinger, UA.
Produced by Jerome Hellman.
Z , Reggane Films-O.N.C.I.C., Cinema V (Algerian).
Produced by Jacques Perrin and Hamed Rachedi.
* M I D N I GHT COW BO Y, Hellman-Schlesinger, UA. John

Schlesinger.
T HEY SHOOT HORS E S , DO N T T H E Y?, ChartoffWinkler-Pollack, ABC Pictures, Cinerama. Sydney
Pollack.
Costa-Gavras.
WR I TI N G
AN N E OF T HE T HOUS A N D DA YS , Wallis-Universal,
Universal. Screenplay by John Hale and Bridget Boland.

Adaptation by Richard Sokolove.
A C TO R
G OOD BY E, COLU M B U S , Willow Tree, Paramount.
RI CHARD BU RT ON in Anne of the Thousand Days,
Arnold Schulman.
Wallis-Universal, Universal.
* M I D N I GHT COW BO Y, Hellman-Schlesinger, UA.
D U ST I N HOFFM AN in Midnight Cowboy, HellmanWaldo Salt.
Schlesinger, UA.
T HEY SHOOT HORS E S , DO N T T H E Y?, ChartoffPETER OTOOLE in Goodbye, Mr. Chips, Apjac, M-G-M.
Winkler-Pollack, ABC Pictures, Cinerama. James Poe
JON VOI G HT in Midnight Cowboy, Hellmanand Robert E. Thompson.
Schlesinger, UA.
Jorge Semprun and Costa-Gavras.
* JOHN W AY N E in True Grit, Wallis, Paramount.
A C TR E S S
GENEVI EVE BU J OLD in Anne of the Thousand Days,
(s t or y a n d s cr e e n p lay b ased o n material

n ot p r e v iou s ly p u blished o r pro d uc ed )
BOB & CAROL & T E D & A L I C E , Frankovich,
Columbia. Paul Mazursky and Larry Tucker.

* BU T CH CASSI D Y AN D T H E S U N DA N C E K I D, HillMonash, 20th Century-Fox. William Goldman.
T HE D AM NED , Pegaso-Praesidens, Warner Bros. Story
by Nicola Badalucco. Screenplay by Nicola Badalucco,
Enrico Medioli and Luchino Visconti.
EASY RI D ER, Pando-Raybert, Columbia. Peter Fonda,
Dennis Hopper and Terry Southern.
T HE W I LD BU N CH, Feldman, Warner Bros.-Seven Arts.
Story by Walon Green and Roy N. Sickner. Screenplay
RU P ERT CROSSE in The Reivers, Ravetch-Kramer-Solar,
by Walon Green and Sam Peckinpah.
Cinema Center Films, National General.
ELLI OT T GOU LD in Bob & Carol & Ted & Alice,
Frankovich, Columbia.
JACK NI CHOLSON in Easy Rider, Pando-Raybert,
Universal. Arthur Ibbetson.
Columbia.
BOB & CAROL & T E D & A L I C E , Frankovich,
ANT HONY Q U AY LE in Anne of the Thousand Days,
Columbia. Charles B. Lang.
* BU T CH CASSI D Y AN D T H E S U N DA N C E K I D, Hill* GI G Y OU N G in They Shoot Horses, Dont They?,
Monash, 20th Century-Fox. Conrad Hall.
Chartoff-Winkler-Pollack, ABC Pictures, Cinerama.
HELLO, D OLLY !, Chenault, 20th Century-Fox. Harry
Stradling.
M AROONED , Frankovich-Sturges, Columbia. Daniel
CAT HERI N E BU RNS in Last Summer, Perry-Alsid, Allied
Fapp.
Artists.
D Y AN CAN N ON in Bob & Carol & Ted & Alice,
Frankovich, Columbia.
* GOLD I E HAW N in Cactus Flower, Frankovich,
Columbia.
Universal. Maurice Carter and Lionel Couch; Patrick
SY LVI A M I LES in Midnight Cowboy, HellmanMcLoughlin.
Schlesinger, UA.
G AI LY , G AI LY , Mirisch-Cartier, UA. Robert Boyle and
SU SANNAH Y ORK in They Shoot Horses, Dont They?,
George B. Chan; Edward Boyle and Carl Biddiscombe.
* HELLO, D OLLY !, Chenault, 20th Century-Fox. John
DeCuir, Jack Martin Smith and Herman Blumenthal;
D I R E C TI N G
Walter M. Scott, George James Hopkins and Raphael
ALI CE S REST AU RANT , Florin Prod., UA. Arthur Penn.
Bretton.
BU T CH CASSI D Y AN D T HE SU ND AN CE K I D , HillMonash, 20th Century-Fox. George Roy Hill.
JAN E FON D A in They Shoot Horses, Dont They?,

LI Z A M I NNELLI in The Sterile Cuckoo, Boardwalk,
Paramount.
JEAN SI M M ONS in The Happy Ending, Pax Films, UA.
* M AG G I E SM I T H in The Prime of Miss Jean Brodie, 20th
Century-Fox.
210
8/8/13 7:28 PM
be s t s u p p or t in g ac tress: GOLDIE HAWN as Toni Simmons in Cactus Flower (Columbia; directed by Gene Saks).
Goldie came to the movies from TVs successful Laugh-In series
and won the Academy Award for her rst post-Laugh-In performance, as a kooky Greenwich Village girl pursued by a middleaged dentist (Walter Matthau) who pretends to be married to an
unfaithful wife (Ingrid Bergman), who is in reality only his
dental assistant, all adding to many comical situations.
SW E E T C HA R ITY, Universal. Alexander Golitzen and
George C. Webb; Jack D. Moore.
THE Y S HO O T HORSES, DONT TH EY?, Chartoff-
Winkler-Pollack, ABC Pictures, Cinerama. Harry

Horner; Frank McKelvy.
* A NNE O F THE THOUSAND DAYS, Wallis-Universal,

Universal. Margaret Furse.
GA IL Y , GA IL Y , Mirisch-Cartier, UA. Ray Aghayan.
HE L L O , D O L L Y ! , Chenault, 20th Century-Fox. Irene
Sharaff.
SW E E T C HA R ITY, Universal. Edith Head.
THE Y S HO O T HORSES, DONT TH EY?, ChartoffWinkler-Pollack, ABC Pictures, Cinerama. Donfeld.
S O U ND
A NNE O F THE THOUSAND DAYS, Wallis-Universal,
Universal. John Aldred.
BUTC H C A SS ID Y AND THE SUNDANCE KID, Hill-
Monash, 20th Century-Fox. William Edmondson

and David Dockendorf.
GA IL Y , GA IL Y , Mirisch-Cartier, UA. Robert Martin
and Clem Portman.
* HE L L O , D O L L Y ! , Chenault, 20th Century-Fox. Jack
Solomon and Murray Spivack.
MA R O O NE D , Frankovich-Sturges, Columbia. Les
Fresholtz and Arthur Piantadosi.
F I LM ED I T I N G
HE L L O , D O L L Y ! , Chenault, 20th Century-Fox.
William Reynolds.
MID NIGHT C O WB OY, Hellman-Schlesinger, UA.
Hugh A. Robertson.
THE S E C R E T O F SANTA V ITTORIA, Kramer, UA.
William Lyon and Earle Herdan.
THE Y S HO O T HORSES, DONT TH EY?, Chartoff-
Winkler-Pollack, ABC Pictures, Cinerama. Fredric

Steinkamp.
* Z , Reggane Films-O.N.C.I.C., Cinema V (Algerian).
Franoise Bonnot.
K R A KA TO A , E A S T OF JAV A, ABC-Cinerama,
Cinerama. Eugene Lourie and Alex Weldon.

* MA R O O NE D , Frankovich-Sturges, Columbia. Robbie
Robertson.
MUSIC
C O ME SA TU R D AY MORNING (The Sterile Cuckoo,
Boardwalk, Paramount); Music by Fred Karlin. Lyrics

by Dory Previn.
JE A N (The Prime of Miss Jean Brodie, 20th CenturyFox); Music and Lyrics by Rod McKuen.
* R A IND R O P S K E EP FALLIN ON MY HEAD (Butch
Cassidy and the Sundance Kid, Hill-Monash, 20th
Century-Fox); Music by Burt Bacharach. Lyrics by
Hal David.
TR UE GR IT (True Grit, Wallis, Paramount); Music by
Elmer Bernstein. Lyrics by Don Black.
W HAT ARE Y OU D OI N G T HE REST OF Y OU R LI FE?
(The Happy Ending, Pax Films, UA); Music by Michel

Legrand. Lyrics by Alan and Marilyn Bergman.
(or ig in a l s cor e for a mot ion p ict u r e

[n ot a mu s ica l])
AN N E OF T HE T HOU SAN D D AY S, Wallis-Universal,
Universal. Georges Delerue.
* BU T CH CASSI D Y AN D T HE SU ND AN CE K I D , HillMonash, 20th Century-Fox. Burt Bacharach.

T HE REI VERS, Ravetch-Kramer-Solar, Cinema Center
Films, National General. John Williams.
T HE SECRET OF SANT A VI T T ORI A, Kramer, UA.
Ernest Gold.
T HE W I LD BU N CH, Feldman, Warner Bros.-Seven Arts.
Jerry Fielding.
(s cor e of a mu s ica l p ict u r e or ig in a l
or a da p t a t ion )
G OOD BY E, M R. CHI P S, Apjac, M-G-M. Music and
Lyrics by Leslie Bricusse. Adaptation score by John

Williams.
* HELLO, D OLLY !, Chenault, 20th Century-Fox.
Adaptation score by Lennie Hayton and Lionel
Newman.
PAINT YOUR WAGON, Lerner, Paramount. Adaptation
score by Nelson Riddle.
SW EET CHARI T Y , Universal. Adaptation score by Cy
Coleman.
T HEY SHOOT HORSES, D ON T T HEY ? , ChartoffWinkler-Pollack, ABC Pictures, Cinerama. Adaptation
score by John Green and Albert Woodbury.
(ca r t oon s )
* I T S T OU GH T O BE A BI RD , Disney, Buena Vista.

Ward Kimball, producer.
OF M EN AND D EM ONS, Hubley Studios, Paramount.
John and Faith Hubley, producers.
W ALK I NG, National Film Board of Canada, Columbia.
Ryan Larkin, producer.
(liv e a ct ion )
BLAK E, National Film Board of Canada, Vaudeo Inc.
Doug Jackson, producer.
* T HE M AGI C M ACHI N ES, Fly-By-Night Prods., Manson

Distributing. Joan Keller Stern, producer.
P EOP LE SOU P , Pangloss Prods., Columbia. Marc
Merson, producer.
D O C UM E N TA R Y
* CZ ECHOSLOVAK I A 1968 , Sanders-Fresco Film

Makers for U.S. Information Agency. Denis Sanders
and Robert M. Fresco, producers.
AN I M P RESSI ON OF J OHN ST EI N BECK : W RI T ER,
Donald Wrye Prods. for U.S. Information Agency.

Donald Wrye, producer.
J ENNY I S A G OOD T HI NG, A.C.I. Prod. for Project
Head Start. Joan Horvath, producer.
LEO BEU ERM AN, Centron Prod. Arthur H. Wolf and
Russell A. Mosser, producers.
T HE M AG I C M AC H I N E S , Fly-By-Night Prods., Manson
Distributing. Joan Keller Stern, producer.
(fe a t u r e s )
* ART HU R RU BI N ST E I N T H E L O V E O F L I F E , Midem
Prod. Bernard Chevry, producer.
BEFORE T HE M OU N T A I N W A S M O V E D, Robert K.
Sharpe Prods. for The Ofce of Economic Opportunity.
Robert K. Sharpe, producer.
I N T HE Y EAR OF T H E PI G , Emile de Antonio Prod.
Emile de Antonio, producer.
T HE OLY M P I CS I N M E X I C O , Comite Organizador de
los Juegos de la XIX Olimpiada.
T HE W OLF M EN , M-G-M. Irwin Rosten, producer.
D ALEN 31 (Sweden).
T HE BAT T LE OF N E R E T V A (Yugoslavia).
T HE BROT HERS KA R A MA ZO V (U.S.S.R.).
M Y N I GHT W I T H MA U D (France).
* Z (Algeria).

T O CARY G RAN T for his unique mastery of the art
of screen acting with the respect and affection of his

colleagues. (statuette)

211
T O G EORGE J ESS E L
None.
HAZ ELT I NE CORP O R A T I O N for the design and
development of the Hazeltine Color Film Analyzer.
FOU AD SAI D for the design and introduction of the
Cinemobile series of equipment trucks for location

motion picture production.
J U AN D E LA CI ER V A and DYN A S C I E N C E S
CORP ORAT I ON for the design and development of
the Dynalens optical image motion compensator.
OT T O P OP ELK A of Magna-Tech Electronics Co., Inc.;
FENT ON HAM I LT O N of M-G-M Studios;
P ANAVI SI ON I NC O R PO R A T E D;
ROBERT M . FLY N N and R U S S E L L H E S S E Y of
Universal City Studios, Inc.
8/8/13 7:28 PM
1970
The Forty-Third Year
n a movie year dominated by escalating admission prices at the box ofce,

a widespread invasion of pornographic
movies and extensive unemployment
among lm craftsmen, 20th CenturyFoxs Patton dominated the 1970 Academy
Awards, presented April 15, 1971, at the
Dorothy Chandler Pavilion of the Los Angeles Music Center. Patton won seven awards,
including best picture, best actor (George C.
Scott), best director (Franklin J. Schaffner),
and best story and screenplay (Francis Ford
Coppola and Edmund H. North).
Scott chose to decline the nomination
and the award, but it remained an Academy
Award fact. As explained by then-President
of the Academy Daniel Taradash, Nominations and awards are voted for achievements
as they appear on the screen; therefore a
person responsible for the achievement cannot decline the nomination after it is voted.
Actually, Mr. Scott is not involved. It is his
performance in Patton which is involved.
Except for Patton, the only other 1970
release to win more than one award was
Ryans Daughter, with two, best supporting
actor (John Mills) and best cinematography (Freddie Young). The rest of the years
honors were evenly distributed over ten
other lms, including Love Story, M*A*S*H,
Woodstock, Tora! Tora! Tora!, Cromwell, and
Italys Investigation of a Citizen above Suspicion. Glenda Jackson was named best actress
for Women in Love, and Helen Hayes was
named best supporting actress for Airport.
Miss Hayes, a best actress Oscar winner in
193132, became the rst actor or actress to
receive Academy Awards in the two categories honoring performers. The Beatles also
became Academy Award winners, for their
original song score for Let It Be.
The telecast was produced for the
Academy by Robert E. Wise, and aired over
NBC-TV for the rst time in eleven years,
produced and directed for the network by
Richard Dunlap. Award presentation and
hosting duties were handled by thirty-four
different Friends of Oscar, including
Merle Oberon, Steve McQueen, Jeanne
Moreau, Bob Hope, Maggie Smith, Walter
Matthau, Joan Blondell and the rst Oscar
winner, Janet Gaynor. Ingmar Bergman
was voted the 1970 Irving G. Thalberg Memorial Award, Frank Sinatra received the Jean
Hersholt Humanitarian Award, and honorary Oscars went to two motion picture legends for their superlative and distinguished
service in the making of motion pictures:
Lillian Gish and Orson Welles.
212
be s t ac t re s s : GLENDA JACKSON as Gudrun Brangwen
in Women in Love (United Artists; directed by Ken Russell).
Glenda Jackson was a powerful, fascinating newcomer to lm
audiences when she rst appeared as D.H. Lawrences ill-fated
Gudrun, at once vulnerable, domineering, condent, brutal and
always memorable, caught in a tragic affair with a gruff, earthy
coal-mining executive (Oliver Reed, right, with Jackson). She
created her own unique niche as a screen actress, won the Academy Award, and, three years later, won a second one for 1973s
A Touch of Class. She also received nominations in 1971 for
Sunday Bloody Sunday and in 1975 for Hedda.
8/8/13 7:28 PM
213
be s t p i c t ure : PATTON (20th Century-Fox; produced by

Frank McCarthy); be s t di r ecto r : FRANKLIN J. SCHAFFNER; and be s t ac t o r : GEORGE C. SCOTT as Gen. George S.
Patton, Jr. (above), in Patton. Producer McCarthy began in 1951
trying to ignite interest in a screen biography of World War IIs
amboyant General Patton, but the project generated no interest for eighteen years, until it received the green light from 20th
Century-Fox. In its nal form, it turned out to be a brilliant lm

and a riveting examination of a controversial soldier in wartime,
following Patton from 1943 in North Africa when he assumed
command of the Second Army, to 1945, just before he died in an
auto accident. George C. Scott dominated the lm as the complex
mandedicated but disobedient, merciless but compassionate,
persevering and swaggeringand Patton ultimately received
seven Academy Awards, including ones for story and screenplay,

art direction, sound and lm editing. Expected to be an extremely
tough sell in a world preoccupied with the pros and cons of
Americas involvement in the then-current Vietnam War, this
drama about a World War II tyrant turned out not only to be
well respected by critics but a popular attraction with the ticketbuying public as well.
8/8/13 7:28 PM
B E S T PI C TUR E
AI RP ORT , Hunter-Universal, Universal. Produced by
Nominations 1970
Ross Hunter.
FI VE EASY P I ECES, BBS Productions, Columbia.
Produced by Bob Rafelson and Richard Wechsler.

LOVE ST ORY , Love Story Company, Paramount.
Produced by Howard G. Minsky.
M * A* S*H, Aspen, 20th Century-Fox. Produced by Ingo
Preminger.
* P AT T ON, 20th Century-Fox. Produced by Frank
McCarthy.
A C TO R
M ELVY N D OU G LAS in I Never Sang for My Father,
Jamel, Columbia.
JAM ES EARL J ON ES in The Great White Hope, Turman,
20th Century-Fox.
JACK NI CHOLSON in Five Easy Pieces, BBS
Productions, Columbia.
RY AN O N EAL in Love Story, Love Story Company,
Paramount.
* GEORG E C. SCOT T in Patton, 20th Century-Fox.
A C TR E S S
JAN E ALEX AND ER in The Great White Hope, Turman,
20th Century-Fox.
* GLEND A J ACK SON in Women in Love, Kramer-Rosen,
UA.
ALI M ACG RAW in Love Story, Love Story Company,
Paramount.
SARAH M I LES in Ryans Daughter, Faraway, M-G-M.
CARRI E SN OD G RESS in Diary of a Mad Housewife,
Perry, Universal.
* M * A* S*H, Aspen, 20th Century-Fox. Ring Lardner, Jr.

W OM EN I N LOVE, Kramer-Rosen, UA. Larry Kramer.
(story and screenplaybased on factual material
or material not previously published or produced)
FI VE EASY P I ECES, BBS Productions, Columbia. Story
by Bob Rafelson and Adrien Joyce. Screenplay by

Adrien Joyce.
J OE, Cannon Group, Cannon Releasing. Norman
Wexler.
LOVE ST ORY , Love Story Company, Paramount. Erich
Segal.
M Y N I GHT AT M AU DS , Films du Losange-F.F.P.-Films
du Carrosse-Films des Deux Mondes-Les Films de la
Pliade-Productions de la Guville-Renn Films-Simar
Films, Path Contemporary Films (French). Eric
Rohmer.
* P AT T ON, 20th Century-Fox. Francis Ford Coppola and
Edmund H. North.
AI RP ORT , Hunter-Universal, Universal. Ernest Laszlo.

P AT T ON , 20th Century-Fox. Fred Koenekamp.
* RY AN S D AU GHT ER , Faraway, M-G-M. Freddie Young.
T ORA! T ORA! T ORA ! , 20th Century-Fox. Charles
F. Wheeler, Osami Furuya, Sinsaku Himeda and

Masamichi Satoh.
W OM EN I N LOVE, Kramer-Rosen, UA. Billy Williams.
AI RP ORT , Hunter-Universal, Universal. Alexander
Golitzen and E. Preston Ames; Jack D. Moore and

Mickey S. Michaels.
T HE M OLLY M AGU I R E S , Tamm Prods., Paramount.
Tambi Larsen; Darrell Silvera.
RI CHARD CAST ELLANO in Lovers and Other Strangers,
ABC Pictures, Cinerama.
* P AT T ON, 20th Century-Fox. Urie McCleary and Gil
Parrondo; Antonio Mateos and Pierre-Louis Thevenet.
CHI EF D AN GEORG E in Little Big Man, HillerSCROOG E, Waterbury Films, Cinema Center Films,
Stockbridge, Cinema Center Films, National General.
National General. Terry Marsh and Bob Cartwright;
GENE HACK M AN in I Never Sang for My Father, Jamel,
Pamela Cornell.
Columbia.
T ORA! T ORA! T ORA ! , 20th Century-Fox. Jack Martin
JOHN M ARLEY in Love Story, Love Story Company,
Smith, Yoshiro Muraki, Richard Day and Taizoh
Paramount.
Kawashima; Walter M. Scott, Norman Rockett and
* JOHN M I LLS in Ryans Daughter, Faraway, M-G-M.
Carl Biddiscombe.
K AREN BLACK in Five Easy Pieces, BBS Productions,
Columbia.
LEE GRANT in The Landlord, Mirisch-Cartier II, UA.

* HELEN HAY ES in Airport, Hunter-Universal, Universal.
SALLY K ELLERM AN in M*A*S*H, Aspen, 20th
Century-Fox.
M AU REEN ST AP LET ON in Airport, Hunter-Universal,
Universal.
D I R E C TI N G
FELLI NI SAT Y RI CON , Grimaldi, UA (Italian). Federico
Fellini.
C O S TUM E D ESIGN
AI RP ORT , Hunter-Universal, Universal. Edith Head.

* CROM W ELL, Irving Allen, Columbia. Vittorio Nino
Novarese.
D ARLI N G LI LI , Geoffrey Prods., Paramount. Donald
Brooks and Jack Bear.
T HE HAW AI I ANS, Mirisch, UA. Bill Thomas.
SCROOG E, Waterbury Films, Cinema Center Films,
National General. Margaret Furse.
S O UN D
AI RP ORT , Hunter-Universal, Universal. Ronald Pierce
and David Moriarty.

* P AT T ON, 20th Century-Fox. Douglas Williams and
Don Bassman.
M * A* S*H, Aspen, 20th Century-Fox. Robert Altman.
RY AN S D AU G HT ER , Faraway, M-G-M. Gordon K.
* P AT T ON, 20th Century-Fox. Franklin J. Schaffner.
McCallum and John Bramall.
W OM EN I N LOVE, Kramer-Rosen, UA. Ken Russell.
T ORA! T ORA! T ORA ! , 20th Century-Fox. Murray
WR I TI N G
Spivack and Herman Lewis.
W OOD ST OCK , Wadleigh-Maurice. Warner Bros. Dan
Wallin and Larry Johnson.
AI RP ORT , Hunter-Universal, Universal. George Seaton.
I N EVER SAN G FOR M Y FAT HER, Jamel, Columbia.
F I LM E D I TI NG
Robert Anderson.
AI RP ORT , Hunter-Universal, Universal. Stuart Gilmore.
LOVERS AN D OT HER ST RANGERS, ABC Pictures,
M *A* S*H, Aspen, 20th Century-Fox. Danford B.
Cinerama. Renee Taylor, Joseph Bologna and David
Greene.
Zelag Goodman.
LOVE ST ORY , Love Story Company, Paramount. Arthur
Hiller.
214
be s t s up p ort i n g actr es s : HELEN HAYES as Ada

Quonsett in Airport (Universal; directed by George Seaton).
Helen Hayes hadnt made a lm in the 14 years since 1956s
Anastasia when she signed on as the elderly stowaway in Airport,
inadvertently on a jet ight with a psychopathic bomber among
its passengers. A previous Academy winner as best actress of
193132, she became the rst performer to win Oscars in both
the leading and supporting acting categories. Airport spawned
a series of subsequent movies that used the original lms title
and formula, and kept MCA-Universal stockholders smiling for
several seasons.
be s t s up p ort i n g acto r : JOHN MILLS as Michael in

Ryans Daughter (M-G-M; directed by David Lean). Mills (at
right, center, with Trevor Howard and Leo McKern) played a
gentle but misshapen village mute in David Leans epic drama,
set during the 1916 Irish Revolution and lmed in Ireland and
Africa. It was Millss fth performance under Leans direction,
and he became the second member of his acting family honored
by the Academy; daughter Hayley had won an honorary award as
a juvenile performer in 1960.
8/8/13 7:28 PM
(20th Century-Fox; produced by Ingo Preminger)

was made by director Robert Altman in a snappy forty-two days
and was a series of adventures and pranks unraveling around
M*A*S*H
* P A TTO N, 20th Century-Fox. Hugh S. Fowler.

TO R A ! TO R A ! TORA!, 20th Century-Fox. James E.
Newcom, Pembroke J. Herring and Inoue Chikaya.
W O O D STO C K, Wadleigh-Maurice, Warner Bros.
Thelma Schoonmaker.
P A TTO N, 20th Century-Fox. Alex Weldon.

* TO R A ! TO R A ! TORA!, 20th Century-Fox. A.D.
Flowers and L.B. Abbott.
MUSIC
* F O R A L L W E K NOW (Lovers and Other Strangers, ABC

Pictures, Cinerama); Music by Fred Karlin. Lyrics by
Robb Royer and James Grifn (aka Robb Wilson and
Arthur James).
P IE C E S O F D R E AMS (Pieces of Dreams, RFB
Enterprises, UA); Music by Michel Legrand. Lyrics by
Alan and Marilyn Bergman.
THA NK Y O U VE RY MUCH (Scrooge, Waterbury Films,
Cinema Center Films, National General); Music and
Lyrics by Leslie Bricusse.
TIL L L O VE TO UCH ES YOUR LIFE (Madron, EdricIsracine-Braun, Four Star-Excelsior Releasing); Music
by Riz Ortolani. Lyrics by Arthur Hamilton.
W HISTL ING A W AY THE DARK (Darling Lili,
Geoffrey Prods., Paramount); Music by Henry
(ori g i n al s c ore )
A IR P O R T, Hunter-Universal, Universal. Alfred
Newman.
C R O MW E L L , Irving Allen, Columbia. Frank Cordell.

* L O VE S TO R Y , Love Story Company, Paramount.
Francis Lai.
P A TTO N, 20th Century-Fox. Jerry Goldsmith.
SUNF L O W E R , Sostar Prod., Avco Embassy. Henry
Mancini.
(ori g i n al s on g s co r e)
THE BA BY MA K ER, Robert Wise Prod., National
General. Music by Fred Karlin. Lyrics by Tylwyth

Kymry.
A BO Y NA ME D CHARLIE B ROWN, MendelsonMelendez, Cinema Center Films, National General.
Music by Rod McKuen and John Scott Trotter.
Lyrics by Rod McKuen, Bill Melendez and Al Shean.
Adaptation score by Vince Guaraldi.
D A R L ING L IL I, Geoffrey Prods., Paramount. Music by
Henry Mancini. Lyrics by Johnny Mercer.
* L E T IT BE , Beatles-Apple Prods., UA. Music and Lyrics
by The Beatles.
a Military Army Surgical Hospital behind the battle lines in

Korea. The cast included Donald Sutherland, Elliott Gould, Sally
Kellerman, Robert Duvall, Michael Murphy, Gary Burghoff and
Bud Cort and it won the Academy Award for Ring Lardner Jr.s
screenplay. Later, it also became the basis for a hugely successful
television series.
SCROOG E, Waterbury Films, Cinema Center Films,
National General. Music and Lyrics by Leslie Bricusse.

Adaptation score by Ian Fraser and Herbert W.
Spencer.
(ca r t oon s )
T HE FU RT HER AD VENT U RES OF U NCLE SAM : P ART
T W O, Haboush Company, Goldstone Films. Robert
Mitchell and Dale Case, producers.
* I S I T ALW AY S RI G HT T O BE RI GHT ? , Stephen

Bosustow Prods., Schoenfeld Films. Nick Bosustow,
producer.
T HE SHEP HERD , Cameron Guess and Associates,
Brandon Films. Cameron Guess, producer.
(liv e a ct ion )
* T HE RESU RRECT I ON OF BRONCHO BI LLY ,

University of Southern California Dept. of Cinema,
Universal. John Longenecker, producer.
SHU T U P . . . I M CRY I NG, Robert Siegler Prods.,
Schoenfeld Films. Robert Siegler, producer.
ST I CK Y M Y FI NGERS . . . FLEET M Y FEET , American
Film Institute, Schoenfeld Films. John Hancock,
producer.
D O C UM E N TA R Y
T HE GI FT S, Richter-McBride Prods. for the Water
Quality Ofce of the Environmental Protection

Agency. Robert McBride, producer.
* I N T ERVI EW S W I T H M Y LAI VET ERANS, Laser Film
Corp. Joseph Strick, producer.
A LONG W AY FROM NOW HERE, Robert Aller Prods.
Bob Aller, producer.
OI SI N , Aengus Film. Vivien and Patrick Carey,
producers.
T I M E I S RU NNI N G OU T , Gesellschaft fr bildende
Filme. Horst Dallmayr and Robert Menegoz,
producers.
(fe a t u r e s )
FI RST LOVE (Switzerland).

HOA- BI N H (France).
* I N VEST I G AT I ON O F A C I T I ZE N A B O V E S U S PI C I O N
(Italy).
P AI X SU R LES CH A M PS (Belgium).
T RI ST AN A (Spain).

T O LI LLI AN G I SH for superlative artistry and for
distinguished contribution to the progress of motion

pictures. (statuette)
T O ORSON W ELL E S for superlative artistry and
versatility in the creation of motion pictures.
(statuette)

T O I NGM AR BER G M A N
T O FRANK SI NAT R A
CLASS I (s t a t u e tte)
None.
LEONARD SOK O L O W and E DW A R D H . R E I C H A R D
of Consolidated Film Industries for the concept and

engineering of the Color Proong Printer for motion
pictures.
215
SY LVANI A ELECT R I C PR O DU C T S I N C . ;
B. J . LOSM AND Y ;
EAST M AN K OD A K C O MPA N Y and PH O T O
ELECT RONI CS C O R PO R A T I O N ;
ELECT RO SOU N D I N C O R PO R A T E D.
CHARI OT S OF T HE G OD S, Terra-Filmkunst GmbH.
Dr. Harald Reinl, producer.
J ACK J OHN SON , The Big Fights. Jim Jacobs, producer.

K I NG: A FI LM ED RECORD . . . M ON T GOM ERY T O
M EM P HI S, Commonwealth United Prod. Ely Landau,
producer.
SAY G OOD BY E, Wolper Prod. David H. Vowell,
producer.
* W OOD ST OCK , Wadleigh-Maurice, Warner Bros. Bob
Maurice, producer.
8/8/13 7:28 PM
1971
The Forty-Fourth Year
harles Chaplin, just a week away

from his eighty-third birthday,
returned to Hollywood for the rst
time in twenty years to receive the Academys honorary Oscar, ofcially for the
incalculable effect he has had in making motion pictures the art form of this
century. Out of respect, no other special
awards were voted for 1971, and the presentation to Chaplin by Jack Lemmon was the
evenings last order of business on April 10,
1972, at the Dorothy Chandler Pavilion of
the Los Angeles Music Center. Chaplin had
received a special Academy Award at the
very rst Oscar ceremony (for achievement
during 192728) but had not been honored
subsequently for his work. It was undeniably
a high point of the evening, and brought
unusually heavy international attention to
the Academy and the Oscars.
The French Connection received the most
Academy Awards of any 1971 lm, winning
ve, including best picture, best actor (Gene
Hackman), and best director (William
Friedkin); Fiddler on the Roof won three
awards, The Last Picture Show garnered two
(for best supporting actor Ben Johnson and
best supporting actress Cloris Leachman),
Nicholas and Alexandra received two, and
seven others won one each. Jane Fonda
was chosen the years best actress for her
performance in Klute, and Italys The Garden
of the Finzi Continis was named best foreign
language lm. Isaac Hayess Theme from
Shaft, the Oscar winner for best song, was
the subject of spectacular staging by Ron
Field during the nights telecast on NBC-TV.
Howard W. Koch produced the telecast

for the Academy, Robert Finkel was the
executive producer for the network, and
Marty Pasetta directed the telecast. Helen
Hayes, Alan King, Sammy Davis, Jr., and
Jack Lemmon shared master of ceremony
turns, and presenters included Frank Capra,
Tennessee Williams, Raquel Welch, Betty
Grable and Dick Haymes.
Among the highlights of the night, in
addition to Hollywoods welcome back to
the legendary Chaplin, was a knockout
opening number called Lights, Camera,
Action. It was choreographed by Ron Field,
written by Billy Barnes, and interpreted by
Joel Grey, and it took a swooping musical
look at Hollywoods past.
216
best picture: THE FRENCH CONNECTION (20th CenturyFox; produced by Philip DAntoni), best director: WILLIAM
FRIEDKIN, and (right) best actor: GENE HACKMAN as
Detective Jimmy Doyle in The French Connection. From the
best-selling book by Robin Moore, based on experiences of two
real-life detectives (Eddie Popeye Egan and Sonny Grosso) who
stumbled onto a case in 1962 which involved the seizure of $32
million in heroin smuggled into New York from Marseilles, this
was action moviemaking at its best. Also among the best: Hackmans performance as the colorful Egan (here named Doyle). The
lms giant success inspired a 1975 sequel, French Connection II,
again starring Hackman.
8/8/13 7:28 PM
FIDDLER ON THE ROOF (United Artists; produced by Norman

Jewison) won three Oscars: for cinematography, music scoring
and sound. At the time it was put on lm, Fiddler had become
Broadways all-time longest-running stage play; on lm, Topol
(above) played the likable milkman named Tevye who had his
hands full with ve marriageable daughters, a sharp-tongued
wife, and a lame horse.
be s t ac t re s s : JANE FONDA as Bree in Klute (Warner Bros.;

directed by Alan Pakula). Previously nominated in 1969 as best
actress for They Shoot Horses, Dont They?, Fonda won for her
skillful portrait of a worn-but-wise Manhattan call girl threatened by an unknown, would-be killer. Donald Sutherland played
the title role of Klute, the detective who helped Bree set a trap for
her shadowy assailant. Fonda (above) won a second Oscar as
best actress for 1978s Coming Home.
217
(Columbia; produced by Sam

Spiegel) was based on the mammoth historical novel by Robert K.
Massie and starred (dancing, above) Michael Jayston and Janet
Suzman as the ill-fated Russian royals whose family was executed
on July 16, 1918. Sumptuously produced and tastefully made, it
won two Academy Awards, for art direction/set decoration and
for costume design.
NICHOLAS AND ALEXANDRA
8/8/13 7:28 PM
B E S T PI C TUR E
A CLOCK W ORK ORAN G E, Hawk Films, Warner Bros.
Nominations 1971
Produced by Stanley Kubrick.
FI D D LER ON T HE ROOF, Mirisch-Cartier, UA.
Produced by Norman Jewison.
* T HE FRENCH CON N ECT I ON , DAntoni-SchineMoore, 20th Century-Fox. Produced by Philip

DAntoni.
T HE LAST P I CT U RE SHOW , BBS Productions,
Columbia. Produced by Stephen J. Friedman.
NI CHOLAS AND ALEX AND RA, Horizon, Columbia.
Produced by Sam Spiegel.
A C TO R
P ET ER FI NCH in Sunday Bloody Sunday, Janni, UA.

* GENE HACK M AN in The French Connection, DAntoniSchine-Moore, 20th Century-Fox.
W ALT ER M AT T HAU in Kotch, ABC Pictures, Cinerama.
GEORG E C. SCOT T in The Hospital, GottfriedChayefsky-Hiller, UA.
T OP OL in Fiddler on the Roof, Mirisch-Cartier, UA.
A C TR E S S
JU LI E CHRI ST I E in McCabe & Mrs. Miller, Altman-
Foster, Warner Bros.

* JAN E FON D A in Klute, Gus, Warner Bros.
GLEND A J ACK SON in Sunday Bloody Sunday, Janni,
UA.
VAN ESSA RED GRAVE in Mary, Queen of Scots, Wallis,
Universal.
JAN ET SU Z M AN in Nicholas and Alexandra, Horizon,
Columbia.
JEFF BRI D GES in The Last Picture Show, BBS
LEON ARD FREY in Fiddler on the Roof, Mirisch-Cartier,
UA.
b e s t s up p ort i n g acto r : BEN JOHNSON as Sam the

Lion in The Last Picture Show (Columbia; directed by Peter
Bogdanovich). Johnson, a thirty-year veteran of cinematic sagebrush wars, had his nest lm role as a graying old cowboy in a
decaying Texas town, circa 1951, who owned the local pool hall,
caf and movie theater, and befriended teenagers Sonny (Timothy
Bottoms) and Duane (Jeff Bridges). Said Bogdanovich: Having
Ben Johnson in the picture was having the real thing.
RI CHARD J AECK EL in Sometimes a Great Notion,
Newman-Foreman, Universal.
* BEN J OHN SON in The Last Picture Show, BBS
ROY SCHEI D ER in The French Connection, DAntoniSchine-Moore, 20th Century-Fox.
ANN- M ARGRET in Carnal Knowledge, Icarus, Avco
Embassy.
ELLEN BU RST Y N in The Last Picture Show, BBS
BARBARA HARRI S in Who Is Harry Kellerman and Why
218
T HE AND ROM ED A S T R A I N , Robert Wise Prods.,
Universal. Boris Leven and William Tuntke; Ruby

Levitt.
BED K N OBS AND BR O O M S T I C K S , Disney, Buena
Vista. John B. Mansbridge and Peter Ellenshaw; Emile
Kuri and Hal Gausman.
FI D D LER ON T HE RO O F , Mirisch-Cartier, UA. Robert
Boyle and Michael Stringer; Peter Lamont.
M ARY , Q U EEN OF S C O T S , Wallis, Universal. Terence
Marsh and Robert Cartwright; Peter Howitt.
* NI CHOLAS AND ALE X A N DR A , Horizon, Columbia.
John Box, Ernest Archer, Jack Maxsted and Gil
Parrondo; Vernon Dixon.
C O S TUM E D ESIGN
BED K N OBS AND BR O O M S T I C K S , Disney, Buena
Vista. Bill Thomas.
D EAT H I N VEN I CE, Alfa Cinematograca-P.E.C.F.,
Warner Bros. Piero Tosi.
M ARY , Q U EEN OF SC O T S , Wallis, Universal. Margaret
Furse.
* NI CHOLAS AND ALE X A N DR A , Horizon, Columbia.
Yvonne Blake and Antonio Castillo.
W HAT S T HE M AT T E R W I T H H E L E N ?, FilmwaysRaymax, UA. Morton Haack.
S O UN D
D I AM ON D S ARE FO R E V E R , Broccoli-Saltzman, UA.
Gordon K. McCallum, John Mitchell and Alfred J.

Overton.
* FI D D LER ON T HE R O O F , Mirisch-Cartier, UA.
Gordon K. McCallum and David Hildyard.
T HE FREN CH CONN E C T I O N , 20th Century-Fox.
Theodore Soderberg and Christopher Newman.
K OT CH, ABC Pictures, Cinerama. Richard Portman and
Jack Solomon.
M ARY , Q U EEN OF S C O T S , Wallis, Universal. Bob
Jones and John Aldred.
F I LM E D I TI NG
T HE AND ROM ED A S T R A I N , Robert Wise Prod.,
Universal. Stuart Gilmore and John W. Holmes.
A CLOCK W ORK OR A N G E , Hawk Films, Warner Bros.
Bill Butler.
* T HE FRENCH CON N E C T I O N , 20th Century-Fox. Jerry
Greenberg.
K OT CH, ABC Pictures, Cinerama. Ralph E. Winters.
SU M M ER OF 42 , Mulligan-Roth, Warner Bros. Folmar
Blangsted.
Is He Saying Those Terrible Things about Me?, Cinema

Center Films, National General.
* CLORI S LEACHM AN in The Last Picture Show, BBS
* FI D D LER ON T HE R O O F , Mirisch-Cartier, UA. Oswald
Morris.
MARGARET LEIGHTON in The Go-Between, World Film
T HE FREN CH CONN E C T I O N , 20th Century-Fox.
Services, Columbia.
Owen Roizman.
T HE LAST P I CT U RE S H O W , BBS Productions,
D I R E C TI N G
Columbia. Robert Surtees.
N I CHOLAS AN D ALE X A N DR A , Horizon, Columbia.
Stanley Kubrick.
Freddie Young.
FI D D LER ON T HE ROOF, Mirisch-Cartier, UA.
SU M M ER OF 42 , Mulligan-Roth, Warner Bros. Robert
Norman Jewison.
Surtees.
* T HE FRENCH CON N ECT I ON , DAntoni-SchineMoore, 20th Century-Fox. William Friedkin.
(New classication: designation of rst category
Columbia. Peter Bogdanovich.
changed from cartoons to animated short subjects)
SU N D AY BLOOD Y SU N D AY , Janni, UA. John
(a n ima t e d)
Schlesinger.
* T HE CRU NCH BI RD, Maxwell-Petok-Petrovich Prods.,
Regency Films. Ted Petok, producer.
WR I TI N G
EVOLU T I ON, National Film Board of Canada,
Columbia. Michael Mills, producer.
T HE SELFI SH GI AN T , Potterton Prods., Pyramid Films.
Stanley Kubrick.
Peter Sander and Murray Shostak, producers.
T HE CON FORM I ST , Paramount (Italian). Bernardo
Bertolucci.
* T HE FRENCH CON N ECT I ON , 20th Century-Fox.
Ernest Tidyman.
T HE G ARD EN OF T HE FI N Z I CON T I N I S, Cinema 5,
Ltd. (Italian). Ugo Pirro and Vittorio Bonicelli.
Columbia. Larry McMurtry and Peter Bogdanovich.
(liv e a ct ion )
G OOD M ORNI N G , E/G Films, Seymour Borde
& Associates. Denny Evans and Ken Greenwald,

producers.
T HE REHEARSAL, Cinema Verona Prod., Schoenfeld
Films. Stephen F. Verona, producer.
* SEN T I N ELS OF SI LE N C E , Producciones Concord,
Paramount. Manuel Arango and Robert Amram,
producers.
* T HE HOSP I T AL, Gottfried-Chayefsky-Hiller, UA. Paddy
M US I C
Chayefsky.
IN VEST I G AT I ON OF A CI T I Z EN ABOVE
SU SP I CI ON, Columbia (Italian). Elio Petri and Ugo
Pirro.
K LU T E, Gus, Warner Bros. Andy and Dave Lewis.

SU M M ER OF 42 , Mulligan-Roth, Warner Bros.
Herman Raucher.
SU N D AY BLOOD Y SU N D AY , Janni, UA. Penelope
Gilliatt.
(s on g or ig in a l fo r the pic ture)
T HE AGE OF NOT BE L I E V I N G (Bedknobs and
Broomsticks, Disney, Buena Vista); Music and Lyrics by

Richard M. Sherman and Robert B. Sherman.
ALL HI S CHI LD REN (Sometimes a Great Notion,
Newman-Foreman, Universal); Music by Henry
Mancini. Lyrics by Alan and Marilyn Bergman.
BLESS T HE BEAST S & C H I L DR E N (Bless the Beasts
& Children, Columbia); Music and Lyrics by Barry
DeVorzon and Perry Botkin, Jr.
8/8/13 7:28 PM
s p e c i al h on orar y a w a r d to CHARLES CHAPLIN (above). On the eve of his eighty-third

birthday, (he was born April 16, 1889), the movies legendary Charlie-the-Tramp returned to the
town he helped create in order to receive an Honorary Oscar from the Academys Board of Governors.
Presented the Oscar by Jack Lemmon (above, on left) Chaplin received a standing ovation from the
in-theater audience of 3,200 and, repressing tears, said simply, Words seem, oh, so futile, so feeble.
This is a very emotional moment for me. You are wonderful . . . sweet people. Then, once more, he
donned the Tramps bowler hat. It was the last visit for Chaplin to the town in which hed earlier
done the work that made him famous, rich, and a symbol of lmmaking genius.
L IF E IS W HA T Y OU MAKE IT (Kotch, ABC Pictures,
Cinerama); Music by Marvin Hamlisch. Lyrics by

Johnny Mercer.
* THE ME F R O M S HAFT (Shaft, M-G-M); Music and
Lyrics by Isaac Hayes.
(ori g i n al d ram a ti c s co r e)
MA R Y , Q U E E N OF SCOTS, Wallis, Universal. John
Barry.
NIC HO L A S A ND ALEXANDRA, Horizon, Columbia.
Richard Rodney Bennett.
SHA F T, M-G-M. Isaac Hayes.

STR A W D O GS, ABC Pictures, Cinerama. Jerry
Fielding.
* S UMME R O F 42 , Mulligan-Roth, Warner Bros.

Michel Legrand.
(s c ori n g: ad ap t a ti o n a nd o r i g i na l s o ng s co r e)
BE D KNO BS A ND B ROOMSTICKS, Disney, Buena
Vista. Richard M. Sherman, Robert B. Sherman and

Irwin Kostal.
THE BO Y F R IE ND, Russix, M-G-M. Peter Maxwell
Davies and Peter Greenwell.
* F ID D L E R O N THE ROOF, Mirisch-Cartier, UA. John
Williams.
TC HA IK O VSKY , Tiomkin-Moslm. Dimitri Tiomkin.
W IL L Y W O NKA AND THE CHOCOLATE FACTORY,
Wolper, Paramount. Leslie Bricusse, Anthony Newley

and Walter Scharf.
(Not given as an annual Award after this year)
* BE D K NO BS A ND B ROOMSTICKS, Disney, Buena
Vista. Alan Maley, Eustace Lycett and Danny Lee.
W HE N D INO S A URS RULED THE EARTH, Hammer,
Warner Bros. Jim Danforth and Roger Dicken.
be s t s u p p or t in g a ct r e s s : CLORIS LEACHMAN as Ruth Popper in The Last Picture Show

(Columbia; directed by Peter Bogdanovich). In her Oscar-winning role, she played the lonely, sexually deprived wife of a small-town coach who stumbles into an affair with one of her husbands high
school students (Timothy Bottoms, above with Leachman) and is eventually deserted by him. Says
the actress: I based my characterization on some Ruth Poppers I knew when I was growing up in
Des Moines.
D O C UM E N TA R Y
AD VEN T U RES I N P ERCEP T I ON, Han van Gelder
Filmproduktie for Netherlands Information Service.

Han van Gelder, producer.
ART I S . . . , Henry Strauss Associates for Sears Roebuck
Foundation. Julian Krainin and DeWitt L. Sage, Jr.,
producers.
T HE NU M BERS ST ART W I T H T HE RI VER, WH Picture
for U.S. Information Agency. Donald Wrye, producer.
* SEN T I N ELS OF SI LENCE, Producciones Concord,
Paramount. Manuel Arango and Robert Amram,
producers.
SOM EBOD Y W AI T I N G , Snider Prods. for University
of California Medical Film Library. Hal Riney, Dick
Snider and Sherwood Omens, producers.
(fe a t u r e s )
ALASK A W I LD ERNESS LAK E, Alan Landsburg Prods.
Alan Landsburg, producer.

* T HE HELLST ROM CHRON I CLE, David L. Wolper,
Cinema 5, Ltd. Walon Green, producer.
ON ANY SU ND AY , Brown-Solar, Cinema 5, Ltd. Bruce
Brown, producer.
T HE RA EX P ED I T I ON S, Swedish Broadcasting
Company, Interwest Film Corp. Lennart Ehrenborg
and Thor Heyerdahl, producers.
T HE SORROW AN D T HE P I T Y , Cinema 5, Ltd.
(French). Marcel Ophuls, producer.
D OD ES K A- D EN (Japan).
T HE EM I GRANT S (Sweden).
* T HE G ARD EN OF T HE FI N Z I CON T I N I S (Italy).
T HE P OLI CEM AN (Israel).
T CHAI K OVSK Y (U.S.S.R.).

T O CHARLES CHA PL I N for the incalculable effect he
has had in making motion pictures the art form of this

century. (statuette)

219
None.
J OHN N . W I LK I N S O N of Optical Radiation
Corporation for the development and engineering of

a system of xenon arc lamphouses for motion picture
projection.
THOMAS JEFFERSON HUTCHINSON, JAMES R.
ROCHESTER and FENTON HAMILTON;
PHOTO RESEARCH, A Division of Kollmorgen
Corporation;
ROBERT D. AUGUSTE and CINEMA PRODUCTS CO.;

PRODUCERS SERVICE CORPORATION and
CONSOLIDATED FILM INDUSTRIES; and to
CINEMA RESEARCH CORPORATION and
RESEARCH PRODUCTS, INC.;
CINEMA PRODUCTS CO.
8/8/13 7:28 PM
1972
The Forty-Fifth Year
he Godfather and Cabaret dominated

the 1972 Academy Awards presentations on March 27, 1973, held for the
fth year at the Dorothy Chandler Pavilion
of the Los Angeles Music Center and telecast
on NBC-TV. Cabaret won eight awards,
including best actress (Liza Minnelli), best
director (Bob Fosse), and best supporting actor (Joel Grey), more than any other
picture in Academy history that didnt go on
to also win the best picture statuette. That
award went to The Godfather, along with
awards for best actor (Marlon Brando) and
best screenplay (Mario Puzo and Francis
Ford Coppola). Brando rejected the award
his second as best actorand had his
reasons read by a young Indian girl, Sacheen
Littlefeather, later identied as an actress
named Maria Cruz. His primary objections
were to the industrys treatment of Indians
in lms, on TV, and in movie reruns.
The awards were produced by Howard
W. Koch and directed by Marty Pasetta.
Emcees were Carol Burnett, Michael Caine,
Charlton Heston and Rock Hudson; Heston
fell victim to a at tire on his way to the ceremony and arrived fteen minutes after his
rst show entrance was scheduled, so Clint
Eastwood was grabbed out of the audience
to briey do stand-in duty.
Among the musical segments was an opulent opening, Make a Little Magic, written
by Billy Barnes, choreographed by Carl
Jablonski, and featuring Angela Lansbury, in
the tradition of bygone Hollywood musical
production numbers. A musical salute to
Walt Disney Studios ftieth anniversary
featured, among others, the durable Mickey

Mouse.
The Jean Hersholt Humanitarian Award
went to Rosalind Russell, and other honorary awards went to the late Edward G.
Robinson, who had died just two months
earlier, to industry veteran Charles Boren,
and to The Poseidon Adventure for its special
visual effects. Eileen Heckart was named
best supporting actress for Butteries Are
Free, and Frances The Discreet Charm of
the Bourgeoisie was selected as best foreign
language lm. And, as in the preceding
year, Charles Chaplin was once again an
Academy Award winner. Along with the late
Raymond Rasch and Larry Russell, he won
the 1972 best original dramatic score award
for Limelight, a movie made in 1952. Its belated eligibility was due to the fact the lm
had never been shown in Los Angeles until
1972, and only then did it qualify for award
consideration.
There was also a new rule in 1972 related
to short subjects and documentary eligibility. For the rst time, short subjects which
also qualied as documentary short subjects
could compete in either category, but not in
both, as in previous years. The choice of area
consideration was to be designated by the
producers involved at the time the entry was
submitted to the Academy for preliminary
voting.
220
be s t s up p ort i n g actr es s : EILEEN HECKART as Mrs.
Baker in Butteries Are Free (Columbia; directed by Milton
Katselas). Re-creating her original 1969 Broadway role, she
played a Hillsborough mother who has difculty cutting the umbilical cord from a blind son (Edward Albert, right, with Heckart) who wants to live in his own San Francisco apartment and
attempt to make it without Mama but with a saucy neighbor,
played by Goldie Hawn. It was Heckarts second Academy nomination (the rst one: 1956s The Bad Seed) and her rst win.
8/8/13 7:28 PM
be s t dir e ct or : BOB FOSSE, be s t a ct r e s s : LIZA M INNELLI as Sally Bowles (above) and

be s t s u p p or t in g a ct or : JOEL GREY as the master of ceremonies in Cabaret (ABC Pictures/
Allied Artists; produced by Cy Feuer). Cabaret was the newest reincarnation of Christopher Isherwoods original Berlin Stories (earlier made into a 1951 play and a 1955 movie, both called I Am a
Camera) and focused on ve lives tangled together in pre-Hitler Germany of the 1930s. Liza Minnelli
was the divinely decadent and available cabaret singer with green ngernails, saucer eyes and exible morals; Joel Grey re-created his Broadway role of the white-faced, rouge-lipped emcee of the Kit
Kat Klub who symbolized the decay that helped the Nazi menace gain momentum.
221
(Paramount; produced by Albert S. Ruddy) and be s t a ct or :

as Don Vito Corleone in The Godfather. Mario Puzos powerful and popular
novel about organized crime made a bang-up movie, rich in detail and performances, as it inspected
the fall of a powerful Cosa Nostra chieftain (Brando, above) and the concurrent rise to power of his
son, a fresh-faced Ivy Leaguer who becomes a cool, lethal hood (played by Al Pacino). Brando, at age
46, was almost unrecognizable as the elderly Italian don, and he dominated the lm, which included
in its cast Robert Duvall, Talia Shire, Morgana King, James Caan, Diane Keaton, Richard Conte,
and Sterling Hayden and was directed by Francis Ford Coppola. Two years later, there was a sequel:
The Godfather Part II, which also became an Academy Awardwinning best picture of the year.
be s t p i c t ure :
THE GODFATHER
MARLON BRANDO
8/8/13 7:28 PM
B E S T PI C TUR E
CABARET , ABC Pictures, Allied Artists. Produced by Cy
Nominations 1972
Feuer.
D ELI VERAN CE, Warner Bros. Produced by John
Boorman.
T HE EM I G RAN T S, Svensk Filmindustri, Warner Bros.
(Swedish). Produced by Bengt Forslund.

* T HE G OD FAT HER, Ruddy, Paramount. Produced by
Albert S. Ruddy.
SOU ND ER, Radnitz/Mattel, 20th Century-Fox.
Produced by Robert B. Radnitz.
A C TO R
WR I TI N G
CABARET , ABC Pictures, Allied Artists. Jay Allen.
T HE EM I GRANT S, Svensk Filmindustri, Warner Bros.
(Swedish). Jan Troell and Bengt Forslund.

* T HE G OD FAT HER, Ruddy, Paramount. Mario Puzo and
Francis Ford Coppola.
P ET E N T I LLI E, Ritt-Epstein, Universal. Julius J.
Epstein.
SOU N D ER, Radnitz/Mattel, 20th Century-Fox. Lonne
Elder, III.
* M ARLON BRAN D O in The Godfather, Ruddy,

Paramount.
* T HE CAND I D AT E, Redford-Ritchie, Warner Bros.
M I CHAEL CAI N E in Sleuth, Palomar, 20th CenturyJeremy Larner.
Fox.
T HE D I SCREET CHA R M O F T H E B O U R G E O I S I E ,
LAU RENCE OLI VI ER in Sleuth, Palomar, 20th CenturySilberman, 20th Century-Fox (French). Luis Buuel
Fox.
and Jean-Claude Carrire.
P ET ER O T OOLE in The Ruling Class, Keep Films, Avco
LAD Y SI N G S T HE BL U E S , Motown-Weston-Furie,
Embassy.
Paramount. Terence McCloy, Chris Clark and Suzanne
P AU L W I NFI ELD in Sounder, Radnitz/Mattel, 20th
de Passe.
Century-Fox.
M U RM U R OF T HE H E A R T , Continental Distributing
(French). Louis Malle.
A C TR E S S
Y OU N G W I NST ON , Open Road Films, Columbia. Carl
LI
Z
A
M
I
NNELLI
in
Cabaret,
ABC
Pictures,
Allied
*
Foreman.
Artists.
D I ANA ROSS in Lady Sings the Blues, Motown-WestonC I N E M A TO GRAPHY
Furie, Paramount.
BU T T ERFLI ES ARE F R E E , Frankovich, Columbia.
M AG G I E SM I T H in Travels with My Aunt, Fryer,
Charles B. Lang.
M-G-M.
* CABARET , ABC Pictures, Allied Artists. Geoffrey
CI CELY T Y SON in Sounder, Radnitz/Mattel, 20th
Unsworth.
Century-Fox.
T HE P OSEI D ON AD V E N T U R E , Irwin Allen, 20th
LI V U LLM AN N in The Emigrants, Svensk Filmindustri,
Century-Fox. Harold E. Stine.
Warner Bros. (Swedish).
1776 , Jack L. Warner, Columbia. Harry Stradling, Jr.
T RAVELS W I T H M Y A U N T , Fryer, M-G-M. Douglas
Slocombe.
ED D I E ALBERT in The Heartbreak Kid, Palomar, 20th
Century-Fox.
JAM ES CAAN in The Godfather, Ruddy, Paramount.
ROBERT D U VALL in The Godfather, Ruddy, Paramount.
* CABARET , ABC Pictures, Allied Artists. Rolf Zehetbauer
* JOEL GREY in Cabaret, ABC Pictures, Allied Artists.
and Jurgen Kiebach. Herbert Strabel.
AL P ACI N O in The Godfather, Ruddy, Paramount.
JEAN N I E BERLI N in The Heartbreak Kid, Palomar, 20th
Century-Fox.
* EI LEEN HECK ART in Butteries Are Free, Frankovich,
Columbia.
GERALD I NE P AG E in Pete n Tillie, Ritt-Epstein,
Universal.
SU SAN T Y RRELL in Fat City, Rastar, Columbia.
SHELLEY W I N T ERS in The Poseidon Adventure, Irwin
Allen, 20th Century-Fox.
D I R E C TI N G
(Warner Bros.; produced by Walter Coblenz)

starred Robert Redford (above) as a political candidate caught
between idealism and the realities of the political system of the
1970s. It won writer Jeremy Larner an Oscar for its story and
screenplay.
THE CANDIDATE
* CABARET , ABC Pictures, Allied Artists. Bob Fosse.

D ELI VERAN CE, Warner Bros. John Boorman.
T HE EM I G RAN T S, Svensk Filmindustri, Warner Bros.
(Swedish). Jan Troell.
T HE G OD FAT HER, Ruddy, Paramount. Francis Ford
Coppola.
SLEU T H, Palomar, 20th Century-Fox. Joseph L.
Mankiewicz.
Paramount. Carl Anderson; Reg Allen.
Century-Fox. William Creber; Raphael Bretton.
T RAVELS W I T H M Y A U N T , Fryer, M-G-M. John Box,
Gil Parrondo and Robert W. Laing.
Y OU N G W I NST ON , Open Road Films, Columbia. Don
Ashton, Geoffrey Drake, John Graysmark and William

Hutchinson; Peter James.
C O S TUM E D ESIGN
T HE GOD FAT HER, Ruddy, Paramount. Anna Hill
Johnstone.
Paramount. Bob Mackie, Ray Aghayan and Norma

Koch.
Century-Fox. Paul Zastupnevich.
* T RAVELS W I T H M Y A U N T , Fryer, M-G-M. Anthony
Powell.
Y OU N G W I NST ON , Open Road Films, Columbia.
Anthony Mendleson.
222
LIMELIGHT (Columbia; produced by Charles Chaplin) was a

true Oscar oddity. Starring Charles Chaplin (right, applying
makeup as Buster Keaton watches), it was made by Chaplin in
1952 and shown in only a few cities at that time via United Artists. Its limited distribution was primarily due to the political
climate at the time as it affected Chaplin. The lm never played
Los Angeles until 20 years later, when it thereby became eligible
for Academy Award consideration. And not only did it garner a
nomination in the music category, for original dramatic score, it
went on to win two decades after its production.
8/8/13 7:28 PM
be s t f ore i gn l an g u a g e f i l m : THE DISCREET CHARM

OF THE BOURGEOISIE from France (above). Produced by Serge
Silberman, Discreet was a black comedy through which seventytwo-year-old cinemagician Luis Buuel as director took jabs
at everything from the upper classes and the Church, to South
American politics and military inanities, all interspersed with

surrealistic explorations of four diverse people who arrive at a rich
couples home for dinner, only to discover it is the wrong day. The
cast included Fernando Rey, Delphine Seyrig, Stphane Audran
and Jean-Pierre Cassel.
S O U ND
M ANSON, Merrick International. Robert Hendrickson
BUTTE R F L IE S A RE FREE, Frankovich, Columbia.
Arthur Piantadosi and Charles Knight.

* C A BA R E T, ABC Pictures, Allied Artists. Robert
Knudson and David Hildyard.
THE C A ND ID A TE, Redford-Ritchie, Warner Bros.
Richard Portman and Gene Cantamessa.
THE GO D FA THE R, Ruddy, Paramount. Bud
Grenzbach, Richard Portman and Christopher
Newman.
THE P O S E ID O N ADV ENTURE, Irwin Allen, 20th
Century-Fox. Theodore Soderberg and Herman Lewis.
F I LM ED I T I N G
* C A BA R E T, ABC Pictures, Allied Artists. David

Bretherton.
D E L IVE R A NC E , Warner Bros. Tom Priestley.
THE GO D FA THE R, Ruddy, Paramount. William
Reynolds and Peter Zinner.
THE HO T R O C K , Landers-Roberts, 20th Century-Fox.
Frank P. Keller and Fred W. Berger.
THE P O S E ID O N ADV ENTURE, Irwin Allen, 20th
Century-Fox. Harold F. Kress.
(an i m at e d )
* A C HR IS TMA S C AROL, American Broadcasting

Company Film Services. Richard Williams, producer.
K A MA SUTR A R IDES AGAIN, Lion International
Films. Bob Godfrey, producer.
TU P TUP , Zagreb Film-Corona Cinematograca,
Manson Distributing. Nedeljko Dragic, producer.
(l i ve ac t i on )
FR O G S TO R Y , Gidron Productions, Schoenfeld Films.
Ron Satlof and Ray Gideon, producers.
* NO R MA N R O C KWELLS WORLD . . . AN
A ME R IC A N D REAM, Concepts Unlimited,
Columbia. Richard Barclay, producer.
SO L O , Pyramid Films, UA. David Adams, producer.
D O CU M EN T AR Y
HUND E R TW A SS ERS RAINY DAY, Argos Films-
Schamoni Film Prod. Peter Schamoni, producer.
K - Z , Nexus Films. Giorgio Treves, producer.

SE L L ING O UT, Unit Productions Films. Tadeusz
Jaworski, producer.
* THIS TINY W O R LD, Charles Huguenot van der
Linden Production. Charles and Martina Huguenot
van der Linden, producers.
THE TID E O F TR AFFIC, BP-Greenpark. Humphrey
Swingler, producer.
(f e at ure s )
A P E A ND SUP E R - APE, Netherlands Ministry
of Culture, Recreation and Social Welfare. Bert

Haanstra, producer.
MA L C O L M X, Warner Bros. Marvin Worth and
Arnold Perl, producers.
and Laurence Merrick, producers.

* M ARJ OE, Cinema X, Cinema 5, Ltd. Howard Smith and
Sarah Kernochan, producers.
T HE SI LENT REVOLU T I ON, Leonaris Films. Eckehard
Munck, producer.
T HE D AW N S ARE Q U I ET (U.S.S.R.).
* T HE D I SCREET CHARM OF T HE BOU RG EOI SI E
(France).
I LOVE Y OU ROSA (Israel).

M Y D EAREST SE ORI T A (Spain).
T HE NEW LAND (Sweden).
M US I C
(s on g or ig in a l for t h e p ict u r e )
BEN (Ben, Bing Crosby Prods., Cinerama); Music by
Walter Scharf. Lyrics by Don Black.
COM E FOLLOW , FOLLOW M E (The Little Ark,
Radnitz, Cinema Center Films, National General);

Music by Fred Karlin. Lyrics by Marsha Karlin.
M ARM ALAD E, M OLASSES & HONEY (The Life
and Times of Judge Roy Bean, First Artists, National
General); Music by Maurice Jarre. Lyrics by Marilyn
and Alan Bergman.
* T HE M ORN I NG AFT ER (The Poseidon Adventure, Irwin
Allen, 20th Century-Fox); Music and Lyrics by Al
Kasha and Joel Hirschhorn.
ST RAN G E ARE T HE W AY S OF LOVE (The Stepmother,
Crown International); Music by Sammy Fain. Lyrics by
Paul Francis Webster.
(or ig in a l dr a ma t ic s cor e )
I M AG ES, Hemdale-Lions Gate Films, Columbia. John
Williams.
* LI M ELI G HT , Charles Chaplin, Columbia. Charles
Chaplin, Raymond Rasch and Larry Russell.
N AP OLEON AND SAM AN T HA, Disney, Buena Vista.
Buddy Baker.
T HE P OSEI D ON AD VENT U RE, Irwin Allen, 20th
Century-Fox. John Williams.
SLEU T H, Palomar Pictures, 20th Century-Fox. John
Addison.
(Note: The Godfather score, composed by Nino Rota, was
originally announced as one of the ve ofcial nominees, but it was later declared ineligible and withdrawn
when it was disclosed portions of the composition had
previously been used in Rotas score for the 1958 Italian
lm Fortunella. Additionally, Limelight, made in 1952,
was belatedly eligible for 1972 consideration because it
had not previously been shown in a Los Angeles theater as Academy rules require.)
(s cor in g : a da p t a t ion a n d or ig in a l s on g s cor e )
* CABARET , ABC Pictures, Allied Artists. Ralph Burns.

LAD Y SI N G S T HE BLU ES, Motown-Weston-Furie,
Paramount. Gil Askey.
M AN OF LA M AN CHA, PEA Produzioni Europee
Associate Prod., UA. Laurence Rosenthal.
SPECIAL ACHIEVEMENT AWARD

(New classication)
For Visual Effects: L . B . A B B O T T and A . D. F L O W E R S
for The Poseidon Adventure, Irwin Allen, 20th CenturyFox.

T O CHARLES S. B O R E N , leader for 38 years of the
industrys enlightened labor relations and architect of

its policy of non-discrimination. With the respect and
affection of all who work in lms. (statuette)
T O ED W ARD G . R O B I N S O N who achieved greatness
as a player, a patron of the arts and a dedicated
citizen . . . in sum, a Renaissance man. From his
friends in the industry he loves. (statuette)

T O ROSALI ND RU S S E L L
None.
J OSEP H E. BLU T H for research and development in the
eld of electronic photography and transfer of video

tape to motion picture lm.
ED W ARD H. REI C H A R D and H O W A R D T . L A ZA R E
of Consolidated Film Industries, and E DW A R D
EFRON of IBM for the engineering of a computerized
light valve monitoring system for motion picture
printing.
P ANAVI SI ON I NC O R PO R A T E D for the development
and engineering of the Panaex motion picture
camera.
223
P HOT O RESEARC H , a Division of Kollmorgen
Corporation, and PS C T E C H N O L O G Y I N C . , Acme
Products Division;
CART ER EQ U I P ME N T C O MPA N Y, I N C . and

RAM T RONI CS;
D AVI D D EG EN K O L B , H A R R Y L A R S O N , M A N F R E D
M I CHELSON and F R E D S C O B E Y of DeLuxe General
Inc.;
J I RO M U K AI and R YU S H O H I R O S E of Canon, Inc.

and W I LT ON R. H O L M of the AMPTP Motion Picture
and Television Research Center;
P HI LI P V. P ALM QU I S T and L E O N A R D L . O L S O N
of the 3M Company, and F R A N K P. C L A R K of the
AMPTP Motion Picture and Television Research

Center;
E. H. G EI SSLER and G . M. B E R G G R E N of Wil-Kin Inc.
8/8/13 7:29 PM
1973
The Forty-Sixth Year
m the living proof someone can

wait forty-one years to be unselsh,
Katharine Hepburn told the Academy
Awards audience gathered to honor 1973
motion picture achievements on April 2,
1974. Miss Hepburn had won three Academy
Awards as best actress in the pastan Oscar
recordbut had never attended an Academy
presentation before. She put aside her own
dislike of public appearances to appear at
the Dorothy Chandler Pavilion of the Los
Angeles Music Center and present the Academys Irving G. Thalberg Memorial Award to
her friend, producer Lawrence Weingarten.
Wearing a black Mao-type pantsuit, she told
the surprised, delighted audience, Im so
glad no one called out, Its about time!
Susan Hayward also made a rare public
appearance, which, unknown at the time,
would be her nal one.
The Sting won a total of seven Academy
Awards, including best picture, best director
(George Roy Hill), and best costume design
(Edith Head, her eighth Oscar, an industry record among women). Jack Lemmon
was named best actor for Save the Tiger; it
was his second Oscar, but his rst in that
category, having won previously as the best
supporting actor of 1955 in Mister Roberts.
Glenda Jackson also became a two-time
Academy Award winner, named best actress
for A Touch of Class, after winning three
years before in that same category. John
Houseman, age seventy-one and best known
as a distinguished producer, was chosen best
supporting actor in The Paper Chase, and
Tatum ONeal, age ten, became the young-
est winner ever in a competitive Academy

Awards category when she was named best
supporting actress in Paper Moon.
Marvin Hamlisch set a new Oscar record
when he won all three of the years music
awards: best song (with Alan and Marilyn
Bergman), best original dramatic score, and
best scoring. Special awards went to comedian Groucho Marx and French lm curator
Henri Langlois, and Lew Wasserman of
Universal/MCA received the Jean Hersholt
Humanitarian Award.
Jack Haley, Jr., produced the show, Marty
Pasetta directed for NBC, and hosting duties were handled by John Huston, Diana
Ross, Burt Reynolds and David Niven. Liza
Minnelli performed a vivacious opening
number, Oscar, written especially for the
night by Fred Ebb and John Kander, and
staged by Broadways Ron Field.
Moments before David Niven announced
Elizabeth Taylor as one of the evenings
presenters, there was another Oscar rst:
a streaker, fully stripped, unexpectedly
charged across the large Music Center stage.
Isnt it fascinating, quipped Niven, to
think that probably the only laugh that
man will ever get in his life is by stripping
off his clothes and showing his shortcomings. Later identied as thirty-four-year-old
Robert Opel, he made news again ve years
later, when he was found murdered in San
Francisco.
224
be s t p i c t ure : THE STING (Universal; produced by Tony Bill,
Michael and Julia Phillips) and b es t d i r ecto r : GEORGE
ROY HILL for The Sting. The movie starred (at right, next to
each other) Paul Newman and Robert Redford, and was lightweight, impish and diverting; it was also a movie-movie that
brilliantly accomplished exactly what it set out to do: entertain.
The Sting not only possessed a soundtrack bouncing with ragtime tunes by the late Scott Joplin (adapted by Marvin Hamlisch) but contained enough plot twists, deceptions, counteractions and complications by screenwriter David S. Ward to ll a
dozen lms, as con men Redford and Newman get revenge on a
racketeer (played by Robert Shaw, near right) by eecing him in
a phony offtrack horse-betting ploy. Set in the Depression days,
the lm opened with Universal Studios old trademark logo of
that era, which hadnt been used in decades.
8/8/13 7:29 PM
be s t a ct r e s s : GLENDA JACKSON as Vicki Allessio in

A Touch of Class (Avco Embassy; directed by Melvin Frank).
Three years after winning her rst Academy Award (for 1970s
dramatic Women in Love), Glenda Jackson was again a winner,
this time in a comedy role, as a partially liberated, London-based
businesswoman of the 1970s, laboriously trying to have a light
love affair with an American fellow whos married (George
Segal, left, toasting with Jackson). It was a win that surprised
everyone, including Jackson, who later said, I gave both my
Oscars to my mother in Cheshire. Its not that I dont treasure
them, but if I display them in my own home, Im afraid people
will think Im big-headed.
225
be s t a ct or : JACK LEMMON as Harry Stoner (left) in Save

the Tiger (Paramount; directed by John G. Avildsen). Lemmon
had been a supporting actor Oscar winner in 1955 for Mister
Roberts and a nominee in 1959 (for Some Like It Hot), 1960
(for The Apartment), and 1962 (for Days of Wine and Roses).
He would subsequently be nominated in 1979 (for The China
Syndrome), 1980 (for Tribute) and 1982 (for Missing). As
Tigers Harry Stoner, he won his second Academy Award, but his
rst as best actor, playing a middle-aged, disillusioned businessman living through a day of crisis in which he comes to grips
with the realization his great American dream has gone far
astray. The lm was a pet project of producer-writer Steve Shagan
and, said Lemmon, Im very proud of the lm we nally got.
I also believe very deeply in what it has to say.
8/8/13 7:29 PM
B E S T PI C TUR E
AM ERI CAN G RAFFI T I , Produced by Francis Ford
Nominations 1973
Coppola; Co-Produced by Gary Kurtz.
CRI ES AN D W HI SP ERS, Svenska Filminstitutet-
Cinematograph AB Prod., New World Pictures.

Produced by Ingmar Bergman.
T HE EX ORCI ST , Hoya Prods., Warner Bros. Produced
by William Peter Blatty.
* T HE ST I NG, Universal-Bill/Phillips-George Roy Hill
Film Prod., Zanuck/Brown Presentation, Universal.
Produced by Tony Bill, Michael and Julia Phillips.
A T OU CH OF CLASS, Brut Prods., Avco Embassy.
Produced by Melvin Frank.
A C TO R
M ARLON BRAN D O in Last Tango in Paris, UA.

* JACK LEM M ON in Save the Tiger, Filmways-Jalem-
Cirandinha, Paramount.
JACK NI CHOLSON in The Last Detail, Acrobat,
Columbia.
AL P ACI N O in Serpico, De Laurentiis, Paramount.

ROBERT RED FORD in The Sting, Bill/Phillips-Hill,
Zanuck/Brown, Universal.
A C TR E S S
ELLEN BU RST Y N in The Exorcist, Hoya Prods., Warner
Bros.
* GLEND A J ACK SON in A Touch of Class, Brut, Avco
Embassy.
M ARSHA M ASON in Cinderella Liberty, Sanford, 20th
Century-Fox.
BARBRA ST REI SAND in The Way We Were, Rastar,
Columbia.
JOANNE W OOD W ARD in Summer Wishes, Winter
Dreams, Rastar, Columbia.
VI NCEN T GARD EN I A in Bang the Drum Slowly,
Roseneld, Paramount.
JACK GI LFORD in Save the Tiger, Filmways-JalemCirandinha, Paramount.
* JOHN HOU SEM AN in The Paper Chase, ThompsonPaul, 20th Century-Fox.
JASON M I LLER in The Exorcist, Hoya Prods., Warner
Bros.
RAND Y Q U AI D in The Last Detail, Acrobat, Columbia.
LI N D A BLAI R in The Exorcist, Hoya, Warner Bros.

CANDY CLARK in American Grafti, Lucaslm-Coppola
Company, Universal.
M AD ELI N E K AHN in Paper Moon, Directors Company,
Paramount.
* T AT U M O N EAL in Paper Moon, Directors Company,
Paramount.
SY LVI A SI D N EY in Summer Wishes, Winter Dreams,
Rastar, Columbia.
D I R E C TI N G
226
be s t s up p ort i n g acto r : JOHN HOUSEMAN as Professor

Kingseld (above, standing) in The Paper Chase (20th CenturyFox; directed by James Bridges). Houseman, age seventy-one, had
acted in only one previous lm (1964s Seven Days in May), but
between 1945 and 1962 he had produced 18 important features
(including The Bad and the Beautiful, Julius Caesar and Lust
for Life) and was also a stalwart contributor to the legitimate
theater. He stepped into his Paper Chase role when previously
signed James Mason had to bow out, and then won the Oscar for
playing an academic dictator in Harvards law school, a man who
looms over his students (including Timothy Bottoms, Edward
Herrmann and James Naughton) like a quietly arrogant Goliath.
Houseman later replayed his role of Kingseld in a much-respected
Paper Chase television series.
AM ERI CAN G RAFFI T I , Lucaslm-Coppola Company,
Universal. George Lucas.
CRI ES AN D W HI SP ERS, New World Pictures
(Swedish). Ingmar Bergman.
T HE EX ORCI ST , Hoya Prods., Warner Bros. William
Friedkin.
LAST T AN G O I N P ARI S, UA. Bernardo Bertolucci.

* T HE ST I NG, Bill/Phillips-Hill-Zanuck/Brown,
Universal. George Roy Hill.
WR I TI N G
(s cr e e n p la yba s e d on ma t e r ia l fr om a n ot h e r
me diu m)
* T HE EX ORCI ST , Hoya Prods., Warner Bros. William

Peter Blatty.
T HE LAST D ET AI L, Acrobat Films, Columbia. Robert
Towne.
T HE P AP ER CHASE, Thompson-Paul Prods., 20th
Century-Fox. James Bridges.
P AP ER M OON , Directors Company, Paramount. Alvin
Sargent.
SERP I CO, De Laurentiis, Paramount. Waldo Salt and
Norman Wexler.
AM ERI CAN G RAFFI T I , Lucaslm-Coppola Company,
Universal. George Lucas, Gloria Katz and Willard

Huyck.
CRI ES AN D W HI SP ERS, New World Pictures
SAVE T HE T I G ER, Filmways-Jalem-Cirandinha,
Paramount. Steve Shagan.
Universal. David S. Ward.
A T OU CH OF CLASS, Brut, Avco Embassy. Melvin
Frank and Jack Rose.
* CRI ES AN D W HI SP E R S , New World Pictures

(Swedish). Sven Nykvist.
T HE EX ORCI ST , Hoya Prods., Warner Bros. Owen
Roizman.
J ON AT HAN LI VI N G S T O N S E A G U L L , JLS Limited
Partnership, Paramount. Jack Couffer.
T HE ST I N G , Bill/Phillips-Hill-Zanuck/Brown,
Universal. Robert Surtees.
T HE W AY W E W ERE, Rastar, Columbia. Harry
Stradling, Jr.
BROT HER SU N SI ST E R MO O N , Euro International-
Vic Film Ltd., Paramount. Lorenzo Mongiardino and

Gianni Quaranta; Carmelo Patrono.
T HE EX ORCI ST , Hoya Prods., Warner Bros. Bill Malley;
Jerry Wunderlich.
Universal. Henry Bumstead; James Payne.
T OM SAW Y ER, Jacobs, Readers Digest, UA. Philip
Jefferies; Robert de Vestel.
T HE W AY W E W ERE, Rastar, Columbia. Stephen
Grimes; William Kiernan.
C O S TUM E D ESIGN
CRI ES AND W HI SP E R S , New World Pictures
(Swedish). Marik Vos.
LU D W I G , Mega Film S.p.A. Prod., M-G-M. Piero Tosi.

Universal. Edith Head.
T OM SAW Y ER, Jacobs, Readers Digest, UA. Donfeld.

T HE W AY W E W ERE, Rastar, Columbia. Dorothy
Jeakins and Moss Mabry.
S O UN D
T HE D AY OF T HE D O L PH I N , Icarus, Avco Embassy.
Richard Portman and Lawrence O. Jost.

* T HE EX ORCI ST , Hoya Prods., Warner Bros. Robert
Knudson and Chris Newman.
T HE P AP ER CHASE, Thompson-Paul Prods., 20th
Century-Fox. Donald O. Mitchell and Lawrence O.
Jost.
P AP ER M OON, Directors Company, Paramount.
Richard Portman and Les Fresholtz.
T HE ST I N G , Bill/Phillips-Hill-Zanuck/Brown,
Universal. Ronald K. Pierce and Robert Bertrand.
F I LM E D I TI NG
AM ERI CAN GRAFFI T I , Lucaslm-Coppola Company,
Universal. Verna Fields and Marcia Lucas.
T HE D AY OF T HE J A C K A L , Warwick Films, Universal.
Ralph Kemplen.
T HE EX ORCI ST , Hoya Prods., Warner Bros. Jordan
Leondopoulos, Bud Smith, Evan Lottman and Norman

Gay.
J ON AT HAN LI VI N G S T O N S E A G U L L , JLS Limited
Partnership, Paramount. Frank P. Keller and James
Galloway.
Universal. William Reynolds.
M US I C
(s on g )
ALL T HAT LOVE W EN T T O W A S T E (A Touch of Class,
Brut, Avco Embassy); Music by George Barrie. Lyrics by

Sammy Cahn.
LI VE AN D LET D I E (Live and Let Die, Eon, UA); Music
and Lyrics by Paul and Linda McCartney.
LOVE (Robin Hood, Disney, Buena Vista); Music by
George Bruns. Lyrics by Floyd Huddleston.
N I CE T O BE AROU N D (Cinderella Liberty, Sanford
Prod., 20th Century-Fox); Music by John Williams.
Lyrics by Paul Williams.
* T HE W AY W E W ERE (The Way We Were, Rastar,
Columbia); Music by Marvin Hamlisch. Lyrics by Alan
and Marilyn Bergman.
(or ig in a l dr a ma t ic sc o re)
CI N D ERELLA LI BER T Y, Sanford Prod., 20th Century-
Fox. John Williams.
T HE D AY OF T HE D O L PH I N , Icarus Prods., Avco
Embassy. Georges Delerue.
P AP I LLON , Corona-General Productions, Allied Artists.
Jerry Goldsmith.
A T OU CH OF CLASS , Brut, Avco Embassy. John
Cameron.
* T HE W AY W E W ERE , Rastar, Columbia. Marvin
Hamlisch.
(s cor in g : or ig in a l so ng sc o re and /
J ESU S CHRI ST SU P E R S T A R , Jewison-Stigwood,
Universal. Andr Previn, Herbert Spencer and Andrew

Lloyd Webber.
Universal. Marvin Hamlisch.
T OM SAW Y ER, Jacobs, Readers Digest, UA. Richard M.
Sherman, Robert B. Sherman and John Williams.
8/8/13 7:29 PM
be s t f ore i gn l an g u a g e f i l m : DAY FOR NIGHT from

France, directed by Franois Truffaut (at far right, with JeanPierre Laud and Jacqueline Bisset). Truffaut, a great movie fan
as well as moviemaker, turned his cameras on the lmmaking
process itself in Day for Night, observing all the funny, serious,
self-indulgent, maddening details that can happen during the
shooting of a movie, from the traumas of an aging actress no
longer able to remember her lines, to the horizontal activities
off-camera of various crew and cast members. His expert cast
included Bisset, Laud, Valentina Cortese, Jean-Pierre Aumont,
Nathalie Baye and Truffaut himself.
(an i m at e d )
* F R A NK FIL M, Frank Mouris Production. Frank

Mouris, producer.
THE L E GE ND O F JOH N HENRY, Bosustow-Pyramid
Films. Nick Bosustow and David Adams, producers.
P U L C INE L L A , Luzzati-Gianini Prod. Emanuele Luzzati
and Giulio Gianini, producers.
(l i ve ac t i on )
* THE BO L E R O , Allan Miller Production. Allan Miller

and William Fertik, producers.
C L O C KMA K E R , James Street Prods. Richard Gayer,
producer.
L IF E TIME S NINE, Insight Prods. Pen Densham and
John Watson, producers.
D O CU M EN T AR Y
BA C K GR O U ND , DAvino and Fucci-Stone Prods.
Carmen DAvino, producer.
C HIL D R E N A T WORK (Paisti Ag Obair), Gael-Linn
Films. Louis Marcus, producer.
C HR ISTO S VA L LEY CURTAIN, Maysles Films. Albert
and David Maysles, producers.
FO UR S TO NE S FOR KANEMITSU, Tamarind Prod.
Terry Sanders and June Wayne, producers.

* P R INC E TO N: A SEARCH FOR ANSWERS, KraininSage Prods. Julian Krainin and DeWitt L. Sage, Jr.,
producers.
(f e at ure s )
A L W A Y S A NE W B EGINNING, Goodell Motion
Pictures. John D. Goodell, producer.
BA TTL E O F BE R LIN, Chronos Film. Bengt von zur
Muehlen, producer.
* THE GR E A T A MERICAN COWB OY, Merrill-Rodeo
Film Prods. Kieth Merrill, producer.
JO U R NE Y TO THE OUTER LIMITS, National
Geographic Society and Wolper Prods. Alex
Grasshoff, producer.
W A L L S O F FIR E , Mentor Prods. Gertrude Ross Marks
and Edmund F. Penney, producers.
* D A Y FO R NIGHT (France).
THE HO U SE O N CHELOUCH E STREET (Israel).

L INVITA TIO N (Switzerland).
THE P E D E STR IA N (Federal Republic of West
Germany).
TU R KIS H D E L IGHT (The Netherlands).

TO HE NR I L A NGLOIS for his devotion to the art of
lm, his massive contributions in preserving its past,

and his unswerving faith in its future. (statuette)
TO GR O U C HO MARX in recognition of his brilliant
creativity and for the unequaled achievements of the
Marx Brothers in the art of motion picture comedy.
(statuette)

be s t s u p p or t in g a ct r e s s : TATUM ONEAL as Addie Pray

(above right) in Paper Moon (Paramount; directed by Peter
Bogdanovich). Tatum, age ten and a rst-time performer, costarred with her real-life father, Ryan ONeal (above left), as a
streetwise, cigarette-pufng moppet in the Depression days of the
1930s who teams up with a dandy; together they con their way
into billfolds all across Kansas and Missouri, bilking without
a blink. With her win, Tatum became the youngest recipient to
date to be voted an Oscar in a regular Academy Awards category.
M AGNA- T ECH EL E C T R O N I C C O . , I N C . for the
T O LAW REN CE W EI N G ART EN
T O LEW W ASSERM AN
CLASS I (s t a t u e t t e )
None.
CLASS I I (p la qu e )
J OACHI M GERB and ERI CH K AST N ER of The
Arnold and Richter Company for the development

and engineering of the Arriex 35BL motion picture
camera.
227
engineering and development of a high-speed rerecording system for motion picture production.
W I LLI AM W . VAL L I A N T of PSC Technology Inc.,
HOW ARD F. OT T of Eastman Kodak Company, and
G ERRY D I EBOL D of The Richmark Camera Service
Inc. for the development of a liquid-gate system for
motion picture printers.
HAROLD A. SCHE I B , C L I F F O R D H . E L L I S
and ROGER W . B A N K S of Research Products
Incorporated for the concept and engineering of the

Model 2101 optical printer for motion picture optical
effects.
ROSCO LABORAT O R I E S , I N C . ;
RI CHARD H. VET T E R of Todd-AO Corporation.
8/8/13 7:29 PM
1974
The Forty-Seventh Year
otion picture showmanship was

fully evident during 1974 via a
number of so-called disaster
epics (or, according to some, survival
pictures), most of them laden with famous
faces, spectacular special effects and a
nerve-wracking premise which audiences
could vicariously enjoy without leaving
the safety of their theater seats. When 1974
Academy Awards for achievement were
handed out, April 8, 1975, at the Dorothy
Chandler Pavilion of the Los Angeles Music
Center, two of the disaster genre were well
represented: The Towering Inferno with three
technical awards and Earthquake with two,
including a special achievement award for
visual effects.
The most conspicuous lms of the night,
however, had less to do with awesome
effects than they did with powerhouse
melodrama: Chinatown and The Godfather
Part II, both from Paramount Studios, were
each nominated for eleven Oscars. When
the award totals were tallied, Chinatown
won one (for Robert Townes best original
screenplay), and The Godfather Part II received six, including best picture, best director (Francis Ford Coppola), best supporting
actor (Robert De Niro), and best adapted
screenplay (Coppola and Mario Puzo). It
thus became the rst motion picture sequel
to win the Academys best picture statuette,
just as the original, The Godfather, had done
two years before.
In other categories, Art Carney was
named best actor (for Harry and Tonto),
Ellen Burstyn was chosen best actress (for
Alice Doesnt Live Here Anymore), and Ingrid

Bergman won her third Academy Award,
as best supporting actress in Murder on
the Orient Express, the rst time she had
been honored in that division. (She had
previously won as best actress in 1944
and in 1956.) She also became the rst
Academy winner to devote an acceptance
speech to praising the virtues of a competitor. After complimenting the performance
of fellow nominee Valentina Cortese in
Day for Night, she charmingly complained,
Now Im her rival, and I dont like it at
all. Please forgive me, Valentina. I didnt
mean to [win] . . . Special awards went to
directors Howard Hawks and Jean Renoir,
and Italys Amarcord was named best foreign
language lm.
The ceremony was again telecast on NBC,
with a quartet of masters of ceremonies in
charge: Sammy Davis, Jr., Bob Hope, Shirley
MacLaine and Frank Sinatra. Howard W.
Koch produced the show, and Marty Pasetta
directed.
During the program, there was some
controversy over the political implications
in a telegram read by producer Bert Schneider when he accepted an Oscar for his best
documentary feature Hearts and Minds,
a lm about the Vietnam War; before the
show ended, an impromptu disclaimer in
the name of the Academy was read from the
stage by Frank Sinatra. Since Article II of
the Academys bylaws specically states that
The Academy is expressly prohibited from
concerning itself with economic, political
or labor issues, it was thought best to make
228
be s t p i c t ure : THE GODFATHER PART II (Paramount;
produced by Francis Ford Coppola) and b es t s u ppo r ti ng
ac t or: ROBERT DE NIRO as Vito Corleone (right) in The
Godfather Part II. A mammoth and magnicent follow-up to
1972s Academy Award-winning The Godfather, it showed the
rise to power of the young Vito Corleone, played by De Niro, and
the decline of his son, Michael (played by Al Pacino), decades
later, shifting back and forth in time between the two generations
and forming a prologue and epilogue around that rst Godfather
feature. Godfather II became the rst sequel to an Oscar-winning
best picture to duplicate the award success of its predecessor and,
by virtue of De Niros own Academy Award, it also marked the
rst time two different actors (De Niro, and Marlon Brando as
Vito Corleone in the original Godfather) received Oscars for
playing the same character at different age spans.
8/8/13 7:29 PM
the announcement, as Sinatra did, that

The Academy is not responsible for any
political references on this program, and
we are sorry that they had to take place this
evening.
be s t ac t or: ART CARNEY as Harry in Harry and Tonto

(20th Century-Fox; directed by Paul Mazursky). Harry and
Tonto was a series of gentle vignettes with fty-ve-year-old Art
Carney as a seventy-two-year-old widower who gets evicted from
his New York apartment and decides to open up his shrinking
world by traveling cross-country with his cat, Tonto; at the end
of their journey, he loses Tonto to old age but has regained his
own vitality and self-esteem. It was one of the years most pleasant movie surprises with an unusual theme for the blood-andthunder 1970s: life is available to anyone, at any age, who wants
it. Among Carneys co-stars in the lm was Ellen Burstyn, who
had her own triumph, and her own Oscar, in 1974 with Alice
Doesnt Live Here Anymore (below).
229
be s t a ct r e s s : ELLEN BURSTYN as Alice Hyatt in Alice

Doesnt Live Here Anymore (Warner Bros.; directed by Martin
Scorsese). The script had been rejected by several producers and
stars before Ellen Burstyn found it. The actress played the spunky
new widow who works her way across the Southwest, with a
twelve-year-old son in tow, singing in dives and working in hash
houses as she attempts to reconstruct her life. Burstyn, left, with
Kris Kristofferson, had earlier been nominated for Academy
Awards in 1971 as supporting actress in The Last Picture Show
and in 1973 as best actress in The Exorcist, and she later received
additional nominations in 1978, 1980 and 2000. Alice later
became the basis for a successful weekly television series starring
Linda Lavin.
8/8/13 7:29 PM
Nominations 1974
be s t d i re c t or: FRANCIS FORD COPPOLA for The Godfather Part II. Coppola (at right, in striped shirt) won his rst
Academy Award at age thirty-one, for cowriting the story and
screenplay of 1970s Patton; two years later, he won another
for cowriting the screenplay of The Godfather (1972), and he
received an additional nomination as 1972s best director. In
1974, there was more Coppola everywhere; he won three Academy
Awards (as producer of the years best picture, as director, and
as coauthor of the screenplay of The Godfather Part II) and
was also nominated twice for The Conversation (as producer
and as sole author of its original screenplay). A busy year, a
talented creator.
b e s t s up p ort i n g actr es s : INGRID BERGMAN as Greta

Ohlsson (right, listening to Lauren Bacall) in Murder on the
Orient Express (Paramount; directed by Sidney Lumet). Ingrid
Bergmans contribution to the lm was short, but a prime example of why the Academy instigated supporting awards categories in the rst place: to properly honor well-played smaller roles
and gem-like junior performances which add so immeasurably to
motion pictures. As a mousey, nervous Swedish missionary riding on the Orient Express, she basically had but one lengthy scene
in which she was interrogated by detective Hercule Poirot (Albert
Finney) about an unsolved murder in their midst. It was a true
cameo performance, and it brought her a third Academy Award,
her rst in the supporting division. Earlier, she won for Gaslight
(1944) and Anastasia (1956).
B E S T PI C TUR E
CHI NAT OW N, Evans, Paramount. Produced by Robert
Evans.
230
T HE CON VERSAT I ON, Directors Company,
Paramount. Produced by Francis Ford Coppola;

Co-Produced by Fred Roos.
* T HE G OD FAT HER P ART I I , Coppola Company,
Paramount. Produced by Francis Ford Coppola;
Co-Produced by Gray Frederickson and Fred Roos.
LENNY , Worth, UA. Produced by Marvin Worth.
T HE T OW ERI NG I N FERNO, Irwin Allen, 20th
Century-Fox/Warner Bros. Produced by Irwin Allen.
A C TO R
FRED AST AI RE in The Towering Inferno, Irwin Allen,
20th Century-Fox/Warner Bros.
J EFF BRI D G ES in Thunderbolt and Lightfoot, Malpaso,
UA.
* ROBERT D E NI RO in The Godfather Part II, Coppola
Company, Paramount.
M I CHAEL V. G AZ Z O in The Godfather Part II, Coppola
Company, Paramount.
LEE ST RASBERG in The Godfather Part II, Coppola
Company, Paramount.
* I N G RI D BERGM AN in Murder on the Orient Express,

G.W. Films, Paramount.
* ART CARNEY in Harry and Tonto, 20th Century-Fox.
ALBERT FI NNEY in Murder on the Orient Express, G.W.
VALENT I NA CORT ES E in Day for Night, Warner Bros.
Films, Paramount.
(French).
D U ST I N HOFFM AN in Lenny, Worth, UA.
M AD ELI NE K AHN in Blazing Saddles, Warner Bros.
JACK NI CHOLSON in Chinatown, Evans, Paramount.
D I AN E LAD D in Alice Doesnt Live Here Anymore,
AL PACINO in The Godfather Part II, Coppola Company,
Warner Bros.
T ALI A SHI RE in The Godfather Part II, Coppola
Paramount.
Company, Paramount.
A C TR E S S
* ELLEN BU RST Y N in Alice Doesnt Live Here Anymore,

Warner Bros.
D I AHANN CARROLL in Claudine, Third World
Cinema-Selznick-Pine, 20th Century-Fox.
FAY E D U N AW AY in Chinatown, Evans, Paramount.
VALERI E P ERRI NE in Lenny, Worth, UA.
GENA ROW LAN D S in A Woman under the Inuence,
Faces International.
D I R E C TI N G
CHI N AT OW N , Robert Evans, Paramount. Roman
Polanski.
D AY FOR N I GHT , Warner Bros. (French). Franois
Truffaut.
* T HE G OD FAT HER P A R T I I , Coppola Company,
Paramount. Francis Ford Coppola.
8/8/13 7:29 PM
L E NNY , Marvin Worth, UA. Bob Fosse.

A W O MA N UND ER TH E INFLUENCE, Faces
International. John Cassavetes.
W RI T I NG
(New classications)
(ori g i n al s c re e npl a y )
A L IC E D O E SN T LIV E H ERE ANYMORE, Warner
Bros. Robert Getchell.

* C HINA TO W N, Robert Evans, Paramount. Robert
Towne.
THE C O NVE R SA T ION, Directors Company,
D A Y F O R NIGHT , Warner Bros. (French). Franois
Truffaut, Jean-Louis Richard and Suzanne Schiffman.
HA R R Y A ND TO N TO, 20th Century-Fox. Paul
Mazursky and Josh Greenfeld.
(s c re e n p l ay ad ap ted f r o m o th er m a ter i a l )
THE A P P R E NTICESH IP OF DUDDY KRAV ITZ,
International Cinemedia Centre, Paramount.

Mordecai Richler and Lionel Chetwynd.
* THE GO D F A THE R PART II, Coppola Company,
Paramount. Francis Ford Coppola and Mario Puzo.
L E NNY , Marvin Worth, UA. Julian Barry.
MU R D E R O N THE ORIENT EXPRESS, G.W. Films,
Paramount. Paul Dehn.
Y O U NG F R A NKENSTEIN, Gruskoff/Venture FilmsCrossbow-Jouer, 20th Century-Fox. Gene Wilder and
Mel Brooks.
C HINA TO W N, Robert Evans, Paramount. John A.
Alonzo.
E A R THQ U A KE , Robson-Filmakers Group, Universal.
Philip Lathrop.
L E NNY , Marvin Worth, UA. Bruce Surtees.

Paramount. Geoffrey Unsworth.

* THE TO W E R ING INFERNO, Irwin Allen, 20th
Century-Fox/Warner Bros. Fred Koenekamp and
Joseph Biroc.
A RT D I REC T I ON
C HINA TO W N, Robert Evans, Paramount. Richard
Sylbert and W. Stewart Campbell; Ruby Levitt.

Alexander Golitzen and E. Preston Ames; Frank
McKelvy.
* THE GO D F A THE R PART II, Coppola Company,
Paramount. Dean Tavoularis and Angelo Graham;
George R. Nelson.
THE IS L A ND A T THE TOP OF THE WORLD, Disney,
Buena Vista. Peter Ellenshaw, John B. Mansbridge,
Walter Tyler and Al Roelofs; Hal Gausman.
THE TO W E R ING INFERNO, Irwin Allen, 20th
Century-Fox/Warner Bros. William Creber and Ward
Preston; Raphael Bretton.
C HINA TO W N, Robert Evans, Paramount. Anthea
Sylbert.
D A ISY MIL L E R , Directors Company, Paramount. John
Furness.
THE GO D FA THE R PART II, Coppola Company,
Paramount. Theadora Van Runkle.

* THE GR E A T GA TSB Y, David Merrick, Paramount.
Theoni V. Aldredge.
Paramount. Tony Walton.
S O U ND
C HINA TO W N, Robert Evans, Paramount. Bud
Grenzbach and Larry Jost.

THE C O NVE R SA T ION, Directors Company,
Paramount. Walter Murch and Arthur Rochester.
* E A R THQ UA K E , Robson-Filmakers Group, Universal.
Ronald Pierce and Melvin Metcalfe, Sr.
THE TO W E R ING INFERNO, Irwin Allen, 20th
Century-Fox/Warner Bros. Theodore Soderberg and
Herman Lewis.
Y O U NG F R A NKENSTEIN, Gruskoff/Venture FilmsCrossbow-Jouer, 20th Century-Fox. Richard Portman
and Gene Cantamessa.
F I LM ED I T I N G
BL A Z ING SA D D LES, Warner Bros. John C. Howard
and Danford Greene.
C HINA TO W N, Robert Evans, Paramount. Sam
OSteen.
Dorothy Spencer.
THE L O NGE S T Y ARD, Ruddy, Paramount. Michael
Luciano.
* THE TO W E R ING INFERNO, Irwin Allen, 20th

Century-Fox/Warner Bros. Harold F. Kress and
Carl Kress.
M US I C
(s on g )
BENJ I S T HEM E ( I FEEL LOVE) (Benji, Mulberry
Square); Music by Euel Box. Lyrics by Betty Box.

BLAZ I NG SAD D LES (Blazing Saddles, Warner Bros.);
Music by John Morris. Lyrics by Mel Brooks.
LI T T LE P RI NCE (The Little Prince, Stanley Donen,
Paramount); Music by Frederick Loewe. Lyrics by Alan
Jay Lerner.
* W E M AY NEVER LOVE LI K E T HI S AG AI N (The
Towering Inferno, Irwin Allen, 20th Century-Fox/
Warner Bros.); Music and Lyrics by Al Kasha and Joel
Hirschhorn.
W HEREVER LOVE T AK ES M E (Gold, Avton, Allied
Artists); Music by Elmer Bernstein. Lyrics by Don
Black.
(or ig in a l dr a ma t ic s cor e )
CHI N AT OW N , Robert Evans, Paramount. Jerry
Goldsmith.
* T HE G OD FAT HER P ART I I , Coppola Company,
Paramount. Nino Rota and Carmine Coppola.
M U RD ER ON T HE ORI EN T EX P RESS, G.W. Films,
Paramount. Richard Rodney Bennett.
SHANK S, William Castle, Paramount. Alex North.
T HE T OW ERI N G I NFERN O, Irwin Allen, 20th
Century-Fox/Warner Bros. John Williams.
(s cor in g : or ig in a l s on g s cor e a n d/
* T HE G REAT GAT SBY , David Merrick, Paramount.

Nelson Riddle.
T HE LI T T LE P RI N CE, Stanley Donen, Paramount.
Alan Jay Lerner, Frederick Loewe; Angela Morley and
Douglas Gamley.
P HANT OM OF T HE P ARAD I SE, Harbor Prods., 20th
Century-Fox. Paul Williams and George Aliceson
Tipton.
S H O R T F I LM S
(Previously listed as Short Subjects)
(a n ima t e d)
* CLOSED M OND AY S, Lighthouse Productions. Will

Vinton and Bob Gardiner, producers.
T HE FAM I LY T HAT D W ELT AP ART , National Film
Board of Canada. Yvon Mallette and Robert Verrall,
producers.
HU N G ER, National Film Board of Canada. Peter Foldes
and Ren Jodoin, producers.
VOY AGE T O NEX T , Hubley Studio. Faith and John
Hubley, producers.
W I NNI E T HE P OOH AN D T I GGER T OO, Disney,
Buena Vista. Wolfgang Reitherman, producer.
(liv e a ct ion )
CLI M B, Dewitt Jones Productions. Dewitt Jones,

T O HOW ARD HAW K S A master American lmmaker
whose creative efforts hold a distinguished place in

world cinema. (statuette)
T O J EAN RENOI R A genius who, with grace,
responsibility and enviable devotion through silent
lm, sound lm, feature, documentary and television,
has won the worlds admiration. (statuette)
SPECIAL ACHIEVEMENT AWARDS

For Visual Effects: F R A N K B R E N DE L , G L E N
ROBI N SON , and A L B E R T W H I T L O C K for
Earthquake, a Universal-Mark Robson-Filmakers
Group Production, Universal.

T O ART HU R B. K R I M
None.
J OSEP H D . K ELLY of Glen Glenn Sound for the design
of new audio control consoles which have advanced

the state of the art of sound recording and rerecording
for motion picture production.
T HE BU RBANK ST U DI O S S O U N D DE PA R T M E N T
for the design of new audio control consoles

engineered and constructed by the Quad-Eight Sound
Corporation.
SAM U EL G OLD W YN S T U DI O S S O U N D
D EP ART M ENT for the design of a new audio control
console engineered and constructed by the Quad-Eight

Sound Corporation.
Q U AD - EI GHT SOU N D C O R PO R A T I O N for the
engineering and construction of new audio control
consoles designed by The Burbank Studios Sound
Department and by the Samuel Goldwyn Studios
Sound Department.
W ALD ON O. W AT S O N , R I C H A R D J . S T U MPF ,
ROBERT J . LEON A R D and the U N I V E R S A L
CI T Y ST U D I OS S O U N D DE PA R T M E N T for the
development and engineering of the Sensurround

System for motion picture presentation.
ELEM ACK COM P A N Y of Rome, Italy;
LOU I S AM I of the Universal City Studios.
producer.
T HE CONCERT , The Black and White Colour Film
Company, Ltd. Julian and Claude Chagrin, producers.

* ON E- EY ED M EN ARE K I NGS, C.A.P.A.C. Productions
(Paris). Paul Claudon and Edmond Sechan, producers.
P LANET OCEAN , Graphic Films. George V. Casey,
producer.
T HE VI OLI N, Sincinkin, Ltd. Andrew Welsh and George
Pastic, producers.
D O C UM E N TA R Y
CI T Y OU T OF W I LD ERN ESS, Francis Thompson Inc.
Francis Thompson, producer.

* D ON T , R.A. Films. Robin Lehman, producer.
EX P LORAT ORI U M , Jon Boorstin Prod. Jon Boorstin,
producer.
J OHN M U I R S HI GH SI ERRA, Dewitt Jones Prods.
Dewitt Jones and Lesley Foster, producers.
N AK ED Y OGA, Filmshop Prod. Ronald S. Kass and
Mervyn Lloyd, producers.
231
(fe a t u r e s )
AN T ON I A: A P ORT RAI T OF T HE W OM AN, Rocky
Mountain Prods. Judy Collins and Jill Godmilow,

producers.
T HE CHALLEN G E . . . A T RI BU T E T O M OD ERN
ART , World View. Herbert Kline, producer.
T HE 81 ST BLOW , Ghetto Fighters House. Jacquot
Ehrlich, David Bergman and Haim Gouri, producers.

* HEART S AND M I N D S, Touchstone-Audjeff-BBS Prod.,
Zuker/Jaglom-Rainbow Pictures. Peter Davis and Bert
Schneider, producers.
T HE W I LD AND T HE BRAVE, E.S.J.-Tomorrow
Entertainment-Jones/Howard Ltd. Natalie R. Jones
and Eugene S. Jones, producers.
* AM ARCORD (Italy).
CAT S P LAY (Hungary).
T HE D ELU G E (Poland).
LACOM BE, LU CI EN (France).
T HE T RU CE (Argentina).
8/8/13 7:29 PM
1975
The Forty-Eighth Year
ne Flew over the Cuckoos Nest, a project which took years to get off the
Hollywood drawing boards, justied
the tenacity of its backers by winning ve
major awards at the 1975 Academy Awards
presentations, held March 29, 1976. Cuckoos
Nest won the awards for best picture, best
actor (Jack Nicholson), best actress (Louise
Fletcher), best director (Milos Forman),
and best screenplay adaptation (Lawrence
Hauben and Bo Goldman). It was the rst
lm to win all four of the Academys most
famous awardspicture, actor, actress,
directorsince It Happened One Night fortyone years earlier.
The awards ceremony was held again at
Angeles Music Center and telecast over
ABC for the rst time in six years. Howard
W. Koch produced for the Academy, Marty
Pasetta directed for ABC, and cohosts of
the evening were Walter Matthau, Robert
Shaw, George Segal, Goldie Hawn and
Gene Kelly. Ray Bolger and twenty-four
dancers opened the show with a special
number, Hollywood Honors Its Own,
and Elizabeth Taylor closed it by leading a
salute to the countrys Bicentennial.
George Burns, age eighty, was named
best supporting actor of the year (for The
Sunshine Boys), and thus became the oldest
performer to win an Academy Award. Lee
Grant was named best supporting actress
(for Shampoo). The Soviet Unions Dersu
Uzala was picked as best foreign language
lm, Mervyn LeRoy received the Irving G.
Thalberg Memorial Award, and Dr. Jules
Stein was honored with the Jean Hersholt

Humanitarian Award.
Two ladiesone a Hollywood veteran, the
other a newcomerdominated the show.
Mary Pickford, one of the industrys bona
de legends and a past Academy Award winner, received an honorary Oscar from the
Academys Board of Governors, specically
in recognition of her unique contributions
to the lm industry and the development of
lm as an artistic medium. She accepted
the statuette from Academy President
Walter Mirisch in a ceremony pretaped
at her Pickfair estate. Later, best actress
winner Louise Fletcher gave her acceptance
speech partially in sign language to her deaf
parents watching at home in Birmingham,
Alabama, which rated as one of the most
moving Oscar moments on record. I want
to say thank you for teaching me to have a
dream, she told them. You are seeing my
dream come true.
232
be s t s up p ort i n g acto r : GEORGE BURNS as Al Lewis
(right, with Walter Matthau) in The Sunshine Boys (M-G-M;
directed by Herbert Ross). The role was created on Broadway by
Sam Levene and was for Burns his rst role in a motion picture
in thirty-six years (since 1939s Honolulu). He played a longretired vaudevillian in the midst of making a one-shot comeback
on television with a former partner with whom hes been on the
outs for years. Said Burns, age eighty: This is all so exciting, Ive
decided to keep making one movie every thirty-six years. His
winning role had earlier been earmarked for Jack Benny, who
died, and then for Red Skelton, who turned it down.
8/8/13 7:29 PM
be s t p i c t ure : ONE FLEW OVER THE CUCKOOS NEST

(United Artists; produced by Saul Zaentz and Michael
Douglas), be s t d i recto r : MILOS FORMAN, and (above)
be s t ac t re s s : LOUISE FLETCHER as Nurse Ratched and
be s t ac t or: JACK NICHOLSON as Randle P. McMurphy
in One Flew over the Cuckoos Nest. It took over thirteen
years to get Ken Keseys powerful antiestablishment novel on the

screen, but the result hit the jackpot, winning ve of 1975s top
Academy Awards honors. Filmed at the Oregon State Hospital
in Salem, Oregon, it was the story of a nonconforming con man
(played by Nicholson) who feigns insanity to avoid prison work
and is sent to a mental hospital, where he is ultimately destroyed
when he tries to go against the systemand a poisonous nurse,

played by Miss Fletcher. The cast also included Danny DeVito,
Brad Dourif, Scatman Crothers, William Redeld, Christopher
Lloyd and Will Sampson and was an instant classic.
233
be s t s u p p or t in g a ct r e s s : LEE GRANT as Felicia Karpf

(left) in Shampoo (Columbia; directed by Hal Ashby). Previously nominated in 1951 for Detective Story and in 1970 for The
Landlord, Lee Grant won her Academy Award as the frisky wife
of a wealthy Los Angeles businessman (Jack Warden), a lady
with an interest in her hairdresser (Warren Beatty) beyond his
ability to comb curls. She was nominated again in 1976 for The
Voyage of the Damned and in the 1980s began concentrating
more on directing lms than acting in them.
8/8/13 7:29 PM
B E S T PI C TUR E
BARRY LY N D ON , Hawk Films, Warner Bros. Produced
Nominations 1975
by Stanley Kubrick.
D OG D AY AFT ERNOON, Warner Bros. Produced by
Martin Bregman and Martin Elfand.

JAW S, Zanuck/Brown, Universal. Produced by Richard
D. Zanuck and David Brown.
NASHVI LLE, ABC Entertainment-Weintraub-Altman,
Paramount. Produced by Robert Altman.
* ON E FLEW OVER T HE CU CK OO S N EST , Fantasy
Films, UA. Produced by Saul Zaentz and Michael
Douglas.
A C TO R
W ALT ER M AT T HAU in The Sunshine Boys, Stark,
M-G-M.
* JACK NI CHOLSON in One Flew over the Cuckoos Nest,

Fantasy Films, UA.
AL P ACI N O in Dog Day Afternoon, Warner Bros.
M AX I M I LI AN SCHELL in The Man in the Glass Booth,
Landau, AFT Distributing.
JAM ES W HI T M ORE in Give em Hell, Harry!,
Theatrovision, Avco Embassy.
A C TR E S S
ISABELLE AD J AN I in The Story of Adele H., New World
Pictures (French).
ANN- M ARGRET in Tommy, Stigwood, Columbia.

* LOU I SE FLET CHER in One Flew over the Cuckoos Nest,
Fantasy Films, UA.
GLEND A J ACK SON in Hedda, Royal Shakespeare-
Barrie/Enders, Brut Productions.
CAROL K ANE in Hester Street, Midwest Films.
* GEORG E BU RNS in The Sunshine Boys, Stark, M-G-M.

BRAD D OU RI F in One Flew over the Cuckoos Nest,
Fantasy Films, UA.
BU RG ESS M ERED I T H in The Day of the Locust,
Hellman, Paramount.
CHRI S SARAND ON in Dog Day Afternoon, Warner
Bros.
JACK W ARD EN in Shampoo, Rubeeker, Columbia.
RON EE BLAK LEY in Nashville, ABC Entertainment-
b e s t ori gi n al s on g : IM EASY from Nashville (Paramount), with music and lyrics by Keith Carradine (above).
Carradine became the rst person to win an Oscar for composing
a song he also introduced in a movie. In Nashville, directed by
Robert Altman, he played a soft-spoken rock star briey involved
with a married woman (Lily Tomlin).
WR I TI N G
AM ARCORD , New World Pictures (Italian). Federico
Fellini and Tonino Guerra.
AN D NOW M Y LOVE , Avco Embassy (French). Claude
Lelouch and Pierre Uytterhoeven.

* D OG D AY AFT ERNO O N , Warner Bros. Frank Pierson.
LI ES M Y FAT HER T O L D ME , Pentimento-Pentacle VIII,
Columbia. Ted Allan.
SHAM P OO, Rubeeker, Columbia. Robert Towne and
Warren Beatty.
(s cr e e n p la y a da p t e d f ro m o ther material )
BARRY LY ND ON, Hawk Films, Warner Bros. Stanley
Kubrick.
T HE M AN W HO W O U L D B E K I N G , Columbia/Allied
Artists. John Huston and Gladys Hill.

* ON E FLEW OVER T H E C U C K O O S N E S T , Fantasy
Films, UA. Lawrence Hauben and Bo Goldman.
SCEN T OF A W OM A N , Dean Films, 20th Century-Fox
(Italian). Ruggiero Maccari and Dino Risi.
T HE SU N SHI N E BOYS , Ray Stark, M-G-M. Neil Simon.
* BARRY LY N D ON , Hawk Films, Warner Bros. John

Alcott.
T HE D AY OF T HE LO C U S T , Jerome Hellman,
Paramount. Conrad Hall.
FU NNY LAD Y , Rastar, Columbia. James Wong Howe.
T HE HI N D ENBU RG , Robert Wise-Filmakers Group,
ONE FLEW OVER T H E C U C K O O S N E S T , Fantasy
Films, UA. Haskell Wexler and Bill Butler.
* BARRY LY N D ON , Hawk Films, Warner Bros. Ken Adam

and Roy Walker; Vernon Dixon.
T HE HI N D ENBU RG , Robert Wise-Filmakers Group,
Universal. Edward Carfagno; Frank McKelvy.
Artists. Alexander Trauner and Tony Inglis; Peter
James.
SHAM P OO, Rubeeker, Columbia. Richard Sylbert and
W. Stewart Campbell; George Gaines.
T HE SU N SHI N E BOYS , Ray Stark, M-G-M. Albert
Brenner; Marvin March.
Weintraub-Altman, Paramount.
* LEE GRANT in Shampoo, Rubeeker, Columbia.
SYLVIA MILES in Farewell, My Lovely, Kastner-ITC, Avco
C O S TUM E D ESIGN
Embassy.
* BARRY LY N D ON , Hawk Films, Warner Bros. Ulla-Britt
LI LY T OM LI N in Nashville, ABC EntertainmentSoderlund and Milena Canonero.
Weintraub-Altman, Paramount.
T HE FOU R M U SK ET E E R S , Film Trust, 20th CenturyBREN D A VACCARO in Jacqueline Susanns Once Is Not
Fox. Yvonne Blake, Ron Talsky.
Enough, Koch, Paramount.
FU NNY LAD Y , Rastar, Columbia. Ray Aghayan and Bob
Mackie.
D I R E C TI N G
T HE M AG I C FLU T E, Surrogate Releasing (Swedish).
AM ARCORD , New World Pictures (Italian). Federico
Henny Noremark and Karin Erskine.
Fellini.
BARRY LY N D ON , Hawk Films, Warner Bros. Stanley
Artists. Edith Head.
Kubrick.
D OG D AY AFT ERNOON, Warner Bros. Sidney Lumet.
NASHVI LLE, ABC Entertainment-Weintraub-Altman,
Paramount. Robert Altman.
* ON E FLEW OVER T HE CU CK OO S N EST , Fantasy
Films, UA. Milos Forman.
234
h on orary aw ard : MARY PICKFORD (right, with Academy

President Walter Mirisch). No star ever held quite such a grasp
on the world of movies, or its audiences, as Mary Pickford, and
the Academy Board of Governors saluted her in appreciation
of her numerous accomplishments and contributions to the
industry. One of the original founders of the Academy, she was
also a winner in 192829 for her performance in Coquette.
Her pretaped appearance on the Academy Award telecast was her
rst public appearance in many years, and was a major conversation piece.
8/8/13 7:29 PM
S O U ND
BITE THE BUL L E T , Pax, Columbia. Arthur Piantadosi,
Les Fresholtz, Richard Tyler and Al Overton, Jr.
FUNNY L A D Y , Rastar, Columbia. Richard Portman,
Don MacDougall, Curly Thirlwell and Jack Solomon.
THE HIND E NBURG, Robert Wise-Filmakers Group,
Universal. Leonard Peterson, John A. Bolger, Jr., John

Mack and Don K. Sharpless.
* JAWS, Zanuck/Brown, Universal. Robert L. Hoyt, Roger
Heman, Earl Madery and John Carter.
THE WIND AND THE LION, Herb Jaffe, M-G-M.
Harry W. Tetrick, Aaron Rochin, William McCaughey
and Roy Charman.
F I LM ED I T I N G
D O G D A Y A FTE RNOON, Warner Bros. Dede Allen.

* JA W S , Zanuck/Brown, Universal. Verna Fields.
THE MA N W HO WOULD B E KING, Columbia/Allied
Artists. Russell Lloyd.
O NE FL E W O VE R TH E CUCKOOS NEST, Fantasy
Films, UA. Richard Chew, Lynzee Klingman and
Sheldon Kahn.
THR E E D A Y S O F THE CONDOR, De Laurentiis,
Paramount. Fredric Steinkamp and Don Guidice.
MUSIC
(ori g i n al s on g)
HO W L U C K Y C A N YOU GET (Funny Lady, Rastar,
Columbia); Music and Lyrics by Fred Ebb and John

Kander.
* I M E A SY (Nashville, ABC-Weintraub-Altman,
Paramount); Music and Lyrics by Keith Carradine.
NO W THA T W E RE IN LOV E (Whiffs, Brut, 20th
Century-Fox); Music by George Barrie. Lyrics by
Sammy Cahn.
R IC HA R D S W INDOW (The Other Side of the
Mountain, Filmways-Larry Peerce, Universal); Music
by Charles Fox. Lyrics by Norman Gimbel.
THE ME FR O M MAH OGANY (DO YOU KNOW
W HE R E Y O U RE GOING TO) (Mahogany, Jobete,
Paramount); Music by Michael Masser. Lyrics by

Gerry Gofn.
BIR D S D O IT, BEES DO IT, Wolper, Columbia.
Gerald Fried.
JAWS
(Universal; produced by Zanuck/Brown) won three

Academy Awards: for its lm editing by Verna Fields, its sound
by Robert L. Hoyt, Roger Heman, Earl Madery and John Carter,
and its original music score by John Williams. The years most
nancially successful movie, it also helped redene the then-
popular disaster movie genre and also inspired several sequels.

Taut, suspenseful and commercial, it was excellently made from
the rst frame to its last bite, all about a killer shark and the
havoc it causes during the tourist season at a normally peaceful
beach town.
(fe a t u r e s )
BITE THE BUL L E T , Pax, Columbia. Alex North.

* JA W S , Zanuck/Brown, Universal. John Williams.
O NE FL E W O VE R TH E CUCKOOS NEST, Fantasy
Films, UA. Jack Nitzsche.
THE W IND A ND THE LION, Herb Jaffe, M-G-M.
Jerry Goldsmith.
(scoring: original song score and/or adaptation)
* BA R R Y L Y ND O N, Hawk Films, Warner Bros. Leonard

Rosenman.
FUNNY L A D Y , Rastar, Columbia. Peter Matz.
TO MMY , Stigwood Organisation, Columbia. Peter
Townshend.
S H O RT FI L M S
(an i m at e d )
* GR E A T, Grantstern and British Lion Films Ltd. Bob

Godfrey, producer.
K IC K ME , Swarthe Productions. Robert Swarthe,
producer.
MO NSIE U R P O IN TU, National Film Board of
Canada. Ren Jodoin, Bernard Longpr and Andr
Leduc, producers.
SISYPHUS, Hungarolms. Marcell Jankovics, producer.
(l i ve ac t i on )
* A NGE L A ND BIG JOE, Salzman Productions. Bert

Salzman, producer.
C O NQ U E S T O F LIGHT, Louis Marcus Films Ltd.
Louis Marcus, producer.
D A W N FL IGHT, Lansburgh Productions. Lawrence M.
Lansburgh and Brian Lansburgh, producers.
A D A Y IN THE L I FE OF B ONNIE CONSOLO, Barr
Films. Barry Spinello, producer.
D O UBL E TA L K , Beattie Productions. Alan Beattie,
producer.
D O CU M EN T AR Y
A R THUR A ND L ILLIE, Department of
Communication, Stanford University. Jon Else,

Steven Kovacs and Kristine Samuelson, producers.
* THE E ND O F THE GAME, Opus Films Ltd. Claire
Wilbur and Robin Lehman, producers.
MIL L IO NS O F Y EARS AHEAD OF MAN, BASF.
Manfred Baier, producer.
P R O BE S IN S P A CE, Graphic Films. George V. Casey,
producer.
W HISTL ING S MITH, National Film Board of Canada.
Barrie Howells and Michael Scott, producers.
T HE CALI FORNI A REI CH, Yasny Talking Pictures.
Walter F. Parkes and Keith F. Critchlow, producers.

FI G HT I N G FOR OU R LI VES, A Farm Worker Film.
Glen Pearcy, producer.
T HE I N CRED I BLE M ACHI NE, The National
Geographic Society and Wolper Prods. Irwin Rosten,
producer.
* T HE M AN W HO SK I ED D OW N EVEREST , Crawley
Films. F.R. Crawley, James Hager and Dale Hartleben,
producers.
T HE OT HER HALF OF T HE SK Y : A CHI NA M EM OI R,
MacLaine Productions. Shirley MacLaine, producer.
* D ERSU U Z ALA (U.S.S.R.).

LAN D OF P ROM I SE (Poland).
LET T ERS FROM M ARU SI A (Mexico).
SAND AK AN N O. 8 (Japan).
SCEN T OF A W OM AN (Italy).

T O M ARY P I CK FORD in recognition of her
unique contributions to the lm industry and the

development of lm as an artistic medium. (statuette)

For Sound Effects: P ET ER BERK OS for The Hindenburg.
Robert Wise-Filmakers Group, Universal.
For Visual Effects: ALBERT W HI T LOCK and G LEN
ROBI NSON for The Hindenburg. Robert WiseFilmakers Group, Universal.
None.
CHAD W ELL O CO N N O R of the OConnor
Engineering Laboratories for the concept and

engineering of a uid-damped camera-head for
motion picture photography.
W I LLI AM F. M I N E R of Universal City Studios, Inc. and
the W EST I N G HO U S E E L E C T R I C C O R PO R A T I O N
for the development and engineering of a solid-state,
500 kilowatt, direct-current static rectier for motion
picture lighting.
LAW REN CE W . BU T L E R and R O G E R B A N K S ;
D AVI D J . D EG EN K O L B and F R E D S C O B E Y of Deluxe
General Inc. and J O H N C . DO L A N , and R I C H A R D
D U BOI S of the Akwaklame Company;
J OSEP H W EST HEI M E R ;
CART ER EQ U I P ME N T C O . , I N C . and R A MT R O N I C S ;
T HE HOLLY W OO D F I L M C O M PA N Y;
BELL & HOW ELL;
FRED RI K SCHLY T E R .
235
T O M ERVY N LEROY
T O J U LES C. ST EI N
8/8/13 7:29 PM
1976
The Forty-Ninth Year
hree lms dominated the 1976

Academy Awards: Network (with four
awards), All the Presidents Men (also
with four Oscars), and Rocky (with three
awards, including best picture of the year
statuette). It was also a triumphant night
for Sylvester Stallone, although he didnt
win an award; he was only the third person
in the Oscar record books to be nominated
in a single year both as an actor and as a
screenwriter (preceded by Charles Chaplin
in 1940 and Orson Welles in 1941).
It was a year for several records to be set.
Network became the only motion picture
other than 1951s A Streetcar Named Desire
to win three awards for acting to date: best
actress (Faye Dunaway), best supporting
actress (Beatrice Straight), and best actor
(Peter Finch). Finch, who died two months
before the Academy Awards winners were
announced on March 28, 1977, was the rst
performer to win a posthumous Oscar. It
was accepted by his widow.
Barbra Streisand, a best actress winner
in 1968, became the rst Oscar-winning
performer to also be an Academy Awardwinning composer; her song, Evergreen
from A Star Is Born, written with Paul
Williams, was named the years best song.
John G. Avildsen was named best director for Rocky, and among his competition
was Lina Wertmller, the rst woman ever
nominated in that category. Jason Robards
in All the Presidents Men was chosen best
supporting actor, Pandro S. Berman was
voted the Irving G. Thalberg Memorial
Award and special visual effects awards went
to both King Kong and Logans Run. Black and

White in Color, a lm from the Ivory Coast,
was chosen best foreign language lm.
The show, originating from the Dorothy
Chandler Pavilion of the Los Angeles Music
Center, was telecast over ABC, produced
by William Friedkin and directed by Marty
Pasetta. Cohosts for the evening were
Richard Pryor, Jane Fonda, Ellen Burstyn
and Warren Beatty. Among the shows
entertainment highlights were Barbra Streisand, appearing on an Oscar show for the
rst time as a performer, and Muhammad
Aliunannounced and unexpectedgoodnaturedly sparring for an abbreviated round
with a abbergasted Rocky Stallone.
236
be s t p i c t ure : ROCKY (United Artists; produced by Irwin
Winkler and Robert Chartoff) and b es t d i r ecto r : JOHN G.
AVILDSEN for Rocky. It was the sleeper of the season, economically made for $960,000 in twenty-eight days, and it grew into
the years best-loved movie, the story of a likable but deadweight
ghter named Rocky Balboa (Sylvester Stallone, right), who
miraculously gets picked for a heavyweight title bout and, in the
nal analysis, wins his own self-respect and dignity. Stallone
also wrote the screenplay, and Rocky won a third Oscar for lm
editing. The cast also included Burgess Meredith, Talia Shire,
Burt Young and Carl Weathers. The lm inspired a series of subsequent Rocky lms featuring a consistently more sculptured and
muscled Stallone than his original incarnation.
8/8/13 7:29 PM
be s t ac t or: PETER FINCH as Howard Beale (above) in

Network (M-G-M/United Artists; directed by Sidney Lumet).
Network, by Paddy Chayefsky, took a biting, semisatirical look
at television in the 1970s and its eagerness for high program
ratings. Beale (played by Finch) is a ctional newsman who
attracts high ratings by promising to commit suicide on camera;

at the same time, he begs viewers to take a stand against current
TV programming by exclaiming, Im mad as hell, and Im not
going to take it anymore! Finch died on January 14, 1977, just a
month before the 1976 Oscar nominations were announced.
237
be s t ac t re s s : FAYE DUNAWAY as Diana Christensen (above) in Network. Playing a ruthless

head of network programming in the Chayefsky screenplay, Dunaway/Diana was not above plotting an assassination, or other skulduggery, to hype her companys Nielsen numbers. It also made
for a smashing role for Dunaway, previously nominated for 1967s Bonnie and Clyde and 1974s
Chinatown. Among the other Academy Awards won by Network was an Oscar to Paddy Chayefsky
for original screenplay; he was, without question, a man highly gifted with words and ideas.
best supporting actress: BEATRICE STRAIGHT (above) as Louise Schumacher in Network.

It took only three days of rehearsal and three more days of lming (at the classic old Apthorp apartment building in New York City) for her role, but Beatrice Straight gave a superb supporting Oscar
performance in every sense of the word; she played the wife of William Holden, attempting to retain
her dignityand her sanitywhen her husband admits he is in love with a younger woman.
8/8/13 7:29 PM
B E S T PI C TUR E
ALL T HE P RESI D EN T S M EN , Wildwood, Warner Bros.
Nominations 1976
Produced by Walter Coblenz.
BOU ND FOR G LORY , UA. Produced by Robert F.
Blumofe and Harold Leventhal.

NET W ORK , Gottfried-Chayefsky, M-G-M/UA.
Produced by Howard Gottfried.
* ROCK Y , Chartoff-Winkler, UA. Produced by Irwin
Winkler and Robert Chartoff.
T AX I D RI VER, Bill/Phillips-Scorsese, Columbia.
Produced by Michael Phillips and Julia Phillips.
A C TO R
ROBERT DE NIRO in Taxi Driver, Bill/Phillips-Scorsese,
Columbia.
* P ET ER FI NCH in Network, Gottfried-Chayefsky,
M-G-M/UA.
GI AN CARLO G I ANNI N I in Seven Beauties, Cinema 5
(Italian).
W I LLI AM HOLD EN in Network, Gottfried-Chayefsky,
M-G-M/UA.
SY LVEST ER ST ALLONE in Rocky, Chartoff-Winkler,
UA.
A C TR E S S
M ARI E- CHRI ST I NE BARRAU LT in Cousin, Cousine,
Northal Films (French).

* FAY E D U N AW AY in Network, Gottfried-Chayefsky,
M-G-M/UA.
T ALI A SHI RE in Rocky, Chartoff-Winkler, UA.
SI SSY SP ACEK in Carrie, Redbank Films, UA.
LI V U LLM AN N in Face to Face, Paramount (Swedish).
* ALL T HE P RESI D EN T S M E N , Wildwood, Warner Bros.

George Jenkins; George Gaines.
T HE I N CRED I BLE SA R A H , Helen M. Strauss-Readers
Digest, Seymour Borde & Associates. Elliot Scott and
Norman Reynolds; Peter Howitt.
T HE LAST T Y COON , Spiegel-Kazan, Paramount. Gene
Callahan and Jack Collis; Jerry Wunderlich.
LOGAN S RU N, Saul David, M-G-M. Dale Hennesy;
Robert de Vestel.
T HE SHOOT I ST , Frankovich/Self-De Laurentiis,
Paramount. Robert F. Boyle; Arthur Jeph Parker.
C O S TUM E D ESIGN
BOU N D FOR GLORY, UA. William Theiss.

* FELLI NI S CASAN OV A , Universal (Italian). Danilo
Donati.
T HE I N CRED I BLE SA R A H , Helen M. Strauss-Readers
Digest, Seymour Borde & Associates. Anthony
Mendleson.
T HE P ASSOVER P LO T , Coast Industries-GolanGlobus, Atlas Films. Mary Wills.
T HE SEVEN- P ER- CEN T S O L U T I O N , Herbert Ross/
Winitsky-Sellers, Universal. Alan Barrett.
S O UN D
* ALL T HE P RESI D EN T S M E N , Wildwood, Warner Bros.

Arthur Piantadosi, Les Fresholtz, Dick Alexander and
Jim Webb.
K I NG K ON G , De Laurentiis, Paramount. Harry Warren
Tetrick, William McCaughey, Aaron Rochin and Jack
Solomon.
ROCK Y , Chartoff-Winkler, UA. Harry Warren Tetrick,
NED BEAT T Y in Network, Gottfried-Chayefsky,
William McCaughey, Lyle Burbridge and Bud Alper.
M-G-M/UA.
SI LVER ST REAK , Frank Yablans, 20th Century-Fox.
BU RG ESS M ERED I T H in Rocky, Chartoff-Winkler, UA.
Donald Mitchell, Douglas Williams, Richard Tyler and
LAU RENCE OLI VI ER in Marathon Man, EvansHal Etherington.
Beckerman, Paramount.
A ST AR I S BORN , Barwood/Peters-First Artists, Warner
* JASON ROBARD S in All the Presidents Men, Wildwood,
Bros. Robert Knudson, Dan Wallin, Robert Glass and
Warner Bros.
Tom Overton.
BU RT Y OU NG in Rocky, Chartoff-Winkler, UA.
JAN E ALEX AND ER in All the Presidents Men,
Wildwood, Warner Bros.

JOD I E FOST ER in Taxi Driver, Bill/Phillips-Scorsese,
Columbia.
LEE GRANT in Voyage of the Damned, ITC, Avco
Embassy.
P I P ER LAU RI E in Carrie, Redbank Films, UA.
* BEAT RI CE ST RAI G HT in Network, GottfriedChayefsky, M-G-M/UA.
D I R E C TI N G
ALL T HE P RESI D EN T S M EN , Wildwood, Warner Bros.
Alan J. Pakula.
sp e c i al award : KING KONG (Paramount; produced by Dino

De Laurentiis) with Jessica Lange (above) was voted a Special
Achievement Award for its visual effects by the Board of Governors, which was presented to Carlo Rambaldi, Glen Robinson and
Frank Van der Veer. From 1939 through 1971 (excluding a threeyear period, 19511953), visual effects were honored via a regular
awards category; between 1972 and 1976, such achievements were
saluted by a special award, not mandatory each year, voted at
such times as in the judgment of the Board of Governors there is
an achievement which makes an exceptional contribution to the
motion picture for which it was created, but for which there is no
annual awards category.
238
FACE T O FACE, Cinematograph A.B., Paramount

NET W ORK , Gottfried-Chayefsky, M-G-M/UA. Sidney
Lumet.
* ROCK Y , Chartoff-Winkler, UA. John G. Avildsen.
SEVEN BEAU T I ES, Medusa Distribuzione, Cinema 5
(Italian). Lina Wertmller.
WR I TI N G
(s cr e e n p la y w r it t e n dir e ct ly for t h e s cr e e n )
COU SI N, COU SI NE, Northal Film Distributors
Ltd. (French). Jean-Charles Tacchella and Daniele

Thompson.
T HE FRON T , Columbia. Walter Bernstein.
* NET W ORK , Gottfried-Chayefsky, M-G-M/UA. Paddy
Chayefsky.
ROCK Y , Chartoff-Winkler, UA. Sylvester Stallone.
SEVEN BEAU T I ES, Medusa Distribuzione, Cinema 5
(Italian). Lina Wertmller.
F I LM E D I TI NG
ALL T HE P RESI D ENT S M E N , Wildwood, Warner Bros.
Robert L. Wolfe.
BOU N D FOR GLORY, UA. Robert Jones and Pembroke
J. Herring.
N ET W ORK , Gottfried-Chayefsky, M-G-M/UA. Alan
Heim.
* ROCK Y , Chartoff-Winkler, UA. Richard Halsey and
Scott Conrad.
T W O- M I NU T E W AR N I N G , Filmways/Peerce-Feldman,
Universal. Eve Newman and Walter Hannemann.
M US I C
(or ig in a l s on g )
AVE SAT ANI (The Omen, 20th Century-Fox); Music and
Lyrics by Jerry Goldsmith.
COM E T O M E (The Pink Panther Strikes Again, Amjo,
UA); Music by Henry Mancini. Lyrics by Don Black.

* EVERG REEN ( LOVE T H E M E F R O M A S T A R I S
BORN ) (A Star Is Born, Barwood/Peters-First Artists,
Warner Bros.); Music by Barbra Streisand. Lyrics by
Paul Williams.
G ONNA FLY NOW (Rocky, Chartoff-Winkler, UA);
Music by Bill Conti. Lyrics by Carol Connors and Ayn
Robbins.
A W ORLD T HAT N EV E R W A S (Half a House, Lenro
Productions, First American Films); Music by Sammy
Fain. Lyrics by Paul Francis Webster.
OBSESSI ON, Litto, Columbia. Bernard Herrmann.

* T HE OM EN , 20th Century-Fox. Jerry Goldsmith.
T HE OU T LAW J OSEY W A L E S , Malpaso, Warner Bros.
Jerry Fielding.
T AX I D RI VER, Bill/Phillips-Scorsese, Columbia.
(screenplay based on material from another medium)
Bernard Herrmann.
* ALL T HE P RESI D EN T S M EN , Wildwood, Warner Bros.
VOY AGE OF T HE D A M N E D, ITC Entertainment, Avco
William Goldman.
Embassy. Lalo Schifrin.
BOU ND FOR G LORY , UA. Robert Getchell.
FELLI NI S CASAN OVA, Universal (Italian). Federico
Fellini and Bernadino Zapponi.
T HE SEVEN - P ER- CEN T SOLU T I ON , Herbert Ross/
Winitsky-Sellers, Universal. Nicholas Meyer.

VOY AG E OF T HE D AM NED , ITC Entertainment, Avco
Embassy. Steve Shagan and David Butler.
(or ig in a l s on g s core and its ad aptatio n o r

a da p t a t ion s cor e )
* BOU ND FOR G LORY , UA. Leonard Rosenman.

BU GSY M ALONE, Goodtimes Enterprises, Paramount.
Paul Williams.
A ST AR I S BORN , Barwood/Peters-First Artists, Warner
Bros. Roger Kellaway.
* BOU ND FOR G LORY , UA. Haskell Wexler.

S H O R T F I LMS
K I N G K ONG, De Laurentiis, Paramount. Richard H.
(a n ima t e d)
Kline.
D ED ALO, Cineteam Realizzazioni. Manfredo Manfredi,
LOG AN S RU N , Saul David, M-G-M. Ernest Laszlo.
producer.
NET W ORK , Gottfried-Chayefsky, M-G-M/UA. Owen
* LEI SU RE, Film Australia. Suzanne Baker, producer.
Roizman.
T HE ST REET , National Film Board of Canada. Caroline
A ST AR I S BORN, Barwood/Peters-First Artists, Warner
Leaf and Guy Glover, producers.
Bros. Robert Surtees.
8/8/13 7:29 PM
(l i ve ac t i on )
* IN THE R E GIO N OF ICE, American Film Institute.

Andre Guttfreund and Peter Werner, producers.
K UD Z U , A Short Production. Marjorie Anne Short,
producer.
THE MO R NING SPIDER, The Black and White Colour
Film Company. Julian Chagrin and Claude Chagrin,
producers.
NIGHTL IFE , Opus Films, Ltd. Claire Wilbur and Robin
Lehman, producers.
NU MBE R O NE , Number One Productions. Dyan
Cannon and Vince Cannon, producers.
D O CU M EN T AR Y
A ME R IC A N S HO ESH INE, Titan Films. Sparky Greene,
producer.
BL A C KW O O D , National Film Board of Canada. Tony
Ianzelo and Andy Thomson, producers.
THE E ND O F THE ROAD, Pelican Films. John
Armstrong, producer.
* NUMBE R O UR DAYS, Community Television of
Southern California. Lynne Littman, producer.
U NIVE R S E , Graphic Films Corp. for NASA. Lester
Novros, producer.
(f e at ure s )
* HA R L A N C O UNTY, U. S. A. , Cabin Creek Films.

Barbara Kopple, producer.
HO L L Y W O O D ON TRIAL, October Films/Cinema
Associates. James Gutman and David Helpern, Jr.,
producers.
O FF THE E D GE , Pentacle Films. Michael Firth,
producer.
P E O P L E O F THE WIND, Elizabeth E. Rogers
Productions. Anthony Howarth and David Koff,
producers.
VO L C A NO : A N INQUIRY INTO TH E LIFE AND
D E A TH O F MA LCOLM LOWRY, National Film
Board of Canada. Donald Brittain and Robert Duncan,

producers.
* BL A C K A ND W HITE IN COLOR (Ivory Coast).

C O U SIN, C O US INE (France).
JA C O B, THE L IA R (German Democratic Republic).
NIGHTS A ND D AYS (Poland).
SE VE N BE A U TIE S (Italy).
(Warner Bros.; directed by Alan

J. Pakula) starred Robert Redford and Dustin Hoffman as Bob
Woodward and Carl Bernstein, Washington Post reporters
investigating the Watergate cover-up in Washington, D.C. The
lm received four Academy Awards, including Jason Robardss
ALL THE PRESIDENTS MEN
best supporting actor win for his portrayal of Ben Bradlee, the
real-life editor of the Washington Post, as well as Oscars for
screenplay (based on material from another medium), art direction and sound.


For Visual Effects: CARLO RAMB ALDI, GLEN
R O BINS O N and FRANK V AN DER V EER for King
Kong, De Laurentiis, Paramount.
For Visual Effects: L. B . AB B OTT, GLEN ROB INSON
and MA TTHE W YURICICH for Logans Run, Saul
David, M-G-M.
1 9 7 6 I RV I N G G. T H AL BE R G
M EM O RI A L AW AR D
TO P A ND R O S . B ERMAN
1 9 7 6 JEA N H E R S H OL T
H U M A NI T A R I AN AW AR D
S CI ENT I F I C OR T E C H N I C AL
C L A SS I (s t at ue tte)
None.
C L A SS II (p l aque)
C O NSO L ID A TE D FILM INDUSTRIES and the
BA R NE BE Y - C HENEY COMPANY for the
239
development of a system for the recovery of lmcleaning solvent vapors in a motion picture laboratory.
W IL L IA M L . GR AHAM, MANFRED G. MICH ELSON,

GE O FF R E Y F. NORMAN and SIEGFRIED SEIB ERT
of Technicolor for the development and engineering

of a Continuous, High-Speed, Color Motion Picture
Printing System.
C L A SS III (c i t at io n)
FR E D BA R TSC HER of the Kollmorgen Corporation and
to GL E NN BE R GGREN of the Schneider Corporation;
P A NA VIS IO N IN CORPORATED;
HIR O SHI S UZ UKAWA of Canon and WILTON R.
HO L M of AMPTP Motion Picture and Television
Research Center;
BOUND FOR GLORY (United Artists; produced by Robert F.

Blumofe) featured David Carradine (above) in a biography of
the late Woody Guthrie, a spirited and sensitive troubadour
deeply affected by Americas Depression era of the 1930s. The lm

received Academy Awards for Haskell Wexlers cinematography
and for Leonard Rosenmans adaptation score.
C A R L Z E IS S C O M PANY;
P HO TO R E SE A R CH DIV ISION of the KOLLMORGEN
C O R P O R A TIO N.
* I N DI C A T E S W I NNE R
8/8/13 7:29 PM
1977
The Fiftieth Year
ere it was at last: fty years after that

initial gathering at the Hollywood
Roosevelt Hotel, the Academy celebrated its rst half-century birthday, stronger than ever, with Oscar the acknowledged
nal word on motion picture achievement.
The celebration took place April 3, 1978,
again at the Dorothy Chandler Pavilion of
the Los Angeles Music Center, with a stage
full of stars, including the rst Oscar winner Janet Gaynor, two-time champions such
as Bette Davis and Olivia de Havilland, plus
current box ofce names like John Travolta
and Sylvester Stallone taking part. The show
was telecast on ABC-TV, produced by Howard W. Koch and directed by Marty Pasetta.
The emcee was Bob Hope.
Star Wars won six statuettes for the biggest award total of the night, most of them
in the technical division; it also received a
seventh award, voted by the Academy Board
of Governors, for its special achievement
(by Benjamin Burtt, Jr.) in the creation of
alien, creature and robot voices. Annie Hall
received four awards, including best picture,
best actress (Diane Keaton), best director
(Woody Allen), and best original screenplay
(Woody Allen and Marshall Brickman).
Richard Dreyfuss was chosen best actor (for
The Goodbye Girl), Frances Madame Rosa
was selected best foreign language lm,
Vanessa Redgrave was named best supporting actress in Julia, and Jason Robards was
chosen best supporting actor (for Julia).
Robards, winner in the same category the
previous year, became the fourth performer
in Academy history to win in subsequent
years (following Luise Rainer in 193637,

Spencer Tracy in 193738, and Katharine
Hepburn in 196768). Miss Redgrave caused
controversy when she used her acceptance
speech to criticize Zionist hoodlums for
protesting her political beliefs and actions.
Overall, it was a friendly, glamorous and
star-studded night for Oscar, a tting nale
to the rst fty years of activity. And there
was good news the morning after, when the
ratings came tumbling in: the telecast had
attracted the largest television audience for
any Oscar show to date.
240
be s t p i c t ure : ANNIE HALL (United Artists; produced by
Charles H. Joffe), be s t di r ecto r : WOODY ALLEN, and
be s t ac t re s s : DIANE KEATON as Annie (right, with Allen as
Alvy Singer) in Annie Hall. Annies a budding singer, and Alvy
is a TV-nightclub comic; they meet in Manhattan, have a brief
entanglement, then split. Told with penetrating insights into
modern relationships (and generously sprinkled with Woody
Allens unique deadpan humor), Annie Hall won four Oscars,
including two for Mr. Allen, as director and as coauthor (with
Marshall Brickman) of the original screenplay, and one for the
infectious title performance by Miss Keaton.
8/8/13 7:29 PM
STAR WARS (20th Century-Fox; produced by Gary Kurtz) was

the blockbuster of the year, a sweeping, energetic, and absolutely
splendid space-adventure-fantasy which reawakened the worlds
interest in sci- lms and showed what movies could do better
than any other entertainment medium. The lm won six awards,
the most of any lm of 1977: for costume design, lm editing, art
direction, sound, original music score, and visual effects, plus
a special achievement award, voted by the Academys Board of
Governors. It was the rst of a trilogy of Star Wars lms which
included 1980s The Empire Strikes Back and 1983s Return of
the Jedi, blockbusters all. All three lms starred Harrison Ford,
Carrie Fisher and Mark Hamill (shown above with members of
the crew and actor Anthony Daniels, in costume as C-3P0).
241
be s t ac t or: RICHARD DREYFUSS as Elliot Gareld in The

Goodbye Girl (M-G-M/Warner Bros.; directed by Herbert
Ross). Dreyfuss, with words written by Neil Simon, played an
aspiring actor in New York, grudgingly sharing a small Manhattan apartment with a grumbling young mother (Marsha
Mason) and her precocious daughter (Quinn Cummings), while
concurrently struggling to star in an off-Broadway and offbeat
version of Richard III. It was his rst Academy nomination. For
Dreyfuss (at right with Mason), 1977 was an important career
year: besides his potent Goodbye role, he also starred in Steven
Spielbergs imposing and popular Close Encounters of the
Third Kind.
8/8/13 7:29 PM
B E S T PI C TUR E
Nominations 1977
* ANNI E HALL, Rollins-Joffe, UA. Produced by

Charles H. Joffe.
T HE G OOD BY E GI RL, Stark, M-G-M/Warner Bros.
Produced by Ray Stark.
JU LI A, 20th Century-Fox. Produced by Richard Roth.
ST AR W ARS, Lucaslm, 20th Century-Fox. Produced by
Gary Kurtz.
T HE T U RNI N G P OI NT , Hera Productions, 20th
Century-Fox. Produced by Herbert Ross and Arthur
Laurents.
A C TO R
W OOD Y ALLEN in Annie Hall, Rollins-Joffe, UA.

RI CHARD BU RT ON in Equus, Winkast Company, UA.
* RI CHARD D REY FU SS in The Goodbye Girl, Stark,
M-G-M/Warner Bros.
M ARCELLO M AST ROI ANNI in A Special Day, Canafox
Films, Cinema 5 (Italian).
JOHN T RAVOLT A in Saturday Night Fever, Stigwood,
Paramount.
A C TR E S S
ANNE BAN CROFT in The Turning Point, Hera Prods.,
20th Century-Fox.
JAN E FON D A in Julia, 20th Century-Fox.
* D I ANE K EAT ON in Annie Hall, Rollins-Joffe, UA.
SHI RLEY M ACLAI NE in The Turning Point, Hera Prods.,
20th Century-Fox.
M ARSHA M ASON in The Goodbye Girl, Stark, M-G-M/
Warner Bros.
M I K HAI L BARY SHNI K OV in The Turning Point, Hera
Productions, 20th Century-Fox.

P ET ER FI RT H in Equus, Winkast Company, UA.
ALEC G U I NNESS in Star Wars, 20th Century-Fox.
* JASON ROBARD S in Julia, 20th Century-Fox.
M AX I M I LI AN SCHELL in Julia, 20th Century-Fox.
LESLI E BROW NE in The Turning Point, Hera
Productions, 20th Century-Fox.

Q U I N N CU M M I N G S in The Goodbye Girl, Stark,
M-G-M/Warner Bros.
M ELI ND A D I LLON in Close Encounters of the Third
Kind, Columbia.
* VAN ESSA RED GRAVE in Julia, 20th Century-Fox.
T U ESD AY W ELD in Looking for Mr. Goodbar, Freddie
Fields Production, Paramount.
D I R E C TI N G
* ANNI E HALL, Rollins-Joffe, UA. Woody Allen.
CLOSE EN COU N T ERS OF T HE T HI RD K I ND ,
Columbia. Steven Spielberg.
JU LI A, 20th Century-Fox. Fred Zinnemann.

ST AR W ARS, 20th Century-Fox. George Lucas.
T HE T U RNI N G P OI NT , Hera Productions, 20th
WR I TI N G
(s cr e e n p la y w r it t e n d irec tl y f o r the sc reen)
* ANNI E HALL, Rollins-Joffe, UA. Woody Allen and

Marshall Brickman.
T HE GOOD BY E G I R L , Ray Stark, M-G-M/Warner
Bros. Neil Simon.
T HE LAT E SHOW , Lions Gate, Warner Bros. Robert
Benton.
ST AR W ARS, 20th Century-Fox. George Lucas.
T HE T U RN I NG P OI N T , Hera Productions, 20th
Century-Fox. Arthur Laurents.
EQ U U S, Winkast Company, UA. Peter Shaffer.
I NEVER P ROM I SED YO U A R O S E G A R DE N ,
Scherick/Blatt, New World Pictures. Gavin Lambert

and Lewis John Carlino.
* J U LI A, 20th Century-Fox. Alvin Sargent.
OH, GOD !, Warner Bros. Larry Gelbart.
T HAT OBSCU RE OBJ E C T O F DE S I R E , First Artists
(Spain). Luis Buuel and Jean-Claude Carrire.
* CLOSE EN COU N T ER S O F T H E T H I R D K I N D,
Columbia. Vilmos Zsigmond.
I SLAN D S I N T HE ST R E A M , Bart/Palevsky, Paramount.
Fred J. Koenekamp.
J U LI A, 20th Century-Fox. Douglas Slocombe.
LOOK I NG FOR M R. G O O DB A R , Freddie Fields
Production, Paramount. William A. Fraker.
Century-Fox. Robert Surtees.
AI RP ORT 77 , Jennings Lang, Universal. George C.
Webb; Mickey S. Michaels.
CLOSE ENCOU NT ER S O F T H E T H I R D K I N D,
Columbia. Joe Alves and Dan Lomino; Phil Abramson.
T HE SP Y W HO LOVE D ME , Eon, UA. Ken Adam and
Peter Lamont; Hugh Scaife.

* ST AR W ARS, 20th Century-Fox. John Barry, Norman
Reynolds and Leslie Dilley; Roger Christian.
Century-Fox. Albert Brenner; Marvin March.
C O S TUM E D ESIGN
AI RP ORT 77 , Jennings Lang, Universal. Edith Head
and Burton Miller.
J U LI A, 20th Century-Fox. Anthea Sylbert.

A LI T T LE NI G HT M U S I C , Sascha-Wien/Elliott Kastner,
New World Pictures. Florence Klotz.
T HE OT HER SI D E OF MI DN I G H T , Frank Yablans,
20th Century-Fox. Irene Sharaff.

* ST AR W ARS, 20th Century-Fox. John Mollo.
Century-Fox. Herbert Ross.
242
be s t s up p ort i n g actr es s : VANESSA REDGRAVE as Julia

(right, with Jane Fonda and Fred Zinnemann) in Julia (20th
Century-Fox; directed by Fred Zinnemann). Julia was based
on Lillian Hellmans Pentimento, with Jane Fonda playing
author Hellman, reminiscing about her early life and especially
a childhood friend (played by Redgrave), who grew into an
impassioned activist in World War II Europe and was eventually
murdered by Nazi factions. Previously, Vanessa Redgrave had
been an Academy nominee for Morgan! (1966), Isadora (1968),
and Mary, Queen of Scots (1971). She was also the rst from
her distinguished acting family to win an Oscar; later she was
also nominated for The Bostonians (1984) and Howards End
(1992). By virtue of her Julia win, she became the only person in
Oscars rst eighty years to win a supporting Academy Award for
playing the title role in a movie.
8/8/13 7:29 PM
(fe a t u r e s )
T HE CHI LD REN O F T H E A T R E S T R E E T , Mack-
Vaganova Company. Robert Dornhelm and Earle

Mack, producers.
HI GH GRASS CI R C U S , National Film Board of
Canada. Bill Brind, Torben Schioler and Tony Ianzelo,
producers.
HOM AG E T O CHA G A L L T H E C O L O U R S O F L O V E ,
CBC Production. Harry Rasky, producer.
U N I ON M AI D S, Klein, Reichert, Mogulescu Production.
James Klein, Julia Reichert and Miles Mogulescu,

producers.
* W HO ARE T HE D E B O L T S ? A N D W H E R E DI D T H E Y
G ET NI N ET EEN K I DS ?, Korty Films/Charles M.
Schulz, Sanrio Films. John Korty, Dan McCann and
Warren L. Lockhart, producers.
I P HI GENI A (Greece).
* M AD AM E ROSA (France).
OP ERAT I ON T HU N DE R B O L T (Israel).
A SP ECI AL D AY (Italy).
T HAT OBSCU RE O B J E C T O F DE S I R E (Spain).

T O M ARGARET B O O T H for her exceptional
contribution to the art of lm editing in the motion

picture industry.
G ORD ON E. SAW YE R and S I DN E Y P. S O L O W in
appreciation for outstanding service and dedication
in upholding the high standards of the Academy
of Motion Picture Arts and Sciences. (medal of
commendation)
be s t s up p ort i n g a cto r : JASON ROBARDS as Dashiell
Hammett in Julia. For the second year in a row, Jason Robards
won the Academys supporting actor award; for the second year
in a row, he was also portraying a real-life person, this time,
Dashiell Hammett, the author of The Thin Man and The Maltese Falcon, andas portrayed in Juliathe man who loved
author Lillian Hellman (played by Jane Fonda) and helped her
evolve into a noted author and playwright.
S O U ND
C L O S E E NC O U N TERS OF TH E TH IRD KIND,
Columbia. Robert Knudson, Robert J. Glass, Don

MacDougall and Gene S. Cantamessa.
THE D E E P , Casablanca Filmworks, Columbia. Walter
Goss, Dick Alexander, Tom Beckert and Robin
Gregory.
SO R C E R E R , Friedkin, Paramount/Universal. Robert
Knudson, Robert J. Glass, Richard Tyler and JeanLouis Ducarme.
* S TA R W A R S , 20th Century-Fox. Don MacDougall,
Ray West, Bob Minkler and Derek Ball.
THE TUR NING P OINT, Hera Productions, 20th
Century-Fox. Theodore Soderberg, Paul Wells,
Douglas O. Williams and Jerry Jost.
F I LM ED I T I N G
Columbia. Michael Kahn.

JU L IA , 20th Century-Fox. Walter Murch.
SMO KE Y A ND THE B ANDIT, Rastar, Universal.
Walter Hannemann and Angelo Ross.
* S TA R W A R S , 20th Century-Fox. Paul Hirsch, Marcia
Lucas and Richard Chew.
THE TUR NING P OINT, Hera Productions, 20th
Century-Fox. William Reynolds.
V I S U A L EF F E C T S
Columbia. Roy Arbogast, Douglas Trumbull,

Matthew Yuricich, Gregory Jein and Richard
Yuricich.
* S TA R W A R S , 20th Century-Fox. John Stears, John
Dykstra, Richard Edlund, Grant McCune and Robert
Blalack.
MUSIC
C A ND L E O N THE WATER (Petes Dragon, Disney,
Buena Vista); Music and Lyrics by Al Kasha and Joel

Hirschhorn.
NO BO D Y D O E S I T B ETTER (The Spy Who Loved
Me, Eon, UA); Music by Marvin Hamlisch. Lyrics by
Carole Bayer Sager.
THE SLIPPER AND THE ROSE WALTZ (HE DANCED
W ITH ME /S HE DANCED WITH ME) (The Slipper
and the RoseThe Story of Cinderella, Paradine CoProductions, Universal); Music and Lyrics by Richard
M. Sherman and Robert B. Sherman.
SO ME O NE S W AITING FOR YOU (The Rescuers,
Disney, Buena Vista); Music by Sammy Fain. Lyrics
by Carol Connors and Ayn Robbins.
* Y O U L IGHT UP MY LIFE (You Light Up My Life,
Session Company, Columbia); Music and Lyrics by
Joseph Brooks.
CLOSE ENCOU NT ERS OF T HE T HI RD K I N D ,
Columbia. John Williams.

J U LI A, 20th Century-Fox. Georges Delerue.
M OHAM M AD - M ESSENGER OF GOD , Filmco
International, Irwin Yablans Company. Maurice Jarre.
THE SPY WHO LOVED ME, Eon, UA. Marvin Hamlisch.
* ST AR W ARS, 20th Century-Fox. John Williams.
(or ig in a l s on g s cor e a n d it s a da p t a t ion or
* A LITTLE NIGHT MUSIC, Sascha-Wien/Elliott Kastner,

New World Pictures. Jonathan Tunick.
P ET E S D RAGON , Disney, Buena Vista. Al Kasha, Joel
Hirschhorn and Irwin Kostal.
T HE SLI P P ER AND T HE ROSET HE ST ORY OF
CI ND ERELLA, Paradine Co-Productions, Universal.
Richard M. Sherman, Robert B. Sherman and Angela

Morley.
S H O R T F I LM S
(a n ima t e d)
T HE BEAD GAM E, National Film Board of Canada. Ishu
Patel, producer.
T HE D OON ESBU RY SP ECI AL, Hubley Studio. John
and Faith Hubley and Gary Trudeau, producers.
J I M M Y T HE C, Motionpicker Production. James Picker,
Robert Grossman and Craig Whitaker, producers.

* T HE SAND CAST LE, National Film Board of Canada.
Co Hoedeman, producer.
(liv e a ct ion )
T HE ABSENT - M I ND ED W AI T ER, Aspen Film Society.
William E. McEuen, producer.
FLOAT I N G FREE, Trans World International. Jerry
Butts, producer.
* I LL FI ND A W AY , National Film Board of Canada.
Beverly Shaffer and Yuki Yoshida, producers.
N OT ES ON T HE P OP U LAR ART S, Saul Bass Films.
Saul Bass, producer.
SP ACEBORNE, Lawrence Hall of Science Production for
the Regents of the University of California with the
cooperation of NASA. Philip Dauber, producer.
D O C UM E N TA R Y
AG U ED A M ART I N EZ : OU R P EOP LE, OU R
COU NT RY , Esparza Production. Moctesuma Esparza,
producer.
FI RST ED I T I ON, Sage Productions. Helen Whitney and
DeWitt L. Sage, Jr., producers.

* GRAVI T Y I S M Y ENEM Y , Joseph Production. John
Joseph and Jan Stussy, producers.
OF T I M E, T OM BS AN D T REASU RE, Charlie/
Papa Production. James R. Messenger and Paul N.
Raimondi, producers.
T HE SHET LAND EX P ERI ENCE, Balfour Films. Douglas
Gordon, producer.

For Sound Effects Editing: F R A N K W A R N E R for Close
Encounters of the Third Kind, Columbia.
For Sound Effects Creations: B E N J A M I N B U R T T , J R . ,
for Star Wars, 20th Century-Fox.

T O W ALT ER M I RI S C H
T O CHARLT ON H E S T O N
G ARRET T BROW N and the C I N E M A PR O DU C T S
CORP . ENGI N E E R I N G S T A F F U N DE R T H E
SU P ERVI SI ON O F J O H N J U R G E N S for the
invention and development of Steadicam.
J OSEP H D . K ELLY , E MO R Y M . C O H E N , B A R R Y
K . HENLEY , HAMM O N D H . H O L T , and J O H N
AG ALSOFF of Glen Glenn Sound for the concept and
development of a post-production audio processing

system for motion picture lms.
P ANAVI SI ON , I N C O R PO R A T E D, for the concept and
engineering of the improvements incorporated in the
Panaex Motion Picture Camera.
N . P AU L K ENW OR T H Y, J R . , and W I L L I A M R .
LAT AD Y for the invention and development of the
Kenworthy Snorkel Camera System for motion picture
photography.
J OHN C. D Y K ST R A , for the development of a facility
uniquely oriented toward visual effects photography,
and ALVAH J . MI L L E R and J E R R Y J E F F R E S S , for the
engineering of the Electronic Motion Control System
used in concert for multiple exposure visual effects
EAST M AN K OD AK C O M PA N Y for the development
and introduction of a new duplicating lm for motion
pictures.
ST EFAN K U D ELSKI of Nagra Magnetic Recorders,
Incorporated, for the engineering of the improvements
incorporated in the Nagra 4.2L sound recorder for
243
ERN ST N ET T M AN N of the Astrovision Division of
Continental Camera Systems, Inc.;
EECO ( ELECT RON I C E N G I N E E R I N G C O M PA N Y O F

CALI FORNI A) ;
D R. BERN ARD K H L and W E R N E R B L O C K of
OSRAM , GmbH;
P ANAVI SI ON , I N C O R PO R A T E D (2 citations);
P I CLEAR, I N C.
8/8/13 7:29 PM
19781987
The Academys Sixth Decade
y the start of the Academys sixth

decade, membership in its twelve
branches had reached 4,190; the number rose to 4,489 by 1983 and by 1987 the
total tallied in at almost exactly 5,000. And
membership totals werent the only thing
blooming within the Academy structure.
Old programs were constantly being rened, new ones were instigated, and, during
the decade, there were so many additional
archival acquisitions that the storage facilities of the Academy and its Margaret Herrick Library were fairly bulging at the seams.
Prompted by the need for more space, the
library underwent some major remodeling,
and further plans were afoot for the future:
the Academy acquired a long-term lease on a
structure on La Cienega Boulevard at Olympic in Beverly Hills, former home of the
Beverly Hills water pumping and purication plant, where the entire library and lm
archive could eventually move and expand.
Among the priceless new acquisitions
were all George Cukors personal papers,
scripts, photographs and memorabilia, donated by Mr. Cukor himself before his death
in 1983. An extensive Alfred Hitchcock collection was donated by his daughter, Patricia
Hitchcock OConnell, and Metro-GoldwynMayer gave the Academy a collection of two
million historical photographs, covering
nearly all the M-G-M lms produced
between 1923 and 1972. The Academy also
acquired, directly from Mary Pickford and
her husband, Charles (Buddy) Rogers,
rare stills, scrapbooks and various papers
relating to the actresss remarkable career.
Other collections included the papers of

John Huston, scripts of James Wong Howe,
costume sketches of Edith Head, and the
Hal Wallis les covering the 194575 period
of his career as an independent producer.
Also: the Fred Zinnemann collection,
scrapbooks of columnist Louella O.
Parsons, and extensive papers and collections of Shirley Temple Black, Henry King,
George Stevens, Sam Peckinpah, Lewis
Milestone and Jean Hersholt, among the
many. Besides full collections, there were
also single gems of note such as a shooting
script of the 192930 Academy Award winner All Quiet on the Western Front, donated
by William Bakewell, one of the stars of
the lm.
Throughout the decade, the Academy
archivists also continued their search to nd
a one-sheet pre-Oscar poster representing
each lm that had received a best picture
Academy Award, something akin to hunting
for needles in the proverbial haystack. One
of the rewards of the search came with the
gift to the Academy of the one-sheet poster
for the very rst best picture champ, Wings.
It was donated by Morris Everett, a collector from Cleveland, and is the only such
poster of the lm known to exist. The poster
is on permanent display in the second oor
lobby of the Academys headquarters in
Beverly Hills, along with other rare posters
of Oscar-winning lms. Utilizing miniature
reproductions of those posters, the Academy
also commissioned an And the Winner
is . . . Best Picture poster, which became an
immediate collectors item in 1986.
VI V I E N N E V E RD O N - RO E
cameras will come on; at 50 seconds, it will start

blinking; at 60 seconds, the music will come up and
we will cut to a commercial. DONT TALK FOR
MORE THAN ONE MINUTE! And please, NO
POLITICAL SPEECHES! My films are political (if
saving the planet from nuclear war is considered
political). I didnt want to offend anyone, but I knew
I would never forgive myself if I won an Oscar, but
lost the chance to say something that might move the
hearts and the minds of one billion people.
I was just about to launch forth, when I felt a tap
on my shoulder, and Matthew Broderick, one of the
presenters, whispered, Dont you want this? In his
hand, he held an Oscar.
At last I got to give my speech.
What a wonderful recognition of all the people
who work so hard to end the arms race! Our country
is only as good as we make it. Last year, in the United
States, 10,000 children died as a direct result of
poverty. Not one human being on earth need suffer
starvation if, each year, we used the resources of just
four days of world military spending. Lets improve
our efforts to care for each other.
244
The second time I was nominated for an Academy
Award, I won. It was even more fun!
My film was called Womenfor America, for
the World. When the presenter opened the envelope
and announced, The winner is Wo . . ., I leapt out
of my seat and began sprinting down the aisle. Only
one film title in my category began with W! When
he heard wed won, my husband, Michael, turned to
me in excitementbut I was already gone! All that
remained on my seat was my evening bag. Instead of
graciously kissing my husband and gliding up to the
stage, as the actresses usually do, I looked as though I
was doing the 100-yard dash. I guess I was afraid they
might say, Oopsgot it wrong!
Halfway up the aisle, I crashed into an usher. At
the last second, I saw we were going to collide, and I
managed to swing her around to stop the momentum
of my dash. At least we didnt land on the floor in
a heap.
I had rehearsed my acceptance speech a thousand
times. I was nervous. All the nominees had been
warned, At 45 seconds the red light above the TV
8/8/13 7:31 PM
John Wayne, Johnny Carson (51st Awards)
Robert Redford (53rd Awards)
Other acquisitions throughout the

decade extended beyond papers, posters
and memorabilia. Stanley Kramer donated
35mm copies of several of his lms to the
Academy archives; an extremely rare nitrate
Lord Olivier (51st Awards)
Robert De Niro (53rd Awards)
print of the 1915 Birth of a Nation was also

acquired. Michael Eisner, while president of
Paramount Pictures, presented the Academy
with a new and complete print of Wings,
aiding the Academys goal to eventually
obtain one print of every lm nominated
through the years for the best picture
Academy Award. At the end of the 197887
decade, the Academys lm archives housed
more than 2,000 individual lms, dating
from 1903 to the present.
Most of the lms werent allowed to
linger on shelves or rest in vault cans, either.
During the decade, the Academy continuedand acceleratedits policy of frequent
special showings of the lms. Among the
most-discussed was a reconstructed print of
the early John Wayne epic The Big Trail, circa
1930, shown in its original Fox Grandeur
wide-screen format. Giorgio Moroders
reconstructed version of Fritz Langs Metropolis also had a West Coast premiere at the
Academy, as did newly preserved prints of
lms such as Raoul Walshs The Bowery
and George Cukors A Bill of Divorcement,
which introduced Katharine Hepburn. A
new Film Classics Revisited series was
also inaugurated, in which artists from all
branches of the Academy who contributed

to a particular lm were assembled for a
screening of that lm, followed by a postscreening discussion. The rst in the series
was Richard Brookss The Blackboard Jungle;
one of the most popular was an evening devoted to The Wizard of Oz, bringing together
such Oz alumni as producer Mervyn LeRoy,
makeup artist William Tuttle, and performers Ray Bolger and Margaret Hamilton.
Extensive lm was also unspooled during the Academys many retrospective lm
tributes, given to a wide array of lm folk including Groucho Marx, Rudolph Valentino,
W.C. Fields, Mary Pickford, James Dean,
Judy Garland, Cecil B. DeMille, Allan Dwan,
Nunnally Johnson, Mae West, Mickey
Mouse, Douglas Fairbanks, Tennessee
Williams and Eleanor Powell. Miss Powell
herself participated in an evening of lm
sequences saluting the work of dance directors; other salutes and tributes were devoted
to Luise Rainer, swashbuckling lms, Max
von Sydow, ASCAP members, even Donald
Duck. One such evening in 1985, devoted to
Shirley Temple Black, ended with a surprise.
After the showing of highlights from many
of the Temple lms (interspersed with a
245
At this point, the audience applauded. I realized

this was not just one more rehearsalthis was it! I
literally couldnt feel my feet on the ground. I floated
off the stage.
I thought I had taken a big risk by doing something
other than thanking my mum and dad in my acceptance speech. But at the end of the show, when all
the Oscar winners were invited back onto the stage,
the President of the Academy turned to me and said,
Thank you for giving one of the most significant
speeches of the evening.
The moral of that fits my philosophy of lifeGo
for it!
Vivienne Verdon-Roe
Documentary (Short Subject), 1986
SIR JO HN G IELG UD
Of course I was greatly attered, as well as surprised,

when I received my Oscar. The honor was so entirely
unexpected, and I know how much I was indebted
to the extremely generous help of Dudley Moore and
Liza Minnelli, as well as the author and director,
Steve Gordon, whose sudden death, just after the film

had been greeted with such success, saddened me very
much. It was immensely gratifying to be singled out
with such a very prestigious award and to be praised
for work so entirely different from that of my long
career in the live theatre over more than sixty years.
My occasional forays in early films (I even made a
couple of silent ones in my salad days) proved to be
remarkably uninteresting, giving me no confidence in
my adaptability, although I had always been a devotee
of the cinema as a member of the audience.
It was not until 1951, when I first came to Hollywood to act with James Mason and Marlon Brando
in the Mankiewicz film Julius Caesar, that I really
began to appreciate the fascinating subtleties of screen
acting, with its endlessly complicated schedules and
demands.
Since then I have enjoyed memorable associations
with a great number of fine players and gifted directors both in Europe and America, and I feel very lucky
to be able to appear on the screen so long as health
and memory allow. I shall always be grateful to
have won a good opinion from the leaders of the film
world, and to find encouragement from the figure on

my mantelpiece.
Sir John Gielgud

SI R R I C H A R D AT T ENBOROUG H
If you work in movies, being awarded an Oscar

marks the absolute pinnacle of your career. There is
nothing in the world to beat it. As a filmmaker who
happens to be British, I profoundly appreciate the
Academys extraordinary and continuing generosity
towards technicians, actors and actresses from other
countries. In paying tribute to their endeavors, the
membership has, over the years, effectively elevated
this essentially twentieth-century medium into an art
form truly worthy of international recognition.
Sir Richard Attenborough

Best Director, 1982
Best Picture, 1982
8/8/13 7:31 PM
Warren Beatty (54th Awards)
question-and-answer session), the former

child star was handed a new, shiny, full-size
Oscar to replace the miniature one awarded
her back in the 1934 awards year.
Academy screenings also took place outside of the Hollywood area. A special tribute
to Myrna Loy was given by the Academy at
New Yorks Carnegie Hall in 1985, followed
by a dinner in Miss Loys honor at the Grand
Ballroom of The Waldorf=Astoria. In 1983,
the Academy also sponsored a six-city tour
of a newly reconstructed version of the 1954
A Star Is Born. The rst return screening
was given July 7 before a sold-out audience
at the 6,200-seat Radio City Music Hall in
New York City; that was followed by gala
showings in Washington, D.C., Oakland,
Los Angeles, Chicago and Dallas. The Star
tour was designed not only to dramatize the
cause of lm preservation, but also to generate funds for further preservation needs.
But not all of the Academy tributes were
done via sprocket holes. Throughout the
decade, numerous exhibits were presented
in the main lobby of the Academy headquarters, open free to the public. One display, saluting costume designers, featured eighteen
Oscar-nominated or -winning costumes
Mickey Rooney congratulated by Carol Burnett, Walter Matthau, Liza Minnelli and assorted gentlemen (55th Awards)
William Hurt, Sally Field (58th Awards)
246
JO HN PATRIC K S H A N LEY
Here I am. Im sitting there. In this immense room

full of celebrities. Ive been sitting there for three
hours. My category is best original screenplay. For
some reason thats near the end.
Now I should explain that all my life I havent
gotten nominated for anything and, whats more,
Ive gotten bad reviews. I had been working in theater
for over ten years. Theater is mad dogs in the gutter
fighting over a bare bone. In short, Id learned to
survive on no recognition and very little money. I
was a man who was used to living in the desert. And
here I am, this artistic camel, a creature designed to
survive an extremely harsh environment, sitting in a
tuxedo waiting for my category. And Im dying. Im
like a man with a parachute but Im not jumping out
of a plane. Ive got nothing to do. There is nothing to
do. My life has stopped. This clock is ticking.
One shoe fell. I was nominated for an Academy
Award. More than I ever hoped for. And this was only
my second movie. I told everyone. Im happy with
this. A man at my stage of things. A nomination is
an incredible honor. But then sick little voices began

to whisper, Well, maybe youll win. Or worse, you
know, I think youre going to win. Or, the ultimate
set-up for disaster, I KNOW YOURE GOING TO
WIN! I tried to fight it. But how far gone I was,
in crediting or discrediting these voices, I could not
know. Only when the announcement And the Winner Is was made would I truly know what, in my
heart of hearts, I had prepared myself for.
And now, Im there, its been three hours, and my
category is coming up. Audrey Hepburn and Gregory
Peck come out to deliver the news. Im sunk in my
chair. My wife is patting my arm. I feel like Im
looking into my own open grave. And then Audrey
Hepburn opens the envelope and Gregory Peck
reads, And the Winner Is: John Patrick Shanley, for
Moonstruck!
Im totally shocked. I had completely prepared
myself to lose. And I won. I kiss my wife. I say to her,
I won? She nods. I get up and head for the stage. I
know what Im going to do. Im going to shake hands
with Gregory Peck and kiss Audrey Hepburn. I get up
there. I do it. I think, you just kissed Audrey Hepburn.

I got this gold statue in my hand. This statue Ive seen
all my life. I look out at this enormous audience, and
I think, John, let this happen to you. Let this in. And
I did. Like the sunshine. I let this good moment in my
life happen to me. I was happy. And Im still happy
when I think of it now.
John Patrick Shanley

Screenplay Written Directly for the Screen, 1987
BO GOLDMAN
There are years between for all writers when there

are no awards. I would like to thank some [people]
who have helped me and whom I love. A piece of my
speech and it still holds; I always feel I am in the years
between.
Bo Goldman
Screenplay Adapted from Other Material, 1975
8/8/13 7:31 PM
displayed on mannequins, accompanied

by their designers original sketches. Other
displays were devoted to a spectrum of
subjects including the work of art directors,
the making of Gone with the Wind, the 75th
anniversary of Hollywood, portrait photographers, and one of the most unusual lm
personalities, as subjects of Time magazine
covers from 192385.
There was also much attention given
during the decade to the various activities
which had started and taken root in earlier
years, such as the Student Film competitions and awards; also various scholarships
and grants. The Academys Visiting Artists
Program continued to send lmmakers
representing the various Academy branches
to U.S. colleges for lectures, seminars,
workshops and discussions. Participants
included Vincente Minnelli traveling to
Northern Arizona University, Edward
Dmytryk to Purdue University, Frank Capra
to the State University of New York at Buffalo, Arthur Penn to Syracuse University,
Gordon Parks to the Black Film Institute
in Washington, D.C., Tony Bill to Alaska
Pacic University, and many others.
During her presidency, Fay Kanin also
traveled extensively on behalf of the Academy, including a trip in 1981 to the Peoples
Republic of China, arranged by the cultural
arm of the U.S. State Department, to show
the rst American lms to be widely seen
there since 1945. The lms she took: The
Black Stallion, Guess Whos Coming to Dinner, Singin in the Rain, Shane, and Snow
White and the Seven Dwarfs. The Academys
Executive Director James M. Roberts also
traveled to Taipei as a guest of the government of the Republic of China; Gene Allen,
during his presidency, also represented the
Academy in China and in other far-fromHollywood areas including ve East European nations. Robert Wise, the decades
nal president, carried the Academys message to the Soviet Union and South America.
Barbara Stanwyck and admirer at post-Awards ball
Shirley MacLaine (56th Awards)
247
RICK BAK ER
At the age of ten I decided to become a makeup artist.

I was determined to try and become one of the best;
I worked hard at my hobby, hoping that someday it
would become my profession. I dreamed if I worked
hard enough, one day I might be honored with an
Oscar.
Ill never forget hearing Vincent Price saying And
the winner is Rick Baker. At that moment my childhood dream came true.
Rick Baker
Makeup, 1981; 1987; 1994; 1996; 1997; 2000
CHARL ES L . CA M P BELL
I grew up during the Depression, when movies were

the great escape. The bill changed twice a week with
a special matinee for kids on Saturday. It was a good
time for me, and those hours in the darkened theater
helped shape my life and give me a dream.
I remember seeing lights in the sky one night in
those long ago days and I remember my Uncle Mac
taking me on the four-block walk to Fort Street and

the Lincoln Square Theatre where the giant klieg lights
were clustered around a stake-back truck. There were
steps that led to a wooden viewing platform around
the truck that contained a live rhinoceros. To see with
my own eyes and smell a creature that had only existed before in the pages of my grandfathers National
Geographics, overwhelmed me. The occasion was the
Detroit premiere of an Osa and Martin Johnson film
documenting their exploits in Africa.
My fate was sealed: I would see Africa and work in
the business of my idols, Jack Holt, Richard Dix, Cagney, Powell, Cooper, and Osa and Martin Johnson.
Happy endings; Ive been to Africa, won two Oscars
and live in a house where on a clear day, I can see the
ocean. If that is not enough in the realm of my good
fortune, I was selected by my peers as a Governor of
the Academy of Motion Picture Arts and Sciences, the
greatest honor of all.
However, to bring this all into perspective, I reflect
back to my first Academy Award, after having the last
dance on the floor and the last drink at the bar with
an arm grown weak with the weight of my prize; my

proud wife, Maxine, and I were limoed home where I
sat traumatized until 4 a.m., staring at the culmination of my dreams.
My morning came at noon, and at an over-theshoulder glance as I left the house, I still couldnt
believe the Golden Man had come to stay.
Late as I was, yet hungry, I stopped at the deli
at the bottom of my hill for a sandwich to get me
through the day on the dubbing stage.
When Joe, the deli manager, saw me amid the
crowd at his counter, he smiled and wiggled a long
finger close to my face. I saw you, I saw you on
television last night. I was tired, humble, but proud.
I felt a lot of eyes searching my face; I felt very special.
My celebrity ended suddenly, when Joe asked, Who
catered?
Charles L. Campbell
Sound Effects Editing, 1982; 1985; 1988
8/8/13 7:31 PM
Anjelica Huston (58th Awards)
Marlee Matlin (59th Awards)
Steven Spielberg (59th Awards)
The Academy Players Directory also

celebrated its 50th anniversary during the
decade, with 17,000 actors listed in the
birthday edition, compared to the 1,200
that graced issue number one. In 1981, the
Academy decided to reprint that rst (1937)
edition of the Directory and hosted a party
to honor the 26 players listed in both the
rst and the latest editions. Among those attending the nostalgic gathering as honorees
were Ginger Rogers, John Payne, Jane Withers, Marsha Hunt, Edith Fellows, Harry Ritz,
Gene Raymond, Keye Luke and Rudy Vallee.
The Annual Index to Motion Picture Credits
also continued to thrive during the decade.
The Marvin Borowsky Lecture on Screenwriting given annually by the Academy,
also continued successfully, presented
through the decade by a succession of
screenwriters including Richard Brooks,
Carl Foreman, Waldo Salt, Jay Presson
Allen, Lawrence Kasdan and Philip Dunne.
And joining the Borowsky lectures, three
other recurring lectures on the art of motion pictures were added to the Academys
programming agenda. In 1981, the Academy
began an annual George Pal Lecture on
Fantasy in Film, established in memory of

the famous science-ction director. It was
delivered in its rst year by Ray Bradbury,
and in later years by Carl Sagan, Richard
Matheson, Jim Henson and others.
The Jack Oakie Lecture on Comedy in
Film began in 1981, designed to mix an
analysis of comic strategies with illustrations of their proper use. Larry Gelbart
was the rst speaker in this series, and was
succeeded by Gene Wilder, Jerry Lewis and
others. The rst George Stevens Lecture on
Directing was also held in 1982 with Robert
Benton as lecturer.
One of the most immediately popular
new Academy functions also made its debut
during the sixth decade, and became an
instant success. On March 9, 1982, the
Academy for the rst time hosted a luncheon honoring all of the years Academy
Award nominees. It was designed as a casual
gathering where nominees could comfortably visit with their peers, away from the
hysteria of the actual Oscar evening, and it
was a megahit with all, a highpoint in the
whole Oscar award structure. At the end of
the luncheon, the nominees also received
their ofcial nomination certicates and

posed for a group photograph. After that
rst get-together, Steven Spielberg told a
reporter, It was wonderful! They made
you feel like all the nominees were winners,
which is the way it should be. Voila!a new
Oscar tradition was born.
And new traditions didnt stop there,
either. There were other activities, other
duties, other functions, each part of the
Academys continued involvement in
devoting time and muscle to representing,
encouraging and preserving the best aspects
of the motion picture arena. Good times
and bad, the Academy also tried to keep in
step, and to stay fair.
A good example occured in 1985 when the
Academy caught up on some twenty-eightyear-old unnished business. Back in 1957,
in accordance with the ofcial screen credits
on The Bridge on the River Kwai, the Academy had given the Oscar for the screenplay
of Kwai to Pierre Boulle, the author of the
book on which the script was based. The
actual screenwriters had been Carl Foreman
and Michael Wilson, who, at the time, were
denied the credit due to tempers of the time,
CARL O RAMBA LD I
It proved that a mechanical actor can excite the

emotions of motion picture audiences just as much as
can a human actor, and became a worldwide phenomenon in doing so. One thing I will always remember
is how a family of American tourists visiting Los Angeles postponed their departure for home by two days
just so they could track me down and meet me.
The Oscar also conferred upon me a worldwide
fame which otherwise I feel sure I would not have
enjoyed.
V I T T O R I O ST O RARO
248
I have had the distinct honor to be awarded three
Oscars (for King Kong, for Alien, and for E.T.), yet I
never believed I would ever win even one since in Europe
the word was that the Americans were very nationalistic and hence almost never gave the Academy Award to
foreigners except for the category of best foreign lm.
But now I know that such talk in Europe consisted
simply of false rumors.
Now I know that the members of the Academy are
not prejudiced when they judge the work of those who
make motion pictures.
For me winning an Oscar is the physical proof of
the huge and warm applause of the Academy members,
testifying to the winners deep professional seriousness and the high quality of his work.
Even in Europe the Oscar is recognized as the highest award a filmmaker can receive. It is just as highly
coveted in Italy as it is here; perhaps even more so,
since so few Europeans are fortunate enough to be
awarded an Oscar.
Perhaps the most important of my three Oscars is
the one awarded me for having created E.T. for the
movie of the same name.
Carlo Rambaldi
Visual Effects, 1976; 1979; 1982
O L I V E R ST O N E
It reinforces the sense in me that I am not totally

worthless as a human being . . . but then again, I still
have doubts.
Oliver Stone
Screenplay Based on Material from
Another Medium, 1978
I never thought I could be so moved if my name were

to be called at the opening of the envelope for my
first nomination, for Apocalypse Now. I still dont
remember how I was able to put one step after another
in order to reach the stage; I still dont remember how
I was able to put one word after another in order to
say my speech.
When my envelope was opened the second time for
Reds my entire body got paralyzed. I will never forget
my suffering with each step I took and with any single
word I said.
When I was called the third time for The Last
Emperor my heart was jumping up and down so that
I thought I might have a heart attack before arriving
at the podium. When I reached the statuette and I
looked at the audience, I understood once more, that
that moment is one of the greatest possible emotions
in life. You can never get used to it. If I am ever nominated again in my life, I think I will take a doctor
with me, just in case.
Vittorio Storaro
Cinematography 1979; 1981; 1987
8/8/13 7:31 PM
and sentiment in some industry quarters,

stemming from the House Un-American
Activities Committee probes of the time. So,
in response to a motion from the Writers
Branch Governors, the Academy Board
unanimously voted to correct the historical record by, at last, ofcially recognizing
Foreman and Wilson as the true collaborators on that winning Kwai script of nearly
three decades before. In a special ceremony
on March 16, 1985, the families of the two
writers, both deceased, were presented with
Academy Award statuettes. It was a symbolic
gesture but one that suggested the Academy
was still doing its best to correctly honor
achievement in lmmaking.
t he s i x t h d eca de
June 1978June 1979 . . . . . . . . . . . . . Howard W. Koch
July 1979June 1980 . . . . . . . . . . . . . . . . . . . Fay Kanin
July 1980June 1981. . . . . . . . . . . . . . . . . . . . Fay Kanin
July 1981June 1982. . . . . . . . . . . . . . . . . . . . Fay Kanin
July 1982June 1983 . . . . . . . . . . . . . . . . . . . Fay Kanin
July 1983July 1984 . . . . . . . . . . . . . . . . . . . Gene Allen
July 1984July 1985 . . . . . . . . . . . . . . . . . . . Gene Allen
July 1985July 1986 . . . . . . . . . . . . . . . . . . Robert Wise
Paul Newman (60th Awards)
Cher (60th Awards)
249
BEN K INGSLEY
We are gladiators; benign gladiators; after the

sweat, dust, thrill of the event, we turn to the emperor for a sign. The craft. The applause. A symbiotic
relationshipthe one cannot live without the other.
I cannot turn my back on pomp, ceremony, occasion,
glamour. I know the motive behind my craft is modest
and pureto please.
When I was nominated for the Oscar, my fellow
gladiators were Hoffman, Lemmon, OToole, Newman. Honestly, it was enough to be placed in the
arena with them, my competitors, my heroes, my
colleagues.
I live in a small farming village; Doris cycles round
with the post each morning. Would you sign for this,
dear? she said, hauling a hefty package out of the
basket of her bicycle.
My Oscar had arrived.
I had pleased.
The emperor had spoken.
Thank You.
Ben Kingsley
Best Actor, 1982
D A M E P E G G Y A SH C RO F T
To be nominated for an Oscar award was certainly

something I would not have believed could happen to
meafter a lifetime in the theater and very occasional
ventures into the film world. That it should actually
have been conferred was still more astonishing!
Amazementand, of course, gratitudewere my predominant feelings. Perhaps I have still a slight sense
of disbelief that it has happened, all the more because
illness sadly prevented me from receiving it in person.
But the honor and the gratitude remainall the more
as I feel I have been welcomed into a world in which I
feel I am a visitor.
Dame Peggy Ashcroft

F. MURRAY ABRAHAM
As for the general speculation about an Oscarjinx, what hogwash. The Oscar is the single most
important event of my career. I have dined with
kings, shared equal billing with my idols, lectured at
Harvard and Columbia, and am professor of theater

at the City University in Brooklyn. I am privileged to
have taken part in the greatest international gathering of artists in the world. If this is a jinx, Ill take
two.
F. Murray Abraham
Best Actor, 1984
M A U RE E N S T AP L ET ON
To paraphrase Leigh Hunt
Say Im weary
Say Im sad
Say that health
And wealth have
Missed me,
Say Im growing old
But add
Oscar kissed me.
Maureen Stapleton
8/8/13 7:31 PM
1978
The Fifty-First Year
he Lord and the Dukeboth legends, both former Oscar winners,

both survivors despite debilitating
bouts of ill healthput a powerhouse nale
on the rst Oscar show of the Academys
second half-century. Englands Laurence
Olivier, age seventy-one, and Americas
John Wayne, also seventy-one, each made a
special appearance near the conclusion of
the 51st Academy Award festivities on April
9, 1979, and each brought the audience
to its feet, in respect and in awe. Olivier
was receiving his third Oscar (following a
special one for 1946s Henry V and his best
actor trophy for 1948s Hamlet), this latest
one on behalf of his entire body of lm
work. Wayne, recently out of the hospital,
was on hand to present the best picture
award. There was some irony, under the
circumstances. The winner, announced by
the Duke, was the Vietnam War drama The
Deer Hunter, a far cry from the kind of war
lms Wayne had often made in his own
movie past.
Vietnam was highly in evidence throughout the night, in fact. Coming Home, which
focused on the rehabilitation of a disabled
Vietnam War veteran, won Oscars for Jane
Fonda and Jon Voight as the best actress
and best actor of the year; Home also won
for its original screenplay. The Deer Hunter
also received awards for the direction by
Michael Cimino, for best supporting actor
(Christopher Walken), plus nods for lm
editing and sound. Prior to the presentations at the Los Angeles Music Center,
police had some scufes with demonstrators
who objected to The Deer Hunter as a racist lm and as a fantasy picturization

of the Vietnam cause. As tempers ared,
several arrests were made. Cimino later told
the press, I was trying to just make a movie,
not rewrite history.
Maggie Smith was named best supporting actress for California Suite, considered
a major surprise of the night. Honorary
awards went to Walter Lantz, director King
Vidor, and New Yorks Museum of Modern Art. Frances Get Out Your Handkerchiefs was named the top foreign language
lm of the year, and the chairman of the
board for Columbia Pictures, Leo Jaffe,
received the Jean Hersholt Humanitarian
Award.
For Oscars 51st show there was also a
new master of ceremonies: Johnny Carson,
making his rst appearance on an Oscarcast. In evidence, but not participating in
the show, was Warren Beatty, seated in the
audience with girlfriend Diane Keaton.
Beatty was the years most conspicuous
nominee, nominated in four separate Oscar
categories in a single year, all of them for
Heaven Can Wait, a feat he was to repeat
three years later with 1981s Reds. For the
rst time in Academy history, the ve nominated songs were sung by the singers who
introduced them in the lms; Sammy Davis,
Jr., and Steve Lawrence delivered a production number built around songs through
the years that were never nominated for an
Oscar.
But it was Olivier and Wayne who really
gave punch to the long-winded, three-hour-
250
be s t p i c t ure : THE DEER HUNTER (Universal; produced
by Barry Spikings, Michael Deeley, Michael Cimino and John
Peverall) and be s t d i recto r : MICHAEL CIMINO for The
Deer Hunter. Although it was undeniably the most stinging antiwar lm since All Quiet on the Western Front, director Michael Cimino denied that The Deer Hunter was really about war
at all. It is a lm about people in a crisis, he said. The war is
incidental. Nevertheless, the Vietnam War was a brutal aspect
of the excellent lm, in which Robert De Niro (right, with Meryl
Streep), Christopher Walken and John Savage played three close
buddies from a rural Pennsylvania steel mill town, all drafted
into the Vietnam situation with tragic consequences for each.
8/8/13 7:31 PM
and-twenty-two-minute show. Said the

Duke, looking thin and wan, Oscar and
I have something in common. Oscar rst
came to Hollywood in 1928; so did I. Were
both a little weatherbeaten but were still
here, and plan to be around for a whole lot
longer. Unfortunately the words on his
own durability turned out to be inaccurate.
Two months and two days later, John Wayne
died of cancer.
be s t ac t or: JON VOIGHT as Luke Martin and b es t a ct re s s : JANE FONDA as Sally Hyde in Coming Home (United
Artists; directed by Hal Ashby). For Fonda, it was the second
time in the winners circle, following 1971s Klute, but she said
This one means much more, because the lm means so much to
me. Ive been living with it for eight years. She had been one of
the instigators of the project, a compelling drama about the wife
(Fonda) of a gung-ho marine ofcer (Bruce Dern) who re-meets
and falls in love with an old high school classmate (Voight)
whos been crippled in the Vietnam War. By virtue of the Oscar
wins by co-stars Voight and Fonda, Coming Home became the
fourth lm in fty-one years to spawn both a best actor and
best actress winner (following 1934s It Happened One Night,
1975s One Flew over the Cuckoos Nest, and 1976s Network).
251
be s t s up p ort i n g a cto r : CHRISTOPHER WALKEN as

Nick (at right, with Robert De Niro, Chuck Aspegren, John
Savage and John Cazale) in The Deer Hunter. Walken was
unknown to most lmgoers when he made The Deer Hunter,
and it was a smashing introduction: his character is a blue-collar
American ultimately sent to Vietnam and captured by the Viet
Cong. Tortured both mentally and physically, heavily drugged
and half-insane, he is killed while playing Russian roulette in a
Saigon gambling den, a needless casualty of a complicated war.
8/8/13 7:31 PM
Nominations 1978
be s t s up p ort i n g actr es s : MAGGIE SMITH as Diana

Barrie in California Suite (Columbia; produced by Ray Stark).
Based on a Neil Simon play comprised of four separate playlets
set in the common environment of the Beverly Hills Hotel, the
movie version of Suite, directed by Herbert Ross, kept the setting
but integrated the stories into one revolving plotline. Most fun
of the situations involved Maggie Smith (right), deliciously playing an actress holed up at the hotel while awaiting the outcome
of Oscar night. Besides being a nervous nominee, she also has
to cope with a hubby (played by Michael Caine) whose sexual
tastes are different, yet similar, to her own. It was a second
Academy Award for Smith (her rst was for 1969s The Prime
of Miss Jean Brodie); via California Suite she also became
the rst person to become an Oscar winner for playing an
Oscar loser.
B E S T PI C TUR E
COM I NG HOM E, Hellman, UA. Produced by Jerome
D I R E C TI N G
COM I N G HOM E, Hellman, UA. Hal Ashby.

* T HE D EER HU NT ER, EMI/Cimino, Universal. Michael
Cimino.
* T HE D EER HU NT ER, EMI/Cimino, Universal. Produced
HEAVEN CAN W AI T , Dogwood, Paramount. Warren
by Barry Spikings, Michael Deeley, Michael Cimino
Beatty and Buck Henry.
and John Peverall.
HEAVEN CAN W AI T , Dogwood, Paramount. Produced
I NT ERI ORS, Rollins-Joffe, UA. Woody Allen.
M I D NI G HT EX P RESS , Casablanca, Columbia. Alan
by Warren Beatty.
M I D N I GHT EX P RESS, Casablanca, Columbia.
Parker.
Produced by Alan Marshall and David Puttnam.
WR
I TI N G
AN U NM ARRI ED W OM AN , 20th Century-Fox.
Produced by Paul Mazursky and Tony Ray.
AUTUMN SONATA, Personalm GmbH, Grade-StargerA C TO R
ITC, New World Pictures. Ingmar Bergman.
W ARREN BEAT T Y in Heaven Can Wait, Dogwood,
* COM I NG HOM E, Hellman, UA. Nancy Dowd, Waldo
Paramount.
Salt and Robert C. Jones.
GARY BU SEY in The Buddy Holly Story, InnovisionsT HE D EER HU N T ER, EMI/Cimino, Universal. Michael
ECA, Columbia.
Cimino, Louis Garnkle, Quinn K. Redeker and Deric
ROBERT D E NI RO in The Deer Hunter, EMI/Cimino,
Washburn.
Universal.
I NT ERI ORS, Rollins-Joffe, UA. Woody Allen.
LAU RENCE OLI VI ER in The Boys from Brazil, ITC, 20th
AN U N M ARRI ED W O MA N , 20th Century-Fox. Paul
Century-Fox.
Mazursky.
JON
VOI
G
HT
in
Coming
Home,
Hellman,
UA.
*
Hellman.
A C TR E S S
IN G RI D BERGM AN in Autumn Sonata, Personalm
GmbH, Grade-Starger-ITC, New World Pictures.
252

BLOOD BROT HERS, Warner Bros. Walter Newman.
CALI FORN I A SU I T E, Stark, Columbia. Neil Simon.
HEAVEN CAN W AI T , Dogwood, Paramount. Elaine
ELLEN BU RST Y N in Same Time, Next Year, Mirisch-
May and Warren Beatty.

* M I D N I GHT EX P RES S , Casablanca, Columbia. Oliver
Stone.
SAM E T I M E, NEX T Y E A R , Mirisch-Mulligan,
Universal. Bernard Slade.
* D AY S OF HEAVEN, OP, Paramount. Nestor Almendros.

T HE D EER HU N T ER, EMI/Cimino, Universal. Vilmos
Zsigmond.
HEAVEN CAN W AI T , Dogwood, Paramount. William
A. Fraker.
SAM E T I M E, NEX T Y E A R , Mirisch-Mulligan,
T HE W I Z , Motown, Universal. Oswald Morris.
Mulligan, Universal.
JI LL CLAY BU RG H in An Unmarried Woman, 20th
Century-Fox.
* JAN E FON D A in Coming Home, Hellman, UA.
GERALD I NE P AG E in Interiors, Rollins-Joffe, UA.
BRU CE D ERN in Coming Home, Hellman, UA.
RI CHARD FARNSW ORT H in Comes a Horseman,
Chartoff-Winkler, UA.
JOHN HU RT in Midnight Express, Casablanca,
Columbia.
* CHRI ST OP HER W ALK EN in The Deer Hunter, EMI/
Cimino, Universal.
JACK W ARD EN in Heaven Can Wait, Dogwood,
Paramount.
D Y AN CAN N ON in Heaven Can Wait, Dogwood,
Paramount.
P EN ELOP E M I LFORD in Coming Home, Hellman, UA.

* M AG G I E SM I T H in California Suite, Stark, Columbia.
M AU REEN ST AP LET ON in Interiors, Rollins-Joffe, UA.
M ERY L ST REEP in The Deer Hunter, EMI/Cimino,
T HE BRI NK S J OB, De Laurentiis, Universal. Dean
Tavoularis and Angelo Graham; George R. Nelson and

Bruce Kay.
CALI FORN I A SU I T E, Stark, Columbia. Albert Brenner;
Marvin March.
Universal.
8/8/13 7:31 PM
* HE A VE N C A N W AIT, Dogwood, Paramount. Paul

Sylbert and Edwin ODonovan; George Gaines.
INTE R IO R S , Rollins-Joffe, UA. Mel Bourne; Daniel
Robert.
THE W IZ , Motown, Universal. Tony Walton and Philip
Rosenberg; Edward Stewart and Robert Drumheller.
C A R A VA NS , Ibex-F.I.D.C.I., Universal. Renie Conley.

D A Y S O F HE A VE N, OP, Paramount. Patricia Norris.
* D E A TH O N THE N ILE, Brabourne-Goodwin,
Paramount. Anthony Powell.

THE S W A R M, Warner Bros. Paul Zastupnevich.
THE W IZ , Motown, Universal. Tony Walton.
S O U ND
THE BU D D Y HO LLY STORY, Innovisions-ECA,
Columbia. Tex Rudloff, Joel Fein, Curly Thirlwell and

Willie Burton.
D A Y S O F HE A VE N, OP, Paramount. John K.
Wilkinson, Robert W. Glass, Jr., John T. Reitz and
Barry Thomas.
* THE D E E R HU NT ER, EMI/Cimino, Universal. Richard
Portman, William McCaughey, Aaron Rochin and
Darin Knight.
HO O P E R , Warner Bros. Robert Knudson, Robert J.
Glass, Don MacDougall and Jack Solomon.
SUP E R MA N, Dovemead, Salkind, Warner Bros.
Gordon K. McCallum, Graham Hartstone, Nicolas
Le Messurier and Roy Charman.
F I LM ED I T I N G
THE BO Y S FR O M B RAZIL, ITC, 20th Century-Fox.
Robert E. Swink.
C O MING HO ME , Hellman, UA. Don Zimmerman.

* THE D E E R HU NT ER, EMI/Cimino, Universal. Peter
Zinner.
MID NIGHT E XP RESS, Casablanca, Columbia. Gerry
Hambling.
SUP E R MA N, Dovemead, Salkind, Warner Bros. Stuart
Baird.
MUSIC
HO P E L E SS L Y D E V OTED TO YOU (Grease, Stigwood/
Carr, Paramount); Music and Lyrics by John Farrar.

* L A S T D A NC E (Thank God Its Friday, CasablancaMotown, Columbia); Music and Lyrics by Paul
Jabara.
THE L A S T TIME I FELT LIKE THIS (Same Time, Next
Year, Mirisch-Mulligan, Universal); Music by Marvin
Hamlisch. Lyrics by Alan and Marilyn Bergman.
R E A D Y TO TA KE A CH ANCE AGAIN (Foul Play,
Miller-Milkis/Higgins, Paramount); Music by
Charles Fox. Lyrics by Norman Gimbel.
W HE N Y O U R E LOV ED (The Magic of Lassie, Lassie
Productions, The International Picture Show
Company); Music and Lyrics by Richard M. Sherman
and Robert B. Sherman.
THE BO Y S FR O M B RAZIL, ITC, 20th Century-Fox.
Jerry Goldsmith.
DAYS OF HEAVEN, OP, Paramount. Ennio Morricone.

HE A VE N C A N W AIT, Dogwood, Paramount. Dave
Grusin.
* MID NIGHT E XP RESS, Casablanca, Columbia.

Giorgio Moroder.
SUP E R MA N, Dovemead, Salkind, Warner Bros. John
Williams.
(ad ap t at i on s c o r e)
* THE BUD D Y HO LLY STORY, Innovisions-ECA,

Columbia. Joe Renzetti.
P R E TTY BA BY , Malle, Paramount. Jerry Wexler.
THE W IZ , Motown, Universal. Quincy Jones.
S H O RT FI L M S
(an i m at e d )
O H MY D A R L ING, Nico Crama Production. Nico
Crama, producer.
R IP VA N W INK L E, A Will Vinton/Billy Budd Film.
Will Vinton, producer.

* S P E C IA L D E L IVERY, National Film Board of Canada.
Eunice Macaulay and John Weldon, producers.
(l i ve ac t i on )
A D IF F E R E NT A PPROACH, A Jim Belcher/Brookeld
Production. Jim Belcher and Fern Field, producers.
MA ND Y S GR A N DMOTHER, Illumination Films.
D O C UM E N TA R Y
T HE D I VI D ED T RAI L: A NAT I VE AM ERI CAN
OD Y SSEY , A Jerry Aronson Production. Jerry
Aronson, producer.
AN EN COU N T ER W I T H FACES, Films Division,
Government of India. K.K. Kapil, producer.

* T HE FLI G HT OF T HE G OSSAM ER CON D OR, A Shedd
Production. Jacqueline Phillips Shedd and Ben Shedd,
producers.
G OOD NI G HT M I SS ANN, An August Cinquegrana
Films Production. August Cinquegrana, producer.
SQ U I RES OF SAN Q U EN T I N , The J. Gary Mitchell
Film Company. J. Gary Mitchell, producer.
(fe a t u r e s )
T HE LOVERS W I N D , Ministry of Culture & Arts of
Iran. Albert Lamorisse, producer.
M Y ST ERI OU S CAST LES OF CLAY , A Survival Anglia
Ltd. Production. Alan Root, producer.
RAONI , A Franco-Brazilian Production. Jean-Pierre
Dutilleux, Barry Williams and Michel Gast, producers.

* SCARED ST RAI GHT !, A Golden West Television
Production. Arnold Shapiro, producer.
W I T H BABI ES AN D BAN N ERS: ST ORY OF T HE
W OM EN S EM ERG EN CY BRI G AD E, A Womens
Labor History Film Project Production. Anne Bohlen,

Lyn Goldfarb and Lorraine Gray, producers.
* GET OU T Y OU R HAN D K ERCHI EFS (France).

T HE GLASS CELL (German Federal Republic).
HU N G ARI ANS (Hungary).
VI VA I T ALI A! (Italy).
W HI T E BI M BLACK EAR (U.S.S.R.).
(s cie n t ific a n d e ngineering award )

RAY M . D OLBY , I O A N R . A L L E N , DA V I D P.
ROBI N SON , ST E PH E N M. K A T Z and PH I L I P S . J .
BOOLE of Dolby Laboratories, Incorporated, for the
development and implementation of an improved

Sound Recording and Reproducing System for Motion
Picture Production and Exhibition.
(t e ch n ica l a ch ievement award )
K ARL M ACHER and G L E N N M. B E R G G R E N of Isco
Optische Werke for the development and introduction

of the Cinelux-ULTRA Lens for 35mm Motion Picture
Projection.
D AVI D J . D EG EN K O L B , A R T H U R L . F O R D, and
FRED J . SCOBEY of DeLuxe General, Incorporated,
for the development of a Method to Recycle Motion
Picture Laboratory Photographic Wash Waters by Ion
Exchange.
K I I CHI SEK I G U CH I of CINE-FI International for the
development of the CINE-FI Auto Radio Sound System
for Drive-In Theaters.
LEONARD CHAP M A N of Leonard Equipment
Company, for the design and manufacture of a small,
mobile, motion picture camera platform known as the
Chapman Hustler Dolly.
J AM ES L. FI SHER of J.L. Fisher, Incorporated, for the
design and manufacture of a small, mobile, motion
picture camera platform known as the Fisher Model
Ten Dolly.
ROBERT ST I N D T of Production Grip Equipment
Company, for the design and manufacture of a small,
mobile, motion picture camera platform known as the
Stindt Dolly.

T O W ALT ER LANT Z for bringing joy and laughter to
every part of the world through his unique animated

motion pictures.
T O T HE M U SEU M OF M OD ERN ART , D EP ART M EN T

OF FI LM for the contribution it has made to the
publics perception of movies as an art form.
T O LAU REN CE OLI VI ER for the full body of his work,
for the unique achievements of his entire career, and

for his lifetime of contribution to the art of lm.
T O K I NG VI D OR for his incomparable achievements as
a cinematic creator and innovator.
T O LI NW OOD G . D U NN, LOREN L. RY D ER
and W ALD ON O. W AT SON in appreciation for
outstanding service and dedication in upholding the

high standards of the Academy of Motion Picture Arts
and Sciences. (Medal of Commendation)

For Visual Effects: LES BOW I E, COLI N CHI LVERS,
D EN Y S COOP , ROY FI ELD , D EREK M ED D I N G S
and Z ORAN P ERI SI C for Superman, a Dovemead Ltd.

Production, Alexander Salkind Presentation, Warner
Bros.
T O LEO J AFFE
A WA R D S
Effective this year, Class I became Academy Award of

Merit, Class II became Scientic and Engineering
Award and Class III became Technical Achievement
Award.
253
(a ca de my a w a r d of me r it )
EAST M AN K OD AK COM P ANY for the research and
development of a Duplicating Color Film for Motion

Pictures.
ST EFAN K U D ELSK I of Nagra Magnetic Recorders,
Incorporated, for the continuing research, design and
development of the Nagra Production Sound Recorder
for Motion Pictures.
P ANAVI SI ON , I NCORP ORAT ED , and its
engineering staff under the direction of ROBERT E.
G OT T SCHALK , for the concept, design and
continuous development of the Panaex Motion
Picture Camera System.
Andrew Sugerman, producer.
STR A NGE F R U IT, The American Film Institute. Seth
Pinsker, producer.
* TE E NA GE FA THER, New Visions Inc. for the
Childrens Home Society of California. Taylor
Hackford, producer.
8/8/13 7:31 PM
1979
The Fifty-Second Year
ustin Hoffman, winning his rst

Academy Award (for 1979s Kramer
vs. Kramer), included thanks in
his acceptance speech to his parents for
not practicing birth control; that remark
was perhaps the most unexpected delivery
in an evening notable for its lack of surprises. Four months before the 52nd Oscars
were handed out on April 14, 1980, the Los
Angeles Film Critics Association had voted
its annual bests to Kramer vs. Kramer as best
picture, to Hoffman as best actor, Sally Field
as best actress, Melvyn Douglas and Meryl
Streep for supporting performances, and to
Robert Benton for direction and screenplay.
Other groups basically seconded the motion, and it was only left to Oscar to make
it all ofcial. If there was any expectation of
an upset, it came in the pint-sized form of
Mickey Rooney, in the midst of a gigantic
career on Broadway. Many bets were on
Rooney winning the supporting actor prize
over Douglas, but it didnt happen.
Once again there had been considerable controversy when the nominations
were disclosed, especially over the missing
names of two cinematographers: Caleb
Deschanel of The Black Stallion and Gordon
Willis of Manhattan. Some felt there had
been deliberate snubs. Cinematographer
Haskell Wexler said, I think its a disgrace
and Im indignant; Willis, a New Yorker,
gured, Maybe if I bought a house in
Hollywood, Id have a better chance, but
fellow lensman Conrad Hall had the last
word. Unfortunately, somebodys always
left out, he reminded everyone. Injustice
in the Academy is something people have

to accept. Another denite newsmaker at
nomination time was Justin Henry. Eight
years old, he became the youngest nominee
for a competitive award in the Academys
history.
For the second year in a row, Johnny
Carson was the host for the Oscar show,
again held at the Dorothy Chandler Pavilion
of the Los Angeles Music Center. Presenters ran the gamut from Douglas Fairbanks,
Jr., and Gene Kelly to Dolly Parton and Bo
Derek, and a major musical highlight was
Donald OConnor and 32 dancers saluting
famous movie choreographers and the musical lm genre in a number called Dancin
on the Silver Screen. The Tin Drum was
voted the best foreign language lm award,
Ray Stark received the Irving G. Thalberg
Memorial Award, Robert Benjamin received
the Jean Hersholt Humanitarian Award
and Alec Guinness, previously a best actor
winner back in 1957, received an honorary Oscar for advancing the art of screen
acting through a host of memorable and
distinguished performances. Commented
Sir Alec, after receiving a standing ovation,
I feel very fraudulent taking this. But, he
added with a smile, and making a quick exit,
Im grabbing this while the going is good.
Among those who stayed on stage longer:
The Muppets Kermit the Frog, singing one
of the years nominated songs, The Rainbow Connection.
254
be s t s up p ort i n g actr es s : MERYL STREEP as Joanna
Kramer in Kramer vs. Kramer (Columbia; produced by Stanley
R. Jaffe). The lm was a touching, emotionally punching story
about divorce, with Meryl Streep as a young wife and mother
who exits her family to seek an independent lifestyle, only to
return later to claim her young son as a mothers prerogative, a move that sets off a court battle with her ex-husband
(Dustin Hoffman, right, with Streep). Also nominated for an
Academy Award the preceding year, Streep was on her way to a
striking Oscar tally: in her rst eighteen years in lm, she was
nominated ten times (in 1978, 1979, 1981, 1982, 1983, 1985, 1987,
1988, 1990, and 1995), winning twice en route for 1979s Kramer
and again in 1982 for Sophies Choice.
8/8/13 7:31 PM
be s t a ct r e s s : SALLY FIELD as Norma Rae (left, with Ron

Leibman) in Norma Rae (20th Century-Fox; produced by
Tamara Asseyev and Alex Rose). She was best known pre-Norma
as TVs ex-Gidget and ex-Flying Nun, pretty much pigeonholed
as a perky little television actress of limited range. Then came
a TV movie called Sybil and a shot at Norma Rae when Jane
Fonda turned it down. It was, said Field, without a doubt,
the best script I ever read in my life, and under the direction of
Martin Ritt she astounded all, playing a composite of real-life
Crystal Lee Sutton and other Southern textile workers who
helped organize a union in a cotton mill in North Carolina in
1973. Field also proved she was no one-shot: she won a second
Oscar in 1984 with Places in the Heart.
255
be s t p ict u r e : KRAMER VS. KRAMER (Columbia), b est

dir e ct or : ROBERT BENTON for Kramer vs. Kramer, and
be s t a ct or : DUSTIN HOFFMAN as Ted Kramer. What happens when divorce suddenly collapses a young family? Based on
Avery Cormans insightful novel, Kramer explored the issues
and adventures of an advertising executive (Hoffman, left, with
Justin Henry) who nds himself parenting a six-year-old son he
barely knows. Benton also wrote the screenplay (for which he
also won an Oscar) and directed with sensitivity, warmth and
enough of a light touch to make the lm tremendously appealing.
Besides Meryl Streep as the leave-taking mother, the cast also
included Jane Alexander, Howard Duff, JoBeth Williams and, effortlessly stealing most of the scenes he was in, pint-sized Justin
Henry as the Kramers son and arguing point.
8/8/13 7:31 PM
B E S T PI C TUR E
ALL T HAT J AZ Z , Columbia/20th Century-Fox.
Nominations 1979
Produced by Robert Alan Aurthur.
AP OCALY P SE NOW , Omni Zoetrope, UA. Produced
by Francis Coppola. Co-produced by Fred Roos, Gray

Frederickson and Tom Sternberg.
BREAK I NG AW AY , 20th Century-Fox. Produced by
Peter Yates.
* K RAM ER VS. K RAM ER, Jaffe, Columbia. Produced by
Stanley R. Jaffe.
NORM A RAE, 20th Century-Fox. Produced by Tamara
Asseyev and Alex Rose.
A C TO R
* D U ST I N HOFFM AN in Kramer vs. Kramer, Jaffe,

Columbia.
JACK LEM M ON in The China Syndrome, Douglas/IPC,
Columbia.
AL P ACI N O in . . . And Justice for All, Malton,
Columbia.
ROY SCHEI D ER in All That Jazz, 20th Century-Fox.
P ET ER SELLERS in Being There, Lorimar Film-und
Fernsehproduktion GmbH, UA.
A C TR E S S
JI LL CLAY BU RG H in Starting Over, Pakula/Brooks,
Paramount.
* SALLY FI ELD in Norma Rae, 20th Century-Fox.
JAN E FON D A in The China Syndrome, Douglas/IPC,
Columbia.
M ARSHA M ASON in Chapter Two, Stark, Columbia.
BET T E M I D LER in The Rose, 20th Century-Fox.
* M ELVY N D OU G LAS in Being There, Lorimar Film-und

Fernsehproduktion GmbH, UA.
ROBERT D U VALL in Apocalypse Now, Omni Zoetrope,
UA.
FRED ERI C FORREST in The Rose, 20th Century-Fox.
JU ST I N HENRY in Kramer vs. Kramer, Jaffe, Columbia.
M I CK EY ROONEY in The Black Stallion, Omni
Zoetrope, UA.
ALI EN, 20th Century-Fox. Michael Seymour, Les Dilley
and Roger Christian; Ian Whittaker.

* ALL T HAT J AZ Z , 20th Century-Fox. Philip Rosenberg
and Tony Walton; Edward Stewart and Gary Brink.
AP OCALY P SE N OW, Omni Zoetrope, UA. Dean
Tavoularis and Angelo Graham; George R. Nelson.
T HE CHI NA SY ND RO ME , Douglas/IPC, Columbia.
George Jenkins; Arthur Jeph Parker.
ST AR T REK T HE M O T I O N PI C T U R E , Century
Associates, Paramount. Harold Michelson, Joe
Jennings, Leon Harris and John Vallone; Linda
DeScenna.
C O S TUM E D ESIGN
AG AT HA, Sweetwall-Casablanca-First Artists, Warner
Bros. Shirley Russell.

* ALL T HAT J AZ Z , 20th Century-Fox. Albert Wolsky.
BU T CH AND SU ND A N C E : T H E E A R L Y DA YS , 20th
Century-Fox. William Ware Theiss.
T HE EU ROP EANS, Merchant Ivory, Levitt-Pickman.
Judy Moorcroft.
LA CAGE AU X FOLLE S , Les Productions Artistes
Associes/Da Ma, UA. Piero Tosi, Ambra Danon.
S O UN D
* AP OCALY P SE NOW , Omni Zoetrope, UA. Walter

Murch, Mark Berger, Richard Beggs and Nat Boxer.
T HE ELECT RI C HOR S E M A N , Rastar/Wildwood/
Pollack, Columbia. Arthur Piantadosi, Les Fresholtz,
Michael Minkler and Al Overton.
M ET EOR, American International. William
McCaughey, Aaron Rochin, Michael J. Kohut and Jack
Solomon.
1941 , Spielberg, Universal. Robert Knudson, Robert J.
Glass, Don MacDougall and Gene S. Cantamessa.
T HE ROSE, 20th Century-Fox. Theodore Soderberg,
Douglas Williams, Paul Wells and Jim Webb.
F I LM E D I TI NG
* ALL T HAT J AZ Z , 20th Century-Fox. Alan Heim.

AP OCALY P SE N OW, Omni Zoetrope, UA. Richard
Marks, Walter Murch, Gerald B. Greenberg and Lisa
JAN E ALEX AND ER in Kramer vs. Kramer, Jaffe,
Fruchtman.
Columbia.
T HE BLACK ST ALLI O N , Omni Zoetrope, UA. Robert
BARBARA BARRIE in Breaking Away, 20th Century-Fox.
Dalva.
CAN D I CE BERG EN in Starting Over, Pakula/Brooks,
K RAM ER VS. K RAM E R , Jaffe, Columbia. Jerry
Paramount.
Greenberg.
M ARI EL HEM I NGW AY in Manhattan, Rollins-Joffe,
T HE ROSE, 20th Century-Fox. Robert L. Wolfe and
UA.
C. Timothy OMeara.
* M ERY L ST REEP in Kramer vs. Kramer, Jaffe, Columbia.
D I R E C TI N G
ALL T HAT J AZ Z , 20th Century-Fox. Bob Fosse.

AP OCALY P SE NOW , Omni Zoetrope, UA. Francis
Coppola.
BREAK I NG AW AY , 20th Century-Fox. Peter Yates.

* K RAM ER VS. K RAM ER, Jaffe, Columbia. Robert
Benton.
LA CAG E AU X FOLLES, Les Productions Artistes
Associes/Da Ma, UA. Edouard Molinaro.
WR I TI N G
ALL T HAT J AZ Z , 20th Century-Fox. Robert Alan
Aurthur and Bob Fosse
. . . AND J U ST I CE FOR ALL, Malton, Columbia.
Valerie Curtin and Barry Levinson.
* BREAK I NG AW AY , 20th Century-Fox. Steve Tesich.

T HE CHI N A SY N D ROM E, Douglas/IPC, Columbia.
VI S UA L E F F ECTS
* ALI EN , 20th Century-Fox. H.R. Giger, Carlo Rambaldi,

Brian Johnson, Nick Allder and Denys Ayling.
T HE BLACK HOLE, Disney. Peter Ellenshaw, Art
Cruickshank, Eustace Lycett, Danny Lee, Harrison
Ellenshaw and Joe Hale.
M OONRAK ER, Eon, UA. Derek Meddings, Paul Wilson
and John Evans.
1941 , Spielberg, Universal. William A. Fraker, A.D.
Flowers and Gregory Jein.
Associates, Paramount. Douglas Trumbull, John
Dykstra, Richard Yuricich, Robert Swarthe, Dave
Stewart and Grant McCune.
M US I C
I LL N EVER SAY G O O DB YE (The Promise,
Weintraub-Heller, Universal); Music by David Shire.

Lyric by Alan and Marilyn Bergman.
* I T GOES LI K E I T G O E S (Norma Rae, 20th CenturyFox); Music by David Shire. Lyric by Norman Gimbel.
I T S EASY T O SAY (10, Geoffrey, Orion); Music by
Henry Mancini. Lyric by Robert Wells.
AP OCALY P SE NOW , Omni Zoetrope, UA. John Milius
T HE RAI N BOW CON N E C T I O N (The Muppet Movie,
and Francis Coppola.
Henson/Grade/Starger, Associated Film Distribution);
* K RAM ER VS. K RAM ER, Jaffe, Columbia. Robert
Music and Lyric by Paul Williams and Kenny Ascher.
Benton.
T HROU G H T HE EY ES O F L O V E (Ice Castles,
LA CAG E AU X FOLLES, Les Productions Artistes
Cinemedia, Columbia); Music by Marvin Hamlisch.
Associes/Da Ma, UA. Francis Veber, Edouard
Lyric by Carole Bayer Sager.
Molinaro, Marcello Danon and Jean Poiret.
A LI T T LE ROM AN CE, Pan Arts, Orion. Allan Burns.
NORM A RAE, 20th Century-Fox. Irving Ravetch and
T HE AM I T Y VI LLE HO R R O R , American International
Harriet Frank, Jr.
Pictures. Lalo Schifrin.
T HE CHAM P , M-G-M. Dave Grusin.
ALL T HAT J AZ Z , 20th Century-Fox. Giuseppe Rotunno. * A LI T T LE ROM AN CE , Pan Arts, Orion. Georges
Delerue.
* AP OCALY P SE NOW , Omni Zoetrope, UA. Vittorio
Storaro.
Associates, Paramount. Jerry Goldsmith.
T HE BLACK HOLE, Disney. Frank Phillips.
10 , Geoffrey, Orion. Henry Mancini.
K RAM ER VS. K RAM ER, Jaffe, Columbia. Nestor
Mike Gray, T.S. Cook and James Bridges.
M AN HAT T AN , Rollins-Joffe, UA. Woody Allen and
Marshall Brickman.
256
(Columbia/20th Century-Fox; produced by

Robert Alan Aurthur). Directed by Bob Fosse, Jazz was speculated to be based on Fosses own life as it took an undiluted look
at the hard days and driven nights of a workaholic directorchoreographer bent on self-destruction. It won four Academy
Awards, for art direction, lm editing, costume design and adaptation score, making it the most honored lm of the year next
to Kramer vs. Kramer (with ve awards). Roy Scheider (above)
starred as the focal Jazz character, the womanizer preoccupied
with dance and death, and the cast included Jessica Lange, Ben
Vereen, Ann Reinking, and John Lithgow.
ALL THAT JAZZ
Almendros.
1941 , Spielberg, Universal. William A. Fraker.
(or ig in a l s on g s core and its ad aptatio n o r

* ALL T HAT J AZ Z , 20th Century-Fox. Ralph Burns.

BREAK I N G AW AY , 20th Century-Fox. Patrick
Williams.
T HE M U P P ET M OVI E , Henson/Grade/Starger,
Associated Film Distribution. Paul Williams and
Kenny Ascher; Paul Williams.
8/8/13 7:31 PM
MELVYN DOUGLAS
as Benjamin Rand in Being There (United

Artists; directed by Hal Ashby). Douglas had been an Oscar
winner before, in 1963 for Hud; his second win came for a gem-
like contribution to this comedy-fable by Jerzy Kosinski about the

improbable rise of a childlike gardener (Peter Sellers) to a position of esteemed national importance, all because his simplicity is
interpreted by others as having some deep signicance. Douglas

(above) played a Capitol Hill kingmaker who, in his dying days,
comes under the inuence of the gardener, and vice versa.
S H O RT FI L M S
T HE K I LLI NG GROU N D , ABC News Closeup Unit.
(an i m at e d )
D R E A M D O L L , Bob Godfrey Films/Zagreb Films/
Halas and Batchelor, FilmWright. Bob Godfrey and

Zlatko Grgic, producers.
* E VE R Y C HIL D , National Film Board of Canada. Derek
Lamb, producer.
IT S SO NIC E TO HAV E A WOLF AROUND
THE HO US E , AR&T Productions for Learning
Corporation of America. Paul Fierlinger, producer.
(l i ve ac t i on )
* BO A R D A ND C ARE, Ron Ellis Films. Sarah Pillsbury

and Ron Ellis, producers.
BR A VE R Y IN THE FIELD, National Film Board of
Canada. Roman Kroitor and Stefan Wodoslawsky,
producers.
O H BR O THE R , MY B ROTH ER, Ross Lowell
Productions, Pyramid Films, Inc. Carol and Ross
Lowell, producers.
THE S O L A R F IL M , Wildwood Enterprises Inc. Saul
Bass and Michael Britton, producers.
SO L L Y S D INE R , Mathias/Zukerman/Hankin
Productions. Harry Mathias, Jay Zukerman and
Larry Hankin, producers.
D O CU M EN T AR Y
D A E , Vardar Film/Skopje. Risto Teolovski, producer.

K O R Y O C E L A D ON, Charlie/Papa Productions,
Inc. Donald A. Connolly and James R. Messenger,

producers.
NA IL S, National Film Board of Canada. Phillip Borsos,
producer.
* P A U L R O BE S O N: TRIB UTE TO AN ARTIST, Janus
Films Inc., Saul J. Turell, producer.
R E ME MBE R ME , Dick Young Productions, Ltd. Dick
Young, producer.
(f e at ure s )
* BE S T BO Y , Only Child Motion Pictures, Inc. Ira Wohl,

producer.
GE NE R A TIO N O N TH E WIND, More Than One
Medium. David A. Vassar, producer.
GO ING THE D IS TANCE, National Film Board of
Canada. Paul Cowan and Jacques Bobet, producers.
Steve Singer and Tom Priestley, producers.

T HE W AR AT HOM E, Catalyst Films/Madison Film
Production Co. Glenn Silber and Barry Alexander
Brown, producers.
T HE M AI D S OF W I LK O (Poland).
M AM A T U RNS A HU N D RED (Spain).
A SI M P LE ST ORY (France).
* T HE T I N D RU M (Federal Republic of Germany).
T O FORG ET VEN I CE (Italy).
HONORARY AND OTHER AWARD

T O ALEC GU I N N ESS for advancing the art of screen
acting through a host of memorable and distinguished

performances.
T O HAL ELI AS for his dedication and distinguished
service to the Academy of Motion Picture Arts and
Sciences.
T O J OHN O. AALBERG , CHARLES G . CLARK E, and
J OHN G . FRAY N E in appreciation for outstanding
service and dedication in upholding the high
standards of the Academy of Motion Picture Arts and
Sciences. (Medal of Commendation)

For Sound Editing: ALAN SP LET for The Black Stallion,
Omni Zoetrope, UA.
T O RAY ST ARK
T O ROBERT BEN J AM I N
A WA R D S
N EI M AN - T I LLAR A S S O C I A T E S for the creative

development and to M I N I - M I C R O S YS T E M S ,
I NCORP ORAT E D, for the design and engineering of
an Automated Computer-Controlled Editing Sound

System (ACCESS) for motion picture post-production.
M I CHAEL V. CHE W E Y, W A L T E R G . E G G E R S , and

ALLEN HECHT of M-G-M Laboratories for the
development of a Computer-Controlled Paper Tape

Programmer System and its applications in the motion
picture laboratory.
I RW I N Y OU N G , PA U L K A U F MA N and F R E DR I K
SCHLY T ER of Du Art Film Laboratories, Incorporated,
for the development of a Computer-Controlled Paper
Tape Programmer System and its applications in the
motion picture laboratory.
J AM ES S. ST AN FI E L D and PA U L W . T R E S T E R for
the development and manufacture of a device for
the repair or protection of sprocket holes in motion
picture lm.
Z ORI N P ERI SI C of Courier Films, Limited, for the
Zoptic Special Optical Effects Device for motion
picture photography.
A. D . FLOW ERS and L O G A N R . F R A ZE E for the
development of a device to control ight patterns
of miniature airplanes during motion picture
photography.
257
P HOT O RESEARC H DI V I S I O N O F K O L L M O R G E N
CORP ORAT I ON for the development of the Spectra
Series II Cine Special Exposure Meter for motion

BRU CE LY ON and J O H N L A M B for the development of
a Video Animation System for testing motion picture
animation sequences.
ROSS LOW ELL of Lowel-Light Manufacturing,
Incorporated, for the development of compact lighting
equipment for motion picture photography.
M ARK SERRU RI ER for the progressive development
of the Moviola from the 1924 invention of his father,

Iwan Serrurier, to the present Series 20 sophisticated
lm editing equipment.
8/8/13 7:32 PM
1980
The Fifty-Third Year
enry Fonda, after a forty-six-year,

eighty-three-lm career that had
established him as one of the genuine giants of the acting profession, nally
received his rst Academy Award when the
53rd Oscars were dispensed March 31, 1981.
That same night Robert Redford also won
his rst Academy recognition but, ironically, neither Fonda nor Redford got those
initial trophies for one of the years acting
performances. Fondas award came as an
honorary Oscar in recognition of his
brilliant accomplishments and enduring
contribution to the art of motion pictures.
Redford received his prize not for acting but
as the years best director via Ordinary People, a lm that not only marked Redfords
debut as a lm director but also won top
prizes as the years best picture, for Timothy
Hutton as the best supporting actor and for
Alvin Sargents screenplay. Fonda told the
audience at the Dorothy Chandler Pavilion
of the Los Angeles Music Center, this has
got to be the climax, unaware it was but
an omen of things to come: the following
year he would again receive an Oscar, a
competitive one, as best actor of the year
for On Golden Pond.
There was a tinge of real-life drama
surrounding the award night itself: the
Academy presentations had been postponed
twenty-four hours from their originally
scheduled date because of an assassination
attempt on the life of President Ronald
Reagan. A pretaped message from the
President, who was hospitalized, was played
on the show. Real-life drama was also
prevalent in the winners circle: for the rst

time in Academy history, three of the four
awards for acting in a single year went to actors portraying real people: Robert De Niro
as boxer Jake LaMotta in Raging Bull, Sissy
Spacek as country-western singer Loretta
Lynn in Coal Miners Daughter, and Mary
Steenburgen as the rst wife of would-be
Howard Hughes heir Melvin Dummar in
Melvin and Howard.
The evenings emcee, for the third year
in a row, was Johnny Carson; Lucie Arnaz
was featured in an elaborate Hooray for
Hollywood production number, and Irene
Cara did rousing renditions of the two
nominated songs from Fame, including
the title song, which eventually went on to
become the winner. Tess, embroiled in some
controversy because of the complicated
legal/illegal status of its director, Roman
Polanski (hed earlier ed from Los Angeles
to France on the eve of being sentenced in
a case involving his relationship with a minor), won three of the evenings Oscars: for
cinematography, art direction and costume
design. Among the stars participating in the
show were Tess star Nastassia Kinski, as well
as Lillian Gish, Lily Tomlin, Steve Martin,
George Cukor, King Vidor and Diana Ross.
The latters date for the evening was Michael Jackson.
After the evening had come to a halt,
there was some bad news for the Academy.
Despite the star power, the telecast had
pulled the lowest rating in the twenty-nineyear history of Academy Award telecasts. But
there was good news for Paramount. It was
258
be s t p i c t ure : ORDINARY PEOPLE (Paramount; produced
by Ronald L. Schwary), b es t d i r ecto r : ROBERT REDFORD
for Ordinary People, and b es t s u ppo r ti ng a cto r :
TIMOTHY HUTTON as Conrad Jarrett (right, with Redford)
in Ordinary People. Robert Redford, marking his rst time at
bat as a motion picture director, had a real winner: a compelling
study of how the drowning death of a favored son affects a
family, especially a younger brother (Hutton) whos convinced
his parents (Mary Tyler Moore and Donald Sutherland) hold
him partially responsible. It was based on Judith Guests bestseller, and the cast included Judd Hirsch, Elizabeth McGovern
and Adam Baldwin.
8/8/13 7:32 PM
reported that business at theaters playing

Ordinary People had jumped an amazing
92 percent due to that best picture trophy
and Oscar praise.
be s t ac t re s s : SISSY SPACEK as Loretta Lynn in Coal Miners Daughter (Universal; produced by Bernard Schwartz). Sissy
Spacek (right) used her own singing voice to expertly render the
life of real-life country-western music queen Loretta Lynn. This
rags-to-riches saga begins with a poverty-laden childhood in the
backwoods of rural Kentucky and ends with Lynns great success
as a beloved entertainer. Spacek was directed by Michael Apted;
Tommy Lee Jones played Lynns husband, Levon Helm her father,
and Beverly DAngelo was the ill-fated Patsy Cline.
259
be s t ac t or: ROBERT DE NIRO as Jake LaMotta in Raging Bull (United Artists; produced by
Irwin Winkler and Robert Chartoff). Also based on a real-life personality, Raging Bull was directed
by Martin Scorsese and spotlighted the life of middleweight boxing champ Jake LaMotta from his days
as a well-chiseled force in the ring during the 1940s (above, left) to later depths as a bloated has-been
reduced to working as an emcee in second-rate strip joints (above, right). Filmed almost entirely in
black-and-white, the lm had raw, brute-force power, especially in its graphic prize ght sequences.
There was also added punch from the fact De Niro gained fty pounds in order to more authentically
portray the later LaMotta.
8/8/13 7:32 PM
B E S T PI C TUR E
COAL M I NER S D AU G HT ER, Schwartz, Universal.
Nominations 1980
Produced by Bernard Schwartz.
T HE ELEP HANT M AN, Brookslms, Paramount.
Produced by Jonathan Sanger.

* ORD I N ARY P EOP LE, Wildwood, Paramount. Produced
by Ronald L. Schwary.
RAGI N G BU LL, Chartoff-Winkler, UA. Produced by
Irwin Winkler and Robert Chartoff.
T ESS, Renn-Burrill, Columbia. Produced by Claude
Berri. Co-produced by Timothy Burrill.
A C TO R
* ROBERT D E NI RO in Raging Bull, Chartoff-Winkler,

UA.
ROBERT D U VALL in The Great Santini, Orion-Crosby,
Orion.
JOHN HU RT in The Elephant Man, Brookslms,
Paramount.
JACK LEM M ON in Tribute, Turman-Foster, 20th
Century-Fox.
P ET ER O T OOLE in The Stunt Man, Simon, 20th
Century-Fox.
A C TR E S S
ELLEN BU RST Y N in Resurrection, Universal.

GOLD I E HAW N in Private Benjamin, Warner Bros.
M ARY T Y LER M OORE in Ordinary People, Wildwood,
Paramount.
GENA ROW LAN D S in Gloria, Columbia.

* SI SSY SP ACEK in Coal Miners Daughter, Schwartz,
Universal.
JU D D HI RSCH in Ordinary People, Wildwood,
Paramount.
* T I M OT HY HU T T ON in Ordinary People, Wildwood,
Paramount.
M I CHAEL O K EEFE in The Great Santini, Orion-Crosby,
Orion.
JOE P ESCI in Raging Bull, Chartoff-Winkler, UA.
JASON ROBARD S in Melvin and Howard, Linson/
Phillips/Demme, Universal.
hon orary os c ar to HENRY FONDA. Despite forty-ve
years of consistently strong screen performances, Fonda had yet
to receive an Academy Award by the 1980 award year; in fact,
hed only been nominated once, for 1940s The Grapes of Wrath.
The neglect cued the Board of Governors to vote him a special
Oscar in recognition of his many accomplishments. No one knew
at the time but, the following year, hed also be an Oscar winner,
as best actor.
EI LEEN BRENNAN in Private Benjamin, Warner Bros.

EVA LE G ALLI ENNE in Resurrection, Universal.
CAT HY M ORI ART Y in Raging Bull, Chartoff-Winkler,
UA.
D I ANA SCARW I D in Inside Moves, Goodmark, AFD
(Associated Film Distribution).

* M ARY ST EENBU RG EN in Melvin and Howard, Linson/
Phillips/Demme, Universal.
D I R E C TI N G
T HE ELEP HANT M AN, Brookslms, Paramount. David
Lynch.
* ORD I N ARY P EOP LE, Wildwood, Paramount. Robert
Redford.
RAGI N G BU LL, Chartoff-Winkler, UA. Martin
Scorsese.
T HE ST U N T M AN , Simon, 20th Century-Fox. Richard
Rush.
T ESS, Renn-Burrill, Columbia. Roman Polanski.
WR I TI N G
BRU BAK ER, 20th Century-Fox. W.D. Richter and
Arthur Ross.
FAM E, M-G-M. Christopher Gore.

* M ELVI N AN D HOW ARD , Linson/Phillips/Demme,
Universal. Bo Goldman.
M ON ON CLE D AM ERI Q U E, Dussart-Andrea, New
260
World. Jean Gruault.
P RI VAT E BEN J AM I N, Warner Bros. Nancy Meyers,
Charles Shyer and Harvey Miller.
John W. Corso; John M. Dwyer.
T HE ELEP HAN T M AN , Brookslms, Paramount. Stuart
Craig and Bob Cartwright; Hugh Scaife.
T HE EM P I RE ST RI K E S B A C K , Lucaslm, 20th
Century-Fox. Norman Reynolds, Leslie Dilley, Harry

Lange and Alan Tomkins; Michael Ford.
K AG EM U SHA ( T HE S H A DO W W A R R I O R ) , TohoKurosawa, 20th Century-Fox. Yoshiro Muraki.
* T ESS, Renn-Burrill, Columbia. Pierre Guffroy and Jack
Stephens.
C O S TUM E D ESIGN
T HE ELEP HAN T M AN , Brookslms, Paramount.
Patricia Norris.
M Y BRI LLI ANT CAR E E R , Analysis Film Releasing.
Anna Senior.
SOM EW HERE I N T I M E , Rastar-Deutsch, Universal.
Jean-Pierre Dorlac.
* T ESS, Renn-Burrill, Columbia. Anthony Powell.
W HEN T I M E RAN OU T , Warner Bros. Paul
Zastupnevich.
S O UN D
ALT ERED ST AT ES, Warner Bros. Arthur Piantadosi, Les
Fresholtz, Michael Minkler and Willie D. Burton.
COAL M I N ER S D AUG H T E R , Schwartz, Universal.
Richard Portman, Roger Heman and Jim Alexander.

* T HE EM P I RE ST RI K E S B A C K , Lucaslm, 20th
Century-Fox. Bill Varney, Steve Maslow, Gregg
Landaker and Peter Sutton.
FAM E, M-G-M. Michael J. Kohut, Aaron Rochin, Jay M.
Harding and Chris Newman.
RAG I NG BU LL, Chartoff-Winkler, UA. Donald O.
Mitchell, Bill Nicholson, David J. Kimball and Les
Lazarowitz.
F I LM E D I TI NG
Arthur Schmidt.
T HE COM P ET I T I ON , Rastar, Columbia. David Blewitt.

T HE ELEP HAN T M AN , Brookslms, Paramount. Anne
V. Coates.
FAM E, M-G-M. Gerry Hambling.

* RAGI N G BU LL, Chartoff-Winkler, UA. Thelma
Schoonmaker.
M US I C
* FAM E (Fame, M-G-M); Music by Michael Gore. Lyric by

Dean Pitchford.
N I NE T O FI VE (Nine to Five, 20th Century-Fox); Music
and Lyric by Dolly Parton.
ON T HE ROAD AG A I N (Honeysuckle Rose, Warner
Bros.); Music and Lyric by Willie Nelson.
OU T HERE ON M Y O W N (Fame, M-G-M); Music by
Michael Gore. Lyric by Lesley Gore.
P EOP LE ALON E (The Competition, Rastar, Columbia);
Music by Lalo Schifrin. Lyric by Wilbur Jennings.
ALT ERED ST AT ES, Warner Bros. John Corigliano.

T HE ELEP HAN T M AN , Brookslms, Paramount. John
Morris.
T HE EM P I RE ST RI K E S B A C K , Lucaslm, 20th
Century-Fox. John Williams.

* FAM E, M-G-M. Michael Gore.
T ESS, Renn-Burrill, Columbia. Philippe Sarde.
S H O R T F I LMS
(a n ima t e d)
ALL N OT HI NG, Radio Canada. Frederic Back, producer.

* T HE FLY , Pannonia Film, Budapest. Ferenc Rofusz,
producer.
HI ST ORY OF T HE W O R L D I N T H R E E MI N U T E S
FLAT , Michael Mills Productions Ltd. Michael Mills,
COAL MINERS DAUGHTER, Schwartz, Universal. Tom
(dr a ma t ic liv e a ct io n)
Jonathan Hardy, David Stevens and Bruce Beresford.
Rickman.
T HE ELEP HANT M AN, Brookslms, Paramount.
Christopher DeVore, Eric Bergren and David Lynch.

* ORD I N ARY P EOP LE, Wildwood, Paramount. Alvin
Sargent.
T HE ST U N T M AN , Simon, 20th Century-Fox. Lawrence
B. Marcus and Richard Rush.
BREAK ER M ORAN T , Pact Productions, New World.
be s t s up p ort i n g actr es s : MARY STEENBURGEN as

Lynda Dummar in Melvin and Howard (Universal; directed by
Jonathan Demme). Yet another 1980 portrayal of a real-life character went on to receive Oscar gold, this time for Mary Steenburgen as the wife, then ex-wife, of Melvin Dummar (played by Paul
Le Mat), an impoverished fellow who, by uke or hoax, briey
was said to be the possible beneciary of $165 million from the
estate of the late Howard Hughes.
T HE BLU E LAGOON, Columbia. Nestor Almendros.

COAL M I NER S D AU G HT ER, Schwartz, Universal.
Ralf D. Bode.
T HE FORM U LA, M-G-M. James Crabe.

RAGI N G BU LL, Chartoff-Winkler, UA. Michael
Chapman.
* T ESS, Renn-Burrill, Columbia. Geoffrey Unsworth and
Ghislain Cloquet.
producer.
* T HE D OLLAR BOT T O M , Rocking Horse Films Limited,

Paramount. Lloyd Phillips, producer.
FALL LI N E, Sports Imagery, Inc. Bob Carmichael and
Greg Lowe, producers.
A J U RY OF HER P EER S , Sally Heckel Productions. Sally
Heckel, producer.
D O C UM E N TARY
D ON T M ESS W I T H B I L L , John Watson and Pen
Denshams Insight Productions Inc. John Watson and

Pen Densham, producers.
T HE ERU P T I ON OF M O U N T S T . H E L E N S , Graphic
Films Corporation. George Casey, producer.
I T S T HE SAM E W OR L D, Dick Young Productions, Ltd.
Dick Young, producer.
8/8/13 7:32 PM
(M-G-M; produced by David De Silva and Alan Marshall) was set in New Yorks famous High School of Performing
Arts and featured an energetic cast of actors and dancers gyrating
FAME
* KA R L HE S S : TO WARD LIB ERTY, Hall/Ladue, Inc.

Roland Hall and Peter W. Ladue, producers.
L UTHE R ME TK E AT 94 , U.C.L.A. Ethnographic
Film Program. Richard Hawkins and Jorge Preloran,
producers.
(f e at ure s )
A GE E , James Agee Film Project. Ross Spears, producer.

THE D A Y A F TE R TRINITY, Jon Else Productions. Jon
Else, producer.
* F R O M MA O TO M OZART: ISAAC STERN IN
C HINA , The Hopewell Foundation. Murray Lerner,
producer.
FR O NT L INE , David Bradbury Productions. David
Bradbury, producer.
THE Y E L L O W STARTH E PERSECUTION OF TH E

JE W S IN E U R OPE 1933 45 , Chronos Films. Bengt
von zur Muehlen and Arthur Cohn, producers.
C O NFID E NC E (Hungary).
K A GE MUS HA (TH E SH ADOW WARRIOR) (Japan).
THE L A S T ME TR O (France).
* MOSCOW DOES NOT BELIEVE IN TEARS (U.S.S.R.).
THE NE ST (Spain).

TO HE NR Y F O NDA, the consummate actor, in
recognition of his brilliant accomplishments and

enduring contribution to the art of motion pictures.
TO F R E D HY NE S , in appreciation for outstanding

For Visual Effects: B RIAN JOH NSON, RICH ARD
E D L U ND , D E NNIS MUREN, and B RUCE
NIC HO L S O N for The Empire Strikes Back, a
Lucaslm, Ltd. Production, 20th Century-Fox.
through a series of ups, downs and successes, many set to music.

Alan Parker directed the cast, which included Irene Cara (center), Gene Anthony Ray, Lee Curreri, Laura Dean, Barry Miller,
Anne Meara and Albert Hague. Fame won wide popularity with
audiences as well as two Oscars for its music. It also inspired a
long-running TV series.
A WA R D S
LI NW OOD G . D U NN, CECI L D . LOVE and ACM E

T OOL AN D M AN U FACT U RI N G COM P AN Y for
the concept, engineering and development of the

Acme-Dunn Optical Printer for motion picture special
effects.
(s cie n t ific a n d e n g in e e r in g a w a r d)
J EAN- M ARI E LAVALOU , ALAI N M ASSERON and

D AVI D SAM U ELSON of Samuelson Alga Cinema
S.A. and Samuelson Film Service, Limited, for the

engineering and development of the Louma Camera
Crane and remote control system for motion picture
production.
ED W ARD B. K RAU SE of Filmline Corporation for the
engineering and manufacture of the micro-demand
drive for continuous motion picture lm processors.
ROSS T AY LOR for the concept and development of a
system of air guns for propelling objects used in special
effects motion picture production.
D R. BERN HARD K HL and D R. W ERN ER BLOCK
of OSRAM GmbH, for the progressive engineering
and manufacture of the OSRAM HMI light source for
motion picture color photography.
D AVI D A. G RAFT ON for the optical design and
engineering of a telecentric anamorphic lens for
motion picture optical effects printers.
CARTER EQUIPMENT COMPANY for the development
of a continuous contact, total immersion, additive

color motion picture printer.
HOLLY W OOD FI L M C O M PA N Y for the development
of a continuous contact, total immersion, additive
color motion picture printer.
AN D R D EBRI E S. A . for the development of a
continuous contact, total immersion, additive color
motion picture printer.
CHARLES VAU GH N and E U G E N E N O T T I N G H A M of
Cinetron Computer Systems, Incorporated, for the
development of a versatile general purpose computer
system for animation and optical effects motion
J OHN W . LAN G , W A L T E R H R A S T N I K , and C H A R L E S
J . W AT SON of Bell and Howell Company for
the development and manufacture of a modular
continuous contact motion picture lm printer.
W ORT H BAI RD of LaVezzi Machine Works,
Incorporated, for the advanced design and
manufacture of a lm sprocket for motion picture
projectors.
P ET ER A. REG LA and DA N S L A T E R of Elicon for the
development of a follow-focus system for motion
picture optical effects printers and animation stands.
261
8/8/13 7:32 PM
1981
The Fifty-Fourth Year
ven at age fty-four, Oscar could still

deliver a good punch and an even
bigger surprise. It was, in fact, one
of the biggest upsets in the Academy Award
history books so far: all the preshow betting
had been on 1981s best picture prize going
to the popular On Golden Pond or Raiders
of the Lost Ark, the massive Reds, or the
highly praised Atlantic City, but along came
the British-made Chariots of Fire to run off
with the gold.
The whole evening, in fact, turned out to
be full of upsets and surprises. First, there
was a downpour that continued on through
showtime. Then, Katharine Hepburn
became the rst actor or actress to win a
fourth Academy Award for performing, this
time for On Golden Pond; heaviest betting
had been on Diane Keaton or Meryl Streep
to win. (The Academys most honored lady,
however, was still Edith Head, with eight
Oscars for costume design.) Henry Fonda,
Hepburns co-star in Pond, was named the
years best actor; it was the rst competitive
Oscar hed won. The best supporting actor
was John Gielgud in Arthur, best supporting
actress was Maureen Stapleton in Reds, and
Warren Beatty was named best director, also
for Reds.
Most of the major winners, however, were
no-shows at the party emceed by Johnny
Carson and held March 29, 1982, again at
Angeles Music Center. Hepburn was in
Washington, D.C., starring in The West Side
Waltz, a new play by Ernest Thompson, the
author of Pond and himself a new Academy
Award winner for Ponds screenplay. Fonda

was ill and unable to attend the ceremony
but watched the awards on television at his
home in Beverly Hills; he died less than ve
months later. Gielgud was in Munich working on Wagner with Richard Burton.
But Beatty and Stapleton were both in
person to accept their statuettes. Stapleton
thanked, among others, My inspiration,
Joel McCrea. Backstage she also told the
press, I hope this is only the beginning.
Next I want to win as best actress, then best
supporting actor, best actor, all of it. Hepburn later told reporters in Washington, I
was very surprised I won. But I knew Hank
would get it. He was amazing on that lm.
He wasnt feeling very well, you know, but
you never would have known it.
Makeup artists were honored for the rst
time in a regular category of their own;
the initial winner was Rick Baker for An
American Werewolf in London. Mephisto from
Hungary was named the years best foreign
language lm, and the most Oscars of the
night went to Raiders of the Lost Ark with ve
awards: for art direction, sound, lm editing, and visual effects, plus a special achievement award for sound effects editing.
The most memorable moments on the
show were due to two very different ladies,
Bette Midler and Barbara Stanwyck. Midler,
presenting the best song award, was outrageous with some off-the-cuff remarks;
Stanwyck delivered one from the heart.
Accepting an Honorary Oscar for a lifetime of screen work, Stanwyck received the
evenings sole standing ovation. It was her
262
be s t p i c t ure : CHARIOTS OF FIRE (Ladd Company/Warner Bros.; produced by David Puttnam). The seeds for a lm
about two track aces competing at the 1924 Paris Olympics were
planted when The Ofcial History of the Olympics turned out
to be the only book producer David Puttnam could nd to browse
through in a newly rented home. The British-made Chariots,
directed by Hugh Hudson, marked the screen debuts of Ben Cross
(at right, with Nigel Havers) and Ian Charleson as Olympic
runners, each spurred on by different motives. The lm included
a haunting music score by Vangelis, which was also rewarded
with an Academy Award. Producer Puttnam later said he was
a little embarrassed by the lms win because, in all honesty,
I dont think its as good a lm as I think should be given Oscars.
Few in 1981 agreed.
8/8/13 7:32 PM
rst Academy Award, despite four previous

nominations and, after thanking the remarkable crews we had the privilege to work
with, she gave a brief testimony to the late
William Holden. A few years ago, I stood
on this stage with William Holden as a
presenter, she said. I loved him very much
and I miss him. He always wished that I
would get an Oscar. Raising the statue she
said, on the verge of tears, And so tonight,
my golden boy, youve got your wish!
be s t dir e ct or : WARREN BEATTY for Reds (Paramount;

produced by Beatty) and b est suppo rting ac tress: MAUREEN STAPLETON as Emma Goldman in Reds. A long (200
minutes) and ambitious inspection of journalist-activist John
Reed and his involvement in American and Russian political
affairs prior to World War I, Reds was far more than a one-man
show although Beattys hand was everywhere: he starred as
Reed, produced, directed, and cowrote the lm, winning much
respect in the process. The rich supporting cast included Diane
Keaton (left, with Beatty) and Jack Nicholson (as Eugene
ONeill), and actress Stapleton had one of her strongest screen
hours as the real-life Goldman, an anarchist and feminist who
helped stir the political climate that inuenced Reed.
263
be s t ac t or: HENRY FONDA as Norman Thayer and b es t

ac t re s s : KATHARINE HEPBURN as Ethel Thayer in On
Golden Pond (Universal; produced by Bruce Gilbert). Shed
already won three Academy Awards; hed received only one, a
special award in the preceding year. And despite long careers and
legendary status, Katharine Hepburn and Henry Fonda had
never worked together on stage or screen until they joined direc-
tor Mark Rydell in lming Ernest Thompsons 1978 play about a

retired professor (Fonda) facing his 80th birthday as he and his
wife (Hepburn) spend their 48thand possibly lastsummer
together at their New England cottage. Filled with poignancy,
humor, andabove allsuperb performances by two muchrevered performers, Pond became one of the years best-liked
movies by young and old alike, and won Oscars for both its stars.
Jane Fonda played their daughter, a woman intimidated by her

father and, much to his displeasure, about to marry a gent (Dabney Coleman) who comes to the family with a salty-tongued
thirteen-year-old son (Doug McKeon), all of which threatens the
serenity of the summer on Golden Pond.
8/8/13 7:32 PM
B E S T PI C TUR E
AT LAN T I C CI T Y , ICC, Paramount. Produced by Denis
Nominations 1981
Heroux and John Kemeny.

* CHARI OT S OF FI RE, Enigma, The Ladd Company/
Warner Bros. Produced by David Puttnam.
ON G OLD EN P ON D , ITC/IPC, Universal. Produced by
Bruce Gilbert.
RAI D ERS OF T HE LOST ARK , Lucaslm, Paramount.
Produced by Frank Marshall.
RED S, J.R.S., Paramount. Produced by Warren Beatty.
A C TO R
W ARREN BEAT T Y in Reds, J.R.S., Paramount.

* HENRY FON D A in On Golden Pond, ITC/IPC, Universal.
BU RT LANCAST ER in Atlantic City, ICC, Paramount.
D U D LEY M OORE in Arthur, Rollins, Joffe, Morra and
Brezner, Orion.
P AU L N EW M AN in Absence of Malice, Mirage,
Columbia.
A C TR E S S
* K AT HARI NE HEP BU RN in On Golden Pond, ITC/IPC,

Universal.
D I ANE K EAT ON in Reds, J.R.S., Paramount.
M ARSHA M ASON in Only When I Laugh, Columbia.
SU SAN SARAN D ON in Atlantic City, ICC, Paramount.
M ERY L ST REEP in The French Lieutenants Woman,
Parlon, UA.
JAM ES COCO in Only When I Laugh, Columbia.

* JOHN GI ELG U D in Arthur, Rollins, Joffe, Morra and
Brezner, Orion.
IAN HOLM in Chariots of Fire, Enigma, The Ladd
Company/Warner Bros.
JACK NI CHOLSON in Reds, J.R.S., Paramount.
HOW ARD E. ROLLI NS, J R. , in Ragtime, Paramount.
M ELI ND A D I LLON in Absence of Malice, Mirage,
Columbia.
JAN E FON D A in On Golden Pond, ITC/IPC, Universal.

JOAN HACK ET T in Only When I Laugh, Columbia.
ELI Z ABET H M CGOVERN in Ragtime, Paramount.
* M AU REEN ST AP LET ON in Reds, J.R.S., Paramount.
D I R E C TI N G
AT LAN T I C CI T Y , ICC, Paramount. Louis Malle.

CHARI OT S OF FI RE, Enigma, The Ladd Company/
Warner Bros. Hugh Hudson.
ON G OLD EN P ON D , ITC/IPC, Universal. Mark Rydell.

Steven Spielberg.
* RED S, J.R.S., Paramount. Warren Beatty.
WR I TI N G
ABSENCE OF M ALI CE, Mirage, Columbia. Kurt
Luedtke.
ART HU R, Rollins, Joffe, Morra and Brezner, Orion.
Steve Gordon.
AT LAN T I C CI T Y , ICC, Paramount. John Guare.

264
b e s t f ore i g n l an gu a g e f i l m : MEPHISTO from Hungary.

It was directed by Istvan Szabo, based on a book by Klaus Mann,
and it starred Klaus Maria Brandauer (above) as a German actor
who climbs to the top of his profession in the 1920s and 1930s by
using women and by insinuating himself into the upper echelons
of Nazi power, all so he can have choice roles to play in Berlin
theaters. A parable about the corruption of power, it was the rst
lm from Hungary to be voted the Academys foreign language
lm prize.
S O UN D
ON GOLD EN P OND , ITC/IPC, Universal. Richard
Portman and David Ronne.
OU T LAN D , The Ladd Company. John K. Wilkinson,
Robert W. Glass, Jr., Robert M. Thirlwell and Robin

Gregory.
P ENNI ES FROM HEA V E N , Ross/Hera, M-G-M.
Michael J. Kohut, Jay M. Harding, Richard Tyler and
Al Overton.
* RAI D ERS OF T HE LO S T A R K , Lucaslm, Paramount.
Bill Varney, Steve Maslow, Gregg Landaker and Roy
Charman.
RED S, J.R.S., Paramount. Dick Vorisek, Tom Fleischman
and Simon Kaye.
F I LM E D I TI NG
CHARI OT S OF FI RE, Enigma, The Ladd Company/
Warner Bros. Terry Rawlings.
T HE FREN CH LI EU TE N A N T S W O M A N , Parlon, UA.
John Bloom.
ON GOLD EN P OND , ITC/IPC, Universal. Robert L.
Wolfe.
Michael Kahn.
RED S, J.R.S., Paramount. Dede Allen and Craig McKay.
D RAGON SLAY ER, Barwood/Robbins, Paramount.
Dennis Muren, Phil Tippett, Ken Ralston and Brian

Johnson.
Richard Edlund, Kit West, Bruce Nicholson and Joe
Johnston.
M US I C
* ART HU R S T HEM E ( B E S T T H A T YO U C A N DO )
(Arthur, Rollins, Joffe, Morra and Brezner, Orion);
Music and Lyric by Burt Bacharach, Carole Bayer Sager,
Christopher Cross and Peter Allen.
ENDLESS LOVE (Endless Love, Barish/Lovell, Universal);
Music and Lyric by Lionel Richie.
T HE FI RST T I M E I T H A PPE N S (The Great Muppet
Caper, Henson/ITC, Universal); Music and Lyric by
Joe Raposo.
FOR Y OU R EY ES ON L Y (For Your Eyes Only, Eon, UA);
Music by Bill Conti. Lyric by Mick Leeson.
ONE M ORE HOU R (Ragtime, Paramount); Music and
Lyric by Randy Newman.

Warner Bros. Vangelis.
D RAGON SLAY ER, Barwood/Robbins, Paramount. Alex
Warner Bros. Colin Welland.
RED S, J.R.S., Paramount. Warren Beatty and Trevor
North.
ON GOLDEN POND, ITC/IPC, Universal. Dave Grusin.
Grifths.
RAG T I M E, Paramount. Randy Newman.
RAI D ERS OF T HE LO S T A R K , Lucaslm, Paramount.
T HE FRENCH LI EU T EN AN T S W OM AN, Parlon, UA.
John Williams.
Harold Pinter.
* ON G OLD EN P ON D , ITC/IPC, Universal. Ernest
M A KE UP
Thompson.
(First year given.)
P EN N I ES FROM HEAVEN , Ross/Hera, M-G-M. Dennis
* AN AM ERI CAN W ER E W O L F I N L O N DO N ,
Potter.
Lycanthrope/Polygram, Universal. Rick Baker.
P RI NCE OF T HE CI T Y , Orion/Warner Bros. Jay
HEART BEEP S, Phillips, Universal. Stan Winston.
Presson Allen and Sidney Lumet.
RAGT I M E, Paramount. Michael Weller.
S H O R T F I LMS
EX CALI BU R, Orion. Alex Thomson.

ON G OLD EN P ON D , ITC/IPC, Universal. Billy
Williams.
RAGT I M E, Paramount. Miroslav Ondricek.

Douglas Slocombe.
* RED S, J.R.S., Paramount. Vittorio Storaro.
T HE FRENCH LI EU T EN AN T S W OM AN, Parlon, UA.
Assheton Gorton; Ann Mollo.
HEAVEN S G AT E, Partisan, UA. Tambi Larsen; Jim
Berkey.
RAGT I M E, Paramount. John Graysmark, Patrizia Von
Brandenstein and Anthony Reading; George

de Titta, Sr., George de Titta, Jr., and Peter Howitt.
* RAI D ERS OF T HE LOST ARK , Lucaslm, Paramount.
Norman Reynolds and Leslie Dilley; Michael Ford.
RED S, J.R.S., Paramount. Richard Sylbert; Michael
Seirton.
C O S TUM E D ESIGN

Warner Bros. Milena Canonero.
T HE FREN CH LI EU TE N A N T S W O M A N , Parlon, UA.
Tom Rand.
P ENNI ES FROM HEA V E N , Ross/Hera, M-G-M. Bob
Mackie.
RAG T I M E, Paramount. Anna Hill Johnstone.
RED S, J.R.S., Paramount. Shirley Russell.
(a n ima t e d)
* CRAC, Socit Radio-Canada. Frederic Back, producer.

T HE CREAT I ON , Will Vinton Productions. Will Vinton,
producer.
T HE T EN D ER T ALE O F C I N DE R E L L A PE N G U I N ,
National Film Board of Canada. Janet Perlman,

producer.
(liv e a ct ion )
COU P LES AN D ROB B E R S , Flamingo Pictures Ltd.
Christine Oestreicher, producer.
FI RST W I NT ER, National Film Board of Canada. John
N. Smith, producer.
* VI OLET , The American Film Institute. Paul Kemp and
Shelley Levinson, producers.
D O C UM E N TARY
AM ERI CAS I N T RAN S I T I O N , Americas in Transition,
Inc. Obie Benz, producer.

* CLOSE HARM ON Y , A Noble Enterprise. Nigel Noble,
producer.
J OU RN EY FOR SU RV I V A L , Dick Young Productions,
8/8/13 7:32 PM
Inc. Dick Young, producer.
SE E W HA T I S A Y , Michigan Women Filmmakers
Productions. Linda Chapman, Pam LeBlanc and

Freddi Stevens, producers.
U R GE TO BUIL D , Roland Hall Productions, Inc.
Roland Hall and John Hoover, producers.
(f e at ure s )
A GA INST W IND AND TIDE: A CUB AN ODYSSEY,
Seven League Productions, Inc. Suzanne Bauman,

Paul Neshamkin and Jim Burroughs, producers.
BR O O K L Y N BR IDGE, Florentine Films. Ken Burns,
producer.
E IGHT MINUTE S TO MIDNIGHT: A PORTRAIT OF

D R . HE L E N C A LDICOTT, The Caldicott Project.
Mary Benjamin, Susanne Simpson and Boyd Estus,

producers.
E L S A L VA D O R : ANOTHER V IETNAM, Catalyst
Media Productions. Glenn Silber and Tete
Vasconcellos, producers.
* GE NO C ID E , Arnold Schwartzman Productions,
Inc. Arnold Schwartzman and Rabbi Marvin Hier,
producers.
THE BO A T IS FULL (Switzerland).

MA N O F IR O N (Poland).
* ME P HIS TO (Hungary).
MU D D Y R IVE R (Japan).
THR E E BR O THE RS (Italy).

TO BA R BA R A S TANWYCK, for superlative creativity
and unique contribution to the art of screen acting.

For Sound Effects Editing: B EN B URTT and RICHARD
L . A ND E R SO N for Raiders of the Lost Ark, Lucaslm,
Paramount.
T O ALBERT R. BROCCOLI
T O D ANNY K AY E
1981 GORDON E. SAWYER AWARD

(First year given)
T O J OSEP H B. W ALK ER
A WA R D S
The FU J I P HOT O FI LM COM P AN Y , LT D . for the

research, development and introduction of a new
Ultra-high-speed color negative lm for motion
pictures.
N ELSON T Y LER for the progressive development and
improvement of the Tyler Helicopter motion picture

camera platform.
LEONARD SOK OLOW for the concept and design and
to HOW ARD T . LAZ ARE for the development of the
Consolidated Film Industries Stroboscan motion
picture lm viewer.
RI CHARD ED LU N D and I ND U ST RI AL LI G HT AND
M AG I C, I NCORP ORAT ED , for the concept and
engineering of a beam-splitter optical composite
motion picture printer.
RI CHARD ED LU N D and I ND U ST RI AL LI G HT AND
M AG I C, I NCORP ORAT ED , for the engineering of
the Empire Motion Picture Camera System.
ED W ARD J . BLASK O and D R. ROD ERI CK T . RY AN
of the Eastman Kodak Company for the application

of the Prostar Microlm Processor for motion picture
title and special optical effects production.
HAL LAN D AK ER for the concept and to A L A N D.

LAN D AK ER for the engineering of the Burbank
Studios Production Sound Department 24-frame

color video system.
BI LL HOGAN of Ruxton, Ltd., and R I C H A R D J .
ST U M P F and D A N I E L R . B R E W E R of Universal
City Studios Production Sound Department for the
engineering of a 24-frame color video system.
J OHN D EM U T H for the engineering of a 24-frame video
system.
ERN ST F. NET T M A N N of Continental Camera Systems,
Inc., for the development of a pitching lens for motion
BI LL T AY LOR of Universal City Studios for the concept
and specications for a Two Format, Rotating Head,
Aerial Image Optical Printer.
P ET ER D . P ARK S of Oxford Scientic Films for the
development of the OSF microcosmic zoom device for
microscopic photography.
D R. LOU I S ST AN K I E W I C Z and H . L . B L A C H F O R D
for the development of Baryfol sound barrier
materials.
D ENNI S M U REN and S T U A R T ZI F F of Industrial
Light and Magic, Incorporated, for the development
of a Motion Picture Figure Mover for animation
photography.
1 9 8 1 I RV I N G G. T H AL BE R G
be s t s up p ort i n g a cto r : JOHN GIELGUD as Hobson in Arthur (Orion; directed by Steve

Gordon) was a tolerant but acidly sarcastic valet to Dudley Moore, a wildly rich playboy with a love
for booze and good times. Gielguds performance made a hilarious addition to a merry comedy caper
which also included Liza Minnelli and Geraldine Fitzgerald in the cast. Gielgud, one of the most
respected sirs in the British theater, also appeared in 1981s best picture champ, Chariots of Fire,
and, despite the fact his character expires at the end of Arthur, he nevertheless popped up in the 1988
sequel Arthur 2 On the Rocks.
RAIDERS OF THE LOST ARK (Paramount; directed by Steven Spielberg) introduced a new name to
movie audiences: Indiana Jones. Played by Harrison Ford (above), Mr. Jones was involved in a wild
series of adventures, beginning with a close escape from a crushing boulder as he attempted to plunder a South American jungle tomb, all of which left audiences breathless. And happy. Raiders was
nominated for eight awards, including best picture, and won ve (including a special achievement
award), making it the single most Oscared lm of the year.
265
8/8/13 7:32 PM
1982
The Fifty-Fifth Year
or the majority of moviegoers, 1982

was quintessentially the year of
E.T. The Extra-Terrestrial, a lm that
was by Hollywood terms a true sleeper,
a quietly made project of little expectations that had gone on to become one of
the biggest moneymaking movies of all
time, and one of the best liked. The Steven
Spielberg project was also much respected
by Oscar, pulling nine nominations when
the 1982 awards rolled around. It eventually won four of those prizes, but on Oscar
night, April 11, 1983, even E.T. took a back
seat to Gandhi. Sir Richard Attenboroughs
epic was nominated for eleven awards and
achieved a virtual sweep by collecting eight
of them. Among the Gandhi gatherings:
trophies for best picture of the year, for Ben
Kingsley as best actor, and for Sir Richard as
best director.
Tootsie, also extremely well liked among
1982 movies, was nominated for ten Academy Awards but took home only one, for
Jessica Langes supporting performance.
For Lange, it was a double-whammy year:
she was nominated both as best supporting
actress and as best actress, in the latter category for her work in Frances. It was only the
fourth time in the Academys fty-ve years
a performer had competed in two acting
categories the same year. Her predecessors:
Fay Bainter in 1938, Teresa Wright in 1942,
and Barry Fitzgerald in 1944.
It was also a big night for pregnant Meryl
Streep, named best actress for Sophies
Choice. It was the second Oscar shed
received in her short lm career. The years
best supporting actor award went to Louis

Gossett, Jr., for An Ofcer and a Gentleman; Gossett was the third black to win a
competitive Oscar, and the rst to do so in
that category. He was in close competition
with rst-time nominee but long-time lm
veteran Robert Preston, nominated for Victor/Victoria. That picture, curiously, was one
of several lms of the year (including Tootsie
and The World According to Garp) pulling
numerous Oscar nominations for performers playing in drag, portraying transsexuals
or cross-dressers.
The award ceremony itself was hosted
by Walter Matthau, Liza Minnelli, Dudley
Moore and Richard Pryor, and presenters included two-time Oscar winner Luise Rainer,
1940s pin-up queen Jane Russell, and Bob
Hope, presenting an honorary Oscar to
Mickey Rooney for his years of versatility in a variety of memorable lm performances. One of the musical highlights of
the evening was a salute to Irving Berlin,
scheduled to be sung by Ethel Merman but
done instead by Bernadette Peters and Peter
Allen. It was later revealed that Merman,
while readying to leave New York for the
California show, had suffered a stroke, one
from which she never fully recovered before
her death in 1984.
On a lighter side, presenters Kristy
McNichol and Matt Dillon gave decidedly
new pronunciations to names they had to
read, such as Zbigniew Rybczynski, Michael
Toshiyuki Uno and Christine Oestreicher.
Rybczynski, winner for his animated short
Tango, also became the rst Oscar winner
266
be s t p i c t ure : GANDHI (Columbia; produced by Richard Attenborough), be s t d i re cto r : RICHARD ATTENBOROUGH
for Gandhi, and best actor: BEN KINGSLEY as Mahatma
Gandhi. It took Richard Attenborough (near right, with Kingsley
and others) a full twenty years to realize an ambition to make a
movie on the life of saintly Mahatma Gandhi, the wise but complex man who helped his native India achieve independence from
imperial Britain. Covering more than a half century of Indias
turmoil, the biographical lm cost $22 million to make, ran
over three hours (188 minutes), and became the picture of the
year, thanks in no small measure to the pivotal performance of
thirty-eight-year-old Ben Kingsley, a veteran of Englands Royal
Shakespeare Company. The cast also included John Gielgud, John
Mills, Trevor Howard, Martin Sheen and Candice Bergen as
photographer Margaret Bourke-White.
8/8/13 7:32 PM
known to spend some of his night of triumph behind bars. Briey leaving the Dorothy Chandler Pavilion for a cigarette break
during the show, he was barred by a guard
from reentering, resulting in a scufe and a
brief stretch in the slammer before he was
identied and charges were dropped.
Meanwhile, among those in the audience
watching the festivities and applauding the
winners: Oscar rebel George C. Scott, obviously thinking more kindly toward Oscar
in the 1980s than he had in 1971, when he
refused to show up and accept a trophy of
his own.
be s t ac t re s s : MERYL STREEP as Sophie Zawistowska in

Sophies Choice (Universal/AFD; produced by Alan J. Pakula
and Keith Barish). One of the choices Sophie has to make is
forced on her during World War II: Nazi guards at the Auschwitz concentration camp say they will spare the life of just one
of her two children, but Sophie herself must decide which one.
Its an agonizing moment which thereafter dooms Sophie, long
after shes survived the war and moved to Brooklyn, temporarily
nding a new life with a lover (Kevin Kline) and a compassionate neighbor (Peter MacNicol, at right with Streep) whos the
lms narrator. Streep, directed by Alan J. Pakula and required to
speak Polish, German, then English with a Polish accent for the
role, was superb and won her second Oscar, her rst in the best
actress category.
267
be s t s up p ort i n g a ctr es s : JESSICA LANGE as Julie in

Tootsie (Columbia; produced by Sydney Pollack and Dick Richards). It was a great year for Jessica Lange with two diverse roles,
both released at virtually the same time for a one-two punch: the
rst as real-life actress Frances Farmer in the intense bio-drama
Frances, which brought her a best actress nomination; the second as a ctional TV actress in the sparkling comedy Tootsie, for
which she won the years supporting actress Oscar. In the latter,
directed by Sydney Pollack, she played a performer in a television
soap opera befriended by her TV co-star Dorothy Michaels,
who, unbeknownst to Lange, is really an actor in drag (Dustin
Hoffman, right, with Lange).
8/8/13 7:32 PM
Nominations 1982
b e s t s up p ort i n g acto r : LOUIS GOSSETT, JR., as Sergeant Foley in An Ofcer and a Gentleman (Lorimar/Paramount; produced by Martin Elfand). Playing a super-tough drill
sergeant at a Naval Aviation Ofcer Candidate school, Gossett
(above right, shaping up recruit Zack Mayo, played by Richard
Gere) virtually stole the show in the muscular romantic drama.
Directed by Taylor Hackford, the lm focused on the relationships
of Gere with Debra Winger and David Keith with Lisa Blount,
while the would-be gents endured thirteen weeks of agony to
become Navy ofcers. Gossett supplied the agony, but it was, of
course, all for the cause.
B E S T PI C TUR E
E. T . T HE EX T RA- T ERREST RI AL, Universal. Produced
by Steven Spielberg and Kathleen Kennedy.

* GAND HI , Indo-British Films, Columbia. Produced by
Richard Attenborough.
M I SSI N G , Lewis, Universal. Produced by Edward Lewis
and Mildred Lewis.
T OOT SI E, Mirage/Punch, Columbia. Produced by
Sydney Pollack and Dick Richards.
T HE VERD I CT , Zanuck/Brown, 20th Century-Fox.
Produced by Richard D. Zanuck and David Brown.
A C TO R
D U ST I N HOFFM AN in Tootsie, Mirage/Punch,
268
Columbia.
* BEN K I NGSLEY in Gandhi, Columbia.
JACK LEM M ON in Missing, Lewis, Universal.
P AU L N EW M AN in The Verdict, Zanuck/Brown, 20th
Century-Fox.
P ET ER O T OOLE in My Favorite Year, Brookslm/
Gruskoff, M-G-M/UA.
A C TR E S S
JU LI E AND REW S in Victor/Victoria, M-G-M/UA.

JESSI CA LAN G E in Frances, Brookslm/EMI,
Universal/A.F.D.
SI SSY SP ACEK in Missing, Lewis, Universal.
* M ERY L ST REEP in Sophies Choice, ITC/Pakula-Barish,
Universal/A.F.D.
D EBRA W I N G ER in An Ofcer and a Gentleman,
Lorimar/Elfand, Paramount.
CHARLES D U RN I NG in The Best Little Whorehouse in
Texas, Miller-Milkis-Boyett, Universal.

* LOU I S G OSSET T , J R. , in An Ofcer and a Gentleman,
Lorimar/Elfand, Paramount.
JOHN LI T HGOW in The World According to Garp,
Warner Bros.
JAM ES M ASON in The Verdict, Zanuck/Brown, 20th
Century-Fox.
ROBERT P REST ON in Victor/Victoria, M-G-M/UA.
GLENN CLOSE in The World According to Garp, Warner
Bros.
* J ESSI CA LAN G E in Tootsie, Mirage/Punch, Columbia.

K I M ST AN LEY in Frances, Brookslm/EMI, Universal/
A.F.D.
LESLEY AN N W ARRE N in Victor/Victoria, M-G-M/UA.
D I R E C TI N G
D AS BOOT , Bavaria Atelier GmbH, Columbia/PSO.
Wolfgang Petersen.
E. T . T HE EX T RA- T ER R E S T R I A L , Universal. Steven
Spielberg.
* GAND HI , Columbia. Richard Attenborough.
T OOT SI E, Mirage/Punch, Columbia. Sydney Pollack.
Sidney Lumet.
WR I TI N G
D I N ER, Weintraub, M-G-M/UA. Barry Levinson.

E. T . T HE EX T RA- T ER R E S T R I A L , Universal. Melissa
Mathison.
* GAND HI , Columbia. John Briley.
AN OFFI CER AND A G E N T L E M A N , Lorimar/Elfand,
Paramount. Douglas Day Stewart.
T OOT SI E, Mirage/Punch, Columbia. Larry Gelbart,
Murray Schisgal and Don McGuire.

D AS BOOT , Bavaria Atelier GmbH, Columbia/PSO.
Wolfgang Petersen.
* M I SSI N G , Lewis, Universal. Costa-Gavras and Donald
Stewart.
SOP HI E S CHOI CE, ITC/Pakula-Barish, Universal/
A.F.D. Alan J. Pakula.
David Mamet.
VI CT OR/ VI CT ORI A , M-G-M/UA. Blake Edwards.
D AS BOOT , Bavaria Atelier GmbH, Columbia/PSO. Jost
Vacano.
E. T . T HE EX T RA- T ER R E S T R I A L , Universal. Allen
Daviau.
* GAND HI , Columbia. Billy Williams and Ronnie Taylor.
SOP HI E S CHOI CE, ITC/Pakula-Barish, Universal/
A.F.D. Nestor Almendros.
T OOT SI E, Mirage/Punch, Columbia. Owen Roizman.
T ERI GARR in Tootsie, Mirage/Punch, Columbia.
8/8/13 7:32 PM
A RT D I REC T I ON
A NNIE , Rastar, Columbia. Dale Hennesy; Marvin
March.
BL A D E R UNNE R , Deeley-Scott, The Ladd Company/
Sir Run Run Shaw. Lawrence G. Paull and David L.

Snyder; Linda DeScenna.
* GA ND HI, Columbia. Stuart Craig and Bob Laing;
Michael Seirton.
L A TR A VIA TA , Accent, Universal Classics. Franco
Zefrelli; Gianni Quaranta.
VIC TO R /VIC TO RIA, M-G-M/UA. Rodger Maus,
Tim Hutchinson and William Craig Smith; Harry
Cordwell.
* GA ND HI, Columbia. John Mollo and Bhanu Athaiya.

L A TR A VIA TA , Accent, Universal Classics. Piero Tosi.
SO P HIE S C HO ICE, ITC/Pakula-Barish, Universal/
A.F.D. Albert Wolsky.
TR O N, Disney. Elois Jenssen and Rosanna Norton.
VIC TO R /VIC TO RIA, M-G-M/UA. Patricia Norris.
S O U ND
D A S BO O T, Bavaria Atelier GmbH, Columbia/PSO.
Milan Bor, Trevor Pyke and Mike Le-Mare.

* E .T. THE E XTR A - TERRESTRIAL, Universal. Robert
Knudson, Robert Glass, Don Digirolamo and Gene
Cantamessa.
GA ND HI, Columbia. Gerry Humphreys, Robin
ODonoghue, Jonathan Bates and Simon Kaye.
TO O TSIE , Mirage/Punch, Columbia. Arthur
Piantadosi, Les Fresholtz, Dick Alexander and Les
Lazarowitz.
TR O N, Disney. Michael Minkler, Bob Minkler, Lee
Minkler and Jim La Rue.
F I LM ED I T I N G
Hannes Nikel.
E .T. THE E XTR A - TERRESTRIAL, Universal. Carol
Littleton.
* GA ND HI, Columbia. John Bloom.
A N O FF IC E R A ND A GENTLEMAN, Lorimar/Elfand,
Paramount. Peter Zinner.
TO O TSIE , Mirage/Punch, Columbia. Fredric
Steinkamp and William Steinkamp.
BL A D E R UNNE R , Deeley-Scott, The Ladd Company/
Sir Run Run Shaw. Douglas Trumbull, Richard

Yuricich and David Dryer.
* E .T. THE E XTR A - TERRESTRIAL, Universal. Carlo
Rambaldi, Dennis Muren and Kenneth F. Smith.
P O L TE R GE IST, Spielberg, M-G-M/UA. Richard
Edlund, Michael Wood and Bruce Nicholson.
S O U ND EF F E C T S E D I T I N G
(New designation)
Mike Le-Mare.
* E.T. THE EXTRA- TERRESTRIAL, Universal. Charles L.

Campbell and Ben Burtt.
P O L TE R GE IST, Spielberg, M-G-M/UA. Stephen
Hunter Flick and Richard L. Anderson.
MUSIC
E Y E O F THE TIGER (Rocky III, Chartoff-Winkler,
M-G-M/UA); Music and Lyric by Jim Peterik and

Frankie Sullivan III.
HO W D O Y O U K EEP THE MUSIC PLAYING? (Best
Friends, Timberlane, Warner Bros.); Music by Michel
Legrand. Lyric by Alan and Marilyn Bergman.
IF W E W E R E IN LOV E (Yes, Giorgio, M-G-M/UA);
Music by John Williams. Lyric by Alan and Marilyn
Bergman.
IT MIGHT BE Y OU (Tootsie, Mirage/Punch,
Columbia); Music by Dave Grusin. Lyric by Alan and
Marilyn Bergman.
* UP W HE R E W E B ELONG (An Ofcer and a
Gentleman, Lorimar/Elfand, Paramount); Music by
Jack Nitzsche and Buffy Sainte-Marie. Lyric by Will
Jennings.
* E .T. THE E XTR A - TERRESTRIAL, Universal. John

Williams.
GA ND HI, Columbia. Ravi Shankar and George Fenton.
A N O FF IC E R A ND A GENTLEMAN, Lorimar/Elfand,
Paramount. Jack Nitzsche.
P O L TE R GE IST, Spielberg, M-G-M/UA. Jerry
Goldsmith.
SO P HIE S C HO ICE, ITC/Pakula-Barish, Universal/
AFD Marvin Hamlisch.
(or ig in a l s on g s cor e a n d it s a da p t a t ion or

AN N I E, Rastar, Columbia. Ralph Burns.

ONE FROM THE HEART, Zoetrope, Columbia. Tom Waits.
* VI CT OR/ VI CT ORI A, M-G-M/UA. Henry Mancini and
Leslie Bricusse.
M A KE UP
G AN D HI , Columbia. Tom Smith.

* Q U EST FOR FI RE, ICC, 20th Century-Fox. Sarah
Monzani and Michele Burke.
S H O R T F I LM S
(a n ima t e d)
T HE GREAT COG N I T O, Will Vinton Productions. Will
Vinton, producer.
T HE SN OW M AN , Snowman Enterprises Ltd. John
Coates, producer.
* T AN G O, Film Polski. Zbigniew Rybczynski, producer.
(liv e a ct ion )
BALLET ROBOT I Q U E, Bob Rogers and Company. Bob
Rogers, producer.
* A SHOCK I NG ACCI D ENT , Flamingo Pictures Ltd.

Christine Oestreicher, producer.
T HE SI LENCE, The American Film Institute. Michael
Toshiyuki Uno and Joseph Benson, producers.
SP LI T CHERRY T REE, Learning Corporation of
America. Jan Saunders, producer.
SRED N I VASHT AR, Laurentic Film Productions Ltd.
Andrew Birkin, producer.
D O C UM E N TA R Y
G OD S OF M ET AL, A Richter Productions Film. Robert
Richter, producer.
* I F Y OU LOVE T HI S P LANET , National Film Board of
Canada. Edward Le Lorrain and Terri Nash, producers.
T HE K LAN: A LEGACY OF HAT E I N AM ERI CA,
Guggenheim Productions, Inc. Charles Guggenheim

and Werner Schumann, producers.
T O LI VE OR LET D I E, American Film Foundation.
Freida Lee Mock, producer.
T RAVELI NG HOP EFU LLY , Arnuthfonyus Films, Inc.
John G. Avildsen, producer.
SANT E Z ELLI and S A L V A T O R E ZE L L I of Elemack Italia
S.r.1., Rome, Italy, for the continuing engineering,

design and development that has resulted in the
Elemack Camera Dolly Systems for motion picture
production.
LEONARD CHAP M A N for the engineering design,
development and manufacture of the PeeWee Camera
Dolly for motion picture production.
D R. M OHAM M AD S . N O ZA R I of Minnesota Mining
and Manufacturing Company for the research and
development of the 3M Photogard protective coating
for motion picture lm.
BRI AN N E M U RP H Y and DO N A L D S C H I S L E R of
Mitchell Insert Systems, Incorporated, for the concept,
design and manufacture of the MISI Camera Insert
Car and Process Trailer.
J ACOBU S L. D I M ME R S for the engineering and
manufacture of the Teccon Enterprises magnetic
transducer for motion picture sound recording and
playback.
RI CHARD W . D EA T S for the design and manufacture
of the Little Big Crane for motion picture

production.
CON ST AN T T RES F O N and A DR I A A N DE R O O Y of
Egripment, and to E D PH I L L I PS A N D C A R L O S
D E M AT T OS of Matthews Studio Equipment,
Incorporated, for the design and manufacture of the
Tulip Crane for motion picture production.
BRAN FERREN of Associates and Ferren for the design
and development of a computerized lighting effect
system for motion picture photography.
CHRI ST I E ELECT R I C C O R PO R A T I O N and L A V E ZZI
M ACHI NE W OR K S , I N C O R PO R A T E D, for the
design and manufacture of the Ultramittent lm
transport for Christie motion picture projectors.
(fe a t u r e s )
AFT ER T HE AX E, National Film Board of Canada. Sturla
Gunnarsson and Steve Lucas, producers.
BENS MILL, Public Broadcasting AssociatesODYSSEY.
John Karol and Michel Chalufour, producers.
I N OU R W AT ER, A Foresight Films Production. Meg
Switzgable, producer.
* J U ST AN OT HER M I SSI NG K I D , Canadian
Broadcasting Corporation. John Zaritsky, producer.
A P ORT RAI T OF GI SELLE, ABC Video Enterprises,
Inc. in association with Wishupon Productions, Inc.
Joseph Wishy, producer.
ALSI N O AND T HE COND OR (Nicaragua).

COU P D E T ORCHON ( CLEAN SLAT E ) (France).
T HE FLI GHT OF T HE EAGLE (Sweden).
P RI VAT E LI FE (U.S.S.R.).
* VOLVER A EM P EZ AR (To Begin Again) (Spain).

T O M I CK EY ROON EY , in recognition of his 60
years of versatility in a variety of memorable lm

performances.
269
T O W ALT ER M I RI SCH

T O J OHN O. AALBERG
A WA R D S
AU G U ST ARN OLD and ERI CH K AEST NER of Arnold
& Richter, GmbH, for the concept and engineering

of the rst operational 35mm, hand-held, spinningmirror reex, motion picture camera.
COLI N F. M OSSM AN and T HE RESEARCH AND

D EVELOP M ENT G ROU P OF RAN K FI LM
LABORAT ORI ES, LOND ON, for the engineering and
implementation of a 4,000 meter printing system for

motion picture laboratories.
8/8/13 7:32 PM
1983
The Fifty-Sixth Year
here was almost as much noise and

newsprint expended over who wasnt
nominated for the 1983 Academy
Awards as who was. One furor arose over
Yentl, the $14-million production Barbra
Streisand had produced, directed, coauthored and starred in. Before the nominations were announced, the Washington
Post had commented, It would constitute
a Hollywood scandal if Barbra Streisand
was denied an Oscar nomination for her
direction of Yentl, but when the nal
ve choices were announced, Streisands
name was not among them. Yentl itself
received ve nominations but none of
them for any of La Barbras contributions.
Bob Fosses Star 80 also caused an uproar;
it failed to receive a single nomination.
Writer-director Philip Kaufman also was
bypassed for recognition, although his lm
The Right Stuff received eight nominations
elsewhere; and there was much discussion
of the fact that only one (Glenn Close)
of the ensemble cast of the well-liked The
Big Chill had been singled out for an Oscar
nomination.
But when the awards were nally handed
out on April 9, 1984, there was little argument, or surprise, over the nal champs.
Shirley MacLaine, as expected, was named
best actress for Terms of Endearment, Jack
Nicholson was named best supporting actor
from the same lm, and Terms also won
Oscars for James L. Brookss direction and
screenplay, plus the biggie: best picture of
the year. MacLaine, in accepting her award,
praised the turbulent brilliance of co-star
Debra Winger, with whom shed competed

for the best actress trophy; she also said,
God bless that potential we all have for
making anything possible if we think we
deserve it. She smilingly added, I deserve
this!
Best actor of the year was Robert Duvall
for Tender Mercies, Linda Hunt was named
best supporting actress for her performance
as a man in The Year of Living Dangerously,
and Ingmar Bergmans Fanny & Alexander
was named best foreign language lm. Since
the Swedish lm won a total of four awards
(including those for cinematography, art
direction and costume design), it became
the most honored foreign language lm to
date in Oscar annals.
Veteran lmmaker Hal Roach, 92, was
voted an honorary statuette; M.J. Frankovich received the Jean Hersholt Humanitarian Award, and Return of the Jedi was given
a special visual effects Oscar. George Lucas,
the mastermind behind Jedi, was thanked
no less than multiple times by the four who
won that visual effects prize during their
combined acceptance speech. But Irene
Cara, cowinner in the music division, went
them one step further. She specically
thanked nearly two dozen individuals while
at the podium.
Johnny Carson was once again the
evenings host, and among the participants
were Shirley Temple, Mel Gibson, Frank
Capra, Matthew Broderick, Rock Hudson,
Joan Collins, and the duet of Sylvester Stallone and Dolly Parton. At one point, winner
MacLaine commented to the Dorothy
270
be s t ac t or: ROBERT DUVALL as Mac Sledge in Tender Mercies (Universal/AFD; produced by Philip S. Hobel). The screenplay was by Horton Foote, author of the lm version of To Kill a
Mockingbird; the director was Australias Bruce Beresford, making his rst American lm. Tender was a small tale, gently told,
although danger always seemed imminent as it followed Robert
Duvall as an ex-countrywestern singer on the skids but getting
a second chance when he marries a young widow (Tess Harper)
and acquires a stepson (Allan Hubbard, right, with Duvall).
Duvall had previously been nominated as best supporting actor
for The Godfather (1972) and Apocalypse Now (1979), and as
best actor for 1980s The Great Santini.
8/8/13 7:32 PM
Chandler Pavilion audience, This show has

been as long as my career. She wasnt far
from the truth. When the 1983 extravaganza
nally wound to a close, it clocked at three
hours, forty-ve minutes, and one minute
longer than Gone with the Wind and the
lengthiest Oscar show on record, up to this
point.
be s t s u p p or t in g a ct r e s s : LINDA HUNT as Billy Kwan

in The Year of Living Dangerously (M-G-M/UA; produced by
Jim McElroy). It had never happened before, at least not within
Oscar range: an actress playing a male role, and winning a
best supporting actress award for it. Director Peter Weir says
he cast Linda Hunt in the part of a Chinese-Australian dwarfcameraman because he was unable to nd a short male actor
who could properly play it. The casting turned out to be inspired,
adding a bizarre quality to the Kwan character, an enigmatic gent
who comes to the aid of an Australian journalist (Mel Gibson)
in Indonesia during the nal days of the Sukarno regime.
271
be s t p i c t ure : TERMS OF ENDEARMENT (Paramount;

produced by James L. Brooks), b es t di r ecto r : JAMES L.
BROOKS for Terms of Endearment, b es t a ctr es s : SHIRLEY
MACLAINE as Aurora Greenway, b es t s u ppo r ti ng a cto r :
JACK NICHOLSON as Garrett Breedlove. Jennifer Jones was
the rst to see the possibilities of a 24-karat, four-handkerchief
movie in Larry McMurtrys story of the rocky relationship of a

mother and daughter, often at screeching odds but tightly bonded
when the daughter suddenly falls seriously ill. Miss Jones optioned the property, later sold it to Paramount, and it was nally
made with Shirley MacLaine (above, with Debra Winger and
Jack Nicholson). It also took MacLaine to the Academy Award
podium for the rst time after four previous nominations for
acting (and one as a documentary producer); it brought Nicholson his second Oscar, his rst in the supporting division, as he
played MacLaines boozing, potbellied neighbor and sometime
bed partner, a role rst offered to Burt Reynolds.
8/8/13 7:32 PM
Nominations 1983
(The Ladd Company/Warner Bros.; produced by Irwin Winkler and Robert Chartoff) was a soaring lm
version of Tom Wolfes best-seller about the sixteen years leading
up to the successful space ight of the Project Mercury astro-
THE RIGHT STUFF
nauts. The cast included Sam Shepard as Chuck Yeager, Dennis

Quaid (above) as Gordon Cooper, Scott Glenn as Alan Shepard,
Ed Harris as John Glenn, Fred Ward, Charles Frank, andon
the groundKim Stanley, Barbara Hershey, and Veronica Cart-
wright. Directed and scripted by Philip Kaufman, it won Oscars

for sound, lm editing, original score, and sound effects editing.
B E S T PI C TUR E
A C TR E S S
T HE BI G CHI LL, Carson, Columbia. Produced by
272
Michael Shamberg.
T HE D RESSER, Goldcrest, Columbia. Produced by Peter
Yates.
T HE RI GHT ST U FF, Chartoff-Winkler, The Ladd
Company through Warner Bros. Produced by Irwin
Winkler and Robert Chartoff.
T EN D ER M ERCI ES, EMI, Universal/AFD. Produced by
Philip S. Hobel.
* T ERM S OF EN D EARM EN T , Brooks, Paramount.
Produced by James L. Brooks.
A C TO R
M I CHAEL CAI N E in Educating Rita, Acorn, Columbia.

T OM CON T I in Reuben, Reuben, Saltair/Shenson, 20th
Century-Fox International Classics.
T OM COU RT ENAY in The Dresser, Goldcrest,
Columbia.
* ROBERT D U VALL in Tender Mercies, EMI, Universal/
AFD.
ALBERT FI NNEY in The Dresser, Goldcrest, Columbia.
b e s t f o r e i g n l a n g u a g e f i l m : FANNY & ALEXANDER

from Sweden. It was one of Ingmar Bergmans most accessible
lms and, winning four Oscars, tallied the highest total number of Academy Awards of any foreign language lm to date.
Fanny ran 188 minutes and was grand to watch, a rich tapestry
of Swedish family life among the afuent in the early 1900s,
with several concurrent stories to pique interest and, as with all
Bergman lms, plenty to analyze afterwards. Bertil Guve and
Pernilla Allwin (left) played the ten-year-old Alexander and his
eight-year-old sister Fanny, the youngest members of the clan
in question.
J ANE ALEX AN D ER in Testament, Entertainment Events,
Paramount.
* SHI RLEY M ACLAI NE in Terms of Endearment, Brooks,
Paramount.
M ERY L ST REEP in Silkwood, ABC, 20th Century-Fox.
J U LI E W ALT ERS in Educating Rita, Acorn, Columbia.
D EBRA W I NGER in Terms of Endearment, Brooks,
Paramount.
CHARLES D U RNI N G in To Be or Not to Be, Brookslms,
20th Century-Fox.
J OHN LI T HG OW in Terms of Endearment, Brooks,
Paramount.
* J ACK NI CHOLSON in Terms of Endearment, Brooks,
Paramount.
SAM SHEP ARD in The Right Stuff, Chartoff-Winkler,
The Ladd Company through Warner Bros.
RI P T ORN in Cross Creek, Radnitz/Ritt/Thorn EMI,
Universal.
CHER in Silkwood, ABC, 20th Century-Fox.

G LEN N CLOSE in The Big Chill, Carson, Columbia.
* LI N D A HU NT in The Year of Living Dangerously, Fields,
M-G-M/UA.
AMY IRVING in Yentl, Ladbroke/Barwood, M-G-M/UA.

ALFRE W OOD ARD in Cross Creek, Radnitz/Ritt/Thorn
EMI, Universal.
8/8/13 7:32 PM
D I RECT I N G
THE D R E SS E R , Goldcrest, Columbia. Peter Yates.

FA NNY & A L E XANDER, Embassy. Ingmar Bergman.
SIL K W O O D , ABC, 20th Century-Fox. Mike Nichols.
TE ND E R ME R C IES, EMI, Universal/AFD. Bruce
Beresford.
* TE R MS O F E ND EARMENT, Brooks, Paramount.
James L. Brooks.
W RI T I NG
(s c re e n p l ay w ri t ten d i r ectl y f o r th e s cr een)
THE BIG C HIL L , Carson, Columbia. Lawrence Kasdan
and Barbara Benedek.
FA NNY & A L E XANDER, Embassy. Ingmar Bergman.

SIL K W O O D , ABC, 20th Century-Fox. Nora Ephron
and Alice Arlen.
* TE ND E R ME R C IES, EMI, Universal/AFD. Horton

Foote.
W A R GA ME S , Goldberg, M-G-M/UA. Lawrence Lasker
and Walter F. Parkes.
BE TR A Y A L , Horizon, 20th Century-Fox International
Classics. Harold Pinter.
THE D R E SS E R , Goldcrest, Columbia. Ronald
Harwood.
E D U C A TING R ITA, Acorn, Columbia. Willy Russell.

R E U BE N, R E U BE N, Saltair/Shenson, 20th Century-
Fox International Classics. Julius J. Epstein.

* TE R MS O F E ND EARMENT, Brooks, Paramount.
James L. Brooks.
* F A NNY & A L E XANDER, Embassy. Sven Nykvist.

FL A S HD A NC E , Polygram, Paramount. Don Peterman.
THE R IGHT STUFF, Chartoff-Winkler, The Ladd
Company through Warner Bros. Caleb Deschanel.
W A R GA ME S , Goldberg, M-G-M/UA. William A.
Fraker.
Z E L IG, Rollins and Joffe, Orion/Warner Bros. Gordon
Willis.
A RT D I REC T I ON
* F A NNY & A L E XANDER, Embassy. Anna Asp.

R E TU R N O F THE JEDI, Lucaslm, 20th Century-Fox.
Norman Reynolds, Fred Hole and James Schoppe;
Michael Ford.
THE R IGHT STUFF, Chartoff-Winkler, The Ladd
Company through Warner Bros. Geoffrey Kirkland,
Richard J. Lawrence, W. Stewart Campbell and Peter
Romero; Pat Pending and George R. Nelson.
TE R MS O F E ND E ARMENT, Brooks, Paramount.
Polly Platt and Harold Michelson; Tom Pedigo and
Anthony Mondello.
Y E NTL , Ladbroke/Barwood, M-G-M/UA. Roy Walker
and Leslie Tomkins; Tessa Davies.
C R O S S C R E E K, Radnitz/Ritt/Thorn EMI, Universal.
Joe I. Tompkins.
* F A NNY & A L E XANDER, Embassy. Marik Vos.

HE A R T L IK E A WH EEL, Aurora, 20th Century-Fox.
William Ware Theiss.
THE R E TUR N O F MARTIN GUERRE, Marcel
DassaultFR3, European International Distribution.
Anne-Marie Marchand.
Z E L IG, Rollins and Joffe, Orion/Warner Bros. Santo
Loquasto.
S O U ND
NE VE R C R Y W O LF, Disney. Alan R. Splet, Todd
Boekelheide, Randy Thom and David Parker.
R E TU R N O F THE JEDI, Lucaslm, 20th Century-Fox.
Ben Burtt, Gary Summers, Randy Thom and Tony

Dawe.
* THE R IGHT S TUFF, Chartoff-Winkler, The Ladd
Company through Warner Bros. Mark Berger, Tom
Scott, Randy Thom and David MacMillan.
Donald O. Mitchell, Rick Kline, Kevin OConnell
and Jim Alexander.
W A R GA ME S , Goldberg, M-G-M/UA. Michael J.
Kohut, Carlos de Larios, Aaron Rochin and Willie D.
Burton.
F I LM ED I T I N G
BL U E THUND E R , Rastar, Columbia. Frank Morriss
and Edward Abroms.

FL A S HD A NC E , Polygram, Paramount. Bud Smith and
Walt Mulconery.
* THE R IGHT S TUFF, Chartoff-Winkler, The Ladd
Company through Warner Bros. Glenn Farr, Lisa
Fruchtman, Stephen A. Rotter, Douglas Stewart and
Tom Rolf.
SIL K W O O D , ABC, 20th Century-Fox. Sam OSteen.
Richard Marks.
S O UN D E F F E C TS E D I TI N G
RET U RN OF T HE J ED I , Lucaslm, 20th Century-Fox.
Ben Burtt.
* T HE RI GHT ST U FF, Chartoff-Winkler, The Ladd

Company through Warner Bros. Jay Boekelheide.
M US I C
* FLASHD AN CE . . . W HAT A FEELI N G (Flashdance,

Polygram, Paramount); Music by Giorgio Moroder.
Lyric by Keith Forsey and Irene Cara.
M ANI AC (Flashdance, Polygram, Paramount); Music
and Lyric by Michael Sembello and Dennis Matkosky.
OVER Y OU (Tender Mercies, EMI, Universal/AFD);
Music and Lyric by Austin Roberts and Bobby Hart.
P AP A, CAN Y OU HEAR M E? (Yentl, Ladbroke/
Barwood, M-G-M/UA); Music by Michel Legrand.
T HE W AY HE M AK ES M E FEEL (Yentl, Ladbroke/
Barwood, M-G-M/UA); Music by Michel Legrand.
CROSS CREEK , Radnitz/Ritt/Thorn EMI, Universal.
Leonard Rosenman.
RET U RN OF T HE J ED I , Lucaslm, 20th Century-Fox.
John Williams.
* T HE RI GHT ST U FF, Chartoff-Winkler, The Ladd

Company through Warner Bros. Bill Conti.
T ERM S OF END EARM ENT , Brooks, Paramount.
Michael Gore.
U N D ER FI RE, Lions Gate, Orion. Jerry Goldsmith.
(or ig in a l s on g s cor e or a da p t a t ion s cor e )
T HE ST I N G I I , Lang, Universal. Lalo Schifrin.
T RAD I NG P LACES, Russo, Paramount. Elmer
Bernstein.
* Y EN T L, Ladbroke/Barwood, M-G-M/UA. Michel
Legrand, Alan and Marilyn Bergman.
S H O R T F I LM S
(a n ima t e d)
M I CK EY S CHRI ST M AS CAROL, Disney. Burny
Mattinson, producer.
SOU N D OF SU N SHI N ESOU N D OF RAI N , A
Hallinan Plus Production. Eda Godel Hallinan,

producer.
* SU N D AE I N N EW Y ORK , A Motionpicker Production,
Jimmy Picker, producer.
(liv e a ct ion )
* BOY S AND G I RLS, An Atlantis Films Ltd. Production.

Janice L. Platt, producer.
G OOD I E- T W O- SHOES, A Timeless Films Production,
Paramount. Ian Emes, producer.
OVERN I GHT SENSAT I ON, A Bloom Film Production.
Jon H. Bloom, producer.
D O C UM E N TA R Y
* FLAM ENCO AT 5:15 , A National Film Board of

Canada Production. Cynthia Scott and Adam
Symansky, producers.
I N T HE N U CLEAR SHAD OW : W HAT CAN T HE
CHI LD REN T ELL U S? , An Impact Production.
Vivienne Verdon-Roe and Eric Thiermann, producers.

For Visual Effects: R I C H A R D E DL U N D, DE N N I S
M U REN , K EN RA L S T O N , and PH I L T I PPE T T for
Return of the Jedi, Lucaslm, 20th Century-Fox.

T O M . J . FRANK OV I C H

T O D R. J OHN G. F R A YN E
A WA R D S
(a ca de my a w a r d o f merit)
D R. K U RT LARCH E of OSRAM GmbH for the research
and development of xenon short-arc discharge lamps

for motion picture projection.
J ON AT HAN ERLA N D and R O G E R DO R N E Y of
Apogee, Incorporated, for the engineering and

development of a reverse bluescreen traveling matte
process for special effects photography.
G ERALD L. T U RP I N of Lightex International Limited
for the design, engineering and development of an oncamera device providing contrast control, sourceless
ll light and special effects for motion picture
photography.
G U N N AR P . M I CH E L S O N for the engineering and
development of an improved, electronic, high-speed,
precision light valve for use in motion picture printing
machines.
W I LLI AM G. K RO K A U G G E R of Mole-Richardson
Company for the design and engineering of a portable,

12,000-watt, lighting-control dimmer for use in
CHARLES J . W AT S O N , L A R R Y L . L A N G R E H R , and
J OHN H. ST EI N E R for the development of the BHP
(electro-mechanical) fader for use on continuous
motion picture contact printers.
ELI Z ABET H D . D E L A MA R E of De La Mare
Engineering, Incorporated, for the progressive
development and continuous research of special
effects pyrotechnics originally designed by Glenn W.
De La Mare for motion picture production.
D OU G LAS FRI ES, J O H N L A C E Y, and M I C H A E L
SI GRI ST for the design and engineering of a 35mm
reex conversion camera system for special effects
photography.
J ACK CASHI N of Ultra-Stereo Labs, Incorporated, for
the engineering and development of a 4-channel,
stereophonic, decoding system for optical motion
picture sound track reproduction.
DAVID J. DEGENKOLB for the design and development
of an automated device used in the silver recovery
process in motion picture laboratories.
SEW I N G W OM AN , A DeepFocus Production. Arthur
Dong, producer.
SP ACES: T HE ARCHI T ECT U RE OF P AU L RU D OLP H,
An Eisenhardt Production. Robert Eisenhardt,

producer.
Y OU ARE FREE ( I HR Z ENT FREI ) , A Brokman/Landis
Production. Dea Brokman and Ilene Landis, producers.
(fe a t u r e s )
273
CHI LD REN OF D ARK N ESS, A Children of Darkness
Production. Richard Kotuk and Ara Chekmayan,

producers.
FI RST CON T ACT , An Arundel Production. Bob
Connolly and Robin Anderson, producers.
* HE M AK ES M E FEEL LI K E D ANCI N , An Edgar J.
Scherick Associates Production. Emile Ardolino,
producer.
T HE P ROFESSI ON OF ARM S ( W AR SERI ES FI LM

# 3 ) , A National Film Board of Canada Production.
Michael Bryans and Tina Viljoen, producers.
SEEI N G RED , A Heartland Production. James Klein and
Julia Reichert, producers.
CARM EN (Spain).
EN T RE NOU S (France).
* FAN N Y & ALEX AN D ER (Sweden).
J OB S REVOLT (Hungary).
LE BAL (Algeria).

T O HAL ROACH, in recognition of his unparalleled
record of distinguished contributions to the motion

picture art form.
8/8/13 7:32 PM
1984
The Fifty-Seventh Year
ajor efforts were expended to turn

the 1984 Academy Award ceremony into a faster, snappier show
than the long-run marathons they had
increasingly become over the years. But,
when all was said and tallied at the end of
the evening, March 25, 1985, the show at
Angeles Music Center still rolled in at three
hours and nine minutes, shorter by thirtysix minutes than the previous year but still a
bit long by most yardsticks.
There was a new host for the evening,
Jack Lemmon, and something for everyone;
everything, that is, except brevity. Prince,
a nominee (and eventual winner) in the
music category, made a splashy entrance
wearing a purple sequined-and-hooded
cape. Cary Grant was simpler: he wore a
tuxedo and dazzling smile. Laurence Olivier
was also there; so were Tom Selleck, Steven
Spielberg, Steve Martin, Diana Ross, Gene
Kelly, Kirk Douglas, Burt Lancaster, even
Placido Domingo, all of them involved in
presenting the evenings awards.
And most of those awards went strictly in
one direction: to Orions Amadeus. Nominated for eleven Oscars, it won eight of
them, including awards for best picture, best
actor, F. Murray Abraham, and best director, Milos Forman. It was a second win for
Forman, whod been in that same winners
circle nine years earlier via One Flew over the
Cuckoos Nest. For Abraham, it was a rst
nomination, a rst win, and a rst real introduction to international fame. It would
be a lie if I told you I didnt know what to
say, he told the Dorothy Chandler Pavilion

audience. Ive been working on this speech
for about 25 years!
It was also a triumphant night for Sally
Field, winning her second best actress
trophy, this time for Places in the Heart. She
also delivered an acceptance speech that
came back to haunt her. This means so
much more to me this time, I dont know
why, she told the audience. I think the
rst time I hardly felt it because it was all
too new. I havent had an orthodox career,
and I wanted more than anything to have
your respect. She added, The rst time
I didnt feel it but this time I feel it, and I
cant deny the fact you like me. Right now,
you like me! Her words were praised by
many as a warm, spontaneous reaction,
but years later she was still being kidded
about what came to be known as her you
like me! speech.
British stage legend Dame Peggy Ashcroft
was named best supporting actress of the
year for A Passage to India; the seventyseven-year-old actress wasnt present in
Hollywood to receive her award so it was
placed in her hands one week later in London by Sir Richard Attenborough. The best
supporting actor award went to Dr. Haing S.
Ngor in The Killing Fields, and David Wolper,
one of the men responsible for bringing
the 1984 Summer Olympics to Los Angeles,
received the Jean Hersholt Humanitarian
Award.
Among the nominees, at least one name
inspired smiles: P.H. Vazak, listed as cowriter with Michael Austin of Greystoke: The
274
be s t p i c t ure : AMADEUS (Orion; produced by Saul Zaentz),
be s t d i re c t or: MILOS FORMAN for Amadeus, and b es t
ac t or: F. MURRAY ABRAHAM as Antonio Salieri in Amadeus. Written by Peter Shaffer, Amadeus was a ctionalized
account of the rise to prominence of Wolfgang Amadeus Mozart
and the overwhelming jealousy of Viennas court composer,
Salieri, owing to his recognition of Mozarts genius and, by comparison, his own mediocrity. The play was rst presented successfully on stage in London with Paul Scoeld, then on Broadway
with Ian McKellen. Little-known actor F. Murray Abraham
(right) was cast in the screen version and won the Oscar for his
performance as the green-eyed rival of brattish Mozart (played
by Tom Hulce). Under the direction of Milos Forman, it became
the years most honored lm.
8/8/13 7:32 PM
Legend of Tarzan, Lord of the Apes. The name

actually belonged to a sheepdog, owned by
writer Robert Towne. Towne had borrowed
the name as a pseudonym on the script
when he wanted to distance himself from
Greystoke, a lm hed once been set to direct.
Neither Towne nor the sheepdog won.
Fewer smiles were inspired by the next
days news: for the second consecutive year,
the Oscar viewing audience had declined.
True, the show had been seen in an estimated 23.5 million American homes, a staggering number, but nearly 1.9 million fewer
than the year before.
b e s t a c t r e s s : S A L L Y F I E L D as Edna Spalding in Places
in the Heart (Tri-Star; produced by Arlene Donovan). Set in
Waxahachie, Texas, in 1935, Places gave Sally Field (above, with
Gennie James and Yankton Hatten) an excellent role as a young
widow with true grit, coping with the problems of raising two
small children, keeping her homestead from foreclosure and bat-
tling the treacheries of nature and neighbors. Directed by Robert

Benton, himself a native of Waxahachie, the lm brought Field
her second Oscar (the rst: ve years earlier for 1979s Norma
Rae) and initially had competition from two other 1984 dramas
emphasizing struggles in rural lifeCountry with Jessica Lange
and The River with Sissy Spacek.
275
be s t s up p ort i n g a cto r : HAING S. NGOR as Dith Pran in The Killing Fields (Warner Bros.;
produced by David Puttnam). An actual Cambodian refugee, forty-four-year-old Haing S. Ngor was
the rst non-professional to win an Academy Award for acting since Harold Russell in 1946 for The
Best Years of Our Lives. In The Killing Fields, directed by Roland Joff, he played the real-life Cambodian assistant to New York Times reporter Sydney Schanberg (played by Sam Waterston, above
right with Ngor) during the fall of Cambodia in 1975, after which Pran was tortured at the hands
of Khmer Rouge soldiers before he eventually escaped. Ngor got the role by chance: a doctor by profession in his homeland, hed moved to Los Angeles and accidentally met a casting director at a wedding,
unaware of the size of the Killing role until he was in Thailand to begin shooting. Ironically, having
escaped Pol Pots killing elds, he would be murdered by a Los Angeles street gang in 1996.
b e s t s u p p o r t i n g a c t r e s s : P E G G Y A S H C R O F T as Mrs. Moore in A Passage to India (Columbia; produced by John Brabourne and Richard Goodwin). Peggy Ashcroft had made her professional debut in 1926 at the age of eighteen on stage in Birmingham and through the years became
one of the British theaters greatest stars, playing such classic roles as Ophelia, Electra, Cleopatra
and Desdemona. Although she occasionally worked in lms, her screen portfolio was sparseby
choicebut she became a familiar face to international audiences via a pair of 1984 projects, both
set in India: the British-made TV miniseries The Jewel in the Crown, then David Leans lm version of E.M. Forsters A Passage to India in which she played a free-thinking British matron on a
spiritual journey. Having become Dame Peggy Ashcroft in 1956, she was Englands rst Dame of the
Theater to also win an Academy Award.
8/8/13 7:32 PM
Nominations 1984
PURPLE RAIN (Warner Bros.; directed by Albert Magnoli) gave

rock star Prince (right) his rst motion picture role in a snappytting vehicle emphasizing, to great effect, the stars own unique
persona. Heavy on music (naturally), even when the storyline
owed, Purple was wall-to-wall with original songs written by
Prince, who won the Oscar in the Academys music category for
best original song score. For the record, his real name in full is
Prince Rogers Nelson.
B E S T PI C TUR E
276
* AM AD EU S, Zaentz, Orion. Produced by Saul Zaentz.

* P EG G Y ASHCROFT in A Passage to India, G.W. Films,
T HE K I LLI N G FI ELD S, Enigma, Warner Bros. Produced
Columbia.
G LEN N CLOSE in The Natural, Tri-Star.
by David Puttnam.
A P ASSAG E T O I ND I A, G.W. Films, Columbia.
LI ND SAY CROU SE in Places in the Heart, Tri-Star.
CHRI ST I NE LAHT I in Swing Shift, Warner Bros.
Produced by John Brabourne and Richard Goodwin.
P LACES I N T HE HEART , Tri-Star. Produced by Arlene
G ERALD I N E P AGE in The Pope of Greenwich Village,
Donovan.
Koch/Kirkwood, M-G-M/UA.
A SOLD I ER S ST ORY , Caldix, Columbia. Produced
D I R E C TI N G
by Norman Jewison, Ronald L. Schwary and Patrick
* AM AD EU S, Zaentz, Orion. Milos Forman.
Palmer.
BROAD W AY D ANNY R O S E , Rollins and Joffe, Orion.
A C TO R
Woody Allen.
T HE K I LLI NG FI ELD S , Enigma, Warner Bros. Roland
* F. M U RRAY ABRAHAM in Amadeus, Zaentz, Orion.
JEFF BRI D GES in Starman, Columbia.
Joff.
ALBERT FI NNEY in Under the Volcano, Ithaca,
A P ASSAGE T O I N D I A , G.W. Films, Columbia. David
Universal.
Lean.
T OM HU LCE in Amadeus, Zaentz, Orion.
P LACES I N T HE HEA R T , Tri-Star. Robert Benton.
SAM WATERSTON in The Killing Fields, Enigma, Warner
WR I TI N G
Bros.
A C TR E S S
JU D Y D AVI S in A Passage to India, G.W. Films,
Columbia.
* SALLY FI ELD in Places in the Heart, Tri-Star.

JESSI CA LAN G E in Country, Touchstone, Buena Vista.
VAN ESSA RED GRAVE in The Bostonians, Merchant
Ivory, Almi.
SI SSY SP ACEK in The River, Universal.
AD OLP H CAESAR in A Soldiers Story, Caldix,
Columbia.
JOHN M ALK OVI CH in Places in the Heart, Tri-Star.

NORI Y U K I P AT M ORI T A in The Karate Kid,
Columbia.
* HAI N G S. NGOR in The Killing Fields, Enigma, Warner

Bros.
RALP H RI CHARD SON in Greystoke: The Legend of
Tarzan, Lord of the Apes, Warner Bros.

BEVERLY HI LLS COP , Simpson/Bruckheimer,
Paramount. Daniel Petrie, Jr., and Danilo Bach.
BROAD W AY D ANNY R O S E , Rollins/Joffe, Orion.
Woody Allen.
EL N ORT E, Cinecom International/Island Alive.
Gregory Nava and Anna Thomas.

* P LACES I N T HE HEA R T , Tri-Star. Robert Benton.
SP LASH, Touchstone, Buena Vista. Lowell Ganz,
Babaloo Mandel, Bruce Jay Friedman and Brian
Grazer.
* AM AD EU S, Zaentz, Orion. Peter Shaffer.
G REY ST OK E: T HE LE G E N D O F T A R ZA N , L O R D
OF T HE AP ES, Warner Bros. P.H. Vazak and Michael
Austin.
T HE K I LLI NG FI ELD S , Enigma, Warner Bros. Bruce
Robinson.
A P ASSAGE T O I N D I A , G.W. Films, Columbia. David
Lean.
A SOLD I ER S ST ORY , Caldix, Columbia. Charles
Fuller.
8/8/13 7:32 PM
A MA D E U S, Zaentz, Orion. Miroslav Ondricek.

* THE K IL L ING FIELDS, Enigma, Warner Bros. Chris
Menges.
THE NA TU R A L , Tri-Star. Caleb Deschanel.

A P A S S A GE TO INDIA, G.W. Films, Columbia. Ernest
Day.
THE R IVE R , Universal. Vilmos Zsigmond.
A RT D I REC T I ON
* A MA D E US , Zaentz, Orion. Patrizia Von Brandenstein;

Karel Cerny.
THE C O TTO N C LUB , Orion. Richard Sylbert; George
Gaines and Les Bloom.
THE NA TU R A L , Tri-Star. Angelo Graham, Mel Bourne,
James J. Murakami and Speed Hopkins; Bruce
Weintraub.
A P A S S A GE TO INDIA, G.W. Films, Columbia. John
Box and Leslie Tomkins; Hugh Scaife.
2010, Hyams, M-G-M/UA. Albert Brenner; Rick
Simpson.
* A MA D E US , Zaentz, Orion. Theodor Pistek.

THE BO STO NIA N S, Merchant Ivory, Almi. Jenny
Beavan and John Bright.
A P A S S A GE TO INDIA, G.W. Films, Columbia. Judy
Moorcroft.
P L A C E S IN THE HEART, Tri-Star. Ann Roth.
2010, Hyams, M-G-M/UA. Patricia Norris.
S O U ND
* A MA D E US , Zaentz, Orion. Mark Berger, Tom Scott,

Todd Boekelheide and Chris Newman.
D UNE , De Laurentiis, Universal. Bill Varney, Steve
Maslow, Kevin OConnell and Nelson Stoll.
A P A S S A GE TO INDIA, G.W. Films, Columbia.
Graham V. Hartstone, Nicolas Le Messurier, Michael
A. Carter and John Mitchell.
THE R IVE R , Universal. Nick Alphin, Robert Thirlwell,
Richard Portman and David Ronne.
2010, Hyams, M-G-M/UA. Michael J. Kohut, Aaron
Rochin, Carlos De Larios and Gene S. Cantamessa.
F I LM ED I T I N G
A MA D E U S, Zaentz, Orion. Nena Danevic and Michael
Chandler.
THE C O TTO N C LUB , Orion. Barry Malkin and
Robert Q. Lovett.
* THE K IL L ING FIELDS, Enigma, Warner Bros. Jim
Clark.
A P A S S A GE TO INDIA, G.W. Films, Columbia. David
Lean.
R O MA NC ING THE STONE, El Corazon, 20th
Century-Fox. Donn Cambern and Frank Morriss.
GHO S TBU STE R S , Columbia. Richard Edlund, John
Bruno, Mark Vargo and Chuck Gaspar.

* IND IA NA JO NE S AND THE TEMPLE OF DOOM,
Lucaslm, Paramount. Dennis Muren, Michael
McAlister, Lorne Peterson and George Gibbs.
2010, Hyams, M-G-M/UA. Richard Edlund, Neil
Krepela, George Jenson and Mark Stetson.
MUSIC
A GA INST A L L O DDS ( TAKE A LOOK AT ME NOW)
(Against All Odds, New Visions, Columbia); Music

and Lyric by Phil Collins.
FO O TL O O SE (Footloose, Melnick, Paramount); Music
and Lyric by Kenny Loggins and Dean Pitchford.
GHO S TBU STE R S (Ghostbusters, Columbia); Music
and Lyric by Ray Parker, Jr.
* I JU ST C A L L E D T O SAY I LOV E YOU (The Woman in
Red, Orion); Music and Lyric by Stevie Wonder.
L E T S HE A R IT FOR THE B OY (Footloose, Melnick,
Paramount); Music and Lyric by Tom Snow and
Dean Pitchford.
IND IA NA JO NE S AND THE TEMPLE OF DOOM,
Lucaslm, Paramount. John Williams.

THE NA TU R A L , Tri-Star. Randy Newman.
* A P A SS A GE TO INDIA, G.W. Films, Columbia.
Maurice Jarre.
THE R IVE R , Universal. John Williams.
U ND E R THE VO LCANO, Ithaca, Universal. Alex
North.
(ori g i n al s on g s co r e)
THE MUP P E TS TAKE MANHATTAN, Tri-Star. Jeff
Moss.
* P U R P L E R A IN, Warner Bros. Prince.

SO NGW R ITE R , Tri-Star. Kris Kristofferson.
M A KE UP
* AM AD EU S, Zaentz, Orion. Paul LeBlanc and Dick

Smith.
G REY ST OK E: T HE LEGEND OF T ARZ AN , LORD OF
T HE AP ES, Warner Bros. Rick Baker and Paul Engelen.
2010, Hyams, M-G-M/UA. Michael Westmore.
S H O R T F I LM S
(a n ima t e d)
* CHARAD E, A Sheridan College Production. Jon Minnis,

producer.
D OCT OR D E SOT O, Michael Sporn Animation, Inc.
Morton Schindel and Michael Sporn, producers.
P ARAD I SE, National Film Board of Canada. Ishu Patel,
producer.
(liv e a ct ion )
T HE P AI NT ED D OOR, Atlantis Films Limited in
association with the National Film Board of Canada.

Michael MacMillan and Janice L. Platt, producers.
T ALES OF M EET I NG AND P ART I NG, The American
Film InstituteDirecting Workshop for Women.
Sharon Oreck and Lesli Linka Glatter, producers.
* U P , Pyramid Films. Mike Hoover, producer.
D O C UM E N TA R Y
T HE CHI LD REN OF SOONG CHI NG LI N G , UNICEF
and The Soong Ching Ling Foundation. Gary Bush and

Paul T.K. Lin, producers.
COD E GRAY : ET HI CAL D I LEM M AS I N NU RSI NG,
The Nursing Ethics Project/Fanlight Productions. Ben

Achtenberg and Joan Sawyer, producers.
T HE GARD EN OF ED EN, Florentine Films. Lawrence R.
Hott and Roger M. Sherman, producers.
RECOLLECT I ON S OF P AVLOVSK , Leningrad
Documentary Film Studio. Irina Kalinina, producer.
* T HE ST ONE CARVERS, Paul Wagner Productions.
Marjorie Hunt and Paul Wagner, producers.
(fe a t u r e s )
HI GH SCHOOLS, Guggenheim Productions, Inc.
Charles Guggenheim and Nancy Sloss, producers.

I N T HE N AM E OF T HE P EOP LE, Pan American Films.
Alex W. Drehsler and Frank Christopher, producers.
M ARLENE, Zev Braun Pictures, Inc./OKO Film
Produktion. Karel Dirka and Zev Braun, producers.
ST REET W I SE, Bear Creek Productions, Inc. Cheryl
McCall, producer.
* T HE T I M ES OF HARVEY M I LK , Black Sand
Educational Productions, Inc. Robert Epstein and
Richard Schmiechen, producers.
BARRY M . ST U LT Z, R U B E N A V I L A and W E S
K ENNED Y of Film Processing Corporation for the
development of FPC 200 PB Fullcoat Magnetic Film for

motion picture sound recording.
BARRY M . ST U LT Z, R U B E N A V I L A and W E S
K ENNED Y of Film Processing Corporation for the
formulation and application of an improved sound
track stripe to 70mm motion picture lm, and to
J OHN M OSELY for the engineering research involved
therein.
K EN N ET H RI CHT E R of Richter Cine Equipment for the
design and engineering of the R-2 Auto-Collimator for
examining image quality at the focal plane of motion
picture camera lenses.
G N T HER SCHAI DT and R O S C O L A B O R A T O R I E S ,
I NCORP ORAT E D, for the development of an
improved, non-toxic uid for creating fog and smoke
for motion picture production.
J OHN W HI T N EY , J R . , and G A R Y DE MO S of
Digital Productions, Incorporated, for the practical
simulation of motion picture photography by means of
computer-generated images.
N AT T I FFEN of Tiffen Manufacturing Corporation for
the production of high-quality, durable, laminated

color lters for motion picture photography.
D ON ALD T RU M B U L L , J O N A T H A N E R L A N D,
ST EP HEN FOG and PA U L B U R K of Apogee,
Incorporated, for the design and development of

the Blue Max high-power, blue-ux projector for
traveling matte composite photography.
J ON AT HAN ERLA N D and R O B E R T B E A L ME A R of
Apogee, Incorporated, for an innovative design for
front projection screens and an improved method for
their construction.
HOW ARD J . P RES T O N of Preston Cinema Systems for
the design and development of a variable speed control
device with automatic exposure compensation for
motion picture cameras.
BEY OND T HE W ALLS (Israel).

CAM I LA (Argentina).
* D AN G EROU S M OVES (Switzerland).
D OU BLE FEAT U RE (Spain).
W ART I M E ROM ANCE (U.S.S.R.).

T O J AM ES ST EW ART for his fty years of memorable
performances. For his high ideals both on and off

the screen. With the respect and affection of his
colleagues.
T O T HE NAT I ON AL EN D OW M ENT FOR T HE ART S
in recognition of its 20th anniversary and its dedicated

commitment to fostering artistic and creative activity
and excellence in every area of the arts.

For Sound Effects Editing: K AY ROSE for The River, a
Universal Pictures Production.
277
T O D AVI D L. W OLP ER

T O LI NW OOD G . D U NN
A WA R D S
None.
D ON ALD A. AND ERSON and D I ANA REI N ERS of 3M
Company for the development of Cinetrak Magnetic

Film #350/351 for motion picture sound recording.
8/8/13 7:32 PM
1985
The Fifty-Eighth Year
ut of Africa virtually swept the 58th

Academy Awards, winning seven
Oscars and easily outdistancing
its closest runners-up Cocoon and Witness,
each of which won two statuettes. And
among the Africa windfall was the prize
that counted most: best picture of the year.
It also brought an Oscar for its direction by
Sydney Pollack, and its screenplay by Kurt
Luedtke, based on Isak Dinesens account of
her experiences in Kenya in 1914. Africa had
been nominated for eleven awards, as had
Steven Spielbergs The Color Purple.
The biggest conversation puller, once the
verdicts were in, wasnt that Africa had done
so well but that The Color Purple had fared so
poorly, ending up totally Oscarless. Earlier,
there had also been a Color controversy
stirred when Spielberg, the lms director,
had failed to be nominated in Oscars director division, despite those eleven nominations elsewhere. And even more confusion
reigned when Spielberg was named best
director of the year by the Directors Guild of
America, a group comprising at least some
of those also involved in deciding the Oscar
nominees in that category. By virtue of its
eleven-nomination but zero-win status, The
Color Purple joined 1977s The Turning Point
as the two most nominated nonwinning
lms in the Academys history. Turning had
also been an 110 puzzler.
Among the more positive emotional peaks
of Oscar night on March 24, 1986, was the
win by Geraldine Page as best actress for
The Trip to Bountiful; Page had previously
been a nominee seven times without a win.
Obviously delighted, she received a standing ovation from the crowd at the Dorothy
Chandler Pavilion. Another standing ovation went to seventy-seven-year-old Don
Ameche, named best supporting actor for
Cocoon, and winning on his very rst nomination after a screen career that began a full
forty years earlier.
Hosts for the Oscar show were Jane
Fonda, Alan Alda and Robin Williams; Stanley Donen produced for the rst time, and
musical numbers were staged by Ron Field
who had done similar duties for the opening
ceremonies at the 1984 Summer Olympics.
Among the high points: Howard Keel
singing to a bevy of movie-musical leading
ladies, including Jane Powell, Esther Williams, Kathryn Grayson, June Allyson, Leslie
Caron, Debbie Reynolds, Cyd Charisse and
Ann Miller. Less successful was an opening number featuring Teri Garr, a chorus
line, some elaborate staging, intercut lm
clips and pyrotechnics. After that, things
improved considerably.
William Hurt was named best actor for
Kiss of the Spider Woman, Anjelica Huston
was chosen best supporting actress for
her work in her father John Hustons lm
Prizzis Honor, and Argentinas The Ofcial
Story was picked as best foreign language
lm. Charles Buddy Rogers received the
years Jean Hersholt Humanitarian Award,
and composer Alex North was honored
for a lifetime of achievement on lm. Paul
Newman also received an honorary Oscar
for his lm career and accepted his award
via videotape from Chicago, where he was
278
be s t ac t or: WILLIAM HURT as Luis Molina in Kiss of the
Spider Woman (Island Alive; produced by David Weisman). It
was a daring role for William Hurt, and one originally tagged
for Raul Julia until the two actors decided to switch parts. Hurt
played a homosexual, locked up in a South American prison,
sharing his cell and private thoughts with a journalist (Julia)
whos in for a stretch because of political writings. Hector Babenco directed and kept the action and ideas moving even though
much of the screenplay by Leonard Schrader, from Manuel Puigs
novel, was conned behind bars. Hurt, with dyed hair and an
effeminate manner, created a character both off-putting and
endearing. He was nominated again the following year for 1986s
Children of a Lesser God, in 1987 for Broadcast News, and in
2005 for his supporting role in A History of Violence.
8/8/13 7:32 PM
lming The Color of Money. I am especially

grateful that this did not come wrapped in a
gift certicate to Forest Lawn [cemetary],
he smiled, adding, [I] hope that my best
work is down the pike, ahead of me and not
behind. Those words proved to be prophetic. The very next year Newman would
again receive an Academy Award.
be s t a ct r e s s : GERALDINE PAGE as Mrs. Watts in The Trip

to Bountiful (Island; produced by Sterling VanWagenen and
Horton Foote). For a time it looked as if Geraldine Page would go
into the records as Oscars most nominated nonwinner among
actors. Shed been nominated seven times without carrying home
a prize, a dubious distinction she shared with Peter OToole
and the late Richard Burton. But, for Page, number eight was
the charm, and the charmer, when she played a Texas woman
of advancing years, determined to travel back to a town called
Bountiful where shed once lived in happier times. Peter Masterson was the director. The Horton Foote story had earlier been
done as a 1953 teleplay, then as a Broadway play, both starring
Lillian Gish.
279
be s t p i c t ure : OUT OF AFRICA (Universal; produced by

Sydney Pollack) and b es t di r ecto r : SYDNEY POLLACK for
Out of Africa. Africa was a striking change of pace for director Pollack after 1982s comedy Tootsie. Beginning in Kenya
in 1914, it told the story of real-life writer Karen Blixen, who
was published under the pen name Isak Dinesen, seeing her
through a loveless marriage to one man (played by Klaus Maria
Brandauer) and a romantic but frustrating relationship with
another (Robert Redford, above right). Meryl Streep (above
left) played Blixen, and the lm was a constant eye-dazzler,
encompassing some of the most beautiful visuals yet seen on lm.

Besides being named the years best picture, it brought Oscars to
director Pollack and cinematographer David Watkin and was
honored as well for its screenplay, art direction, music score and
sound.
8/8/13 7:32 PM
Nominations 1985
B E S T PI C TUR E
T HE COLOR P U RP LE, Warner Bros. Produced by
Steven Spielberg, Kathleen Kennedy, Frank Marshall

and Quincy Jones.
K I SS OF T HE SP I D ER W OM AN, Island Alive. Produced
by David Weisman.
* OU T OF AFRI CA, Universal. Produced by Sydney
Pollack.
P RI Z Z I S HONOR, ABC, 20th Century Fox. Produced
by John Foreman.
W I T NESS, Feldman, Paramount. Produced by Edward
S. Feldman.
A C TO R
HARRI SON FORD in Witness, Feldman, Paramount.

JAM ES G ARN ER in Murphys Romance, Fogwood,
Columbia.
* W I LLI AM HU RT in Kiss of the Spider Woman, Island

Alive.
JACK NI CHOLSON in Prizzis Honor, ABC, 20th
Century Fox.
JON VOI G HT in Runaway Train, Cannon.
A C TR E S S
ANNE BAN CROFT in Agnes of God, Columbia.

W HOOP I GOLD BERG in The Color Purple, Warner
Bros.
JESSI CA LAN G E in Sweet Dreams, HBO, Tri-Star.

* GERALD I NE P AG E in The Trip to Bountiful, Island.
M ERY L ST REEP in Out of Africa, Universal.
* D ON AM ECHE in Cocoon, Zanuck-Brown, 20th

Century Fox.
K LAU S M ARI A BRAND AU ER in Out of Africa,
Universal.
W I LLI AM HI CK EY in Prizzis Honor, ABC, 20th
Century Fox.
ROBERT LOGGI A in Jagged Edge, Columbia.
ERI C ROBERT S in Runaway Train, Cannon.
M ARG ARET AVERY in The Color Purple, Warner Bros.

* ANJ ELI CA HU ST ON in Prizzis Honor, ABC, 20th
Century Fox.
AM Y M AD I G AN in Twice in a Lifetime, Bud Yorkin
Productions.
M EG T I LLY in Agnes of God, Columbia.
OP RAH W I N FREY in The Color Purple, Warner Bros.
D I R E C TI N G
K I SS OF T HE SP I D ER W OM AN, Island Alive. Hector
Babenco.
* OU T OF AFRI CA, Universal. Sydney Pollack.
P RI Z Z I S HONOR, ABC, 20th Century Fox. John
Huston.
RAN, Orion Classics. Akira Kurosawa.
W I T NESS, Feldman, Paramount. Peter Weir.
b e s t s up p ort i n g ac tr es s : ANJELICA HUSTON as Maerose
Prizzi in Prizzis Honor (ABC/20th Century Fox; produced
by John Foreman). I feel like a dynasty, Anjelica Huston said
after shed won the Oscar as the years best supporting actress.
Justiably. Her granddad Walter Huston had been an Academy
Award winner in a performance directed by Anjelicas father John
Huston; John, too, had won an Oscar and now Anjelica had one
as well, hers for a role in which shed been directed by her dad. In
Prizzis she played the black-sheep daughter in a Maa dynasty,
in love with a hit man (Jack Nicholson) whos much more interested in Kathleen Turner, who, to his surprise, turns out to be a
hit (wo)man, too.
280
WR I TI N G
Muraki.
W I T N ESS, Feldman, Paramount. Stan Jolley; John
Anderson.
C O S TUM E D ESIGN
T HE COLOR P U RP LE , Warner Bros. Aggie Guerard
Rodgers.
T HE J OU RNEY OF N A T T Y G A N N , Disney and Silver
Screen Partners II, Buena Vista. Albert Wolsky.
OU T OF AFRI CA, Universal. Milena Canonero.

P RI Z Z I S HON OR, ABC, 20th Century Fox. Donfeld.
* RAN, Orion Classics. Emi Wada.
S O UN D
BACK TO THE FUTURE, Amblin, Universal. Bill Varney,
B. Tennyson Sebastian II, Robert Thirlwell and William

B. Kaplan.
A CHORU S LI N E, Embassy/Polygram, Columbia.
Donald O. Mitchell, Michael Minkler, Gerry
Humphreys and Chris Newman.
LAD Y HAW K E, Warner Bros. Les Fresholtz, Dick
Alexander, Vern Poore and Bud Alper.
* OU T OF AFRI CA, Universal. Chris Jenkins, Gary
Alexander, Larry Stensvold and Peter Handford.
SI LVERAD O, Columbia. Donald O. Mitchell, Rick
Kline, Kevin OConnell and David Ronne.
F I LM E D I TI NG
A CHORU S LI N E, Embassy/Polygram, Columbia. John
Bloom.
OU T OF AFRI CA, Universal. Fredric Steinkamp,
William Steinkamp, Pembroke Herring and Sheldon

Kahn.
P RI Z Z I S HON OR, ABC, 20th Century Fox. Rudi Fehr
and Kaja Fehr.
RU N AW AY T RAI N, Cannon. Henry Richardson.
* W I T NESS, Feldman, Paramount. Thom Noble.
* COCOON , Zanuck-Brown, 20th Century Fox. Ken

Ralston, Ralph McQuarrie, Scott Farrar and David
Berry.
RET U RN T O OZ , Disney and Silver Screen Partners II,
Buena Vista. Will Vinton, Ian Wingrove, Zoran Perisic
and Michael Lloyd.
Y OU N G SHERLOCK H O L ME S , Amblin/Winkler/
Birnbaum, Paramount. Dennis Muren, Kit West, John
Ellis and David Allen.
S O UN D E F F ECTS EDITING
* BACK T O T HE FU T U R E , Amblin, Universal. Charles L.

Campbell and Robert Rutledge.
LAD Y HAW K E, Warner Bros. Bob Henderson and Alan
Murray.
RAM BO: FI RST BLO O D PA R T I I , Tri-Star. Frederick
J. Brown.
M US I C
M I SS CELI E S BLU ES ( S I S T E R ) (The Color Purple,
Warner Bros.); Music by Quincy Jones and Rod

Temperton. Lyric by Quincy Jones, Rod Temperton and
Zemeckis and Bob Gale.
Lionel Richie.
BRAZ I L, Embassy International, Universal. Terry
T HE P OW ER OF LOV E (Back to the Future, Amblin,
Gilliam, Tom Stoppard and Charles McKeown.
Universal); Music by Chris Hayes and Johnny Colla.
T HE OFFI CI AL ST ORY , Almi. Luis Puenzo and Aida
Lyric by Huey Lewis.
Bortnik.
* SAY Y OU , SAY M E (White Nights, Columbia); Music
T HE P U RP LE ROSE OF CAI RO, Rollins and Joffe,
and Lyric by Lionel Richie.
Orion. Woody Allen.
* WITNESS, Feldman, Paramount. William Kelley, Pamela SEP ARAT E LI VES (White Nights, Columbia); Music and
Lyric by Stephen Bishop.
Wallace and Earl W. Wallace.
SU RP RI SE, SU RP RI S E (A Chorus Line, Embassy/
Polygram, Columbia); Music by Marvin Hamlisch.
T HE COLOR P U RP LE, Warner Bros. Menno Meyjes.
Lyric by Edward Kleban.
K I SS OF T HE SP I D ER W OM AN, Island Alive. Leonard
(or
ig in a l s cor e )
Schrader.
AG N ES OF GOD , Columbia, Georges Delerue.
* OU T OF AFRI CA, Universal. Kurt Luedtke.
T HE COLOR P U RP LE , Warner Bros. Quincy Jones,
P RI Z Z I S HONOR, ABC, 20th Century Fox. Richard
Jeremy Lubbock, Rod Temperton, Caiphus Semenya,
Condon and Janet Roach.
Andrae Crouch, Chris Boardman, Jorge Calandrelli,
T HE T RI P T O BOU NT I FU L, Island. Horton Foote.
Joel Rosenbaum, Fred Steiner, Jack Hayes, Jerry Hey
and Randy Kerber.
T HE COLOR P U RP LE, Warner Bros. Allen Daviau.
* OU T OF AFRI CA, Universal. John Barry.
SI LVERAD O, Columbia. Bruce Broughton.
M U RP HY S ROM AN CE, Fogwood, Columbia. William
W I T N ESS, Feldman, Paramount. Maurice Jarre.
A. Fraker.
* OU T OF AFRI CA, Universal. David Watkin.
M A KE UP
RAN, Orion Classics. Takao Saito, Masaharu Ueda and
T HE COLOR P U RP LE , Warner Bros. Ken Chase.
Asakazu Nakai.
* M ASK , Universal. Michael Westmore and Zoltan Elek.
W I T NESS, Feldman, Paramount. John Seale.
REM O W I LLI AM S: T H E A DV E N T U R E B E G I N S , Clark/
Spiegel/Bergman, Orion. Carl Fullerton.
BACK T O T HE FU T U RE, Amblin, Universal. Robert
BRAZ I L, Embassy International, Universal. Norman
Garwood; Maggie Gray.

T HE COLOR P U RP LE, Warner Bros. J. Michael Riva
and Robert W. Welch; Linda DeScenna.
* OU T OF AFRI CA, Universal. Stephen Grimes; Josie
MacAvin.
RAN , Orion Classics. Yoshiro Muraki and Shinobu
S H O R T F I LMS
(a n ima t e d)
* ANNA & BELLA, The Netherlands. Cilia Van Dijk,

producer.
T HE BI G SN I T , National Film Board of Canada. Richard
Condie and Michael Scott, producers.
SECOND CLASS M AI L , National Film & Television
School. Alison Snowden, producer.
8/8/13 7:32 PM
be s t s up p ort i n g a cto r : DON AMECHE as Art Selwyn

in Cocoon (20th Century-Fox; produced by Richard Zanuck,
David Brown and Lili Fini Zanuck). At 77, Don Ameche had
been in movies, and a star, for 49 years, most famous for his
1939 portrayal of Alexander Graham Bell. Ameche was a popular
leading man to almost every leading lady in town, including

Claudette Colbert, Myrna Loy and Carmen Miranda. But hed
never been within call of an Oscar nomination and his screen
career seemed perhaps a thing of the past when he was cast in
Cocoon, directed by Ron Howard. He played an old duffer in a
Florida retirement home who, with Hume Cronyn, Jack Gilford,

Maureen Stapleton, Gwen Verdon (above), Jessica Tandy, and
others, is rejuvenated with some help from outer space. Ameches
career was rejuvenated, too, and at long last he was an Academy
champ.
(l i ve ac t i on )
T HE ST AT U E OF LI BERT Y , a Florentine Films
Production. Ken Burns and Buddy Squires, producers.
A WA R D S
Production. Steven Okazaki, producer.
a ca de my a w a r d of merit ( o sc ar)
GR A FF ITI, The American Film Institute. Dianna
Costello, producer.
* MO L L Y S P IL GR I M, Phoenix Films. Jeff Brown and

Chris Pelzer, producers.
R A INBO W W A R , Bob Rogers and Company. Bob
Rogers, producer.
D O CU M EN T AR Y
THE C O UR A GE TO CARE, a United Way Production.
Robert Gardner, producer.
K E A TS A ND HIS N IGHTINGALE: A B LIND DATE,
a Production of the Rhode Island Committee for the

Humanities. Michael Crowley and James Wolpaw,
producers.
MA KING O VE R TURESTHE STORY OF A

C O MMUNITY ORCHESTRA, a Rhombus Media,
Inc. Production. Barbara Willis Sweete, producer.
* W ITNE S S TO W AR: DR. CH ARLIE CLEMENTS,

a Skylight Picture Production. David Goodman,
producer.
THE W IZ A R D O F THE STRINGS, a Seventh Hour
Production. Alan Edelstein, producer.
(f e at ure s )
* BR O KE N R A INBOW, an Earthworks Films
Production. Maria Florio and Victoria Mudd,

producers.
L A S MA D R E STH E MOTH ERS OF PLAZA DE

MA Y O , Sponsored by Film Arts Foundation. Susana
Muoz and Lourdes Portillo, producers.

SO L D IE R S IN HIDING, a Filmworks, Inc. Production.
Japhet Asher, producer.
U N FI N I SHED BU SI N ESS, a Mouchette Films
AN G RY HARVEST (Federal Republic of Germany).

COLONEL RED L (Hungary).
* T HE OFFI CI AL ST ORY (Argentina).
T HREE M EN AN D A CRAD LE (France).
W HEN FAT HER W AS AW AY ON BU SI N ESS
(Yugoslavia).

T O P AU L NEW M AN in recognition of his many and
memorable compelling screen performances and for

his personal integrity and dedication to his craft.
T O ALEX NORT H in recognition of his brilliant artistry
in the creation of memorable music for a host of
distinguished motion pictures.
T O J OHN H. W HI T N EY , SR. , for Cinematic
Pioneering. (Medal of Commendation)
T O CHARLES BU D D Y ROGERS

None.
scientific and engineering award (academy plaque)

I M AX SY ST EM S C O R PO R A T I O N for a method of
lming and exhibiting high-delity, large-format, wide

angle motion pictures.
ERN ST N ET T M AN N of E. F. Nettmann & Associates for
the invention, and E DW A R D PH I L L I PS and C A R L O S
D EM AT T OS of Matthews Studio Equipment, Inc.,
for the development, of the Cam-Remote for motion
281
M Y RON GORD I N , J O E P. C R O O K H A M , J I M
D ROST , and D A V I D C R O O K H A M of Musco Mobile
Lighting, Ltd., for the invention of a method of

transporting adjustable, high-intensity luminaires and
their application to the motion picture industry.
technical achievement award (academy certificate)

D AVI D W . SP EN C E R for the development of an
Animation Photo Transfer (APT) process.
HARRI SON & HAR R I S O N , O PT I C A L E N G I N E E R S ,
for the invention and development of Harrison

Diffusion Filters for motion picture photography.
LARRY BART ON of Cinematography Electronics, Inc.,
for a Precision Speed, Crystal-Controlled Device for
ALAN LAN D AK ER of The Burbank Studios for the
Mark III Camera Drive for motion picture
photography.
8/8/13 7:32 PM
1986
The Fifty-Ninth Year
atience paid off for Paul Newman: at

age sixty-two, with seven acting Oscar
nominations to his credit during a
28-year, 45-lm span, the actor nally won
his rst competitive Academy Award at the
Academys 59th gathering, March 30, 1987.
True, hed been voted an honorary statue
the preceding year but this, at last, was The
Big One. Newman, however, wasnt there
to accept it in person. He was, in fact, 3,000
miles away from the Los Angeles Music
Center, watching the ABC-TV telecast at his
home in New York. His reason? Ive been
there six times and lost, he said. Maybe if I
stay away, Ill win. He did, and he did.
So did at least two others, one by necessity, the other by choice. Michael Caine,
named best supporting actor for his work
in Woody Allens Hannah and Her Sisters,
was unable to attend the ceremony in Los
Angeles; he was in the Bahamas, delayed
there because of lming complications on
Jaws: The Revenge. Woody Allen, a winner
for his Hannah screenplay and a consistent
no-show at award functions, stayed true to
form and remained in New York, playing
clarinet at Michaels Pub while his name
was announced at the Dorothy Chandler
Pavilion.
But Dianne Wiest was on hand to accept
her supporting actress award for Hannah;
so was Marlee Matlin, the rst deaf actress
to be nominated for an Academy Award.
She was named the years best actress for
Children of a Lesser God.
Over all, it still turned out to be Oliver
Stones night. Personally nominated for
three Oscars (as director and screenwriter of

Platoon, and competing against himself as
co-screenwriter of Salvador), Stone won the
best director prize and his Platoon marched
on to become the years most honored lm,
with four awards including the best picture
of the year trophy. Accepting his directing
award, Stone said, I think through this
award youre really acknowledging that for
the rst time you really understand what
happened over there [in Vietnam]. And I
think what youre saying is that it should
never in our lifetime happen again.
The Assault was named best foreign
language lm and became the rst from
the Netherlands honored in that Oscar
category. Veteran actor Ralph Bellamy, 83,
received an honorary Oscar and Steven
Spielberg was voted the Irving G. Thalberg
Memorial Award. At thirty-nine, Spielberg
was the youngest recipient of the Academys
highest award since Jerry Wald had won it in
1949, at the age of thirty-seven.
One thing was becoming a common denominator: Oscar was still one of the longer
shows in town, this one coming in at three
hours and twenty-ve minutes. The hosts
were Chevy Chase, Goldie Hawn and Paul
Hogan, the latter also a nominee in the original screenplay division for his Australianmade Crocodile Dundee. Bernadette Peters
was featured in a sixteen-minute production
number and the entire show was produced,
for the rst time, by Samuel Goldwyn, Jr.
Presenters included a combination of new
stars (William Hurt, Matthew Broderick,
Molly Ringwald, Oprah Winfrey, Tom
282
be s t p i c t ure : PLATOON (Orion; produced by Arnold Kopelson) and be s t d i re c to r : OLIVER STONE for Platoon.
Oliver Stone, himself a Vietnam War veteran, delivered a
wrenching, rarely screened vision of war in Platoon, using his
own rst-hand visions of men in war to create a striking drama.
He also introduced wide audiences to a platoon of new actors,
including Tom Berenger and Willem Dafoe (right), both of
whom were nominated as supporting actors, and Charlie Sheen
as a fresh-faced new soldier thrown headlong into a nightmare
of bullets, brutality, death, dope and a fraternity he never chose.
Filmed with the Philippines subbing for Vietnam, Platoon won
four awards, including Stones director prize and that best-ofthe-crop picture award.
8/8/13 7:32 PM
Hanks), movie legends (Elizabeth Taylor,

Jennifer Jones, Anthony Quinn, Bugs
Bunny), and at least two BettesMidler and
Davis, the latter caught in a confusion of
miscues and crossed signals when attempting to present the years best actor prize. The
incident was heavily discussed for days after
and proved that Oscar, at age fty-nine, and
Bette Davis, ve days before her 79th birthday, could still make waves and cause talk,
intentionally or not.
be s t a ct or : PAUL NEWMAN as Fast Eddie Felson in The
Color of Money (Buena Vista; produced by Irving Axelrad and
Barbara De Fina). Newman had rst played Fast Eddie Felson,
a pool hustler, 25 years earlier in 1961s The Hustler and received
an Academy Award nomination for it. In this belated sequel-ofsorts, directed by Martin Scorsese, Newmans Eddie was still
fast, still able to sink a nine ball but now older, wiser and the
teacher of a younger sport (Tom Cruise, above left, with Newman) who gets tips from the old pro on his way to big-time pool
games. Newman won the Oscar after six earlier nominations;
hed also received an honorary Oscar the preceding year for his
body of work.
283
be s t a ct r e s s : MARLEE MATLIN as Sarah Norman in Children of a Lesser God (Paramount;

produced by Burt Sugarman and Patrick Palmer). Randa Haines became the rst woman in Academy
history to direct a performer to a leading role Oscar, in this story of a young deaf woman who
resists making the adjustments she feels the hearing world demands as its price for acceptance. Matlin
(above) received her award from her co-star William Hurt, the presenter by virtue of his best actor
win the previous year.
THE MISSION (Warner Bros.; produced by Fernando Ghia and David Puttnam) starred Robert
De Niro (above) and Jeremy Irons, and won an Oscar for its striking cinematography by Chris
Menges. It was also nominated for six other awards, including best picture and best director
(Roland Joff).
8/8/13 7:32 PM
B E S T PI C TUR E
CHI LD REN OF A LESSER G OD , Sugarman,
Nominations 1986
JAN E FON D A in The Morning After, Lorimar, 20th
Century Fox.
* M ARLEE M AT LI N in Children of a Lesser God,

Sugarman, Paramount.
SI SSY SP ACEK in Crimes of the Heart, De Laurentiis
Entertainment Group.
K AT HLEEN T U RNER in Peggy Sue Got Married, Rastar,
Tri-Star.
SI GOU RN EY W EAVER in Aliens, 20th Century Fox.
T OM BERENGER in Platoon, Hemdale, Orion.

* M I CHAEL CAI N E in Hannah and Her Sisters, Rollins
and Joffe, Orion.
W I LLEM D AFOE in Platoon, Hemdale, Orion.
D EN HOLM ELLI OT T in A Room with a View, Merchant
Ivory, Cinecom.
D EN N I S HOP P ER in Hoosiers, De Haven, Orion.
T ESS HARP ER in Crimes of the Heart, De Laurentiis
Entertainment Group.
P I P ER LAU RI E in Children of a Lesser God, Sugarman,
Paramount.
M ARY ELI Z ABET H M AST RAN T ON I O in The Color
284
Paramount. Produced by Burt Sugarman and Patrick

CROCOD I LE D U N DE E , Rimre, Paramount. Paul
Palmer.
Hogan, Ken Shadie and John Cornell.
HANNAH AND HER SI ST ERS, Rollins and Joffe, Orion.
* HANNAH AND HER S I S T E R S , Rollins and Joffe, Orion.
Produced by Robert Greenhut.
Woody Allen.
T HE M I SSI ON , Warner Bros. Produced by Fernando
M Y BEAU T I FU L LAU N DR E T T E , Orion Classics. Hanif
Ghia and David Puttnam.
Kureishi.
* P LAT OON, Hemdale, Orion. Produced by Arnold
P LAT OON , Hemdale, Orion. Oliver Stone.
Kopelson.
SALVAD OR, Hemdale. Oliver Stone and Richard Boyle.
A ROOM W I T H A VI EW , Merchant Ivory, Cinecom.
Produced by Ismail Merchant.
CHI LD REN OF A LES S E R G O D, Sugarman,
A C TO R
Paramount. Hesper Anderson and Mark Medoff.
D EX T ER G ORD ON in Round Midnight, Winkler,
T HE COLOR OF M O N E Y, Touchstone with Silver
Warner Bros.
Screen Partners II, Buena Vista. Richard Price.
BOB HOSK I NS in Mona Lisa, Island.
CRI M ES OF T HE HEA R T , De Laurentiis Entertainment
W I LLI AM HU RT in Children of a Lesser God, Sugarman,
Group. Beth Henley.
Paramount.
* A ROOM W I T H A VI E W , Merchant Ivory, Cinecom.
Ruth Prawer Jhabvala.
* P AU L N EW M AN in The Color of Money, Touchstone
with Silver Screen Partners II, Buena Vista.
ST AN D BY M E, Act III, Columbia. Raynold Gideon and
JAM ES W OOD S in Salvador, Hemdale.
Bruce A. Evans.
A C TR E S S
b e s t s up p ort i n g actr es s : DIANNE WIEST as Holly

(above) and be s t s up p o r ti ng a cto r : MICHAEL CAINE
as Elliot (below, with Mia Farrow) in Hannah and Her Sisters
(Orion; produced by Robert Greenhut). In a world according to
Woody Allen, Hannah (Farrow) has two sisters: Lee (Barbara
Hershey) and Holly (Wiest). Hannahs also got a family loaded
with problems, not the least of which is Hollys being a aky neurotic, and jumping between careers, men, and shrinks until she
remeets Hannahs ex-husband (Woody Allen), with whom she
unexpectedly nds the relationship shes always wanted. Caine
played Hannahs current husband, himself involved in an affair
with sister-in-law Lee. It was one of Allens best movies, given special sparks by the performances of Wiest and Caine, both of whom
were awarded for their work. It was a rst Oscar for each.
WR I TI N G
of Money, Touchstone with Silver Screen Partners II,

Buena Vista.
M AG G I E SM I T H in A Room with a View, Merchant
Ivory, Cinecom.
* D I ANNE W I EST in Hannah and Her Sisters, Rollins and
Joffe, Orion.
D I R E C TI N G
BLU E VELVET , De Laurentiis Entertainment Group.
David Lynch.
HANNAH AND HER SI ST ERS, Rollins and Joffe, Orion.
Woody Allen.
T HE M I SSI ON , Warner Bros. Roland Joff.

* P LAT OON, Hemdale, Orion. Oliver Stone.
A ROOM W I T H A VI EW , Merchant Ivory, Cinecom.
James Ivory.
* T HE M I SSI ON , Warner Bros. Chris Menges.

P EGGY SU E GOT M A R R I E D, Rastar, Tri-Star. Jordan
Cronenweth.
P LAT OON , Hemdale, Orion. Robert Richardson.
A ROOM W I T H A VI E W , Merchant Ivory, Cinecom.
Tony Pierce-Roberts.
ST AR T REK I V: T HE V O YA G E H O M E , Bennett,
Paramount. Don Peterman.
ALI ENS, 20th Century Fox. Peter Lamont; Crispian
Sallis.
T HE COLOR OF M O N E Y, Touchstone with Silver
Screen Partners II, Buena Vista. Boris Leven; Karen A.

OHara.
HAN N AH AN D HER S I S T E R S , Rollins and Joffe, Orion.
Stuart Wurtzel; Carol Joffe.
T HE M I SSI ON, Warner Bros. Stuart Craig; Jack
Stephens.
Gianni Quaranta and Brian Ackland-Snow; Brian
Savegar and Elio Altramura.
C O S TUM E D ESIGN
T HE M I SSI ON, Warner Bros. Enrico Sabbatini.

OT ELLO, Cannon. Anna Anni and Maurizio Millenotti.
P EGGY SU E GOT M A R R I E D, Rastar, Tri-Star. Theadora
Van Runkle.
P I RAT ES, Cannon. Anthony Powell.

Jenny Beavan and John Bright.
S O UN D
ALI ENS, 20th Century Fox. Graham V. Hartstone,
Nicolas Le Messurier, Michael A. Carter and Roy

Charman.
HEART BREAK RI D G E , Warner Bros. Les Fresholtz, Dick
Alexander, Vern Poore and William Nelson.
* P LAT OON, Hemdale, Orion. John K. Wilkinson,
Richard Rogers, Charles Bud Grenzbach and Simon
Kaye.
Paramount. Terry Porter, Dave Hudson, Mel Metcalfe
and Gene S. Cantamessa.
T OP GU N, Simpson/Bruckheimer, Paramount. Donald
O. Mitchell, Kevin OConnell, Rick Kline and William
B. Kaplan.
F I LM E D I TI NG
ALI ENS, 20th Century Fox. Ray Lovejoy.

HAN N AH AN D HER S I S T E R S , Rollins and Joffe, Orion.
Susan E. Morse.
T HE M I SSI ON, Warner Bros. Jim Clark.

* P LAT OON, Hemdale, Orion. Claire Simpson.
T OP GU N, Simpson/Bruckheimer, Paramount. Billy
Weber and Chris Lebenzon.
* ALI EN S, 20th Century Fox. Don Sharpe.

Paramount. Mark Mangini.
T OP GU N, Simpson/Bruckheimer, Paramount. Cecelia
Hall and George Watters II.
* ALI EN S, 20th Century Fox. Robert Skotak, Stan

Winston, John Richardson and Suzanne Benson.
LI T T LE SHOP OF HO R R O R S , Geffen through
Warner Bros. Lyle Conway, Bran Ferren and Martin
Gutteridge.
P OLT ERGEI ST I I : T H E O T H E R S I DE , Victor-Grais,
M-G-M. Richard Edlund, John Bruno, Garry Waller
and William Neil.
8/8/13 7:32 PM

T O RALP H BELLA MY, for his unique artistry and his
distinguished service to the profession of acting.
T O E. M . ( AL) LEWI S , in appreciation for outstanding


T O ST EVEN SP I EL B E R G

A WA R D S
a ca de my a w a r d of merit ( o sc ar)
None.

BRAN FERREN , C H A R L E S H A R R I S O N and K E N N E T H
W I SN ER of Associates and Ferren for the concept and
design of an advanced optical printer.
RI CHARD BEN J AM I N G R A N T and R O N G R A N T of
A ROOM WITH A VIEW (Merchant Ivory; produced by Ismail

Merchant), a small, brilliantly worked jewel of a picture, was
directed by James Ivory and nominated in eight categories. The
British production took home prizes for art direction, costume
MUSIC
GL O R Y O F L O VE (The Karate Kid Part II, Columbia);
Music by Peter Cetera and David Foster. Lyric by Peter

Cetera and Diane Nini.
L IF E IN A L O O KING GLASS (Thats Life, Columbia);
Music by Henry Mancini. Lyric by Leslie Bricusse.
ME A N GR E E N MOTHER FROM OUTER SPACE
(Little Shop of Horrors, The Geffen Company through

Warner Bros.); Music by Alan Menken. Lyric by
Howard Ashman.
SO ME W HE R E O UT THERE (An American Tail,
Amblin, Universal); Music by James Horner and
Barry Mann. Lyric by Cynthia Weil.
* TA K E MY BR E A TH AWAY (Top Gun, Simpson/
Bruckheimer, Paramount); Music by Giorgio
Moroder. Lyric by Tom Whitlock.
A L IE NS , 20th Century Fox. James Horner.

HO O S IE R S , De Haven, Orion. Jerry Goldsmith.
THE MIS S IO N, Warner Bros. Ennio Morricone.
* R O U ND MID NIGH T, Winkler, Warner Bros. Herbie
Hancock.
STA R TR E K IV: TH E V OYAGE HOME, Bennett,
Paramount. Leonard Rosenman.
M A K EU P
THE C L A N O F THE CAV E B EAR, Warner Bros.
Michael G. Westmore and Michele Burke.

* THE FL Y , Brookslms, 20th Century Fox. Chris Walas
and Stephan Dupuis.
L E GE ND , Universal. Rob Bottin and Peter Robb-King.
S H O RT FI L M S
(an i m at e d )
THE F R O G, THE DOG AND THE DEV IL, New
Zealand National Film Unit. Bob Stenhouse,

producer.
* A GR E E K TR A GE DY, CineTe pvba. Linda Van Tulden
and Willem Thijssen, producers.
L UXO JR ., Pixar Productions. John Lasseter and
William Reeves, producers.
design, and for Ruth Prawer Jhabvalas script from the E.M.
Forster novel. Helena Bonham Carter and Daniel Day-Lewis
highlighted an ensemble cast that also included Denholm Elliott,
Julian Sands (above, with Bonham Carter) and Maggie Smith.
(liv e a ct ion )
EX I T , Rai Radiotelevisione Italiana/RAI-UNO. Stefano
Reali and Pino Quartullo, producers.

LOVE ST RU CK , Rainy Day Productions. Fredda Weiss,
producer.
* P RECI OU S I M AG ES, Calliope Films, Inc. Chuck
Workman, producer.
D O C UM E N TA R Y
D EBONAI R D ANCERS, an Alison Nigh-Strelich
Production. Alison Nigh-Strelich, producer.
T HE M AST ERS OF D I SAST ER, Indiana University
Audio Visual Center. Sonya Friedman, producer.
RED GROOM S: SU N FLOW ER I N A HOT HOU SE, a
Polaris Entertainment Production. Thomas L. Neff and

Madeline Bell, producers.
SAM , a Film by Aaron D. Weisblatt. Aaron D. Weisblatt,
producer.
* W OM ENFOR AM ERI CA, FOR T HE W ORLD ,
Educational Film & Video Project. Vivienne VerdonRoe, producer.
(fe a t u r e s )
* ART I E SHAW : T I M E I S ALL Y OU VE GOT , a Bridge

Film Production. Brigitte Berman, producer.
CHI LE: HAST A CU AND O? , a David Bradbury
Production. David Bradbury, producer.
* D OW N AND OU T I N AM ERI CA, a Joseph Feury
Production. Joseph Feury and Milton Justice,
producers.
I SAAC I N AM ERI CA: A J OU RNEY W I T H I SAAC
BASHEVI S SI N G ER, Amram Nowak Associates. Kirk
Simon and Amram Nowak, producers.
W I T N ESS T O AP ART HEI D , a Production of Developing
News Inc. Sharon I. Sopher, producer.
* T HE ASSAU LT (The Netherlands).

BET T Y BLU E (France).
Auricle Control Systems for their invention of the Film

Composers Time Processor.
AN T HON Y D . BRUN O and J O H N L . B A PT I S T A of
Metro-Goldwyn-Mayer Laboratories, Incorporated,
and to M AN FRED G . MI C H E L S O N and B R U C E W .
K ELLER of Technical Film Systems, Incorporated,
for the design and engineering of a Continuous-Feed
Printer.
ROBERT GREENB E R G , J O E L H YN E K and E U G E N E
M AM U T of R/Greenberg Associates, Incorporated,
and to D R. ALFR E D T H U M I M, E L A N L I PS C H I T Z
and D ARRY L A. A R M O U R of the Oxberry Division of
Richmark Camera Service, Incorporated, for the design
and development of the RGA/Oxberry Compu-Quad
Special Effects Optical Printer.
P ROFESSOR FRI T Z S E N N H E I S E R of Sennheiser
Electronic Corporation for the invention of an
interference tube directional microphone.
RI CHARD ED LU N D, G E N E W H I T E M A N , DA V I D
GRAFT ON , M AR K W E S T , J E R R Y J E F F R E S S , and
BOB W I LCOX of Boss Film Corporation for the
design and development of a Zoom Aerial (ZAP)

65mm Optical Printer.
W I LLI AM L. FREDR I C K and H A L N E E DH A M for the
design and development of the Shotmaker Elite camera
car and crane.
LEE ELECT RI C ( LI G H T I N G ) L I MI T E D for the
design and development of an electronic, icker-free,

discharge lamp control system.
P ET ER D . P ARK S of Oxford Scientic Films Image
Quest Division for the development of a live aerocompositor for special effects photography.
M AT T SW EEN EY and L U C I N DA S T R U B for the
development of an automatic capsule gun for
simulating bullet hits for motion picture special
effects.
CARL HOLM ES of Carl E. Holmes Company and to
ALEX AND ER BR YC E of The Burbank Studios for the
development of a mobile DC power supply unit for
motion picture production photography.
BRAN FERREN of Associates and Ferren for the
development of a laser synchro-cue system for
applications in the motion picture industry.
J OHN L. BAP T I ST A of Metro-Goldwyn-Mayer
Laboratories, Inc., for the development and
installation of a computerized silver recovery
operation.
D AVI D W . SAM U E L S O N for the development of
programs incorporated into a pocket computer
for motion picture cinematographers, and to
W I LLI AM B. P O L L A R D for contributing new
algorithms on which the programs are based.
HAL LAN D AK ER and A L A N L A N DA K E R of The
Burbank Studios for the development of the Beat
System low-frequency cue track for motion picture
production sound recording.
285
T HE D ECLI N E OF T HE AM ERI CAN EM P I RE
(Canada).
M Y SW EET LI T T LE VI LLAGE (Czechoslovakia).

38 (Austria).
8/8/13 7:32 PM
1987
The Sixtieth Year
ome things, obviously, never change.

The Academy Award had been born in
the midst of industry strife and unrest,
and on the night of Oscars 60th birthday
party April 11, 1988, there was again dissension within the motion picture arena, this
time due to a heated writers strike. Still
there was a wide chasm between most aspects of the awards given for that rst year,
192728, and the 60th, 1987. Categories now
numbered twenty-three instead of twelve,
Oscar was now a worldwide symbol of lm
excellence, and considerably more than
270 people watched the golden boys being
handed out to winners.
Actually, the 60th award ceremony, hosted
by Chevy Chase, unintentionally turned out
to be as much of a celebration for Bernardo
Bertoluccis epic The Last Emperor as it did
for Oscar. Nominated for nine awards,
Emperor waltzed to the stage to collect all of
them, nine for nine, one of the rare times
any lm had ended up with every prize for
which it was nominated. Among the nods,
Emperor was named best picture of the year,
and Bertolucci best director. And by virtue
of those nine Oscars, the lm became the
fourth most honored lm in the Academys
sixty-year history, after Ben-Hur (1959) with
eleven awards, West Side Story (1961) with
ten, and Gigi (1958) with nine.
Michael Douglas, already with an Oscar
to his credit as co-producer of the 1975
Oscar-winner One Flew over the Cuckoos
Nest, was named best actor for Wall Street;
in his acceptance remarks, he added thanks
to my father . . . for helping a son step out
of a shadow. Cher was honored as best actress for Moonstruck; Olympia Dukakis was
best supporting actress for the same lm
and shouted, Okay, Michael, lets go!,
referring to her cousin Michael Dukakis,
then in the throes of campaigning to be the
Democratic choice for President in the 1988
election. Most popular winner of the night,
hands down, was Sean Connery, named
best supporting actor for The Untouchables.
Biggest surprise was the announcement of
Denmarks Babettes Feast as best foreign
language lm; preshow predictions had
indicated a shoo-in for Louis Malles muchliked Au Revoir Les Enfants from France.
Most of the immediate talk, preshow and
post-show, however, had less to do with the
evenings champs and oversights than with
a horrendous trafc jam that snarled the
streets, freeways and byways at show time
near the Los Angeles Shrine Civic Auditorium, where the Oscar ceremony was being
held for the rst time in forty years. Many of
the nominees, presenters and guests had to
abandon their limos, grab their dates, and
semi-jog in their tuxedos and gowns down
neighborhood streets in an attempt to make
the shows opening. No one was immune,
including presenter Olivia de Havilland,
whod own in from Paris to present an
award early in the evenings program, and
Glenn Close, a nominee and quite pregnant.
The jam was so intense that the shows
producer Samuel Goldwyn, Jr., and director
Marty Pasetta had to make a last-minute
scratch of an elaborate segment involving
players from each of the fty-nine preced-
286
be s t p i c t ure : THE LAST EMPEROR (Columbia; produced
by Jeremy Thomas) and b es t di r ecto r : BERNARDO
BERTOLUCCI for The Last Emperor. Filmed on location in
China, it was the rst western production to be made about
modern China with the full cooperation of that nations government; it was also an epic in the truest sense of the word, a visual
feast with a giant cast and 19,000 extras. Taking only a few
dramatic liberties, it followed the saga of Pu Yi, who was made
Emperor of China at the age of three but who ended up a gardener
at the time of his death in 1967. It was Bertoluccis rst lm in
six years and the cast (none of whom was nominated for an
Oscar) included Peter OToole and John Lone and Joan Chen
(right). It was nominated for, and won, nine Oscars, including
the big one.
8/8/13 7:32 PM
ing best picture winners since 192728. The

trafc problems made the execution of the
segment impossible.
If the trafc was a headache, though, the
news from the TV ratings more than helped
erase them. After a downward trend that
had become a worry, ratings were up for the
second consecutive year. It seemed a positive
way to close the book on the Academys rst
sixty years, too, although anyone who had
been through Oscar wars and Oscar history

knew thered undoubtedly be seesaw times
ahead and new rsts to put in future
record books. Even the latest awards were
no exception to that challenge. For proof:
the 60th Oscars marked the rst time an
Academy Award nominee was actively being sought by police. On the night of the
awards, many of L.A.s nest were on the
hunt for Gustav Hasford, a nominee in the
screenplay division, wanted in connection

with grand theft charges involving a large
collection of library books. Hasford did not
win and, as far as anyone knew, did not
attend the ceremony. But he had inadvertently added yet another salty footnote to
a checkered but rm history, and a tradition that seems to grow more golden each
decade.
be s t ac t re s s : CHER as Loretta Castorini in Moonstruck

(M-G-M; produced by Patrick Palmer and Norman Jewison).
For years shed been known as one-half of a cabaret act, then as a
fashion eyepopper and a one-name oddity, but Cher fooled them
all and brought even the toughest critics around. First nominated
for an Oscar in the supporting actress category for Silkwood,
she came home a winner with her second nomination, as best
actress for Moonstruck, playing a widow whos about to marry
for security until she meets her future brother-in-law (Nicolas
Cage, right, with Cher) who, to put it mildly, adds zest to her
life. Directed by Norman Jewison, Moonstruck itself was one of
the years best-liked movies, and thereafter the leading lady was
known as Cher, the actress.
287
be s t ac t or: MICHAEL DOUGLAS as Gordon Gekko in Wall

Street (20th Century Fox; produced by Edward R. Pressman).
Michael Douglas, in the Academy Award race for the rst time
as an actor, won his Oscar playing a chilly Wall Street wheelerdealer, a man both calculating and dangerous, whether manipulating a merger or cynically educating a young broker (Charlie
Sheen). Oliver Stone directed from his own screenplay, penned
with Stanley Weiser, and made New Yorks nancial district
seem as treacherous as the battlefronts he presented in Platoon.
Douglas was dynamic in his role, the second juicy one he had in
1987, which began for him with Fatal Attraction.
8/8/13 7:33 PM
B E S T PI C TUR E
BROAD CAST NEW S, 20th Century Fox. Produced by
Nominations 1987
James L. Brooks.
FAT AL AT T RACT I ON, Jaffe/Lansing, Paramount.
Produced by Stanley R. Jaffe and Sherry Lansing.

HOP E AND G LORY , Davros, Columbia. Produced by
John Boorman.
* T HE LAST EM P EROR, Hemdale, Columbia. Produced
by Jeremy Thomas.
M OON ST RU CK , M-G-M. Produced by Patrick Palmer
and Norman Jewison.
A C TO R
* M I CHAEL D OU G LAS in Wall Street, Oaxatal, 20th

Century Fox.
W I LLI AM HU RT in Broadcast News, 20th Century Fox.
M ARCELLO M AST ROI ANNI in Dark Eyes, Excelsior,
Island Pictures.
JACK NI CHOLSON in Ironweed, Taft/Barish, Tri-Star.
ROBI N W I LLI AM S in Good Morning, Vietnam,
Touchstone with Silver Screen Partners III, Buena
Vista.
A C TR E S S
* CHER in Moonstruck, Palmer/Jewison, M-G-M.

GLENN CLOSE in Fatal Attraction, Jaffe/Lansing,
Paramount.
HOLLY HU NT ER in Broadcast News, 20th Century Fox.
SALLY K I RK LAN D in Anna, Magnus, Vestron.
M ERY L ST REEP in Ironweed, Taft/Barish, Tri-Star.
WR I TI N G
AU REVOIR LES ENFANTS (GOODBYE, CHILDREN),
NEF, Orion Classics. Louis Malle.
BROAD CAST N EW S, 20th Century Fox. James L.
Brooks.
HOP E AN D GLORY , Davros, Columbia. John
Boorman.
* M OON ST RU CK , Palmer/Jewison, M-G-M. John Patrick
Shanley.
RAD I O D AY S, Rollins and Joffe, Orion. Woody Allen.
T HE D EAD , Liffey, Vestron. Tony Huston.

FATAL ATTRACTION, Jaffe/Lansing, Paramount. James
Dearden.
FU LL M ET AL J ACK ET , Natant, Warner Bros. Stanley
Kubrick, Michael Herr and Gustav Hasford.

* T HE LAST EM P EROR , Hemdale, Columbia. Mark
Peploe and Bernardo Bertolucci.
M Y LI FE AS A D OG, Svensk Filmindustri/Filmteknik,
Skouras Pictures. Lasse Hallstrm, Reidar Jnsson,
Brasse Brnnstrm and Per Berglund.
BROAD CAST N EW S, 20th Century Fox. Michael
Ballhaus.
EM P I RE OF T HE SU N , Warner Bros. Allen Daviau.

HOP E AN D GLORY , Davros, Columbia. Philippe
Rousselot.
* T HE LAST EM P EROR , Hemdale, Columbia. Vittorio
Storaro.
ALBERT BROOK S in Broadcast News, 20th Century Fox.
M AT EW AN , Red Dog, Cinecom. Haskell Wexler.
* SEAN CON N ERY in The Untouchables, Linson,
Paramount.
M ORGAN FREEM AN in Street Smart, Cannon.
VI NCEN T GARD EN I A in Moonstruck, Palmer/Jewison,
EM P I RE OF T HE SU N , Warner Bros. Norman Reynolds;
M-G-M.
Harry Cordwell.
D EN Z EL W ASHI NGT ON in Cry Freedom, Marble Arch,
HOP E AN D GLORY , Davros, Columbia. Anthony Pratt;
Universal.
Joan Woollard.
* T HE LAST EM P EROR , Hemdale, Columbia. Ferdinando
Scarotti; Bruno Cesari and Osvaldo Desideri.
NORM A ALEAND RO in GabyA True Story, Brimmer,
RAD I O D AY S, Rollins and Joffe, Orion. Santo Loquasto;
Tri-Star.
Carol Joffe, Les Bloom and George DeTitta, Jr.
ANNE ARCHER in Fatal Attraction, Jaffe/Lansing,
T HE U NT OU CHABLE S , Linson, Paramount. Patrizia
Paramount.
Von Brandenstein and William A. Elliott; Hal
* OLY M P I A D U K AK I S in Moonstruck, Palmer/Jewison,
Gausman.
M-G-M.
ANNE RAM SEY in Throw Momma from the Train,
C O S TUM E D ESIGN
Rollins, Morra & Brezner, Orion.
T HE D EAD , Liffey, Vestron. Dorothy Jeakins.
ANN SOT HERN in The Whales of August, Alive Films.
EM P I RE OF T HE SU N , Warner Bros. Bob Ringwood.
* T HE LAST EM P EROR , Hemdale, Columbia. James
D I R E C TI N G
Acheson.
FAT AL AT T RACT I ON, Jaffe/Lansing, Paramount.
M AU RI CE, Merchant Ivory, Cinecom. Jenny Beavan and
Adrian Lyne.
John Bright.
HOP E AND G LORY , Davros, Columbia. John
T HE U NT OU CHABLE S , Linson, Paramount. Marilyn
Boorman.
Vance-Straker.
* T HE LAST EM P EROR, Hemdale, Columbia. Bernardo
Bertolucci.
S O UN D
M OON ST RU CK , Palmer/Jewison, M-G-M. Norman
EM P I RE OF T HE SU N , Warner Bros. Robert Knudson,
Jewison.
Don Digirolamo, John Boyd and Tony Dawe.
M Y LI FE AS A D OG , Svensk Filmindustri/Filmteknik,
* T HE LAST EM P EROR , Hemdale, Columbia. Bill Rowe
Skouras Pictures. Lasse Hallstrm.
and Ivan Sharrock.
LET HAL W EAP ON, Warner Bros. Les Fresholtz, Dick
Alexander, Vern Poore and Bill Nelson.
ROBOCOP , Tobor, Orion. Michael J. Kohut, Carlos de
Larios, Aaron Rochin and Robert Wald.
T HE W I T CHES OF EA S T W I C K , Warner Bros. Wayne
Artman, Tom Beckert, Tom Dahl and Art Rochester.
b e s t s up p ort i n g actr es s : OLYMPIA DUKAKIS as Rose

Castorini in Moonstruck (M-G-M; directed by Norman Jewison). As the mother of Cher and the wife of Vincent Gardenia,
Olympia Dukakis created one of the years favorite performances
as a warm, supportive mama of a noisy Italian clan who is, no
contest, the centerpiece of the family. Pre-Moonstruck, Dukakis
was primarily a stage actress but the popular movie made her
close to a household name, just as her cousin Michael was becoming the same via the political route.
288
be s t s u p p or t in g a cto r: SEAN CONNERY as Jim Malone

in The Untouchables (Paramount; produced by Art Linson).
The Untouchables had started as a black-and-white TV series starring Robert Stack as law enforcer Elliot Ness; Brian
De Palmas colorful and big-scale reworking centered on Ness
(Kevin Costner, at far right) attempting to bring down mobster kingpin Al Capone (Robert De Niro) during Chicagos
Prohibition era. One of Nesss helpers is a likable, tough street
cop played by Sean Connery (center), who takes the younger
lawman under his wing. Connery walked off with the show and
also, at long last, walked off with an Oscar. He had never been a
winner or even a nominee before.
8/8/13 7:33 PM
AU REVOI R LES E N F A N T S ( G O O DB YE , C H I L DR E N )
(France).
* BABET T E S FEAST (Denmark).
COU RSE COM P LE T E D (Spain).
T HE FAM I LY (Italy).
P AT HFI N D ER (Norway).

For Sound Effects Editing: S T E PH E N F L I C K and J O H N
P OSP I SI L for RoboCop.

T O BI LLY W I LD ER

T O FRED HY NES
A WA R D S
a ca de my a w a r d of merit ( statuette)
BERNARD K HL and W E R N E R B L O C K and to the

OSRAM GM BH R E S E A R C H A N D DE V E L O PME N T
D EP ART M EN T for the invention and the continuing
improvement of the OSRAM HMI light source for


W I LLI BU RT H and K I N O T O N E C O R PO R A T I O N for
be s t f ore i gn l an g u a g e f i l m : BABETTES FEAST from

Denmark. Adapted from an Isak Dinesen short story, Babettes
Feast was the delightful tale of two Danish sisters, carrying on
the stern Lutheran traditions of their late father, and their loyal
housekeeper, Babette, who prepares a real French meal of staggering sumptuousness for the sisters and a group of their ascetic
fellow-parishioners. Winning the foreign language lm award,
Feast became the rst lm from Denmark to do so.
F I LM ED I T I N G
S H O R T F I LM S
BR O A D C A S T NE WS, 20th Century Fox. Richard
Marks.
E MP IR E O F THE SUN, Warner Bros. Michael Kahn.

FA TA L A TTR A C T ION, Jaffe/Lansing, Paramount.
Michael Kahn and Peter E. Berger.

* THE L A ST E MP E ROR, Hemdale, Columbia. Gabriella
Cristiani.
R O BO C O P , Tobor, Orion. Frank J. Urioste.
* INNE R S P A C E , Warner Bros. Dennis Muren, William

George, Harley Jessup and Kenneth Smith.
P R E D A TO R , 20th Century Fox. Joel Hynek, Robert M.
Greenberg, Richard Greenberg and Stan Winston.
MUSIC
C R Y FR E E D O M (Cry Freedom, Marble Arch,
Universal); Music and Lyric by George Fenton and

Jonas Gwangwa.
* (I VE HA D ) THE TIME OF MY LIFE (Dirty Dancing,
Vestron); Music by Franke Previte, John DeNicola
and Donald Markowitz. Lyric by Franke Previte.
NO THING S GO N NA STOP US NOW (Mannequin,
Gladden, 20th Century Fox); Music and Lyric by
Albert Hammond and Diane Warren.
SHA KE D O W N (Beverly Hills Cop II, Simpson/
Bruckheimer, Paramount); Music by Harold
Faltermeyer and Keith Forsey. Lyric by Harold
Faltermeyer, Keith Forsey and Bob Seger.
STO R Y BO O K L OV E (The Princess Bride, Act III, 20th
Century Fox); Music and Lyric by Willy DeVille.
C R Y FR E E D O M, Marble Arch, Universal. George
Fenton and Jonas Gwangwa.

E MP IR E O F THE SUN, Warner Bros. John Williams.
* THE L A ST E MP E ROR, Hemdale, Columbia. Ryuichi
Sakamoto, David Byrne and Cong Su.
THE UNTO UC HAB LES, Linson, Paramount. Ennio
Morricone.
THE W ITC HE S OF EASTWICK, Warner Bros. John
Williams.
M A K EU P
HA P P Y NE W Y E AR, Columbia. Bob Laden.

* HA R R Y A ND THE HENDERSONS, Amblin, Universal.
Rick Baker.
(a n ima t e d)
G EORGE AND ROSEM ARY , National Film Board of
Canada. Eunice Macaulay, producer.

* T HE M AN W HO P LANT ED T REES, Socit RadioCanada/Canadian Broadcasting Corporation. Frdric
Back, producer.
Y OU R FACE, Bill Plympton Productions. Bill Plympton,
producer.
(liv e a ct ion )
M AK I N G W AVES, The Production Pool Ltd. Ann
Wingate, producer.
* RAY S M ALE HET EROSEX U AL D AN CE HALL,

Chanticleer Films. Jonathan Sanger and Jana Sue
Memel, producers.
SHOESHI N E, Tom Abrams Productions. Robert A. Katz,
producer.
D O C UM E N TA R Y
FRANCES ST ELOFF: M EM OI RS OF A BOOK SELLER,
a Winterlude Films, Inc. Production. Deborah

Dickson, producer.
I N T HE W EE W EE HOU RS . . . , School of Cinema/TV,
University of Southern California. Dr. Frank Daniel
and Izak Ben-Meir, producers.
LAN G U AG E SAY S I T ALL, a Tripod Production. Megan
Williams, producer.
SILVER INTO GOLD, Department of Communications,
Stanford University. Lynn Mueller, producer.
* Y OU NG AT HEART , a Sue Marx Films, Inc. Production.
Sue Marx and Pamela Conn, producers.
the invention and development of the Non-rewind

Platter System for motion picture presentations.
M ON T AGE GROU P, L T D. , for the development, and to
RONALD C. BAR K E R , and C H E S T E R L . S C H U L E R
for the invention, of the Montage Picture Processor
electronic lm editing system.
COLI N F. M OSSMA N and R A N K F I L M
LABORAT ORI ES DE V E L O PM E N T G R O U P for
creating a fully-automated lm handling system for
improving productivity of high speed lm processing.
of Eastman Color High Speed Daylight Negative Film
5297/7297.
EAST M AN K OD AK C O M PA N Y for the development of
Eastman Color High Speed SA Negative Film 5295 for
blue-screen traveling matte photography.
FRI T Z G ABRI EL B A U E R for the invention and
development of the improved features of the
Moviecam Camera System.
Z ORAN P ERI SI C of Courier Films Ltd. for the Zoptic
dual-zoom front projection system for visual effects
photography.
CARL Z EI SS COM PA N Y for the design and
development of a series of super-speed lenses for
I OAN ALLEN of Dolby Laboratories, Inc., for the Cat.
43 playback-only noise reduction unit and its practical

application to motion picture sound recordings.
J OHN EP P OLI T O, W A L L Y G E N T L E MA N , W I L L I A M
M ESA, LES P AU L R O B L E Y, and G E O F F R E Y H .
W I LLI AM SON for renements to a dual screen, front
projection, image-compositing system.
J AN J ACOBSEN for the application of a dual screen,
front projection system to motion picture special

effects photography.
T HAI N E M ORRI S and DA V I D PI E R for the
development of DSC Spark Devices for motion picture
special effects.
T AD EU Z K RZ AN O W S K I of Industrial Light and
Magic, Inc., for the development of a Wire Rig Model
Support Mechanism used to control the movements of
miniatures in special effects.
D AN C. N ORRI S and T I M C O O K of Norris Film
Products for the development of a single-frame
exposure system for motion picture photography.
289
(fe a t u r e s )
EY ES ON T HE P RI Z E: AM ERI CA S CI VI L RI GHT S
Y EARS/ BRI D G E T O FREED OM 1965 , a Blackside,
Inc. Production. Callie Crossley and James A.

DeVinney, producers.
HELLFI RE: A J OU RN EY FROM HI ROSHI M A. John
Junkerman and John W. Dower, producers.
RAD I O BI K I N I , a Production of Crossroads Film
Project, Ltd. Robert Stone, producer.
A ST I T CH FOR T I M E, a Production of Peace Quilters
Production Company, Inc. Barbara Herbich and Cyril

Christo, producers.
* T HE T EN- Y EAR LU NCH: T HE W I T AND LEG EN D OF

T HE ALGON Q U I N ROU N D T ABLE, an Aviva Films
Production. Aviva Slesin, producer.
8/8/13 7:33 PM
19881997
The Academys Seventh Decade
ne of the primary accomplishments

of the Academys seventh decade
was to continue tidying up oversights, amending the Academy records that
had shortchanged several artists during the
McCarthy House Un-American Activities
Committee era of the 1950s. That period had
sent a reign of terror through the Hollywood
studios, blacklisting writers accused of
having unfriendly political sympathies,
even erasing names from lm credits and,
therefore, from their due acknowledgment
on the Academy honor rolls. Back in 1975,
writer Dalton Trumbo had been given a long
overdue Oscar for his 1956 story for The Brave
One, awarded at the time to Robert Rich,
a pen name Trumbo had used during his
blacklisted days. Although Trumbo had died
in 1976, in 1992 he was additionally given
Academy credit for writing the 1953 Oscarwinning story for Roman Holiday, which
had always been credited to Ian McLellan
Hunter, co-author of the screenplay with
John Dighton. Trumbo, it was revealed, had
written the original story for Roman but had
to enlist Hunter, a friend and fellow screenwriter, to act as a front for him in those
tumultuous Fifties. Finally, on May 10, 1993,
Trumbos widow, Cleo, and their three children were ofcially presented a belated Oscar
in the writers name for his work on Roman
Holiday. Other blacklisted writers such as
Michael Wilson also had their names, at
long last, rightfully written into the Academy
records where they belonged.
Another major event of the Academys
Decade VII occurred in 1990: the move of
the Academys extensive Margaret Herrick

Library from the AMPAS headquarters in
Beverly Hills to its own 40,000 square-foot
building a few blocks east at the corner of La
Cienega and Olympic boulevards. Named
the Center for Motion Picture Study, the
new acquisition was a sixty-three-year-old
structure that had formerly housed the
Beverly Hills Waterworks; the move and
renovations cost $6 million and for the rst
time brought under one roof the holdings of
the Margaret Herrick Library and the Academy Film Archive. It ofcially opened its
doors in January 1991, following four nights
of grand-opening events.
The construction and conversion of the
new center were paid for with monies the
Academy had on hand; at the same time,
a campaign to build a $15 million endowment to support the facility, the Academys
rst-ever fund-raising effort, was launched.
Led by successive Academy presidents Karl
Malden and Robert Rehme, it brought donations from a wide spectrum of contributors,
including $1 million each from Bob Hope
and the Cecil B. DeMille Foundation.
During the same period, major renovations were also done on the theaters at the
Academys headquarters, keeping them
state-of-the-art facilities. The 1,012-seat
Samuel Goldwyn Theater was upgraded to
include: all three of the recently introduced
digital sound formats, a JBL three-way
speaker system, computerized theatrical
lighting controls, a 24-channel professional
sound mixing console for live events and a
unique computerized projection monitoring
LILI FINI ZANUCK
we can continue the polite conversation, but we also

get to hold handsand cross our fingers. Then the
nominations for Best Picture are announced, and
you see clips from them all, and suddenly I just cant
believe how terrific the other nominated movies are.
And then . . .
. . . the envelope is opened and your name is read,
and somehow, mysteriously, you float to the podium.
And the thing I discovered that night was this: even
though I didnt have a speech written, I had total
clarity about whom to thank. I didnt forget anybody,
and I remembered them in exactly the order that they
helped get the picture made. I remembered them all
because in that moment, the biggest moment of my
life, nothing was clearer to me than my gratitude.
290
All my life Ive imagined winning an Academy Award,
and all my life, whenever I fantasized about it, I
would see myself with some kind of Winners Dress
on. It was a red dress with a train, or maybe a big
bright yellow dressa big fantasy dress. But once
youre nominated, you get to thinking: What if you
lose? You dont want to be galumphing around the
Governors Ball in a big Winners Dress when youve
just lost in front of a billion people. So now youre
preparing for the biggest event of your life by buying
the plainest dress you can find. As for your fantasy of
entering the Dorothy Chandler Pavilion brandishing
a long cigarette holder and flanked by twin Afghan
houndsforget about it.
As the weeks go by, you get scared and superstitious.
The day arrives. My husband is so nervous
he wont let me talk to him, not even during the
ceremony. Were sitting there in silence and at last,
Driving Miss Daisy wins Best Makeup. This means
I can put my hand on his arm. An hour and half later,
Alfred Uhry wins Best Screenplay; polite conversation
is permitted. When Jessica Tandy wins Best Actress,
Lili Fini Zanuck

Best Picture, 1989
8/8/13 7:33 PM
Bob Hope, Lucille Ball (61st Awards)
Tom Hanks, Rita Wilson (61st Awards)
Under the Sea production number with Geoffrey Holder (62nd Awards)
291
RICHARD D . ZA N UCK
As a young man I grew up mesmerized by the three

Academy Awards and the three Irving G. Thalberg
Awards lined up atop the living room fireplace at our
home at the beach. My father had won the Academy
Awards for How Green Was My Valley, Gentlemans Agreement, and All about Eve. The Thalbergs
had been spread throughout his career and after he
had won for the third time, the Academy passed a
ruling by which no member could win this award
more than once. I would often stare at these golden
testaments of Academy triumphs and lifetime achievements and contemplate whether or not something like
this or a fraction thereof would be in my future. It
was something I dreamed of and fantasized about as
I grew up.
I dont have to elaborate for you how it felt stepping
up to the podium the night they presented the award
for Best Picture of 1989. Driving Miss Daisy, the film
that no one wanted to make and the film that apparently directed itself, since Bruce Beresford was not one
of its nine nominees, became after all these years the
unlikely conduit between Oscar and me.
Happily, my Oscar is not lonely on my mantel as it

is joined by the one brought home that night in 1989
by my fellow producer, partner, and wife, Lili Fini
Zanuck.
The following year the Academy bestowed upon me
its greatest honor, the Irving G. Thalberg Award, and
now my mantel runneth over.
Boyhood dreams can come true, you know.
Richard D. Zanuck
Best Picture, 1989
A L F RE D U H RY
I went through the Academy Awards show on automatic pilot. They didnt get to my category until
almost the end. When my name was announced by
Jane Fonda, it seemed like it was happening to somebody else. A few days laterback home in New York
I watched the show on tape. I went through all the
appropriate emotions. Alone in my apartment, I was
apprehensive, frightened, hopeful. I was elated when
I won. I choked up. And I realized that the Academy
Awards presentation only seemed real to me on television because thats how Id seen it my whole life. It
was a remarkable and bizarre experience.
Alfred Uhry
Screenplay Based on Material from Another
Medium, 1989
C L I N T E A ST WOOD
I was sitting in the theater next to my 85-year-old

mother thinking, What if I had her come all this
way and we go home empty? I was mulling over this
thought while they read the names for Best Director
and when they announced that I had won, I got up
and thanked everyone EXCEPT my mother. I got off the
stage thinking that I had to win for Best Picture if only
to get back up on stage and rectify my error. The theme
that year was The Year of the Woman, and luckily I got
to thank the greatest woman on earth: my mother.
Clint Eastwood
Best Picture, 1992; 2004
8/8/13 7:33 PM
Jodie Foster (61st Awards)
system designed exclusively for the Academy.

In addition, the Grand Lobby of the theater
was given a complete new look, and the
buildings 67-seat Academy Little Theater was
entirely rebuilt. That wasnt the end of renovations. An earthquake on January 17, 1994,
severely shook up things, including a highpressure rooftop water pipe on the Academys
main building, with enough ooding and
damage resulting that several weeks of reconstruction were required.
During the decade, there were many gala
events in the Academys Samuel Goldwyn
Theater, beginning with a salute to the
late composer Irving Berlin, hosted by Jack
Lemmon, with a live orchestra under the
direction of Peter Matz and the participation
of many celebrities. Later tributes during this decade included evenings devoted
to the careers of Mary Pickford, Joseph L.
Mankiewicz, Johnny Green, Betty Comden
and Adolph Green, Georges Mlis, Marlene
Dietrich, Federico Fellini, Buster Keaton,
Stanley Donen, Bernardo Bertolucci, Jay
Livingston and Ray Evans, and the Kanin
clan, composed of brothers Garson and
Michael Kanin and their wives Ruth Gordon
and Fay Kanin. Several of the tributes were
rst done at New Yorks Museum of Modern Art as a joint effort of MoMA and the
Academy; others were initially done at the
Kevin Costner (63rd Awards)
Madonna (63rd Awards)
Billy Crystal (63rd Awards)
292
ANTHO NY HO P KIN S
When I was nominated for the Academy Award, it all

seemed very unreal.
When Kathy Bates announced my name, And the
Oscar goes to . . ., everything went into dream time. I
got up onto the stage and thought Ive just been given
an Oscar! Ive been given an Oscar! Now what the
hell do I say? So instead of thanking Orion Pictures
and the Academy, I just said Hello to my mother at
home in Wales. So if it is not too late, Thank you
Academy. And thank you everyone at Orion Pictures.
It was the sweetest moment in my life.
Anthony Hopkins
Best Actor, 1991
EMMA THO MP S ON
I was sitting next to my mother, who turned to me

and said You havent got a snowballs chance in hell.
When Tony said my name I sat stock-still for about
half an hour worrying about my high heels. It took
ages to get to him. The only person I could see was
Mother, leaning forward in her seat with a very
concentrated and serious expression, like the ones

she wore at school assembly when I was a child. Then
I went backstage and met Jane Fonda. I felt like the
Queen on a very good day.
Emma Thompson
Best Actress, 1992
Screenplay Based on Material Previously
Produced or Published, 1995
TED TALLY
During the ceremony itself, I was remarkably composed, I dont know why. Even when Robert Duvall
opened the envelope and announced my name, I
remained in an eerie calm, as if I were floating twenty
feet above the auditorium floor, watching someone
else embrace his wife, hug his director, walk towards
the stage . . .
The next morning I walked from my hotel to a
nearby shopping center to get the papers. I sat on a
bench and read them. And thats when it finally hit
me. Five Oscars. Only the third film in history to
sweep those particular awards. One of the papers had
printed a list of all the Best Picture winners, going

back through time, and as I read them I started to
tremble. Gone with the Wind. Casablanca. Lawrence of Arabia. West Side Story. On and on, that
astonishing roll call . . . movies that had amazed and
thrilled and inspired me my whole life. And there we
were, too, The Silence of the Lambs, now listed forever alongside those masterpieces. All my mysterious
calm vanished at last, and I sat on that bench with
tears in my eyes, shaking like a leaf.
Ted Tally
Screenplay Based on Material Previously
Produced or Published, 1991
N E I L T RA V I S
The Oscar gave me such a feeling of acceptance that

I was, automatically, able to break a fifty-year-old
habit of biting my fingernails. I know it sounds
strange, but Sally Field had the right of it.
Neil Travis
Film Editing, 1990
8/8/13 7:33 PM
Academys Beverly Hills headquarters,

then repeated at MoMA. Still others, such
as those saluting the careers of Celeste Holm
and Esther Williams, were coordinated by
the Academy but presented only at MoMAs
New York headquarters. One of the most
ambitious events was a salute to Hollywoods
role in World War II, called Films for the
Fight, specically created to commemorate
the 50th anniversary of the D-Day invasion
celebrated at the Deauville Film Festival
in France in 1994. The program was later
repeated in both New York and Los Angeles.
During the decade, numerous screenings open to the public were also held in the
Academys theater. The selection included
both off-beat lms as well as treasures from
the archives, the latter giving attendees a
rare chance to see, again or for the rst time,
classic Oscar-winning lms on a big screen,
in mint 35mm condition. Seminars relating
to all aspects of lmmakingacting, directing, writing, marketing, et al.also continued at full-steam and, for the rst time, the
Academy allowed the historic archival footage from past Oscar telecasts to be publicly
released on video, in an arrangement with
RCA/Columbia Pictures Home Video. Prots
from Oscars Greatest Moments, a compilation of highlights from the then-mostrecent twenty-one years of Oscar telecasts,
were earmarked to benet the endowment
fund of the Academys Center for Motion
Picture Study.
For the rst time, on November 1, 1988,
the Academy was honored in a genuinely
royal manner by its British cousins. A gala
dinner hosted by the British Academy
of Film and Television Arts was given in
England in the Great Banqueting Hall of
Hampton Court Palace, Henry VIIIs favorite
restaurant, specically in recognition of the
60th anniversary of the American Academy.
The guest list included many Sirs (among
them, David Lean, John Mills, Richard Attenborough) and such spectacular talent
Hal Roach (64th Awards)
Billy Crystal (64th Awards)
Whoopi Goldberg, Denzel Washington (63rd Awards)
293
AL AN MENKEN
In 1990 I was nominated for the best score for The

Little Mermaid and two songs, Under the Sea
and Kiss the Girl. From the moment we arrived,
everything pointed to a night spent traversing that
immense distance to that stage. One fellow nominee
said, I dont know whos winning tonight but Im
told that a couple of statues have fins on them. I mentally prepared myself, but nothing quite prepares you
for the tension that builds as your moment arrives.
Score came first and Ill never forget Steve Martin
saying my name, Janis kissing me and, most of all,
Howard Ashman reaching over and congratulating
me. He had made it all possible.
I spent the next hour and a half praying for a best
song award for the two of us.
I often watch the video of us rising to accept our
Oscar for Under the Sea and look at the happiness
in Howards face. It was a wonderful night. Two days
later Howard told me he was sick with AIDS. He was
gone within a year.
R O N A L D B A SS
As our award was being announced, I sat in the third

row, convinced that none of this affected me. The
smart money was on another writer as heavy favorite
in our category. The podium was on the far side of the
stage, and so I watched a huge screen directly in front
of me filled with the beautiful face of our presenter,
Amy Irving, a sweet and loyal friend. As Amy opened
the envelope, something in her expression told me I
had won, and reflexively, I simply stood up. By the
time my name was actually read, my wife was looking
up at me in amazement at how I could already be
standing. I often reflect on what a long way down it
would have been to my seat, if that reflex had been
mistaken.
Ronald Bass
ST E V E N SP IEL BERG
Believe me when I say, Its a lot easier imagining an

Oscar than winning one. When that moment finally
arrived, even though I had been nagged at by friends
and associates that I could actually take one home, I
honestly never believed any of them until Clint Eastwood opened the envelope and read my name out loud.
What made it so hard for me to believe was that in
the entire history of the Academy Awards, representing the thousands of movies and films, spanning
nearly a century of American picture making, I had
been selected as one of only 66 directors to receive this
highest honor.
Its been four years since I won the Academy Award
for Schindlers List, but to me, it still seems like
yesterday.
Steven Spielberg
Best Picture, 1993
Alan Menken
Music (Original Musical or Comedy Score),
1989; 1991; 1992; 1995
Music (Song), 1989; 1991; 1992; 1995
8/8/13 7:33 PM
as Peter Ustinov (who later in the decade

would also be knighted), Olivia de Havilland, Ben Kingsley, and Jack Cardiff among
the many, with HRH Princess Anne also in
attendance. Hampton Court was chosen for
the gathering because of its own Oscar connection: the very rst British lm to win a
major Academy Award was The Private Life of
Henry VIII, much of it set in Hampton Court
and a lm that earned the 193233 best actor
award for Charles Laughton.
On January 28, 1993, the Academy
enlisted photographer Theo Westenberger
to record another historic gathering: 67
Oscar-winning women (out of the 158 living
at the time) brought together in one place at
one time. The photograph was taken in the
Goldwyn Theater at the Academy headquarters, during a reception which quickly
grew into a genuine party. The reason for
the massive get-together was to call added
attention to the upcoming 65th Oscar
ceremonies, which were subtitled Oscar
Celebrates Women and the Movies, as
well as to increase general awareness of the
numerous and important contributions by
women to all areas of lmmaking.
In February of 1995, the Board of Governors voted to inaugurate the rst new Academy branch in 42 years, giving the roughly
130 visual effects members a branch of their
own. It was the rst increase in the number
of Academy branches since 1953.
Various individuals and groups continued
to donate valuable lm-related collections
to the Margaret Herrick Library. Sid Avery
and the Los Angeles County Museum of Art
contributed more than 35,000 photographs
and negatives that originally had been part
of the Hollywood Photographers Archive.
The Turner/M-G-M script collection, encompassing some 50,000 individual items,
arrived in January 1994 via 1,500 boxes
transported by three moving vans, the largest single donation of archival materials yet.
(It included a completely handwritten rst-
Marcello Mastroianni, Federico Fellini, Sophia Loren (65th Awards)
draft script for Meet Me in St. Louis.) Other

important collections belonging to Paul Mazursky, William Friedkin, Jerry Goldsmith,
Sam Peckinpah, Bryan Forbes, Hal Ashby,
Leo K Kuter, Gregory Peck, Alex North,
Sammy Cahn, Richard Brooks, David Niven,
Mervyn LeRoy, John Engstead, and others
were received, as well as documents relating
to the careers of Cary Grant, Warner Baxter,
and others. The Edward Mapp Collection of
900 movie posters documenting AfricanAmerican lmmakers also became a part of
the Academys archives.
In September 1991, the Academy also
acquired two historic Academy Award statuettes which had been reported stolen from
the home of director Lewis Milestone in
1978 and were being offered for sale to Los
Angelesarea memorabilia dealers. The
Oscars, won by Milestone for his direction of
Two Arabian Knights (192728) and All Quiet
on the Western Front (192930), were re-
claimed by the Academy via a court order and

eventually surrendered without objection by
a North Hollywood resident. In 1995, Margaret OBrien was also overjoyed to get back the
long-missing miniature Oscar she had been
presented in 1944 as the outstanding child
actress of that year. Two baseball memorabilia collectors had bought it at a swap meet
and returned it to Ms. OBrien upon learning
it had been stolen some 40 years earlier.
Also, thanks to a surprising and generous
gesture in 1997, the Academy acquired the
Oscar won by the late Clark Gable for 1934s
It Happened One Night. The statuette had
been put on auction in 1996 by Gables son,
John Clark Gable, and, despite the Academys
efforts to acquire it, the auction proceeded
with an anonymous buyer paying $550,000
for the award. (With fees and commissions added, the nal total was an awesome
$607,500.) A few days later, the statue arrived
at the Academy as a gift from the bidder, who
I was somehow not consoled. It was a great night.

One I will never forget. I am waiting to win again so
I can thank those three wonderful people.
George Watters II
Sound Effects Editing, 1990
Sound Editing, 2001
I think I thanked most people I needed to, but had

left out my wonderful acting teacher, Wynn Handman, whose class had propelled me into the character
creations that led to me being able to come up with
someone like Linda Ash in Mighty Aphrodite. I then
said, When you give me this award you really honor
my father, and at that moment he burst into tears.
He had promised after the Golden Globes he would
not weep this time, but he had no idea I was symbolically handing the Oscar to him. . . . I was so happy
and grateful, and to this day the night has been one of
the great events of my life.
MIRA SO RVINO
Mira Sorvino
Actress in a Supporting Role, 1995
294
GEO RGE W AT T ER S II
The fastest couple of minutes in your life is from the

moment your name is announced as a winner of an
Academy Award until you are walking off stage carrying it. You dont remember anything you said until
you are reminded at home while you watch yourself
on a tape on your VCR. Maybe someday it will sink in
that I won, but after three years I still cant believe it.
My memories of that Oscar night are of a whirlwind

of excitement and nerves. The Best Supporting Actress
award was given out quite early in the show, and as
they announced the nominees I just willed myself to
be happy for whomever won; I never thought it would
be me, as I was so young and was just thrilled to be
nominated. When they called my name it was like
something out of a dream; I rose up in that flouncing
ball gown and somehow floated up the stairs. I hadnt
been planning an acceptance speech, but the night
before I had a dream that I should, so I hastily crafted
something during my hair-and-makeup session;
T O M SC H U L M A N
When I won my Academy Award, my presenter was

Jane Fonda, and having her accompany me quickly
put the whole thing into perspective. Right after I
made my acceptance speech, I stepped into the wings
and went into full-blown panic. I had neglected to
thank three very important people. Jane asked me
what was wrong and when I told her, she said, Oh,
dont be silly. Youll thank them next time. Hmm.
Tom Schulman
M A R K J O H N SO N
For weeks, even months, before the actual ceremony,

everyone, and I mean everyone, predicted a win for
our movie. Every phone call would close with some
well-meaning voice assuring me that the Oscar was
mine. Even my dry cleaner said it was a lock.
It got to the point that had Rain Man not won, I
would have been made to feel as though I had disappointed everyone, as though I had deliberately done
something to undermine a sure winner. Rather than
be gloriously content with a nomination, I would
have been, so I was beginning to think, a loser. The
pressure to perform, to win, was relentless. Finally,
when all was over and done with, my overriding joy
was not one of triumph, but one of relief! What crazy
and wonderful times!
Mark Johnson
Best Picture, 1988
8/8/13 7:33 PM
turned out to be Steven Spielberg. He had

bought it, he said, expressly so it would be
returned to the Academy. A sanctuary for
Gables only Oscar, said Spielberg.
Earlier, in 1988, the Academy found it
necessary to bring a lawsuit against a Chicago trophy company called Creative House
Promotions which had been manufacturing
and selling a close replica of the copyrighted
Oscar statuette. Three years later, a 1991 ruling by the U.S. 9th Circuit Court of Appeals
on the case concluded that the Academys
sleek, muscular gold statuette known as Oscar, which is recognized worldwide as a distinctive symbol of outstanding achievement
in lm . . . should be given the strongest
possible protection against infringement.
Creative House was required to pay the
Academy $300,000 for its violation and to
discontinue the manufacture and sale of
the design in question. Disputes with other
trophy manufacturers were similarly settled.
One paid a substantial sum to the Academy
and agreed to discontinue the production of
its Oscar clone; a second voluntarily modied its trophy to eliminate similarities to the
Academys famous symbol.
During the Academys seventh decade,
James M. Roberts decided to retire. Roberts,
a 35-year veteran of the AMPAS, had begun
his career with the Academy in 1954 as the
organizations controller; since 1971, he had
served as the Academys Executive Director.
He retired July 31, 1989, succeeded by Bruce
Davis, who had been the Academys Executive
Administrator before accepting his new post.
Callie Khouri, Geena Davis, Becky Johnston at Nominees Luncheon (64th Awards)
t he s e v e n t h de ca de
July 1988July 1989 . . . . . . . . . . . . . . . . . Richard Kahn
July 1989July 1990 . . . . . . . . . . . . . . . . . . Karl Malden
July 1992July 1993 . . . . . . . . . . . . . . . . .Robert Rehme
July 1993July 1994 . . . . . . . . . . . . . . . . . .Arthur Hiller
August 1994July 1995 . . . . . . . . . . . . . . .Arthur Hiller
August 1997July 1998 . . . . . . . . . . . . . .Robert Rehme
Anthony Hopkins hugging Jodie Foster (64th Awards)
295
DO UG SMY T H E
The audience was hushed. The timpani rolled. The

names were readour names. The moment I had
dreamt of had arrived. I followed my co-winners up
to the stage to accept our awards and attempt the
impossible: to deliver four acceptance speeches before
the orchestra struck the chords that would lead the
viewers at home into a commercial break, cutting off
a stunned Oscar recipient mid-sentence.
Its all simple mathematics, reallywinners are
allotted forty-five seconds to present their words of
gratitude, and since there were four of us, that meant
we each had eleven seconds to speak. There were so
many people I wanted to mention, but time was so
limitedwhat to do? What Billy Crystal later figured
to be a new record for speed-accepting: thirteen
names in ten seconds.
It was truly a magical night. Thank you to all.
Doug Smythe
Visual Effects, 1992
MERCEDES RUEHL
On the night of the Academy Awards, all of my anxiety coalesced into one obsessive fear: that if I won, and
was summoned to the podium, I would trip and fall en
route. And shortly after my name was called, I nearly
did. The rail-less steps that led up to the stage were
strewn at the base with a tangle of cables transmitting
the show to Mr. and Mrs. America, every country in
the world, and all the ships at sea. As I picked my way
through them in a dreamand, more to the point, in
four-inch heels provided by ValentinoI listed dangerously to starboard. A hand came out of nowhere to
steady me. Following the hand up its arm to a face,
I discovered it to be Warren Beattys, smiling. Oh,
my, a breathy voice very far away inside me said. I
proceeded on to the podium. I was armed with one line
that would save meI had come up with it in the bathtub of the Bel Air Hotel the night beforeshould any
further mishap upend me before a billion viewers and
land me in a humiliated heap of designer gown and
borrowed jewels before the microphone. The line was,
I have arrived! Not with standing!
Mercedes Ruehl
J E SSI C A YU
A lot of people ask, What was going through your

mind when you heard your name? The answer is
nothing, a white buzz, what my cat thinks when it
hears a loud noise. It wasnt until I was walking up
to the stage that I had my first coherent thought. I
was looking down at the steps so I wouldnt stumble
in my unfamiliar spike heels when I thought, Gee,
these stairs are kind of scuffed. Theyre just ordinary
stairs. Then I got up there and saw the crowd all lit
up; it seemed like everyone was smiling at me. My one
billion new close friends.
After running the gauntlet of press rooms (all
those elbows jostling to take my picture?) I went to
the lobby to call Mark OBrien. He was holding an
Oscar party in his Berkeley apartment, and when he
answered the phone I heard this roar. When I got back
to my seat I told my husband, For a guy in an iron
lung, Mark sure can yell.
My goal had been simply to enjoy the moment if I
won. I had a blast.
Jessica Yu
Documentary (Short Subject), 1996
8/8/13 7:33 PM
1988
The Sixty-First Year
ain fell on the sixty-rst Academy Awards ceremonies, held

March 29, 1989, at the Shrine
Civic Auditorium in downtown Los Angeles.
That was the simple part, compared to the
storm that brewed immediately after. For
Oscar statisticians, it was denitely the year
of Rain Man; for others, it became known as
the year of laffaire de Blanche-Neige.
It came as no surprise to the preshow
quarterbackers when Rain Man walked off
with several of the years top awards. The
drama was named best picture of the year;
Dustin Hoffman also followed preshow
predictions by winning as the years best actor, his second award in that category. Barry
Levinson of the same lm, as prophesied,
won the directors prize, his rst.
Many of the evenings other winners
caught handicappers decidedly off guard.
Kevin Kline, instead of odds-on-favorite
Martin Landau, nabbed the best supporting
actor award. Geena Davis was announced as
the years best supporting actress; most had
Sigourney Weaver to win in that division.
Weaver had been nominated twice in 1988,
once as best actress (for Gorillas in the Mist)
and again in the supporting actress category
(for Working Girl). This was the rst time
anyone with two such nominations had
ended up empty-handed at the end of an
Oscar ceremony. Jodie Foster was chosen as
best actress for The Accused; it was a popular
win but had been far from a sure thing.
For the second year in a row, a lm from
Denmark was named Oscars favorite foreign language lm. In 1988 the winner was
Pelle the Conqueror, directed by Bille August

and starring Max von Sydow; the previous
year the winner had been the Danish-made
Babettes Feast. On the domestic front, Rain
Man and Who Framed Roger Rabbit ended
up in a tie as the years most honored lms,
with four awards each, hardly a sweep for
either.
Ultimately it was not the results but the
telecast itself that caused the most lingering rain clouds. The three-hour-nineteenminute show, carried on ABC-TV, had been
produced by showman Allan Carr with good
intentions but some unforeseen fallout,
most stemming from the shows opening sequence. Carr had borrowed it from
a satirical San Francisco musical called
Beach Blanket Babylon and used Eileen
Bowman as a clone of Disneys Snow White
performing alongside a singing-dancing Rob
Lowe. When the Disney Company saw Miss
White playing such a prominent andin
the studios viewundignied role in the
proceedings, it objected and even briey
threatened a lawsuit. After an apology from
the Academy, though, AMPAS-Disney relations quickly returned to a cordial state.
Reviews were mixed on the rest of the
show as well. A sequence set in a mockup of
the old Cocoanut Grove nightclub presented some welcome, durable stars from
Hollywoods golden era (Alice Faye, Tony
Martin, Cyd Charisse, Dorothy Lamour,
Merv Grifn, Buddy Rogers, Roy Rogers and
Dale Evans, Vincent Price, Coral Browne)
but failed to generate the kind of genuine
glamour that had been anticipated. There
296
b e s t p i c t u r e : R A I N M A N (Guber-Peters/United Artists; produced by Mark Johnson), b e s t d i r e c t o r : B A R R Y
L E V I N S O N , and b e s t a c t o r : D U S T I N H O F F M A N as Raymond Babbitt (right, with Tom Cruise). Far aeld from most
of the formula lms dominating the 1988 lm market, Rain
Man was the immensely human drama of an autistic savant
(Hoffman), shortchanged in some mental areas but extremely
gifted in others, traveling cross-country with a luxury-loving,
fast-living brother (Cruise) who wants to get his hands on the
family inheritance. Named the years best picture, Rain Man
brought Hoffman his second Academy Award (the rst: for
1979s Kramer vs. Kramer), gave teenage-favorite Cruise his
rst genuine validation as a serious actor, and proved to be as
popular with Academy voters as it had been with the public.
(The title, for the record, had naught to do with H2O or anyones ability to conjure up a cloudburst. Rain Man referred to
the way the younger brother once used to mispronounce Raymond, the name of the older sibling.)
8/8/13 7:33 PM
was also a musical number showcasing

nineteen Hollywood newcomers that did
not inspire much condence about the
industrys future.
But it was far from a throwaway show.
The ratings were the highest in years, and
producer Carr, in attempting to add some
old-style Hollywood glitz and fun to the
telecast, had managed to entice a formidable number of stars to participate. Most
of them were introduced in familiar pairs,
such as James Stewart and Kim Novak, costars in Bell, Book and Candle, and Vertigo;
Dudley Moore and Bo Derek of 10; dancers

Sammy Davis, Jr., and Gregory Hines; newly
married Bruce Willis and Demi Moore; father and son Donald and Kiefer Sutherland;
and Sean Connery and Michael Caine, who
had earlier teamed up in John Hustons
The Man Who Would Be King. Connery and
Caine were eventually joined on stage by
Roger Moore, the man who had succeeded
Connery as the movies James Bond. Two
classic clowns also appeared together and
received a standing ovation: for Bob Hope,
it was his twenty-seventh appearance on an
Oscar show. For Lucille Ball, the night

was destined to be her last public appearance; she died less than a month later, on
April 26, 1989.
Although the ceremony was again held
at the Shrine Civic Auditorium, there were
none of the trafc snarls, late arrivals, and
heated tempers that had complicated the
previous years Academy Awards party.
Thanks to some extraordinary troubleshooting and preplanning, this time everything
went off without a hitch.
be s t a ct r e s s : JODIE FOSTER as Sarah Tobias in The Accused (Jaffe-Lansing/Paramount; directed by Jonathan Kaplan).
Inspired by a true 1983 incident in Massachusetts, The Accused
chronicled the aftereffects of a gang rape on a gutsy, harddrinking waitress (Foster, left, with Kelly McGillis) who nds
life just as brutal in court when her case is heard. Tough and
cynical, the lm provoked considerable controversy because of its
morality issues; it also gave Foster the juiciest role of her career to
date and, eventually, an Academy Award after a lifetime in front
of movie cameras and a long romance with Oscar. (Her rst
nomination had come in 1976 at the age of 14 for Taxi Driver.)
Three years later, she was to win again, as 1991s best actress in
The Silence of the Lambs.
297
be s t s u p p or t in g a ct or : KEVIN KLINE as Otto in A Fish

Called Wanda (M-G-M; directed by Charles Crichton). Kevin
Kline had been acknowledged as one of the theaters funniest fellows, thanks to over-the-wall performances delivered on Broadway in On the Twentieth Century (1978) and The Pirates of
Penzance (1981), both of which won him Tony awards. By contrast his screen life had been markedly subdued until he played a
thuggish, would-be Italian stallion in A Fish Called Wanda, a
wacky British-avored comedy about a blundering gang of jewel
thieves that was written for the screen by Monty Python vet John
Cleese. As a guy named Otto, Kline (left, with Jamie Lee Curtis)
turned out to be at once bonkers, insensitive, and hilarious.
Wanda co-starred Cleese and fellow Python alumnus Michael
Palin. It also reafrmed that, as in the days when Alec Guinness
and Peter Sellers were making small-scale but extremely witty
comedies, the Brits were still masters at tickling ribs.
8/8/13 7:34 PM
Nominations 1988
b e s t s u p p o r t i n g a c t r e s s : G E E N A D A V I S as Muriel
Pritchett in The Accidental Tourist (Warner Bros.; directed by
Lawrence Kasdan). Voted the years best picture by the New York
Film Critics, Tourist was based on a best-selling novel by Anne
Tyler about an uptight, fastidious travel writer (William Hurt)
who is despondent over the death of his twelve-year-old son
and the subsequent breakup of a long marriage, until he meets
a spontaneous, upbeat and kooky dog trainer (Geena Davis).
Daviss plucky performance was showy and memorable; her subsequent Oscar win also propelled her immediately into a mainstream career that made her one of the few bankable actresses of
the early 1990s.
B ES T P I CT UR E
THE A C C ID E NTA L T OURIST, Warner Bros. Produced
by Lawrence Kasdan, Charles Okun and Michael

Grillo.
D A NGE R O US L IA ISONS, Warner Bros. Produced by
Norma Heyman and Hank Moonjean.
MIS S IS S IP P I BUR N ING, Frederick Zollo, Orion.
Produced by Frederick Zollo and Robert F. Colesberry.
* RA IN MA N, Guber-Peters, United Artists. Produced by
Mark Johnson.
W O R KING GIR L , 20th Century Fox. Produced by
Douglas Wick.
A CT O R
GE NE HA C K MA N in Mississippi Burning, Frederick
Zollo, Orion.
TO M HA NK S in Big, 20th Century Fox.

* DU STIN HO F F MA N in Rain Man, Guber-Peters,
United Artists.
E D W A R D JA ME S O LMOS in Stand and Deliver,
298
Menendez/Musca & Olmos, Warner Bros.
MA X VO N S Y D O W in Pelle the Conqueror, Per Holst/
Kaerne, Miramax Films.
A CT RES S
GL E NN C L O S E in Dangerous Liaisons, Warner Bros.

* J O D IE F O S TE R in The Accused, Jaffe-Lansing,
Paramount.
ME L A NIE GR IF F ITH in Working Girl, 20th Century
Fox.
ME R Y L S TR E E P in A Cry in the Dark, Cannon
Entertainment/Golan-Globus, Warner Bros.
S IGO UR NE Y W E A V ER in Gorillas in the Mist, Warner
Bros./Universal.
A L E C GUINNE SS in Little Dorrit, Sands Films,
Cannon.
* KE VIN KL INE in A Fish Called Wanda. Michael
Shamberg-Prominent Features, M-G-M.
MA R TIN L A ND A U in Tucker The Man and His Dream,
Lucaslm, Paramount.
R IVE R P HO E NIX in Running on Empty, Lorimar,
Warner Bros.
D E A N S TO C KW E L L in Married to the Mob, Mysterious
Arts-Demme, Orion.
WHO FRAMED ROGER RABBIT (Buena Vista) tied with Rain

Man as the years most honored lm, collecting four Oscars:
for visual effects, editing, sound effects editing, and a special
achievement award for the lms animation director, Richard
Williams. Rabbit, executive-produced by Steven Spielberg and
Kathleen Kennedy, was an eye-popping combination of live actors

(led by Bob Hoskins and Christopher Lloyd) sharing the screen
with a whole stable of famous cartoon stars, including classic
toon characters from both Warner Bros. and Disney, working in
tandem for the very rst time.
T HE U NBEARABLE L I G H T N E S S O F B E I N G , Saul
JOAN CU SACK in Working Girl, 20th Century Fox.

* GEENA D AVI S in The Accidental Tourist, Warner Bros.
FRAN CES M CD ORM AND in Mississippi Burning,
Frederick Zollo, Orion.

M I CHELLE P FEI FFER in Dangerous Liaisons, Warner
Bros.
SI GOU RN EY W EAVER in Working Girl, 20th Century
Fox.
D I R E C TI N G
A FI SH CALLED W AN D A, Michael Shamberg-
Prominent Features, M-G-M. Charles Crichton.
T HE LAST T EM P T AT I ON OF CHRI ST , Testament,
Universal/Cineplex Odeon. Martin Scorsese.
M I SSI SSI P P I BU RNI N G , Frederick Zollo, Orion. Alan
Parker.
* RAI N M AN, Guber-Peters Company, United Artists.
Barry Levinson.
W ORK I NG GI RL, 20th Century Fox. Mike Nichols.
WR I TI N G
Zaentz Company, Orion. Sven Nykvist.
W HO FRAM ED ROG E R R A B B I T , Amblin
Entertainment and Touchstone Pictures, Buena Vista.

Dean Cundey.
BEACHES, Touchstone Pictures in Association with
Silver Screen Partners III, Buena Vista. Albert Brenner;

Garrett Lewis.
* D AN G EROU S LI AI SO N S , Warner Bros. Stuart Craig;
Gerard James.
RAI N M AN , Guber-Peters Company, United Artists. Ida
Random; Linda DeScenna.
T U CK ER T HE M AN A N D H I S DR E A M , Lucaslm,
Paramount. Dean Tavoularis; Armin Ganz.
Elliot Scott; Peter Howitt.
C O S TUM E D ESIGN
COM I N G T O AM ERI C A , Eddie Murphy, Paramount.
Deborah Nadoolman.
BI G, 20th Century Fox. Gary Ross and Anne Spielberg.
BU LL D U RHAM , Mount Company, Orion. Ron Shelton. * DANGEROUS LIAISONS, Warner Bros. James Acheson.
A HAN D FU L OF D U S T , Stage Screen, New Line. Jane
A FI SH CALLED W AN D A, Michael Shamberg-
Prominent Features, M-G-M. Screenplay by John

Cleese. Story by John Cleese and Charles Crichton.
* RAI N M AN, Guber-Peters Company, United Artists.
Screenplay by Ronald Bass and Barry Morrow. Story by
Barry Morrow.
RU NNI N G ON EM P T Y , Lorimar Production, Warner
Bros. Naomi Foner.
Robinson.
SU NSET , Hudson Hawk, Tri-Star. Patricia Norris.

T U CK ER T HE M AN A N D H I S DR E A M , Lucaslm,
Paramount. Milena Canonero.
S O UN D
* BI RD , Malpaso, Warner Bros. Les Fresholtz, Dick

Alexander, Vern Poore and Willie D. Burton.
D I E HARD , 20th Century Fox. Don Bassman, Kevin F.
Cleary, Richard Overton and Al Overton.
T HE ACCI D EN T AL T OU RI ST , Warner Bros. Frank
G ORI LLAS I N T HE M I S T , Warner Bros./Universal.
Galati and Lawrence Kasdan.
Andy Nelson, Brian Saunders and Peter Handford.
* D AN G EROU S LI AI SON S, Warner Bros. Christopher
M I SSI SSI P P I BU RN I N G , Frederick Zollo, Orion.
Hampton.
Robert Litt, Elliot Tyson, Rick Kline and Danny
GORI LLAS I N T HE M I ST , Warner Bros./Universal.
Michael.
Screenplay by Anna Hamilton Phelan. Story by Anna
Hamilton Phelan and Tab Murphy.
LI T T LE D ORRI T , Sands Films, Cannon. Christine
Robert Knudson, John Boyd, Don Digirolamo and
Edzard.
Tony Dawe.
T HE U N BEARABLE LI GHT N ESS OF BEI N G , Saul
Zaentz Company, Orion. Jean-Claude Carrire and
F
I LM E D I TI NG
Philip Kaufman.
D I E HARD , 20th Century Fox. Frank J. Urioste and John
F. Link.
G ORI LLAS I N T HE M I S T , Warner Bros./Universal.
* M I SSI SSI P P I BU RNI N G , Frederick Zollo, Orion. Peter
Stuart Baird.
Biziou.
M I SSI SSI P P I BU RN I N G , Frederick Zollo, Orion. Gerry
RAI N M AN, Guber-Peters Company, United Artists.
Hambling.
John Seale.
RAI N M AN , Guber-Peters Company, United Artists. Stu
T EQ U I LA SU N RI SE, Mount Company Production,
Linder.
Warner Bros. Conrad L. Hall.
* W HO FRAM ED ROG E R R A B B I T , Amblin
Arthur Schmidt.
8/8/13 7:34 PM


T O G ORD ON HEN R Y C O O K
A WA R D S
RAY D OLBY and I O A N A L L E N of Dolby Laboratories
Incorporated for their continuous contributions

to motion picture sound through the research and
development programs of Dolby Laboratories.

ROY W . ED W ARD S and the E N G I N E E R I N G S T A F F
OF P HOT O- SON I C S , I N C O R PO R A T E D, for the
design and development of the Photo-Sonics 35mm4ER High-Speed Motion Picture Camera with Reex
Viewing and Video Assist.
T HE ARNOLD & R I C H T E R E N G I N E E R I N G S T A F F ,
OT T O BLASCHE K , and A R R I F L E X C O R PO R A T I O N
HOTEL TERMINUS: THE LIFE AND TIMES OF KLAUS BARBIE was Marcel Ophulss four-and-a-half-hour chronicle of the infamous
Nazi war criminal responsible for the extermination and/or deportation of thousands of French Jews. It was named the years best documentary feature.
D IE HA R D , 20th Century Fox. Stephen H. Flick and
Richard Shorr.
* W HO FR A ME D ROGER RAB B IT, Amblin

Charles L. Campbell and Louis L. Edemann.
W IL L O W , Lucaslm with Imagine Entertainment,
M-G-M. Ben Burtt and Richard Hymns.
D IE HA R D , 20th Century Fox. Richard Edlund,
Al DiSarro, Brent Boates and Thaine Morris.

* WHO FRAMED ROGER RABBIT, Amblin
Ken Ralston, Richard Williams, Edward Jones and
George Gibbs.
W IL L O W , Lucaslm with Imagine Entertainment,
M-G-M. Dennis Muren, Michael McAlister, Phil
Tippett and Chris Evans.
MUSIC
C A L L ING Y O U (Bagdad Cafe, Pelemele Film, Island);
D O C UM E N TA R Y
T HE CHI LD REN S ST OREFRONT , a Simon and
Goodman Picture Company Production. Karen

Goodman, producer.
FAM I LY G AT HERI N G , a Lise Yasui Production. Lise
Yasui and Ann Tegnell, producers.
G AN G COP S, Produced at the Center for Visual
Anthropology and the School of Cinema/Television,
University of Southern California. Thomas B. Fleming
and Daniel J. Marks, producers.
P ORT RAI T OF I M OG EN , a Pacic Pictures Production.
Nancy Hale and Meg Partridge, producers.
* Y OU D ON T HAVE T O D I E, a Tiger Rose Production in
Association with Filmworks, Inc. William Guttentag
and Malcolm Clarke, producers.
(fe a t u r e s )
T HE CRY OF REASON BEY ERS N AU D : AN
AFRI K ANER SP EAK S OU T , a production of
Worldwide Documentaries, Inc. Robert Bilheimer and

Roland Mix, producers.
* HOT EL T ERM I N U S: T HE LI FE AN D T I M ES OF K LAU S

BARBI E, a production of The Memory Pictures
Company. Marcel Ophuls, producer.
LET S GET LOST , a production of Little Bear Films, Inc.
Bruce Weber and Nan Bush, producers.
P ROM I SES T O K EEP , a production of Durrin
Productions, Inc. Ginny Durrin, producer.
W HO K I LLED VI NCEN T CHI N? , a production of
THE A C C ID E NTAL TOURIST, Warner Bros. John
Film News Now Foundation and Detroit Educational
Williams.
Television Foundation. Renee Tajima and Christine
D A NGE R O U S L IAISONS, Warner Bros. George Fenton.
Choy, producers.
GO R IL L A S IN THE MIST, Warner Bros./Universal.
Maurice Jarre.
* THE MIL A GR O BEANFIELD WAR, Robert Redford/
HAN U SSEN (Hungary).
Moctesuma Esparza, Universal. Dave Grusin.
T HE M U SI C T EACHER (Belgium).
R A IN MA N, Guber-Peters Company, United Artists.
* P ELLE T HE CONQ U EROR (Denmark).
Hans Zimmer.
SALAAM BOM BAY ! (India).
Music and Lyric by Bob Telson.
* L E T THE R IVE R RUN (Working Girl, 20th Century
Fox); Music and Lyric by Carly Simon.
TW O HE A R TS (Buster, N.F.H., Hemdale); Music by
Lamont Dozier. Lyric by Phil Collins.
M A K EU P
* BE E TL E JU IC E , Geffen/Warner Bros. Ve Neill, Steve

La Porte and Robert Short.
C O MING TO A MERICA, Eddie Murphy, Paramount.
Rick Baker.
SC R O O GE D , Art Linson, Paramount. Tom Burman and
Bari Dreiband-Burman.
S H O RT FI L M S
(an i m at e d )
THE C A T C A ME BACK, National Film Board of
Canada. Cordell Barker.
TE C HNO L O GIC AL THREAT, Kroyer Films, Inc. Bill
Kroyer and Brian Jennings.

* TIN TO Y , Pixar. John Lasseter and William Reeves.
(l i ve ac t i on )
W OM EN ON T HE VERGE OF A NERVOU S
BREAK D OW N (Spain).

For Animation Direction: RI CHARD W I LLI AM S for
Who Framed Roger Rabbit.

T O T HE NAT I ON AL FI LM BOARD OF CANAD A in
recognition of its 50th anniversary and its dedicated

commitment to originate artistic, creative and
technological activity and excellence in every area of
lmmaking.
T O EAST M AN K OD AK COM P ANY in recognition of
the companys fundamental contributions to the art
of motion pictures during the rst century of lm
history.
for the concept and engineering of the Arriex 35-3

Motion Picture Camera.
BI LL T ON D REAU of Tondreau Systems/A L V A H
M I LLER and P AU L J O H N S O N of Lynx Robotics/
P ET ER A. REG LA of Elicon/ DA N S L A T E R /
BU D ELAM , J OE PA R K E R , and B I L L B R YA N of
Interactive Motion Control/and J E R R Y J E F F R E S S ,
RAY FEEN EY , BI L L H O L L A N D, and K R I S B R O W N
for their individual contributions and the collective
advancements they have brought to the motion picture
industry in the eld of motion control technology.
G RAN T LOU CK S of Alan Gordon Enterprises
Incorporated for the design concept, and

G EOFFREY H. W I L L I A MS O N of Wilcam for the
mechanical and electrical engineering, of the Image
300 35mm High-Speed Motion Picture Camera.
M I CHAEL V. CHE W E Y I I I for the development of
the motion picture industrys rst paper tape reader
incorporating microprocessor technology.
BHP , I NC. , successor to the Bell & Howell Professional
Equipment Division, for the development of a highspeed reader incorporating microprocessor technology
for motion picture laboratories.
HOLLY W OOD FI L M C O M PA N Y for the development
of a high-speed reader incorporating microprocessor
technology for motion picture laboratories.
BRU CE W . K ELLER and M A N F R E D G . MI C H E L S O N
of Technical Film Systems for the design and
development of a high-speed light valve controller
and constant current power supply for motion picture
laboratories.
D R. ANT AL LI SZ I E W I C Z and G L E N N M. B E R G G R E N
of ISCO-OPTIC GmbH for the design and
development of the Ultra-Star series of motion picture
lenses.
J AM ES K . BRAN C H of Spectra Cine, Incorporated, and
W I LLI AM L. BLO W E R S and N A S I R J . ZA I DI for
the design and development of the Spectra CineSpot
one-degree spotmeter for measuring the brightness of
motion picture screens.
BOB BAD AM I , D I C K B E R N S T E I N , and B I L L
BERNST EI N of Offbeat Systems for the design and
development of the Streamline Scoring System, Mark
IV, for motion picture music editing.
G ARY Z ELLER of Zeller International Limited for the
development of Zel-Jel re protection barrier for
motion picture stunt work.
EM ANU EL T RI LLI N G of Trilling Resources Limited for
the development of Stunt-Gel re protection barrier
for motion picture stunt work.
P AU L A. ROOS for the invention of a method known as
Video Assist, whereby a scene being photographed on
motion picture lm can be viewed on a monitor and/
or recorded on videotape.
299
* THE A P P O INTMENTS OF DENNIS JENNINGS,

Schooner Productions, Inc. Dean Parisot and Steven
Wright.
C A D IL L A C D R E AMS, Cadillac Dreams Production.
Matia Karrell and Abbee Goldstein.
GU L L A H TA L E S, Georgia State University. George
deGolian and Gary Moss.
8/8/13 7:34 PM
1989
The Sixty-Second Year
he sixty-second Academy Award ceremonies were a triumph for the little

guys. Oscars top prize went to Driving Miss Daisy, a gentle lm made for under
$10 million in an era when the average cost
of a movie hovered between $16 and $20
million. Daisy had pulled nine nominations
and won four awards, including the best
actress statuette for Jessica Tandy. My Left
Foot, made in Britain for an even slimmer
$3 million, received two of the nights top
statuettes, for Daniel Day-Lewis as best actor and for Brenda Fricker as the years best
supporting actress.
All the years acting winners were also
rst-time champs. Denzel Washington,
named best supporting actor for Glory,
became the fourth African-American to
receive a competitive Oscar for acting,
following Hattie McDaniel (1939), Sidney
Poitier (1963), and Louis Gossett, Jr. (1982).
For Tandy it was a record of another kind.
She was eighty years old (plus 292 days)
at the time she was handed her award,
making her the oldest performer ever to
receive a competitive Oscar. When that distinction was pointed out to her backstage,
she said, somewhat surprised, Am I?
then after a pause added cheerily, Well,
good for me! She also said, Im walking
on air.
The main competition for Miss Daisy had
been Oliver Stones Vietnam War drama
Born on the Fourth of July. Nominated
for eight awards, it received only two, for
Stones direction and for the editing by
David Brenner and Joe Hutshing. Despite
some preshow controversy over foreign

language lm rules, Italys Cinema Paradiso
was named the winner in that category.
For several weeks it had been questioned
whether or not the version of Paradiso submitted by Italy to the Academy and shown in
U.S. theaters was actually the same version
that had been exhibited in its home country,
a necessity under Academy rules.
After two years of award-dispensing at
L.A.s Shrine Auditorium, the March 26, 1990,
awards ceremonies returned to the Dorothy
Chandler Pavilion, where the seating capacity was smaller but the parking lots more
familiar. There were also two newcomers
aboard: Gilbert Cates produced for the rst
time and Billy Crystal took his rst shot as
an Oscar show emcee. With his irreverent
wit, amiable jabs, and lightning-fast ad libs,
Crystal was an immediate hit, making the
show speed along like a locomotive despite
its considerable length of three hours, thirtyseven minutes. Several portions of the show
originated from distant international locales
via worldwide satellite hookups. Mel Gibson
and Glenn Close, lming Hamlet in England,
opened the envelope live from London,
Bryan Brown and Rachel Ward participated
from Sydney, Charlton Heston and Norma
Aleandro from Buenos Aires, and Jack Lemmon hosted a segment from Moscow.
Other high points of the show included
George Lucas and Steven Spielberg handing
a special Oscar to Japans mighty lm master
Akira Kurosawa for his accomplishments
that have inspired, delighted, enriched and
entertained worldwide audiences and inu-
300
be s t p i c t ure : DRIVING MISS DAISY (Zanuck Company/
Warner Bros.; produced by Richard D. Zanuck and Lili Fini Zanuck) and be s t ac t re s s : JESSICA TANDY as Daisy Werthan
in Driving Miss Daisy. For the rst time, a movie based on an
off-Broadway playnever produced on Broadwaycaptured
the Academys highest honor; at the same time it brought longdeserved recognition to the eighty-year-old Tandy, who had spent
most of her career playing distinguished roles in the theater that,
to her chagrin, were then given to other actresses when they were
transferred to lm. This time she got a role every actress over
age fty had wanted. As Miss Daisy, she was a chilly, stubborn
Jewish widow in Atlanta who, initially against her will, acquires
a black chauffeur (Morgan Freeman; right, with Tandy). Over
a period of twenty-ve years, they become true, indispensable
friends. Scripted by Alfred Uhry from his original play, Miss
Daisy touched Oscar voters as it had the 1989 movie audiences
who had turned it into a surprise box-ofce hit. Miss Daisy was
liked enough at ballot time to capture nine nominations, the
most of any lm of the year, although its director, Bruce Beresford, was not nominated in his category. The last time a picture
had been chosen best without its director being nominated
was fty-seven years earlier: in 193132, Grand Hotel won the
Academys best picture prize, but the lms director, Edmund
Goulding, was not a nominee in his category.
8/8/13 7:34 PM
enced lmmakers throughout the world. It

was a birthday present of sorts for Kurosawa;
three days earlier, on March 23, he had
turned eighty. An animated Bugs Bunny
celebrating his own ftieth anniversary as
a Hollywood starwas among the Oscar
presenters. Howard W. Koch received the
Jean Hersholt Humanitarian Award, and
Diana Ross led the audience in a singalong
of Over the Rainbow, segueing from a clip
of Judy Garland doing the same in 1939s
memorable The Wizard of Oz.
For the rst time in nearly four decades,
an ofcial Oscar night party was also simultaneously held on the East Coast. Numerous New Yorkbased Academy members
gathered together at the famous Russian
Tea Room to watch the results and cheer
the winners, along with one billion others
estimated to be watching worldwide.
be s t a ct or : DANIEL DAY-LEWIS as Christy Brown in My

Left Foot (Miramax; directed by Jim Sheridan). It was highly
unlikely material for a movie, commercial or otherwise, in the
late 1980s: a young Irish boy, born with cerebral palsy into an
extremely poor family, overcomes the liabilities of his handicap
to become a world-famous writer and painter. My Left Foot was
based on the life of Irelands renowned artist Christy Brown and,
despite the downbeat theme, turned out to be a highly entertaining, uplifting movie. If it was a decidedly hard sell, it also had a
commanding asset: the central performance of Daniel Day-Lewis
(right) as Brown. Prior to lming, Day-Lewis spent eight intense weeks of research with cerebral palsy victims; during the
entire six-week shoot in Dublin, he remained in a wheelchair,
never breaking character, even to the point of being hand-fed
by the cast and crew. The result was acting of the highest order:
powerful, earnest, unforgettable.
301
be s t s up p ort i n g a ctr es s : BRENDA FRICKER as Mrs. Brown in My Left Foot. Although

Daniel Day-Lewis dominated the lm, My Left Foot was full of acting riches, including a brilliant
turn by Fricker (above) as Christy Browns mother, the wife of a poor Irish bricklayer who helps her
young son (initially played by Hugh OConor, then Day-Lewis) not only survive but triumph beyond
his debilitating handicap. Fricker, best known for her work in a British TV serial, was remarkable in
the role. One of the lms great moments came when young Christy, written off by many as akin to a
dumb animal, slowly picked up a piece of chalk with his left foot, the only part of his body he was able
to control, then determinedly scrawled the letter A, then his rst word, mother.
be s t s u p p or t in g a ct or : DENZEL WASHINGTON as Private Trip in Glory (Tri-Star; directed by Edward Zwick). Set during the Civil War, Glory was an eloquent epic about the real-life
Col. Robert Gould Shaw (played by Matthew Broderick), who was a white soldier still wet behind
the ears, put in charge of training the countrys rst black military regiment, the six-hundred-man
54th Massachusetts Voluntary Infantry. Extremely rich in photographic detail and characterizations, the lm had a strong supporting cast, with Washington (above) particularly memorable as
a hostile runaway slave who becomes a proud but unbending soldier as well as Brodericks primary
adviser. Besides winning him an Oscar, Glory also provided Washingtons breakthrough role,
immediately after which he went to starring roles and international recognition.
8/8/13 7:34 PM
B E S T PI C TUR E
A C TR E S S
T HE AD VENT U RES O F B A R O N MU N C H A U S E N ,
BORN ON T HE FOU RT H OF J U LY , A. Kitman Ho
Nominations 1989
T HE ABY SS, 20th Century Fox. Mikael Salomon.

BLAZ E, Touchtone with Silver Screen Partners IV, Buena
& Ixtlan, Universal. Produced by A. Kitman Ho and
Vista. Haskell Wexler.
Oliver Stone.
D EAD P OET S SOCI ET Y , Touchstone Pictures with
BORN ON T HE FOU R T H O F J U L Y, A. Kitman Ho &
Silver Screen Partners IV, Buena Vista. Produced by
Ixtlan, Universal. Robert Richardson.
T HE FABU LOU S BAK E R B O YS , Gladden
Steven Haft, Paul Junger Witt and Tony Thomas.
Entertainment, Mirage, 20th Century Fox. Michael
* DRIVING MISS DAISY, Zanuck Company, Warner Bros.
Produced by Richard D. Zanuck and Lili Fini Zanuck.
Ballhaus.
FI ELD OF D REAM S, Gordon Company, Universal.
* GLORY , Tri-Star Pictures, Tri-Star. Freddie Francis.
Produced by Lawrence Gordon and Charles Gordon.
M Y LEFT FOOT , Ferndale/Granada, Miramax.
Produced by Noel Pearson.
T HE ABY SS, 20th Century Fox. Leslie Dilley; Anne
A C TO R
Kuljian.
K ENNET H BRANAGH in Henry V, Renaissance Films
with BBC, Samuel Goldwyn Company.
Prominent Features & Laura Film, Columbia. Dante
T OM CRU I SE in Born on the Fourth of July, A. Kitman
Ferretti; Francesca Lo Schiavo.
Ho & Ixtlan, Universal.
* BAT M AN , Warner Bros. Anton Furst; Peter Young.
* D AN I EL D AY -LEW I S in My Left Foot, Ferndale/
D RI VI N G M I SS D AI S Y, Zanuck Company, Warner
Granada, Miramax.
Bros. Bruno Rubeo; Crispian Sallis.
M ORGAN FREEM AN in Driving Miss Daisy, Zanuck
G LORY , Tri-Star Pictures, Tri-Star. Norman Garwood;
Company, Warner Bros.
Garrett Lewis.
ROBI N W I LLI AM S in Dead Poets Society, Touchstone
Pictures with Silver Screen Partners IV, Buena Vista.
C O S TUM E D ESIGN
ISABELLE AD J AN I in Camille Claudel, Films Christian
Fechner-Lilith Films-Gaumont-A2 TV France-Films

A2-DD, Orion Classics.
P AU LI NE COLLI N S in Shirley Valentine, Lewis Gilbert/
Willy Russell, Paramount.
JESSI CA LAN G E in Music Box, Carolco, Tri-Star.
M I CHELLE P FEI FFER in The Fabulous Baker Boys,
Gladden Entertainment, Mirage, 20th Century Fox.
* JESSI CA T AND Y in Driving Miss Daisy, Zanuck
D AN N Y AI ELLO in Do the Right Thing, Forty Acres and
b e s t d i r e c t o r : O L I V E R S T O N E for Born on the Fourth

of July (Universal; produced by A. Kitman Ho and Oliver
Stone). Three years after Platoon, Oliver Stone again turned
to the Vietnam War for a lengthy (144 minutes), passionate
antiwar statement; again he won an Oscar for the result. Very
much a Stone projectbesides directing, he co-wrote the script
with Ron Kovic (above, with Tom Cruise) and co-produced
Born was based on Kovics own real-life journey from willing
combatant in the controversial Vietnam ght to passionate,
wheelchair-bound activist. Cruise played Kovic; the supporting cast included Willem Dafoe; and the nal lm stirred talk
both pro and con, not unusual in a Stone endeavor. But even
those who had complaints about the lm itself did not complain
about Cruises performance or deny that Stone was a master at
putting his unique stamp on a movie.
302
a Mule Filmworks, Universal.

D AN AY K ROY D in Driving Miss Daisy, Zanuck
M ARLON BRAN D O in A Dry White Season, Paula
Weinstein, M-G-M.
M ART I N LAN D AU in Crimes and Misdemeanors, Jack
Rollins and Charles H. Joffe, Orion.
* D EN Z EL W ASHI NGT ON in Glory, Tri-Star.
S O UN D
T HE ABY SS, 20th Century Fox. Don Bassman, Kevin F.
Cleary, Richard Overton and Lee Orloff.
BLACK RAI N, Jaffe/Lansing with Michael Douglas,
Paramount. Donald O. Mitchell, Kevin OConnell,

Greg P. Russell and Keith A. Wester.
BORN ON T HE FOU R T H O F J U L Y, A. Kitman Ho
& Ixtlan, Universal. Michael Minkler, Gregory H.
Watkins, Wylie Stateman and Tod A. Maitland.
* GLORY , Tri-Star. Donald O. Mitchell, Gregg C. Rudloff,
Elliot Tyson and Russell Williams II.
I ND I ANA J ONES AN D T H E L A S T C R U S A DE ,
Lucaslm, Paramount. Ben Burtt, Gary Summers,

* BREN D A FRI CK ER in My Left Foot, Ferndale/Granada,
Shawn Murphy and Tony Dawe.
Miramax.
ANJ ELI CA HU ST ON in Enemies, A Love Story, Morgan
F I LM E D I TI NG
Creek, 20th Century Fox.
T HE BEAR, Renn, Tri-Star. Noelle Boisson.
LENA OLI N in Enemies, A Love Story, Morgan Creek,
* BORN ON T HE FOUR T H O F J U L Y, A. Kitman Ho &
20th Century Fox.
Ixtlan, Universal. David Brenner and Joe Hutshing.
JU LI A ROBERT S in Steel Magnolias, Rastar Production,
D RI VI N G M I SS D AI S Y, Zanuck Company Production,
Tri-Star.
Warner Bros. Mark Warner.
D I ANNE W I EST in Parenthood, Imagine Entertainment,
T HE FABU LOU S BAK E R B O YS , Gladden
Universal.
Entertainment, Mirage, 20th Century Fox. William
Steinkamp.
D I R E C TI N G
G LORY , Tri-Star. Steven Rosenblum.
BORN
ON
T
HE
FOU
RT
H
OF
J
U
LY
,
A.
Kitman
Ho
&
*
Ixtlan, Universal. Oliver Stone.
CRI M ES AND M I SD EM EANORS, Jack Rollins and
BLACK RAI N, Jaffe/Lansing with Michael Douglas,
Charles H. Joffe, Orion. Woody Allen.
Paramount. Milton C. Burrow and William L. Manger.
D EAD P OET S SOCI ET Y , Touchstone Pictures with
* I N D I AN A J ON ES AN D T H E L A S T C R U S A DE ,
Silver Screen Partners IV, Buena Vista. Peter Weir.
Lucaslm, Paramount. Ben Burtt and Richard Hymns.
HENRY V, Renaissance Films with BBC, Samuel
LET HAL W EAP ON 2 , Warner Bros. Robert Henderson
Goldwyn Company. Kenneth Branagh.
and Alan Robert Murray.
M Y LEFT FOOT , Ferndale/Granada, Miramax. Jim
Sheridan.
* T HE ABY SS, 20th Century Fox. John Bruno, Dennis
WR I TI N G
Muren, Hoyt Yeatman and Dennis Skotak.
CRI M ES AND M I SD EM EANORS, Jack Rollins and
Charles H. Joffe, Orion. Woody Allen.

* D EAD P OET S SOCI ET Y , Touchstone Pictures with
Silver Screen Partners IV, Buena Vista. Tom Schulman.
D O T HE RI GHT T HI N G , Forty Acres and a Mule
Filmworks, Universal. Spike Lee.
SEX , LI ES, AND VI D EOT AP E, Outlaw, Miramax.
Steven Soderbergh.
W HEN HARRY M ET SALLY . . . , Castle Rock,
Columbia. Nora Ephron.
BORN ON T HE FOU RT H OF J U LY , A. Kitman Ho &
Ixtlan, Universal. Oliver Stone and Ron Kovic.

* D RI VI NG M I SS D AI SY , Zanuck Company, Warner
Bros. Alfred Uhry.
ENEM I ES, A LOVE ST ORY , Morgan Creek, 20th
Century Fox. Roger L. Simon and Paul Mazursky.
FI ELD OF D REAM S, Gordon Company, Universal. Phil
Alden Robinson.
M Y LEFT FOOT , Ferndale/Granada, Miramax. Jim
Sheridan and Shane Connaughton.
Prominent Features & Laura Film, Columbia. Gabriella

Pescucci.
D RI VI N G M I SS D AI S Y, Zanuck, Warner Bros.
Elizabeth McBride.
HARLEM NI G HT S, Eddie Murphy, Paramount. Joe I.
Tompkins.
* HENRY V, Renaissance Films with BBC, Samuel
Goldwyn Company. Phyllis Dalton.
VALM ONT , Claude Berri and Renn, Orion. Theodor
Pistek.
Prominent Features & Laura Film, Columbia. Richard

Conway and Kent Houston.
BACK T O T HE FU T UR E PA R T I I , Universal Pictures/
Amblin Entertainment, Universal. Ken Ralston,
Michael Lantieri, John Bell and Steve Gawley.
M US I C
AFT ER ALL (Chances Are, Tri-Star); Music by Tom Snow.
Lyric by Dean Pitchford.
T HE GI RL W HO U SE D T O B E ME (Shirley Valentine,
Lewis Gilbert/Willy Russell, Paramount); Music by

Marvin Hamlisch. Lyric by Alan and Marilyn
Bergman.
I LOVE T O SEE Y OU S MI L E (Parenthood, Imagine
Entertainment, Universal); Music and Lyric by Randy
Newman.
K I SS T HE G I RL (The Little Mermaid, Walt Disney
Pictures with Silver Screen Partners IV, Buena Vista);
Music by Alan Menken. Lyric by Howard Ashman.
* U ND ER T HE SEA (The Little Mermaid, Walt Disney
Pictures with Silver Screen Partners IV, Buena Vista);
Music by Alan Menken. Lyric by Howard Ashman.
8/8/13 7:34 PM
be s t f ore i gn l an g u a g e f i l m : CINEMA PARADISO from

Italy. Amazingly, it was not a success in its own country; Cinema Paradiso, in fact, was a dud at the box ofce in Italy, even
when it was brought back for a second try after winning wide acceptance (and an Oscar) elsewhere. Outside the Boot, however,
writer-director Giuseppe Tornatores valentine to the movie business was universally embraced; even those who normally avoided
any movie carrying even the hint of a subtitle loved Cinema Paradiso. It centered on the effects of a movie theater in a small Sicilian village on the life of a lad who grows from being the theater
mascot (played by Salvatore Cascio; above, with Philippe Noiret)

to the movie houses young projectionist (Marco Leonardi) and,
nally, to a successful lm director (Jacques Perrin) in Rome.
BO R N O N THE F OURTH OF JULY, A. Kitman Ho &
Ixtlan, Universal. John Williams.
THE F A BUL O U S BAKER B OYS, Gladden
Entertainment, Mirage, 20th Century Fox. David

Grusin.
FIE L D O F D R E A MS, Gordon Company, Universal.
James Horner.
IND IA NA JO NE S AND THE LAST CRUSADE,
Lucaslm, Paramount. John Williams.

* THE L ITTL E ME RMAID, Walt Disney Pictures with
Silver Screen Partners IV, Buena Vista. Alan Menken.
h on o rary o sc ar to AKIRA KUROSAWA.
George Lucas and Steven Spielberg presented the
award To Akira Kurosawa, for accomplishments
that have inspired, delighted, enriched and entertained audiences and inuenced lmmakers
throughout the world.
M A K EU P
THE A D VE NTUR ES OF B ARON MUNCH AUSEN,
Prominent Features & Laura Film, Columbia. Maggie

Weston and Fabrizio Sforza.
D A D , Universal Pictures/Amblin Entertainment,
Universal. Dick Smith, Ken Diaz and Greg Nelson.
* D R IVING MIS S DAISY, Zanuck Company, Warner
Bros. Manlio Rocchetti, Lynn Barber and Kevin Haney.
S H O RT FI L M S
(an i m at e d )
* BA L A NC E , a Lauenstein Production. Christoph

Lauenstein and Wolfgang Lauenstein.
THE C O W , The Pilot Co-op Animated Film Studio
with VPTO Videolm. Alexander Petrov.
THE HIL L F A R M, National Film & Television School.
Mark Baker.
(l i ve ac t i on )
A MA Z O N D IA R Y, Determined Production, Inc. Robert
Nixon.
THE C HIL D E A TE R, Stephen-Tammuz Productions, Ltd.
Jonathan Tammuz.
* W O R K E XP E R IE N CE, North Inch Production, Ltd.

James Hendrie.
D O CU M EN T AR Y
FINE F O O D , FINE PASTRIES, OPEN 6 TO 9 , a
production of David Petersen Productions. David

Petersen, producer.
* THE JO HNS TO WN FLOOD, a production of
Guggenheim Productions, Inc. Charles Guggenheim,
producer.
Y A D VA S HE M: P RESERV ING THE PAST TO ENSURE
THE FUTUR E , a Ray Errol Fox Production. Ray Errol
Fox, producer.
(f e at ure s )
A D A M C L A Y TO N POWELL, a production of RKB
Productions. Richard Kilberg and Yvonne Smith,

producers.
* C O MMO N THR E ADS: STORIES FROM TH E QUILT,

a Telling Pictures and The Couturi Company
Production. Robert Epstein and Bill Couturi,
producers.
C R A C K U SA : C OUNTY UNDER SIEGE, a production
of Half-Court Productions, Ltd. Vince DiPersio and
William Guttentag, producers.
FOR ALL M ANK I N D , a production of Apollo
A WA R D S
SU P ER CHI EF: T HE LI FE AN D LEGACY OF EARL

W ARREN, a Quest Production. Judith Leonard and
Associates/FAM Productions Inc. Al Reinert and Betsy

Broyles Breier, producers.
Bill Jersey, producers.
CAM I LLE CLAU D EL (France).

* CI NEM A P ARAD I SO (Italy).
J ESU S OF M ONT REAL (Canada).
W ALT Z I NG REGI T Z E (Denmark).
W HAT HAP P ENED T O SANT I AGO (Puerto Rico).

T O AK I RA K U ROSAW A, for accomplishments that
have inspired, delighted, enriched and entertained

audiences and inuenced lmmakers throughout the
world.
The Academy of Motion Picture Arts and Sciences
Board of Governors commends the contributions of
the members of the ENGI N EERI NG COM M I T T EES
OF T HE SOCI ET Y OF M OT I ON P I CT U RE AND
T ELEVI SI ON ENGI N EERS (SMPTE). By establishing
industry standards, they have greatly contributed

to making lm a primary form of international
communication. (Award of Commendation)
T O HOW ARD W . K OCH
None.
J AM ES K ET CHAM of JSK Engineering, for the excellence
in engineering and the broad adaptability of the

SDA521B Advance/Retard system for magnetic lm
sound dubbing.
J . NOX ON LEAVI T T , for the invention of, and I S T E C ,
I N CORP ORAT E D, for the continuing development of
the Wescam Stabilized Camera System.
G EOFFREY H. W I L L I A MS O N of Wilcam Photo
Research, Incorporated, for the design and
development, and to R O B E R T D. A U G U S T E for the
electronic design and development of the Wilcam W-7
200 frames-per-second VistaVision Rotating Mirror
Reex Camera.
J . L. FI SHER of J.L. Fisher, Incorporated, for the design
and manufacture of a small, mobile motion picture
camera platform known as the Fisher Model Ten Dolly.
K LAU S RESCH for the design, E R I C H F I T Z, and F G V
SCHM I D LE & FI T Z for the development of the Super
Panther MS-180 Camera Dolly.
303

D R. LEO CAT OZ ZO for the design and development of
the CIR-Catozzo Self-Perforating Adhesive Tape Film

Splicer.
M AGNA- T ECH EL E C T R O N I C C O M PA N Y for the
introduction of the rst remotely controlled Advance/
Retard function for magnetic lm sound dubbing.

T O P I ERRE AN G EN I EU X
8/8/13 7:34 PM
1990
The Sixty-Third Year
t was the year of Kevin Costner. A rsttime director, Costner had managed
against all odds to turn some unlikely
subject matter into an epic lm that was
praised by critics and loved by all kinds
of movie audiences, both cornbelt and
sophisticate. On March 25, 1991, Oscar
concurred. With twelve Oscar nominations
to its credit, Dances With Wolves captured
seven nal prizes, including the Big One
as best picture of the year. It was clearly a
sweepmore than double the number of
awards given the two closest runners-up,
Dick Tracy (three awards) and Ghost (two
awards).
Two of the seven Oscars won by Dances
went to Costner himself, as co-producer
of the years best lm and as best director;
his grand adventure also won trophies for
adapted screenplay, cinematography, editing, original score, and sound. Costner was
also nominated for best actor for the lm
but, in one of his few reversals of fortune of
the night, saw the Oscar in that category go
to Jeremy Irons for a lm called Reversal of
Fortune.
Kathy Bates in Misery was named best
actress. Joe Pesci of Good Fellas, who won
as best supporting actor, delivered one of
the shortest Oscar acceptance speeches on
record, six words in all: It was my privilege.
Thank you, he said, then exited. In an
extremely popular win, Whoopi Goldberg
was named best supporting actress for
Ghost. Visibly moved, she enthusiastically
exclaimed, Ever since I was a little kid, I
wanted this!
The biggest upset of the evening was the

best foreign language lm win by the Swissmade Journey of Hope; most soothsayers
had gured the prize would go, in an easy
race, to Frances Cyrano de Bergerac, which
had also earned a best actor nomination for
Grard Depardieu. Cyrano had to be content
with a single win, for best costume design.
By far the most sentimental moments of
the night came when two special honorary awards were handed to two legendary
leading ladies. Longtime favorite Myrna
Loy received her Oscar during a live satellite hookup from her New York apartment;
Sophia Loren was in person at the Shrine
Auditorium, and she tearfully accepted hers.
When she briey mentioned her husband,
Carlo Ponti, during her thank-you remarks,
he stood for a bow. It was the rst time
within memory that the recipient of an
Oscar recipients thanks had gone so far as
to take the spotlight for himself, however
briey. It delighted the audience.
Richard D. Zanuck and David Brown,
former producing partners, were presented
the Irving G. Thalberg Memorial Award
for excellence in production, and among
those performing the years nominated
songs were Jon Bon Jovi, Harry Connick,
Jr., Reba McEntire, and Madonna, the latter
offering a Marilyn Monroe imitation as she
performed Stephen Sondheims Sooner or
Later from the movie Dick Tracy. The song
went on to win Sondheim his rst Oscar;
Madonna caused a pre- and post-show
buzz by attending on the arm of Michael
Jackson.
304
best picture: DANCES WITH WOLVES (Orion; produced by
Jim Wilson and Kevin Costner) and best director: KEVIN
COSTNER for Dances With Wolves. Early on they were calling it Kevins Gate, a negative reference to Michael Ciminos
overlong, over-budget, and ultimately unsuccessful western epic,
Heavens Gate. But Kevin Costner had the last laugh. True, hed
never directed a lm before, but he felt keenly enough about the
potential of Dances With Wolves that he even helped nance
the $18 million project with his own money when Wolves began
slipping over budget during its seventeen-week shoot in South
Dakota. More ominous, his nal cut ran 183 minutes even after
considerable footage had been slashed away. Considered a further
liability was the fact that much of the dialogue was spoken in
the Lakota language, accompanied by English subtitles. But both
Costner and Dances ultimately triumphed: the nal lm was
proclaimed a magnicent piece of work, with both critics and
ticket buyers embracing it. Immeasurably aided by the spectacular
cinematography of Dean Semler and by Costners own fresh directorial style, Dances was a sweeping, warm-blooded tale of a white
mans heroic adventure among the Sioux Indians on the Dakota
plains, circa the late 1860s. Besides being the driving force behind
the lm as both director and co-producer, Costner also played the
lead, a Union ofcer in the Civil War who ultimately chooses to
live in the far reaches of the American frontier because I want to
see it before it disappears. Although his name is John Dunbar, the
Sioux eventually rename him Dances With Wolves.
8/8/13 7:34 PM
The theme of the telecast, produced by

Gilbert Cates, was 100 Years at the Movies. For the second year in a row, Billy
Crystal was the evenings inspired emcee; in
a puckishly shameless plug for his own upcoming release, City Slickers, Crystal made
his initial entrance on stage via horseback.
Outside the Shrine, it was far from fun
and games. Earlier in the day, rain had fallen
over California in heavy doses, soaking Los
Angeles, drenching the forecourt of the giant auditorium, and sending TV newsmen
scurrying to wrap their cameras in nylon
jackets while Academy workmen quickly
tented the forecourt area with plastic covers.

By show time, the rain had ceased but the
dampness remained.
And, in a sign of the times, so did a need
for unprecedented security measures. Because of a complicated international political climate and security hangovers from the
Persian Gulf War, everyone who entered
the Shrine had to be checked through metal
detectors, with all handbags and packages
searched. It slowed entrances considerably
and added a denite jolt of reality to a night
honoring make-believe.
be s t a ct r e s s : KATHY BATES as Annie Wilkes in Misery
(Columbia; directed by Rob Reiner). Based on a tale by Stephen
King, Misery used the often awkward relationship between a
celebrity and an obsessive fan as the basis for a shiveringly good
spooker. In Kings story, screenwritten by William Goldman, a
popular novelist (James Caan) is injured in a car wreck on an
isolated Colorado mountain road, then nds himself the virtual
prisoner of a plump, mousy woman played by Bates (above).
Claiming to be the writers No. 1 fan, she turns out to be a
Jekyll-Hyde psychopath, not above breaking the writers legs
to keep him in her power. It was a no-holds-barred role in a
year not rampant with important parts for women; under Rob
Reiners superb direction, Bates became a rst-time Oscar nominee and soon after was named the years best actress.
305
be s t ac t or: JEREMY IRONS as Claus von Blow in Reversal

of Fortune (Warner Bros.; directed by Barbet Schroeder). The
very real Claus von Blow story had all the elements of great
movie ction: In March 1982, von Blow, a European aristocrat, was found guilty of attempting to murder his wife Sunny,
a wealthy socialite, by means of insulin injections. Later, New
York lawyer Alan Dershowitz was hired to appeal the conviction.
In its chilling screen translation, Glenn Close (above, with a pet
tiger cub and Irons) played the ill-fated Sunny, Ron Silver was
Dershowitz, and, most awlessly, Irons played the cool, calculating von Bulow, a cad whose public image was determined as
much by his imperious, cold personality as by his ultimate guilt
or innocence. At one point Dershowitz/Silver says to von Blow/
Irons: Youre a strange guy, Claus. Replies the man, with a
sardonic smile, You have no idea.
best supporting actor: JOE PESCI as Tommy DeVito in

Good Fellas (Warner Bros.; directed by Martin Scorsese). One of
the most chilling indictments yet of mob manners and Maa matters, Martin Scorsese used Nicholas Pileggis best-seller, Wiseguy,
as the basis for Good Fellas; he was forced to drop the books title
for the lm version in order to avoid confusion with a concurrent TV series that bore no other relation to the Scorsese project.
Scorseses thunderbolt was in a class quite its own, lled with
alarming characters, played with bravado by an ace cast including
Robert De Niro, Ray Liotta, Lorraine Bracco and Paul Sorvino.
None, however, shined brighter than Joe Pesci (above) as a pintsized, cold-blooded psycho-mobster with a short fuse. If Good
Fellas was chilling, it was Pesci who gave the lm its ice and icing:
at Oscar time he was resoundingly remembered, and rewarded.
8/8/13 7:34 PM
Nominations 1990
MYRNA LOY was a curious Academy statistic: Although she had

starred in two lms selected as best pictures (1936s The Great
Ziegfeld, 1946s The Best Years of Our Lives) and had delivered
unique, outstanding performances during six decades, shed never
been nominated for an Oscar, an oversight that confused everyone. At the age of 85, she was nally voted a special statuette in
recognition of her extraordinary qualities both on screen and off,
and with appreciation for a lifetimes worth of indelible performances. In frail health and unable to attend the ceremonies in
Hollywood, Loy accepted her Oscar via a satellite hookup from
her apartment in New York City. Youve made me very happy.
Thank you very much, she said as she held the elusive award that
nally, and deservedly, had come her way.
be s t s u p p or t in g a ct r e s s : WHOOPI GOLDBERG as Oda

Mae Brown (above, with Demi Moore) in Ghost (Paramount;
directed by Jerry Zucker). It was a role Goldberg begged to play,
even after shed been told it was targeted to go in another direction altogether. It was a case where tenacity paid off: as Oda
Mae, a bogus medium who gets unwittingly intertwined with
real ghosts, Goldberg incorporated her own unique Whoopi-
* W HOOP I GOLD BERG in Ghost, Howard W. Koch,

Paramount.
D I ANE LAD D in Wild at Heart, Polygram/Propaganda
Films, Samuel Goldwyn Company.
M ARY M CD ONNELL in Dances With Wolves, Tig,
Orion.
D I R E C TI N G
B ES T P I CT U R E
A W A KE NINGS, Columbia. Produced by Walter F.
Parkes and Lawrence Lasker.

* DANCES WITH WOLVES, Tig, Orion. Produced by Jim
Wilson and Kevin Costner.
GHO S T, Howard W. Koch, Paramount. Produced by
Lisa Weinstein.
THE GO D FA THE R , PART III, Zoetrope Studios,
Paramount. Produced by Francis Ford Coppola.
GO O D FE L L A S , Warner Bros. Produced by Irwin
Winkler.
A CT O R
K E VIN C O STNE R in Dances With Wolves, Tig, Orion.

R O BE R T D E NIR O in Awakenings, Columbia.
G R A R D D E P A R D IEU in Cyrano de Bergerac, Hachette
Premiere/Camera One, Orion Classics.
R IC HA R D HA R R IS in The Field, Granada, Avenue
306
Pictures.
* JE R E MY IR O NS in Reversal of Fortune, Reversal Films,
Warner Bros.
A CT RES S
* K A THY BA TE S in Misery, Castle Rock Entertainment,

Columbia.
A NJE L IC A HU STO N in The Grifters, Martin Scorsese,
Miramax.
JU L IA R O BE R TS in Pretty Woman, Touchstone
Pictures, Buena Vista.
ME R Y L STR E E P in Postcards from the Edge, Columbia.
JO A NNE W O O D WARD in Mr. & Mrs. Bridge,
Merchant Ivory, Miramax.
BR U C E D A VIS O N in Longtime Companion, American
Playhouse, Samuel Goldwyn Company.
A ND Y GA R C IA in The Godfather, Part III, Zoetrope
Studios, Paramount.
GR A HA M GR E E NE in Dances With Wolves, Tig, Orion.

A L P A C INO in Dick Tracy, Touchstone Pictures, Buena
Vista.
* JO E P E S C I in Good Fellas, Warner Bros.
A NNE TTE BE NING in The Grifters, Martin Scorsese,
Miramax.
L O R R A INE BR A C CO in Good Fellas, Warner Bros.
ness into an amusing role for a perfect t, one that won her an
Academy Award and a new level of popularity with audiences.
Ghost itself turned out to be a genuine sleeper, one of the biggest
Hollywood had had in years, and did much to advance many
careers, including those of her co-stars Moore, Patrick Swayze,
and newcomer Tony Goldwyn.
T HE GOD FAT HER, P A R T I I I , Zoetrope Studios,
Paramount. Dean Tavoularis; Gary Fettis.
HAM LET , Icon, Warner Bros. Dante Ferretti; Francesca
Lo Schiavo.
C O S TUM E D ESIGN
AVALON , Tri-Star. Gloria Gresham.

* CY RANO D E BERG E R A C , Hachette Premiere/Camera
One, Orion Classics. Franca Squarciapino.
D ANCES W I T H W OL V E S , Tig, Orion. Elsa Zamparelli.
D I CK T RACY , Touchstone Pictures, Buena Vista.
Milena Canonero.
HAM LET , Icon, Warner Bros. Maurizio Millenotti.
* D AN CES W I T H W OLVES, Tig, Orion. Kevin Costner.

T HE G OD FAT HER, P ART I I I , Zoetrope Studios,
GOOD FELLAS, Warner Bros. Martin Scorsese.
T HE G RI FT ERS, Martin Scorsese, Miramax. Stephen
Frears.
S O UN D
REVERSAL OF FORT U N E, Reversal Films, Warner Bros.
Barbet Schroeder.
* D AN CES W I T H W OL V E S , Tig, Orion. Jeffrey Perkins,
Bill W. Benton, Greg Watkins and Russell Williams II.
WR I TI N G
D AY S OF T HU N D ER , Don Simpson and Jerry
Bruckheimer, Paramount. Donald O. Mitchell, Rick
Kline, Kevin OConnell and Charles Wilborn.
ALI CE, Jack Rollins and Charles H. Joffe, Orion. Woody
D I CK T RACY , Touchstone Pictures, Buena Vista. Chris
Allen.
Jenkins, David E. Campbell, D.M. Hemphill and
AVALON, Tri-Star. Barry Levinson.
Thomas Causey.
* GHOST , Howard W. Koch, Paramount. Bruce Joel
T HE HU NT FOR RED O C T O B E R , Mace Neufeld/Jerry
Rubin.
Sherlock, Paramount. Don Bassman, Richard Overton,
GREEN CARD , Green Card Company, Buena Vista.
Kevin F. Cleary and Richard Bryce Goodman.
Peter Weir.
T OT AL RECALL, Carolco Pictures, Tri-Star. Michael
M ET ROP OLI T AN , Westerly Film-Video, New Line.
J. Kohut, Carlos de Larios, Aaron Rochin and Nelson
Whit Stillman.
Stoll.
AW AK ENI N G S, Columbia. Steven Zaillian.

F I LM E D I TI NG
* D AN CES W I T H W OLVES, Tig, Orion. Michael Blake.
* D AN CES W I T H W OL V E S , Tig, Orion. Neil Travis.
GOOD FELLAS, Warner Bros. Nicholas Pileggi and
G HOST , Howard W. Koch, Paramount. Walter
Martin Scorsese.
Murch.
T HE G RI FT ERS, Martin Scorsese, Miramax. Donald E.
T HE GOD FAT HER, P A R T I I I , Zoetrope Studios,
Westlake.
Paramount. Barry Malkin, Lisa Fruchtman and Walter
REVERSAL OF FORT U N E, Reversal Films, Warner Bros.
Murch.
Nicholas Kazan.
G OOD FELLAS, Warner Bros. Thelma Schoonmaker.
T HE HU NT FOR RED O C T O B E R , Mace Neufeld/
Jerry Sherlock, Paramount. Dennis Virkler and John
AVALON, Tri-Star, Tri-Star. Allen Daviau.
Wright.
* D AN CES W I T H W OLVES, Tig, Orion. Dean Semler.
D I CK T RACY , Touchstone Pictures, Buena Vista.
Vittorio Storaro.
F L A T L I N E R S , Stonebridge Entertainment Production,
T HE G OD FAT HER, P ART I I I , Zoetrope Studios,
Columbia. Charles L. Campbell and Richard Franklin.
Paramount. Gordon Willis.
* T H E H U N T F O R R E D O C T O B E R , Mace Neufeld/
HENRY & J U NE, Walrus & Associates, Universal.
Jerry Sherlock, Paramount. Cecelia Hall and George
Philippe Rousselot.
Watters II.
T OT AL RECALL, Carolco Pictures, Tri-Star. Stephen H.
Flick.
CY RANO D E BERG ERAC, Hachette Premiere/Camera
One, Orion Classics. Ezio Frigerio; Jacques Rouxel.

D AN CES W I T H W OLVES, Tig, Orion. Jeffrey Beecroft;
Lisa Dean.
* D I CK T RACY , Touchstone Pictures, Buena Vista.
Richard Sylbert; Rick Simpson.
M US I C
BLAZ E OF G LORY (Young Guns II, Morgan Creek,
20th Century Fox); Music and Lyric by Jon Bon Jovi.
I M CHECK I N OU T (Postcards from the Edge,
Columbia); Music and Lyric by Shel Silverstein.
8/8/13 7:34 PM
P R O MIS E ME Y OULL REMEMB ER (The Godfather,
Part III, Zoetrope Studios, Paramount); Music by

Carmine Coppola. Lyric by John Bettis.
SO ME W HE R E IN MY MEMORY (Home Alone,
20th Century Fox); Music by John Williams. Lyric
by Leslie Bricusse.
* S O O NE R O R L A T ER ( I ALWAYS GET MY MAN)

(Dick Tracy, Touchstone Pictures, Buena Vista); Music
and Lyric by Stephen Sondheim.
A VA L O N, Tri-Star. Randy Newman.

* D A NC E S W ITH WOLV ES, Tig, Orion. John Barry.
GHO S T, Howard W. Koch, Paramount. Maurice Jarre.
HA VA NA , Universal Pictures Limited, Universal. David
Grusin.
HO ME A L O NE , 20th Century Fox. John Williams.
M A K EU P
C Y R A NO D E BE RGERAC, Hachette Premiere/Camera
One, Orion Classics. Michele Burke and Jean-Pierre

Eychenne.
* D IC K TR A C Y , Touchstone Pictures, Buena Vista.
John Caglione, Jr., and Doug Drexler.
E D W A R D S C IS S ORHANDS, 20th Century Fox.
Ve Neill and Stan Winston.
S H O RT FI L M S
(an i m at e d )
* C R E A TU R E C O MFORTS, an Aardman Animations

Limited Production. Nick Park.
A GR A ND D A Y OUT, a National Film and Television
School Production. Nick Park.
GR A SS HO P P E R S ( CAV ALLETTE) , a Bruno Bozzetto
Production. Bruno Bozzetto.
(l i ve ac t i on )
BR O NX C HE E R S , an American Film Institute
Production. Raymond De Felitta and Matthew Gross.
D E A R R O SIE , a Worlds End Production. Peter Cattaneo
and Barnaby Thompson.

* THE L UNC H D A TE, an Adam Davidson Production.
Adam Davidson.
SE NZ E NI NA ? (WHAT HAV E WE DONE?) , an
American Film Institute Production. Bernard Joffa and
Anthony E. Nicholas.
12:01 P M, a Chanticleer Films Production. Hilary
Ripps and Jonathan Heap.
D O CU M EN T AR Y
BUR NING D O W N TOMORROW, an Interscope
Communications, Inc. Production. Kit Thomas,

producer.
C HIMP S : S O L IKE US, a Simon & Goodman Picture
Company Production. Karen Goodman and Kirk
Simon, producers.
* D A Y S O F W A ITIN G, a Mouchette Films Production.
Steven Okazaki, producer.
JO U R NE Y INTO LIFE: THE WORLD OF TH E
UNBO R N, an ABC/Kane Productions International,
Inc. Production. Derek Bromhall, producer.
R O S E KE NNE D Y : A LIFE TO REMEMB ER, a
production of Sanders & Mock Productions and

American Film Foundation. Freida Lee Mock and Terry
Sanders, producers.
(f e at ure s )
* A ME R IC A N D R E AM, a Cabin Creek Films Production.

Barbara Kopple and Arthur Cohn, producers.
BE R KE L E Y IN THE SIXTIES, a production of Berkeley
in the Sixties Production Partnership. Mark Kitchell,
producer.
BUIL D ING BO MB S, a Mori/Robinson Production.
Mark Mori and Susan Robinson, producers.
DICK TRACY
won three Academy Awards, making it the years

most Oscared lm after Dances With Wolves. The Tracy prizes
came for its art direction/set decoration by Richard Sylbert and
Rick Simpson, its makeup by John Caglione, Jr., and John Drex-
ler, and the original song Sooner or Later (I Always Get My

Man) with music and lyric by Broadways master music man
Stephen Sondheim, who had never before been an Oscar nominee
or winner.
T O ROD ERI CK T . RY AN , D ON T RU M BU LL, and

G EOFFREY H. W I LLI AM SON, in appreciation for
outstanding service and dedication in upholding the

high standards of the Academy of Motion Picture Arts
and Sciences. (Medal of Commendation)

For Visual Effects: ERI C BREVI G , ROB BOT T I N, T I M
M CGOVERN, and ALEX FU NK E for Total Recall, a
Carolco Pictures Production, Tri-Star.
T O RI CHARD D . Z ANU CK and D AVI D BROW N

T O ST EFAN K U D ELSK I
A WA R D S
a ca de my a w a r d of me r it (s t a t u e t t e )
EAST M AN K OD AK COM P ANY for the development of
T-Grain technology and the introduction of EXR color

negative lms which utilize this technology.
s cie n t ific a n d e n g in e e r in g a w a r d (a ca de my
p la qu e )
FO R E VE R A C TIVISTS: STORIES FROM TH E

VE TE R A NS O F THE AB RAHAM LINCOLN
BR IGA D E , a Judith Montell Production. Judith
BRU CE W I LT ON and CARLOS I CI N K OFF of
W A L D O S A L T: A SCREENWRITERS JOURNEY, a
EN G I NEERI N G D EP ART M EN T OF ARNOLD &

RI CHT ER for the continued design improvements of
Montell, producer.
Waldo Productions, Inc. Production. Robert Hillmann

and Eugene Corr, producers.
C Y R A NO D E BE RGERAC (France).
* JO UR NE Y O F HOPE (Switzerland).
JU D O U (Peoples Republic of China).
THE NA STY GIR L (Germany).
O P E N D O O R S (Italy).

TO S O P HIA L O REN, one of the genuine treasures of
world cinema who, in a career rich with memorable

performances, has added permanent luster to our art
form.
TO MY R NA L O Y , in recognition of her extraordinary
qualities both on screen and off, with appreciation for
a lifetimes worth of indelible performances.
Mechanical Concepts, Incorporated, for the

development of the Mechanical Concepts Optical
Printer Platform.
the Arriex BL Camera System, culminating in the

35BL-4S model.
FU J I P HOT O FI LM COM P AN Y , LI M I T ED , for the
development and introduction of the F-Series of color
negative lms covering the range of lm speeds from
EI 64 to EI 500.
M ANFRED G. M I CHELSON of Technical Film Systems,
Incorporated, for the design and development of the
rst sprocket-driven lm transport system for color
print lm processors which permits transport speeds
in excess of 600 feet per minute.
J OHN W . LAN G , W ALT ER HRAST NI K and
CHARLES J . W AT SON of Bell & Howell Company
for the development and manufacture of a modular
continuous contact motion picture lm printer.
W I LLI AM L. BLOWE R S of Belco Associates,

Incorporated, and T H O M A S F . DE N O V E for the
development and manufacture of the Belco/Denove

Cinemeter. This digital/analog exposure meter
was specically and uniquely designed for the
cinematographer.
I AI N N EI L for optical design; T A K U O M I YA G I S H I MA
for the mechanical design; and PA N A V I S I O N ,
I N CORP ORAT E D, for the concept and development
of the Primo Series of spherical prime lenses for 35mm
cinematography.
CHRI ST OP HER S. G I L M A N and H A R V E Y
HU BERT , J R. , of the Diligent Dwarves Effects Lab
for the development of the Actor Climate System,
consisting of heat-transferring undergarments.
J I M GRAVES of J&G Enterprises for the development of
the Cool Suit System, consisting of heat-transferring
undergarments.
BENGT O. ORHAL L , K E N N E T H L U N D, B J O R N
SELI N, and K J EL L H O G B E R G of AB Film-Teknik for
the development and manufacture of the Mark IV lm

subtitling processor, which has increased the speed,
simplied the operation and improved the quality of
subtitling.
RI CHARD M U LA and PE T E R O MA N O of HydroImage,
Incorporated, for the development of the SeaPar 1200watt HMI Underwater Lamp.
D ED O W EI G ERT of Dedo Weigert Film GmbH for the
development of the Dedolight, a miniature low-voltage
tungsten-halogen lighting xture.
D R. FRED K OLB, J R . , and PA U L PR E O for the concept
and development of a 35mm projection test lm.
P ET ER BALD W I N for the design; DR . PA U L
K I AN K HOOY and the L I G H T M A K E R C O M PA N Y
for the development of the Lightmaker AC/DC HMI
Ballast.
307
ALL- U NI ON CI NE MA A N D PH O T O R E S E A R C H
I N ST I T U T E (NIKFI) for continuously improving and
providing 3-D presentations to Soviet motion picture

audiences for the last 25 years.
8/8/13 7:34 PM
1991
The Sixty-Fourth Year
he Silence of the Lambs devoured the

competition at the sixty-fourth Academy Award festivities on March 30,
1992. The rst psychological thriller to win
the Academys best picture prize, Silence also
romped off with four other awards: best actor (Anthony Hopkins), best actress (Jodie
Foster), best director (Jonathan Demme),
and best adapted screenplay (Ted Tally), the
rst time a single lm had won the Academys top ve awards since 1975s One Flew
over the Cuckoos Nest.
Silence bucked the conventional wisdom that says a lm must open late in the
calendar year to be a success at Oscar time.
With a February 1991 release, the lm had
not only been in theaters for over a year by
Oscar night, it also became the rst best
picture champ already released on videocassette at the time of its victory. The lms
Oscar success additionally marked something of a bittersweet victory for Orion
Pictures. It was the second year in a row
Orion had made a lm named by the
Academy as the best of the year, following the companys 1990 bellringer Dances
With Wolves. Yet despite the double Oscar
whammy, the company was in bankruptcy,
a victim of the foibles of the movie business
of the 1990s.
It was the second Oscar in four years for
Foster; she dedicated it to all the women
who came before me who never had the
chances Ive had. For Hopkins it was a personal rst, and the third time in three years
that a British actor had copped Oscars top
male acting prize.
Oscar show host Billy Crystal also got

caught up in the Silence mode: for his rst
entrance at the Dorothy Chandler Pavilion he was wheeled on stage strapped to a
dolly, wearing a replica of the Hannibal
Lecter mask Hopkins had worn in the lm.
(Quipped Crystal, I look like the goalie
from the SAG hockey team.)
Jack Palance also gave Crystal some
juicy material to satirize. When the crusty
Palance was named the best supporting
actor for City Slickers, he took time between
his thank-yous to do some one-handed
push-ups, his way of defending so-called
dispensable older actors being bypassed for
lm work because of age. For the remainder
of the telecast, Crystal kept ad-libbing goodnatured but saucy references to Palance and
his penchant for push-ups.
Mercedes Ruehl won the years supporting actress prize for The Fisher King. Indian
director Satyajit Ray, honored with a special
Oscar for his thirty-six-year, thirty-lm
career, accepted his award from a hospital
bed in Calcutta where he was being treated
for a heart ailment. In a segment that had
been pretaped at the hospital two weeks
before Oscar night, Ray thanked all Hollywood lmmakers for the inspiration they
had given him in pursuing his own career in
India. A month later, on April 23, 1992, the
great lmmaker was dead.
Alan Menken went home with two
Academy Awards, as composer of the years
best original score and the best original
song, both written for Disneys Beauty and
the Beast. He had written the latter with
308
be s t s up p ort i n g acto r : JACK PALANCE as Curly in City
Slickers (Castle Rock Entertainment/Columbia; directed by Ron
Underwood). After winning his Academy Award, Jack Palance
told the press, I just wish this had come along much earlier; it
would have made a big difference in the opportunities Id had as
an actor. Palance (right) had a pair of brushes with Oscar early
in his screen career. He was nominated in 1952 as best supporting actor for Sudden Fear; the following year he again competed
in the same category for Shane, but won neither. Four decades
later, City Slickers, exec-produced by Billy Crystal, nally did
the trick. An extremely likable comedy, Slickers told the tale of
three city dudes (Crystal, Bruno Kirby, Daniel Stern) who share
a holiday by spending two weeks on a real cattle drive at a New
Mexico ranch. Palance was the leathery, comically no-nonsense
trail boss who was ever-present, always frightening, and looking,
as per Crystal, like a saddle bag with eyes.
8/8/13 7:34 PM
lyricist Howard Ashman, who had died a

year earlier; Ashman thus became the rst
victim of AIDS to receive an Academy Award
posthumously. Robert Richardson, winning
for his cinematography on JFK, became the
rst American cinematographer to win in
that category in fteen years, since Haskell
Wexlers 1976 award for Bound for Glory.
Film pioneer Hal Roach, one hundred
years of age, was given a standing ovation
when introduced to the Dorothy Chandler
audience and caught the shows director by
surprise when he decided to deliver some
impromptu remarks despite the absence of a
microphone. Jumping in to save an awkward

situation, Crystal commented to the crowd,
which had heard nothing, I think thats
tting, because Mr. Roach started in silent
lms.
Once again, Oscar was not without
controversy. When the nominations had
been announced on February 19, there were
several roars of protest because Barbra Streisands name was not among the nominees
for best director; her direction of The Prince
of Tides had earlier been put forward as one
of the years ve best for the Directors Guild
award, nomination for which was viewed
be s t p i c t ure : THE SILENCE OF THE LAMBS (Orion), b es t d i re ct or : JONATHAN DEMME,

be s t ac t or: ANTHONY HOPKINS (right) as Dr. Hannibal Lecter, and be s t a ct r e s s : JODIE
FOSTER (above) as Clarice Starling. It had happened only twice before in Academy history: in 1934
It Happened One Night had won ve top Academy Awards (for picture, actor, actress, direction,
screenplay); it took 41 years and One Flew over the Cuckoos Nest in 1975 to equal that record.
Sixteen years later, the harrowing lm adaptation of Thomas Harriss novel did the same. Silence
also became the rst genuine psychological thriller to win Oscars top prize. As in Harriss book, the
story followed a young FBI recruit (Foster) as she enters the terrifying world of a serial killer named
Dr. Hannibal Lecter (Hopkins), also known as Hannibal the Cannibal because of the way he
disposed of his victims. In an era not known for a wealth of strong roles for women, Silence offered
a multidimensional diving board for Fosters talents, and she came through with a radiant, riveting
performance. Hopkins didnt have as much footage, but he nevertheless dominated the lm as the
chillingly hypnotic sociopath, the personication of unrepentant evil, brilliant enough to manage an
escape from even the most heavily secured prison. It was, Hopkins said later, so beautifully written
it was easy to play. Silence marked the second screen appearance of Dr. Lecter: he was also a principal character, played by Brian Cox, in the 1986 lm Manhunter.
by some as a forecast of the eventual ve

Academy nominees. Adding further fuel
to this re was the fact that Tides had been
nominated as one of the Oscars ve best
picture contenders. On Oscar night, those
protests were subordinated to another, more
vocal complaint. An estimated one thousand protesters chanted and carried signs
outside the Dorothy Chandler Pavilion,
some indignant about Streisand but many
more suggesting that two of the years most
conspicuous lms, The Silence of the Lambs
and JFK, had portrayed gays in an unattering light.
309
8/8/13 7:34 PM
Nominations 1991
b e s t s up p ort i n g actr es s : MERCEDES RUEHL as Anne
Napolitano (right, with Robin Williams, Jeff Bridges and
Amanda Plummer) in The Fisher King (TriStar; directed by
Terry Gilliam). Most of The Fisher King focused on a radio
shock jock (Bridges), saved from suicide and befriended by a
maniacal derelict (Williams) whose life had been disastrously
affected by the on-air ramblings of that same radio jock. Both
actors received high praise for their work, and Williams went on
to become one of the years nominees as best actor. But Mercedes
Ruehl went one step further: In a smaller role as Bridgess brassy,
man-hungry girlfriend, she copped the Oscar. Ruehl ruled at
more than one awards party that year. When Broadways Tony
Awards were handed out, she was also named the years best actress for her performance in Neil Simons play Lost in Yonkers,
a role she would later re-create on lm.
B E S T PI C TUR E
BEAU T Y AN D T HE BEAST , Walt Disney Pictures,
Buena Vista. Produced by Don Hahn.
BU G SY , TriStar. Produced by Mark Johnson, Barry
Levinson and Warren Beatty.

JFK , Camelot, Warner Bros. Produced by A. Kitman Ho
and Oliver Stone.
T HE P RI N CE OF T I D ES, Barwood/Longfellow,
Columbia. Produced by Barbra Streisand and Andrew
Karsch.
* T HE SI LEN CE OF T HE LAM BS, Strong Heart/Demme,
Orion. Produced by Edward Saxon, Kenneth Utt and
Ron Bozman.
(s cr e e n p la y ba s e d on material previo usl y

p r odu ce d or p u blis hed )
EU ROP A EU ROP A, CCC-Filmkunst and Les Films du
Losange, Orion Classics. Agnieszka Holland.
FRI ED GREEN T OM A T O E S , ACT III Communications
with Electric Shadow, Universal. Fannie Flagg and

Carol Sobieski.
J FK , Camelot, Warner Bros. Oliver Stone and Zachary
Sklar.
T HE P RI NCE OF T I DE S , Barwood/Longfellow,
Columbia. Pat Conroy and Becky Johnston.
* T HE SI LEN CE OF T H E L A M B S , Strong Heart/Demme,
Orion. Ted Tally.
A C TO R
A C TR E S S
BU GSY , TriStar. Allen Daviau.

* J FK , Camelot, Warner Bros. Robert Richardson.
with Cappa Films and Tribeca Productions, Universal.
Columbia. Stephen Goldblatt.
* ANT HONY HOP K I NS in The Silence of the Lambs, Strong
T ERM I NAT OR 2 : J UDG M E N T DA Y, Carolco, TriStar.
Heart/Demme, Orion.
Adam Greenberg.
NI CK NOLT E in The Prince of Tides, Barwood/
T HELM A & LOU I SE, Pathe Entertainment, M-G-M.
Longfellow, Columbia.
Adrian Biddle.
ROBI N W I LLI AM S in The Fisher King, TriStar.
W ARREN BEAT T Y in Bugsy, TriStar.
ROBERT D E NI RO in Cape Fear, Amblin Entertainment
GEENA D AVI S in Thelma & Louise, Pathe
(TriStar) won four Academy

Awards, making it the years most Oscared lm after The Silence
of the Lambs. A futuristic smorgasbord full of eye-boggling
special effects, the James Camerondirected spectacle was about
a primitive Terminator (Arnold Schwarzenegger, above) battling
it out with a villainous man-machine (Robert Patrick) in order
to save the world from destruction. The lm took a truckload of
prizes from the technical end of the Academy honors list: for its
stunning visual effects, sound effects editing, sound, and makeup.
TERMINATOR 2 : JUDGMENT DAY
Entertainment, M-G-M.
LAU RA D ERN in Rambling Rose, Carolco, Seven Arts.

* JOD I E FOST ER in The Silence of the Lambs, Strong
Heart/Demme, Orion.
BET T E M I D LER in For the Boys, 20th Century Fox.

SU SAN SARAN D ON in Thelma & Louise, Pathe
Entertainment, M-G-M.
T OM M Y LEE J ON ES in JFK, Camelot, Warner Bros.

HARVEY K EI T EL in Bugsy, TriStar.
BEN K I NGSLEY in Bugsy, TriStar.
M I CHAEL LERN ER in Barton Fink, Barton Circle, 20th
Century Fox.
* JACK P ALAN CE in City Slickers, Castle Rock

Entertainment, Columbia.
D I ANE LAD D in Rambling Rose, Carolco Pictures, Seven
Arts.
JU LI ET T E LEW I S in Cape Fear, Amblin Entertainment
310
with Cappa Films and Tribeca, Universal.

K AT E N ELLI GAN in The Prince of Tides, Barwood/
Longfellow, Columbia.
* M ERCED ES RU EHL in The Fisher King, TriStar.
JESSI CA T AND Y in Fried Green Tomatoes, Act III
Communications with Electric Shadow, Universal.
D I R E C TI N G
BOY Z N T HE HOOD , Columbia. John Singleton.

BU G SY , TriStar. Barry Levinson.
JFK , Camelot, Warner Bros. Oliver Stone.
* T HE SI LEN CE OF T HE LAM BS, Strong Heart/Demme,
received the Irving G. Thalberg Memorial

Award from his longtime pal and sometime collaborator Steven
Spielberg. Lucas, the creator of four of the top ten box-ofce hits
as of 1992 (Star Wars, Return of the Jedi, Raiders of the Lost
Ark, The Empire Strikes Back), thanked the thousands of men,
women, robots and aliens with whom hed shared the creative
process, with a special mention to Francis Ford Coppola for being
my mentor, and to his daughters for being current teachers.
GEORGE LUCAS
Orion. Jonathan Demme.
Ridley Scott.
BART ON FI NK , Barton Circle, 20th Century Fox.
Dennis Gassner; Nancy Haigh.

* BU G SY , TriStar. Dennis Gassner; Nancy Haigh.
T HE FI SHER K I NG, TriStar. Mel Bourne; Cindy Carr.
HOOK , TriStar. Norman Garwood; Garrett Lewis.
Columbia. Paul Sylbert; Caryl Heller.
C O S TUM E D ESIGN
T HE AD D AM S FAM I L Y, Scott Rudin, Paramount. Ruth
Myers.
BART ON FI NK , Barton Circle, 20th Century Fox.
Richard Hornung.
* BU G SY , TriStar. Albert Wolsky.
HOOK , TriStar. Anthony Powell.
M AD AM E BOVARY , MK2/C.E.D./FR3 Films, Samuel
Goldwyn Company. Corinne Jorry.
S O UN D
BACK D RAFT , Trilogy Entertainment Group/Brian
Grazer, Universal. Gary Summers, Randy Thom, Gary

Rydstrom and Glenn Williams.
BEAU T Y AND T HE B E A S T , Walt Disney Pictures,
Buena Vista. Terry Porter, Mel Metcalfe, David J.
Hudson and Doc Kane.
J FK , Camelot, Warner Bros. Michael Minkler, Gregg
Landaker and Tod A. Maitland.
T HE SI LENCE OF T H E L A M B S , Strong Heart/Demme,
Orion. Tom Fleischman and Christopher Newman.
* T ERM I N AT OR 2 : J UDG ME N T DA Y, Carolco, TriStar.
Tom Johnson, Gary Rydstrom, Gary Summers and Lee
Orloff.
F I LM E D I TI NG
T HE COM M I T M EN TS , Beacon Communications, 20th
Century Fox. Gerry Hambling.

* J FK , Camelot, Warner Bros. Joe Hutshing and Pietro
WR I TI N G
Scalia.
T HE SI LENCE OF T H E L A M B S , Strong Heart/Demme,
BOY Z N T HE HOOD , Columbia. John Singleton.
Orion. Craig McKay.
BU G SY , TriStar. James Toback.
T ERM I NAT OR 2 : J UDG M E N T DA Y, Carolco, TriStar.
T HE FI SHER K I N G , TriStar. Richard LaGravenese.
Conrad Buff, Mark Goldblatt and Richard A. Harris.
GRAND CANY ON, 20th Century Fox. Lawrence Kasdan
and Meg Kasdan.
Thom Noble.
* T HELM A & LOU I SE, Pathe Entertainment, M-G-M.
Callie Khouri.
8/8/13 7:34 PM
BA C K D R A FT, Trilogy Entertainment Group/Brian
Grazer, Universal. Gary Rydstrom and Richard Hymns.
STA R TR E K VI THE UNDISCOV ERED COUNTRY,
Paramount Pictures, Paramount. George Watters II

and F. Hudson Miller.
* TE R MINA TO R 2 : JUDGMENT DAY, Carolco, TriStar.
Gary Rydstrom and Gloria S. Borders.
BA C K D R A FT, Trilogy Entertainment Group/Brian
Grazer, Universal. Mikael Salomon, Allen Hall, Clay

Pinney and Scott Farrar.
HO O K, TriStar. Eric Brevig, Harley Jessup, Mark Sullivan
and Michael Lantieri.
Dennis Muren, Stan Winston, Gene Warren, Jr., and
Robert Skotak.
MUSIC
BE O UR GUE ST (Beauty and the Beast, Walt Disney
Pictures, Buena Vista); Music by Alan Menken. Lyric

by Howard Ashman.
* BE A U TY A ND THE B EAST (Beauty and the Beast, Walt
Disney Pictures, Buena Vista); Music by Alan Menken.
Lyric by Howard Ashman.
BE L L E (Beauty and the Beast, Walt Disney Pictures,
Buena Vista); Music by Alan Menken. Lyrics by
Howard Ashman.
(E VE R Y THING I DO) I DO IT FOR YOU (Robin Hood:
Prince of Thieves, Morgan Creek, Warner Bros.); Music
by Michael Kamen. Lyric by Bryan Adams and Robert
John Lange.
W HE N Y O U R E ALONE (Hook, TriStar Pictures,
TriStar); Music by John Williams. Lyric by Leslie
Bricusse.
* BE A U TY A ND THE B EAST, Walt Disney Pictures,

Buena Vista. Alan Menken.
BUGS Y , TriStar. Ennio Morricone.
THE F IS HE R KING, TriStar. George Fenton.
JFK, Camelot, Warner Bros. John Williams.
THE P R INC E O F TIDES, Barwood/Longfellow,
Columbia. James Newton Howard.
M A K EU P
HO O K, TriStar. Christina Smith, Monty Westmore and
Greg Cannom.
STA R TR E K VI THE UNDISCOV ERED COUNTRY,
Paramount. Michael Mills, Edward French and

Richard Snell.
Stan Winston and Jeff Dawn.
S H O RT FI L M S
(an i m at e d )
BL A C KF L Y , a National Film Board of Canada
Production. Christopher Hinton.

* MA NIP U L A TIO N , a Tandem Films Production. Daniel
Greaves.
STR INGS, a National Film Board of Canada Production.
Wendy Tilby.
(l i ve ac t i on )
BIR C H STR E E T GYM, a Chanticleer Films Production.
Stephen Kessler and Thomas R. Conroy.
L A ST BR E E Z E O F SUMMER, an American Film
Institute Production. David M. Massey.

* S E SS IO N MA N, a Chanticleer Films Production. Seth
Winston and Rob Fried.
D O CU M EN T AR Y
BIR D NE STE R S OF THAILAND (aka Shadow
Hunters), an Antenne 2/National Geographic

Society/M.D.I./Wind Horse Production. Eric Valli and
Alain Majani, producers.
* D E A D L Y D E C E P T ION: GENERAL ELECTRIC,
NU C L E A R W E APONS AND OUR ENV IRONMENT,
a Womens Educational Media, Inc. Production. Debra

Chasnoff, producer.
A L ITTL E VIC IO US, a Film and Video Workshop, Inc.
Production. Immy Humes, producer.
THE MA R K O F THE MAKER, a McGowan Film and
Video, Inc. Production. David McGowan, producer.
MEMORIAL: LETTERS FROM AMERICAN SOLDIERS,
a Couturi Company Production. Bill Couturi and

Bernard Edelman, producers.
(f e at ure s )
D E A TH O N THE JOB , a Half-Court Pictures, Ltd.
Production. Vince DiPersio and William Guttentag,

producers.
D O ING TIME : L I FE INSIDE TH E B IG H OUSE, a
Video Verite Production. Alan Raymond and Susan
Raymond, producers.
(Buena Vista) managed a coup no

other animated feature in lm history had achieved, not even the
much-revered Snow White and the Seven Dwarfs, Pinocchio,
or Fantasia: Beauty pulled a nomination as best picture of the
year. It was an honor that struck cold fear into the heart of many
an unemployed actor, fearing the accolade could encourage more
producers to bypass live performers in favor of pencil marks.
BEAUTY AND THE BEAST
* I N T HE SHAD OW OF T HE ST ARS, a Light-Saraf Films

Production. Allie Light and Irving Saraf, producers.
T HE REST LESS CONSCI EN CE, a Hava Kohav Beller
Production. Hava Kohav Beller, producer.
W I LD BY LAW , a Florentine Films Production.
Lawrence Hott and Diane Garey, producers.
CHI LD REN OF NAT U RE (Iceland).

T HE ELEM EN T ARY SCHOOL (Czechoslovakia).
* M ED I T ERRANEO (Italy).
T HE OX (Sweden).
RAI SE T HE RED LAN T ERN (Hong Kong).

T O SAT Y AJ I T RAY , in recognition of his rare mastery
of the art of motion pictures, and of his profound

humanitarian outlook, which has had an indelible
inuence on lmmakers and audiences throughout
the world.
T O P ET E COM AND I NI , RI CHARD T . D AY T ON ,

D ONALD HAG AN S and RI CHARD T . RY AN of YCM
Laboratories for the creation and development of a

motion picture lm restoration process using liquid
gate and registration correction on a contact printer.
(Award of CommendationSpecial Plaque)
T O RI CHARD J . ST U M P F and J OSEP H W EST HEI M ER
for outstanding service and dedication in upholding
the high standards of the Academy of Motion Picture
Arts and Sciences. (Medal of Commendation)
T O G EORGE LU CAS

T O RAY HARRY HAU SEN
A WA R D S
None.

I AI N N EI L for the optical design; ALBERT SAI K I
for the mechanical design; and P AN AVI SI ON,
I NCORP ORAT ED , for the concept and development
of the Primo Zoom Lens for 35mm cinematography.
Beauty lost to The Silence of the Lambs on the nal tally, but
it did win two trophies, both in the music category. One was for
Alan Menkens original score and one for Menkens and Howard
Ashmans Beauty and the Beast as the years best song. In the
latter category, they competed against themselves: two of their
other songs from Beauty were also nominees, Be Our Guest
and Belle.
G EORG T HOM A for the design; H E I N Z F E I E R L E I N

and the EN G I NE E R I N G DE PA R T ME N T O F
SACHT LER AG for the development of a range of uid
tripod heads.
HARRY J . BAK ER for the design and development of
the rst full uid-action tripod head with adjustable

degrees of viscous drag.
G U I D O CART ON I for his pioneering work in
developing the technology to achieve selectable and
repeatable viscous drag modules in uid tripod heads.
RAY FEEN EY , RI C H A R D K E E N E Y, and R I C H A R D
J . LU N D ELL for the software development and
adaptation of the Solitaire Film Recorder that provides
a exible, cost-effective lm recording system.
FAZ FAZ AK AS, BR I A N H E N S O N , DA V E H O U S M A N ,
P ET ER M I LLER, and J O H N S T E PH E N S O N for the
development of the Henson Performance Control

System.
M ARI O CELSO for his pioneering work in the design,
development and manufacture of equipment for
carbon arc and xenon power supplies and igniters used
in motion picture projection.
RAN D Y CART W RI G H T , DA V I D B . C O O N S , L E M
D AVI S, T HOM A S H A H N , J A ME S H O U S T O N ,
M ARK K I M BALL , DYL A N W . K O H L E R , PE T E R
NY E, M I CHAEL S H A N T ZI S , DA V I D F . W O L F ,
and the W ALT D I S N E Y F E A T U R E A N I MA T I O N
D EP ART M EN T for the design and development of the
CAPS production system for feature lm animation.
G EORGE W ORRA L L for the design, development and
manufacture of the Worrall geared camera head for

311

ROBERT W . ST OK E R , J R . , for the design and
development of a cobweb gun, for applying non-toxic

cobweb effects on motion picture sets with both safety
and ease of operation.
J AM ES D OY LE for the design and development of the
Dry Fogger, which uses liquid nitrogen to produce a
safe, dense, low-hanging fog effect.
D I CK CAVD EK , ST E V E H A M E R S K I , and O T T O
N EM ENZ I NT ER N A T I O N A L , I N C O R PO R A T E D, for
the opto-mechanical design and development of the
Canon/Nemenz Zoom Lens.
K EN ROBI NGS and C L A I R M O N T C A ME R A for the
opto-mechanical design and development of the
Canon/Clairmont Camera Zoom Lens.
CENT U RY P RECI S I O N O PT I C S for the optomechanical design and development of the Canon/
Century Precision Optics Zoom Lens.
8/8/13 7:34 PM
1992
The Sixty-Fifth Year
or Clint Eastwood, March 29, 1993,

was a triumphant night to remember.
After thirty years of being dismissed
by too many as a moviemaker of little consequence, the estimable Eastwood went home
with not one but two Academy Awards, as
the years best director and for producing
the years best lm, Unforgiven. He took
it all in leisurely stride. Backstage he told
reporters, I think winning means more to
me now. If you win early in your career, you
wonder where to go from that point. And
maybe, at that time in your life, you might
start wearing leggings and a monocle and
taking yourself too seriously. Eastwood
was the fourth actor in Oscar history to win
an Academy Award for directing a movie
he also starred in, following Woody Allen
(1977), Warren Beatty (1981), and Kevin
Costner (1990).
The two most nominated lms of the
year had been Eastwoods American-made
Unforgiven and the British-born Howards
End from Merchant Ivory, each with nine
nominations. After the sixty-fth Oscars
were disbursed, Unforgiven had received four
(including nods for Gene Hackmans supporting actor performance and Joel Coxs
editing), while Howards End tallied three
(best actress Emma Thompson, best adapted
screenplay by Ruth Prawer Jhabvala, and
best art direction by Luciana Arrighi, with
set decoration by Ian Whittaker).
Just as Eastwood had nally made it into
the winners circle after a long haul, so
did Al Pacino. Nominated six times during
the preceding two decades without a win,
Pacino was up for two 1992 acting awards,

for best supporting actor (in Glengarry
Glen Ross) and best actor (in Scent of
a Woman). He won for the latter. You
broke my streak, he told the Academy
audience. Pacino, Thompson, Hackman,
and Eastwood had all been favored to win
in their divisions; Marisa Tomei, named
best supporting actress for My Cousin
Vinny, had denitely been a dark horse.
Her victory was rated as the nights biggest
surprise.
For the rst time, there were only four
ofcial nominees in the category of best
foreign language lm. A fth contender,
A Place in the World, had been nominated
as an entry from Uruguay but was later
disqualied when it came to the Academys
attention that the lm was essentially an
Argentine, not a Uruguayan, production.
The French-made Indochine, which had
brought Catherine Deneuve a nomination
as best actress, was named the years best
foreign language lm, the rst time since
1978 a French lm had been so honored.
For the second year in a row, music man
Alan Menken won two Oscars, one for best
original score, another for best original song
(A Whole New World from Disneys animated Aladdin). Menken accepted the latter
award, his sixth in a four-year span, with the
songs lyricist, Tim Rice.
The Crying Game had been the years
giant sleeper. Opening without fanfare, the
British-made drama went on to become
extremely popular with moviegoers and
a favorite topic of discussion because of
312
be s t p i c t ure : UNFORGIVEN (Warner Bros.; produced by
Clint Eastwood), be s t d i r ecto r : CLINT EASTWOOD, and
be s t s up p ort i n g acto r : GENE HACKMAN as Little Bill
Daggett (right, with Eastwood). It was no relation to John
Hustons 1960 western The Unforgiven; indeed, Clint Eastwoods Unforgiven stood squarely in its own unique boots as the
rst genuine western to win Oscars premier prize. Admittedly,
several earlier best picture winners (such as 193031s Cimarron and 1990s Dances With Wolves) had shared a kindred
spirit of the Old West; just as true, Eastwoods sagebrush saga
was a million light-years from the basic western movie form
popularized by John Wayne and Roy Rogers in which the lines
between heroes and villains were clearly dened. In Unforgiven,
Eastwood showed a dark, unglamorized glimpse into the Old
West, the hero (played by Eastwood) a retired hell-raiser who,
in need of money, takes on the job of hunting down two bad
guys who carved up a prostitute in a Wyoming town called Big
Whiskey. His assignment eventually brings him in touch with
Morgan Freeman, Richard Harris and Gene Hackman, the latter
the unrelenting sheriff who rules Big Whiskey with an iron st.
Hackmans character ends up in a showdown with Eastwood;
Hackman himself ended up with an Academy Award for supporting actor, his rst after winning in 1971 as the best actor of the
year for The French Connection.
8/8/13 7:34 PM
several surprise twists in its story line. At

Oscar time, it also generated enough steam
to win six nominations, including one as
the years best picture. However, when the
votes were counted, Crying ended up with
only a single trophy, for Neil Jordans original screenplay.
Jean Hersholt Humanitarian Awards
went to both Elizabeth Taylor and Audrey
Hepburn, and Italys great director Federico
Fellini received a special honorary Oscar
in recognition of his place as one of the
screens master storytellers. His Oscar was
presented by two other Italian landmarks,
Sophia Loren and Marcello Mastroianni,
while Mrs. Fellini, actress Giulietta Masina,
wept in the audience. During his thank-you
speech, Fellini included a request to her:
Please stop crying, Giulietta.
For the fourth consecutive year, Billy
Crystal was the nights emcee, this time
making his entrance onto the stage of the
Dorothy Chandler Pavilion whip in hand,
riding atop a giant Oscar pulled by Jack
Palance. After Palance did a reprise of the
one-arm push-ups hed done at the preceding years Academy Awards ceremonies,
Crystal jumped off the Oscar and declared,
I am Spartacus . . .
The theme of the show, Oscar Salutes
Women and the Movies, had stirred
some controversy prior to the telecast,
particularly among those whose conception of women in lm was restricted to
actresses. It had been an especially lean
year in terms of strong roles for women,
they argued, and so it was ironic or worse

for the Academy to select a theme relating
to women. Producer Gil Cates patiently
pointed out that he was celebrating the
many vital contributions that women
had made through the entire history of
movies, behind the screen as well as on it,
and asked whether it wasnt better to light

candles than to curse darkness. His position seemed vindicated when women won
Oscars in nine of the evenings twentythree categories, strong evidence that
women were progressing toward equality
of contributions to the art form.
be s t a ct r e s s : EMMA THOMPSON as Margaret Schlegel in

Howards End (Merchant Ivory/Sony Pictures Classics; directed
by James Ivory). Before Howards End, Emma Thompson was
barely known to movie audiences; to those who were aware of
her, she was most familiar as the wife of actor-director Kenneth
Branagh and the leading lady of her husbands lms Henry V
and Dead Again. Then came the British-made Howards End,
based on E. M. Forsters 1910 novel; Thompson was positively
illuminating as a bright, well-bred Englishwoman near the end of
the Edwardian era, devoted to her headstrong sister (Helena Bon-
ham Carter) and eventually intertwined with a dynamic family

of means headed by Anthony Hopkins and Vanessa Redgrave. For
her performance as the compassionate Miss Schlegel, Thompson
won the Academy Award, acquired an identity quite her own, and
began her own front-line screen career thanks to Howards End,
a literate, leisurely comedy-drama of manners and morals, done
with taste and intelligence by the team of (Ismail) Merchant/
(James) Ivory, earlier responsible for a superb screen version of
Forsters A Room with a View.
313
be s t ac t or: AL PACINO as Frank Slade in Scent of a

Woman (Universal; directed by Martin Brest). It looked as
though Al Pacino was destined always to be a bridesmaid, never
a bride, at least as far as a wedding with Oscar was concerned.
Since his rst nomination in 1972 (for The Godfather) he had
accumulated a total of six nominations without ever carrying
home a statuette. (Among actors, only Peter OToole and the late
Richard Burton topped him, OToole with eight and Burton with
seven nominations, but zero wins on both of their tally sheets.)
In 1992, Pacino received two more nominations, one as best supporting actor for Glengarry Glen Ross, another as best actor
for Scent of a Woman. The latter nally did the trick. Scent
was a remake of the 1975 Italian movie of the same name, which
had starred Vittorio Gassman. (Ironically, that 1975 screenplay
by Ruggero Maccari and Dino Risi lost the Oscar to One Flew
over the Cuckoos Nest by Lawrence Hauben and Bo Goldman;
Goldman wrote the screenplay for the new version of Scent.)
8/8/13 7:34 PM
Nominations 1992
b e s t s up p ort i n g actr es s : MARISA TOMEI as Mona Lisa

Vito in My Cousin Vinny (20th Century Fox; directed by Jonathan Lynn). If anything came near an Academy upset in 1992, it
was Marisa Tomeis win for My Cousin Vinny. The title referred
to a swaggering, inept lawyer named Vincent Gambini (Joe Pesci)
who gets in over his head while trying to plead a court case in
Alabama involving a cousin named Bill (Ralph Macchio). Despite the fun at hand, it was Tomei who stole the show as Cousin
Vinnys crazy-making girlfriend Mona Lisa Vito, who accompanies him south and is in a constant tizzy because her biological
clock is ticking loudly. American-born Tomei won her Oscar over
a eld that included four of the best from overseas: Joan Plowright, Miranda Richardson, Vanessa Redgrave and Judy Davis.
Never before had two Jean Hersholt Humanitarian Awards been

presented in a single year; on January 13, 1993, it was announced
that ELIZABETH TAYLOR (above, at the 65th Awards) and
AUDREY HEPBURN (right, at the 64th Awards, where she presented an Honorary Award to Satyajit Ray) had both been chosen
by the Board of Governors for the honor. Taylor was acknowledged for her extensive work on behalf of AIDS sufferers, Hepburn
for her work as a UNICEF ambassador helping millions of third
world children. Unfortunately, only Taylor was able to receive her
Humanitarian Award in person; the much-loved Hepburn had
succumbed to cancer on January 20, only a week after the announcement of her award had been made to the world.
B ES T P I CT U R E
VAN ESSA RED GRAVE in Howards End, Merchant Ivory,
THE C R Y ING GA ME, Palace Pictures, Miramax.
Produced by Stephen Woolley.
A FE W GO O D ME N, Castle Rock Entertainment,
Columbia. Produced by David Brown, Rob Reiner and

Andrew Scheinman.
HO W A R D S E ND , Merchant Ivory, Sony Pictures
Classics. Produced by Ismail Merchant.
SC E NT O F A W O MAN, City Light Films, Universal.
Produced by Martin Brest.
* UNF O R GIVE N, Warner Bros. Produced by Clint
Eastwood.
A CT O R
R O BE R T D O W NE Y JR. in Chaplin, Carolco Pictures,
TriStar.
C L INT E A STW O O D in Unforgiven, Warner Bros.

* A L P A C INO in Scent of a Woman, City Light Films,
Universal.
STE P HE N R E A in The Crying Game, Palace Pictures,
Miramax.
D E NZ E L W A S HING TON in Malcolm X, By Any Means
Necessary Cinema, Warner Bros.
A CT RES S
C A THE R INE D E NE UV E in Indochine, Paradis Films/La
314
Gnrale dImages/BAC Films/Orly Films/Cin

Cinq, Sony Pictures Classics.
MA R Y MC D O NNE LL in Passion Fish, Atchafalaya
Films, Miramax.
MIC HE L L E P FE IFF ER in Love Field, Sanford/Pillsbury,
Orion.
SUS A N S A R A ND O N in Lorenzos Oil, Kennedy Miller
Films, Universal.
* E MMA THO MP S O N in Howards End, Merchant Ivory,
Sony Pictures Classics.
JA Y E D A VID S O N in The Crying Game, Palace Pictures,
Miramax.
* GE NE HA C K MA N in Unforgiven, Warner Bros.

JA C K NIC HO L SO N in A Few Good Men, Castle Rock
A L P A C INO in Glengarry Glen Ross, Stephanie Lynn,
New Line.
D A VID P A Y ME R in Mr. Saturday Night, Castle Rock
JU D Y D A VIS in Husbands and Wives, TriStar.

JO A N P L O W R IGHT in Enchanted April, BBC Films
Sony Pictures Classics.
M I RAND A RI CHARD SON in Damage, SKREBA/
Damage/NEF/Le Studio Canal+, New Line.

* M ARI SA T OM EI in My Cousin Vinny, 20th Century Fox.
D I R E C TI N G
T HE CRY I NG GAM E, Palace Pictures, Miramax. Neil
Jordan.
HOW ARD S EN D , Merchant Ivory, Sony Pictures
Classics. James Ivory.
T HE P LAY ER, Avenue Pictures, Fine Line. Robert
Altman.
SCENT OF A W OM AN , City Light Films, Universal.
Martin Brest.
* U NFORGI VEN, Warner Bros. Clint Eastwood.
WR I TI N G
* T HE CRY I NG GAM E, Palace Pictures, Miramax. Neil

Jordan.
HU SBAND S AND W I VES, TriStar. Woody Allen.
LOREN Z O S OI L, Kennedy Miller Films, Universal.
George Miller and Nick Enright.
P ASSI ON FI SH, Atchafalaya Films, Miramax. John
Sayles.
U NFORGI VEN, Warner Bros. David Webb Peoples.
(s cr e e n p la y ba s e d on ma t e r ia l p r e v iou s ly
p r odu ce d or p u blis h e d)
ENCHAN T ED AP RI L, BBC Films with Greenpoint
Films, Miramax. Peter Barnes.

* HOW ARD S EN D , Merchant Ivory, Sony Pictures
Classics. Ruth Prawer Jhabvala.
T HE P LAY ER, Avenue Pictures, Fine Line. Michael
Tolkin.
A RI VER RU NS T HROU G H I T , Columbia. Richard
Friedenberg.
SCENT OF A W OM AN , City Light Films, Universal. Bo
Goldman.
HOFFA, 20th Century Fox. Stephen H. Burum.

HOW ARD S EN D , Merchant Ivory, Sony Pictures
Classics. Tony Pierce-Roberts.

T HE LOVER, Renn/Burrill Productions/Films A2,
M-G-M/UA. Robert Fraisse.
* A RI VER RU NS T HROU G H I T , Columbia. Philippe
Rousselot.
U NFORGI VEN, Warner Bros. Jack N. Green.
BRAM ST OK ER S D R A C U L A , Columbia. Thomas
Sanders; Garrett Lewis.
CHAP LI N, Carolco Pictures, TriStar. Stuart Craig;
Chris A. Butler.
* HOW ARD S EN D , Merchant Ivory, Sony Pictures
Classics. Luciana Arrighi; Ian Whittaker.
T OY S, 20th Century Fox. Ferdinando Scarotti; Linda
DeScenna.
U N FORG I VEN , Warner Bros. Henry Bumstead; Janice
Blackie-Goodine.
C O S TUM E D ESIGN
* BRAM ST OK ER S D R A C U L A , Columbia. Eiko Ishioka.

EN CHANT ED AP RI L , BBC Films with Greenpoint
Films, Miramax. Sheena Napier.
HOW ARD S END , Merchant Ivory, Sony Pictures
Classics. Jenny Beavan and John Bright.
M ALCOLM X , By Any Means Necessary Cinema,
Warner Bros. Ruth Carter.
T OY S, 20th Century Fox. Albert Wolsky.
S O UN D
ALAD D I N, Walt Disney Pictures, Buena Vista. Terry
Porter, Mel Metcalfe, David J. Hudson and Doc Kane.
A FEW GOOD M EN, Castle Rock Entertainment,
Columbia. Kevin OConnell, Rick Kline and Bob Eber.

* T HE LAST OF T HE M O H I C A N S , 20th Century Fox.
Chris Jenkins, Doug Hemphill, Mark Smith and Simon
Kaye.
U N D ER SI EGE, Northwest, Warner Bros. Donald O.
Mitchell, Frank A. Montano, Rick Hart and Scott
Smith.
U N FORG I VEN , Warner Bros. Les Fresholtz, Vern Poore,
Dick Alexander and Rob Young.
F I LM E D I TI NG
BASI C I NST I N CT , Carolco, TriStar. Frank J. Urioste.

T HE CRY I N G G AM E , Palace Pictures, Miramax. Kant
Pan.
A FEW GOOD M EN, Castle Rock Entertainment,
Columbia. Robert Leighton.
T HE P LAY ER, Avenue Pictures, Fine Line. Geraldine
Peroni.
* U NFORGI VEN, Warner Bros. Joel Cox.
with Greenpoint Films, Miramax.
8/8/13 7:34 PM
A L A D D IN, Walt Disney Pictures, Buena Vista. Mark
Mangini.
* BR A M S TO KE R S DRACULA, Columbia. Tom C.
McCarthy and David E. Stone.
U ND E R SIE GE , Northwest, Warner Bros. John Leveque
and Bruce Stambler.
A L IE N 3 , 20th Century Fox. Richard Edlund, Alec Gillis,
Tom Woodruff, Jr., and George Gibbs.
B AT M AN R E T UR NS, Warner Bros. Michael Fink, Craig
Barron, John Bruno and Dennis Skotak.

* D E A TH BE C O MES H ER, Universal. Ken Ralston, Doug
Chiang, Doug Smythe and Tom Woodruff, Jr.
MUSIC
BE A UTIF UL MA RIA OF MY SOUL (The Mambo Kings,
Northwest, Warner Bros.); Music by Robert Kraft.

Lyric by Arne Glimcher.
FR IE ND L IK E ME (Aladdin, Walt Disney Pictures,
Buena Vista); Music by Alan Menken. Lyric by Howard
Ashman.
I HA VE NO THING (The Bodyguard, Warner Bros.);
Music by David Foster. Lyric by Linda Thompson.
R UN TO Y O U (The Bodyguard, Warner Bros.); Music by
Jud Friedman. Lyric by Allan Rich.
* A W HO L E NE W WORLD (Aladdin, Walt Disney
Pictures, Buena Vista); Music by Alan Menken. Lyric
by Tim Rice.
* A L A D D IN, Walt Disney Pictures, Buena Vista. Alan

Menken.
BA SIC INSTINC T, Carolco, TriStar. Jerry Goldsmith.
C HA P L IN, Carolco, TriStar. John Barry.
HO W A R D S E ND , Merchant Ivory, Sony Pictures
Classics. Richard Robbins.
A R IVE R R U NS THROUGH IT, Columbia. Mark Isham.
M A K EU P
BA TMA N R E TU R NS, Warner Bros. Ve Neill, Ronnie
Specter and Stan Winston.

* BR A M S TO KE R S DRACULA, Columbia. Greg
Cannom, Michle Burke and Matthew W. Mungle.
HO F F A , 20th Century Fox. Ve Neill, Greg Cannom and
John Blake.
S H O RT FI L M S
(an i m at e d )
A D A M, an Aardman Animations Ltd. Production. Peter
Lord.
* MO NA L ISA D E S CENDING A STAIRCASE, a Joan C.
Gratz Production. Joan C. Gratz.
RECI, RECI, RECI . . . (WORDS, WORDS, WORDS),
a Kratky Film Production. Michaela Pavlatova.
THE S A ND MA N, a Batty Berry Mackinnon Production.
Paul Berry.
be s t for e ig n la n g u a g e film: INDOCHINE from France.

Directed by Regis Wargnier and starring Catherine Deneuve
(above, with Vincent Perez), Indochine was a lengthy (155
minutes), sweeping romantic saga that eavesdropped on two
women and a man during the nal twenty-ve years of French
rule in Indochina, before it became Vietnam. The lm not only

unleashed tearducts and won the Academys highest praise from
overseas, it brought Deneuve her rst Academy Award nomination, making her one of the few performers honored for work in
foreign language lms.
FI RES OF K U W AI T , a Black Sun Films, Ltd./IMAX
LI BERAT ORS: FI GHT I NG ON T W O FRON T S

I N W ORLD W AR I I , a Miles Educational Film
LOREN CARP ENT E R , R O B C O O K , E D C A T MU L L ,

T OM P ORT ER, P A T H A N R A H A N , T O N Y
AP OD ACA, and DA R W YN PE A C H E Y for the
Corporation Production. Sally Dundas, producer.
Productions, Inc. Production. William Miles and Nina

Rosenblum, producers.
M U SI C FOR T HE M OVI ES: BERNARD HERRM ANN,
an Alternate Current Inc./Les Films dIci Production.

Margaret Smilow and Roma Baran, producers.
* T HE P ANAM A D ECEP T I ON , an Empowerment
Project Production. Barbara Trent and David Kasper,
producers.
CLOSE T O ED EN (Russia).
D AENS (Belgium).
* I N D OCHI N E (France).
SCHT ON K ! (Germany).
SC R E E N P L A Y , a Bare Boards Film Production. Barry
(l i ve ac t i on )
T O P ET RO VLAHOS in appreciation for outstanding
J.C. Purves.
C O NTA C T, a Chanticleer Films, Inc. Production.
Jonathan Darby and Jana Sue Memel.

C R UIS E C O NTR OL, a Palmieri Pictures Production.
Matt Palmieri.
THE L A D Y IN W AITING, a Taylor Made Films
Production. Christian M. Taylor.
* O MNIBU S, a Lazennec tout court/Le C.R.R.A.V.
Production. Sam Karmann.
SW A N SO NG, a Renaissance Films PLC Production.
Kenneth Branagh and David Partt.
D O CU M EN T AR Y
A T THE E D GE O F CONQUEST: TH E JOURNEY OF
C HIE F W A I- W AI, a Realis Pictures Inc. Production.
Geoffrey OConnor, producer.
BE Y O ND IMA GINING: MARGARET ANDERSON

A ND THE L ITT LE REV IEW, a Wendy L. Weinberg
Production. Wendy L. Weinberg, producer.
THE C O L O U R S OF MY FATH ER: A PORTRAIT OF

SAM BORENSTEIN, an Imageries P.B. Ltd. Production
in coproduction with the National Film Board of

Canada. Richard Elson and Sally Bochner, producers.
* E D UC A TING P E T ER, a State of the Art, Inc.
Production. Thomas C. Goodwin and Gerardine
Wurzburg, producers.
W HE N A BO R TION WAS ILLEGAL: UNTOLD
S TO R IE S , a Concentric Media Production. Dorothy
Fadiman, producer.
(f e at ure s )
C HA NGING O UR MINDS: THE STORY OF DR.
E VE L Y N HO O KER, an Intrepid Production. David
T O FED ERI CO FELLI NI , in recognition of his place as
one of the screens master storytellers.

T O T HE I N T ERNAT I ON AL ALLI ANCE OF

T HEAT RI CAL ST AGE EM P LOY EES in recognition
of the indispensable contributions of its members,

who represent the full spectrum of artists, technicians
and craftspeople, to the art of motion pictures on
the occasion of the one-hundredth anniversary of
the Alliances founding. (Award of Commendation
special plaque)
T O AU D REY HEP BU RN
T O ELI Z ABET H T AY LOR

T O ERI CH K AEST N ER
S C I E N TI F I C A N D TE C H N I C A L
A WA R D S
CHAD W ELL O CON N OR of the OConnor
development of RenderMan software which

produces images used in motion pictures from 3D
computer descriptions of shape and appearance.
CLAU S W I ED EM A N N and R O B E R T O R B A N for
the design and D O L B Y L A B O R A T O R I E S for the
development of the Dolby Labs Container.
K EN BAT ES for the design and development of the Bates
Decelerator System for accurately and safely arresting
the descent of stunt persons in high freefalls.
AL M AY ER for the camera design; I A I N N E I L and
G EORGE K RAEM E R for the optical design; H A N S
SP I RAW SK I and B I L L E S L I C K for the optomechanical design; and DO N E A R L for technical
support in developing the Panavision System 65 Studio
Sync Sound Reex Camera for 65mm motion picture
photography.
D OU G LAS T RU M B U L L for the concept; G E O F F R E Y H .
W I LLI AM SON for the movement design; R O B E R T D.
AU G U ST E for the electronic design and E DMU N D M .
D I G I U LI O for the camera system design of the CP-65
Showscan Camera System for 65mm motion picture
photography.
ARN OLD & RI CH T E R , O T T O B L A S C H E K , and
the ENGI N EERI N G DE PA R T ME N T O F A R R I ,
AU ST RI A for the design and development of the
Arriex 765 Camera System for 65mm motion picture
photography.
I RA T I FFEN of Tiffen Manufacturing Corporation for
315
the production of the Ultra Contrast Filter Series for

ROBERT R. BU RTO N of Audio Rents, Incorporated, for
the development of the Model S-27 4-Band Splitter/
Combiner.
I AI N N EI L for the optical design and K A Z F U DA N O for
the mechanical design of the Panavision Slant Focus
Lens for motion picture photography.
T OM BRI GHAM for the original concept and
pioneering work; and DO U G L A S S MYT H E and the
COM P U T ER GR A PH I C S DE PA R T M E N T O F
I N D U S T R I A L L I G H T & M A G I C for the develop-
ment and the rst implementation in feature

motion pictures of the MORF system for digital
metamorphosis of high resolution images.
Engineering Laboratories for the concept and

engineering of the uid-damped camera head for
Haugland, producer.
8/8/13 7:34 PM
1993
The Sixty-Sixth Year
his is the best drink of water

after the longest drought in
my life, said Steven Spielberg
at the 66th Academy Awards after winning
his rst competitive Academy Awardsone
for directing Schindlers List, the other as a
co-producer of that lm, which was named
the best of the year. It was Spielbergs night
all the way: two lms indelibly stamped with
Spielbergs name won a total of ten awards,
seven for Schindlers and three for the phenomenonally successful Jurassic Park. Accepting his directing award, Spielberg said,
I swear I have never held one before. This
is the rst time I have ever held one in my
hand. (A previous award from the Academy, the 1986 Irving G. Thalberg Memorial
Award, had come in the form of a bust of
Thalberg, not an Oscar statuette.) All four of
the years acting champs were also rst-time
A.A. winners. Tom Hanks, named best actor
of the year for his role as a gay AIDS patient
in Philadelphia, gave a passionate and tearful
acceptance speech in which he paid homage
to a gay teacher, Rawley Farnsworth, from
his high school. (The situation was later
used as the basis of the 1997 comedy In &
Out, in which a joyful Oscar winner, during
his acceptance speech in front of millions,
inadvertently outs a teacher.)
Holly Hunter, without saying a word in
the independent lm The Piano, garnered
the years best actress honors; her teammate
in that lm, eleven-year-old Anna Paquin,
was named best supporting actress in what
was her rst screen role. Veteran Tommy Lee
Jones was chosen best supporting actor for
The Fugitive; and Spains Belle Epoque, a comedy about an Army deserter who becomes
romantically involved with four sisters,
was selected in the foreign language lm
category. It wasnt all rst-timers, however:
Paul Newman, previously the winner of an
Honorary Oscar (in 1985) and the best actor
award (in 1986), received a third statuette,
this time the Jean Hersholt Humanitarian
Award.
Deborah Kerr, long retired from acting,
ew from her home in Switzerland to receive
both an Honorary Oscar and a standing ovation at the ceremony, held March 21, 1994,
at the Dorothy Chandler Pavilion of the Los
Angeles Music Center. The seventy-twoyear-old actress came close to dropping the
statuette when it was handed her by Glenn
Close. Ive never been so frightened in all
my life, said Kerr, adding, but I feel better
now because I know Im among friends.
Whoopi Goldberg, by virtue of her role
as the evenings emcee, became the rst
woman and/or African-American to serve
as the solo host of an Oscar show, this one
telecast on the ABC television network and
clocked at three hours eighteen minutes.
Among the highlights was Bruce Springsteen
singing Streets of Philadelphia, a song he
composed for Philadelphia, which went on to
win as the years best original song.
316
be s t p i c t ure : SCHINDLERS LIST (Universal/Amblin
Entertainment; produced by Steven Spielberg, Gerald R. Molen,
and Branko Lustig), be s t di r ecto r : STEVEN SPIELBERG
(left) for Schindlers List. There had long been speculation that,
perhaps, Academy voters were anti-Spielberg. Not true: prior to
1993 hed been Oscar-nominated ve times, both as a director (in
1977, 1981, 1982) and as a producer (1982, 1985). But it took his
daunting, 195-minute Schindlers to nally take him the distance. The lm, shot in black and white, was by far his most personal and accomplished work to that time, based on the real-life
exploits of Oskar Schindler, a German businessman credited with
saving the lives of thousands of Jews in World War II. Filming
was done in Poland, primarily in Krakow in locales where many
of the events had actually happened. Liam Neeson (right) played
the complicated, fascinating Schindler; Ralph Fiennes drew his
rst international attention as a sadistic S.S. commander. By
virtue of its win in the best lm category, Schindlers became the
rst essentially non-color feature in 33 years (since 1960s The
Apartment) to be selected for the Academys highest praise.
8/8/13 7:34 PM
be s t ac t or: TOM HANKS as Andrew Beckett in Philadelphia (TriStar; directed by Jonathan

Demme). It was a tour-de-force year for Tom Hanks: earlier in 1993, hed had a popular success in
the romantic comedy Sleepless in Seattle; then came this drama from an original script by Ron
Nyswaner, with Hanks portraying a man dying of AIDS who is red from a powerful law rm,
causing him to take his former employers to court. He does so with the support of his lover (Antonio
Banderas) and the help of an attorney (Denzel Washington) who initially has his own prejudices
against his client. Compassionately delivered, Philadelphia was criticized in some quarters for a
sugar-coated treatment of the harsh realities it exposed; others applauded the fact that, better late
than never, it was the rst mainstream Hollywood lm to deal with a health crisis which had been a
part of the landscape since 1981. No one quarreled, however, about Hankss stirring, nuanced performance as the victim.
be s t a ct r e s s : HOLLY HUNTER as Ada (above, left) and b est suppo rting ac tress: ANNA
as Flora (above, right) in The Piano (Miramax; directed by Jane Campion). Set in the
19th century, this striking drama cast Hunter as a mute woman who travels from Scotland to an
undeveloped area of New Zealand to marry a man shes never met (Sam Neill). Unable to articulate
her frustrations, she is ultimately comforted only by her young daughter (Paquin), her piano, and an
illiterate, charismatic settler (Harvey Keitel) who lives nearby. Paquin, at age 11, became one of the
youngest performers to win a competitive Oscar; Hunter, by virtue of the fact that she never speaks a
word throughout the lms duration, became the seventh Academy winner to win for a performance
virtually without spoken dialogue (her predecessors: Janet Gaynor, Emil Jannings, Jane Wyman,
John Mills, Patty Duke, and Marlee Matlin).
PAQUIN
317
be s t s up p ort i n g a cto r : TOMMY LEE JONES as Marshal

Samuel Gerard in The Fugitive (Warner Bros.; directed by Andrew Davis). Speeding like a runaway train throughout most of
its 130 minutes, Fugitive was based on characters created by Roy
Huggins for a popular 1960s television series which had starred
David Janssen as a Chicago physician on the run for his life after
being accused of a murder he didnt commit. In this Tiffany-style
lm version, Harrison Ford played the man forever on the lam,
and Jones was the obsessive U.S. marshal tenaciously on his tail,
a man ruthless and razor-sharp who also comes to respect the
bravado and brilliance of the fellow hes bloodhounding.
8/8/13 7:34 PM
LEON ARD O D I CAP RI O in Whats Eating Gilbert
Nominations 1993
Grape, Matalon Teper Ohlsson, Paramount.

RALP H FI EN N ES in Schindlers List, Universal/
Amblin, Universal.
* T OM M Y LEE J ON ES in The Fugitive, Warner Bros.
J OHN M ALK OVI CH in In the Line of Fire, Castle Rock,
Columbia.
P ET E P OST LET HW AI T E in In the Name of the Father,
Hells Kitchen/Gabriel Byrne, Universal.
HOLLY HU NT ER in The Firm, John Davis/Scott Rudin/
Mirage, Paramount.
* ANNA P AQ U I N in The Piano, Jan Chapman & CIBY
2000, Miramax.
ROSI E P EREZ in Fearless, Warner Bros.
W I N ONA RY D ER in The Age of Innocence, Cappa/De
Fina, Columbia.
EM M A T HOM P SON in In the Name of the Father, Hells
Kitchen/Gabriel Byrne, Universal.
D I R E C TI N G
IN T HE NAM E OF T HE FAT HER, Hells Kitchen/
Gabriel Byrne, Universal. Jim Sheridan.
T HE P I AN O, Jan Chapman & CIBY 2000, Miramax.
Jane Campion.
T HE REM AI N S OF T HE D AY , Mike Nichols/John
Calley/Merchant Ivory, Columbia. James Ivory.

* SCHI N D LER S LI ST , Universal/Amblin, Universal.
Steven Spielberg.
SHORT CU T S, Avenue Pictures Production, Fine Line
Features. Robert Altman.
WR I TI N G
T HE AG E OF I NNOCENCE, Cappa/De Fina,
Columbia. Jay Cocks, Martin Scorsese.
h on orary aw ard to DEBORAH KERR . Despite six past

Academy nominations (in 1949, 1953, 1956, 1957, 1958, 1960),
Deborah Kerr had never ended up with a gold statuette. In order
to make up that oversight (spurred perhaps by the fact that
several sequences featuring Kerr and Cary Grant from the 1957
An Affair to Remember had considerably livened up the 1993
hit Sleepless in Seattle, while reminding everyone of Kerrs
enduring magical presence as an actress), the Academy at long
last presented that elusive Oscar to her, specically in appreciation for a full careers worth of elegant and beautifully crafted
performances.
B ES T P I CT U R E
THE F UGITIVE , Warner Bros. Arnold Kopelson,
Producer.
IN THE NA ME O F T H E FATHER, Hells Kitchen/
Gabriel Byrne, Universal. Jim Sheridan, Producer.

THE P IA NO , Jan Chapman & CIBY 2000, Miramax.
Jan Chapman, Producer.
THE R E MA INS O F T H E DAY, Mike Nichols/John
Calley/Merchant Ivory, Columbia. Mike Nichols,
John Calley and Ismail Merchant, Producers.
* S C HIND L E R S L IS T, Universal/Amblin, Universal.
Steven Spielberg, Gerald R. Molen and Branko Lustig,
Producers.
IN T HE NAM E OF T HE FAT HER, Hells Kitchen/
Gabriel Byrne, Universal. Terry George,

Jim Sheridan.
T HE REM AI N S OF T HE D AY , Mike Nichols/
John Calley/Merchant Ivory, Columbia. Ruth Prawer
Jhabvala.
* S CHI ND LER S LI ST , Universal/Amblin, Universal.
Steven Zaillian.
S HAD OW LAN D S, Shadowlands Production, Savoy.
William Nicholson.
( s cr e e n p la y w r it t e n dir e ct ly for t h e s cr e e n )
DAVE, Warner Bros. Gary Ross.

I N T HE LI N E OF FI RE, Castle Rock, Columbia. Jeff
Maguire.
PHI LAD ELP HI A, TriStar. Ron Nyswaner.

* T HE P I AN O, Jan Chapman & CIBY 2000, Miramax.
Jane Campion.
S LEEP LESS I N SEAT T LE, TriStar. Screenplay by Nora
Ephron, David S. Ward, Jeff Arch; Story by Jeff Arch.
AR T D I R E C TI O N
SE T D E C O R A TI O N
A D D AM S FAM I LY VALU ES, Scott Rudin, Paramount.
Ken Adam; Marvin March.
T HE AGE OF I N N OCEN CE, Cappa/De Fina,
Columbia. Dante Ferretti; Robert J. Franco.
ORLAND O, Adventures Pictures, Sony Pictures Classics.
Ben Van Os and Jan Roelfs.
T HE REM AI NS OF T H E DA Y, Mike Nichols/
John Calley/Merchant Ivory, Columbia. Luciana

Arrighi; Ian Whittaker.
Allan Starski; Ewa Braun.
FAREW ELL M Y CON C U B I N E , Tomson (HK) Films,
Miramax. Gu Changwei.
T HE FU G I T I VE, Warner Bros. Michael Chapman.

T HE P I ANO, Jan Chapman & CIBY 2000, Miramax.
Stuart Dryburgh.
Janusz Kaminski.
SEARCHI NG FOR BO B B Y F I S C H E R , Scott Rudin/
Mirage, Paramount. Conrad L. Hall.
C O S TUM E D ESIGN
* T HE AG E OF I NNOC E N C E , Cappa/De Fina,

Columbia. Gabriella Pescucci.
ORLAND O, Adventures Pictures, Sony Pictures Classics.
Sandy Powell.
Janet Patterson.
T HE REM AI NS OF T H E DA Y, Mike Nichols/
John Calley/Merchant Ivory, Columbia. Jenny Beavan,
John Bright.
SCHI ND LER S LI ST , Universal/Amblin, Universal.
Anna Biedrzycka-Sheppard.
F I LM E D I TI NG
T HE FU G I T I VE, Warner Bros. Dennis Virkler, David
Finfer, Dean Goodhill, Don Brochu, Richard Nord,

Dov Hoenig.
I N T HE LI NE OF FI R E , Castle Rock, Columbia.
Anne V. Coates.
I N T HE N AM E OF T H E F A T H E R , Hells Kitchen/
Gabriel Byrne, Universal. Gerry Hambling.
Veronika Jenet.
* SCHI ND LER S LI ST , Universal/Amblin, Universal.
Michael Kahn.
M A KE UP
* M RS. D OU BT FI RE, 20th Century Fox. Greg Cannom,

Ve Neill, Yolanda Toussieng.
P HI LAD ELP HI A, TriStar. Carl Fullerton, Alan
DAngerio.
SCHI ND LER S LI ST , Universal/Amblin, Universal.
Christina Smith, Matthew Mungle, Judy Alexander
Cory.
M US I C
AG AI N (Poetic Justice, Columbia). Music and Lyric by
Janet Jackson, James Harris III, Terry Lewis.
THE DAY I FALL IN LOVE (Beethovens 2nd, Universal).
Music and Lyric by Carole Bayer Sager, James Ingram,

Clif Magness.
P HI LAD ELP HI A (Philadelphia, TriStar). Music and Lyric
by Neil Young.
* ST REET S OF P HI LADE L PH I A (Philadelphia, TriStar).
Music and Lyric by Bruce Springsteen.
A W I NK AND A SM I L E (Sleepless in Seattle, TriStar).
Music by Marc Shaiman; Lyric by Ramsey McLean.
A CT O R
D A NIE L D A Y - L E W I S in In the Name of the Father,
Hells Kitchen/Gabriel Byrne, Universal.
L A U R E NC E FIS HBURNE in Whats Love Got to Do
318
with It, Touchstone, Buena Vista.

* TO M HA NK S in Philadelphia, TriStar.
A NTHO NY HO P K INS in The Remains of the Day, Mike
Nichols/John Calley/Merchant Ivory, Columbia.
L IA M NE E S O N in Schindlers List, Universal/Amblin,
Universal.
A CT RES S
A NGE L A BA S S E TT in Whats Love Got to Do with It,
Touchstone, Buena Vista.
STO C KA R D C HA NNING in Six Degrees of Separation,
MGM/UA.
* HO L L Y HU NTE R in The Piano, Jan Chapman & CIBY
2000, Miramax.
E MMA THO MP SO N in The Remains of the Day, Mike
Nichols/John Calley/Merchant Ivory, Columbia.
D E BR A W INGE R in Shadowlands, Shadowlands
Production, Savoy.
THE AGE OF INNOCENCE (Columbia; directed by Martin

Scorsese) was an impeccably made adaptation of Edith Whartons
romantic novel about the restraints imposed on passion in New
Yorks upper social circles of the 1870s. It starred Daniel Day-Lewis
and Winona Ryder (right, with Miriam Margolyes sitting) along
with Michelle Pfeiffer, and was notable for its rich re-creation of a
bygone era. The lm was nominated for ve Academy Awards and
won one: for its exquisite costumes designed by Gabriella Pescucci.
8/8/13 7:34 PM
(Universal; directed by Steven Spielberg) couldnt have been more unlike Spielbergs other 1993 bellringer, Schindlers List. Whereas Schindlers was dark, dramatic and devastating, Jurassic abounded in vivid colors, lively special effects and spunky fantasy. It swiftly became
one of the industrys all-time highest money grossers (at the time, second only to Spielbergs own
JURASSIC PARK
THE AGE OF INNOCENCE, Cappa/De Fina, Columbia.
Elmer Bernstein.
THE F IR M, John Davis/Scott Rudin/Mirage,
Paramount. Dave Grusin.
THE F UGITIVE , Warner Bros. James Newton Howard.
THE R E MA INS OF TH E DAY, Mike Nichols/John
Calley/Merchant Ivory, Columbia. Richard Robbins.
* S C HIND L E R S L IST, Universal/Amblin, Universal.
John Williams.
S O U ND
C L IF F HA NGE R , Cliffhanger B.V., TriStar. Michael
Minkler, Bob Beemer, Tim Cooney.

THE F UGITIVE , Warner Bros. Donald O. Mitchell,
Michael Herbick, Frank A. Montao, Scott D. Smith.
GE R O NIMO : A N AMERICAN LEGEND, Columbia.
Chris Carpenter, D. M. Hemphill, Bill W. Benton,
Lee Orloff.
* JUR A S S IC P A R K , Amblin, Universal. Gary Summers,
Gary Rydstrom, Shawn Murphy, Ron Judkins.
SC HIND L E R S L IST, Universal/Amblin, Universal.
Andy Nelson, Steve Pederson, Scott Millan, Ron
Judkins.
C L IF F HA NGE R , Cliffhanger B.V., TriStar. Wylie
Stateman, Gregg Baxter.

THE F UGITIVE , Warner Bros. John Leveque, Bruce
Stambler.
* JUR A S S IC P A R K , Amblin, Universal. Gary Rydstrom,
Richard Hymns.
C L IF F HA NGE R , Cliffhanger B.V., TriStar. Neil Krepela,
John Richardson, John Bruno, Pamela Easley.

* JUR A S S IC P A R K , Amblin, Universal. Dennis Muren,
Stan Winston, Phil Tippett, Michael Lantieri.
THE NIGHTMARE BEFORE CHRISTMAS, Touchstone
Pictures, Buena Vista. Pete Kozachik, Eric Leighton,
Ariel Velasco Shaw, Gordon Baker.
D O CU M EN T AR Y
(f e at ure s )
THE BR O A D C A ST TAPES OF DR. PETER, Canadian
Broadcasting Corporation/HBO Films Production.

David Paperny and Arthur Ginsberg.
C HIL D R E N O F FATE, Young/Friedson Production.
Susan Todd and Andrew Young.
FO R BE TTE R O R FOR WORSE, David Collier
Production. David Collier and Betsy Thompson.
E.T. The Extra-Terrestrial) and won three Academy Awards, one for its visual effects, the others for
sound and sound effects editing. Jurassic, starring Sam Neill (above, with Ariana Richards), also
offered good visual proof that it can be damaging to ones health to hang around angry dinosaurs.
* I AM A P ROM I SE: T HE CHI LD REN OF ST AN T ON

ELEM ENT ARY SCHOOL, Vrit Films Production.
Susan Raymond and Alan Raymond.
T HE W AR ROOM , R.J. Cutler/Wendy Ettinger/Frazer
Pennebaker Production. D. A. Pennebaker and Chris
Hegedus.
T O P AU L NEW M A N
BLOOD T I ES: T HE LI FE AN D W ORK OF SALLY

M AN N , Moving Target Production. Steven Cantor and
CHI CK S I N W HI T E SAT I N , University of Southern
S C I E N TI F IC AND TECHNICAL
A WA R D S
Peter Spirer.
California School of Cinema/Television. Elaine

Holliman and Jason Schneider.
* D EFEND I NG OU R LI VES, Cambridge Documentary
Films Production. Margaret Lazarus and Renner
Wunderlich.
* BELLE EP OQ U E (Spain).
FAREW ELL M Y CONCU BI N E (Hong Kong).

HED D W Y N (United Kingdom/Wales).
T HE SCENT OF G REEN P AP AY A (Vietnam).
T HE W ED D I N G BANQ U ET (Taiwan).
S H O R T F I LM S
(a n ima t e d)
BLI N D SCAP E, National Film & Television School.
Stephen Palmer.
T HE M I GHT Y RI VER, Canadian Broadcasting
Corporation/Socit Radio-Canada Production.

Frdric Back, Hubert Tison.
SM ALL T ALK , Bob Godfrey Films, Ltd. Bob Godfrey,
Kevin Baldwin.
T HE VI LLAGE, Pizazz Pictures Production. Mark Baker.
* T HE W RONG T ROU SERS, Aardman Animations
Limited Production. Nick Park.
(liv e a ct ion )
* BLACK RI D ER ( SCHW ARZ FAHRER) , Trans-Film

GmbH Production. Pepe Danquart.
D OW N ON T HE W AT ERFRONT , Stacy Title/Jonathan
Penner Production. Stacy Title, Jonathan Penner.
T HE D U T CH M AST ER, Regina Ziegler Film Production.
Susan Seidelman, Jonathan Brett.
P ART N ERS, Chanticleer Films. Peter Weller, Jana Sue
Memel.
T HE SCREW ( LA VI S) , Perla Films Production. Didier
Flamand.

T O D EBORAH K ERR in appreciation for a full careers
worth of elegant and beautifully crafted performances.

T O P ET RO VLAHO S
P ANAVI SI ON for the Auto Panatar anamorphic
photographic lens.
M ANFRED G. M I C H E L S O N of Technical Film Systems,
Incorporated, for the design and development of the

rst sprocket-driven lm transport system for color
print lm processors which permits transport speeds
in excess of 600 feet per minute.
s cie n t ific a n d e ngineering award ( pl aq ue)

M ARK LEAT HER, L E S DI T T E R T , DO U G L A S S M YT H E ,
and G EORGE J O B L O V E for the concept and
development of the Digital Motion Picture Retouching

System for removing visible rigging and dirt/damage
artifacts from original motion picture imagery.
FRI T Z G ABRI EL B A U E R for the design, development
and manufacture of the Moviecam Compact Modular
35mm motion picture camera system.
319
t e ch n ica l a ch ie vement award ( c ertif ic ate)
W ALLY M I LLS for the concept; and G A R Y S T A DL E R

and G U ST AVE P A R A DA for the design of the
Cinemills Lamp Protection System.
G ARY NU Z Z I , D A V I D J O H N S R U D, and W I L L I A M
BLET HEN for the design and development of the
Unilux H3000 Strobe Lighting System.
HARRY J . BAK ER for the design and development of
the Ronford-Baker Metal Tripods for motion picture

photography.
M I CHAEL D ORRO U G H for the design and
development of the compound meter known as the
Dorrough Audio Level Meter.
D AVI D D EGENK O L B for the development of a Silver
Recovery Ion Exchange System to eliminate hazardous
waste (silver ion) in wash water and allow recycling of
this water.
8/8/13 7:34 PM
1994
The Sixty-Seventh Year
t hadnt happened in 56 years: one individual winning two Oscars in the best
actor category back-to-back. Not since
Spencer Tracy won consecutive best actor
awards in 1937 and 1938 had an actor accomplished such a feat, but at the Academys
67th party Tom Hanks matched the Tracy
record when, following his 1993 award for
Philadelphia, he was again named actor of
the year for 1994s Forrest Gump. (In Oscars
rst 70 years, only ve performers won consecutive Oscars: the rst was Luise Rainer
in 1936 and 1937, then Tracy, later Katharine
Hepburn, supporting actor Jason Robards
and, nally, Hanks.) Something even rarer
happened at the 67th Oscar party, held
March 27, 1995, at the Los Angeles Shrine
Auditorium: Jessica Lange was named the
years best actress for her work in a 1994 release called Blue Sky, a lm which had been
completed three years earlier, in 1991.
In many aspects, this particular show
had a distinctly familiar look: three of the
four acting winners (Hanks, Lange, and
supporting actress winner Dianne Wiest
for Bullets over Broadway) had previously
been in the winners circle; only supporting
actor champ Martin Landau (for Ed Wood)
was a newcomer in the ranks. Among the
lms, the big winner of the night was Gump,
which walked off with six awards, including
best picture of the year, best director (Robert
Zemeckis), and best adapted screenplay
(Eric Roth).
For the fth time in Academy history
there was a tie: in the live action short lm
category Franz Kafkas Its a Wonderful Life
and Trevor received exactly the same number

of votes, and each received an Oscar. An
honorary award went to 82-year-old Italian
director Michelangelo Antonioni; it was
presented by Jack Nicholson, whod starred
in Antonionis 1975 lm, The Passenger. Clint
Eastwood received the Irving G. Thalberg Memorial Award, Quincy Jones was
presented the Jean Hersholt Humanitarian
Award, and Burnt by the Sun from Russia
was chosen best foreign language lm.
Major preshow attention, televised once
again by ABC and seen by an audience
approaching one billion in more than 100
countries worldwide, focused on late-night
television host David Letterman making his
debut as an Oscar show emcee. There was
also considerable press attention given to
the failure of Hoop Dreams to be nominated
in the best feature documentary category.
The latter incident did ultimately contribute
to changes being made in the nomination
procedures for that category. Much of the
postshow talk centered around a dress. It
was worn by Australian designer Lizzy Gardiner, a cowinner in the costume design category (for The Adventures of Priscilla, Queen
of the Desert), and was created entirely out
of American Express Gold Cards. Quipped
Letterman later, While we were gone, her
dress expired.
320
be s t ac t re s s : JESSICA LANGE as Carly Marshall in Blue
Sky (Orion; produced by Robert H. Solo). Lange (right, center)
won her second Academy Award (the rst: as 1982s best supporting actress for Tootsie) as a manic-depressive housewife
whose severe mood swings put a strain on her relationship with
both her daughter and her husband, an Army scientist (Tommy
Lee Jones, left); the wifes overt sexuality is also resoundingly
misunderstood by others, including a military man (Powers
Boothe, right), a commanding ofcer at the Alabama military
base where her husband is assigned. The lm itself initially
possessed all the elements of a hard luck saga: shot in 1991, its
director Tony Richardson had died soon after it was completed;
the studio distributing it then went bankrupt, and the lm languished in a vault for three years, some suspecting it would never
reach theaters. Little did anyone suspect that, once in release, it
would end up with such notable Oscar attention.
8/8/13 7:34 PM
be s t p i c t ure : FORREST GUMP (Paramount; produced by

Wendy Finerman, Steve Tisch and Steve Starkey), b es t d i r ect or: ROBERT ZEMECKIS , and b es t a cto r : TOM HANKS
as Forrest Gump (below). It came from a solid source: a novel
by Winston Groom about a kind-hearted, painfully honest
simpleton who whimsically careens through four decades of life,
often succeeding in the most spectacular ways in spite of himself.
The Gump philosophy: Life is like a box of chocolatesyou never
know what youre going to get. It was extremely tricky material to interpret on screen, and it took nine years before a major
studio was willing to gamble on a screen version. The nal lm,
however, displayed such charm, style and good-naturedness it
immediately became one of the giant grossers of all time, and
became the picture of the year, nominated for a near-record thirteen Academy Awards and winning six of them, including one
for visual effects, which allowed Hanks as the amiable Gump to
interact in newsreel footage with the likes of John F. Kennedy,
Lyndon Johnson, and Richard Nixon.
be s t s u p p or t in g a ct or : MARTIN LANDAU as Bela Lugosi

(right) in Ed Wood (Buena Vista; directed by Tim Burton).
Looking eerily like the real Lugosi in his prime, the famed horror
star of Dracula, Landau, had an actors eld day in this homage
to the man who directed Lugosis nal, dreadful lms, a 1950s
movie maverick and grade-Z lmmaker named Ed Wood, often
described as the worst lm director of all time. Lugosi, his
star days long past and his mind addled with drugs, became a
pathetic caricature of himself; Landaus performance as the aging
Lugosi perfectly captured his egomania, madness and poignancy
during those days working with Wood. The role required Landau
to spend three hours each day in a makeup chair; not surprisingly, at Oscar time the award for makeup went to Rick Baker,
Ve Neill, and Yolanda Toussieng for Ed Wood.
321
8/8/13 7:34 PM
M I RAND A RI CHARD SON in Tom & Viv, New Era,
Miramax.
Nominations 1994
W I N ONA RY D ER in Little Women, Di Novi, Columbia.

SU SAN SARAN D ON in The Client, Client Production,
Warner Bros.
FORREST G U M P , Steve Tisch/Wendy Finerman,
SAM U EL L. J ACK SON in Pulp Fiction, A Band Apart/
Jersey Films, Miramax.

* MARTIN LANDAU in Ed Wood, Touchstone, Buena
Vista.
CHAZ Z P ALM I NT ERI in Bullets over Broadway, Jean
Doumanian, Miramax.
P AU L SCOFI ELD in Quiz Show, Hollywood Pictures/
Wildwood/Baltimore Pictures, Buena Vista.
GARY SI N I SE in Forrest Gump, Steve Tisch/Wendy
Finerman, Paramount.
ROSEM ARY HARRI S in Tom & Viv, New Era, Miramax.

HELEN M I RREN in The Madness of King George, Close
Call Films, Goldwyn/Channel Four.
U M A T HU RM AN in Pulp Fiction, A Band Apart/Jersey
Films, Miramax.
JEN N I FER T I LLY in Bullets over Broadway, Jean
Doumanian, Miramax.
* D I ANNE W I EST in Bullets over Broadway, Jean
Doumanian, Miramax.
D I R E C TI N G
B ES T P I CT U R E
* F O R R E ST GU MP , Steve Tisch/Wendy Finerman,

Paramount. Wendy Finerman, Steve Tisch and Steve
Starkey, Producers.
FO UR W E D D INGS AND A FUNERAL, Working Title,
Gramercy. Duncan Kenworthy, Producer.
P U L P FIC TIO N, A Band Apart/Jersey Films, Miramax.
Lawrence Bender, Producer.
Q U IZ S HO W , Hollywood Pictures/Wildwood/
Baltimore Pictures, Buena Vista. Robert Redford,
Michael Jacobs, Julian Krainin and Michael Nozik,
Producers.
THE S HA W SHA NK REDEMPTION, Castle Rock,
Columbia. Niki Marvin, Producer.
A CT O R
MO R GA N F R E E MA N in The Shawshank Redemption,
322
Castle Rock, Columbia.

* TO M HA NK S in Forrest Gump, Steve Tisch/Wendy
Finerman, Paramount.
NIGE L HA W THO R NE in The Madness of King George,
Close Call Films, Goldwyn/Channel Four.
P A UL NE W MA N in Nobodys Fool, Scott Rudin/
Cinehaus, Paramount/Capella International.
JO HN TR A VO L TA in Pulp Fiction, A Band Apart/Jersey
Films, Miramax.
A CT RES S
JO D IE F O S TE R in Nell, 20th Century Fox.

* JE SS IC A L A NGE in Blue Sky, Robert H. Solo, Orion.
Cooper.
* T HE M AD N ESS OF K I N G G E O R G E , Close Call Films,
Goldwyn/Channel Four. Ken Adam; Carolyn Scott.
b e s t s up p ort i n g actr es s : DIANNE WIEST as Helen Sinclair (above left) in Bullets over Broadway (Miramax; directed
by Woody Allen). Once again, Dianne Wiest had reason to be
grateful there was a man in her life named Woody. Eight years before, in 1986, shed won a supporting Oscar for a lm directed by
Allen, Hannah and Her Sisters. Here she was again, an Academy
Award in hand, thanks to a dazzling performance in a Woody
Allen lm. This time Wiest was playing a 1920s stage diva, signed
to star in a debut work by a edgling playwright (John Cusack,
above right). A woman every bit as theatrical offstage as on, she
was the years funniest movie creation, never more so than when
silencing Cusacks ongoing attempts at a discussion by melodramatically throwing up her hands and commanding, as if lives
depended upon it, Dont . . . speak!
LEG EN D S OF T HE FA L L , TriStar. Lilly Kilvert; Dorree
BU LLET S OVER BROAD W AY , Jean Doumanian,
Paramount. Don Burgess.

* LEGEND S OF T HE FA L L , TriStar. John Toll.
RED , CAB/MK2/TOR, Miramax. Piotr Sobocinski.
T HE SHAW SHANK R E DE MPT I O N , Castle Rock,
Columbia. Roger Deakins.
W Y AT T EARP , Tig, Warner Bros. Owen Roizman.
C O S TUM E D ESIGN
* T HE AD VEN T U RES O F PR I S C I L L A , Q U E E N O F
T HE D ESERT , Latent Images, Gramercy. Lizzy
Gardiner, Tim Chappel.
BU LLET S OVER BRO A DW A Y, Jean Doumanian,
Miramax. Jeffrey Kurland.
LI T T LE W OM EN, Di Novi, Columbia. Colleen Atwood.
M AVERI CK , Icon, Warner Bros. April Ferry.
Q U EEN M ARGOT , Renn, Miramax. Moidele Bickel.
F I LM E D I TI NG
* FORREST GU M P , Steve Tisch/Wendy Finerman,

Paramount. Arthur Schmidt.
HOOP D REAM S, Kartemquin, Fine Line Features.
Frederick Marx, Steve James, Bill Haugse.
P U LP FI CT I ON , A Band Apart/Jersey Films, Miramax.
Sally Menke.
Columbia. Richard Francis-Bruce.
SP EED , 20th Century Fox. John Wright.
Miramax. Woody Allen.

Paramount. Robert Zemeckis.
P U LP FI CT I ON, A Band Apart/Jersey Films, Miramax.
M A KE UP
Quentin Tarantino.
* ED W OOD , Touchstone, Buena Vista. Rick Baker, Ve
QUIZ SHOW, Hollywood Pictures/Wildwood/Baltimore
Neill, Yolanda Toussieng.
Pictures, Buena Vista. Robert Redford.
RED , CAB/MK2/TOR, Miramax. Krzysztof
Paramount. Daniel C. Striepeke, Hallie DAmore,
Kieslowski.
Judith A. Cory.
M ARY SHELLEY S FR A N K E N S T E I N , TriStar. Daniel
WR I TI N G
Parker, Paul Engelen, Carol Hemming.
M US I C
Paramount. Eric Roth.
* CAN Y OU FEEL T HE L O V E T O N I G H T (The Lion King,
T HE M AD N ESS OF K I NG GEORG E, Close Call Films,
Disney, Buena Vista). Music by Elton John; Lyric by
Goldwyn/Channel Four. Alan Bennett.
Tim Rice.
NOBOD Y S FOOL, Scott Rudin/Cinehaus, Paramount/
CI RCLE OF LI FE (The Lion King, Disney, Buena Vista).
Capella International. Robert Benton.
Music by Elton John; Lyric by Tim Rice.
QUIZ SHOW, Hollywood Pictures/Wildwood/Baltimore
HAK U N A M AT AT A (The Lion King, Disney, Buena
Pictures, Buena Vista. Paul Attanasio.
Vista). Music by Elton John; Lyric by Tim Rice.
T HE SHAW SHAN K RED EM P T I ON , Castle Rock,
LOOK W HAT LOVE H A S DO N E (Junior, Northern
Columbia. Frank Darabont.
Lights, Universal). Music and Lyric by Carole Bayer
Sager, James Newton Howard, James Ingram, and
Patty Smyth.
M AK E U P Y OU R M I N D (The Paper, Imagine,
Miramax. Woody Allen, Douglas McGrath.
Universal). Music and Lyric by Randy Newman.
FOU R W ED D I N G S AND A FU NERAL, Working Title,
Gramercy. Richard Curtis.
HEAVEN LY CREAT U RES, Wingnut, Miramax. Frances
Walsh, Peter Jackson.
Paramount. Alan Silvestri.
P
U
LP
FI
CT
I
ON,
A
Band
Apart/Jersey
Films,
Miramax.
I NT ERVI EW W I T H T H E V A MPI R E , Geffen, Warner
*
Screenplay by Quentin Tarantino. Stories by Quentin
Bros. Elliot Goldenthal.
Tarantino, Roger Avary.
* T HE LI ON K I NG, Disney, Buena Vista. Hans Zimmer.
RED , CAB/MK2/TOR, Miramax. Krzysztof Piesiewicz,
LI T T LE W OM EN, Di Novi, Columbia. Thomas
Krzysztof Kieslowski.
Newman.
Columbia. Thomas Newman.
Miramax. Santo Loquasto; Susan Bode.

FORREST GU M P , Steve Tisch/Wendy Finerman,
Paramount. Rick Carter; Nancy Haigh.
IN T ERVI EW W I T H T HE VAM P I RE, Geffen, Warner
Bros. Dante Ferretti; Francesca Lo Schiavo.
S O UN D
CLEAR AND P RESEN T DA N G E R , Mace Neufeld/
Robert Rehme, Paramount. Donald O. Mitchell,

Michael Herbick, Frank A. Montao, Arthur
Rochester.
Paramount. Randy Thom, Tom Johnson, Dennis
Sands, William B. Kaplan.
LEG EN D S OF T HE FA L L , TriStar. Paul Massey, David
Campbell, Christopher David, Douglas Ganton.
Columbia. Robert J. Litt, Elliot Tyson, Michael Herbick,
Willie Burton.
* SP EED , 20th Century Fox. Gregg Landaker, Steve
Maslow, Bob Beemer, David R. B. MacMillan.
CLEAR AND P RESEN T DA N G E R , Mace Neufeld/
Robert Rehme, Paramount. Bruce Stambler, John

Leveque.
b e s t c i n e m a t o g r a p h y : L E G E N D S O F T H E F A L L (TriStar), set amid the

rugged beauty of Montana, won the years cinematography prize for John Tolls
awesome scenic images. The Legends story centered on the three Ludlow brothers
(Aidan Quinn, Brad Pitt, Henry Thomas, left, left to right), raised on a remote
ranch by a stern father (Anthony Hopkins), and later torn apart by sibling
rivalries, World War I fervor, and the fact that all the Ludlows are stirred by
a rened and initially repressed beauty from the East named Susannah (Julia
Ormond, right).
8/8/13 7:34 PM
FO R R E ST GU MP , Steve Tisch/Wendy Finerman,
Paramount. Gloria S. Borders, Randy Thom.

* S P E E D , 20th Century Fox. Stephen Hunter Flick.
* F O R R E ST GU MP , Steve Tisch/Wendy Finerman,

Paramount. Ken Ralston, George Murphy, Stephen
Rosenbaum, Allen Hall.
THE MASK, Katja Motion Picture, New Line. Scott
Squires, Steve Williams, Tom Bertino, Jon Farhat.
TR UE L IE S , Lightstorm Entertainment, 20th Century
Fox. John Bruno, Thomas L. Fisher, Jacques Stroweis,
Patrick McClung.
D O CU M EN T AR Y
(f e at ure s )
C O MP L A INTS O F A DUTIFUL DAUGHTER,
D/D Production. Deborah Hoffmann.
D - D A Y R E ME MBERED, Guggenheim Productions, Inc.
Production for the National D-Day Museum. Charles

Guggenheim.
FR E E D O M O N MY MIND, Clarity Film Production.
Connie Field, Marilyn Mulford.
A GR E A T D A Y IN H ARLEM, Jean Bach Production,
Castle Hill. Jean Bach.
* MA Y A L IN: A S TRONG CLEAR V ISION, American
Film Foundation/Sanders and Mock Production.
Freida Lee Mock, Terry Sanders.
PULP FICTION (Miramax; directed by Quentin

Tarantino) with Uma Thurman and John Travolta
(right) was a Palme dOr winner at the Cannes
Film Festival and brought Travolta back into Oscar
contention for the rst time since he was nominated
in 1977 for his breakthrough performance in Saturday Night Fever. Pulp was a mad, imaginative mix
of stories about life among big-time gangsters and
small-time hoods in Los Angeles. Both daring and
imaginative, it brought writer-director Tarantino
two personal nominations among the total of seven
received by the lm. It won one award, for Tarantinos original screenplay, which was based on stories
by Tarantino and Roger Avary.
(liv e a ct ion )
* FRAN Z K AFK A S I T S A W OND ERFU L LI FE,

Conundrum Films Production. Peter Capaldi, Ruth
Geographic Society Production. Vince DiPersio, Bill
Kenley-Letts.
Guttentag.
K AN G AROO COU RT , Lava Entertainment Production.
89 MM O D E U R OPY ( 89 MM FROM EUROPE), Studio
Sean Astin, Christine Astin.
Filmowe Kalejdoskop/Telewizja Polska Production.
ON HOP E, Chanticleer Films. JoBeth Williams, Michele
Marcel Lozinski.
McGuire.
SC HO O L O F A S SASSINS, A Richter Productions Film.
SY RU P , First Choice Production. Paul Unwin, Nick
Robert Richter.
Vivian.
STR A IGHT F R O M THE H EART, Woman Vision
* T REVOR, Rajski/Stone Production. Peggy Rajski, Randy
Production. Dee Mosbacher, Frances Reid.
Stone.
* A TIME F O R JUS TICE, Guggenheim Productions, Inc.
Production for the Southern Poverty Law Center.
Charles Guggenheim.
T O M I CHELANGELO AN T ON I ON I in recognition of
his place as one of the cinemas master visual stylists.
T O J OHN A. BON N ER in appreciation for outstanding
BE FO R E THE R A IN (Macedonia).
* BU R NT BY THE SUN (Russia).
E A T D R INK MA N WOMAN (Taiwan).
FA R INE L L I: IL C ASTRATO (Belgium).
STR A W BE R R Y A N D CHOCOLATE (Cuba).
BL U E S HIGHW A Y, Half-Court Pictures, Ltd./National
S H O RT FI L M S
(an i m at e d )
THE BIG S TO R Y , Spitting Image Production. Tim
Watts, David Stoten.

* BO B S BIR THD A Y, Snowden Fine Animation for
Channel Four/National Film Board of Canada
Production. Alison Snowden, David Fine.
THE JA NITO R , Vanessa Schwartz Production. Vanessa
Schwartz.
THE MO NK A ND TH E FISH, Folimage Valence
Production. Michael Dudok de Wit.
TR IA NGL E , Gingco Ltd. Production for Channel Four.
Erica Russell.
THE LION KING (Buena Vista), the 32nd animated feature

from the Disney company, won two Academy Awards: one for
Hans Zimmers original music score and another for the years
best original song, Can You Feel the Love Tonight, music by
Elton John and lyric by Tim Rice. This was the Disney companys
fourth double win in six years in the Academys music division
(following similar victories for The Little Mermaid in 1989,
Beauty and the Beast in 1991, and Aladdin in 1992), a remarkable record repeated yet again in 1995, with Pocahontas. Lion,
like Beauty, also became the basis for a successful live Broadway
version, reversing the usual trend of stories going from stage to
screen, from live action to animation.
T O CLI N T EAST W OOD
T O Q U I NCY J ONES

A WA R D S
P ET RO VLAHOS and P AU L VLAHOS for the
conception and development of the Ultimatte

Electronic Blue Screen Compositing Process for
motion pictures.
EAST M AN K OD AK COM P ANY for the development of
the Eastman EXR Color Intermediate Film 5244.
s cie n t ific a n d e n g in e e r in g a w a r d (p la qu e )
G ARY D EM OS and D AN CAM ERON of Information

International, D AVI D D I FRANCESCO and GARY
ST ARK W EAT HER of Pixar, and SCOT T SQ U I RES of
Industrial Light & Magic for their pioneering work in

the eld of lm input scanning.
RAY FEEN EY , W I LL M CCOW N and BI LL BI SHOP of
RFX, Inc., and LES D I T T ERT of Pacic Data Images for
their development work with area array CCD (Charge
Coupled Device) lm input scanning systems.
LI NCOLN HU and M I CHAEL M ACK EN Z I E of
Industrial Light & Magic and GLENN K ENNEL
and M I K E D AVI S of Eastman Kodak for their joint
development work on a linear array CCD (Charge
Coupled Device) lm input scanning system.
I AI N N EI L for the optical design, AL SAI K I for
the mechanical design and P AN AVI SI ON
I N T ERNAT I ON AL L. P . for the development of the
Panavision 11:1 Primo Zoom Lens for motion picture
photography.
J AM ES K ET CHAM of JSK Engineering for the concept
and design of the MC211 microprocessor-based motion
controller for synchronizing sprocketed lm with
time-code-based machines.
W I LLI AM J . W ARN ER and ERI C C. P ET ERS for
the concept, M I CHAEL E. P HI LLI P S and T OM A.
OHANI AN for the system design and P AT RI CK D .
O CONNOR and J OE H. RI CE for the engineering of
the Avid Film Composer for motion picture editing.
P AU L BAM BOROU G H for the concept, N I C K

P OLLACK and A R T H U R W R I G H T for the hardware
development and N E I L H A R R I S and DU N C A N
M ACLEAN for the software development of The
Lightworks Editor for motion picture editing.
G EORGE SAU VE, B I L L B I S H O P, A R PA G

D AD OU RI AN, R A Y F E E N E Y and R I C H A R D
P AT T ERSON for the Cinefusion software
implementation of the Ultimatte Blue Screen

Compositing Technology.
B. RU SSELL HESSE Y of Special Effects Spectacular, Inc.,

and VI N CENT T. K E L T O N for the hardware design
and G EORGE J A C K M A N of De La Mare Engineering,
Inc. for the pyrotechnic development which together

comprise the non-gun safety blank ring system.
FRI ED ER HOCHH E I M , G A R Y S W I N K , DR . J O E
Z HOU and D ON N O R T H R O P for the development
of the Kino Flo Portable, Flicker-Free, High-Output

Fluorescent Lighting System for motion picture set
illumination.
EM ANU EL P REVI N A I R E of Flying-Cam for his
pioneering concept and for the development of
mounting a motion picture camera on a remotely
controlled miniature helicopter.
J ACQ U ES SAX of Sonosax for the design and
development of the Sonosax SX-S portable audio
mixer.
CLAY D AVI S and J O H N C A R T E R of Todd-AO for
the pioneering effort of computer controlled list
management style ADR (Automated Dialogue
Replacement).
ST EP HEN W . P OT T E R , J O H N B . A S MA N , C H A R L E S
P ELL and RI CHA R D L A R S O N of LarTec Systems for
the advancement and renement of the computer

controlled list management style ADR (Automated
Dialogue Replacement) system via the LarTec ADR
System that has established itself as a standard of the
industry.
AU D I O T RACK S, I N C . for the design and development
of the ADE (Advanced Data Encoding) System which
creates an encoded timecode track and database
during the initial transfer of the production sound
dailies.
COLI N BROAD of CB Electronics for the design and
development of the EDL (Edit Decision List) Lister
which creates an encoded timecode track and database
during the initial transfer of the production sound
dailies.
D I ET ER ST U RM of Sturms Special Effects Intl, for the
creation and development of the Bio-Snow 2 Flake.
D AVI D A. AD D LEMA N and L L O YD A . A DDL E M A N
for the development of the Cyberware 3030 3D
Digitizer.
323
M ARK R. SCHNEI DE R , H E R B E R T R . J O N E S ,
CHRI ST OP HER D. C O N O V E R and J O H N R . B .
BROW N for the development of the Polhemus 3 Space
Digitizing System.
J ACK C. SM I T H, M I C H A E L C R I C H T O N and E M I L
SAFI ER for pioneering computerized motion picture
budgeting and scheduling.
ST EP HEN GREENF I E L D and C H R I S H U N T L E Y of
Screenplay Systems for development of the Scriptor

software.
ART FRI T Z EN of the California Fritzen Propeller
Company as the designer and sole manufacturer of the
Eight-Bladed Ritter Fan Propellers.
D R. M I K E BOU D R Y of the Computer Film Company
for his pioneering work in the eld of lm input
scanning.
8/8/13 7:34 PM
1995
The Sixty-Eighth Year
oothsayers were caught napping this

time: Braveheart, the lm named by
the Academy voters as 1995s best
picture, hadnt collected a single best picture
prize from any other award group prior to
Academy Award night on March 25, 1996.
Compounding the surprise, the historical
epic ended up with a bigger total of prizes
than any other lm of the year, ve in all.
No other 1995 feature won more than two
Oscars. The Braveheart awards included
ones for best director (Mel Gibson), best
makeup, best sound effects editing and best
cinematography, the latter going to John
Toll, whod won in that same division the
preceding year for his cinematography of
Legends of the Fall. Gibson, whod never been
nominated as an actor during his 19-year
lm career, went home with two statuettes,
one for his direction, the other because hed
been one of the producers of Braveheart,
along with Alan Ladd, Jr., and Bruce Davey.
Said Gibson, Like most directors, I suppose
what I really want to do is act.
It was a year when all the acting champs
were rst-timers in the winners circle.
Nicolas Cage was named as best actor for
Leaving Las Vegas, Susan Sarandon was best
actress for Dead Man Walking, and the supporting winners were Kevin Spacey for The
Usual Suspects and Mira Sorvino in Mighty
Aphrodite. For Sarandon and Sorvino the
night was decidedly a family affair. Sarandons companion of eight years, Tim Robbins,
had written, directed and produced her lm
(This is yours as much as mine, Sarandon
said to Robbins in her acceptance speech.
Thank God we live together.) Sorvinos

proud papa dissolved in tears as his daughter
told the audience, When you give me this
award you honor my father, Paul Sorvino,
who has taught me everything I know about
acting. Kirk Douglas, age 79, received an
Honorary Oscar and, speaking with difculty from the effects of a recent stroke,
acknowledged his four sons sitting in the
auditorium, saying Theyre proud of the old
man. And Im proud, tooproud to be a part
of Hollywood for 50 years. Another special
award went to legendary animator Chuck
Jones, who quipped, I stand guilty before
the world of directing over 300 cartoons.
Hopefully this means youve forgiven me.
Whoopi Goldberg, after a one-year
layoff, was again the emcee of the Oscar
Show, beamed from the Dorothy Chandler
Pavilion of the Los Angeles Music Center
and produced for the rst time by Quincy
Jones and David Salzman. Among the highpoints was Emma Thompson, after winning
the screenplay adaptation award for her
script of Jane Austens Sense and Sensibility, saying, I went to visit Jane Austens
grave in Winchester Cathedral to pay my
respects . . . and tell her about the grosses.
I dont know how she would react to an evening like this, but I do hope she knows how
big she is in Uruguay. Two lms about the
Holocaust won documentary awards. One
Survivor Remembers received the prize for
best documentary short subject, and Anne
Frank Remembered was chosen best feature
documentary. One of several emotional
moments in the evening occurred with the
324
be s t ac t or: NICOLAS CAGE as Ben Sanderson in Leaving
Las Vegas (MGM/UA; directed by Mike Figgis). It was a dream
role for an actor, and a demanding one: Sanderson is a boozesoaked Hollywood talent representative, down on his luck and so
dependent on alcohol he is virtually dysfunctional, slipping further and further into a nightmarish world from which he has no
illusions of ever escaping alive. Throughout the lm there is not
a single scene in which Cages character draws a sober breath.
Basically a two-character drama also inhabited by a Vegas prostitute (Elisabeth Shue), the lm was based on a novel by writer
Jack OBrien, who committed suicide two weeks after hearing his
book was to be lmed; OBriens father later referred to the book
as my sons suicide note. Said Cage, when he was handed his
Oscar, Oh boy, oh boy, a three-and-a-half million dollar budget,
some sixteen-millimeter lm stock thrown in, and Im holding
one of these!
8/8/13 7:34 PM
appearance on stage of Christopher Reeve,

in a wheelchair and partially paralyzed from
a horse-riding accident almost a year earlier.
His participation in the telecast had been
kept a secret; he appeared to introduce a
selection of highlights from lms of the past
that dealt with social issues. After a long
and enthusiastic ovation from the audience,
Reeve spoke, quietly and with measured
speech, challenging current lmmakers to
do more, to take risks, to tackle the issues.
be s t p i c t ure : BRAVEHEART (Paramount; produced by Mel

Gibson, Alan Ladd, Jr., and Bruce Davey) and b es t di r ect or: MEL GIBSON for Braveheart. Running nearly three hours
in length, Braveheart spun the tale of the legendary 13th-century
Scottish freedom ghter William Wallace (played by Gibson,
leading a charge, below), famous for the rebellion he led against
Englands tyrannical King Edward I, following his fathers credo
that, Its our wits that make us men. Done on an ambitious
scale, and reading at times like a medieval-style western, the lm
was full of battles, burrs, blood, bravado and beheadings. It also
had stunning cinematography by John Toll which was also honored, as were the lms achievements in sound effects editing and
makeup. For Mel Gibson, it was a particular triumph: Braveheart was only his second attempt at directing a lm (the rst:
the small-scale The Man without a Face in 1993) and brought
him two statuettes for his mantel.
be s t a ct r e s s : SUSAN SARANDON as Sister Helen Prejean in

Dead Man Walking (Gramercy; directed by Tim Robbins). After
four previous best actress nominations, Sarandon (above) nally
went home an Academy winner for her performance as a real-life
Louisiana nun who tries to awaken the conscience of a convicted
murderer (Sean Penn) as he awaits execution at the Angola
Prison in Louisiana. Inspired by Prejeans 1993 best seller, it was

a drama that covered extremely tricky cinematic terrain, as the
sister begins a ght for the convicts soul, even though she is appalled by the details of his criminal acts. Meanwhile, with great
power but without preachment, Dead Man also deftly examined
the pros and cons of capital punishment.
325
8/8/13 7:34 PM
SEAN P ENN in Dead Man Walking, Working Title/
Havoc, Gramercy.
Nominations 1995
M ASSI M O T ROI SI in The Postman (Il Postino), Cecchi
Gori Group Tiger Cinematograca Production/

Pentalm/Esterno Mediterraneo/Blue Dahlia,
Miramax.
A C TR E S S
* SU SAN SARAN D ON in Dead Man Walking, Working

Title/Havoc, Gramercy.
ELI SABET H SHU E in Leaving Las Vegas, Initial
Productions, MGM/UA.
SHARON ST ON E in Casino, Universal.
M ERY L ST REEP in The Bridges of Madison County,
Amblin/Malpaso, Warner Bros.
EM M A T HOM P SON in Sense and Sensibility, Mirage,
Columbia.
A LI T T LE P RI NCESS, Warner Bros. Bo Welch; Cheryl
Carasik.
* REST ORAT I ON, Segue/Avenue Pictures/Oxford Film
Company, Miramax. Eugenio Zanetti.
RI CHARD I I I , Richard III Limited Production, MGM/
UA. Tony Burrough.
BAT M AN FOREVER, Warner Bros. Stephen Goldblatt.

* BRAVEHEART , Icon/Ladd Company, Paramount.
John Toll.
A LI T T LE P RI NCESS, Warner Bros. Emmanuel Lubezki.
SENSE AN D SEN SI BI L I T Y, Mirage, Columbia. Michael
Coulter.
SHANGHAI T RI AD , Shanghai Film Studios, Sony
Pictures Classics. Lu Yue.
C O S TUM E D ESIGN
BRAVEHEART , Icon/Ladd Company, Paramount.

Charles Knode.
JAM ES CROM W ELL in Babe, Kennedy Miller, Universal.
ED HARRI S in Apollo 13, Imagine, Universal.
* REST ORAT I ON, Segue/Avenue Pictures/Oxford Film
Company, Miramax. James Acheson.
BRAD P I T T in 12 Monkeys, Atlas/Classico, Universal.
RI CHARD I I I , Richard III Limited Production, MGM/
T I M ROT H in Rob Roy, United Artists, MGM/UA.
UA. Shuna Harwood.
* K EVI N SP ACEY in The Usual Suspects, Blue Parrot,
SENSE AN D SEN SI BI L I T Y, Mirage, Columbia. Jenny
Gramercy.
JOAN ALLEN in Nixon, Hollywood Pictures/Cinergi,
Buena Vista.
(Universal; directed by Chris Noonan) was made in Australia and became the years most-talked-about and endearing
lm, so well liked it landed a spot as one of the years ve Best
Picture nominees. (A picture about a pig up for the top Oscar
prize? It doesnt seem quite kosher, commented one writer.) The
title character is a sweet-natured but free-spirited barnyard piglet
who, more than anything else, wants to be a sheepdog, ultimately
accomplishing that lofty aim by winning a sheep-herding contest.
The ham who played Babe was actually 48 different piglets, and
real animals were blended with computer animation and puppets,
but all done so seamlessly that Babe went on to win the years
award for visual effects.
B ES T P I CT U R E
A P O L L O 13 , Imagine, Universal. Brian Grazer,
WR I TI N G
BA BE , Kennedy Miller, Universal. George Miller, Doug
AP OLLO 13 , Imagine, Universal. William Broyles, Jr.,
Producer.
Mitchell and Bill Miller, Producers.

* BR A VE HE A R T, Icon/Ladd Company, Paramount. Mel
Gibson, Alan Ladd, Jr., and Bruce Davey, Producers.
THE P O S TMA N (IL POSTINO), Cecchi Gori Group
Tiger Cinematograca Production/Pentalm/Esterno
Mediterraneo/Blue Dahlia, Miramax. Mario Cecchi
Gori, Vittorio Cecchi Gori and Gaetano Daniele,
Producers.
SE NSE A ND SE NSIB ILITY, Mirage, Columbia.
Lindsay Doran, Producer.
A CT O R
* NIC O L A S C A GE in Leaving Las Vegas, Initial

Productions, MGM/UA.
R IC HA R D D R E Y F USS in Mr. Hollands Opus,
Hollywood Pictures/Interscope Communications,
Buena Vista.
A NTHO NY HO P K INS in Nixon, Hollywood Pictures/
Cinergi, Buena Vista.
326
F I LM E D I TI NG
* AP OLLO 13 , Imagine, Universal. Mike Hill, Dan

Hanley.
BABE, Kennedy Miller, Universal. Marcus DArcy, Jay
Miramax.
Friedkin.
MARE WINNINGHAM in Georgia, CIBY 2000, Miramax.
BRAVEHEART, Icon/Ladd Company, Paramount. Steven
K AT E W I NSLET in Sense and Sensibility, Mirage,
Rosenblum.
Columbia.
CRI M SON T I D E, Hollywood Pictures, Buena Vista.
D I R E C TI N G
Chris Lebenzon.
BABE, Kennedy Miller, Universal. Chris Noonan.
SEVEN , Juno Pix, New Line. Richard Francis-Bruce.
BRAVEHEART
,
Icon/Ladd
Company,
Paramount.
Mel
*
M A KE UP
Gibson.
D EAD M AN W ALK I NG, Working Title/Havoc,
* BRAVEHEART , Icon/Ladd Company, Paramount. Peter
Frampton, Paul Pattison, Lois Burwell.
Gramercy. Tim Robbins.
M Y FAM I LY , M I FAM I L I A , New Line. Ken Diaz, Mark
LEAVI NG LAS VEGAS, Initial Productions, MGM/UA.
Sanchez.
Mike Figgis.
ROOM M AT ES, Hollywood Pictures/Interscope, Buena
T HE P OST M AN ( I L P OST I NO) , Cecchi Gori Group
Vista. Greg Cannom, Bob Laden, Colleen Callaghan.
Mediterraneo/Blue Dahlia, Miramax. Michael
M US I C
Radford.
K AT HLEEN Q U I NLAN in Apollo 13, Imagine, Universal.
* M I RA SORVI NO in Mighty Aphrodite, Sweetheart,
BABE
Beavan, John Bright.
12 M ON K EY S, Atlas/Classico, Universal. Julie Weiss.
Al Reinert.
BABE, Kennedy Miller, Universal. George Miller, Chris
Noonan.
LEAVI NG LAS VEGAS, Initial Productions, MGM/UA.
Mike Figgis.
T HE P OST M AN ( I L P OST I NO) , Cecchi Gori Group
Tiger Cinematograca Production/Pentalm/

Esterno Mediterraneo/Blue Dahlia, Miramax. Anna
Pavignano, Michael Radford, Furio Scarpelli, Giacomo
Scarpelli, Massimo Troisi.
* SEN SE AND SENSI BI LI T Y , Mirage, Columbia. Emma
Thompson.
BRAVEHEART , Icon/Ladd Company, Paramount.
Randall Wallace.
M I GHT Y AP HROD I T E, Sweetheart, Miramax. Woody
Allen.
NI X ON , Hollywood Pictures/Cinergi, Buena Vista.
Stephen J. Rivele, Christopher Wilkinson, Oliver

Stone.
T OY ST ORY , Disney/Pixar, Buena Vista. Screenplay
by Joss Whedon, Andrew Stanton, Joel Cohen, Alec
Sokolow; Story by John Lasseter, Peter Docter, Andrew
Stanton, Joe Ranft.
* T HE U SU AL SU SP ECT S, Blue Parrot, Gramercy.
Christopher McQuarrie.
AP OLLO 13 , Imagine, Universal. Michael Corenblith;
Merideth Boswell.
BABE, Kennedy Miller, Universal. Roger Ford; Kerrie
Brown.
* COLORS OF T HE W I N D (Pocahontas, Disney, Buena

Vista). Music by Alan Menken; Lyric by Stephen
Schwartz.
D EAD M AN W ALK I N (Dead Man Walking, Working
Title/Havoc, Gramercy). Music and Lyric by Bruce
Springsteen.
HAVE Y OU EVER REA L L Y L O V E D A W O M A N (Don
Juan DeMarco, Juno Pix, New Line). Music and Lyric
by Michael Kamen, Bryan Adams, Robert John Lange.
M OONLI G HT (Sabrina, Mirage/Scott Rudin/Sandollar,
Paramount/Constellation Films). Music by John
Williams; Lyric by Alan Bergman, Marilyn Bergman.
YOUVE GOT A FRIEND IN ME (Toy Story, Disney/Pixar,
Buena Vista). Music and Lyric by Randy Newman.
(or ig in a l dr a ma t ic sc o re)
AP OLLO 13 , Imagine, Universal. James Horner.
BRAVEHEART , Icon/Ladd Company, Paramount. James
Horner.
N I X ON, Hollywood Pictures/Cinergi, Buena Vista. John
Williams.
* T HE P OST M AN ( I L PO S T I N O ) , Cecchi Gori Group
Mediterraneo/Blue Dahlia, Miramax. Luis Enrique
Bacalov.
SENSE AN D SEN SI BI L I T Y, Mirage, Columbia. Patrick
Doyle.
(or ig in a l mu s ica l or c o med y sc o re)
T HE AM ERI CAN P RE S I DE N T , Castle Rock, Columbia.
Marc Shaiman.
* P OCAHONT AS, Disney, Buena Vista. Music by Alan
Menken; Lyric by Stephen Schwartz; Orchestral Score
by Alan Menken.
SABRI NA, Mirage/Scott Rudin/Sandollar, Paramount/
Constellation Films. John Williams.
T OY ST ORY , Disney/Pixar, Buena Vista. Randy
Newman.
U N ST RU N G HEROES , Hollywood Pictures, Buena
Vista. Thomas Newman.
S O UN D
(Columbia; directed by Ang Lee) was

a lush and witty adaptation of Jane Austens rst novel, starring
Emma Thompson (left) as one of three lively daughters left in
reduced circumstances after the death of their father. All are either
wooed by or delightfully manipulating would-be suitors in turn-ofthe-19th-century England. For Thompson, Sense was a particular
triumph: the lm brought her an Academy nomination as the years
best actress, and she won the award for writing the years best
adapted screenplay. Since shed previously won a best actress award
in 1992 for Howards End, she thus became the rst woman to win
Oscars in both the writing and acting divisions.
SENSE AND SENSIBILITY
* AP OLLO 13 , Imagine, Universal. Rick Dior, Steve

Pederson, Scott Millan, David MacMillan.
BAT M AN FOREVER, Warner Bros. Donald O. Mitchell,
Frank A. Montao, Michael Herbick, Petur Hliddal.
BRAVEHEART , Icon/Ladd Company, Paramount. Andy
Nelson, Scott Millan, Anna Behlmer, Brian Simmons.
CRI M SON T I D E, Hollywood Pictures, Buena Vista.
Kevin OConnell, Rick Kline, Gregory H. Watkins,
William B. Kaplan.
W AT ERW ORLD , Universal. Steve Maslow, Gregg
Landaker, Keith A. Wester.
8/8/13 7:34 PM
be s t s up p ort i n g a cto r : KEVIN SPACEY as Verbal Kint in The Usual Suspects (Gramercy; directed by Bryan Singer). In a lm lled with ashbacks and a maze of twisty subplots, Spacey essayed
a con man with a bum leg and an inclination for chatter, grilled by a U.S. Customs agent (Chazz
Palminteri) about a bungled crime caper involving ve hoods (Spacey, Gabriel Byrne, Stephen Baldwin, Kevin Pollak, Benicio Del Toro) whod initially been brought together in a police lineup, then
joined forces for a successful emerald heist, followed by a disastrous involvement in a multimilliondollar cocaine deal.
BA TMA N FO R E V ER, Warner Bros. John Leveque, Bruce
Stambler.
* BR A VE HE A R T, Icon/Ladd Company, Paramount. Lon
Bender, Per Hallberg.
C R IMS O N TID E , Hollywood Pictures, Buena Vista.
George Watters II.
A P O L L O 13 , Imagine, Universal. Robert Legato,
Michael Kanfer, Leslie Ekker, Matt Sweeney.

* BA BE , Kennedy Miller Pictures, Universal. Scott E.
Anderson, Charles Gibson, Neal Scanlan, John Cox.
D O CU M EN T AR Y
(f e at ure s )
* ANNE FRANK REMEMBERED, Jon Blair Film Company

Limited Production, Sony Pictures Classics. Jon Blair.
THE BA TTL E O VER CITIZEN KANE, Lennon
Documentary Group Production for The American
Experience. Thomas Lennon, Michael Epstein.
FID D L E F E ST R OB ERTA TZAV ARAS AND HER
E A S T HA R L E M V IOLIN PROGRAM, Four Oaks
Foundation Production. Allan Miller, Walter

Scheuer.
HA NK A A R O N: CH ASING THE DREAM, Turner
Original Production. Mike Tollin, Fredric Golding.
TR O UBL E SO ME CREEK: A MIDWESTERN, West
City Films, Inc., Production. Jeanne Jordan, Steven
Ascher.
JIM D INE : A S E L F- PORTRAIT ON THE WALLS,
Outside in July, Inc., Production. Nancy Dine, Richard

Stilwell.
THE L IVING SE A , MacGillivray Freeman Films
Production. Greg MacGillivray, Alec Lorimore.
NE VE R GIVE U P : TH E 20 TH CENTURY ODYSSEY OF

HE R BE R T Z IP PER, American Film Foundation. Terry
Sanders, Freida Lee Mock.
* O NE S UR VIVO R REMEMB ERS, Home Box Ofce

and The United States Holocaust Memorial Museum
Production. Kary Antholis.
THE S HA D O W OF H ATE, Guggenheim Productions,
Inc. Production for the Southern Poverty Law Center.
Charles Guggenheim.
A L L THINGS FA I R (Sweden).
* A NTO NIA S L INE (The Netherlands).
D US T O F L IF E (Algeria).
O Q UA TR IL HO (Brazil).
THE S TA R MA KE R (Italy).
S H O RT FI L M S
(an i m at e d )
THE C HIC K E N F ROM OUTER SPACE, Stretch Films,
Inc./Hanna-Barbera Cartoons, Inc./Cartoon Network

Production. John R. Dilworth.
* A C L O SE S HA VE , Aardman Animations Limited
Production. Nick Park.
THE E ND , Alias/Wavefront Production. Chris Landreth,
Robin Bargar.
GA GA R IN, Second Frog Animation Group Production.
be s t s u p p or t in g a ct r e s s : MIRA SORVINO as Linda Ash (above, with Woody Allen) in

Mighty Aphrodite (Miramax; directed by Woody Allen). It was the second year in a row that
lmmaker Allen had directed an actress to Oscar success in a supporting role; the preceding year,
hed done the same for Dianne Wiest in Bullets over Broadway. In Aphrodite, Allen portrayed a
Manhattan sportswriter determined to seek out the biological mother of the near-genius son he and
his wife (Helena Bonham Carter) had adopted as an infant; the real mom turns out to be Sorvino, a
sweet-natured, irty bubblehead who, to Allens chagrin, is also a call girl and dedicated porn star.
Alexij Kharitidi.
RU N AW AY BRAI N, Walt Disney Pictures Production.
Chris Bailey.
(liv e a ct ion )
BROOM S, Yes/No Production. Luke Cresswell, Steve
McNicholas.
D U K E OF GROOVE, Chanticleer Films. Grifn Dunne,
Thom Colwell.
* LI EBERM AN I N LOVE, Chanticleer Films. Christine
Lahti, Jana Sue Memel.
LI T T LE SU RP RI SES, Chanticleer Films. Jeff Goldblum,
Tikki Goldberg.
TUESDAY MORNING RIDE, Chanticleer Films. Dianne
Houston, Joy Ryan.

T O K I RK D OU GLAS for fty years as a creative and
moral force in the motion picture community.

T O CHU CK J ON ES for the creation of classic cartoons
which have brought worldwide joy for more than half
a century.

T O J OHN LASSET ER for his inspired leadership of the
Pixar Toy Story team, resulting in the rst featurelength computer-animated lm.

T O D ON ALD C. ROGERS
A WA R D S
HOW ARD FLEM M I N G and RONALD U HLI G for their
pioneering work leading to motion picture digital

sound.
D I G I T AL T HEAT ER SY ST EM S for the design and
development of the DTS Digital Sound System for
motion picture exhibition.
D OLBY LABORAT ORI ES for the design and
development of the SR-D Digital Sound System for
motion picture exhibition.
SON Y CORP ORAT I ON for the design and development
of the SDDS Digital Sound System for motion picture
exhibition.
COLI N M OSSM AN , J OE W ARY , HANS LEI SI NGER,
GERALD P AI N T ER, and D ELU X E LABORAT ORI ES
for the design and development of the Deluxe Quad

Format Digital Sound Printing Head.
D AVI D G I LM ART I N , J OHAN N ES BORGGREBE,

J EAN - P I ERRE GAGNON , FRANK RI COT T A,
and T ECHN I COLOR, I NC. , for the design and
development of the Technicolor Contact Printer Sound

Head.
RONALD C. GOOD M AN, AT T I LA SZ ALAY , ST EVEN
SASS, and SP ACE C A M S YS T E M S , I N C . , for the

design of the SpaceCam gyroscopically stabilized
camera system.
M ART I N S. M U EL L E R for the design and development
of the MSM 9801 IMAX 65mm/15 perf production
motion picture camera.
I AI N N EI L for the optical design; R I C K G E L B A R D
for the mechanical design; E R I C DU B B E R K E
for the engineering, and PA N A V I S I O N
I NT ERN AT I ONA L , L . P. , for the development
of the Primo 3:1 Zoom Lens.
ARN OLD AN D RI C H T E R C I N E T E C H N I K for the
development of the Arriex 535 Series of Cameras for
motion picture cinematography.
ALVY RAY SMITH, ED CATMULL, THOMAS PORTER,
and T OM D U FF for their pioneering inventions in
digital image compositing.
D AVI D P RI N G LE and YA N ZH O N G F A N G for the
design and development of Lightning Strikes, a

exible, high-performance electronic lightning effect
system.
AL J ENSEN , CHU C K H E A DL E Y, J E A N ME S S N E R and
HAZ EM N ABU LS I of CEI Technology for producing a
self-contained, icker-free Color Video-Assist Camera.
P ET ER D ENZ of Prazisions-Entwicklung Denz for
developing a icker-free Color Video-Assist Camera.
G ARY D EM OS, D A V I D R U H O F F , DA N C A M E R O N ,
and M I CHELLE F E R A U D for their pioneering efforts
in the creation of the Digital Productions Digital Film

Compositing System.
D OU G LAS SM Y T H E , L I N C O L N H U , DO U G L A S S .
K AY , and I N D U S T R I A L L I G H T & M A G I C for their
pioneering efforts in the creation of the ILM Digital

Film Compositing System.
COM P U T ER FI LM C O MPA N Y for their pioneering
efforts in the creation of the CFC Digital Film
Compositing System.
J OE FI N N EG AN (aka Joe Yrigoyen) for his pioneering
work in developing the Air Ram for motion picture
stunt effects.
327
I NST I T U T N AT I O N A L PO L YT E C H N I Q U E DE
T OU LOU SE for the concept; K O DA K PA T H E
CT P CI N E for the prototype; and E C L A I R
LABORAT ORI ES and MA R T I N E A U I N DU S T R I E S for
the development and further implementation of the

Toulouse Electrolytic Silver Recovery Cell.
BHP , I NCORP OR A T E D, for their pioneering efforts
developing digital sound printing heads for motion
pictures.
J AM ES D EAS of the Warner Bros. Studio Facility for the
design and subsequent development of an Automated
Patchbay and Metering System for motion picture
sound transfer and dubbing operations.
CLAY D AVI S and J O H N C A R T E R of Todd-AO for their
pioneering efforts in creating an Automated Patchbay
System for motion picture sound transfer and dubbing
operations.
P ASCAL CHED EVI L L E for the design of the L.C.
Concept Digital Sound System for motion picture
exhibition.
8/8/13 7:34 PM
1996
The Sixty-Ninth Year
t had never happened before: when the

nal tally was in on the 69th Academy
Awards, not one major Hollywood studio
had been responsible for making, or releasing, the lms that swept the highest-prole
prizes. On March 24, 1997 at the Los Angeles
Shrine Auditorium, the best picture award
went to The English Patient from Miramax,
still considered an indie operation despite
recent ownership by the Walt Disney company; the supporting actress winner (Juliette Binoche) and best director (Anthony
Minghella) also were from that same Miramax lm. Further, Geoffrey Rush won as
best actor for Shine, a drama from Fine Line;
best actress winner Frances McDormand
was tagged for Fargo, from Gramercy, and
Cuba Gooding, Jr., was named the years
top supporting actor for Jerry Maguire, from
Sony/TriStar. Unlike years past when the
Academy scorecards were dotted with towering studio names like MGM, Paramount,
Warner Bros., 20th Century Fox, Universal
and Columbia, the victors for 1996 were
from predominantly indie organizations,
and adamantly proud of it. A new Oscar era
had begun.
Competition was keen in several categories, but none more so than in the best
actor division, where all the nomineesTom
Cruise, Ralph Fiennes, Woody Harrelson,
Billy Bob Thornton and Rushhad strong
pools of support. The supporting actress
category was thought by some to be a shooin for Lauren Bacall in The Mirror Has Two
Faces, but, as TV cameras were zeroing in
on Bacall at the moment of truth, near the
top of the show, French actress Binoche was

named instead. Even the winner seemed
genuinely surprised. I didnt prepare
anything, said Binoche. I thought Lauren
Bacall was going to get it . . . I think she deserves it. This is a dream. It must be a French
dream. No winner, however, seemed more
genuinely pleased to be holding an Oscar
than Gooding. Bouncing with enthusiasm,
he jubilantly danced around the podium,
thanking a myriad of names in the process.
Director-choreographer Michael Kidd,
introduced by Julie Andrews as my favorite
curmudgeon, received an Honorary Oscar
in recognition of his contributions to lm
musicals; Saul Zaentz, the producer of
The English Patient, also received the Irving G.
Thalberg Memorial Award and, by virtue of
having produced three Oscar-winning lms
to date (the others: 1975s One Flew over the
Cuckoos Nest, 1984s Amadeus), became
only the third person in history to have
accomplished such a feat, his predecessors
being Darryl F. Zanuck and Sam Spiegel.
One of the major emotional moments of
the evening came when former heavyweight
boxing champ Muhammad Ali, suffering
from Parkinsons disease, came to the stage
with fellow champion George Foreman
after the Academy Award for best feature
documentary went to When We Were Kings,
a lm that depicts the 1974 Ali-Foreman
championship bout in Zaire. Kolya, the rst
lm from the Czech Republic nominated by
the Academy, won as the years best foreign
language lm. The host for the evening
was Billy Crystal, returning to that post
328
be s t ac t or: GEOFFREY RUSH as David Helfgott in Shine
(Fine Line Features; directed by Scott Hicks). Made in Australia
and based on the life of then-forty-nine-year-old Helfgott, Shine
told of the downward spiral then triumphant comeback of Helfgott, plagued in his youth by a bullying father and an obsessive
drive for musical perfection, initially showing great promise as
a concert pianist but his potential and career cut short because
of nervous breakdowns and years spent in mental institutions.
Three actors played the central character: Alex Rafalowicz played
Helfgott as a child, Noah Taylor was the young David, and Rush
(right, at piano) portrayed the adult who ultimately managed to
triumph over his physical limitations and that painful past.
8/8/13 7:34 PM
for the rst time in four years; he opened

in crackerjack fashion with the help of
special effects by injecting himself into key
scenes from some of the years nominated
lms. Among those making music on the
show was Celine Dion, slated to sing one
of the years nominated songs, but, at the
last minute, she stepped in to sing a second
one as well when Natalie Cole fell ill. Also
performing was David Helfgott, the pianist
portrayed by best actor Rush in his Oscarwinning performance. Helfgott performed
Flight of the Bumble Bee.
best actress: FRANCES MCDORMAND as Police Chief Marge Gunderson in Fargo (Gramercy; directed by Joel Coen). Coen, as
co-writer and director, specically fashioned the quirky Fargo for McDormand (above), his wife, and she responded with a funny,
offbeat interpretation of a very pregnant chief of police who waddles into action and leaves no stone unturned when a kidnapping scheme
goes wildly out of control and produces a trio of homicides in the town in which shes in charge. Based on a true incident that occurred
in 1987, the lms oddball, wry humor carried through to its title: though called Fargo, the majority of the lm was set not in North
Dakota but in the small Minnesota burg of Brainerd.
329
(Miramax; produced by Saul Zaentz), best director:

for The English Patient. A sweeping, romantic and poetic adaptation
of the prize-winning novel by Michael Ondaatje, English starred Ralph Fiennes and Kristin Scott
Thomas (above) as two star-crossed lovers embroiled in an affair complicated by separations, war,
desert heat, betrayal and a husband. The lm, like Ondaatjes book, continually switched from past
to present, telling of a handsome Hungarian count (Fiennes) as he meets a married woman (Scott
best picture:
THE ENGLISH PATIENT
ANTHONY MINGHELLA
Thomas) while both are in the Sahara in the 1930s on a mapping expedition; years later, the count
is the victim of a plane crash, hideously burned and covered in bandages, recalling fragmented incidents of his haunted past as he waits to die. Full of stunning images and possessing a mystic charm,
Patient won nine Academy Awards in all, making it one of the most honored lms of the Academys
rst seven decades, alongside Ben-Hur (11 awards), West Side Story (10), Gigi (9), The Last Emperor (9), and the White Star liner looming just over the horizon.
8/8/13 7:34 PM
B E S T PI C TUR E
Nominations 1996
* T HE EN G LI SH P AT I ENT , Tiger Moth, Miramax. Saul

Zaentz, Producer.
FARG O, Working Title, Gramercy. Ethan Coen,
Producer.
JERRY M AG U I RE, TriStar. James L. Brooks, Laurence
Mark, Richard Sakai and Cameron Crowe, Producers.
SECRET S & LI ES, CIBY 2000/Thin Man Films, October
Films. Simon Channing-Williams, Producer.
SHI NE, Momentum Films, Fine Line Features. Jane
Scott, Producer.
A C TO R
T OM CRU I SE in Jerry Maguire, TriStar.

RALP H FI EN N ES in The English Patient, Tiger Moth,
Miramax.
W OOD Y HARRELSON in The People vs. Larry Flynt,
be s t s up p ort i n g acto r : CUBA GOODING, JR., as Rod

Tidwell in Jerry Maguire (TriStar; directed by Cameron Crowe).
As a tale of the greed and ruthlessness in professional sports, Jerry
Maguire hit a bullseye, with Tom Cruise as a slick sports agent
with a top company who eventually gets bounced and loses all his
clients except for a brash, loudmouthed wide receiver who displays
as much condence and moxie as he does athletic prowess. In the
latter role, Gooding (above) virtually stole the show with a sassy,
hilarious performance accented by a line of dialogue that swiftly
became a national catch phrase: says Gooding as Tidwell, not once
but several times, Show . . . me . . . the money!
330
Films. Mike Leigh.
SHI N E, Momentum Films, Fine Line Features.
Screenplay by Jan Sardi; Story by Scott Hicks.
T HE BI RD CAGE, United Artists, MGM/UA. Bo Welch;
Cheryl Carasik.
* T HE EN G LI SH P AT I E N T , Tiger Moth, Miramax. Stuart
Craig; Stephenie McMillan.
EVI T A, Hollywood Pictures/Cinergi Pictures, Buena
Vista. Brian Morris; Philippe Turlure.
HAM LET , Castle Rock, Columbia. Tim Harvey.
W I LLI AM SHAK ESP E A R E S R O ME O & J U L I E T , 20th
Century Fox. Catherine Martin; Brigitte Broch.
Ixtlan, Columbia.
* GEOFFREY RU SH in Shine, Momentum Films, Fine Line * T HE EN G LI SH P AT I E N T , Tiger Moth, Miramax. John
Seale.
Features.
BI LLY BOB T HORNT ON in Sling Blade, Shooting
Vista. Darius Khondji.
Gallery, Miramax.
FARGO, Working Title, Gramercy. Roger Deakins.
A C TR E S S
FLY AW AY HOM E, Sandollar, Columbia. Caleb
BREN D A BLET HY N in Secrets & Lies, CIBY 2000/Thin
Deschanel.
Man Films, October Films.
M I CHAEL COLLI N S, Geffen Pictures, Warner Bros.
D I ANE K EAT ON in Marvins Room, Marvins Room
Chris Menges.
Production, Miramax.
C
O S TUM E D ESIGN
FRAN
CES
M
CD
ORM
AND
in
Fargo,
Working
Title,
*
AN G ELS AND I NSEC T S , Playhouse International,
Gramercy.
Goldwyn. Paul Brown.
K RI ST I N SCOT T T HOM AS in The English Patient, Tiger
EM M A, Matchmaker Films/Haft Entertainment,
Moth, Miramax.
Miramax. Ruth Myers.
EM I LY W AT SON in Breaking the Waves, Zentropa
* T HE EN G LI SH P AT I E N T , Tiger Moth, Miramax. Ann
Entertainment/ Trust Film Svenska/ Liberator/Argus
Roth.
Film/Northern Lights, October Films.
HAM LET , Castle Rock, Columbia. Alex Byrne.
T HE P ORT RAI T OF A L A DY, Polygram, Gramercy.
Janet Patterson.
* CU BA GOOD I NG, J R. , in Jerry Maguire, TriStar.
W I LLI AM H. M ACY in Fargo, Working Title, Gramercy.
F I LM E D I TI NG
ARM I N M U ELLER- ST AHL in Shine, Momentum Films,
* T HE EN G LI SH P AT I E N T , Tiger Moth, Miramax. Walter
Fine Line Features.
Murch.
ED W ARD NORT ON in Primal Fear, Gary Lucchesi,
Paramount in association with Rysher Entertainment.
Vista. Gerry Hambling.
JAM ES W OOD S in Ghosts of Mississippi, Castle Rock,
FARGO, Working Title, Gramercy. Roderick Jaynes.
Columbia.
J ERRY M AGU I RE, TriStar. Joe Hutshing.
SHI N E, Momentum Films, Fine Line Features. Pip
JOAN ALLEN in The Crucible, 20th Century Fox.
Karmel.
LAU REN BACALL in The Mirror Has Two Faces, TriStar.
M
A KE UP
* JU LI ET T E BI NOCHE in The English Patient, Tiger Moth,
G HOST S OF M I SSI SS I PPI , Castle Rock, Columbia.
Miramax.
Matthew W. Mungle, Deborah La Mia Denaver.
BARBARA HERSHEY in The Portrait of a Lady, Polygram,
* T HE N U T T Y P ROFES S O R , Imagine, Universal. Rick
Gramercy.
Baker, David LeRoy Anderson.
M ARI ANNE J EAN - BAP T I ST E in Secrets & Lies, CIBY
ST AR T REK : FI RST C O N T A C T , Rick Berman,
2000/Thin Man Films, October Films.
Paramount. Michael Westmore, Scott Wheeler, Jake
D I R E C TI N G
Garber.
* T HE EN G LI SH P AT I ENT , Tiger Moth, Miramax.
M US I C
Anthony Minghella.
FARG O, Working Title, Gramercy. Joel Coen.
T HE P EOP LE VS. LARRY FLY N T , Ixtlan, Columbia.
BECAU SE Y OU LOVE D ME (Up Close and Personal,
Milos Forman.
Touchstone, Buena Vista). Music and Lyric by Diane
Warren.
Films. Mike Leigh.
FOR T HE FI RST T I M E (One Fine Day, 20th Century
SHI NE, Momentum Films, Fine Line Features. Scott
Fox). Music and Lyric by James Newton Howard, Jud J.
Hicks.
Friedman, Allan Dennis Rich.
I FI NALLY FOU N D S O ME O N E (The Mirror Has Two
WR I TI N G
Faces, TriStar). Music and Lyric by Barbra Streisand,
Marvin Hamlisch, Bryan Adams, Robert Mutt
Lange.
T HAT T HI N G Y OU DO ! (That Thing You Do!, 20th
T HE CRU CI BLE, 20th Century Fox. Arthur Miller.
Century Fox). Music and Lyric by Adam Schlesinger.
T HE EN G LI SH P AT I ENT , Tiger Moth, Miramax.
Anthony Minghella.
* Y OU M U ST LOVE M E (Evita, Hollywood Pictures/
Cinergi Pictures, Buena Vista). Music by Andrew Lloyd
HAM LET , Castle Rock, Columbia. Kenneth Branagh.
Webber; Lyric by Tim Rice.
* SLI NG BLAD E, Shooting Gallery, Miramax. Billy Bob
Thornton.
(or
ig in a l dr a ma t ic sc o re)
T RAI NSP OT T I NG, Channel Four Films, Miramax. John
* T HE EN G LI SH P AT I E N T , Tiger Moth, Miramax.
Hodge.
Gabriel Yared.
HAM LET , Castle Rock, Columbia. Patrick Doyle.
M I CHAEL COLLI N S, Geffen Pictures, Warner Bros.
* FARG O, Working Title, Gramercy. Ethan Coen, Joel
Elliot Goldenthal.
Coen.
SHI N E, Momentum Films, Fine Line Features. David
JERRY M AG U I RE, TriStar. Cameron Crowe.
Hirschfelder.
LON E ST AR, Castle Rock, Sony Pictures Classics. John
SLEEP ERS, Propaganda Films, Warner Bros. John
Sayles.
Williams.
(or ig in a l mu s ica l or c o med y sc o re)
b e s t for e ig n la n g u a g e film: KOLYA from the Czech

Republic. In the lms title role, young Andrej Chalimon (left)
was a captivating Russian ve-year-old who, by happenstance,
gets left in the care of a womanizing Czech musician (Zdenek
Sverak) who grudgingly becomes a temporary guardian to the boy
whose language he doesnt understand, and whose youthful needs
and behavior at rst mystify him. Set during the early days of the
1989 revolution, which ended Communist rule in Czechoslovakia,
Kolya was the fourth feature of 31-year-old director Jan Sverak,
whose father both scripted the lm and co-starred in it as Kolyas
reluctant benefactor.
* EM M A, Matchmaker Films/Haft Entertainment,

Miramax. Rachel Portman.
T HE FI RST W I VES C L U B , Scott Rudin, Paramount.
Marc Shaiman.
T HE HU NCHBACK O F N O T R E DA M E , Walt Disney,
Buena Vista. Music by Alan Menken; Lyrics by Stephen
Schwartz; Orchestral Score by Alan Menken.
J AM ES AND T HE GI A N T PE A C H , Walt Disney, Buena
Vista. Randy Newman.
T HE P REACHER S WI F E , Touchstone/Goldwyn, Buena
Vista. Hans Zimmer.
8/8/13 7:34 PM
S O U ND
* THE E NGL ISH P ATIENT, Tiger Moth, Miramax. Walter

Murch, Mark Berger, David Parker, Chris Newman.
E VITA , Hollywood Pictures/Cinergi Pictures, Buena
Vista. Andy Nelson, Anna Behlmer, Ken Weston.
IND E P E ND E NC E DAY, 20th Century Fox. Chris
Carpenter, Bill W. Benton, Bob Beemer, Jeff Wexler.
THE R O C K , Hollywood Pictures, Buena Vista. Kevin
OConnell, Greg P. Russell, Keith A. Wester.
TWISTER, Warner Bros./Universal. Steve Maslow, Gregg
Landaker, Kevin OConnell, Geoffrey Patterson.
D A Y L IGHT, Davis Entertainment/Joseph M. Singer,
Universal. Richard L. Anderson, David A. Whittaker.
E R A S E R , Warner Bros. Alan Robert Murray, Bub Asman.

* THE GHO S T A ND THE DARKNESS, Douglas/Reuther,
Paramount. Bruce Stambler.
D R A GO NHE A R T, Raffaella De Laurentiis, Universal.
Scott Squires, Phil Tippett, James Straus, Kit West.

* IND E P E ND E NC E DAY, 20th Century Fox. Volker
Engel, Douglas Smith, Clay Pinney, Joseph Viskocil.
TW IS TE R , Warner Bros./Universal. Stefen Fangmeier,
John Frazier, Habib Zargarpour, Henry La Bounta.
D O CU M EN T AR Y
(f e at ure s )
THE L INE K ING: TH E AL HIRSCH FELD STORY, New
York Times History Production, Castle Hill. Susan W.

Dryfoos.
MA ND E L A , Clinica Estetico, Ltd. Production, Island
Pictures. Jo Menell, Angus Gibson.
SUZ A NNE FA R R ELL: ELUSIV E MUSE, Seahorse Films,
Inc. Production. Anne Belle, Deborah Dickson.
TE L L THE TR U TH AND RUN: GEORGE SELDES AND

THE A ME R IC A N PRESS, Never Tire Production. Rick
Goldsmith.
* W HE N W E W E R E KINGS, DASFilms Ltd. Production,
Gramercy. Leon Gast, David Sonenberg.
* BR E A THING L E S SONS: TH E LIFE AND WORK OF

MA R K O BR IE N, Inscrutable Films/Pacic News
Service Production. Jessica Yu.
C O SMIC VO Y A G E, Cosmic Voyage Inc. Production.
Jeffrey Marvin, Bayley Silleck.
AN ESSAY ON MATISSE, Great Projects Film Company,
Inc. Production. Perry Wolff.
SP E C IA L E FF E C T S, NOVA/WGBH Boston Production.
Susanne Simpson, Ben Burtt.
THE WI L D B U NCH: AN ALB UM IN MONTAGE,
Tyrus Entertainment Production. Paul Seydor, Nick

Redman.
A C HE F IN L O VE (Georgia).
* KO L Y A (Czech Republic).
THE O THE R S ID E OF SUNDAY (Norway).

P R IS O NE R O F THE MOUNTAINS (Russia).
R ID IC U L E (France).
S H O RT FI L M S
(an i m at e d )
C A NHE A D , Timothy Hittle Production. Timothy Hittle,
Chris Peterson.
L A S A L L A , National Film Board of Canada. Richard
Condie.
* Q UE ST, Thomas Stellmach Animation Production.
Tyron Montgomery, Thomas Stellmach.
W A T S P IG, Aardman Animations Limited Production.
Peter Lord.
(l i ve ac t i on )
DE TRIPAS, CORAZN , IMCINE/DPC/Universidad de
Guadalajara Production. Antonio Urrutia.

* D E A R D IA R Y , DreamWorks SKG Production. David
Frankel, Barry Jossen.
E R NST & L Y SE T, M & M Production. Kim Magnusson,
Anders Thomas Jensen.
E S P O S A D O S , Zodiac Films/Juan Carlos Fresnadillo P.C.
Production. Juan Carlos Fresnadillo.
W O R D L E S S , Film Trust Italia Production. Bernadette
Carranza, Antonello De Leo.

TO MIC HA E L K IDD in recognition of his services to
the art of the dance in the art of the screen.

TO VO L KE R W . B AH NEMANN and B URTON B UD
S TO NE in appreciation for outstanding service and
dedication in upholding the high standards of the
Academy of Motion Picture Arts and Sciences.
(John A. Bonner Medal of Commendation)
TO JO E L O MBA RDI in celebration of fty years in the
motion picture industry. His knowledge and leadership
in the eld of pyrotechnics and special effects along
with his uncompromising promotion of safety on the
set have established the standard for todays special
effects technicians. (Award of Commendation-plaque)
be s t s u p p or t in g a ct r e s s : JULIETTE BINOCHE as Hana in The English Patient. Despite that supporting designation, Binoches
Hana was a main focus and force of The English Patient, a beautiful Canadian nurse who, internally scarred by the carnage shes seen
on the front lines during World War II, sequesters herself in an abandoned Tuscan monastery to look after a dying patient, becoming his
private nurse, protector and, eventually, trusted condante. Binoche became the second French-born actress to win an Oscar, after 1934s
Claudette Colbert. (1959 winner Simone Signoret, though she worked primarily in French lms, was actually born in Germany.)
T O SAU L Z AEN T Z

A WA R D S
I M AX CORP ORAT I ON for the method of lming and
exhibiting high-delity, large-format, wide-angle

motion pictures.
IC
J OHN SCHLAG , BRI AN K N EP , Z ORAN K AC
, and T HOM AS W I LLI AM S for the
ALESI C
development of the Viewpaint 3D Paint System for

lm production work.
W I LLI AM REEVES for the original concept and the
development of particle systems used to create
computer-generated visual effects in motion pictures.
J I M HOU RI HAN for the primary design and
development of the interactive language-based control
of particle systems as embodied in the Dynamation
software package.
J ON AT HAN ERLAND and K AY BEVI N G ERLAN D for
the development of the Digital Series Traveling Matte
Backing System used for composite photography in
motion pictures.
P ERRY K I VOLOW I T Z, for the primary design, and

D R. GART H A. DI C K I E for the development of
the algorithms for the shape-driven warping and

morphing subsystem of the Elastic Reality Special
Effects System.
K EN P ERLI N for the development of Perlin Noise, a
technique used to produce natural appearing textures
on computer-generated surfaces for motion picture
visual effects.
N EST OR BU RT NY K and M A R C E L I W E I N of the
National Research Council of Canada for their
pioneering work in the development of software
techniques for Computer Assisted Key Framing for
Character Animation.
G RAN T LOU CK S for the concept and specications of
the Mark V Directors Viewnder.
331
BRI AN K N EP , CRA I G H A YE S , R I C K S A YR E
and T HOM AS W I L L I A M S for the creation and
development of the Direct Input Device.
J AM ES K AJ I Y A and T I MO T H Y K A Y for their pioneering
work in producing computer-generated fur and hair in

motion pictures.
J EFFREY Y OST , CH R I S T I A N R O U E T , DA V I D
BEN SON , and FL O R I A N K A I N Z for the development
of a system to create and control computer-generated

fur and hair in motion pictures.
RI CHARD A. P REY and W I L L I A M N . MA S T E N for the
design and development of the Nite Sun II lighting
crane and camera platform.
8/8/13 7:34 PM
1997
The Seventieth Year
ne word not applicable to Oscars

70th birthday party was Lilliputian.
It was Titanic all the way. James
Camerons watery epic about the ill-fated
ocean liner was, hands down, the lm of the
year, amassing 14 Academy Award nominations, which tied it with 1950s All about Eve
for the most nominations ever pulled by
a single lm. When the nal Oscar prizes
were announced at the Los Angeles Shrine
Auditorium on March 23, 1998, Titanic
tallied a total equal to 1959s Ben-Hur as the
most Academy Awarded lm of all time,
winning 11 statuettesfor best picture,
directing, cinematography, art direction,
lm editing, costume design, sound, sound
effects editing, visual effects, original
dramatic music score and original song.
(Such a windfall caused the lms producerdirector Cameron to exclaim, quoting a line
from his lm, Im the king of the world!)
Also in a titanic mode, the award show itself, hosted by Billy Crystal, was the second
longest to date. At 3 hours, 47 minutes, it
also pulled the largest audience of any Oscar
telecast to date with an estimated 87 million
people watching in the United States, eclipsing the previous high of 82 million domestic
viewers in 1995.
The awards for best actor and best actress
went to Jack Nicholson and Helen Hunt
in As Good as It Gets, marking the seventh
time in seventy years of the Oscar that a
leading actor and actress from the same lm
received top Oscar prizes (following Clark
Gable and Claudette Colbert in 1934, Jack
Nicholson and Louise Fletcher in 1975, Peter
Finch and Faye Dunaway in 1976, Jon Voight

and Jane Fonda in 1978, Henry Fonda and
Katharine Hepburn in 1981, and Anthony
Hopkins and Jodie Foster in 1991). Kim Basinger was named best supporting actress for
L.A. Condential, and Robin Williams was
tapped as the years best supporting actor in
Good Will Hunting, a lm in whichdespite
his supporting classicationWilliams
had received rst-position billing. Hunting also bagged Oscars for its two writers,
boyhood friends Matt Damon and Ben
Afeck. Their win also marked the fourth
consecutive year actor-writers won Academy Awards in the screenplay category,
following 1996s Billy Bob Thornton, 1995s
Emma Thompson, and (to stretch a point)
1994s Quentin Tarantino. Character from
the Netherlands was named the years best
foreign language lm.
Billy Crystal was the emcee for the sixth
time, and in his opening moments, as in
the previous year, he mercilessly kidded the
years ve best picture nominees by editing
himself into some of those lms key scenes.
Another high point was the acceptance
speech of Honorary Oscar winner Stanley
Donen, who sang his thank you via Irving
Berlins Cheek to Cheek, nishing with
a brief tap dance. As a special salute to the
Academys seventieth anniversary year,
near the nish of the telecast, producer Gil
Cates brought together on stage Oscars
Family Album, a live gathering of seventy
previous winners of Academy Awards for
acting, competitive and honorary, seated on
four tiers, in alphabetical order from Anne
332
be s t ac t re s s : HELEN HUNT as Carol Connelly and
be s t ac t or: JACK NICHOLSON as Melvin Udall in As Good
as It Gets (TriStar; directed by James L. Brooks). Nicholson was
always the rst choice of director-screenwriter Brooks to play
the homophobic, anti-Semitic hero-heel of this offbeat romantic
comedy. Hunt, however, was cast in her Oscar-winning role as
a weary waitress-and-mother only after Holly Hunter nixed
the part. The Nicholson-Hunt combination turned out to be an
inspired one, with the lm eventually earning Nicholson his
11th Academy Award nomination as an actor, and third Award,
making him only the fourth performer (after Walter Brennan,
Katharine Hepburn and Ingrid Bergman) to win so many
Oscars. For Hunt it was a rst nomination/rst win; she became the rst performer to win a leading role acting Oscar
while concurrently starring in a TV series.
8/8/13 7:34 PM
Bancroft to Teresa Wright. Included were

two winners from the 1930s (Shirley Temple
Black, 1934; Luise Rainer, the rst performer
to win Academy Awards back-to-back, 1936
and 1937), seven winners from the 1940s
(Celeste Holm, Claude Jarman, Jr., Jennifer
Jones, Mercedes McCambridge, Harold
Russell, Claire Trevor, and Ms. Wright),
eight from the 1950s (Ernest Borgnine, Red
Buttons, Charlton Heston, Jack Lemmon,
Karl Malden, Eva Marie Saint, Vincent
Winter, and Shelley Winters), and the rest
from the succeeding four decades. It was the
rst time so many Academy Awardwinning
actors had ever been gathered together in
one spotanother Titanic touch to the
Oscar party MCMXCVII.
be s t s up p ort i n g a ctr es s : KIM BASINGER as Lynn

Bracken in L.A. Condential (Warner Bros.; directed by Curtis
Hanson). It was a role Basinger (right) nearly declined, as a
call girl whos been physically altered to resemble 40s screen
siren Veronica Lake. A determined agent, however, eventually
convinced Basinger to play the part, the result bringing her the
best reviews of her career, her rst Academy nomination, and, on
Oscar Night, the big enchilada. The lm itself was also named
one of the years best and pulled a total of nine nominations.
Based on a James Ellroy novel, it was a stunner about three cops
working the back alleys and other, more exotic locales of 1950s
Los Angeles.
333
be s t p i c t ure : TITANIC (A Lightstorm Entertainment Production, 20th Century Fox and Paramount; produced by James
Cameron and Jon Landau) and b es t di r ecto r : JAMES
CAMERON for Titanic. Early speculation was that the lm might
sink faster than the real luxury liner had done on April 15, 1912,
but to the contrary, the $200 million epic was an immediate box
ofce phenomenon, reaching an unprecedented worldwide box
ofce gross of $1.8 billion. Covering the nal days and hours
of the supposedly unsinkable ship on its maiden voyage from

Southampton to New York, fact was intertwined with a ctional
story about a lost jewel and a steerage-class Romeo (Leonardo
DiCaprio) who woos a debutante from the upper deck (Kate
Winslet), until an iceberg interferes. The lms story and scope
clearly had enormous effect both within and outside the Academy
and, in the nal Oscar tally, Titanic remained immense: winning
11 awards, tying with 1959s Ben-Hur as the most Oscared of all
motion pictures. In spite of reported bickering between the two

studios responsible for Titanics budgetFox and Paramountit
was the second time in three years that a lm distributed by those
same two studios won the best picture award (1995s Braveheart
was the other, though Fox was not cited in Bravehearts award).
It was also one of the longest of the Academys best picture winners, running 3 hours 14 minutes, or, as its producers preferred to
clock it, 2 hours and 74 minutes.
8/8/13 7:34 PM
Nominations 1997
(Fox Searchlight; produced by Uberto

Pasolini) was made in England for peanuts and became one of
the years surprise hits. It was a rst feature by director Peter
Cattaneo, following six steelworkers from a Yorkshire burg who
lose their jobs because of industrial cutbacks and, to support
themselves and their families, and despite less-than-Adonis-like
bodies, raise funds by creating a Chippendales-type dance act
in which, for a nale, they drop their drawers. Besides winning
the Oscar for Anne Dudleys best original musical or comedy
score, Monty also became the years biggest prot-maker: costing a minuscule $3 million to make, it went on to collect over
$200 million in worldwide grosses.
THE FULL MONTY
B ES T P I CT U R E
A S GO O D A S IT GETS, Gracie Films, TriStar. James L.
Brooks, Bridget Johnson and Kristi Zea, Producers.
THE F UL L MO NTY , Redwave Films, Fox Searchlight.
Uberto Pasolini, Producer.

GO O D W IL L HUNTING, Be Gentlemen, Miramax.
Lawrence Bender, Producer.
L .A . C O NF ID E NTIAL, Arnon Milchan/David L.
Wolper, Warner Bros. Arnon Milchan, Curtis Hanson
and Michael Nathanson, Producers.
* TITA NIC , Lightstorm Entertainment, 20th Century
Fox and Paramount. James Cameron and Jon Landau,
Producers.
334 A CT O R
MA TT D A MO N in Good Will Hunting, Be Gentlemen,
Miramax.
R O BE R T D U VA L L in The Apostle, Butchers Run,
October Films.
P E TE R FO ND A in Ulees Gold, Nunez-Gowan/Clinica
Estetico, Orion.
D US TIN HO F F MA N in Wag the Dog, New Line.
* JA C K NIC HO L SO N in As Good as It Gets, Gracie Films,
TriStar.
A CT RES S
HE L E NA BO NHA M CARTER in The Wings of the Dove,
Renaissance Films, Miramax.

JU L IE C HR IS TIE in Afterglow, Moonstone
Entertainment, Sony Pictures Classics.
JU D I D E NC H in Mrs. Brown, Ecosse Films, Miramax.
* HE L E N HUNT in As Good as It Gets, Gracie Films,
TriStar.
K A TE W INS L E T in Titanic, Lightstorm Entertainment,
20th Century Fox and Paramount.
R O BE R T F O R STE R in Jackie Brown, Mighty, Mighty
Afrodite, Miramax.
A NTHO NY HO P K INS in Amistad, DreamWorks.

GR E G KINNE A R in As Good as It Gets, Gracie Films,
TriStar.
BU RT REY N OLD S in Boogie Nights, New Line.

* ROBI N W I LLI AM S in Good Will Hunting, Be
Gentlemen, Miramax.
* K I M BASI N G ER in L.A. Condential, Arnon Milchan/

David L. Wolper, Warner Bros.
JOAN CU SACK in In & Out, Scott Rudin, Paramount in
association with Spelling Films.
M I NNI E D RI VER in Good Will Hunting, Be Gentlemen,
Miramax.
JU LI ANNE M OORE in Boogie Nights, New Line.
GLORI A ST U ART in Titanic, Lightstorm Entertainment,
20th Century Fox and Paramount.
D I R E C TI N G
T HE FU LL M ONT Y , Redwave Films, Fox Searchlight.
Peter Cattaneo.
GOOD W I LL HU NT I NG, Be Gentlemen, Miramax.
Gus Van Sant.
L. A. CONFI D EN T I AL, Arnon Milchan/David L.
Wolper, Warner Bros. Curtis Hanson.

T HE SW EET HEREAFT ER, Ego Film Arts, Fine Line
Features. Atom Egoyan.
* T I T AN I C, Lightstorm Entertainment, 20th Century Fox
and Paramount. James Cameron.
WR I TI N G
(screenplay based on material previously produced
or published)
D ONNI E BRASCO, Mandalay Entertainment, TriStar.
Paul Attanasio.
* L.A. CONFIDENTIAL, Arnon Milchan/David L. Wolper,

Warner Bros. Brian Helgeland and Curtis Hanson.
T HE SW EET HEREAFT ER, Ego Film Arts, Fine Line
Features. Atom Egoyan.
W AG T HE D OG , New Line. Hilary Henkin and David
Mamet.
T HE W I NGS OF T HE D OVE, Renaissance Films,
Miramax. Hossein Amini.
AS G OOD AS I T G ET S, Gracie Films, TriStar. Mark
Andrus and James L. Brooks.
BOOG I E NI G HT S, New Line. Paul Thomas Anderson.

D ECON ST RU CT I NG HARRY , Jean Doumanian, Fine
Line Features. Woody Allen.

T HE FU LL M ONT Y , Redwave Films, Fox Searchlight.
Simon Beaufoy.
* GOOD W I LL HU NT I NG, Be Gentlemen, Miramax.
Ben Afeck and Matt Damon.
AM I ST AD , DreamWorks. Janusz Kaminski.

K U ND U N , Touchstone Pictures, Buena Vista. Roger
Deakins.
L. A. CONFI D EN T I AL, Arnon Milchan/David L.
Wolper, Warner Bros. Dante Spinotti.

and Paramount. Russell Carpenter.
T HE W I N G S OF T HE DO V E , Renaissance Films,
Miramax. Eduardo Serra.
G AT T ACA, Jersey Films, Columbia. Jan Roelfs; Nancy
Nye.
K U N D U N, Touchstone Pictures, Buena Vista. Dante
L. A. CON FI D ENT I AL , Arnon Milchan/David L.
Wolper, Warner Bros. Jeannine Oppewall; Jay R. Hart.
M EN I N BLACK , Amblin Entertainment, Columbia. Bo
Welch; Cheryl Carasik.

and Paramount. Peter Lamont; Michael Ford.
C O S TUM E D ESIGN
AM I ST AD , DreamWorks. Ruth E. Carter.

K U N D U N, Touchstone Pictures, Buena Vista. Dante
Ferretti.
OSCAR AND LU CI N DA , Dalton Films, Fox Searchlight.
Janet Patterson.
and Paramount. Deborah L. Scott.
T HE W I N G S OF T HE DO V E , Renaissance Films,
Miramax. Sandy Powell.
S O UN D
AI R FORCE ONE, Beacon Pictures/Columbia Pictures,
Columbia. Paul Massey, Rick Kline, D.M. Hemphill

and Keith A. Wester.
CON AI R, Touchstone Pictures, Buena Vista. Kevin
OConnell, Greg P. Russell and Arthur Rochester.
CON T ACT , Warner Bros. Randy Thom, Tom Johnson,
Dennis Sands and William B. Kaplan.
Wolper, Warner Bros. Andy Nelson, Anna Behlmer
and Kirk Francis.
and Paramount. Gary Rydstrom, Tom Johnson, Gary
Summers and Mark Ulano.
F I LM E D I TI NG
AI R FORCE ONE, Beacon Pictures/Columbia Pictures,
Columbia. Richard Francis-Bruce.
AS GOOD AS I T GET S , Gracie Films, TriStar. Richard
Marks.
G OOD W I LL HU N T I N G , Be Gentlemen, Miramax.
Pietro Scalia.
Wolper, Warner Bros. Peter Honess.

and Paramount. Conrad Buff, James Cameron and
Richard A. Harris.
8/8/13 7:34 PM
FA C E /O F F , Douglas/Reuther/WCG/David Permut,
Paramount and Touchstone. Mark P. Stoeckinger and

Per Hallberg.
THE F IF TH E L E M ENT, Gaumont, Columbia. Mark
Mangini.
* TITA NIC , Lightstorm Entertainment, 20th Century Fox
and Paramount. Tom Bellfort and Christopher Boyes.
MUSIC
GO THE D IS TA N CE (Hercules, Walt Disney Pictures,
(fe a t u r e s )
AY N RAND : A SENSE OF LI FE, A G Media
Corporation Limited Production, Strand Releasing.

Michael Paxton.
COLORS ST RAI GHT U P , Echo Pictures Production.
Michele Ohayon and Julia Schachter.
4 LI T T LE G I RLS, HBO Documentary Film/40 Acres
and a Mule Filmworks Production. Spike Lee and
Sam Pollard.
* T HE LONG W AY HOM E, Moriah Films Production
at the Simon Wiesenthal Center, Seventh Art. Rabbi
Marvin Hier and Richard Trank.
W ACO: T HE RU LES OF EN G AG EM ENT , SomFord
Entertainment/Fifth Estate Production. Dan Gifford
and William Gazecki.
Buena Vista). Music by Alan Menken; Lyric by David

Zippel.
HO W D O I L IVE (Con Air, Touchstone Pictures, Buena
Vista). Music and Lyric by Diane Warren.
JO U R NE Y TO THE PAST (Anastasia, 20th Century
BEY OND SI LEN CE (Germany).
Fox). Music by Stephen Flaherty; Lyric by Lynn Ahrens.
* CHARACT ER (The Netherlands).
MISS MISE R Y (Good Will Hunting, Be Gentlemen,
FOU R D AY S I N SEP T EM BER (Brazil).
Miramax). Music and Lyric by Elliott Smith.
SECRET S OF T HE HEART (Spain).
MY
HE
A
R
T
W
IL
L
GO
ON
(Titanic,
Lightstorm
*
T HE T HI EF (Russia).
Entertainment, 20th Century Fox and Paramount).
Music by James Horner; Lyric by Will Jennings.
VI S UA L E F F E C TS
A MIS TA D , DreamWorks. John Williams.

GO O D W IL L HUNTING, Be Gentlemen, Miramax.
Danny Elfman.
K UND U N, Touchstone Pictures, Buena Vista. Philip
Glass.
L .A . C O NF ID E NTIAL, Arnon Milchan/David L.
Wolper, Warner Bros. Jerry Goldsmith.
* TITA NIC , Lightstorm Entertainment, 20th Century Fox
and Paramount. James Horner.
(ori g i n al m us i c a l o r co m edy s co r e)
A NA STA SIA , 20th Century Fox. Music by Stephen
Flaherty; Lyrics by Lynn Ahrens; Orchestral Score by

David Newman.
A S GO O D A S IT GETS, Gracie Films, TriStar. Hans
Zimmer.
* THE FUL L MO NT Y, Redwave Films, Fox Searchlight.
Anne Dudley.
ME N IN BL A C K , Amblin Entertainment, Columbia.
Danny Elfman.
MY BE S T FR IE NDS WEDDING, Jerry Zucker/
Predawn, TriStar. James Newton Howard.
M A K EU P
* ME N IN BL A C K, Amblin Entertainment, Columbia.

Rick Baker and David LeRoy Anderson.
MR S . BR O W N, Ecosse Films, Miramax. Lisa Westcott,
Veronica Brebner and Beverley Binda.
TITA NIC , Lightstorm Entertainment, 20th Century Fox
and Paramount. Tina Earnshaw, Greg Cannom and
Simon Thompson.
S H O RT FI L M S
(an i m at e d )
FA MO U S FR E D , TVC London Production for Channel 4
and S4C. Joanna Quinn.

* GE R I S GA ME , Pixar Animation Studios Production.
Jan Pinkava.
L A VIE IL L E D A ME ET LES PIGEONS ( TH E OLD
L A D Y A ND THE PIGEONS) , Productions Pascal
Blais/Les Armateurs/Odec Kid Cartoons Production.

Sylvain Chomet.
THE ME R MA ID , Film Company DAGO/SHAR SchoolStudio/Studio PANORAMA, Yaroslavl Production.
Alexander Petrov.
R E D UX R ID ING HOOD, Walt Disney Television
Animation Production. Steve Moore and Dan
OShannon.
T HE LOST W ORLD : J U RASSI C P ARK , Universal/
Amblin Entertainment, Universal. Dennis Muren,

Stan Winston, Randal M. Dutra and Michael
Lantieri.
ST ARSHI P T ROOP ERS, TriStar Pictures/Touchstone
Pictures, TriStar. Phil Tippett, Scott E. Anderson,
Alec Gillis and John Richardson.
and Paramount. Robert Legato, Mark Lasoff, Thomas
L. Fisher and Michael Kanfer.

T O ST AN LEY D ONEN in appreciation of a body
of work marked by grace, elegance, wit and visual

innovation.
T O P ET E CLARK , in appreciation for outstanding
Sciences. (John A. Bonner Medal of Commendation)

T O D ON I W ERK S
A WA R D S
G U N N AR P . M I CHELSON for the engineering and
development of an improved, electronic, high-speed,

precision light valve for use in motion picture printing
machines.
W I LLI AM K OVACS for his creative leadership and

ROY HALL for his principal engineering efforts that
led to the Wavefront Advanced Visualizer computer

graphics system.
J OHN G I BSON , R O B K R I E G E R , MI L A N N O V A C E K ,
GLEN OZ Y M OK , and DA V E S PR I N G E R for the
development of the geometric modeling component of

the Alias PowerAnimator System.
D OM I N I Q U E BOI S V E R T , R J E A N G A G N , DA N I E L
LANGLOI S, and R I C H A R D L A PE R R I R E for the
development of the Actor animation component of

the Softimage computer animation system.
EBEN OST BY , W I L L I A M R E E V E S , S A M U E L J .
LEFFLER, and T O M DU F F for the development of the
Marionette Three-Dimensional Computer Animation

System.
CRAI G W . REY NO L DS for his pioneering contributions
to the development of three-dimensional computer
animation for motion picture production.
RI CHARD SHOU P , A L V Y R A Y S MI T H , and T H O M A S
P ORT ER for their pioneering efforts in the
development of digital paint systems used in motion
picture production.
KIRK HANDLEY, RAY MELUCH, SCOTT ROBINSON,
W I LSON H. ALL E N , and J O H N N E A R Y for the
design, development and implementation of the Dolby

CP500 Digital Cinema Processor.
J OEL W . J OHN SO N of the OConnor Laboratories for
the unique design improvement in uid head counterbalancing techniques as used in their Model 2575.
AL J ENSEN , CHU C K H E A DL E Y, J E A N ME S S N E R ,
and HAZ EM N AB U L S I of CEI Technology for the
production of a self-contained, icker-free, Color

Video-Assist Camera.
CLARK F. CRI T ES for the design and development of
the Christie ELF 1-C Endless Loop Film Transport and

Storage System.
D AN LEI M ET ER and R O B E R T W E I T Z for the
development and implementation of a Portable
Adjustment Tool for T-Style Slit Lens Assemblies.
P HI LI P C. CORY for the design and development of the
Special Effects Spark Generator.
J AM ES M . REI LLY , DO U G L A S W . N I S H I M U R A , and
M ON I Q U E C. FI S C H E R of the Rochester Institute of
Technology for the creation of A-D Strips, a diagnostic
tool for the detection of the presence of vinegar syndrome in processed acetate-based motion picture lm.
J I M FRAZ I ER, for the design concept, and I A I N N E I L
and RI CK G ELBA R D for the further design and
development of the Panavision/Frazier Lens System for
J AM ES F. FOLEY , C H A R L E S E . C O N V E R S E , and
F. ED W ARD GA R DN E R of UCISCO; and to
ROBERT W . ST O K E R , J R . , and MA T T S W E E N E Y for
the development and realization of Liquid Synthetic Air.
J ACK CASHI N, RO G E R H I B B A R D, and L A R R Y
J ACOBSON for the design, development and
implementation of a projection system analyzer.
RI CHARD CHU AN G , G L E N N E N T I S , and C A R L
ROSEND AHL for the concept and architecture of the
Pacic Data Images (PDI) Animation System.
G REG HERM ANO V I C , K I M DA V I DS O N , M A R K
ELEND T , and P A U L H . B R E S L I N for the development
of the procedural modeling and animation

components of the Prisms software package.
J AM ES J . K EAT I N G , MI C H A E L W A H R MA N , and
RI CHARD HOLL A N DE R for their contributions that
led to the Wavefront Advanced Visualizer computer

graphics system.
335
(l i ve ac t i on )
D A NC E L E XIE D ANCE, Raw Nerve Production for
Northern Lights. Pearse Moore and Tim Loane.
IT S GO O D TO TALK, Feasible Films Production.
Roger Goldby and Barney Reisz.
SW E E THE A R TS? , Metronome Productions/
Victoria Film Production. Birger Larsen and

Thomas Lydholm.
* VISA S A ND VIR TUE, Cedar Grove Production.
Chris Tashima and Chris Donahue.
W O L FGA NG, M & M Production for Dansk
Novellelm. Kim Magnusson and Anders Thomas
Jensen.
D O CU M EN T AR Y
A L A S KA : SP IR IT OF THE WILD, Graphic Films
Corporation. George Casey and Paul Novros.
A MA Z O N, Ogden Entertainment Production. Kieth
Merrill and Jonathan Stern.
D A U GHTE R O F T H E B RIDE, Terri Randall Film and
Video Production. Terri Randall.
STIL L K IC KING: THE FAB ULOUS PALM SPRINGS

F O L L IE S, Little Apple Film Production. Mel Damski
and Andrea Blaugrund.

* A S TO R Y O F HE ALING, Dewey-Obenchain Films
Production. Donna Dewey and Carol Pasternak.
be s t s u p p or t in g a ct or : ROBIN WILLIAMS (above right,

with Matt Damon as Will Hunting) as Sean McGuire in Good
Will Hunting (Miramax; directed by Gus Van Sant). It was
Williamss participation that gave the lm its initial stature and
attention. The screenplay had been through a ve-year period of
ups, downs and turnarounds, written and rewritten by struggling
actors Damon and Boston buddy Ben Afeck who, wisely, in-
cluded juicy roles for themselves. At Oscar time, their penetrating

story of a young South Boston school janitor (Damon) who turns
out to be a math whiz not only brought them Oscars for writing
the years best original screenplay, it also earned a statuette for
Williams as a psychology professor who, initially downbeat and
semi-hostile, eventually lightens up his own life while insuring
the prodigys future by encouraging the boy to embrace life.
8/8/13 7:34 PM
19982007
The Academys Eighth Decade
fter Academy Award statuettes had

been dispensed in myriad different locales during its rst seven
decadesin various dining rooms, banquet
halls, theaters and auditoriums from Hollywood to West Hollywood to downtown
Los Angeles to Santa Monica and back to
Los Angeles againit seemed high time
Oscar should have a home of his own.
At the beginning of the Academys eighth
decade, its executives started laying down
roots to that very effect, working with a private developer to fashion a theater designed
to meet the specic needs of an Academy
Awards broadcast. Fittingly, the chosen site is
where Hollywood Boulevard meets Highland
Avenue, in the heart of Hollywood itself and,
ironically, only a few steps east and across the
street from the Hollywood Roosevelt Hotel,
where the very rst Academy Award huddle
had occurred on May 16, 1929.
The space, designed by Chicago-born,
New Yorkbased architect David Rockwell,
was specically created with state-of-the-art
technology to optimize the venue as an ideal
setting for presenting, recording, and broadcasting not only a world-class live entertainment such as the annual Academy Awards
telecast, but also concerts, Broadway shows,
and other performing-arts events.
Once the dream for a permanent home
was set in motion, the Academy negotiated
an exclusive eight-year contract extension
with ABC Television, which provided not
only a new night (Sunday) for the annual
Academy telecasts but also an earlier time
slot and a network-aired preshow.
Meanwhile, Oscar himself took time for

a bit of a facelift. It seems that some thirty
years of extensive use of its one-of-a-kind
mold had caused the statuette to begin looking a little soft around the ears and chin.
After a general agreement that a tuck was
needed, the Academy ordered a new mold
struck that would strengthen Oscars chin
and give his neck the same chiseled look he
possessed when George Stanley sculpted
the rst statuettes on the Academys behalf
seventy-plus years earlier.
During the eighth decade, composer Jerry
Goldsmith gave the Academy two special
gifts. One was, at long last, an ofcial
musical theme for the Academy Awards
show titled Fanfare for Oscar. His other
gift was his presentation to the Margaret
Herrick Library of his own original handwritten musical sketches from more than a
hundred lm scores from 1957 to 1996. The
decade also saw several other important
donations to the library. From William
Wylers estate the library received scripts,
story les, production les, correspondence
and photographs. Paramount augmented
its 1977 gift of screenplays with a hundred
more boxes of scripts covering the years
196380. Additions were made as well to
the Samuel Goldwyn Collection, including rare music scores from Goldwyns 1939
Wuthering Heights and his 1946 The Best
Years of Our Lives.
The Academy saluted, on opposite coasts,
former co-stars Sidney Poitier and Richard
WidmarkWidmark at New Yorks Museum of Modern Art for his fty-year career
SIDNEY LUMET
G E O RG E M I L LER
336
What amazed me was how clearly everyone in the
audience stood out. It made everything seem so intimate. All nervousness disappeared; just a wonderful
sense of pleasure and kindness seemed to be spreading
up from them. I actually understood, You like me.
You really like me!
Sidney Lumet
F O RE ST W H I T A K E R
I remember the energy that jolted through me when I

heard my name called to receive an Oscar.
It was such an intense feeling that I wanted to
slow it down to take on the moment so I could feel it.
Register it, never forget it and speak from my heart.
I looked out and saw the support I was receiving and
realized that the Academy had offered me a moment
to connect to the people, to pay respect to times past,
ancestors present, and God blowing his breath and
blessings on my life.
Forest Whitaker
Best Actor, 2006
Most surprising of all was peoples response to Oscar

himself. Almost without exception, he is more famous
and iconic than those who receive him. The genius of
the design is that it is anthropomorphic. I am amazed
at the range of people who want to hold him, be
photographed by him, invest his art deco smoothness
with talismanic power.
Each statue has a serial number engraved on its
base. So I guess mine was the 3,363rd Oscar awarded.
I love that he stands on a golden spool. Like his sword,
it will soon be an artifact of an era past.
George Miller
Animated Feature, 2006
DOUGLAS WICK
The sweetest moment of victory came a full day after

receiving the award. The night itself had been a blur of
adrenaline and anxiety. The next morning, I took my
daughter to school. When I entered her fourth grade
classroom all of the kids stood up and cheered. I have
never felt prouder.
Douglas Wick
Best Picture, 2000
8/8/13 7:38 PM
Roberto Benigni climbs over Steven Spielberg (71st Awards)
Kevin Spacey (72nd Awards)
in lms, Poitier with a two-day event at

the Academys Samuel Goldwyn Theater in
Beverly Hills. Other tributes were given to
late greats Fred Astaire and Gary Cooper on
both the West and East Coasts; Karl Malden,
Teresa Wright, and Sidney Lumet were given
tributes by the Academy in New York, while
in Los Angeles special honorees included
Jeanne Moreau and the late Mary Pickford
and Preston Sturges.
There were also several cast-and-crew
reunions thrown by the Academy during
these years, including one for the rst public
screening in several decades of the 1950
musical Annie Get Your Gun, along with
25th-anniversary celebrations of American
Grafti and Nashville, special screenings of
Close Encounters of the Third Kind, and newly
restored editions of David O. Selznicks Duel
in the Sun, the Oscar-winning Oliver!, Easy
Itzhak Perlman, Yo-Yo Ma (73rd Awards)
Hilary Swank (72nd Awards)
337
HEL EN MIR R EN
The car pulls up to the Red Carpet, having run the

gauntlet of signs telling you how you are going to
burn in Hell, along with all your other mostly hard
working, generous, loving and decent coworkers in the
lm industry. Immediately you nd yourself in the
super-efcient world of the Girls and Boys in Black
who, with headphones or telepathy or magic, seem to
know exactly where you are and where you should be.
Now the smiling, smiling people, big, teeth-veneered
and whitened smiles everywhere you look, except sometimes on the face of a terried nominated actress, shivering from fear and nerves in her shimmering dress.
Now you hear the yelling from the stands, a heady
celebration of celebrity, of dreams, of dreams coming
true, and the sheer mad fun of it all.
I always seem to hit the RC at the same time as
Nicole Kidman or Tom Hanks, and get unceremoniously tossed aside in the wake of their protective vessel
of black-suited companions.
What the hell! I borrow the excited screams thrown
in their direction and wave enthusiastically back.
As a nominee for Supporting Actress, your agony
and ecstasy is soon over as the envelope is opened
early in the evening and it is not your name, and you

smile and applaud the Chosen One, and relinquish
your seat to a gorgeous seat filler and dash to the bar
to celebrate losing.
Best Actress, however, is later, much later, much
applause and nervous laughter later, many smiles
later and, sometimes, a few tears later. And then the
impossible happens, and for a still, silent slo-mo moment, rather like a car accident, the hurricane whirls
around me, but where I sit all is quiet and calm in
disbelief. Then the hurricane catches me up again and
now thank god for the Girls and Boys in Black as they
lead me stumbling and teary eyed past so many smiling people. Everyone has a word of congratulations,
given with generosity, even the tired men hauling huge
black garbage bags in the kitchens, that somehow is
always the quickest way somewhere.
The little gold man is slippery with sweat in my
hand, and in my head is a mantra playing over and
over . . . My God, Ive just won a Fing OSCAR!
G U ST A V O A . S ANT AOL AL L A
Through the years Ive been blessed and honored to

receive many accolades for my work in music, but
nothing really compares with the Oscar. Just to be
nominated was an award in itself, but to win, and
not only once, but two times in a row, its something
magical, something that somehow can only happen in
movies. But it happened indeed and in real life. Ive
always tried to associate myself with great projects
and the most creative people but this recognition by
the Academy of Motion Pictures has pushed even more
my search for originality and excellence in what I do.
Gustavo A. Santaolalla
Music (Original Score), 2005 and 2006
Helen Mirren
Best Actress, 2006
8/8/13 7:38 PM
Ang Lee, Joan Allen (73rd Awards)
Rider, and In Cold Blood, with stars from

each of those lms participating in postscreening panel discussions.
Film preservation remained an Academy
commitment, with some 37 preservation
projects on its archive docket at the decades
midpoint. Among those lms newly preserved were six best pictures (All the Kings
Men, All about Eve, In the Heat of the Night,
Oliver!, One Flew over the Cuckoos Nest, and
Amadeus), as well as William Wellmans
The Story of G.I. Joe, Hearts and Minds, and
Olympia en Mxico, along with the archives
rst serious restoration of a large-format
lm (Lord Jim) and an ongoing effort to preserve all the lms of director Satyajit Ray.
To the nearly 24,000 movie posters
currently stored at the Margaret Herrick
Library in its Charles M. Powell Repository
of Motion Picture Marketing Materials the
decade added two of its rarest acquisitions:

two vintage King Kong three-sheets, each of a
different design and among the rarest movie
ad art. The rst was donated to the library
in 1999 by the Cecil B. DeMille Foundation,
which bought it at auction for $244,500
(the second-highest price ever paid for a
movie poster) so it might be mounted in
the librarys DeMille Reading Room. The
other Kong poster arrived two years later, a
gift from director John Landis and his wife,
costume designer Deborah Nadoolman.
Other noteworthy Academy business during the decade included the Board of Governors unanimous decision to name the
Margaret Herrick Librarys collection of still
photographs the Roddy McDowall Photograph Archive, after the actor and Academy
governor, himself a dedicated photographer,
who died in 1998. The building housing the
library and its McDowall Archive, which
had been known since its 1990 opening as
the Center for Motion Picture Study, had its
name expanded in 2002 to the Fairbanks
Center for Motion Picture Study, as a way
of honoring the man who, in 1927, both
led the civic campaign to have the building
constructed and served the Academy as its
rst president.
The rst new Academy Award category
in a long time was created when the
Board decided that a sufcient number
of feature-length animated pictures were
being released most years to justify a set of
nominations. It was decided that if as many
as eight feature-length animation lms were
released during a calendar year, an award
would be given. (The rst winner was 2001s
Shrek.) Some 150 documentary-lmmaking
Academy members shifted from at-large to
Branch status, and elected Oscar-recipient
Freida Lee Mock their rst governor. Two
JO HN CANEM A KER
RANDY THOM
M I C H A E L M I NKL ER
Laura Linney, Ed Harris (73rd Awards)
Rene Zellweger hosting the Scientic and Technical Awards

(73rd Awards)
338
Both my producer Peggy Stern and I were terrified by
the Academys instructional video for nominees. In it,
Tom Hanks explains how to make a good acceptance
speech and not embarrass yourself in front of a gazillion viewers.
So, Peg and I rehearsed in our hotel.
Wed run across a room, pick up an ashtray or
Coke can and launch into our shared speech.
And we screwed it up every time!
But since we were sure we werent going to win, we
relaxed and were not unduly worried.
When The Moon and the Son did win and our
names were announced at the ceremony, the shock
brought our speech back to mind clearly and for the
first and only time we delivered it letter-perfect.
Whew!
John Canemaker
Best Animated Short, 2005
Having been nominated fourteen times, and receiving two Oscars twenty years apart, Im not jaded.
The walk to the stage is still a blur; fear and ecstasy
wrestling each other into numbness by the time you
reach the microphone.
Randy Thom
Sound, 1983
Sound Editing, 2004
G RA H A M K I N G
It took a while to sink in. Its still hard to believe

that my name will sit alongside some of the all-time
great filmmakers, as producer of 2006s Best Picture.
Its amazingit can never be topped.
Graham King
Best Picture, 2006
Why, when onstage receiving an Oscar, is there such

an overwhelming urge to say Thank You?
We might all think that our individual talents
should be recognized, but when you are onstage and
the stage fright has subsided, you instinctively become
overwhelmed with gratitude for the talents of so many
others that helped get you to the podium.
I can tell you that if it were not for a great script, a
great studio, great actors, artists and techniciansmy
final mix would probably not have appeared that
distinguished.
And it is the direct collaboration that I have with
the director, picture editor, sound editors and composer that make it work as well as it does. When its
all working right, its movie magic.
I will always be in debt to those who gave to me.
Michael Minkler
Sound, 2001, 2002, and 2006
8/8/13 7:38 PM
additional governors were added the next

year, giving the new branch the standard
contingent of three.
There were two grand glitches during
the decade, the kinds that cause headaches
but eventually add color and spunk to the
Oscar legend. Three weeks before the 72nd
Academy Awards telecast was to take place,
it was discovered that the entire batch of
nal ballots sent to members in Southern
California had been lost in the mail. After
replacement ballots had been made up
and mailed out, those previously missing ballots suddenly turned up in the U.S.
Postal Services bulk mail sorting center
in Bell, California. The nightmare wasnt
over. The following Monday, several crates
containing 55 Oscar statuettesessentially,
the full supply for that years ceremonies
disappeared from a shipping dock, also in
Bell, California. With the clock ticking
away, an S.O.S. was sent to the manufacturer in Chicago, which heroically cast,
plated, polished and delivered another
supply in time for the show. By the time
they arrived, the AWOL awards had mysteriously turned up in a convenience-store
parking lot, and three employees of the
shipping company eventually found their
way into police custody.
As Oscars eighth decade ended, numerous changes were going on within the lm
industry at large, with new techniques and
inventions dotting the horizon, interesting
new moviemakers and creations coming
to the forefront, and careers having their
last hurrahsbut no one with a crystal ball
reliable enough to forecast what the future
would hold for the lm community. The industrys credo, as well as the Academys, remained expect the unexpected, something
that had extra meaning whendays before
Javier Bardem (80th Awards)
Oscar ofcially celebrated his 75th anniversary in March 2003America found itself at
war, requiring a major revamp of that years
Academy Awards celebration, including the
cancellation of the usual preshow red carpet
activity and a less festive telecast, all in keeping with the general mood permeating the
country.
As the decade continued so did the war,
but Oscar soon returned to his more jovial
demeanor at the Kodak Theatre in the heart
of Hollywood, with three new emcees taking on hosting duties for the annual award
telecasts (Chris Rock in 2005, Jon Stewart
in 2006 and 2008, and Ellen DeGeneres in
2007). The high-prole hosting position had
been rotated in the previous fteen years
among only four individuals: Billy Crystal (eight times), Whoopi Goldberg (four
times), Steve Martin (twice), and David Letterman (once). From 1998 through 2008, the
Academy never booked the same host for its
show two years in a row. There was another
major Oscar Night change: in 2004, after

sixty-one years of the Academy Awards night
occurring in either March or April, it was
decided to present the annual awards show a
month earlier, in February. The change began
when the 76th awards were handed out on
February 29, 2004, the earliest since the 1942
prizes were dispensed on February 26, 1942.
Away from the hoopla of Oscar Night, it
was a decade of activity and transition for
the Academy. In July 2002, the Academy
Film Archive moved from its location at
the Fairbanks Center in Beverly Hills to a
historic former television studio in Hollywood. After an extensive renovation, the
Pickford Center for Motion Picture Study
opened its doors. The building also holds
the 286-seat Linwood Dunn Theater, the
Nicholl Fellowships and Academy Grants
programs, the Science and Technology
Council and, until it closed its doors in July
2006, the Academy Players Directory. Meanwhile, the space vacated by the Academy
339
PAUL HAGG IS
I remember thinking we had a shot. The script Bobby

and I had written had gotten some positive attention
at other awards shows, so we had a shot. Still, we had
really tough competition, and we really admired the
work from the other nominated writersall passion
pieces, all beautifully written.
Bobby and I had agreed that if we were lucky
enough to win, I would speak, and we would dedicate
our award to people whom we really admirepeople
who, at this time of terrible conflict, fight for peace
and justice. These were our heroes, as they fought
without thought for themselves or their safety, without bright lights shining on them or cameras rolling.
That was the plan. Then in the intermission just
before our category was to be called, my sister Jo,
whod cut my film, came over to my seat and put a
ring in my hand.
Its Moms, she said. Shes watching, and she
would be very proud of you.
And then she ran back to her seat and the show
started and I was a complete mess. Our mom had died
several years beforeshe and our dad had always been
strong supporters, always believed in us. My dad was
there, sitting with my sister and my eldest daughter,

Alissa. But my mom wasnt.
So, to shove this thought away, I decided that if we
were to be called onto the stage I would quote Brecht.
Dont ask me why, I was in a blind panic, you do
things like that when you panic.
Our names were called, I mangled the Brecht quote
not once but three times, I said something I cant
recall about the ring in my hand, and then stumbled
through our dedication. I was beyond nervous, I was
apoplectic.
At which point Bobby stepped up to say a word
about his parents, the music went up and the microphone went down and we were swept off stage.
People tell me I won a second Oscar that night. I
kind of remember itbut I was still stunned by the
first.
I love these two statuettes, I am so proud to have
them on my shelf. But something deep inside me
thinks it very unfair, this process of judging one film
against another. Saying Crash was the best film that
year, or that Bobby and I wrote the best screenplay, is
just plain silly. Brokeback Mountain, Goodnight,
and Good Luck., Capote, Munichthese were and
are great movies that will all stand the test of time.
We were all thrilled to be on that short list, deeply
honored to be in the company of these filmmakers, and will always be grateful for being invited to
celebrate with them.
Paul Haggis
Best Picture, 2005
N G I L A D I C KS ON
As I was nominated for both Last Samurai and Lord

of the Rings, I was so proud and so torn. Id written
two different speeches and at that last minute I gave
them to my husband, fearful if I did win Id accidentally read out the wrong one!
How can I describe the feeling of being handed an
Oscar that night? Relief, joy, and such great pride to
be part of movie-making history.
Ngila Dickson
Costume Design, 2003
8/8/13 7:38 PM
Film Archive in the Fairbanks Center was

transformed into a processing and storage area for the Margaret Herrick Librarys
graphic arts materials, including production
and costume design drawings and posters.
Both the Herrick Library and the Academy
Film Archive took on many new and notable
acquisitions, one of the most noteworthy
being the Katharine Hepburn Collection,
which includes extensive career papers,
photographs, scrapbooks, correspondence,
and annotated screenplays from the estate
of the late, most-honored individual among
all Oscar-winning performers to date. In
her honor, the special collections reading
room of the Herrick Library was named the
Katharine Hepburn Reading Room.
Activities in the Samuel Goldwyn Theater
at the Academys Beverly Hills headquarters
included an ambitious two-year screening
series called, Facets of the Diamond: 75
Years of Best Picture Winners during which
each Best Picture winner was shown. At
the completion of that marathon, another
series was launched under the umbrella title
of Great To Be Nominated, featuring the
picture from each Academy Awards year that
received the most nominations without winning the Best Picture award. There were also
many centennial salutes honoring legendary
lmmakers, including Harold Arlen, Bing
Crosby, Greta Garbo, Janet Gaynor, Vincente
Minnelli, Otto Preminger, Barbara Stanwyck,
George Stevens, and William Wyler. On the
eve of her 90th birthday, two-time Academy
Award winner Olivia de Havilland came
from her home in Paris to participate in an
Academy salute to her celebrated career.
There were also similar screenings and
events for East Coast Academy members at
Oscars new Manhattan home: the Academy Theater at Lighthouse International,
a 230-seat theater that the Academy had

turned into a state-of-the-art screening
facility.
Meanwhile, on both coasts, other important Academy activities continued, full tilt,
such as the Student Academy Awards, the
Visiting Artists Program, the Academys lm
festival, lm scholar grants, and Nicholl
Fellowshipsand an old one was revived,
the Science and Technology Council.
Originally formed as the Academy Technical Bureau, the council was designed to
provide an independent, unbiased forum to
address issues brought up by the industrys
early transition from silent to sound lm.
The earliest projects created a standard for
screen illumination and lm gate apertures, and coordination of release prints
to theaters. In 2003, with motion picture
production, post-production and exhibition moving away from 100-year-old lm
technology to digital tools and methods, the
Academys Board of Governors re-created
the council to again provide a nonpartisan
proving ground for the industrys latest
technological developments. The councils
main goal remains to ensure that technology enhances rather than dominates the art
form, and that its projects deal with a vast
array of issues. The Digital Dilemma, a
white paper tackling the issues of archiving
digital motion pictures, was among the
reborn Tech Councils early publications.
During the decade, one of the Academys
most exciting projects began to take form:
the development of a world-class movie
museum, something that had been talked
about in the Hollywood area for years
without fruition. By the decades end, and
after much investigating, soul-searching,
brainstorming, and roadblock skirting,
land was secured in Hollywood for the
Sidney Poitier (74th Awards)
Nicole Kidman (74th Awards)
340
RICHARD KING
The whirlwind of events; from the phone call at 6:00

in the morning notifying me of my nomination, to the
nominees luncheon, to Oscar night itself, was exciting
beyond description. I felt so flattered to be nominated,
to be in the company of artists I admire so much.
There arent many awards that have the impact on
your life and continue to resonate the way an Oscar
does. Its an indescribable feeling.
Richard King
Sound Editing, 2003
NICK PARK
The first time I was nominated I was up against

myselfwith two films in the Animated Shorts category (A Grand Day Out and Creature Comforts).
My biggest fear, if I were to win, was What if I thank
the wrong team for the wrong film? A nice problem
to have, I guess.
Nick Park
Animated Short, 1990, 1993, and 1995
AR I SA N D E L
By the time I won the award and sat back down in

my seat, 20 minutes had passed. When I looked at
my phone I realized I had 215 text messages . . . in
20 minutes! By the next morning I had 1,500 emails
and by the end of the week I had 4,000 emails! People
wrote me from all over the worldIsraeli soldiers and
settlers, Palestinians, Arabs from around the globe,
a Jew who married a Palestinian and they live in
France, an Israeli who married a Moroccan woman
and they live in New York, a Southern Baptist who
married an Episcopalian and they live in South Carolina but they can relate to the story of West Bank
Story. Even my 5th grade school teacher found me!
It took me four weeks to answer them all but I wrote
back to each and every email and saved a copy of each
for my grandkids to see. To me, it was all part of the
amazing experience.
Ari Sandel
Live Action Short, 2007
L A R R Y M C M U RT RY
I had hoped, naturally, that winning an Oscar for

Best Adapted Screenplay with my writing partner
Diana Ossana would get us work, gobs of work!
Guess what: it got her work, but not me. Three years
on, and no sirens call has come.
Larry McMurtry
Writing (Adapted Screenplay), 2005
D I A N A O SSA NA
The best thing about receiving an Oscar for Best

Adapted Screenplay was that I shared the win with my
writing partner Larry McMurtry. Larrys contribution to the Oscar canon is, I believe, singular: films
garnered from Larrys writing have now received 34
Oscar nominations and 13 Oscars. Not bad for a
country boy from a bookless town in West Texas.
Diana Ossana
Writing (Adapted Screenplay), 2005
8/8/13 7:38 PM
museums future location: eight and a half

acres bounded by Vine Street, Cahuenga
Boulevard, Fountain Avenue, and DeLongpre Avenue. In July 2006, the Academy
chose Gallagher & Associates to design the
museums exhibition experience. In November 2007, Pritzker Prizewinning architect
Christian de Portzamparc was chosen to
design the museum itself. As the Academys
decade VIII came to a close, the fund-raising
phase was beginning. A long-held dream
was on the verge of becoming a reality,
with all signs pointing to the best kind of
Hollywood ending.
Oscar at 80 was still standing tall, never
healthier, busier, or with more of an eye on
the future.
t he e i ght h d e ca de
Marion Cotillard (80th Awards)
August 1998July 1999 . . . . . . . . . . . . . .Robert Rehme

August 1999July 2000. . . . . . . . . . . . . .Robert Rehme
August 2000July 2001 . . . . . . . . . . . . .Robert Rehme
August 2001July 2002 . . . . . . . . . . . . . Frank Pierson
August 2005July 2006 . . . . . . . . . . . . . .Sidney Ganis
Olivia de Havilland (75th Awards)
Martin Scorsese (79th Awards)
341
MARTIN SCOR S ES E
Everyone whos ever won an Oscar talks about

how exciting it is, and how gratifying. And theyre
rightit is. It was a very dramatic moment for me,
to go up there, accept the award from my old friends,
and speak on behalf of myself, my collaborators, the
movie we made together, and some of the people who
inspired it.
No one was more surprised than me when audiences received The Departed so favorably. The process
was as involved as any film, and winning the Academy Award gave me a real sense of completion, and
satisfaction.
And then the next morning, I woke up and thought:
Okaylets get back to work!
Martin Scorsese
Directing, 2006
DAVID MAR T I
Well, I always ask myself this question: is it possible

that a little makeup studio here in Barcelona could
win an Oscar from the Academy in Hollywood? No, I
cant even dream it. But its the truth! When we got
the nomination we were floating for weeks and when

we got up on the stage to accept the award . . . there
are no words to describe the feeling! I really cant
believe what happened that night. But since that day
I always think that in this life, everything is possible,
even if I dont expect it, or dream of it.
David Marti
Makeup, 2006
B RU C E C O H E N
In April, 1970, I was eight years old, my parents

were out of town, and my two grandmothers let me
stay up to watch the Academy Awards. I had never
seen anything like the extraordinary excitement and
glamour of the event and was very taken by the clips
from the Best Picture nominees, especially the classic
Weve got to jump off the cliff together scene from
Butch Cassidy and the Sundance Kid. And all this
little kid could think of, watching the parade of winners giving their acceptance speeches while clutching
their shiny gold men, was Someday, I want one of
those.
Two years later, when my parents refused to let me
stay up and watch that years edition of the Oscars, I

felt I had no choice but to run away from home. I left
behind a note expressing my anger and concluding
with I may still love you, but I no longer need you.
On the night before the Academy Awards, at which
I was nominated along with my producing partner
Dan Jinks for Best Picture, a group of my 15 closest
family members and friends, including my mom and
dad, gathered for dinner. I shared my memories of
my first Oscars in 1970 and then my mom reached
into her purse and produced the note I had written
1972, which she read out loud to the table, much to
all of our amazement.
And so on the following evening, as Clint Eastwood opened the envelope and announced And the
Oscar goes to . . . American Beauty, I jumped out
of my seat to join the illustrious parade of winners
giving their acceptance speeches while clutching their
shiny gold men with the complete awareness that
this was literally my lifelong dream coming true.
Bruce Cohen
Best Picture, 1999
8/8/13 7:38 PM
1998
The Seventy-First Year
n his 71st year, Oscar found himself up

to his bootstraps in love and war, with
all of the years best picture nominees
featuring either sagas of the 44-year reign of
Elizabeth I or the four-year ordeal of World
War II. The war seized three of the ve spots:
Terrence Malick soldiered on to Guadalcanal (via his remaking of James Joness novel
The Thin Red Line), Steven Spielberg did his
Longest D-Day (Saving Private Ryan), and
Roberto Benigni strove throughout the Holocaust to prove Life Is Beautiful. The other
two nominees offered contrasting views of
the Virgin Queen: a centerpiece close-up
of her power struggles (Elizabeth) and an
extended cameo of her as a member of the
Bards intimate circle (Shakespeare in Love).
It was oddly tting that Henry VIIIthe
only character ever to put three different
male actors in the Oscar running (Charles
Laughton, Robert Shaw and Richard Burton)produced a daughter who could beget
two different Oscar-nominated portrayals
in the same year, in this case Cate Blanchetts title performance in Elizabeth and Judi
Denchs eight-minute bit in Shakespeare in
Love. Blanchetts queen lost the best actress
award to Gwyneth Paltrow in Shakespeare in
Love, but Dench won the supporting actress
nod. Only once before in Oscar history had
two actresses been nominated in the same
Academy Award year for playing the same
character, the two being Kate Winslet and
Gloria Stuart in 1997s Titanic.
Just as in the movies, when Oscars loveversus-war standoff climaxed on March 21,
1999, at the Dorothy Chandler Pavilion of
the Los Angeles Music Center, love won all

over the place. Shakespeare in Love emerged
as the years most-Oscared entry, with seven
awards. In addition to raking in both awards
in the female-acting divisions, it won the
prizes for picture, original screenplay, art
direction, original musical score and costume design. Meanwhile, back on the World
War II front, Saving Private Ryan scored ve
direct hits in all, including a directing Oscar
for Spielberg to go with one he received ve
years earlier for another World War IIera
drama, Schindlers List. Italys Benigni, nominated both as best director and best actor,
triumphed in the latter category, making
him only the second performer to be honored for work in a foreign language lm
the other being Sophia Loren in 1961s Two
Womenand the second one (after Olivier)
to direct himself to a best actor statuette;
Life Is Beautiful also became the second lm
in Academy history to be nominated both as
best picture and best foreign language lm
in the same year. Like 1969s Z, which had
also been nominated in both categories, Life
won in the foreign language division. James
Coburn, with his rst Academy nomination, was named the years best supporting
actor, for Afiction. Norman Jewison was
presented the Irving G. Thalberg Memorial
Award.
The evening was not without controversy.
There was some protesting and ado over
the Board of Governors voting an Honorary Award to twice-Oscared Elia Kazan
for his brilliant screen contributions; the
uproar was due to the unpopular appear-
342
be s t p i c t ure : SHAKE SPEARE IN LOVE (Miramax Films;
produced by David Partt, Donna Gigliotti, Harvey Weinstein, Edward Zwick and Marc Norman) and b es t a ctr es s :
GWYNETH PALTROW as Viola De Lesseps in Shakespeare in
Love, a buoyant, merry lm that conjures up Shakespeare at
the starting gate as an aspiring, but uninspired, scribe working
his way through writers block. Paltrow plays a luminous muse
who motivates the smitten young Will (Joseph Fiennes) to write
Romeo and Juliet, no small order; and if thats not the way it
actually happened, the lms telling was so delightful, even the
historians didnt complain. Screenwriter Marc Norman credited
his son with coming up with the basic idea, which he eventually
turned over to Tom Stoppard, an old manhandler of the Bard in
the past (Rosencrantz and Guildenstern Are Dead) for additional dashes of Elizabethan wit. The result weighed in with
a near-record thirteen nominations and made good on seven
of those.
8/8/13 7:38 PM
ances Kazan had made before the House

Un-American Activities Committee 47 years
earlier. Despite the brouhaha, 89-year-old
Kazan showed up to collect the prize, which
was presented to him by Robert De Niro and
Martin Scorsese; some in the audience did
not stand or applaud as a form of protest,
while many others did.
Whoopi Goldberg hosted this ABCbroadcast event for nigh onto four hours
in a variety of giddy getups, starting out in
Elizabethan drag and identifying herself as
the African Queen. Something brand new
for Oscar: for the rst time in the golden
boys 71-year history, awards were handed
out on a Sunday.
be s t ac t or: ROBERTO BENIGNI as Guido in Life Is Beautiful (Miramax Films; directed by Roberto Benigni). In Life Is
Beautiful, Benigni (right) gambles with his own life to convince
his son (Giorgio Cantarini, right) that the life theyve been
forced to endure in a World War II concentration camp is actually an elaborate childs game. The lm was a stunning mix of
Chaplinesque comedy, heartwarming emotion and ne-tuned
drama, and became the most protable foreign language lm
in history. Also, with seven nominations, it was the mostnominated foreign language lm in the Academys record books.
When it copped the foreign language prize, Benigni was handed
the award by the only other person to win an acting Oscar for a
foreign language lm, Two Womens one woman, Sophia Loren,
a fellow Italian. Benigni was the only foreign lmmaker to score
an Oscar-nomination trifecta for acting, directing and screenwriting in the same year.
343
be s t s up p ort i n g a ctr es s : JUDI DENCH as Queen Elizabeth I in Shakespeare in Love (Miramax Films; directed by John
Madden). For her second consecutive royal-role nomination (she
received a best actress nomination the year before as Queen Victoria in Mrs. Brown), Dame Judi (right) emerged victoriousat
a fraction. I feel for eight minutes on the screen I should only get
a little bit of him, she said, almost apologetically, as she hugged
her new trophy. It was one of the shortest performances on record
to win an Oscar. Never one to rest on her laurels, Dame Judi
proceeded directly to Broadway to do David Hares play Amys
View and wound up among an elite half-dozen who managed to
win a Tony in the same year that they won an Oscar, her peers
including Fredric March, Shirley Booth, Audrey Hepburn, and
Ellen Burstyn.
8/8/13 7:38 PM
IAN M CK ELLEN in Gods and Monsters, Regent Pictures,
Nominations 1998
Lions Gate Films.

NI CK NOLT E in Afiction, Tormenta Production, Lions
Gate Films.
ED W ARD NORT ON in American History X, TurmanMorrissey Company Production, New Line.
A C TR E S S
CAT E BLAN CHET T in Elizabeth, Working Title
Production, Gramercy Pictures.
FERN AN D A M ONT EN EG RO in Central Station, Arthur
Cohn Production, Sony Pictures Classics.

* GW Y N ET H P ALT ROW in Shakespeare in Love, Miramax
Films, Universal Pictures, Bedford Falls Company
Production, Miramax Films.
M ERY L ST REEP in One True Thing, Universal Pictures
Production, Universal.
EM I LY W AT SON in Hilary and Jackie, Oxford Film
Company Production, October Films.
BU LW ORT H, 20th Century Fox. Warren Beatty, Jeremy
Pikser.
LI FE I S BEAU T I FU L, Melampo Cinematograca
Production, Miramax Films. Vincenzo Cerami, Roberto

Benigni.
SAVI NG P RI VAT E RY A N , Amblin Entertainment
Production in association with Mutual Film Company,
DreamWorks Pictures and Paramount Pictures. Robert
Rodat.
* SHAK ESP EARE I N LO V E , Miramax Films, Universal
Pictures, Bedford Falls Company Production, Miramax
Films. Marc Norman, Tom Stoppard.
T HE T RU M AN SHOW, Scott Rudin Production,
Paramount. Andrew Niccol.
ELI Z ABET H, Working Title Production, Gramercy
Pictures. John Myhre; Peter Howitt.

P LEASAN T VI LLE, Larger Than Life Production, New
* JAM ES COBU RN in Afiction, Tormenta Production,
Line. Jeannine Oppewall; Jay Hart.
Lions Gate Films.
ROBERT D U VALL in A Civil Action, Touchstone Pictures
and Paramount Pictures Production, Buena Vista.
DreamWorks Pictures and Paramount Pictures. Tom
ED HARRI S in The Truman Show, Scott Rudin
Sanders; Lisa Dean Kavanaugh.
Production, Paramount.
GEOFFREY RU SH in Shakespeare in Love, Miramax
Films, Universal Pictures, Bedford Falls Company
Films. Martin Childs; Jill Quertier.
W HAT D REAM S M AY C O ME , Interscope
BI LLY BOB T HORNT ON in A Simple Plan, Mutual Film
Communications Production in association with
Company Production, Paramount and Mutual Film
Metalmics, PolyGram. Eugenio Zanetti; Cindy Carr.
Company in association with Savoy Pictures.
be s t d i re c t i n g: STEVEN SPIELBERG for Saving Private

Ryan (DreamWorks Pictures and Paramount Pictures; produced
by Spielberg, Ian Bryce, Mark Gordon and Gary Levinsohn).
Ryan related the efforts of an eight-man Army squad in World
War II, led by Tom Hanks (above left) and Edward Burns (above
right), to recoverand return to his mothera private (Matt
Damon) whose three brothers had been killed in battle. This noble
operation proved an emotional maelstrom for audiences, who were
ambushed at the outset by a graphic, no-holds-barred 24-minute
preamble depicting D-Day in the most gruesome terms. Many of
the directors creative collaborators on this savage sequencein
sound, sound effects editing, lm editing and cinematography
preceded him to the Oscar podium. In nominations (11) as well as
in wins (5), Ryan was 1998s second most honored lm, and its
harrowing curtain-raiser made it virtually impossible ever to look
at a war movie in the same way again.
K AT HY BAT ES in Primary Colors, Universal Pictures
E L IZ A BE TH, Working Title Production, Gramercy
Pictures. Alison Owen, Eric Fellner and Tim Bevan,

Producers.
L IF E IS BE A UTIF UL , Melampo Cinematograca
Production, Miramax Films. Elda Ferri and Gianluigi
Braschi, Producers.
SA VING P R IVA TE RYAN, Amblin Entertainment
DreamWorks Pictures and Paramount Pictures.
Steven Spielberg, Ian Bryce, Mark Gordon and Gary
Levinsohn, Producers.
* S HA KE SP E A R E IN LOV E, Miramax Films, Universal
Pictures, Bedford Falls Company Production,
Miramax Films. David Partt, Donna Gigliotti,
Harvey Weinstein, Edward Zwick and Marc Norman,
Producers.
THE THIN R E D L INE, Fox 2000 Pictures Presentation
from Phoenix Pictures in association with George
Stevens, Jr., 20th Century Fox. Robert Michael Geisler,
John Roberdeau and Grant Hill, Producers.
344
A CT O R
* R O BE R TO BE NIGN I in Life Is Beautiful, Melampo

Cinematograca Production, Miramax Films.
TO M HA NKS in Saving Private Ryan, Amblin
Entertainment Production in association with Mutual
Film Company, DreamWorks Pictures and Paramount
Pictures.
A CI VI L ACT I ON , Touchstone Pictures and Paramount
Pictures Production, Buena Vista. Conrad L. Hall.

Production, Universal and Mutual Film Company.
BREN D A BLET HY N in Little Voice, Scala Production,
Pictures. Remi Adefarasin.
Miramax Films.
* SAVI N G P RI VAT E RYA N , Amblin Entertainment
* JU D I D ENCH in Shakespeare in Love, Miramax Films,
Universal Pictures, Bedford Falls Company Production,
DreamWorks Pictures and Paramount Pictures. Janusz
Miramax Films.
Kaminski.
RACHEL G RI FFI T HS in Hilary and Jackie, Oxford Film
SHAK ESP EARE I N LO V E , Miramax Films, Universal
Company Production, October Films.
LY N N RED GRAVE in Gods and Monsters, Regent
Films. Richard Greatrex.
Pictures, Lions Gate Films.
T HE T HI N RED LI NE , Fox 2000 Pictures Presentation
D I R E C TI N G
B ES T P I CT U R E

Stevens, Jr., 20th Century Fox. John Toll.
Production, Miramax Films. Roberto Benigni.

C O S TUM E D ESIGN
* SAVI N G P RI VAT E RY AN, Amblin Entertainment
BELOVED , Touchstone Pictures Production, Buena
Vista. Colleen Atwood.
DreamWorks Pictures and Paramount Pictures. Steven
Spielberg.
Pictures. Alexandra Byrne.
SHAK ESP EARE I N LOVE, Miramax Films, Universal
P LEASAN T VI LLE, Larger Than Life Production, New
Line. Judianna Makovsky.
Films. John Madden.
T HE T HI N RED LI N E, Fox 2000 Pictures Presentation
Films. Sandy Powell.
Stevens, Jr., 20th Century Fox. Terrence Malick.
VELVET GOLD M I NE , Zenith/Killer Films Production,
T HE T RU M AN SHOW , Scott Rudin Production,
Miramax Films. Sandy Powell.
Paramount. Peter Weir.
WR I TI N G
* GOD S AN D M ONST ERS, Regent Pictures, Lions Gate

Films. Bill Condon.
OU T OF SI GHT , Jersey Films Production, Universal.
Scott Frank.
P RI M ARY COLORS, Universal Pictures Production,
Universal and Mutual Film Company. Elaine May.
A SI M P LE P LAN , Mutual Film Company Production,
Paramount and Mutual Film Company in association
with Savoy Pictures. Scott B. Smith.
T HE T HI N RED LI N E, Fox 2000 Pictures Presentation
Stevens, Jr., 20th Century Fox. Terrence Malick.
F I LM E D I TI NG
Production, Miramax Films. Simona Paggi.
OU T OF SI G HT , Jersey Films Production, Universal.
Anne V. Coates.
* SAVI N G P RI VAT E RYA N , Amblin Entertainment
DreamWorks Pictures and Paramount Pictures.
Michael Kahn.
SHAK ESP EARE I N LO V E , Miramax Films, Universal
Films. David Gamble.
T HE T HI N RED LI NE , Fox 2000 Pictures Presentation
Stevens, Jr., 20th Century Fox. Billy Weber, Leslie Jones
and Saar Klein.
M A KE UP
* ELI Z ABET H, Working Title Production, Gramercy

Pictures. Jenny Shircore.
DreamWorks Pictures and Paramount Pictures. Lois
Burwell, Conor OSullivan and Daniel C. Striepeke.
be s t s u p p or t in g a cto r: JAMES COBURN as Glen
Whitehouse in Afiction (Lions Gate Films; directed by Paul
Schrader). The sins of the father (Coburn, second from left)
were visited on his sons (Oscar nominee Nick Nolte, left, and
Willem Dafoe, right) and his sons girlfriend (Sissy Spacek)
in Afiction, a harrowing drama coproduced by Nolte. None
of Coburns 60 or so earlier lms had prepared him to play this
abusive patriarch, who ran so counter to the charm-laden characters hed played in such past lms as The Great Escape, The
Magnicent Seven and Our Man Flint. It almost cost him
the gig. Not charming, director Paul Schrader stressed to him.
I dont want to see charm in this guy, because he denitely is
not charming. Coburn did as he was told and got the gold.
8/8/13 7:38 PM
SHA KE SP E A R E IN LOV E, Miramax Films, Universal

Films. Lisa Westcott, Veronica Brebner.
MUSIC
E L IZ A BE TH, Working Title Production, Gramercy
M ORE, Bad Clams Productions/Swell Productions/
Flemington Pictures Production. Mark Osborne and

Steve Kalafer.
W HEN LI FE D EP ART S, A. Film Production. Karsten
Kiilerich and Stefan Fjeldmark.
(liv e a ct ion )
CU LT U RE, False Alarm Pictures Production. Will Speck

Pictures. David Hirschfelder.
and Josh Gordon.
* L IFE IS BE A UTIF UL, Melampo Cinematograca
* ELECT I ON NI G HT ( VALG AFT EN ) , M & M
Production, Miramax Films. Nicola Piovani.
Production. Kim Magnusson and Anders Thomas
P L E A S A NTVIL L E , Larger Than Life Production, New
Jensen.
Line. Randy Newman.
HOLI D AY ROM AN CE, Jovy Junior Enterprises Ltd.
SA VING P R IVA TE RYAN, Amblin Entertainment
Production. Alexander Jovy and JJ Keith.
LA CART E P OST ALE ( T HE P OST CARD ) , K2 S.A.
DreamWorks Pictures and Paramount Pictures. John
Production. Vivian Goffette.
Williams.
VI CT OR, Bergvall Bilder/Hemikrania Production.
THE THIN R E D L I NE, Fox 2000 Pictures Presentation
Simon Sandquist and Joel Bergvall.
Stevens, Jr., 20th Century Fox. Hans Zimmer.
D O C UM E N TA R Y
(ori g i n al m us i c a l o r co m edy s co r e)
A BUG S L IF E , Walt Disney Pictures/Pixar Animation
(fe a t u r e s )
D ANCEM AK ER, Four Oaks Foundation Production.

Studios Production, Buena Vista. Randy Newman.
Matthew Diamond, Jerry Kupfer.
MU L A N, Walt Disney Pictures Production, Buena Vista.
T HE FARM : ANGOLA, U . S. A. , Gabriel Films
Music by Matthew Wilder; Lyrics by David Zippel;
Production. Jonathan Stack, Liz Garbus.
Orchestral Score by Jerry Goldsmith.
* T HE LAST D AY S, Survivors of the Shoah Visual History
P A TC H A D A MS, Universal Pictures Production,
Foundation Production, October Films. James Moll,
Universal. Marc Shaiman.
Ken Lipper.
THE P R INC E O F EGYPT, DreamWorks SKG
LEN N Y BRU CE: SW EAR T O T ELL T HE T RU T H,
Production, DreamWorks. Music and Lyrics by Stephen
Whyaduck Productions. Robert B. Weide.
REG RET T O I N FORM , Sun Fountain Production.
Schwartz; Orchestral Score by Hans Zimmer.
Barbara Sonneborn, Janet Cole.
* S HA KE SP E A R E IN LOV E, Miramax Films, Universal
(s
h or t s u bje ct s )
Films. Stephen Warbeck.
* T HE P ERSONALS: I M P ROVI SAT I ON S ON
ROM AN CE I N T HE GOLD EN Y EARS, Keiko Ibi Film
I D O N T W A NT T O MISS A THING (Armageddon,
Production. Keiko Ibi.
A P LACE I N T HE LAN D , Guggenheim Productions.
Touchstone Pictures Production, Buena Vista). Music
Charles Guggenheim.
and Lyric by Diane Warren.
THE P R A Y E R (Quest for Camelot, Warner Bros.). Music
SU NRI SE OVER T I ANANM EN SQ U ARE, National Film
by Carole Bayer Sager and David Foster; Lyric by Carole
Board of Canada Production. Shui-Bo Wang, Donald
Bayer Sager, David Foster, Tony Renis and Alberto Testa.
McWilliams.
A SO F T P L A C E TO FALL (The Horse Whisperer,
Touchstone Pictures Production, Buena Vista). Music
CENT RAL ST AT I ON (Brazil).
and Lyric by Allison Moorer and Gwil Owen.
CHI LD REN OF HEAVEN (Iran).
THA T L L D O (Babe: Pig in the City, Kennedy Miller
T HE GRAND FAT HER (Spain).
Media Pty. Ltd. Production, Universal). Music and
* LI FE I S BEAU T I FU L (Italy).
* W HE N Y O U BE L IEV E (The Prince of Egypt, DreamWorks T ANGO (Argentina).
SKG Production, DreamWorks). Music and Lyric by
Stephen Schwartz.
T O ELI A K AZ AN in recognition of his indelible
contributions to the art of motion picture direction.
S O U ND
(Statuette)
A R MA GE D D O N, Touchstone Pictures Production,
T O D AVI D W . G RAY in appreciation for outstanding
Buena Vista. Kevin OConnell, Greg P. Russell and
service and dedication in upholding the high standards
Keith A. Wester.
of the Academy of Motion Picture Arts and Sciences.
THE MA SK O F Z ORRO, Amblin Entertainment
Production, TriStar. Kevin OConnell, Greg P. Russell
and Pud Cusack.
1998
I R VI N G G . TH A LB E R G
* S A VING P R IVA TE RYAN, Amblin Entertainment
T O N ORM AN J EW I SON
DreamWorks Pictures and Paramount Pictures. Gary
Rydstrom, Gary Summers, Andy Nelson and Ronald
Judkins.
SHA KE SP E A R E IN LOV E, Miramax Films, Universal
Films. Robin ODonoghue, Dominic Lester and Peter
Glossop.
THE THIN R E D L I NE, Fox 2000 Pictures Presentation
Stevens, Jr., 20th Century Fox. Andy Nelson, Anna
A WA R D S
Behlmer and Paul Brincat.
Buena Vista. George Watters II.
THE MA SK O F Z ORRO, Amblin Entertainment
Production, TriStar. David McMoyler.

* S A VING P R IVA TE RYAN, Amblin Entertainment
DreamWorks Pictures and Paramount Pictures. Gary
Rydstrom and Richard Hymns.
Buena Vista. Richard R. Hoover, Pat McClung and John

Frazier.
MIGHTY JO E Y OUNG, Walt Disney Pictures
Production, Buena Vista. Rick Baker, Hoyt Yeatman,
Allen Hall and Jim Mitchell.
* W HA T D R E A MS M AY COME, Interscope
Communications Production in association with
Metalmics, PolyGram. Joel Hynek, Nicholas Brooks,
Stuart Robertson and Kevin Mack.
S H O RT FI L M S
(an i m at e d )
* BU NNY , Blue Sky Studios, Inc. Production. Chris Wedge.

THE C A NTE R BURY TALES, S4C/BBC Wales/HBO
Production. Christopher Grace and Jonathan Myerson.
JO L L Y R O GE R , Astley Baker/Silver Bird Production for
Channel Four. Mark Baker.
AVI D T ECHNOLOGY , I NC. , for the concept, system
design and engineering of the Avid Film Composer for

motion picture editing.

D R. T HOM AS G. ST OCK HAM , J R. , and ROBERT B.
I N G EBRET SEN for their pioneering work in the areas
of waveform editing, crossfades and cut-and-paste

techniques for digital audio editing.
J AM ES A. M OORER for his pioneering work in the
design of digital signal processing and its application to
audio editing for lm.
ST EP HEN J . K AY of K-Tec Corporation for the design
and development of the Shock Block.
G ARY T REG ASK I S for the primary design, and
D OM I N I Q U E BOI SVERT , P HI LI P P E P ANZ I NI ,
and AND R LEBLAN C for the development and

implementation, of the Flame and Inferno software.
ROBERT P RED OVI CH, J OHN SCOT T , M OHAM ED
K EN T . HU SAI N , and CAM ERON SHEARER for
the design and implementation of the Soundmaster

Integrated Operations Nucleus operating
environment.
ROY B. FERENCE, STEVEN R. SCHMIDT, RICHARD J.

FED ERI CO, ROCK W ELL Y ARI D , an d M I CHAEL E.
M CCRACK AN for the design and development of the
Kodak Lightning Laser Recorder.
COLI N M OSSM AN , H A N S L E I S I N G E R , and G E O R G E

J OHN ROW LAN D of Deluxe Laboratories for the
concept and design of the Deluxe High Speed Spray

Film Cleaner.
ARN OLD & RI CHT E R C I N E T E C H N I K , and A R R I
U SA, I N C. , for the concept and engineering of the
Arriex 435 Camera System.
ARN OLD & RI CHT E R C I N E T E C H N I K and T H E C A R L
Z EI SS COM P AN Y for the concept and optical design
of the Carl Zeiss/Arriex Variable Prime Lenses.
D EREK C. LI GHT B O DY of OpTex for the design and
development of Aurasoft Luminaires.
M ARK ROBERT S, R O N A N C A R R O L L , A S S A F F
RAW NER, P AU L B A R T L E T T , and S I MO N W A K L E Y
for the creation of the Milo Motion-Control Crane.
M I CHAEL SOREN S E N and R I C H A R D A L E X A N DE R

of Sorensen Designs International, and DO N A L D
T RU M BU LL for advancing the state-of-the-art of real-
time motion-control, as exemplied in the Gazelle and

Zebra camera dolly systems.
RONALD E. U HLI G , T H O MA S F . PO W E R S and
FRED M . FU SS of the Eastman Kodak Company for
the design and development of KeyKode latent-image
barcode key numbers.
I AI N N EI L for the optical design, T A K U O
M I Y AGI SHI M A for the mechanical design, and
P ANAVI SI ON , I N C O R PO R A T E D, for the concept
and development of the Primo Series of spherical
prime lenses for 35mm cinematography.
G ARRET T BROW N and J E R R Y H O L W A Y for the
creation of the Skyman ying platform for Steadicam

operators.
J AM ES ROD NU NS K Y, J A M E S W E B B E R , and B O B
W EBBER of Cablecam Systems, and T R O U B A YL I S S
for the design and engineering of Cablecam.
D AVI D D I FRANCE S C O , B A L A S . MA N I A N , and
T HOM AS L. N O G G L E for their pioneering efforts in
the development of laser lm recording technology.
M I CHAEL M ACK E N ZI E , MI K E B O L L E S , U DO
P AM P EL, and J O S E PH F U L M E R of Industrial Light &
Magic for their pioneering work in motion-controlled

silent camera dollies.
BARRY W ALT ON , B I L L S C H U L T Z, C H R I S B A R K E R ,
and D AVI D COR N E L I U S of Sony Pictures Imageworks
for the creation of an advanced motion-controlled

silent camera dolly.
BRUCE WILTON and CARLOS ICINKOFF of Mechanical
Concepts for their modular system of motion-control
rotators and movers for use in motion-control.
REM Y SM I T H for the software and electronic design and
development, and J A M E S K . B R A N C H and N A S I R J .
Z AI D I for the design and development of the Spectra
Professional IV-A digital exposure meter.
I VAN K RU G LAK for his commitment to the
development of a wireless transmission system for
video-assisted images for the motion picture industry.
D R. D OU GLAS R. R O B L E for his contribution
to tracking technology and for the design and
implementation of the TRACK system for camera
position calculation and scene reconstruction.
T HAD D EU S BEI ER for the design and implementation
of ras_track, a system for 2D tracking, stabilization
and 3D camera and object tracking.
M ANFRED N. K LE MM E and DO N A L D E . W E T ZE L for
the design and development of the K-Tek Microphone
Boom Pole and accessories for on-set motion picture
sound recording.
N I CK FOST ER for his software development in the eld
of water simulation systems.
CARY P HI LLI P S for the design and development of the
Caricature Animation System at Industrial Light &
Magic.
D R. M I T CHELL J . B O G DA N O W I C Z of the Eastman
Kodak Company, and J I M M E YE R and S T A N MI L L E R
of Rosco Laboratories, Inc., for the design of the
CalColor Calibrated Color Effects Filters.
345
D R. A. T U LSI RAM , R I C H A R D C . S E H L I N , DR .
CARL F. HOLT Z , and DA V I D F . K O PPE R L of
the Eastman Kodak Company for the research and

development of the concept of molecular sieves
applied to improve the archival properties of processed
photographic lm.
T AK U O M I Y AGI SH I MA and A L B E R T K . S A I K I of
Panavision, Inc., for the design and development of the
Eyepiece Leveler.
ED M U N D M . D I G I U L I O and J A ME S B A R T E L L of
Cinema Products for the design of the KeyKode Sync
Reader.
I VAN K RU G LAK for his pioneering concept and the
development of the Coherent Time Code Slate.
M I K E D ENECK E for rening and further developing
electronic time code slates.
ED Z W AN EVELD and F R E DE R I C K G A S O I of
the National Film Board of Canada, and MI K E
LAZ ARI D I S and DA L E B R U B A C H E R - C R E S S MA N of
Research in Motion for the design and development of
the DigiSync Film KeyKode Reader.
8/8/13 7:38 PM
1999
The Seventy-Second Year
ack at the 1942 Oscars, an honorary

prize had been passed out to MetroGoldwyn-Mayer for its achievement
in representing the American way of life in
the production of the Andy Hardy series of
lms. By millenniums end, just how far
movies had moved out of the Hardy hometown of Carvel was abundantly apparent in
the arm wrestling that went on for 1999s
best picture prize: on one hand there was
American Beauty, a kinky, darkly comical
portrayal of a dysfunctional family coming
apart at the seams in the suburbs; there was
also a coming-of-age story backdropped by
a theme of abortion in Maine (The Cider
House Rules), an unusual and potent prison
story (The Green Mile), a supernatural
thriller (The Sixth Sense), and a political
mystery based on a true story (The Insider).
It was a long way from Love Finds Andy
Hardy.
On March 26, 2000, at the Los Angeles
Shrine Auditorium, DreamWorks American Beauty eventually plucked off more
bests than any of its competitionve
big ones: picture, actor, director, original
screenplay, and cinematography. Kevin
Spacey, named the years best actor in
Beauty, became the 10th performer to win
Oscars in both the starring and supporting categories, following Helen Hayes, Jack
Lemmon, Ingrid Bergman, Maggie Smith,
Robert De Niro, Meryl Streep, Jack Nicholson, Gene Hackman and Jessica Lange.
In his acceptance speech, Spacey dedicated
his Oscar to one of that number, Lemmon,
with whom hed worked in 1992s Glengarry
Glen Ross. Lemmon, said Spacey, was the

man who inspired my performance, a man
who has been my friend and my mentor and, since my father died, a little bit
like my father. Wherever you are, added
Spacey, thank you, thank you, thank
you. Lemmon was watching the Oscars at
the home of Gregory Peck and was overwhelmed.
Hilary Swank was named best actress for
playing a girl brutalized for wanting to be a
male in Boys Dont Cry. Michael Caine as
the kindly country abortionist in The Cider
House Rules won his second supporting
actor prize. For supporting actress winner
Angelina Jolie in Girl, Interrupted, it was a
rst nomination and rst award. It was not
the rst Oscar in Jolies family tree, however: her father, Jon Voight, was Oscars
best actor winner in 1978 for Coming Home.
The only previous father-daughter pair of
acting Oscar winners had been the Fondas,
daughter Jane in 1971 and 1978, father Henry
in 1981. On this Oscar night, Jane Fonda, off
the screen for several years, reentered Hollywood society to present an honorary award
to Polish director Andrzej Wajda. Warren
Beatty received the prestigious Irving G.
Thalberg Memorial Award.
Billy Crystal made his seventh appearance as an Oscar show host. Producers
of the show were Richard Zanuck and his
wife, Lili Fini Zanuck, making her the rst
woman to produce the event. It also turned
out to be the longest Academy Award show
to date, clocking in at four hours and nine
minutes.
346
be s t p i c t ure : AMERICAN BEAUTY (DreamWorks; produced by Bruce Cohen and Dan Jinks), b es t d i r ecti ng :
SAM MENDES for American Beauty, and b es t a cto r :
KEVIN SPACEY as Lester Burnham in American Beauty.
DreamWorks Steven Spielberg set this project in motion on a
Saturday, when he read Alan Balls cutting-edge psychocomedy
about a chaotic household under re and put in a successful bid
for the lm rights the following Monday. Instead of directing it
himself, he took a gamble and gave it to a cinematically untested
British theater director, Sam Mendes, who made it through beautifully with the help of veteran cinematographer Conrad L. Hall.
Spacey, heading a strong cast, particularly shone as a cuckolded
husband who consoled himself with erotic rose-covered fantasies
about a glamorous gal-pal of his teenage daughter.
8/8/13 7:38 PM
be s t s u p p or t in g ac to r: MICHAEL CAINE as Dr. Wilbur

Larch in The Cider House Rules (Miramax Films; directed by
Lasse Hallstrm). If they gave Oscars for acceptance speeches,
Caine (above) might have won that, too. Not since Ingrid
Bergman apologized to fellow nominee Valentina Cortese at the
1974 Oscars had a winner displayed quite such class and generosity of spirit. I was thinking of how the Academy changed [announcing] The winner is . . . to The Oscar goes to . . ., Caine
remarked. If ever there was a category where the Oscar goes to
someone without there being a winner, its this one. He cheered
the work of his four competitors, ending with, So really Im basically up here, guys, to represent you as what I hope you will all
be: a survivor. As he left the stage, statuette in hand, his rivals
for the awardTom Cruise, Jude Law, Michael Clarke Duncan,
and young Haley Joel Osmentwere leading a standing ovation.
be s t s u p p or t in g ac tress: ANGELINA JOLIE as Lisa in

Girl, Interrupted (Columbia; directed by James Mangold).
Considering that it was designed as a vehicle for Winona Ryder
(far left) and co-produced by Ms. Ryder, Girl was true to its
title, the girl in this case upstaged by Jolies stunning supporting
performance as a seductive, amboyantly off-the-padded-wall
sociopath. The role was too juicy not to have stolen the glory in
this lming of Susanna Kaysens autobiographical account of
her stay in a mental hospital in the 60s, where the author saw
herself as sane compared to those around her. Jolies bravura
interpretation as the girls constant yardstick, the ward rebrand
who was ferociously out there, struck exactly the right note,
and Oscar voters took notice.
347
be s t a ct r e s s : HILARY SWANK as Brandon Teena (aka

Teena Brandon) in Boys Dont Cry (Fox Searchlight; directed by
Kimberly Peirce). Cross-dressing had worked wonders for Linda
Hunt, voted best supporting actress in 1983 for playing a male in
The Year of Living Dangerously. Oscars other gender-benders
have been gay deceiversnominees Jaye Davidson (a male playing a transvestite in 1992s The Crying Game) and Julie Andrews (attempting the triple somersaulta female playing a male
playing a femalein 1982s Victor/Victoria), and now Swanks
tragically true case in point of a young woman who reinvents
herself as a man. Her layered portrayal of this compelling and
complex human being was stunning, as life-afrming as the
story was dark, sinister and compelling. Produced independently
and on a minimum budget, it paid great dividends to Swank by
bringing her international stardom. Chlo Sevigny (at left) was
also Oscar-nominated as the object of Swanks affections.
8/8/13 7:38 PM
A C TR E S S
ANNET T E BEN I NG in American Beauty, Jinks/Cohen
Nominations 1999
best director: SAM MENDES for American Beauty

(DreamWorks). Thirty-four years old and English-born, Mendes
came to lms while also extremely active as a stage director. He
had been running the experimental Donmar Warehouse Theatre
in London since 1992 and often directed for the Royal Shakespeare
Company, for the National Theatre, and in the West End; he rst
caught Broadways attention with an edgy and eroticized 1998 revival of Cabaret. Beauty marked his debut as a lm director and,
containing as it did the kind of refreshing, offbeat and often jolting approach to storytelling that had marked many of the Mendes
theatrical endeavors, he was named the years best director, one
of the few times in Oscars history that a newcomer to the lm
ranks took home the big prize for his very rst lm effort.
B ES T P I CT U R E
* A ME R IC A N BE A UTY, Jinks/Cohen Company

Production, DreamWorks. Bruce Cohen and Dan
Jinks, Producers.
THE C ID E R HO U SE RULES, FilmColony Production,
Miramax Films. Richard N. Gladstein, Producer.
THE GR E E N MIL E , Castle Rock Production, Warner
Bros. David Valdes and Frank Darabont, Producers.
THE INS ID E R , Touchstone Pictures Production, Buena
Vista. Michael Mann and Pieter Jan Brugge, Producers.
THE S IXTH S E NSE , Kennedy/Marshall/Barry Mendel
Production, Buena Vista. Frank Marshall, Kathleen
Kennedy and Barry Mendel, Producers.
A CT O R
R US S E L L C R O W E in The Insider, Touchstone Pictures
Production, Buena Vista.
R IC HA R D FA R NS WORTH in The Straight Story, Walt
Disney Pictures Production, Buena Vista.
SE A N P E NN in Sweet and Lowdown, Jean Doumanian
348
Production, Sony Pictures Classics.

* KE VIN SP A C E Y in American Beauty, Jinks/Cohen
Company Production, DreamWorks.
D E NZ E L W A S HING TON in The Hurricane, Beacon
Pictures Production, Universal and Beacon.
Company Production, DreamWorks.

JAN ET M CT EER in Tumbleweeds, Spanky Pictures/
Filmtribe in association with River One Films
Production, Fine Line Features.
JU LI ANNE M OORE in The End of the Affair, Stephen
Woolley Production, Columbia.
M ERY L ST REEP in Music of the Heart, Craven/
Maddalena Films Production, Miramax Films.
* HI LARY SW AN K in Boys Dont Cry, Killer Films/HartSharp Entertainment Production, Fox Searchlight.
T HE SI X T H SEN SE, Kennedy/Marshall/Barry Mendel
Production, Buena Vista. M. Night Shyamalan.
T OP SY - T U RVY , Simon Channing-Williams Production,
USA Films. Mike Leigh.
AN N A AN D T HE K I N G , Fox 2000 Pictures Production,
20th Century Fox. Luciana Arrighi; Ian Whittaker.
T HE CI D ER HOU SE R U L E S , FilmColony Production,
Miramax Films. David Gropman; Beth Rubino.

* SLEEP Y HOLLOW , Scott Rudin/American Zoetrope
Production, Paramount and Mandalay. Rick Heinrichs;
Peter Young.
T HE T ALEN T ED M R. R I PL E Y, Mirage Enterprises/
* M I CHAEL CAI N E in The Cider House Rules, FilmColony
Timnick Films Production, Paramount & Miramax.
T OM CRU I SE in Magnolia, JoAnne Sellar/Ghoulardi
Roy Walker; Bruno Cesari.
Film Company Production, New Line.
T OP SY - T U RVY , Simon Channing-Williams Production,
M I CHAEL CLARK E D U N CAN in The Green Mile, Castle
USA Films. Eve Stewart; Eve Stewart and John Bush.
Rock Production, Warner Bros.
JUDE LAW in The Talented Mr. Ripley, Mirage Enterprises/
* AM ERI CAN BEAU T Y, Jinks/Cohen Company
Production, DreamWorks. Conrad L. Hall.
HALEY J OEL OSM ENT in The Sixth Sense, Kennedy/
T HE END OF T HE AF F A I R , Stephen Woolley
Marshall/Barry Mendel Production, Buena Vista.
Production, Columbia. Roger Pratt.
T HE I N SI D ER, Touchstone Pictures Production, Buena
T ONI COLLET T E in The Sixth Sense, Kennedy/
Vista. Dante Spinotti.
Marshall/Barry Mendel Production, Buena Vista.
SLEEP Y HOLLOW , Scott Rudin/American Zoetrope
ANGELI
N
A
J
OLI
E
in
Girl,
Interrupted,
Red
Wagon/
Production, Paramount and Mandalay. Emmanuel
*
Columbia Pictures Production, Columbia.
Lubezki.
CAT HERI N E K EEN ER in Being John Malkovich,
SNOW FALLI N G ON C E DA R S , Kennedy/Marshall/
Propaganda Films/Single Cell Pictures Production,
Harry J. Uand/Ron Bass Production, Universal.
USA Films.
Robert Richardson.
SAM ANT HA M ORT ON in Sweet and Lowdown, Jean
C O S TUM E D ESIGN
Doumanian Production, Sony Pictures Classics.
AN N A AN D T HE K I N G , Fox 2000 Pictures Production,
CHLO SEVI G N Y in Boys Dont Cry, Killer Films/Hart20th Century Fox. Jenny Beavan.
Sharp Entertainment Production, Fox Searchlight.
SLEEP Y HOLLOW , Scott Rudin/American Zoetrope
D I R E C TI N G
Production, Paramount and Mandalay. Colleen
Atwood.
* AM ERI CAN BEAU T Y , Jinks/Cohen Company
Production, DreamWorks. Sam Mendes.
T HE T ALEN T ED M R. R I PL E Y, Mirage Enterprises/
BEI NG J OHN M ALK OVI CH, Propaganda Films/Single
Cell Pictures Production, USA Films. Spike Jonze.
Ann Roth and Gary Jones.
T HE CI D ER HOU SE RU LES, FilmColony Production,
T I T U S, Clear Blue Sky Production, Fox Searchlight.
Miramax Films. Lasse Hallstrm.
Milena Canonero.
T HE I NSI D ER, Touchstone Pictures Production, Buena
* TOPSY- TURVY, Simon Channing-Williams Production,
Vista. Michael Mann.
USA Films. Lindy Hemming.
T HE SI X T H SENSE, Kennedy/Marshall/Barry Mendel
F I LM E D I TI NG
Production, Buena Vista. M. Night Shyamalan.
AM ERI CAN BEAU T Y , Jinks/Cohen Company
WR I TI N G
Production, DreamWorks. Tariq Anwar and
Christopher Greenbury.
T HE CI D ER HOU SE R U L E S , FilmColony Production,
Miramax Films. Lisa Zeno Churgin.
* T HE CI D ER HOU SE RU LES, FilmColony Production,
T HE I N SI D ER, Touchstone Pictures Production, Buena
Miramax Films. John Irving.
Vista. William Goldenberg, Paul Rubell and David
ELECT I ON, MTV Films in association with Bona Fide
Rosenbloom.
Production, Paramount. Alexander Payne and Jim
* T HE M AT RI X , Matrix Films Pty Ltd. Production, Warner
Taylor.
Bros. Zach Staenberg.
T HE G REEN M I LE, Castle Rock Production, Warner
T HE SI X T H SEN SE, Kennedy/Marshall/Barry Mendel
Bros. Frank Darabont.
Production, Buena Vista. Andrew Mondshein.
T HE I NSI D ER, Touchstone Pictures Production, Buena
Vista. Eric Roth and Michael Mann.
M
A KE UP
T HE T ALENT ED M R. RI P LEY , Mirage Enterprises/
AU ST I N P OW ERS: TH E S PY W H O S H A G G E D M E ,
Erics Boy, Moving Pictures & Team Todd Production,
Anthony Minghella.
New Line. Michle Burke and Mike Smithson.
BI CENT EN N I AL M AN , Touchstone Pictures/
Columbia Pictures Production, Buena Vista. Greg
* AM ERI CAN BEAU T Y , Jinks/Cohen Company
Cannom.
Production, DreamWorks. Alan Ball.
LI FE, Universal Pictures and Imagine Entertainment
BEI NG J OHN M ALK OVI CH, Propaganda Films/Single
Production, Universal. Rick Baker.
Cell Pictures Production, USA Films. Charlie Kaufman.
M AG N OLI A, JoAnne Sellar/Ghoulardi Film Company
* TOPSY- TURVY, Simon Channing-Williams Production,
USA Films. Christine Blundell and Trefor Proud.
Production, New Line. Paul Thomas Anderson.
THE MATRIX (Warner Bros.) made off with four Academy

Awards, which in turn made it the second-most-honored lm of
the year after American Beauty. Throughout this action-driven
sci- thriller directed by the Brothers Wachowski, men ew
through the air with the greatest of ease, thanks to state-of-theart movie wizardry, much of it rewarded with awards (in sound,
sound effects editing, lm editing and visual effects). Right, from
left, Keanu Reeves and Hugo Weaving demonstrate.
8/8/13 7:38 PM
MUSIC
A ME R IC A N BE A UTY, Jinks/Cohen Company
Production, DreamWorks. Thomas Newman.
A NGE L A S A S HE S, David Brown/Scott Rudin/Dirty
Hands Production, Paramount-Universal Pictures

International. John Williams.
THE C ID E R HO USE RULES, FilmColony Production,
Miramax Films. Rachel Portman.
* THE R E D VIO L IN, Rhombus Media Production, Lions
Gate Films. John Corigliano.
THE TA L E NTE D MR. RIPLEY, Mirage Enterprises/
Gabriel Yared.
BL A ME C A NA D A (South Park: Bigger, Longer & Uncut,
Scott Rudin and Trey Parker/Matt Stone in association

with Comedy Central Production, Paramount and
Warner Bros.). Music and Lyric by Trey Parker and
Marc Shaiman.
MU SIC O F MY HEART (Music of the Heart, Craven/
Maddalena Films Production, Miramax Films). Music
and Lyric by Diane Warren.
SA VE ME (Magnolia, JoAnne Sellar/Ghoulardi Film
Company Production, New Line). Music and Lyric by
Aimee Mann.
W HE N SHE L O VED ME (Toy Story 2, Walt Disney
Pictures/Pixar Animation Studios Production, Buena
Vista). Music and Lyric by Randy Newman.
* Y O U L L BE IN MY HEART (Tarzan, Walt Disney
Pictures Production, Buena Vista). Music and Lyric by
Phil Collins.
S O U ND
THE GR E E N MIL E, Castle Rock Production, Warner
Bros. Robert J. Litt, Elliot Tyson, Michael Herbick and

Willie D. Burton.
THE INS ID E R , Touchstone Pictures Production, Buena
Vista. Andy Nelson, Doug Hemphill and Lee Orloff.
* THE MA TR IX, Matrix Films Pty Ltd. Production, Warner
Bros. John Reitz, Gregg Rudloff, David Campbell and
David Lee.
THE MUMMY , Alphaville Production, Universal. Leslie
Shatz, Chris Carpenter, Rick Kline and Chris Munro.
STA R W A R S E P ISODE I: THE PH ANTOM MENACE,
Lucaslm, Ltd. Production, 20th Century Fox. Gary

Rydstrom, Tom Johnson, Shawn Murphy and John
Midgley.
FIGHT C L U B, Fox 2000 Pictures and New Regency
Production, 20th Century Fox. Ren Klyce and Richard

Hymns.
Bros. Dane A. Davis.
Lucaslm, Ltd. Production, 20th Century Fox. Ben

Burtt and Tom Bellfort.

Bros. John Gaeta, Janek Sirrs, Steve Courtley and Jon
Thum.
best foreign language film: ALL ABOUT MY MOTHER

(Sony Pictures Classics) from Spain. Director Pedro Almodvar
was born in a small town (Calzada de Calatrava) in the impoverished Spanish region of La Mancha eighteen months before All
about Eve made its then-unequaled march to Oscars history

books, but Eve obviously impressed himsuch is the international
language of lm. He lovingly echoed the Joseph Mankiewicz lm
throughout this paean to womenfolk everywhere, on stage and off.
D O C UM E N TA R Y
(fe a t u r e s )
BU ENA VI ST A SOCI AL CLU B, Road Movies
Production, Artisan. Wim Wenders and Ulrich

Felsberg.
G EN G HI S BLU ES, Wadi Rum Production, Roxie
Releasing. Roko Belic and Adrian Belic.
ON T HE ROP ES, Highway Films Production, WinStar
Cinema. Nanette Burstein and Brett Morgen.
* ON E D AY I N SEP T EM BER, Arthur Cohn Production.
Arthur Cohn and Kevin Macdonald.
SP EAK I NG I N ST RI NGS, CounterPoint Films
Production, Seventh Art. Paola di Florio and Lilibet
Foster.
EY EW I T NESS, Marbert Art Foundation Production,
Seventh Art. Bert Van Bork.

* K I N G G I M P , Whiteford-Hadary/University of
Maryland/Tapestry International Production. Susan
Hannah Hadary and William A. Whiteford.
T HE W I LD EST SHOW I N T HE SOU T H: T HE ANGOLA
P RI SON ROD EO, Gabriel Films Production, Seventh
Art. Simeon Soffer and Jonathan Stack.
S H O RT FI L M S
Lucaslm, Ltd. Production, 20th Century Fox. John

Knoll, Dennis Muren, Scott Squires and Rob Coleman. * ALL ABOU T M Y M OT HER (Spain).
CARAVAN (Nepal).
STUA R T L ITTL E , Douglas Wick and Franklin/
EAST - W EST (France).
Waterman and Columbia Pictures Production,
SOLOM ON AND G AEN OR (United Kingdom).
Columbia. John Dykstra, Jerome Chen, Henry F.
U N D ER T HE SU N (Sweden).
Anderson III, and Eric Allard.
(an i m at e d )
HUMD R UM, Aardman Animations Limited Production.
Peter Peake.
MY GR A ND MO T HER IRONED THE KINGS SHIRTS,
National Film Board of Canada & Studio Magica a.s.

Production. Torill Kove.
* THE O L D MA N AND TH E SEA, Productions Pascal
Blais/Imagica Corp./Dentsu Tech./NHK Enterprise
21/Panorama Studio of Yaroslavl Production.
Alexander Petrov.
3 MIS S E S, CinT Film Production. Paul Driessen.
W HE N THE D A Y B REAKS, National Film Board of
Canada Production. Wendy Tilby and Amanda Forbis.
(l i ve ac t i on )
BR O R , MIN BR OR ( TEIS AND NICO), Nimbus Film
& Dansk Novellelm Production. Henrik Ruben Genz

and Michael W. Horsten.
K IL L ING JO E , Joy Films and Chelsea Pictures
Production. Mehdi Norowzian and Steve Wax.
K L E INGE L D (SMALL CHANGE), A Production of Die
Hochschule fr Film und Fernsehen Konrad Wolf
Potsdam-Babelsberg. Marc-Andreas Bochert and
Gabriele Lins.
MA JO R A ND MIN OR MIRACLES, Dramatiska
Institutet Production. Marcus Olsson.
* MY MO THE R D REAMS THE SATANS DISCIPLES IN
NE W Y O R K , Kickstart Production, American Film
Institute. Barbara Schock and Tammy Tiehel.
T O AN D RZ EJ W AJ D A in recognition of ve decades
of extraordinary lm direction. (Statuette)
T O ED M U N D M . D I G I U LI O in appreciation for
outstanding service and dedication in upholding

the high standards of the Academy of Motion
Picture Arts and Sciences. (John A. Bonner Medal
of Commendation)
T O T AK U O M I Y AGI SHI M A in appreciation for
Picture Arts and Sciences. (John A. Bonner Medal
of Commendation)
T O FP C, I N CORP ORAT ED , under the leadership
of Barry M. Stultz and Milton Jan Friedman,
for the development and implementation of an
environmentally responsible program to recycle or
destroy discarded motion picture prints. (Award of
CommendationSpecial Award Plaque)
T O ROD ERI CK T . R YA N
A WA R D S
N I CK P HI LLI P S for the design and development of the
three-axis Libra III remote control camera head.
FRI T Z G ABRI EL B A U E R for the concept, design and
engineering of the Moviecam Superlight 35mm

Motion Picture Camera.
I AI N N EI L for the optical design, R I C K G E L B A R D for
the mechanical design, and PA N A V I S I O N , I N C . , for
the development of the Millennium Camera System
viewnder.
HU W G W I LY M , KA R L L YN C H , and M A R K V .
CRABT REE for the design and development of the
AMS Neve Logic Digital Film Console for motion
picture sound mixing.
J AM ES M OU LT RI E for the mechanical design, and
M I K E SALT ER and M A R K C R A I G G E R C H M A N for
the optical design of the Cooke S4 Range of Fixed Focal
Length Lenses for 35mm motion picture photography.
M ARLOW E A. P I C H E L for development of the process
for manufacturing Electro-formed Metal Reectors,
which, when combined with the DC Short Arc Xenon
Lamp, became the worldwide standard for motion
picture projection systems.
L. RON SCHM I D T for the concept, design and
engineering of the Linear Loop Film Projectors.
N AT T I FFEN of Tiffen Manufacturing Corporation for
the production of high-quality, durable, laminated
color lters for motion picture photography.
349
VI VI EN N E D Y ER and C H R I S W O O L F for the
design and development of the Rycote Microphone

Windshield Modular System.
LESLI E D REVER for the design and development of the
Light Wave microphone windscreens and isolation
mounts from Light Wave Systems.
RI CHARD C. SEHL I N for the concept, and DR .
M I T CHELL J . BO G DA N O W I C Z and M A R Y L .
SCHM OEG ER of the Eastman Kodak Company for the
design and development of the Eastman Lamphouse
Modication Filters.
HOY T H. Y EAT M A N , J R . , of Dream Quest Images, and
J OHN C. BREW E R of the Eastman Kodak Company,
for the identication and diagnosis leading to the
elimination of the red fringe artifact in traveling
matte composite photography.
T O W ARREN BEAT T Y
8/8/13 7:38 PM
2000
The Seventy-Third Year
t was not enough that Steven Soderbergh helmed two of 2000s ve Oscarcontending best picture nominees, Erin
Brockovich and Trafc, each with its own
Oscar-winning performance (best actress
Julia Roberts and best supporting actor
Benicio Del Toro, respectively), the rst
time that had happened since the 1948
Oscars, when John Huston directed
winners Claire Trevor and his own dad,
Walter Huston, to the Oscar podium.
Soderbergh went a step further and got
himself nominated twice for best director
as well, the rst time that had happened
since the 1938 awards, when Michael
Curtiz went mano a mano with himself for
directing the lms Angels with Dirty Faces
and Four Daughters. When the moment
of truth came up on March 25, 2001, at
the Los Angeles Shrine Auditorium, the
38-year-old director proceeded to rewrite
Oscar history by going on to win, something Curtiz had not managed to do.
The two most nominated lms of the
year were Ridley Scotts sword-and-scandal
Roman spectacle Gladiator, with 12 nominations, and Ang Lees high-ying martial
arts exercise Crouching Tiger, Hidden Dragon,
with 10; the latter the third lm in the Academys history to be nominated in the same
year for both best picture and best foreign
language lm (as had 1969s Z and 1998s
Life Is Beautiful). Gladiator and Crouching
Tiger were strong on action, an aspect of
lmmaking that had never been given much
attention in Oscars past.
Gladiator ended up the big champ with
ve awards, including best picture, the rst

lm since 1949s All the Kings Men to win
that prize without either its writer or director also Oscared. Crouching Tiger took home
four awards, including the foreign language
trophy. Trafc also took home four, one
to Del Toro as supporting actor, the other
three to a Steven and two Stephens (director Soderbergh, screenwriter Gaghan, and
lm editor Mirrione). Another honor for
Crouching Tiger: it trumped 1998s Life Is
Beautiful as the top-grossing and most
Oscar-laden foreign language lm to date.
Best actor Russell Crowe and best actress
Julia Roberts did their Oscar work in
title roles, he as the gladiator, she as Erin
Brockovich, and Marcia Gay Harden did
hers supporting a title character, painter
Jackson Pollock. Joaquin Phoenixs nomination as Gladiators evil emperor in the same
supporting actor category in which his late
brother, River Phoenix, had competed 12
years earlier for Running on Empty made
them the rst pair of Oscar-nominated acting brothers.
The 73rd Annual Academy Awards allowed another Academy rst: a cinematographer was nally presented an Honorary
OscarJack Cardiff, with such lms to his
credit as 1947s Black Narcissus, 1948s The
Red Shoes, and 1951s The African Queen.
By a coincidence, Cardiffs portfolio also
includes four lms (1956s War and Peace,
1984s Conan the Destroyer, 1985s Stephen
Kings Cats Eye, and 1986s Tai-Pan.) he
had photographed for producer Dino De
Laurentiis, who received the nights Irving
350
be s t p i c t ure : GLADIATOR (DreamWorks and Universal;
produced by Douglas Wick, David Franzoni and Branko Lustig)
and be s t ac t or: RUSSELL CROWE as Maximus in Gladiator, directed by Ridley Scott. Behaving much as Ben-Hur had 41
years earlier, winning Oscars for best picture and its title player,
Gladiator revived the old toga saga in all its epic SPQR glory, revamping it with the full brutality of the era and lling its sports
arena with a computer-generated populace. (CGI, computergenerated imagery, even completed the performance of Oliver
Reed, who died two days before nishing the lm.) Crowe,
playing Maximus to the maximum, dominated the lmat $100
million, the most expensive of the ve nomineesas a Roman
general demoted to thumbs-up-or-down fun and games, a sharp
contrast to his modern role in The Insider, which had brought
him an Academy nomination as best actor the previous year.
8/8/13 7:38 PM
G. Thalberg Memorial Award. Writer Ernest

Lehman also received an Honorary Oscar.
Steve Martin, making his rst appearance
as an Oscar host, accomplished what some
were beginning to think was impossible: he
helped bring the ABC telecast in thirty-one
minutes under the four-hour (and often
longer) durations of the recent past.
be s t s u p p or t in g a ct or : BENICIO DEL TORO as Javier

Rodriguez in Trafc (USA Films; directed by Steven Soderbergh).
As an incorruptible, sometimes volatile, often quietly desperate
Mexican border cop in the middle of a drug war, Del Toro (above)
smoldered more than he spoke and rarely spoke in English. His
be s t d i re c t i n g: STEVEN SODERBERGH for Trafc. Of

Soderberghs two 2000 nominations in the best directing category, for Erin Brockovich and Trafc, it was the latter lm, a
tricky contemporary thriller, that put him over the top. It was
formidable storytelling, requiring him to twirl three full plates of
plots, all grimly demonstrating how the United States was losing
the drug war on the international front, at the border, and, most
personally of all, in the home. Some gured the directors double
nomination would cancel his chances for a win, especially since
he resolutely refused to say which lm he himself favored. Im
just proud of both movies, he told the press, and let the Academy
voters decide, which they did, in his favor.
was, in fact, the rst Oscar-winning performance delivered

almost exclusively in Spanish. Prior to this, Oscar acting had
been done entirely in English or Italian (Sophia Loren in Two
Women, Robert De Niro in The Godfather Part II, and Roberto
Benigni in Life Is Beautiful).
351
be s t ac t re s s : JULIA ROBERTS as Erin Brockovich in Erin

Brockovich (Universal and Columbia; directed by Steven Soderbergh). Think A Civil Action with cleavage, said one critic
in characterizing both the lm and the role that won Roberts
(right) her Oscar. She played a real-life twice-divorced single
mom who, in her menial job as a legal-aid researcher, goes after
a corporate Goliath (Californias monolithic Pacic Gas &
Electric) in wobbly stiletto heels and trailer-trash attire and
ultimately brings the erring company to its knees in a landmark
$333 million water-contamination suit. Robertss acceptance
speech was the nights longest (three minutes and two seconds
beyond the allotted 45 seconds), and to her later chagrin, she still
forgot to thank her inspiration, the real Ms. Brockovich.
8/8/13 7:38 PM
Nominations 2000
B ES T P I CT U R E
C HO C O L A T, David Brown Production, Miramax
Films. David Brown, Kit Golden and Leslie Holleran,

Producers.
C R O UC HING TIGER, H IDDEN DRAGON, Zoom
Hunt International Production, Sony Pictures Classics.
Bill Kong, Hsu Li Kong and Ang Lee, Producers.
E R IN BR O C KO VIC H, Jersey Films Production,
Universal and Columbia. Danny DeVito, Michael
Shamberg and Stacey Sher, Producers.
* GL A D IA TO R , Douglas Wick in association with Scott
Free Production, DreamWorks and Universal. Douglas
Wick, David Franzoni and Branko Lustig, Producers.
TR A FF IC , Bedford Falls/Laura Bickford Production, USA
Films. Edward Zwick, Marshall Herskovitz and Laura
Bickford, Producers.
A CT O R
JA VIE R BA R D E M in Before Night Falls, Grandview
Pictures Production, Fine Line Features.

* R U SS E L L C R O W E in Gladiator, Douglas Wick in
association with Scott Free Production, DreamWorks
and Universal.
TO M HA NKS in Cast Away, ImageMovers/Playtone
Production, 20th Century Fox and DreamWorks.
E D HA R R IS in Pollock, Brant/Allen Films/Zeke Films/
Fred Berner Films Production, Sony Pictures Classics.
GE O F F R E Y R US H in Quills, Industry Entertainment/
Walrus & Associates, Ltd. Production, Fox Searchlight.
A CT RES S
JO A N A L L E N in The Contender, Battleground in
association with the SE8 Group Production,

DreamWorks and Cinerenta/Cinecontender.
JU L IE TTE BINO C HE in Chocolat, David Brown
E L L E N BU R S TY N in Requiem for a Dream, Thousand
Words Production, Artisan.
be s t f ore i gn l an gu a g e f i l m : CROUCHING TIGER,

HIDDEN DRAGON (Sony Pictures Classics) from Taiwan.
Never one to be typecast, Taiwan-born director Ang Lee has
pole-vaulted from epoch to epoch, from Jane Austens England
(1995s Sense and Sensibility) to suburban Connecticut in
the 1970s (1997s The Ice Storm) to the American Civil War
(1999s Ride with the Devil). With Tiger/Dragon, he returned
to his roots, to the land of his parents, mainland China of the
19th century, and he arrived there ying. Or at least his cast
was airborne (including Michelle Yeoh, below). Lee achieved
gravity-defying athletics with unseen cablesa longtime staple of
action-driven supernatural sagas from Hong Kongbut added a
magical touch by imbuing the lm with its own unique drama,
charm and resonance, a case of a serious, cerebral lmmaker putting mind over martial arts and creating a true wonder show.
LAU RA LI N N EY in You Can Count on Me, Shooting
D R. SEU SS HOW T H E G R I N C H S T O L E C H R I S T MA S ,
Gallery/Hart Sharp Entertainment Production,

* ALM OST FAM OU S, Vinyl Films Production,
DreamWorks and Columbia. Cameron Crowe.
Paramount Classics/Shooting Gallery/Hart Sharp
BI LLY ELLI OT , Working Title Films Production,
Entertainment in association with Cappa Productions.
Universal Focus. Lee Hall.
* JU LI A ROBERT S in Erin Brockovich, Jersey Films
ERI N BROCK OVI CH , Jersey Films Production,
Production, Universal and Columbia.
Universal and Columbia. Susannah Grant.
G LAD I AT OR, Douglas Wick in association with Scott
JEFF BRI D GES in The Contender, Battleground
Free Production, DreamWorks and Universal. David
in association with the SE8 Group Production,
Franzoni, John Logan and William Nicholson.
DreamWorks and Cinerenta/Cinecontender.
Y OU CAN COU NT O N ME , Shooting Gallery/
W I LLEM D AFOE in Shadow of the Vampire, Saturn Films
Hart Sharp Entertainment Production, Paramount
Production, Lions Gate Films.
Classics/Shooting Gallery/Hart Sharp Entertainment
BEN
I
CI
O
D
EL
T
ORO
in
Traf
c,
Bedford
Falls/Laura
in association with Cappa Productions. Kenneth
*
Bickford Production, USA Films.
Lonergan.
ALBERT FI NNEY in Erin Brockovich, Jersey Films
Production, Universal and Columbia.
JOAQ U I N P HOEN I X in Gladiator, Douglas Wick in
association with Scott Free Production, DreamWorks
* CROU CHI NG T I GER , H I DDE N DR A G O N , Zoom
and Universal.
Tim Yip.
JU D I D ENCH in Chocolat, David Brown Production,
Miramax Films.
* M ARCI A G AY HARD EN in Pollock, Brant/Allen

Films/Zeke Films/Fred Berner Films Production, Sony
Pictures Classics.
K AT E HU D SON in Almost Famous, Vinyl Films
Production, DreamWorks and Columbia.
FRAN CES M CD ORM AND in Almost Famous, Vinyl
Films Production, DreamWorks and Columbia.
JU LI E W ALT ERS in Billy Elliot, Working Title Films
Production, Universal Focus.
D I R E C TI N G
BI LLY ELLI OT , Working Title Films Production,
Universal Focus. Stephen Daldry.
Universal Pictures and Imagine Entertainment

Production, Universal. Michael Corenblith; Merideth
Boswell.
Free Production, DreamWorks and Universal. Arthur
Max; Crispian Sallis.
Q U I LLS, Industry Entertainment/Walrus & Associates,
Ltd. Production, Fox Searchlight. Martin Childs; Jill
Quertier.
VAT EL, Lgende Enterprises-Gaumont in association
with Nomad, Timothy Burrill, T.F.1 Films Production,
Miramax Films. Jean Rabasse; Franoise Benot-Fresco.

CROU CHI NG T I GER, HI D D EN D RAGON , Zoom
Peter Pau.
Ang Lee.
ERI N BROCK OVI CH, Jersey Films Production,
Free Production, DreamWorks and Universal. John
Universal and Columbia. Steven Soderbergh.
Mathieson.
GLAD I AT OR, Douglas Wick in association with Scott
M ALNA, Medusa Film in collaboration with TELE+
Free Production, DreamWorks and Universal. Ridley
Production, Miramax Films. Lajos Koltai.
Scott.
O BROT HER, W HER E A R T T H O U ?, Working Title
* T RAFFI C, Bedford Falls/Laura Bickford Production, USA
Production, Buena Vista. Roger Deakins.
Films. Steven Soderbergh.
T HE P AT RI OT , Mutual Film Company/Centropolis
Entertainment Production, Sony Pictures Releasing.
WR I TI N G
Caleb Deschanel.
CHOCOLAT , David Brown Production, Miramax Films.
Robert Nelson Jacobs.
CROU CHI NG T I GER, HI D D EN D RAGON , Zoom
C O S TUM E D ESIGN
CROU CHI N G T I G ER , H I DDE N DR A G O N , Zoom

Tim Yip.
Hunt International Production, Sony Pictures Classics. D R. SEU SS HOW T H E G R I N C H S T O L E C H R I S T MA S ,

Wang Hui Ling, James Schamus and Tsai Kuo Jung.
O BROT HER, W HERE ART T HOU ? , Working Title
Production, Universal. Rita Ryack.
Production, Buena Vista. Ethan Coen and Joel Coen.
* GLAD I AT OR, Douglas Wick in association with Scott
Free Production, DreamWorks and Universal. Janty
Films. Stephen Gaghan.
Yates.
W ON D ER BOY S, Scott Rudin/Curtis Hanson
102 D ALM AT I AN S, Walt Disney Pictures Production,
Production, Paramount and Mutual Film Company.
Buena Vista. Anthony Powell.
Steve Kloves.
Q U I LLS, Industry Entertainment/Walrus & Associates,
Ltd. Production, Fox Searchlight. Jacqueline West.
F I LM E D I TI NG
ALM OST FAM OU S, Vinyl Films Production,
352
DreamWorks and Columbia. Joe Hutshing and Saar

Klein.
CROU CHI N G T I G ER , H I DDE N DR A G O N , Zoom
Tim Squyres.
Free Production, DreamWorks and Universal. Pietro
Scalia.
Films. Stephen Mirrione.
W OND ER BOY S, Scott Rudin/Curtis Hanson
Production, Paramount and Mutual Film Company.
Dede Allen.
M A KE UP
T HE CELL, Caro-McLeod/Radical Media Production,
New Line. Michle Burke and Edouard Henriques.

* D R. SEU SS HOW T H E G R I N C H S T O L E C H R I S T MA S ,
Production, Universal. Rick Baker and Gail Ryan.
SHAD OW OF T HE VA MPI R E , Saturn Films Production,
Lions Gate Films. Ann Buchanan and Amber Sibley.
M US I C
CHOCOLAT , David Brown Production, Miramax Films.
Rachel Portman.
Tan Dun.
Free Production, DreamWorks and Universal. Hans
Zimmer.
8/8/13 7:38 PM
MA L NA , Medusa Film in collaboration with TELE+
Production, Miramax Films. Ennio Morricone.
THE P A TR IO T, Mutual Film Company/Centropolis

John Williams.
A FO O L IN L O VE (Meet the Parents, Universal Pictures
Production, Universal and DreamWorks). Music and

I VE S E E N IT A L L (Dancer in the Dark, Fine Line
Features/Zentropa Entertainments 4/Trust Film
Svenska/Film I Vast/Liberator Production, Fine Line
Features). Music by Bjrk; Lyric by Lars von Trier and
Sjon Sigurdsson.
A L O VE BE FO R E TIME (Crouching Tiger, Hidden
Dragon, Zoom Hunt International Production, Sony
Pictures Classics). Music by Jorge Calandrelli and Tan
Dun; Lyric by James Schamus.
MY F UNNY FR IE ND AND ME (The Emperors New
Groove, Walt Disney Pictures Production, Buena
Vista). Music by Sting and David Hartley; Lyric by
Sting.
* THINGS HA VE C H ANGED (Wonder Boys, Scott Rudin/
Curtis Hanson Production, Paramount and Mutual
Film Company). Music and Lyric by Bob Dylan.
S O U ND
C A S T A W A Y , ImageMovers/Playtone Production, 20th
Century Fox and DreamWorks. Randy Thom, Tom

Johnson, Dennis Sands and William B. Kaplan.
Free Production, DreamWorks and Universal. Scott
Millan, Bob Beemer and Ken Weston.
THE P A TR IO T, Mutual Film Company/Centropolis
Kevin OConnell, Greg P. Russell and Lee Orloff.
THE P E R F E C T S TORM, Warner Bros. Pictures
Production, Warner Bros. John Reitz, Gregg Rudloff,
David Campbell and Keith A. Wester.
U - 571 , Dino De Laurentiis Production, Universal and
StudioCanal. Steve Maslow, Gregg Landaker, Rick
Kline and Ivan Sharrock.
S O U ND ED I T I N G
SP A C E C O W BO YS, Warner Bros. Pictures Production,
Warner Bros. Alan Robert Murray and Bub Asman.

* U- 571 , Dino De Laurentiis Production, Universal and
StudioCanal. Jon Johnson.

Free Production, DreamWorks and Universal. John
Nelson, Neil Corbould, Tim Burke and Rob Harvey.
HO L L O W MA N, Columbia Pictures Production, Sony
Pictures Releasing. Scott E. Anderson, Craig Hayes,
Scott Stokdyk and Stan Parks.
THE P E R F E C T S TORM, Warner Bros. Pictures
Production, Warner Bros. Stefen Fangmeier, Habib
Zargarpour, John Frazier and Walt Conti.
S H O RT FI L M S
(an i m at e d )
* F A THE R A ND D AUGHTER, CinT Filmproductie bv/

Cloudrunner Ltd. Production. Michael Dudok de Wit.
THE P E R IW IG- M AKER, Ideal Standard Film
Production. Steffen Schfer and Annette Schfer.
R E JE C TE D , Bitter Films Production. Don Hertzfeldt.
(l i ve ac t i on )
BY COURIER, Two Tequila Production. Peter Riegert and
Ericka Frederick.
O NE D A Y C R O SSING, Open Eyes Production. Joan
Stein and Christina Lazaridi.

* Q UIE R O SE R (I WANT TO B E . . . ) , Mondragon Films
Production. Florian Gallenberger.
SE R A GL IO , Seraglio Production. Gail Lerner and Colin
Campbell.
A SO C C E R STO RY (UMA H ISTORIA DE FUTEB OL) ,
UM Filmes Production. Paulo Machline.
D O CU M EN T AR Y
(f e at ure s )
* INTO THE A R MS OF STRANGERS: STORIES OF TH E

K IND E R TR A NSPORT, Sabine Films Production,
Warner Bros. Mark Jonathan Harris and Deborah

Oppenheimer.
L E GA C Y , Nomadic Pictures Production. Tod Lending.
L O NG NIGHT S J OURNEY INTO DAY, Iris Films
Production, Seventh Art. Frances Reid and Deborah
Hoffmann.
SC O TTS BO R O : AN AMERICAN TRAGEDY, Social
Media Production. Barak Goodman and Daniel Anker.
SO UND A ND FURY, Production of Aronson Film
Associates and Public Policy Productions, Artistic
License Films. Josh Aronson and Roger Weisberg.
* BIG MA MA , Birthmark Production. Tracy Seretean.

C U R TA IN C A L L , NJN/White Whale Production. Chuck
Braverman and Steve Kalafer.
be s t s u p p or t in g a ct r e s s : MARCIA GAY HARDEN as Lee

Krasner in Pollock (Sony Pictures Classics; directed by Ed Harris). Artist, critic, wife, lover, caretaker, tormentor, Ms. Krasner
embraced all those roles while turbulently married to artist
Jackson Pollock during his comet ride into the 1950s New York
art scene; in this long-time-coming lm bio, Harden personied

those aspects of Krasner as well, bringing her a rst Academy
nomination and, amid competition that included Judi Dench,
Frances McDormand, Julie Walters, and Kate Hudson, making
her an Oscar winner.
D OLP HI N S, MacGillivray Freeman Films Production.
ALVAH J . M I LLER and PA U L J O H N S O N of Lynx
Greg MacGillivray and Alec Lorimore.

T HE M AN ON LI N COLN S N OSE, Adama Films
Production. Daniel Raim.
ON T I P T OE: G EN T LE ST EP S T O FREED OM , On Tip
Toe Production. Eric Simonson and Leelai Demoz.
AM ORES P ERROS (Mexico).

* CROU CHI NG T I GER, HI D D EN D RAGON (Taiwan).
D I VI D ED W E FALL (Czech Republic).
EVERY BOD Y FAM OU S! (Belgium).
T HE T AST E OF OT HERS (France).

T O J ACK CARD I FF, master of light and color.
(Statuette)
T O ERN EST LEHM AN, in appreciation of a body of
varied and enduring work. (Statuette)

T O I OAN ALLEN for the concept, ROBI N
BRANSBU RY for the design, and M ARK HARRAH
for the implementation of the Trailer Audio Standards
Association (TASA) Loudness Standard. (Award of
T O N . P AU L K ENW ORT HY , J R. , in appreciation for
Picture Arts and Sciences. (John A. Bonner Medal of
Commendation)
T O D I N O D E LAU REN T I I S

T O I RW I N W . Y OU N G
A WA R D S
ROB COOK , LOREN CARP EN T ER, and ED CAT M U LL
for their signicant advancements to the eld of

motion picture rendering, as exemplied in Pixars
Renderman.

AL M AY ER, SR. , and AL M AY ER, J R. , for the
mechanical design, I AI N N EI L for the optical design
and BRI AN D ANG for the electronic design of the
Panavision Millennium XL Camera System.
J OE W ARY , GERALD P AI N T ER, and COLI N F.

M OSSM AN for the design and development of the
Deluxe Laboratories Multi Roller Film Transport

System.
Robotics for the electronic and software design of the

Lynx C-50 Camera Motor System.
AK AI D I GI T AL for the design and development of the
DD8plus digital audio dubber specically designed for
the motion picture industry.
FAI RLI GHT for the design and development of the
DAD digital audio dubber specically designed for the
motion picture industry.
AD VAN CED D I G I T A L S YS T E M S G R O U P ( A DS G )
for the design and development of the Sony DADR

5000 digital audio dubber specically designed for the
motion picture industry.
T I M ELI N E, I NCO R PO R A T E D, for the design and
development of the MMR 8 digital audio dubber
specically designed for the motion picture industry.
LEONARD P I N CUS , A S H O T N A L B A N DYA N ,
GEORG E J OHN S O N , T H O M A S K O N G , and DA V I D
P RI N G LE for the design and development of the
SoftSun low-pressure xenon long-arc light sources,

their power supplies and xtures.
VI C ARM ST RONG for the renement and application
to the lm industry of the Fan Descender for
accurately and safely arresting the descent of stunt
persons in high freefalls.
P HI LI P G REEN ST R E E T of Rosco Laboratories for the
concept and development of the Roscolight Day/Night
Backdrop.
U D O SCHAU SS, H I L DE G A R D E B B E S ME I E R , and
K ARL LEN HARDT for the optical design, and R A L F
LI NN and N ORB E R T B R I N K E R for the mechanical
design of the Schneider Super Cinelux lenses for
motion picture projection.
G LEN N M . BERG G R E N for the concept, H O R S T
LI N G E for research and development, and
W OLFG AN G RE I N E C K E for the optical design of
the ISCO Ultra-Star Plus lenses for motion picture
projection.
BI LL T ON D REAU of Kuper Systems, A L V A H J . MI L L E R
and P AU L J OHN S O N of Lynx Robotics, and DA V I D
ST U M P of Visual Effects Rental Services for the
conception, design and development of data capture
systems that enable superior accuracy, efciency and
economy in the creation of composite imagery.
VENK AT K RI SHN A M U R T H Y for the creation of the
Paraform Software for 3D Digital Form Development.
G EORGE BORSHU K O V , K I M L I B R E R I , and DA N
P I P ON I for the development of a system for imagebased rendering allowing choreographed camera
movements through computer graphic reconstructed
sets.
J OHN P . P Y T LAK for the development of the
Laboratory Aim Density (LAD) system.
353
8/8/13 7:38 PM
2001
The Seventy-Fourth Year
scars 74th birthday party marked a

historic night for the Academy and
for African Americans in the motion picture industry. On March 24, 2002,
Sidney Poitier, the only African American
ever to win an Academy Award for best actor
(for 1963s Lilies of the Field), returned to
the Oscar-winners circle in his own 75th
year, this time to pick up a special Honorary Oscar. The 85-second standing ovation
accorded Poitiers return to the podium
was the longest and warmest in a night that
proved to be one of the most emotionally
rich in Oscar annals.
It didnt stop there. Shortly after Poitier
was honored, Denzel Washington became
the second black actor to win the Academys
top male acting prize, for his raw portrayal
of a rogue narc cop in Training Day. Even
more history was made when the envelope
was opened to disclose the years best actress. Halle Berry, in what was considered a
neck-and-neck race with her four competitors (Nicole Kidman in Moulin Rouge, Judi
Dench in Iris, Sissy Spacek in In the Bedroom, and Rene Zellweger in Bridget Joness
Diary), was declared the winner, making
her the rst black actress in the Academys
history to win in that category. Such a sweep
for African Americans added all sorts of new
asterisks to the Academy records, including Washington, becoming the rst black
performer to win in both the leading and
supporting acting categories. Poitier became
the second black actor to receive an Honorary Oscar, the rst having been James Baskett in 1947 for his able and heart-warming
characterization of Uncle Remus, friend and

story teller to the children of the world in
Walt Disneys Song of the South. (Less than
four months after receiving the award, the
44-year-old Baskett died of a heart ailment.)
Other rsts occurred during Oscars 74th
time at the plate: a whole new category was
inaugurated to honor the best animated feature, with the award going to Shrek. And the
years best foreign language lm, No Mans
Land, was a rst win for a lm from Bosnia
and Herzegovina. The evening also provided
a rst for songwriter/composer Randy Newman, who, with 15 previous nominations
and no wins to his credit, nally cashed his
16th nomination in for gold as the writer
of the years best song, If I Didnt Have
You, from Monsters, Inc. With tongue in
cheek, he thanked the music branch of the
Academy for giving me so many chances to
be humiliated.
Hosting the evening was Whoopi
Goldberg, herself a black Oscar winner
(for 1990s Ghost). The show was telecast
on ABC and, for the fourth year in a row,
was held on a Sunday. Clocking in at 263
minutes, it also turned out to be the longest
Oscarcast ever. A Beautiful Mind was named
the years best picture, with its director Ron
Howard and supporting actress Jennifer
Connelly also in the winners circle. Mind
also won a fourth award, for Akiva Goldsmans screenplay adaptation. Also winning
four awards was The Lord of the Rings: The
Fellowship of the Ring, named best in the
categories of cinematography, music score,
makeup and visual effects. Jim Broadbent
354
be s t p i c t ure : A BEAUTIFUL MIND (Universal and DreamWorks; produced by Brian Grazer and Ron Howard; directed by
Ron Howard) and be s t s u ppo r ti ng a ctr es s : JENNIFER
CONNELLY as Alicia Nash in A Beautiful Mind. Like Marcia
Gay Harden, who had won in the supporting actress category
the year before for Pollock, Connelly had the difcult task of
playing the helpless helpmate of a crazed and driven genius. The
danger of paling by comparison to her partners heavy-duty histrionics was ever-present, but Connelly skillfully played a woman
who was anchored, angry and deeply damaged by the domestic
fallout. The lm itself, with Russell Crowe as the real-life John
Forbes Nash, Jr., a man hampered but undeterred by severe bouts
of schizophrenia, was unusual screen material but was executed
with an honesty, air and passion that pleased Academy voters
more than any other lm of the year.
8/8/13 7:38 PM
was named best supporting actor for his

work in Iris, Arthur Hiller was voted the
Jean Hersholt Humanitarian Award, and,
like Poitier, Robert Redford received an Honorary Oscar. It was also a night when Oscar
moved to a brand new home, the 3,300-seat
Kodak Theatre at Hollywood Boulevard and
Highland Avenue, the rst time since 1960
that the Oscars were actually presented in
Hollywood, rather than in Santa Monica
or downtown Los Angeles. Ironically, and
ttingly, the new theater brought Oscar full
circle in his septuagenarian years: the new
location was only one city block away from
the Hollywood Roosevelt Hotel, where the
very rst Academy Awards had been handed
out on May 16, 1929.
be s t s up p ort i n g a cto r : JIM BROADBENT as John Bayley

in Iris (Miramax; directed by Richard Eyre). Even if he had not
been voted best supporting actor of the year, Broadbent (above)
would still have been the years most conspicuous supporting
actor. As the master of ceremonies in Moulin Rouge, the daddy
in Bridget Joness Diary and the hubby of Iris, he spurred and
sparred on screen with three-fths of the years best actress contenders: Nicole Kidman, Rene Zellweger, and Judi Dench. His
portrayal of the latters frustrated, loving caretakerthe real-life
John Bayley, who, like his wife Iris Murdoch, was a writer of
noteshowed the horror and heartbreak of a man watching his
mate fade into the dark fog of Alzheimers.
b e s t a c t r e s s : H A L L E B E R R Y as Leticia Musgrove in Monsters Ball (Lions Gate Films; directed by Marc Forster). Berry
(above), who had earlier won an Emmy Award for playing the
late Dorothy Dandridge, the rst black woman nominated for
the best actress Academy Award, became the rst black woman
to win in that same Oscar category. It was a juicy role, that of a
contemporary Southern woman who loses her husband to death
row and her son to a hit-and-run accident but nds solace in an

interracial affair. At the podium on Oscar night, winner Berry
gave the years most tearful speech (More an aria than an
acceptance speech, wrote one critic), which acknowledged her
debt to such pioneering spirits as Dandridge, Lena Horne and
Oprah Winfrey.
355
be s t ac t or: DENZEL WASHINGTON as Det. Sgt. Alonzo

Harris in Training Day (Warner Bros.; directed by Antoine
Fuqua). No more Mister Nice Guy might have been Washingtons mantra during the making of Training Day, an intense
and violence-edged drama about a renegade cop apparently born
with ice water running through his veins. His courageous performance and casting against type paid off in Oscar gold: it brought
Washington (right) his second Academy Award but his rst win
in the best actor category, following his supporting performance
victory in 1989 for Glory. Riding shotgun with him in the lm
was Ethan Hawke, whose own performance as a rookie under
Washingtons corrupt wing was so good he was himself nominated as one of the years ve best supporting actors.
8/8/13 7:38 PM
Nominations 2001
* JI M BROAD BEN T in Iris, Mirage Enterprises, Robert

Fox/Scott Rudin Production, Miramax Films.
ET HAN HAW K E in Training Day, Training Day
Production, Warner Bros.
BEN K I NGSLEY in Sexy Beast, Sexy RPC Limited and
Kanzaman S.A. Production, Fox Searchlight.
IAN M CK ELLEN in The Lord of the Rings: The Fellowship
of the Ring, New Line Cinema and Wingnut Films
Production, New Line.
JON VOI G HT in Ali, Columbia Pictures Production,
Sony Pictures Releasing.
be s t d i re c t i n g: RON HOWARD for A Beautiful Mind

(Universal and DreamWorks; produced by Brian Grazer and
Howard). A lm director since 1977 with such popular successes
to his credit as Splash, Cocoon, and Apollo 13, the fellow formerly known as TVs Opie was working a long way from his days
as a child actor on The Andy Grifth Show when he attempted
to render onscreen the brilliant, if profoundly troubled, mind of
John Forbes Nash, Jr., the Princeton prof who, despite galloping
schizophrenia, earned a Nobel Prize in 1994. Howard began by
introducing Nash as a conspicuously idiosyncratic, tad-toodeeply-dedicated academician, played by Russell Crowe, and then
struck a profoundly dramatic chord as the bookworms illness
turned him nasty and neurotic.
B ES T P I CT U R E
* A BE A U TIFUL MIND, Universal Pictures and

Imagine Entertainment Production, Universal
and DreamWorks. Brian Grazer and Ron Howard,
Producers.
GO SF O R D P A R K , Sandcastle 5 in association with
Chicagolms and Medusa Film Production, USA
Films. Robert Altman, Bob Balaban and David Levy,
Producers.
IN THE BE D R O O M, Good Machine/GreeneStreet
Production, Miramax Films. Graham Leader, Ross Katz
and Todd Field, Producers.
THE L O R D O F THE RINGS: TH E FELLOWSHIP OF
THE R ING, New Line Cinema and Wingnut Films
Production, New Line. Peter Jackson, Fran Walsh and

Barrie M. Osborne, Producers.
MO U L IN R O UGE , 20th Century Fox Production, 20th
Century Fox. Martin Brown, Baz Luhrmann and Fred
Baron, Producers.
A CT O R
R US S E L L C R O W E in A Beautiful Mind, Universal
356
Pictures and Imagine Entertainment Production,

Universal and DreamWorks.
SE A N P E NN in I Am Sam, New Line Cinema/Bedford
Falls Company/Red Fish, Blue Fish Films Production,
New Line.
W IL L SMITH in Ali, Columbia Pictures Production,
* D E NZ E L W A SHING TON in Training Day, Training Day
TO M W IL KINS O N in In the Bedroom, Good Machine/
GreeneStreet Production, Miramax Films.
A CT RES S
* HA L L E BE R R Y in Monsters Ball, Monster Production,

Lions Gate Films.
JU D I D E NC H in Iris, Mirage Enterprises, Robert Fox/
Scott Rudin Production, Miramax Films.
NIC O L E KID MA N in Moulin Rouge, 20th Century Fox
Production, 20th Century Fox.
SIS S Y SP A C E K in In the Bedroom, Good Machine/
R E N E Z E L L W E GE R in Bridget Joness Diary, Working
Title Production, Miramax/Universal/StudioCanal.
MOULIN ROUGE (20th Century Fox; produced by Martin

Brown, Baz Luhrmann, and Fred Baron). Like John Hustons
1952 Moulin Rouge, which contended for the best picture Oscar
49 years earlier, the Baz Luhrmann Moulin of 2001 was a visual
stunner that won Academy Awards for its dazzling sets and ravishing costumes. Luhrmanns wife, Catherine Martin, had a hand in
both, collaborating on the art direction with set decorator Brigitte
Broch and the costumes with Angus Strathie. Right, the stars of the
lm, Nicole Kidman and Ewan McGregor, cavort among the ne
feathers and backdrops of Martins creations. The new Moulin
Rouge received eight nominations, one more than the 52 version.
* JEN N I FER CON N ELLY in A Beautiful Mind, Universal

Pictures and Imagine Entertainment Production,
Universal and DreamWorks.
HELEN M I RREN in Gosford Park, Sandcastle 5 in
association with Chicagolms and Medusa Film
Production, USA Films.
M AG G I E SM I T H in Gosford Park, Sandcastle 5 in
association with Chicagolms and Medusa Film
Production, USA Films.
M ARI SA T OM EI in In the Bedroom, Good Machine/
K AT E W I NSLET in Iris, Mirage Enterprises, Robert Fox/
Scott Rudin Production, Miramax Films.
M ON ST ER S BALL, Monster Production, Lions Gate
Films. Milo Addica and Will Rokos.
T HE ROY AL T EN EN B A U MS , Touchstone Pictures
Production, Buena Vista. Wes Anderson and Owen

Wilson.
AM LI E, UGC Images Production, Miramax Zo. Aline
Bonetto; Marie-Laure Valla.
G OSFORD P ARK , Sandcastle 5 in association with
Chicagolms and Medusa Film Production, USA Films.

Stephen Altman; Anna Pinnock.
HARRY P OT T ER AND T H E S O R C E R E R S S T O N E ,
Warner Bros. Ltd. Production, Warner Bros. Stuart

Craig; Stephenie McMillan.
T HE LORD OF T HE R I N G S : T H E F E L L O W S H I P O F
T HE RI NG, New Line Cinema and Wingnut Films
Production, New Line. Grant Major; Dan Hennah.

* M OU LI N ROU GE, 20th Century Fox Production, 20th
Century Fox. Catherine Martin; Brigitte Broch.
AM LI E, UGC Images Production, Miramax Zo. Bruno
Delbonnel.
BLACK HAW K D OW N , Revolution Studios Production,
Sony Pictures Releasing. Slawomir Idziak.

* T HE LORD OF T HE R I N G S : T H E F E L L O W S H I P O F
T HE RI N G , New Line Cinema and Wingnut Films
Production, New Line. Andrew Lesnie.
* A BEAU T I FU L M I ND , Universal Pictures and
Imagine Entertainment Production, Universal and
T HE M AN W HO W AS N T T H E R E , Working Title
DreamWorks. Ron Howard.
Production, USA Films. Roger Deakins.
BLACK HAW K D OW N, Revolution Studios Production,
M OU LI N ROU G E, 20th Century Fox Production, 20th
Sony Pictures Releasing. Ridley Scott.
Century Fox. Donald M. McAlpine.
GOSFORD P ARK , Sandcastle 5 in association with
Chicagolms and Medusa Film Production, USA Films. C O S TUM E D ESIGN
THE AFFAIR OF THE NECKLACE, Alcon Entertainment
Robert Altman.
Production, Warner Bros. Milena Canonero.
T HE LORD OF T HE RI N G S: T HE FELLOW SHI P OF
G OSFORD P ARK , Sandcastle 5 in association with
Production, New Line. Peter Jackson.
Jenny Beavan.
M U LHOLLAND D RI VE, Les Films Alain Sarde/
Asymmetrical Production, Universal and StudioCanal.
Warner Bros. Ltd. Production, Warner Bros. Judianna
David Lynch.
Makovsky.
D I R E C TI N G
WR I TI N G
* A BEAU T I FU L M I ND , Universal Pictures and

DreamWorks. Akiva Goldsman.
GHOST W ORLD , Mr. Mudd Production, United Artists
through MGM. Daniel Clowes and Terry Zwigoff.
IN T HE BED ROOM , Good Machine/GreeneStreet
Production, Miramax Films. Rob Festinger and Todd
Field.
T HE LORD OF T HE RI N G S: T HE FELLOW SHI P OF
Production, New Line. Fran Walsh, Philippa Boyens

and Peter Jackson.
SHREK , PDI/DreamWorks Production, DreamWorks.
Ted Elliott, Terry Rossio, Joe Stillman and Roger S.H.
Schulman.
AM LI E, UGC Images Production, Miramax Zo.
Production, New Line. Ngila Dickson and Richard

Taylor.
* M OU LI N ROU GE, 20th Century Fox Production, 20th
Century Fox. Catherine Martin and Angus Strathie.
F I LM E D I TI NG
A BEAU T I FU L M I N D, Universal Pictures and

DreamWorks. Mike Hill and Dan Hanley.
* BLACK HAW K D OWN , Revolution Studios Production,
Sony Pictures Releasing. Pietro Scalia.
Production, New Line. John Gilbert.
M EM EN T O, Team Todd Production, Newmarket Films.
Dody Dorn.
Century Fox. Jill Bilcock.
M A KE UP
Guillaume Laurant and Jean-Pierre Jeunet.

* GOSFORD P ARK , Sandcastle 5 in association with
DreamWorks. Greg Cannom and Colleen Callaghan.
Julian Fellowes.
M EM ENT O, Team Todd Production, Newmarket Films.
Christopher Nolan and Jonathan Nolan.
Production, New Line. Peter Owen and Richard Taylor.
Century Fox. Maurizio Silvi and Aldo Signoretti.
M US I C
A. I . ART I FI CI AL I N T E L L I G E N C E , Warner Bros.
Pictures and DreamWorks Pictures Production,

Warner Bros. John Williams.
DreamWorks. James Horner.
Warner Bros. Ltd. Production, Warner Bros. John

Williams.
Production, New Line. Howard Shore.
M ON ST ERS, I N C. , Walt Disney Pictures/Pixar
Animation Studios Production, Buena Vista. Randy
Newman.
* I F I D I D N T HAVE YO U (Monsters, Inc., Walt Disney

Pictures/Pixar Animation Studios Production, Buena
Vista). Music and Lyric by Randy Newman.
M AY I T BE (The Lord of the Rings: The Fellowship of
the Ring, New Line Cinema and Wingnut Films
Production, New Line). Music and Lyric by Enya,
Nicky Ryan and Roma Ryan.
8/8/13 7:38 PM
THE R E Y O U L L BE (Pearl Harbor, Touchstone Pictures/
Jerry Bruckheimer Films Production, Buena Vista).

Music and Lyric by Diane Warren.
U NTIL (Kate & Leopold, Konrad Pictures Production,
Miramax Films). Music and Lyric by Sting.
VA NIL L A SKY (Vanilla Sky, Cruise/Wagner-Vinyl Films
Production, Paramount). Music and Lyric by Paul
McCartney.
S O U ND
A M L IE , UGC Images Production, Miramax Zo.
Vincent Arnardi, Guillaume Leriche and Jean

Umansky.
* BL A C K HA W K D OWN, Revolution Studios Production,
Sony Pictures Releasing. Michael Minkler, Myron
Nettinga and Chris Munro.
THE L O R D O F THE RINGS: TH E FELLOWSHIP
O F THE R ING, New Line Cinema and Wingnut
Films Production, New Line. Christopher Boyes,

Michael Semanick, Gethin Creagh and Hammond
Peek.
MO U L IN R O UGE, 20th Century Fox Production,
20th Century Fox. Andy Nelson, Anna Behlmer,
Roger Savage and Guntis Sics.
P E A R L HA R BO R , Touchstone Pictures/Jerry
Bruckheimer Films Production, Buena Vista. Kevin
OConnell, Greg P. Russell and Peter J. Devlin.
MO NSTE R S , INC. , Walt Disney Pictures/Pixar
Animation Studios Production, Buena Vista.

Gary Rydstrom and Michael Silvers.
* P E A R L HA R BO R , Touchstone Pictures/Jerry
Bruckheimer Films Production, Buena Vista.
George Watters II and Christopher Boyes.
A .I. A R TIFIC IA L INTELLIGENCE, Warner Bros.
Pictures and DreamWorks Pictures Production,

Warner Bros. Dennis Muren, Scott Farrar, Stan
Winston and Michael Lantieri.
* THE L O R D O F THE RINGS: TH E FELLOWSHIP OF

THE R ING, New Line Cinema and Wingnut Films
Production, New Line. Jim Rygiel, Randall William
Cook, Richard Taylor and Mark Stetson.
P E A R L HA R BO R , Touchstone Pictures/Jerry
Bruckheimer Films Production, Buena Vista. Eric
Brevig, John Frazier, Ed Hirsh and Ben Snow.
S H O RT FI L M S
(an i m at e d )
FIF TY P E R C E NT G REY, Zanita Films Production.
Ruairi Robinson and Seamus Byrne.

* F O R THE BIR D S , Pixar Animation Studios Production.
Ralph Eggleston.
GIVE UP Y E R A UL SINS, Irish Film Board/Radio Teles
Eireann/Arts Council/Brown Bag Films Production.
Cathal Gaffney and Darragh OConnell.
STR A NGE INVA DERS, National Film Board of Canada
Production. Cordell Barker.
STUBBL E TR O UB LE, Calabash Animation Production.
Joseph E. Merideth.
(l i ve ac t i on )
* THE A C C O UNTANT, Ginny Mule Pictures Production.

Ray McKinnon and Lisa Blount.
C O P Y S HO P , Virgil Widrich/Multimediaproduktions
G.m.b.H. Production. Virgil Widrich.
GR E GO R S GR E ATEST INV ENTION, Sdwest Film
Filmproduktion. Johannes Kiefer.
A MA N THING (MESKA SPRAWA) , Polish National
Film School Production. Slawomir Fabicki and
Bogumil Godfrejow.
SP E E D F O R THE SPIANS, Lester Films Ltd. Production.
Kalman Apple and Shameela Bakhsh.
D O CU M EN T AR Y
(f e at ure s )
be s t a n ima t e d fe a t u r e : SHREK (DreamWorks; produced

by Aron Warner). The Academys historic admiration for animated features had been evidenced by its special Oscars for the
advances represented by 1938s Snow White, 1988s Who Framed
Roger Rabbit and 1995s Toy Story, as well as by the 1991 best
picture nomination for Beauty and the Beast. But the Academy
Board had been dissuaded from establishing a regular category
for animated features by the sparse toon output: for most of the
A N I M A TE D F E A TUR E F I LM
J I M M Y NEU T RON: BOY G EN I U S, O Entertainment
Production, Paramount and Nickelodeon Movies.

Steve Oedekerk and John A. Davis.
M ON ST ERS, I N C. , Walt Disney Pictures/Pixar
Animation Studios Production, Buena Vista. Pete
Docter and John Lasseter.
* SHREK , PDI/DreamWorks Production, DreamWorks.
Aron Warner.
AM LI E (France).
ELLI NG (Norway).
LAG AAN (India).
* NO M AN S LAND (Bosnia and Herzegovina).
SON OF T HE BRI D E (Argentina).
T O T HE AM ERI CAN SOCI ET Y OF

CI NEM AT OG RAP HERS ( ASC) for the continued
publication of the American Cinematographer Manual.

(Award of CommendationSpecial Award Plaque)
T O RAY FEEN EY in appreciation for outstanding service
and dedication in upholding the high standards of the
Academy of Motion Picture Arts and Sciences. (John
A. Bonner Medal of Commendation)
A R TISTS A ND O RPHANS: A TRUE DRAMA, Not by
Chance Production. Lianne Klapper McNally.
SING! , KCET/Hollywood and American Film
Foundation Production. Freida Lee Mock and Jessica

Sanders.
* THO TH, Amateur Rabbit Production. Sarah Kernochan
and Lynn Appelle.
engineering excellence and the impact on the motion

picture industry of the Imagica 65/35 Multi-Format
Optical Printer.
ST EVEN GERLACH , G R E G O R Y F A R R E L L and
CHRI ST I AN LU R I N for the design, engineering
and implementation of Kodak Panchromatic Sound
Recording Film.
P AU L J . CON ST AN T I N E and PE T E R M.
CON ST AN T I N E for the design and development of
the CELCO Digital Film Recorder products.
Remote AquaCam, an underwater camera housing

system for use in motion pictures.
J ORD AN K LEI N for his pioneering efforts in the
development and application of underwater camera
housings for motion pictures.
BERNARD M . W ER N E R and W I L L I A M G E L O W for
the engineering and design of ltered line arrays and
screen spreading compensation as applied to motion
picture loudspeaker systems.
T OM LI N SON HOL MA N for the research and systems
integration resulting in the improvement of motion
picture loudspeaker systems.
G EOFF J ACK SON and R O G E R W O O DB U R N for their
DMS 120S Camera Motor.
T HOM AS M AJ OR B A R R O N for the overall concept and
design; CHAS SM I T H for the structural engineering;
and G ORD ON S E I T Z for the mechanical engineering
of the Bulldog Motion Control Camera Crane.
L A L E E S K IN: THE LEGACY OF COTTON, Maysles
RCI-Color Film Restoration Process.
M AK OT O T SU K ADA , S H O J I K A N E K O , and the

T ECHN I CAL ST A F F O F I MA G I C A C O R PO R A T I O N ,
and D AI J I RO FU J I E of Nikon Corporation for the
accomplishments as an artist and as a human being.

(Statuette)
T O ROBERT RED FORD , actor, director, producer,
creator of Sundance, inspiration to independent and
innovative lmmakers everywhere. (Statuette)
T O RU N E ERI CSON for his pioneering development
and thirty years of dedication to the Super16mm format for motion pictures. (Award of
T O ART HU R HI LLER
Films Production. Susan Froemke and Deborah

Dickson.
* MUR D E R O N A SUNDAY MORNING, Maha
Productions/Path Doc/France 2/HBO Production.
Jean-Xavier de Lestrade and Denis Poncet.
P R O MIS E S, Promises Film Project Production. Justine
Shapiro and B. Z. Goldberg.
W A R P HO TO GR APH ER, Christian Frei
Filmproductions, Films Transit. Christian Frei.
P ET ER K U RAN for the invention, and S E A N

COU GHLI N , J O S E PH A . O L I V I E R , and W I L L I A M
CONNER for the engineering and development, of the
T O SI D NEY P OI T I ER, in recognition of his remarkable
C HIL D R E N U ND ERGROUND, Belzberg Films
Production. Edet Belzberg.
Academys history fewer than ve animated features were released

in a year, and a category in which every eligible contender became
a nominee was unappealing. By the turn of the new century,
though, enough cel, clay animation and computer-animated
pictures were being released each year to justify a new category.
Shrek, a fairy-tale spoof about a troll and his donkey sidekick
trudging to the rescue of a beautiful princess, became the categorys
rst award recipient.
T O ED M U N D M . D I G I U LI O
A WA R D S
J OHN M . EARGLE, D . B. D ON K EELE and
M ARK E. ENGEBRET SON for the concept, design
and engineering of the modern constant-directivity,

direct radiator style motion picture loudspeaker
systems.
I AI N N EI L for the concept and optical design and AL
SAI K I for the mechanical design of the Panavision
Primo Macro Zoom Lens (PMZ).
FRANZ K RAU S, J OHANNES ST EU RER and
W OLFG AN G RI ED EL for the design and development
of the ARRILASER Film Recorder.
P ET E ROM AN O for the design and development of the
357
J OHN R. AN D ERS O N , J I M H O U R I H A N , C A R Y
P HI LLI P S and SE B A S T I A N MA R I N O for the
development of the ILM Creature Dynamics System.

ST EVE SU LLI VAN and E R I C R . L . S C H A F E R for
the development of the ILM Motion and Structure
Recovery System (MARS).
CARL LU D W I G and J O H N M. C O N S T A N T I N E ,
J R. , for their contributions to CELCO Digital Film
Recorder products.
BI LL SP I T Z AK , P A U L V A N C A MP, J O N A T H A N
EGST AD , and P R I C E PE T H E L for their pioneering
effort on the NUKE-2D Compositing Software.
D R. LANCE J . W I L L I A M S for his pioneering inuence
in the eld of computer-generated animation and

effects for motion pictures.
D R. U W E SASSEN B E R G and R O L F S C H N E I DE R for
the development of 3D Equalizer, an advanced and
robust camera and object match-moving system.
D R. GARLAND ST E R N for the concept and
implementation of the Cel Paint Software System.
M I C ROD GERS and MA T T S W E E N E Y for the concept,
design and realization of the Mic Rig.
8/8/13 7:38 PM
2002
The Seventy-Fifth Year
he rst seventy-ve years of the

Academy couldnt have ended on a
more dramatic note: ve days before
the awards were scheduled to be handed
out at the Kodak Theatre in Hollywood, on
March 23, 2003, the United States ofcially
declared war on Iraq, with American and
British troops marching toward Baghdad. It
was a move that stirred enormous controversy worldwide, and, initially, Academy
ofcials considered postponing the award
ceremony altogether. As the clock ticked
on, however, it was decided to proceed as
originally planned, holding open the possibility of postponement if necessary. If the
show were to go on, it would be under highly
modied conditionswith no preshow red
carpet festivities, scant press coverage, and a
minimum of photographers and hooplain
keeping with the seriousness of the national
situation. For the next few days planning
progressed, but everything stayed exible.
The possibility existed that the ceremonies
would be held in the Kodak, but that a portion of them would be lost to the viewing
public owing to cutaways for war news
coverage. It made for the most sobering
Oscar event since Hollywood had handed
out Oscars sixty-one years before, twelve
weeks after the United States had entered
World War II. It turned out nonetheless to
be a remarkably good show, shorn of much
of the usual razzle-dazzle but crisp, relevant,
respectful, and swift.
Chicago, which had been nominated for
a hefty thirteen awards, won six of them,
including best picture and best support-
ing actress (Catherine Zeta-Jones). Its

closest runner-up was The Pianist, with
three awards, including best actor Adrien
Brody and best director Roman Polanski.
The Lord of the Rings: The Two Towers and
Frida received two awards each; eight other
feature lms received one award. Nicole
Kidman was named the years best actress
in The Hours; Chris Cooper in Adaptation
was chosen as best supporting actor. The
most neglected lm of the night was Martin
Scorseses The Gangs of New York: nominated for ten awards, it failed to pick up any
of them.
It was a year that set several imposing
records. Meryl Streep, receiving her thirteenth Oscar nomination (this time in the
best supporting actress category, for Adaptation), became the most nominated performer in Oscar history, topping Katharine
Hepburns twelve nominations (although
all of Hepburns had been for lead performances); Jack Nicholson, nominated as
best actor for About Schmidt, tied Hepburns
twelve, becoming the most nominated male
performer to date. Julianne Moore, nominated both as best actress (for Far from
Heaven) and best supporting actress (for The
Hours), became one of nine in the exclusive
club of actors nominated for awards in two
acting categories in the same Oscar year, the
rst being Fay Bainter in 1938, the most recent before Moore being Emma Thompson
and Holly Hunter in 1993.
Steve Martin was the evenings host, Bill
Conti the musical director, and the telecast
was produced by Gil Cates and directed
358
be s t p i c t ure : CHICAGO (Miramax; Producer Circle Co.,
Zadan/Meron; directed by Rob Marshall) and b es t s u ppo r tin g ac t re s s : CATHERINE ZETA- JONES as Velma Kelly in
Chicago. Broadway producer Martin Richards had been trying to spearhead a lm version of Bob Fosses 1975 Broadway
musical Chicago for twenty-seven years; his initial plan had
been for Fosse himself to direct, with Liza Minnelli and Goldie
Hawn as the storys two sassy leading ladies. But mountains of
roadblocks, including the director-choreographers death in 1987,
squelched that plan; later efforts by Richards to produce it with
other star combinations got no further, and, at several turns, the
project looked to be dead. But Richards persevered unrelentingly,
and what nally did emerge was bright, noisy, tantalizing, and
spirited, and found great favor with Academy voters, taking
home statuettes for best picture, art direction, costume design,
lm editing, and sound, and one for Zeta-Jones as a singingdancing cabaret star with a passion for publicity, murder, and
all that jazz. There had been two earlier, nonmusical movie versions based on the same source material, the 1926 play Chicago,
written by Maurine Dallas Watkins. One was a 1927 silent with
Phyllis Haver, the other a 1942 sound version called Roxie Hart,
with Ginger Rogers in the title role, which had been a big success.
8/8/13 7:38 PM
by Louis J. Horvitz. Musical numbers were

limited to nominated songs, one of them
a spirited version of John Kander and Fred
Ebbs I Move On from Chicago, delivered
by Queen Latifah and an eight-monthspregnant Catherine Zeta-Jones. A high
point of the night for many came near the
end of the evening, when two-time Oscar
winner Olivia de Havilland introduced a
stage full of fty-nine former acting winners, from A as in Julie Andrews (1964)
to W as in Teresa Wright (1942), including nonagenarian Luise Rainer, the rst
performer to win Oscars back to back (in
1936 and 1937).
The night was not without its lightning.
Although even the most politically outspoken of stars participating in the show
steered clear of specically criticizing the
war, a number did express a hope for peace.
Outside, some 3,000 demonstrators gathered near the Kodak Theatre to protest
and, in smaller numbers, supportthe
military action. When Bowling for Columbine was named best documentary feature,
its producer-director Michael Moore was
initially greeted with applause, then boos
when he began a blistering speech directed
at U.S. President George W. Bush. Soon after, Adrien Brody, clutching his Pianist prize,
gave an impromptu four-minute thank-you
speech, which included an impassioned and
touching prayer for peace. It gave the evening an unusually strong emotional nish
and brought Brody two separate standing
ovations.
be s t a ct r e s s : NICOLE KIDMAN as Virginia Woolf in The

Hours (Paramount and Miramax; directed by Stephen Daldry).
One of the years most admired and arresting dramas, this screen
version of Michael Cunninghams Pulitzer Prizewinning novel
also had an unusual structure: three stories set in different time
periods, showing Woolan themes in each of them. With Meryl
Streep and Julianne Moore as the other two women, it offered
acting tours de force from all three performers, especially Kidman
(above), virtually unrecognizable behind a long false nose created
by prosthetic makeup artists Conor OSullivan and Jo Allen to
make Kidman look like the brilliant, real-life Woolf. Kidman, for
the record, is the rst actress to win an Oscar for a performance
with a false beak, although several actors, including Jos Ferrer,
Lee Marvin, and Robert De Niro, have done so.
best documentary feature: BOWLING FOR

(United Artists and Alliance Atlantis). Written
and directed by Michael Moore (left), this 120-minute documentary also features Moore on camera, mixed with archival and new
footage of George W. Bush, Dick Cheney, Bill Clinton, Charlton
Heston, and others, as Moore takes a blistering look at what he
sees as Americas passion for violence, the governments continued promotion of world unrest, and an acceleration of homicides.
COLUMBINE
359
be s t a ct or : ADRIEN BRODY as Wladyslaw Szpilman in
The Pianist (Focus Features; directed by Roman Polanski).
Brody was unknown to most moviegoers when The Pianist was
initially released; soon after, at age twenty-nine, he became the
youngest performer to win a leading actor Oscar, a year younger
than thirty-year-old Richard Dreyfuss when he won in 1977
for The Goodbye Girl. Already slim, Brody shed some thirty
pounds to play the real-life Szpilman, a Polish-Jewish musician
determined to survive the destruction of the Warsaw Ghetto of
World War II; he also learned to play Chopin prociently and
gave a lm performance that was at once delicate, powerful, rich,
and unforgettable.
8/8/13 7:38 PM
B E S T PI C TUR E
Nominations 2002
* CHI CAG O, Producer Circle Co., Zadan/Meron

Production, Miramax. Martin Richards, Producer.
GANGS OF N EW Y ORK , Alberto Grimaldi Production,
Miramax. Alberto Grimaldi and Harvey Weinstein,
Producers.
T HE HOU RS, Scott Rudin/Robert Fox Production,
Paramount & Miramax. Scott Rudin and Robert Fox,
Producers.
T HE LORD OF T HE RI N G S: T HE T W O T OW ERS,
New Line Cinema and Wingnut Films Production,

New Line. Barrie M. Osborne, Fran Walsh and Peter
Jackson, Producers.
T HE P I AN I ST , R.P. Productions, Heritage Films, Studio
Babelsberg, Runtime LTD. Production, Focus Features.
Roman Polanski, Robert Benmussa and Alain Sarde,
Producers.
A C TO R
* AD RI EN BROD Y in The Pianist, R.P. Productions,

Heritage Films, Studio Babelsberg, Runtime LTD.
Production, Focus Features.
NI COLAS CAG E in Adaptation, Columbia Pictures/
Intermedia Films Production, Sony Pictures Releasing.
M I CHAEL CAI N E in The Quiet American, Mirage
Enterprises/Saga Pictures/IMF Production, Miramax
and Intermedia.
D AN I EL D AY - LEW I S in Gangs of New York, Alberto
Grimaldi Production, Miramax.
JACK NI CHOLSON in About Schmidt, Michael Besman/
Harry Gittes Production, New Line.
A C TR E S S
SALM A HAY EK in Frida, Ventanarosa in association
It had been exactly forty years since the

seventy-year-old OToole rst came to prominence in 1962s
Lawrence of Arabia, a lm that brought him the rst of seven
Academy Award nominations but no statuette of his own. The
Academys Board of Governors decided it was high time to make
up for the oversight, voting OToole an Honorary Oscar in 2002.
Its an honor OToole initially rejected (Since Im still in the
game, I would rather try to win one on my own, he said), but
then, after second thoughts, he agreed to accept. When Meryl
Streep handed him the statuette, he said, I have my very own
Oscar now, to be with me till death do us part, adding, I wish
the Academy to know I am as delighted as I am honored, and I
am honored. OToole received yet another best actor nomination
in 2006, for Venus.
PETER OTOOLE:
Harry Gittes Production, New Line.
JU LI ANNE M OORE in The Hours, Scott Rudin/Robert
Fox Production, Paramount & Miramax.
Q U EEN LAT I FAH in Chicago, Producer Circle Co.,
Zadan/Meron Production, Miramax.
M ERY L ST REEP in Adaptation, Columbia Pictures/

* CAT HERI N E Z ET A- J ONES in Chicago, Producer Circle
Co., Zadan/Meron Production, Miramax.
D I R E C TI N G
CHI CAG O, Producer Circle Co., Zadan/Meron
Production, Miramax. Rob Marshall.

GANGS OF N EW Y ORK , Alberto Grimaldi Production,
Miramax. Martin Scorsese.
Paramount & Miramax. Stephen Daldry.
* T HE P I AN I ST , R.P. Productions, Heritage Films, Studio
Roman Polanski.
T ALK T O HER, El Deseo S.A. Production, Sony Pictures
Classics. Pedro Almodvar.
WR I TI N G
(a da p t e d s cr e e n p la y)
ABOU T A BOY , Tribeca/Working Title Production,
Universal. Peter Hedges, Chris Weitz and Paul Weitz.

AD AP T AT I ON, Columbia Pictures/Intermedia Films
Production, Sony Pictures Releasing. Charlie Kaufman
and Donald Kaufman.
CHI CAG O, Producer Circle Co., Zadan/Meron
Production, Miramax. Bill Condon.
Paramount & Miramax. David Hare.
* T HE P I AN I ST , R.P. Productions, Heritage Films, Studio
Ronald Harwood.
Production, Focus Features. Todd Haynes.
G AN G S OF NEW Y O R K , Alberto Grimaldi Production,
Miramax. Jay Cocks, Steve Zaillian and Kenneth

Lonergan.
M Y BI G FAT G REEK W E DDI N G , Playtone Production,
IFC/Gold Circle Films. Nia Vardalos.
* T ALK T O HER, El Deseo S.A. Production, Sony Pictures
Classics. Pedro Almodvar.
Y T U M AM T AM BI N , Producciones Anhelo
Production, IFC Films. Carlos Cuarn and Alfonso
Cuarn.

Production, Miramax. John Myhre; Gordon Sim.
FRI D A, Ventanarosa in association with Lions Gate
Films Production, Miramax. Felipe Fernandez del Paso;
Hania Robledo.
Miramax. Dante Ferretti; Francesca Lo Schiavo.
T HE LORD OF T HE R I N G S : T H E T W O T O W E R S ,

New Line. Grant Major; Dan Hennah and Alan Lee.
ROAD T O P ERD I T I O N , Zanuck Company Production,
DreamWorks and 20th Century Fox. Dennis Gassner;
Nancy Haigh.
CHI CAGO, Producer Circle Co., Zadan/Meron
Production, Miramax. Dion Beebe.
FAR FROM HEAVEN , Vulcan, Section Eight, Killer Films
C O S TUM E D ESIGN

Production, Miramax. Colleen Atwood.
* CHRI S COOP ER in Adaptation, Columbia Pictures/
FRI D A, Ventanarosa in association with Lions Gate
ED HARRI S in The Hours, Scott Rudin/Robert Fox
Films Production, Miramax. Julie Weiss.
Production, Paramount & Miramax.
P AU L N EW M AN in Road to Perdition, Zanuck Company
Miramax. Sandy Powell.
Production, DreamWorks and 20th Century Fox.
JOHN C. REI LLY in Chicago, Producer Circle Co.,
Paramount & Miramax. Ann Roth.
T HE P I ANI ST , R.P. Productions, Heritage Films, Studio
CHRI ST OP HER W ALK EN in Catch Me If You Can,
Kemp Company and Splendid Pictures Production, a
Anna Sheppard.
Parkes/MacDonald Production, DreamWorks.
K AT HY BAT ES in About Schmidt, Michael Besman/
360
with Lions Gate Films Production, Miramax.

Production, Focus Features. Edward Lachman.
* NI COLE K I D M AN in The Hours, Scott Rudin/Robert
Fox Production, Paramount & Miramax.
Miramax. Michael Ballhaus.
D I ANE LANE in Unfaithful, Fox 2000 Pictures and
Regency Enterprises Production, 20th Century Fox.
JU LI ANNE M OORE in Far from Heaven, Vulcan, Section
Pawel Edelman.
Eight, Killer Films Production, Focus Features.
* ROAD T O P ERD I T I O N , Zanuck Company Production,
RENE Z ELLW EGER in Chicago, Producer Circle Co.,
DreamWorks and 20th Century Fox. Conrad L. Hall.
be s t d i re c t i n g : ROMAN POLANSKI for The Pianist
(Focus Features). Through the years, several Oscar-winning
directors have not been present to pick up their Oscar statues in
person; William Wyler, for one, was in an airplane on a World
War II military mission when he won the Oscar for directing
1942s Mrs. Miniver; Woody Allen was playing clarinet in a
favorite New York haunt when his name was announced in
Hollywood for his directing work on 1977s Annie Hall. When
Polanski was announced as the winner for 2002, he was at his
home in France, watching the show live on TV with his wife,
actress Emmanuelle Seigner. He has been in exile in Europe since
1978, when he left the United States to avoid being sentenced in
a Los Angeles legal case. But his award for The Pianist brought
him, in absentia, one of the evenings nine standing ovations.
F I LM E D I TI NG

Production, Miramax. Martin Walsh.
Miramax. Thelma Schoonmaker.
Paramount & Miramax. Peter Boyle.
T HE LORD OF T HE R I N G S : T H E T W O T O W E R S ,

New Line. Michael Horton.
Herv de Luze.
M US I C
CAT CH M E I F Y OU C A N , Kemp Company and
Splendid Pictures Production, a Parkes/MacDonald

Production, DreamWorks. John Williams.
Production, Focus Features. Elmer Bernstein.
* FRI D A, Ventanarosa in association with Lions Gate
Films Production, Miramax. Elliot Goldenthal.
Paramount & Miramax. Philip Glass.
ROAD TO PERDITION, Zanuck Company Production,
DreamWorks and 20th Century Fox. Thomas Newman.
BU RN I T BLU E (Frida, Ventanarosa in association with
Lions Gate Films Production, Miramax). Music by

Elliot Goldenthal; Lyric by Julie Taymor.
FAT HER AN D D AU G H T E R (The Wild Thornberrys
Movie, Klasky Csupo Production, Paramount and
Nickelodeon Movies). Music and Lyric by Paul Simon.
T HE HAND S T HAT B U I L T A M E R I C A (Gangs of New
York, Alberto Grimaldi Production, Miramax). Music
and Lyric by Bono, The Edge, Adam Clayton and Larry
Mullen.
I M OVE ON (Chicago, Producer Circle Co., Zadan/
Meron Production, Miramax). Music by John Kander;
Lyric by Fred Ebb.
* LOSE Y OU RSELF (8 Mile, Universal Pictures and
Imagine Entertainment Production, Universal). Music
by Eminem, Jeff Bass and Luis Resto; Lyric by Eminem.
8/8/13 7:38 PM
S O U ND
* C HIC A GO , Producer Circle Co., Zadan/Meron

Production, Miramax. Michael Minkler, Dominick
Tavella and David Lee.
GA NGS O F NE W YORK, Alberto Grimaldi Production,
Miramax. Tom Fleischman, Eugene Gearty and Ivan
Sharrock.
THE L O R D O F THE RINGS: TH E TWO TOWERS,

New Line. Christopher Boyes, Michael Semanick,
Michael Hedges and Hammond Peek.
R O A D TO P E R D I TION, Zanuck Company Production,
DreamWorks and 20th Century Fox. Scott Millan, Bob
Beemer and John Patrick Pritchett.
SP ID E R - MA N, Columbia Pictures Production, Sony
Pictures Releasing. Kevin OConnell, Greg P. Russell
and Ed Novick.
* THE L O R D O F THE RINGS: TH E TWO TOWERS,

New Line. Ethan Van der Ryn and Michael Hopkins.
MINO R ITY R E P ORT, 20th Century Fox and
DreamWorks Pictures Production, 20th Century
Fox and DreamWorks. Richard Hymns and Gary
Rydstrom.
R O A D TO P E R D I TION, Zanuck Company Production,
DreamWorks and 20th Century Fox. Scott A. Hecker.
* THE L O R D O F THE RINGS: TH E TWO TOWERS,

New Line. Jim Rygiel, Joe Letteri, Randall William
Cook and Alex Funke.
SP ID E R - MA N, Columbia Pictures Production, Sony
Pictures Releasing. John Dykstra, Scott Stokdyk,
Anthony LaMolinara and John Frazier.
best animated feature: SPIRITED AWAY (Buena Vista; directed by Hayao Miyazaki). For the second year, the Academy honored
animated features via their own separate category; this years champion was a dubbed-into-English version of Hayao Miyazakis Japanesemade Sen and the Mysterious Disappearance of Chihiro, a strikingly creative tale of a dispirited ten-year-old girl who, like Alice in
Wonderland, inadvertently wanders into a magical world ruled by monsters, witches and trickery. It is, in the words of one critic, a fairy
tale that can be thoroughly enjoyed by nippers but will be most appreciated by grown-ups who appreciate true wit and imagination.
T HE COLLECT OR OF BED FORD ST REET , An Alice
Elliott Production. Alice Elliott.
M I G HT Y T I M ES: T HE LEGACY OF ROSA P ARK S, Tell
the Truth Pictures Production. Robert Hudson and

Bobby Houston.
* T W I N T OW ERS, Wolf Films/Shape Pictures/Universal/
Mopo Entertainment Production. Bill Guttentag and
Robert David Port.
M A K EU P
W HY CAN T W E BE A FAM I LY AGAI N ? , Public Policy
* F R ID A , Ventanarosa in association with Lions Gate
Production. Roger Weisberg and Murray Nossel.
Films Production, Miramax. John Jackson and Beatrice
De Alba.
A
N I M A TE D F E A TUR E F I LM
THE TIME MA C HINE, Parkes/MacDonald Production,
I CE AG E, 20th Century Fox Production, 20th Century
DreamWorks and Warner Bros. John M. Elliott, Jr.,
Fox. Chris Wedge.
and Barbara Lorenz.
LI LO & ST I T CH, Walt Disney Pictures Production,
Buena Vista. Chris Sanders.
S H O RT FI L M S
STA R W A R S E P ISODE II ATTACK OF THE CLONES,
Lucaslm, Ltd., Production, 20th Century Fox. Rob

Coleman, Pablo Helman, John Knoll and Ben Snow.
(an i m at e d )
THE C A THE D R A L, Platige Image Production. Tomek
Baginski.
* THE C HUBBC HUB B S!, Sony Pictures Imageworks

Production, Columbia. Eric Armstrong.
D A S R A D , Filmakademie Baden-Wrttemberg GmbH
Production. Chris Stenner and Heidi Wittlinger.
MIK E S NE W C A R, Pixar Animation Studios
Production, Buena Vista. Pete Docter and Roger
Gould.
MT. HE A D , Yamamura Animation Production. Koji
Yamamura.
(l i ve ac t i on )
FA IT D HIVE R , Another Dimension of an Idea
Production. Dirk Belin and Anja Daelemans.
I L L W A IT FO R TH E NEXT ONE . . . (JATTENDRAI

L E SUIVA NT . . . ), La Bote Production. Philippe
Orreindy and Thomas Gaudin.

INJA (D O G), Australian Film TV & Radio School
(AFTRS) Production. Steven Pasvolsky and Joe
Weatherstone.
JO HNNY FL Y NTON, Red Corner Production. Lexi
Alexander and Alexander Buono.
* THIS C HA R MING MAN ( DER ER EN YNDIG
MA ND ), M&M Productions for Novellelm
Production. Martin Strange-Hansen and Mie
Andreasen.
D O CU M EN T AR Y
(f e at ure s )
* BO W L ING F O R COLUMB INE, Salter Street Films/

VIF 2/Dog Eat Dog Films Production, United Artists
and Alliance Atlantis. Michael Moore and Michael
Donovan.
D A U GHTE R FR OM DANANG, Interfaze Educational
Production, Balcony Releasing in association with
Cowboy Pictures. Gail Dolgin and Vicente Franco.
P R IS O NE R O F P ARADISE, Mdia Vrit/Caf
Production, Alliance Atlantis. Malcolm Clarke and
Stuart Sender.
SP E L L BO UND , Blitz/Welch Production, THINKFilm.
Jeffrey Blitz and Sean Welch.
W INGE D MIGR ATION, Galate Films/France 2
Cinma/France 3 Cinma/Les Productions de la
Guville/Bac Films/Pandora Film/Les Productions
JMH/Wanda Vision/Eyescreen Production, Sony
Pictures Classics. Jacques Perrin.
SP I RI T : ST ALLI ON OF T HE CI M ARRON ,
DreamWorks Animation LLC, DreamWorks Pictures

Production, DreamWorks. Jeffrey Katzenberg.
* SP I RI T ED AW AY , Studio Ghibli Production, Buena
Vista. Hayao Miyazaki.
T REASU RE P LANET , Walt Disney Pictures Production,
Buena Vista. Ron Clements.
EL CRI M EN D EL P AD RE AM ARO (Mexico).

HERO (Peoples Republic of China).
T HE M AN W I T HOU T A P AST (Finland).
* NOW HERE I N AFRI CA (Germany).
Z U S & Z O (The Netherlands).

T O P ET ER O T OOLE, whose remarkable talents
have provided cinema history with some of its most

memorable characters. (Statuette)
T O CU RT R. BEHLM ER and RI CHARD B. G LI CK M AN
for outstanding service and dedication in upholding
the high standards of the Academy. (John A. Bonner
Medal of Commendation)

G LEN N SAND ERS and H O W A R D S T A R K of Zaxcom
for the concept, design and engineering of the portable

Deva Digital Audio Disk Recorder.
M ARK ELEND T , P A U L H . B R E S L I N , G R E G
HERM AN OVI C and K I M DA V I DS O N for their
continued development of the procedural modeling

and animation components of their Prisms program,
as exemplied in the Houdini software package.
D R. LESLI E GU T I E R R E Z, DI A N E E . K E S T N E R , J A ME S
M ERRI LL and D A V I D N I K L E W I C Z for the design
and development of the Kodak Vision Premier Color

Print Film, 2393.
D ED O W EI G ERT for the concept, DR . DE PU J I N for
the optical calculations, and F R A N Z PE T T E R S for the
mechanical construction of the Dedolight 400D.
D I CK W ALSH for the development of the PDI/
DreamWorks Facial Animation System.
T HOM AS D RI EM E YE R and the T E A M O F

MATHEMATICIANS, PHYSICISTS AND SOFTWARE
EN G I NEERS OF ME N T A L I MA G E S for their
contributions to the Mental Ray rendering software

for motion pictures.
ERI C D ANI ELS, G E O R G E K A T A N I C S , T A S S O

LAP P AS and CHR I S S PR I N G F I E L D for the
development of the Deep Canvas rendering software.
J I M SONGER for his contributions to the technical
development of video-assist in the motion picture

industry.
P I ERRE CHABERT of Airstar for the introduction of
balloons with internal light sources to provide set
lighting for the motion picture industry.
RAW D ON HAY NE and R O B E R T W . J E F F S of Leelium
Tubelites for their contributions to the development of
internally lit balloons for motion picture lighting.
361

A WA R D S
ALI AS/ W AVEFRONT for the development of a 3D
animation, dynamics, modeling and rendering

production tool known as Maya.
ARN OLD & RI CHT ER CI NE T ECHNI K and
P ANAVI SI ON I NC. for their continuing development
and innovation in the design and manufacturing of
advanced camera systems specically designed for the
motion picture entertainment industry.
be s t s u p p or t in g ac to r: CHRIS COOPER, as John Laroche in Adaptation (Sony Pictures Releasing; directed by Spike
Jonze). Mixing fact and ction, truth, and outrageously drawn
characters and situations, screenwriter Charlie Kaufman converted Susan Orleans book The Orchid Thief into one of the
years most unusual lms; it had Cooper as the real-life Laroche
who, as depicted in this often-hilarious, always outrageous lm,
is part outlaw, part avid collector, a borderline madman and
toothless wonder, at once tortured, troubled, and touching. Cooper played the part fearlessly, becoming an Oscar winner with
his rst nomination.
8/8/13 7:38 PM
2003
The Seventy-Sixth Year
ven before they began dispensing

awards at the 76th Oscar party on
February 29, 2004, it looked as though
the epic-sized fantasy The Lord of the Rings:
The Return of the King had a lock on a fair
number of the evenings prizes, its eleven
Academy Award nominations lording over
the competition. What came as a stunner,
however, is the number of golden trophies
it did ultimately capture: 11 for 11, a clean
sweep, winning in each of the categories in
which it was nominated, including best picture of the year. The lms lord and master,
Peter Jackson, personally took home three
of those Oscars as director, cowriter of the
adapted screenplay, and producer of the winning picture. It led the producer of the Canadian lm The Barbarian Invasions, the winner
in the best foreign language lm division, to
say with relief, Were so thankful that Lord
of the Rings did not qualify in this category.
The tall total for this third episode in
the Rings lm trilogy made it one of the
three most-awarded motion pictures in the
Academys history, the others being 1959s
Ben-Hur and 1997s Titanic, which also won
eleven Academy Awards each. No other
single lm has won more.
This Oscar night turned out to be short
on surprises, but richer in glamour than
had been the case the two preceding years.
The 74th celebration, in 2002, had been
toned down out of respect for the lingering
national mourning over the terrorist attacks
on New Yorks World Trade Center less
than six months before; the following years
show had also been deliberately toned down
(including a cancellation of preshow red

carpet activity) because it was taking place
as U.S. forces invaded Iraq. But this time
around, the carpet was again star-studded,
and razzle-dazzle prevailed. Billy Crystal
hosted for the eighth time and the shows
telecast originated again from the Kodak
Theatre in Hollywood, airing on the
ABC network.
One particularly dominating presence
was Clint Eastwood, although he won no
Oscars this time around. Eastwood was one
of the ve nominees for best director and
a producer of one of the ve best picture
nominees, Mystic River, and additionally
saw a pair of his Mystic actors win two of
the nights most prized awards: Sean Penn
was named the years best actor and Tim
Robbins won as best supporting actor. Penn
acknowledged his fellow nominees and
thanked his wife for being an undying
emotional inspiration on this roller coaster
Im learning to enjoy. The best actress
award went to Charlize Theron, whose role
in Monster was one of the years most demanding; Rene Zellweger in Cold Mountain
was chosen best supporting actress.
The award surprises were relatively few,
although the nomination list abounded
with interesting names, including those of
Sting, Elvis Costello, T Bone Burnett, Annie
Lennox, and Michael McKean and his wife,
Annette OToole, all of whom were contenders in the best original song category and,
with the exception of McKean and OToole,
sang their nominated songs on the telecast.
A Kiss at the End of the Rainbow, Mr. and
362
be s t ac t or: SEAN PENN as Jimmy Markum and b es t
s up p ort i n g ac t or: TIM ROBBINS as Dave Boyle in Mystic
River (Warner Bros.; directed by Clint Eastwood). Based on a
novel by Dennis Lehane about three boyhood friends reunited by
a tragedy, this harrowing mystery-drama contained some of the
years most striking performances, two of which went on to win
Academy Awards: one by Penn as a grief-stricken working-class
Boston father distraught over the murder of his eldest daughter,
the other by Robbins as one of the prime suspects in the case, due
to his own tragic history as a sexually abused kidnap victim when
a boy. It was Penns fourth time as an Academy Award nominee
for acting, his rst being for 1995s Dead Man Walking, directed
by that same Mr. Robbins (Penns other nominations were for
1999s Sweet and Lowdown and 2001s I Am Sam). Robbinss
only previous Academy Award attention had been for directing
that earlier collaboration with Penn.
8/8/13 7:39 PM
Mrs. McKeans song from A Mighty Wind,

was performed by Catherine OHara and
Eugene Levy, who had sung it in the lm.
Soa Coppola became the third woman,
and the rst American one, to be nominated
for directing, the others being Italys Lina
Wertmller in 1976 and New Zealands Jane
Campion in 1993, neither of whom won.
Neither did Ms. Coppola, although she
won for her screenplay of the poignant Lost
in Translation, accepting her award as her
father, Francis Ford Coppola, a man with
several Oscars of his own, beamed from
the audience and her cousin Nicolas Cage
enthusiastically joined in the applause. Ms.
Coppola also received a third nomination
for Lost via the lms nomination in the best
picture category.
Pixar and Disneys Finding Nemo was
named the years best animated feature,
competing against another Disney lm,
Brother Bear, and Sylvain Chomets The Triplets of Belleville, a French-Belgian-Canadian
coproduction. An Honorary Award was
presented to the father of The Pink Panther,
director Blake Edwards, also known for
such notable lms as Breakfast at Tiffanys,
Days of Wine and Roses and Victor/Victoria,
his award specically in recognition of his
writing, directing and producing an extraordinary body of work for the screen. Edwards accepted the honor in typical humor
with a gag that had a stunt double crashing
through the set wall in a wheelchair and
emerging with a faux broken leg.
be s t p ict u r e : THE LORD OF THE RINGS: THE RETURN

OF THE KING (New Line; produced by Barrie M. Osborne,
Peter Jackson and Fran Walsh) and be s t dir e ct in g : PETER
JACKSON for The Lord of the Rings: The Return of the King.
The third time was denitely the charm for Jacksons gargantuan
trilogy, which began with 2001s The Lord of the Rings: The
Fellowship of the Ring and continued with 2002s The Lord of
the Rings: The Two Towers, both of which received best picture
nominations from Oscar voters but failed to capture the nal
prize. Not so chapter three, a lavish interpretation of the nal
section of the J.R.R. Tolkien epic with an ensemble cast that
included Elijah Wood, Sean Astin, Ian McKellen, Cate Blanchett,
Orlando Bloom, Viggo Mortensen and Liv Tyler. It became the
tenth lm in Oscars history to win the Academys best picture
prize without a single one of its actors receiving a nomination,
something that rst happened during the Academys inaugural
year, when the winning lm was Wings but no one in its cast
found a welcoming slot on the nominations list.
be s t a ct r e s s : CHARLIZE THERON as Aileen Wuornos in

Monster (Newmarket Films; directed by Patty Jenkins). In one of
the more amazing physical transformations performed for a lm,
the sleek and beautiful 27-year-old Theron (above) wore padding,
donned heavy dentures to weigh down the bottom half of her face,
left her hair loose, and moved hulkingly as she played real-life
serial killer Wuornos during a nine-month period in Wuornoss
troubled life when she became emotionally involved with a woman
(played by Christina Ricci) and, unable to nd legitimate employment, worked as a highway prostitute. The murder of several drivers eventually led her to Floridas death row. Although aided by the
various outward manifestations, it was Therons stunning depiction of inner bitterness, frustration and psychological damage that
made her work resonate so strongly with Academy voters.
363
8/8/13 7:39 PM
Nominations 2003
be s t an i m at e d f e at u r e: FINDING NEMO (Buena Vista;

directed by Andrew Stanton). Moviegoers hadnt had such fun
being underwater since Esther Williams splashed about in the
H2O in musicals of the 40s, or since Kirk Douglas battled a giant
squid in 20,000 Leagues under the Sea in the 50s. This animated gem from Pixar (distributed by Disney) delighted audiences
with its tale of a clownsh on an oceanic search for his son Nemo,
who is missing after initially being captured in Australias Great
Barrier Reef by a scuba diver, then put in a sh tank in an Aussie
dentists ofce. Andrew Stanton directed the proceedings and also
wrote the original story and cowrote the screenplay. Among those
supplying the voices: Albert Brooks (as the dad), Alexander Gould
(Nemo), and Ellen DeGeneres, Willem Dafoe, Brad Garrett,
Geoffrey Rush, and Elizabeth Perkins.
B ES T P I CT U R E
* THE L O R D O F THE RINGS: THE RETURN OF TH E

K ING, Wingnut Films Production, New Line. Barrie
M. Osborne, Peter Jackson and Fran Walsh, Producers.
L O S T IN TR A NS L A TION, American Zoetrope/
Elemental Films Production, Focus Features. Ross Katz
and Soa Coppola, Producers.
MA S TE R A ND C O MMANDER: TH E FAR SIDE OF
THE W O R L D , 20th Century Fox and Universal
Pictures and Miramax Films Production, 20th Century

Fox. Samuel Goldwyn, Jr., Peter Weir and Duncan
Henderson, Producers.
MY STIC R IVE R , Warner Bros. Pictures Production,
Warner Bros. Robert Lorenz, Judie G. Hoyt and Clint
Eastwood, Producers.
SE A BISC UIT, Universal Pictures, DreamWorks Pictures,
Spyglass Entertainment Production, Universal/
DreamWorks/Spyglass. Kathleen Kennedy, Frank
Marshall and Gary Ross, Producers.
A CT O R
JO HNNY D E P P in Pirates of the Caribbean: The Curse
of the Black Pearl, Walt Disney Pictures Production,

Buena Vista.
BE N KINGS L E Y in House of Sand and Fog, Michael
London Production, DreamWorks in association with
Cobalt Media Group.
JU D E L A W in Cold Mountain, Mirage Enterprises/Bona
Fide Production, Miramax Films.
BIL L MU R R A Y in Lost in Translation, American
Zoetrope/Elemental Films Production, Focus Features.
* S E A N P E NN in Mystic River, Warner Bros. Pictures
A CT RES S
K E ISHA C A S TL E - HUGH ES in Whale Rider, South
Pacic Pictures Production, Newmarket Films.
D IA NE K E A TO N in Somethings Gotta Give, Columbia
364
Pictures and Warner Bros. Pictures Production, Sony

Pictures Releasing.
SA MA NTHA MO R TON in In America, Hells Kitchen
Production, Fox Searchlight/20th Century Fox.
* C HA R L IZ E THE R O N in Monster, MDP Film
Productions and Zodiac Production, Newmarket
Films.
NA O MI W A TTS in 21 Grams, This is That, Y Productions
A L E C BA L D W IN in The Cooler, Cooler LLC Production,
Lions Gate Films.
BE NIC IO D E L TO R O in 21 Grams, This is That, Y
Productions Production, Focus Features.

D JIMO N HO UNS O U in In America, Hells Kitchen
* TIM R O BBINS in Mystic River, Warner Bros. Pictures
K E N W A TA NA BE in The Last Samurai, Samurai Pictures,
LLC Production, Warner Bros.
SHO HR E H A GHD A SHLOO in House of Sand and
Fog, Michael London Production, DreamWorks in

association with Cobalt Media Group.
P A TR IC IA C L A R KS ON in Pieces of April, IFC
Productions through United Artists Films Inc.
Production, United Artists through MGM.
MA R C IA GA Y HA R DEN in Mystic River, Warner Bros.
Pictures Production, Warner Bros.
HOLLY HU NT ER in Thirteen, Michael London
Productions, Working Title Films, Antidote Films

* RENE Z ELLW EGER in Cold Mountain, Mirage
Enterprises/Bona Fide Production, Miramax Films.
D I R E C TI N G
CI T Y OF GOD , O2 Filmes and VideoFilmes Production,
Co-Production Globo Filmes, Lumiere, StudioCanal

and Wild Bunch, Miramax Films. Fernando Meirelles.
* T HE LORD OF T HE RI N G S: T HE RET U RN OF T HE
K I NG, Wingnut Films Production, New Line. Peter
Jackson.
LOST I N T RAN SLAT I ON , American Zoetrope/
Elemental Films Production, Focus Features. Soa
Coppola.
M AST ER AN D COM M AND ER: T HE FAR SI D E OF
T HE W ORLD , 20th Century Fox and Universal

Fox. Peter Weir.
M Y ST I C RI VER, Warner Bros. Pictures Production,
Warner Bros. Clint Eastwood.
WR I TI N G
AM ERI CAN SP LEN D OR, Good Machine Production,
HBO Films in association with Fine Line Features.

Robert Pulcini and Shari Springer Berman.
CI T Y OF GOD , O2 Filmes and VideoFilmes Production,
Co-Production Globo Filmes, Lumire, StudioCanal
and Wild Bunch, Miramax Films. Braulio Mantovani.
K I NG, Wingnut Films Production, New Line. Fran
Walsh, Philippa Boyens and Peter Jackson.
M Y ST I C RI VER, Warner Bros. Pictures Production,
Warner Bros. Brian Helgeland.
SEABI SCU I T , Universal Pictures, DreamWorks Pictures,
DreamWorks/Spyglass. Gary Ross.
T HE BARBARI AN I N VASI ON S, Cinmaginaire Inc.
Production, Miramax Films. Denys Arcand.

D I RT Y P RET T Y T HI NGS, Celador Films Production,
Miramax and BBC Films. Steven Knight.
FI ND I NG NEM O, Pixar Animation Studios Production,
Buena Vista. Andrew Stanton, Bob Peterson and David
Reynolds.
IN AM ERI CA, Hells Kitchen Production, Fox
Searchlight/20th Century Fox. Jim Sheridan, Naomi
Sheridan and Kirsten Sheridan.
* LOST I N T RAN SLAT I ON , American Zoetrope/
Elemental Films Production, Focus Features. Soa
Coppola.
GI RL W I T H A P EARL EARRI N G , Archer Street Ltd.
2003 Production, Lions Gate Films. Ben Van Os; Cecile

Heideman.
T HE LAST SAM U RAI , Samurai Pictures, LLC
Production, Warner Bros. Lilly Kilvert; Gretchen Rau.
K I NG, Wingnut Films Production, New Line. Grant
Major; Dan Hennah and Alan Lee.
M AST ER AND COM MA N DE R : T H E F A R S I DE O F


Fox. William Sandell; Robert Gould.
SEABISCUIT, Universal Pictures, DreamWorks Pictures,
DreamWorks/Spyglass. Jeannine Oppewall; Leslie Pope.
CI T Y OF G OD , O2 Filmes and VideoFilmes Production,

and Wild Bunch, Miramax Films. Cesar Charlone.
COLD M OU NT AI N , Mirage Enterprises/Bona Fide
Production, Miramax Films. John Seale.
G I RL W I T H A P EAR L E A R R I N G , Archer Street Ltd.
2003 Production, Lions Gate Films. Eduardo Serra.
* M AST ER AN D COM M A N DE R : T H E F A R S I DE O F
Fox. Russell Boyd.
DreamWorks/Spyglass. John Schwartzman.
C O S TUM E DESIGN
G I RL W I T H A P EAR L E A R R I N G , Archer Street Ltd.
2003 Production, Lions Gate Films. Dien van Straalen.
T HE LAST SAM U RA I , Samurai Pictures, LLC
Production, Warner Bros. Ngila Dickson.

* T HE LORD OF T HE R I N G S : T H E R E T U R N O F T H E
K I NG, Wingnut Films Production, New Line. Ngila
Dickson and Richard Taylor.

Fox. Wendy Stites.
DreamWorks/Spyglass. Judianna Makovsky.
F I LM E D I TING
CI T Y OF G OD , O2 Filmes and VideoFilmes Production,

and Wild Bunch, Miramax Films. Daniel Rezende.
COLD M OU NT AI N , Mirage Enterprises/Bona Fide
Production, Miramax Films. Walter Murch.
K I NG, Wingnut Films Production, New Line. Jamie
Selkirk.

Fox. Lee Smith.
DreamWorks/Spyglass. William Goldenberg.
M A KE UP
K I NG, Wingnut Films Production, New Line. Richard
Taylor and Peter King.

Fox. Edouard Henriques III and Yolanda Toussieng.
P I RAT ES OF T HE C A R I B B E A N : T H E C U R S E O F T H E
BLACK P EARL, Walt Disney Pictures Production,
Buena Vista. Ve Neill and Martin Samuel.
8/8/13 7:39 PM
be s t s u p p or t in g ac tress: RENE ZELLWEGER as Ruby

Thewes in Cold Mountain (Miramax; directed by Anthony
Minghella). Zellweger, whod been nominated for leading performances in 2001s Bridget Joness Diary and 2002s Chicago,
went the distance with nomination number three for Cold
Mountain, playing a no-nonsense farm girl in North Carolina
during the Civil War, pitching in to help a fragile woman (Nicole
Kidman) work a dilapidated farm while the womans sweetheart,
a wounded Confederate soldier (Jude Law), struggles to nd his
way home through the devastated and chaotic South. Adding considerable humor and feistiness to otherwise very serious doings,
Zellwegers Ruby was the lms highlight.
* T HE BARBARI AN I N V A S I O N S (Canada).
EVI L (Sweden).
T HE T W I LI G HT SA MU R A I (Japan).
T W I N SI ST ERS (The Netherlands).
ELARY (Czech Republic).
Z
MU S I C
(ori gi n al s c ore )
BIG F IS H, Columbia Pictures Production, Sony Pictures
Releasing. Danny Elfman.

C O L D MO U NTA IN, Mirage Enterprises/Bona Fide
Production, Miramax Films. Gabriel Yared.
F IND ING NE MO , Pixar Animation Studios Production,
Buena Vista. Thomas Newman.
HO U SE O F SA ND AND FOG, Michael London
Production, DreamWorks in association with Cobalt
Media Group. James Horner.
* THE L O R D O F THE RINGS: TH E RETURN OF THE
K ING, Wingnut Films Production, New Line. Howard
Shore.
(ori gi n al s on g)
BE L L E VIL L E R E NDEZ- V OUS (The Triplets of Belleville,
Les Armateurs Production, Sony Pictures Classics).

Music by Benot Charest; Lyric by Sylvain Chomet.
* INTO THE W E S T (The Lord of the Rings: The Return
of the King, Wingnut Films Production, New Line).
Music and Lyric by Fran Walsh, Howard Shore and
Annie Lennox.
A KIS S A T THE E N D OF THE RAINB OW (A Mighty
Wind, Castle Rock Entertainment Production, Warner
Bros.). Music and Lyric by Michael McKean and
Annette OToole.
S C A R L E T TID E (Cold Mountain, Mirage Enterprises/
Bona Fide Production, Miramax Films). Music and
Lyric by T Bone Burnett and Elvis Costello.
Y O U W IL L BE MY AIN TRUE LOV E (Cold Mountain,
Mirage Enterprises/Bona Fide Production, Miramax
Films). Music and Lyric by Sting.
F IND ING NE MO , Pixar Animation Studios Production,
Buena Vista. Gary Rydstrom and Michael Silvers.

* MA STE R A ND C OMMANDER: THE FAR SIDE OF
Fox. Richard King.
K I NG, Wingnut Films Production, New Line. Jim
Rygiel, Joe Letteri, Randall William Cook and Alex
Funke.
M AST ER AND COM M AN D ER: T HE FAR SI D E OF
Pictures and Miramax Films Production, 20th

Century Fox. Dan Sudick, Stefen Fangmeier, Nathan
McGuinness and Robert Stromberg.
P IR A TE S O F THE CARIB B EAN: TH E CURSE OF TH E

BL A C K P E A R L , Walt Disney Pictures Production,
S H O R T F I LM S
Buena Vista. John Knoll, Hal Hickel, Charles Gibson

and Terry Frazee.
(a n ima t e d)
BOU N D I N , Pixar Animation Studios Production. Bud
Luckey.
D EST I N O, Walt Disney Pictures Production, Buena
Vista. Dominique Monfery and Roy Edward Disney.

G ONE NU T T Y , Blue Sky Studios Production, 20th
Century Fox. Carlos Saldanha and John C. Donkin.
* HARVI E K RU M P ET , Melodrama Pictures Production.
Adam Elliot.
N I BBLES, Acme Filmworks Production. Chris Hinton.
(liv e a ct ion )
D I E ROT E J ACK E ( T HE RED J ACK ET ) , Hamburger
Filmwerkstatt Production. Florian Baxmeyer.
M OST ( T HE BRI D G E) , Eastwind Films Production.
Bobby Garabedian and William Zabka.
SQ U ASH, Tetramedia Production. Lionel Bailliu.

( A) T ORZ I J A [ ( A) T ORSI ON ] , Studio Arkadena
Production. Stefan Arsenijevic.

* T W O SOLD I ERS, Shoe Clerk Picture Company
Production. Aaron Schneider and Andrew J. Sacks.
D O C UM E N TA R Y
(fe a t u r e s )
BALSEROS, Bausan Films S.L. Production, Seventh Art.
ASY LU M , Constant Communication & Make-do
Production. Sandy McLeod and Gini Reticker.

* CHERN OBY L HEART , Downtown TV Documentaries
Production. Maryann DeLeo.
FERRY T ALES, Penelope Pictures Production. Katja
Esson.
Buena Vista. Christopher Boyes, David Parker, David

Campbell and Lee Orloff.
S E A BISC UIT, Universal Pictures, DreamWorks Pictures,
BROT HER BEAR, Walt Disney Pictures Production,
Buena Vista. Aaron Blaise and Robert Walker.
DreamWorks/Spyglass. Andy Nelson, Anna Behlmer
* FI ND I NG NEM O, Pixar Animation Studios Production,
and Tod A. Maitland.
Buena Vista. Andrew Stanton.
T HE T RI P LET S OF BELLEVI LLE, Les Armateurs
Production, Sony Pictures Classics. Sylvain Chomet.
directing and producing an extraordinary body of work

for the screen.
T O D OU G LAS GR E E N F I E L D in appreciation for
Commendation)

Carlos Bosch and Josep Maria Domenech.

CAP T U RI N G T HE FRI ED M ANS, Hit The Ground
Buena Vista. Christopher Boyes and George Watters II.
Running Production, Magnolia Pictures. Andrew
Jarecki and Marc Smerling.
S O U ND M I X I N G
* T HE FOG OF W AR, Globe Department Store
THE L A ST SA MU RAI, Samurai Pictures, LLC
Production, Sony Pictures Classics. Errol Morris and
Production, Warner Bros. Andy Nelson, Anna Behlmer
Michael Williams.
and Jeff Wexler.
M Y ARCHI T ECT , Louis Kahn Project, Inc. Production,
* THE L O R D O F THE RINGS: TH E RETURN OF
New Yorker Films. Nathaniel Kahn and Susan R. Behr.
THE KING, Wingnut Films Production, New Line.
T HE W EAT HER U N D ERGROU N D , Free History Project
Christopher Boyes, Michael Semanick, Michael
Production, Shadow Distribution. Sam Green and Bill
Hedges and Hammond Peek.
Siegel.
Pictures and Miramax Films Production, 20th
Century Fox. Paul Massey, D.M. Hemphill and Arthur
Rochester.
T O BLAK E ED W AR DS in recognition of his writing,
P I RAT ES OF T HE CARI BBEAN: T HE CU RSE OF T HE

BLACK P EARL, Walt Disney Pictures Production,
P IR A TE S O F THE CARIB B EAN: TH E CURSE OF TH E

BL A C K P E A R L , Walt Disney Pictures Production,
MA STE R A ND C OMMANDER: TH E FAR SIDE OF


T O P ET ER D . P AR K S
A WA R D S
D I G I D ESI G N for the design, development and
implementation of the Pro Tools digital audio

workstation.
BI LL T ON D REAU of Kuper Controls for his signicant
advancements in the eld of motion control
technology for motion picture visual effects.
K I NOT ON G mbH for the engineering and development
of the Kinoton FP 30/38 EC II Studio Projector.
K EN N ET H L. T I NG L E R , C H A R L E S C . A N DE R S O N ,
D I ANE E. K EST N E R and B R I A N A . S C H E L L of
the Eastman Kodak Company for the successful

development of a process-surviving antistatic layer
technology for motion picture lm.
CHRI ST OP HER AL F R E D, A N DR E W J . C A N N O N ,
M I CHAEL C. CA R L O S , M A R K C R A B T R E E , C H U C K
GRI N D ST AFF and J O H N ME L A N S O N for their
365
signicant contributions to the evolution of digital

audio editing for motion picture post production.
ST EP HEN REGELO U S for the design and development
of Massive, the autonomous agent animation system
used for the battle sequences in The Lord of the Rings
trilogy.

K I SH SAD HVANI for the concept and optical design,
P AU L D U CLOS for the practical realization and
production engineering and C A R L PE R N I C O N E
for the mechanical design and engineering of the

portable cine viewnder system known as the Ultimate
Directors Finder (UDF).
HEN RI K W ANN J E N S E N , S T E PH E N R . M A R S C H N E R
and P AT HAN RA H A N for their pioneering research in
simulating subsurface scattering of light in translucent

materials as presented in their paper A Practical
Model for Subsurface Light Transport.
CHRI ST OP HE HER Y, K E N MC G A U G H and J O E
LET T ERI for their groundbreaking implementations
of practical methods for rendering skin and other
translucent materials using subsurface scattering
techniques.
8/8/13 7:39 PM
2004
The Seventy-Seventh Year
nce again it was Clints year. The

low-key, high-octane Clint Eastwood, with a pair of Oscars on his
mantel for directing and producing 1992s
best picture Unforgiven, delivered the same
one-two punch an even dozen years later
at the 77th Academy Awards held at Hollywoods Kodak Theatre on February 27, 2005.
This time it was Eastwoods dark and dramatic prize-ght saga Million Dollar Baby
that brought him gold statuettes in those
same two categories, this time with two of
his actors winning as well. (With Unforgiven, only one performer, Gene Hackman,
made the Academys honor roll.) Hilary
Swank, who played Eastwoods would-be
Million Dollar Baby, was named best actress
and Morgan Freeman was named best supporting actor. It was the second Oscar win
for Swank, the rst for Freeman. With his
latest win, Eastwood, at age 74, also became
the oldest winner to date in the directing
category.
This was a triumphant night as well for
Jamie Foxx, who was nominated in two
categories, as best actor in Ray as singer Ray
Charles, and as best supporting actor in Collateral as a taxi driver with an off-balance
Tom Cruise as a nightmarish fare. Foxx
won for the rst-named and became the
third African American (following Sidney
Poitier and Denzel Washington) to win in
that leading actor division. With Freemans
win in the supporting division, it became
the second time in four years that half of
the acting prizes went to African American
actors. As Freeman later said, It is now time
that we stop categorizing in terms of race

and simply regard actors as actors.
The most-nominated lm of the year was
Martin Scorseses The Aviator, with eleven
nominations, followed by Million Dollar
Baby and Finding Neverland, each with
seven, and Ray pulling six. In the nal tally,
The Aviator still led, with ve trophies, followed by Baby with four, then Ray and The
Incredibles with two each. No other lm this
year received more than one award.
The highest-prole win for the Scorsese
lm was Cate Blanchetts as the years best
supporting actress, making hers the latest
performance on a lengthening list to win
an Academy Award for a Scorsese-directed
lm, the others being Ellen Burstyn, Robert
De Niro, Paul Newman and Joe Pesci, with
eleven other actors up to that time being
nominated for a performance guided
by Scorsese. With ve directing nominations on Scorseses own credit sheet at
this pointbut no winshe became one of
only ve directors in history to suffer the
same fate, the others being Robert Altman,
Clarence Brown, Alfred Hitchcock and
King Vidor.
This year, another director with many
great lms to his credit (four nominations
for directing and one for writing, but no
Oscar statuette) won an Honorary Award.
Sidney Lumet thanked the glorious talents
that Ive worked with on both sides of the
camera. The Jean Hersholt Humanitarian
Award went to Roger Mayer, a driving force
for both the Motion Picture & Television
Fund and lm preservation.
366
be s t ac t re s s : HILARY SWANK as Maggie Fitzgerald and b es t
s up p ort i n g ac t or: MORGAN FREEMAN as Eddie ScrapIron Dupris in Million Dollar Baby (Warner Bros.; directed
by Clint Eastwood). Brought together by fate and determination,
Swank plays a feisty, determined 30-something who is relentless in getting an over-the-hill trainer (Eastwood) to turn her
into a boxing champ, and she is on her way until a twist of fate
completely alters her life; Freeman is an ex-boxer now employed in
Eastwoods dingy gym who helps convince his boss to take on the
new challenge of training a potential million dollar baby. Freeman, with his soothing, magnicent voice, also narrates the lm.
This was Swanks second Oscar as best actress (after 1999s Boys
Dont Cry), making her only the fth woman to manage to win
two Oscars with only two nominations to her credit, joining Luise
Rainer, Vivien Leigh, Helen Hayes and Sally Field. Kevin Spacey is
the only male to have managed that feat. Freemans win was his
rst, after three previous nominations. Hed also been directed by
Eastwood in the 1992 Oscar winner Unforgiven.
8/8/13 7:39 PM
The Incredibles was named the best

animated feature, the third lm released by
Disney to win in the four years the category
had been in existence. Spains The Sea Inside
with Javier Bardem was named best foreign
language lm, and among the years higher
prole Academy Award nominees were Ethan
Hawke (best adapted screenplay for Before
Sunset) and Andrew Lloyd Webber (best
original song for The Phantom of the Opera).
The nights telecast on ABC from the
Kodak Theatre in Hollywood had irreverent
comedian Chris Rock as its emcee, which
set off some preshow controversy, but he
proved to be an able, amiable host, raising
some heckles only when he used, as a target,
Jude Laws multiple appearances in the
years lms. (In 2004, the actor was seen in
ve new movies and supplied the voice for a
sixth.)
The only real rhubarb of the night came
via the decision to have Antonio Banderas
and Carlos Santana perform composer Jorge
Drexlers nominated (and later winning)
original song from The Motorcycle Diaries;
it set off some heated postshow debates,
which did, however, quickly cool down.
Also in for some barbs was the decision to
have all the nominees in several categories
brought to the stage for the announcement of the winners, rated as an interesting
experiment but not necessarily one to be
reconducted at future Academy shindigs.
best song: AL OTRO LADO DEL RO from The Motorcycle

Diaries (Focus Features and Film Four), music and lyric by
Jorge Drexler. It was the rst time since the Academy began honoring movie songs in its seventh year (1934) that a song from a
foreign language lm was voted the Award in the song category.
In 1960, the title song in the Greek production Never on Sunday
won, but the bulk of the dialogue and the song itself are in English.
be s t p ict u r e : MILLION DOLLAR BABY (Warner Bros.;

produced by Clint Eastwood, Albert S. Ruddy and Tom Rosenberg) and be s t dir e ct in g : CLINT EASTWOOD for Million
Dollar Baby. By 2004, it was eminently clear: Clint Eastwood
(left) was indeed now one of the lm industrys long-distance
runners. He began acting in lms in 1955, then added director
to his rsum in 1971, although he wasnt thought of in Oscar
terms for the rst 37 years of that career. But, he hit the jackpot
triumphantly with 1992s Unforgiven (a winner for best picture, best directing and in two other categories) and again with
this Baby, a hard-hitting drama with a Paul Haggis screenplay
about a scruffy, aging ght trainer with a mysterious past helping an underdog female boxer attain what seemed a far-fetched
goal for her: to be a pro in the ring. Curiously, despite there
being many outstanding lms through the years with boxing
as the primary focus, including The Champ, Body and Soul,
Champion, Somebody Up There Likes Me, Requiem for a
Heavyweight, Raging Bull, and Ali, only two have ever won best
picture: 1976s Rocky and this Eastwood knockout. Eastwood, for
the record, also wrote the lms original music score. He is in the
record books as well as the only actor-director to date to win two
directing Oscars.
Diaries, directed by Walter Salles, is based on an autobiography

by Che Guevara about his early pre-Revolutionary days when,
as a young man named Ernesto, he and a friend made a lengthy
motorcycle trip around South America, an expedition that awakened his political activism. Gael Garca Bernal (above) played the
future Che; the lm was also nominated for Jos Riveras adapted
screenplay.
be s t docu me n t a ry f eature: BORN INTO BROTHELS

(above) (THINKFilm). Directed by Ross Kauffman and Zana
Briski, this striking documentary, set in Calcutta, takes a
sobering look at the children of prostitutes working the citys
notorious Sonagachi district; many of these youngsters are
doomed to spend their entire lives inside the walls of Calcuttas
red-light area.
367
be s t ac t or: JAMIE FOXX as Ray Charles in Ray (Universal;

directed by Taylor Hackford). With his best actor nomination
(and win) as the legendary rhythm-and-blues musician Ray
Charles, coupled with his supporting actor nomination for 2004s
Collateral, Jamie Foxx (right) joined an elite list of actors who
have received Academy Award nominations in both the leading
and supporting performance categories in a single year, the others
on that short 2-in-1 list at that point being Fay Bainter (1938),
Teresa Wright (1942), Barry Fitzgerald (1944), Jessica Lange
(1982), Sigourney Weaver (1988), Al Pacino (1992), Holly
Hunter (1993), Emma Thompson (1993), and Julianne Moore
(2002). In lming Ray, Foxx, already an accomplished pianist,
had no problem emulating Charles on a keyboard but took an
enormous gamble in using his own singing pipes to re-create the
distinctive sound of the legendary musician, and did so triumphantly. It added a spectacular dimension to his performance,
which impressed both audiences and Academy voters, since Foxx
had heretofore been best known not as an actor or musician but
primarily as a feisty stand-up comic.
8/8/13 7:39 PM
Nominations 2004
J AM I E FOX X in Collateral, Parkes/MacDonald/
Darabont/Fried/Russell Production, DreamWorks and

Paramount.
* M ORGAN FREEM AN in Million Dollar Baby, Warner
Bros. Pictures Production, Warner Bros.
CLI VE OW EN in Closer, Columbia Pictures Production,
* CATE BLANCHETT in The Aviator, Forward Pass/Appian

Way/IMF Production, Miramax, Initial Entertainment
Group and Warner Bros.
LAU RA LI NNEY in Kinsey, Qwerty Films Production,
Fox Searchlight/20th Century Fox.
VI RG I NI A M AD SEN in Sideways, Sideways Productions,
Inc. Production, Fox Searchlight/20th Century Fox.
S O P H I E O K O N E D O in Hotel Rwanda, Miracle
Pictures/Seamus Production, United Artists in
association with Lions Gate Entertainment through
MGM Distribution Co.
N AT ALI E P ORT M AN in Closer, Columbia Pictures
Production, Sony Pictures Releasing.
D I R E C TI N G
T HE AVI AT OR, Forward Pass/Appian Way/IMF
be s t s up p ort i n g actr es s : CATE BLANCHETT as Katharine Hepburn in The Aviator (Miramax, Initial Entertainment
Group & Warner Bros.; directed by Martin Scorsese). It was
the rst time in Academy history that an actress won an Oscar
for playing a real-life Oscar-winning actress, with the 35-yearold, Australian-born Blanchett playing four-time Oscar champ
Hepburn when Hepburn was in her early 30s and involved in
a brief romance (which begat an enduring friendship) with the
mysterious Howard Hughes, the millionaire playboy who was also
a part-time lm mogul and full-time aviation fanatic. Leonardo
DiCaprio played Hughes in this Scorsese interpretation; the lm
itself was the second one in which Hughes appeared as a character
to win the Academys best supporting actress prize, Mary Steenburgen having won for 1980s Melvin and Howard, a speculative
tale in which Jason Robards played an elderly version of the eccentric Howard Hughes.
B E S T PI C TUR E
Production, Miramax, Initial Entertainment Group

and Warner Bros. Michael Mann and Graham King,
Producers.
FI ND I NG NEVERLAN D , FilmColony Production,
Miramax Films. Richard N. Gladstein and Nellie
Bellower, Producers.
* M I LLI ON D OLLAR BABY , Warner Bros. Pictures
Production, Warner Bros. Clint Eastwood, Albert S.
Ruddy and Tom Rosenberg, Producers.
RAY , Universal Pictures/Bristol Bay Production,
Universal. Taylor Hackford, Stuart Benjamin and
Howard Baldwin, Producers.
SI D EW AY S, Sideways Productions, Inc. Production,
Fox Searchlight/20th Century Fox. Michael London,
Producer.
A C TO R
D O N C H E A D L E in Hotel Rwanda, Miracle Pictures/
Seamus Production, United Artists in association

with Lions Gate Entertainment through MGM
Distribution Co.
JOHNNY D EP P in Finding Neverland, FilmColony
LEON ARD O D I CAP RI O in The Aviator, Forward
Pass/Appian Way/IMF Production, Miramax, Initial
Entertainment Group and Warner Bros.
CLI NT EAST W OOD in Million Dollar Baby, Warner
* JAM I E FOX X in Ray, Universal Pictures/Bristol Bay
Production, Universal.
368
h on orary aw ard : SIDNEY LUMET, long one of Hollywoods

most respected directors, had received an Oscar nomination for his
very rst theatrical outing, 1957s 12 Angry Men, then went on
to accumulate more Academy Award attention during the succeeding years, guiding lms as diverse as The Pawnbroker, Murder
on the Orient Express, Dog Day Afternoon, Network and The
Wiz. It wasnt until Oscar night in 2005 that a golden statuette
was nally placed in his hands; it arrived in recognition of his
brilliant services to screenwriters, performers and the art of the
motion picture. Lumet, who admitted hed been thinking about
an Academy Award speech ever since hed made that lm 48 years
earlier about the angry men, ended his thank you by saying, Id
like to thank the movies. Ive got the best job in the best profession in the world.

and Warner Bros. Martin Scorsese.
* M I LLI ON D OLLAR B A B Y, Warner Bros. Pictures
Production, Warner Bros. Clint Eastwood.
RAY , Universal Pictures/Bristol Bay Production,
Universal. Taylor Hackford.
SI D EW AY S, Sideways Productions, Inc. Production, Fox
Searchlight/20th Century Fox. Alexander Payne.
VERA D RAK E, Simon Channing-Williams/Thin Man
Films Production, Fine Line Features, Alain Sarde and
UK Film Council in association with Inside Track
Films. Mike Leigh.
WR I TI N G
(a da p t e d s cr e e n p lay )
BEFORE SU N SET , Castle Rock Entertainment/Detour
Film Production, Warner Independent Pictures.

Richard Linklater, Julie Delpy, Ethan Hawke and Kim
Krizan.
FI N D I N G N EVERLAN D, FilmColony Production,
Miramax Films. David Magee.
M I LLI ON D OLLAR B A B Y, Warner Bros. Pictures
Production, Warner Bros. Paul Haggis.
T HE M OT ORCY CLE DI A R I E S , South Fork Pictures
in association with Tu Vas Voir Production, Focus
Features and Film Four. Jos Rivera.
* SI D EW AY S, Sideways Productions, Inc. Production, Fox
Searchlight/20th Century Fox. Alexander Payne and
Jim Taylor.

and Warner Bros. John Logan.
* ET ERN AL SU NSHI NE O F T H E S PO T L E S S MI N D,
Anonymous Content/This is That Production, Focus
Features. Charlie Kaufman, Michel Gondry and Pierre
Bismuth.
HOT EL RW AN D A, Miracle Pictures/Seamus
Production, United Artists in association with Lions
Gate Entertainment through MGM Distribution Co.
Keir Pearson and Terry George.
T HE I N CRED I BLES, Pixar Animation Studios
A C TR E S S
Production, Buena Vista. Brad Bird.
ANNET T E BEN I NG in Being Julia, 2024846 Ontario
VERA D RAK E, Simon Channing-Williams/Thin Man
Inc./Serendipity Point Films/ISL Films Ltd./Being Julia
Films Production, Fine Line Features, Alain Sarde and
Ltd. Production, Sony Pictures Classics.
UK Film Council in association with Inside Track
CAT ALI N A SAND I NO M OREN O in Maria Full of
Films. Mike Leigh.
Grace, Journeyman Pictures in association with Tucan
Producciones/Cinematogracas/Altercine Production,
HBO Films in association with Fine Line Features.
IM ELD A ST AU N T ON in Vera Drake, Simon Channing* T HE AVI AT OR, Forward Pass/Appian Way/IMF
Williams/Thin Man Films Production, Fine Line
Features, Alain Sarde and UK Film Council in
and Warner Bros. Dante Ferretti; Francesca Lo
association with Inside Track Films.
Schiavo.
* HI LARY SW AN K in Million Dollar Baby, Warner Bros.
FI N D I N G N EVERLAN D, FilmColony Production,
Miramax Films. Gemma Jackson; Trisha Edwards.
K AT E W I NSLET in Eternal Sunshine of the Spotless Mind,
LEM ON Y SN I CK ET S A S E R I E S O F U N F O R T U N A T E
Anonymous Content/This is That Production, Focus
EVEN T S, Parkes/MacDonald/Nickelodeon Movies
Features.
Production, Paramount and DreamWorks. Rick
Heinrichs; Cheryl Carasik.
T HE P HAN T OM OF T H E O PE R A , The Really Useful
ALAN ALD A in The Aviator, Forward Pass/Appian
Group Production, Warner Bros. Anthony Pratt; Celia
Way/IMF Production, Miramax, Initial Entertainment
Bobak.
Group and Warner Bros.
A VERY LONG ENGA G E M E N T , 2003 Productions/
T HOM AS HAD EN CHU RCH in Sideways, Sideways
Warner Bros. France/Tapioca Films/TF1 Films
Productions, Inc. Production, Fox Searchlight/20th
Production, Warner Independent Pictures. Aline
Century Fox.
Bonetto.
8/8/13 7:39 PM
S O UN D E D I TI N G
* THE A VIA TO R , Forward Pass/Appian Way/IMF

* T HE I NCRED I BLES, Pixar Animation Studios
Production, Buena Vista. Michael Silvers and Randy
and Warner Bros. Robert Richardson.
Thom.
HO US E O F FL Y IN G DAGGERS, Elite Group (2003)
THE POLAR EXPRESS, Castle Rock Pictures Production,
Enterprises Inc. Production, Sony Pictures Classics.
Warner Bros. Randy Thom and Dennis Leonard.
SP I D ER- M AN 2 , Columbia Pictures Production, Sony
Zhao Xiaoding.
THE P A SS IO N O F TH E CH RIST, Icon Production, Icon
Pictures Releasing. Paul N. J. Ottosson.
and Newmarket. Caleb Deschanel.
S O UN D M I XI N G
THE P HA NTO M OF THE OPERA, The Really Useful
Group Production, Warner Bros. John Mathieson.
A VE R Y L O NG E NGAGEMENT, 2003 Productions/
and Warner Bros. Tom Fleischman and Petur Hliddal.
Warner Bros. France/Tapioca Films/TF1 Films
T HE I N CRED I BLES, Pixar Animation Studios
Production, Warner Independent Pictures. Bruno
Production, Buena Vista. Randy Thom, Gary A. Rizzo
Delbonnel.
and Doc Kane.
T HE P OLAR EX P RESS, Castle Rock Pictures
Production, Warner Bros. Randy Thom, Tom Johnson,
Dennis Sands and William B. Kaplan.
and Warner Bros. Sandy Powell.
* RAY , Universal Pictures/Bristol Bay Production,
FIND ING NE VE RLAND, FilmColony Production,
Universal. Scott Millan, Greg Orloff, Bob Beemer and
Miramax Films. Alexandra Byrne.
Steve Cantamessa.
L E MO NY S NIC KETS A SERIES OF UNFORTUNATE
SP I D ER- M AN 2 , Columbia Pictures Production, Sony
E VE NTS, Parkes/MacDonald/Nickelodeon Movies
Pictures Releasing. Kevin OConnell, Greg P. Russell,
Production, Paramount and DreamWorks. Colleen
Jeffrey J. Haboush and Joseph Geisinger.
Atwood.
VI
S UA L E F F E C TS
R A Y , Universal Pictures/Bristol Bay Production,
HARRY P OT T ER AND T HE P RI SONER OF
Universal. Sharen Davis.
AZ K ABAN, Warner Bros. Productions Ltd./Heyday
TR O Y , Warner Bros. Pictures/Radiant/Plan B/Helena
Films/1492 Pictures/P of A Production, Warner Bros.
Production, Warner Bros. Bob Ringwood.
Roger Guyett, Tim Burke, John Richardson and Bill
F I LM ED I T I N G
George.
I , ROBOT , 20th Century Fox Production, 20th Century
Fox. John Nelson, Andrew R. Jones, Erik Nash and Joe
and Warner Bros. Thelma Schoonmaker.
Letteri.
C O L L A TE R A L , Parkes/MacDonald/Darabont/Fried/
* SP I D ER- M AN 2 , Columbia Pictures Production, Sony
Russell Production, DreamWorks and Paramount. Jim
Pictures Releasing. John Dykstra, Scott Stokdyk,
Miller and Paul Rubell.
Anthony LaMolinara and John Frazier.
FIND ING NE VE RLAND, FilmColony Production,
S H O R T F I LM S
Miramax Films. Matt Chesse.
MIL L IO N D O L L AR B AB Y, Warner Bros. Pictures
(a n ima t e d)
Production, Warner Bros. Joel Cox.
BI RT HD AY BOY , Australian Film, TV and Radio School
R A Y , Universal Pictures/Bristol Bay Production,
Production. Sejong Park and Andrew Gregory.
Universal. Paul Hirsch.
G OP HER BROK E, Blur Studio Production. Jeff Fowler
and Tim Miller.
M A K EU P
G U ARD D OG, Bill Plympton Production. Bill Plympton.
* L E MO NY SNIC KETS A SERIES OF UNFORTUNATE
LORENZ O, Walt Disney Pictures Production. Mike
E VE NTS , Parkes/MacDonald/Nickelodeon Movies
Gabriel and Baker Bloodworth.
Production, Paramount and DreamWorks. Valli
* RY AN , Copper Heart Entertainment & National Film
OReilly and Bill Corso.
Board of Canada Production. Chris Landreth.
THE P A SS IO N O F TH E CH RIST, Icon Production,
(liv e a ct ion )
Icon and Newmarket. Keith Vanderlaan and Christien
EVERY T HI N G I N T HI S COU N T RY M U ST , Six Mile
Tinsley.
LLC Production. Gary McKendry.
THE S E A INSID E , Sogecine and Himenptero
LI T T LE T ERRORI ST , Alipur Films Production. Ashvin
Production, Fine Line Features and Sogepaq. Jo Allen
Kumar.
and Manuel Garca.
MUSIC
* F IND ING NE VE RLAND, FilmColony Production,

Miramax Films. Jan A.P. Kaczmarek.
HA R R Y P O TTE R AND TH E PRISONER OF
A Z K A BA N, Warner Bros. Productions Ltd./Heyday
Films/1492 Pictures/P of A Production, Warner Bros.

John Williams.
7:35 I N T HE M ORN I NG (7:35 D E LA M AANA) ,
Ibarretxe & Co. Production. Nacho Vigalondo.
T W O CARS, ONE NI G HT , Defender Films Limited
Production. Taika Waititi and Ainsley Gardiner.

* W ASP , Cowboy Films Production. Andrea Arnold.
D O C UM E N TA R Y
(fe a t u r e s )
* BORN I N T O BROT HELS, Red Light Films, Inc.

Production, THINKFilm. Ross Kauffman and Zana
L E MO NY S NIC KETS A SERIES OF UNFORTUNATE
Briski.
E VE NTS, Parkes/MacDonald/Nickelodeon Movies
T HE ST ORY OF T HE W EEP I N G CAM EL, Hochschule
Production, Paramount and DreamWorks. Thomas
fr Fernsehen und Film Mnchen Production,
Newman.
THINKFilm. Luigi Falorni and Byambasuren Davaa.
THE P A SS IO N O F TH E CH RIST, Icon Production, Icon
SU P ER SI Z E M E, Kathbur Productions/The Con
and Newmarket. John Debney.
Production, Roadside Attractions/Samuel Goldwyn
THE VIL L A GE , Touchstone Pictures Production, Buena
Films. Morgan Spurlock.
Vista. James Newton Howard.
TUPAC: RESURRECTION, MTV-Amaru Entertainment,
Inc. Production, Paramount. Lauren Lazin and Karolyn
A C C ID E NTA L L Y IN LOV E (Shrek 2, PDI/DreamWorks
Ali.
Production, DreamWorks). Music by Adam Duritz,
T W I ST OF FAI T H, Chain Camera Pictures Production.
Charles Gillingham, Jim Bogios, David Immergluck,
Kirby Dick and Eddie Schmidt.
Matthew Malley and David Bryson; Lyric by Adam
Duritz and Daniel Vickrey.
AU T I SM I S A W ORLD , State of the Art Production.
* A L O TR O L A D O DEL RO (The Motorcycle Diaries,
Gerardine Wurzburg.
South Fork Pictures in association with Tu Vas Voir
T HE CHI LD REN OF LEN I NGRAD SK Y , Hanna Polak
Production, Focus Features and Film Four). Music and
Production. Hanna Polak and Andrzej Celinski.
Lyric by Jorge Drexler.
HARD W OOD , Hardwood Pictures and National Film
BE L IE VE (The Polar Express, Castle Rock Pictures
Board of Canada Production. Hubert Davis and Erin
Production, Warner Bros.). Music and Lyric by Glen
Faith Young.
Ballard and Alan Silvestri.
L E A R N TO BE L ONELY (The Phantom of the Opera, The * M I GHT Y T I M ES: T HE CHI LD REN S M ARCH, Tell the
Truth Pictures Production. Robert Hudson and Bobby
Really Useful Group Production, Warner Bros.). Music
Houston.
by Andrew Lloyd Webber; Lyric by Charles Hart.
SI ST ER ROSE S P ASSI ON, New Jersey Studios
L O O K TO Y O UR PATH (V OIS SUR TON CH EMIN)
Production. Oren Jacoby and Steve Kalafer.
(The Chorus [Les Choristes], Galate Films/Path
Renn/France 2 Cinema/Novo Arturo Films/Vega Film
AG Production, Miramax Films). Music by Bruno
* T HE I NCRED I BLES, Pixar Animation Studios
Coulais; Lyric by Christophe Barratier.
Production, Buena Vista. Brad Bird.
SHARK T ALE, DreamWorks Animation LLC Production,
DreamWorks. Bill Damaschke.
SHREK 2 , PDI/DreamWorks Production, DreamWorks.
Andrew Adamson.
AS I T I S I N HEAVE N (Sweden).
T HE CHORU S ( LE S C H O R I S T E S ) (France).
D OW N FALL (Germany).
* T HE SEA I N SI D E (Spain).
Y EST ERD AY (South Africa).

T O SI D NEY LU M E T in recognition of his brilliant
services to screenwriters, performers and the art of the

motion picture.
T O ART HU R W I DM E R for his lifetime of achievement
in the science and technology of image compositing
for motion pictures as exemplied by his signicant
contributions to the development of the Ultra Violet
and the bluescreen compositing processes. (Award
of Commendation)

T O ROGER M AY E R

T O T AK U O M I Y AG I S H I MA
A WA R D S
HORST BU RBU LL A for the invention and continuing
development of the Technocrane telescoping camera

crane.
J EAN- M ARI E LAV A L O U , A L A I N M A S S E R O N and
D AVI D SAM U EL S O N for the engineering and
development of the Louma Camera Crane and remote
system for motion picture production.
G Y U LA M EST ER (electronic systems design) and
K EI T H ED W ARD S (mechanical engineering) for
their signicant contributions to and continuing

development of the Technocrane telescoping camera
crane.
LI ND SAY ARN OL D, G U Y G R I F F I T H S , DA V I D
HOD SON, CHAR L I E L A W R E N C E and DA V I D
M ANN for their development of the Cineon Digital
Film Workstation.

G REG CANNOM and W E S L E Y W O F F O R D for the
development of their special modied silicone material

for makeup appliances used in motion pictures.
J ERRY COT T S for the original concept and design
and AN T HON Y S E A MA N for the engineering of the
Satellight-X HMI Softlight.
ST EVEN E. BOZ E for the design and implementation
of the DNF 001 multi-band digital audio noise
suppressor.
D R. CHRI ST OP HE R H I C K S and DA V E B E T T S for the
design and implementation of the Cedar DNS 1000
multi-band digital noise suppressor.
N ELSON T Y LER for the development of the Tyler
Gyroplatform boat mount stabilizing device for
D R. J U LI AN M OR R I S , M I C H A E L B I R C H , DR . PA U L
SM Y T H and P AU L T A T E for the development of the
Vicon motion capture technology.
D R. J OHN O. B. G R E A V E S , N E D PH I PPS ,
ANT ONI E J . VAN DE N B O G E R T and W I L L I A M
HAY ES for the development of the Motion Analysis
motion capture technology.
369
D R. NELS M AD SE N , V A U G H N C A T O , MA T T H E W
M AD D EN and BI L L L O R T O N for the development of
the Giant Studios motion capture technology.
ALAN K AP LER for the design and development of
Storm, a software toolkit for artistic control of

volumetric effects.
8/8/13 7:39 PM
2005
The Seventy-Eighth Year
t was one of the biggest surprise endings

in many Academy Award years. The lm
the press regarded as most likely to score
a triumph in the top spot at Oscars 78th
birthday party, held on March 5, 2006, at
the Kodak Theatre in Hollywood, was the
one that had been universally praised since
its debut, then voted best by the Producers Guild, BAFTA and numerous other
prize-giving organizations. It was Brokeback
Mountain, a poignant tale by director Ang
Lee about the angst-lled romantic relationship of two cowboys. But Jack Nicholsons
reaction when he opened the envelope to
announce the winner said it all: Crash.
Whoa!
In the best tradition of a heart-stopping
horserace, an early year release had laid
quietly along the rail and then made a late
sprint to end up the winner. Crash, a sobering look at racial issues in contemporary
Los Angeles, also won Oscars for its original screenplay and lm editing. Brokeback,
though bruised, was in no way ignored. It
also ended up with three awards, one for its
director, Ang Lee, and others for its adapted
screenplay and original music score.
The other lms to earn multiple awards
were Memoirs of a Geisha, which won three,
and a remake of King Kong, which also won
a trio of statuettes; all others were single
winners. Tsotsi, from South Africa, was
named the years best foreign language
lm, and March of the Penguins, which had
become one of the most popular documentaries released in American theaters, was
named best documentary feature.
The evening turned out to be a particularly signicant one for writer-director Paul
Haggis. Not only did he take home prizes
as a producer of the years best lm and for
cowriting the screenplay of Crash, it marked
the second year in a row that the lm that
won the Academys best picture prize had a
screenplay by Haggis.
All four winners in the acting categories
were rst-time nominees, two of them winning for playing celebrities. Philip Seymour
Hoffman won as best actor for his stingingly
accurate portrayal of writer Truman Capote
in the independently produced Capote;
Reese Witherspoon was chosen best actress
as country-western singer June Carter in the
biopic Walk the Line. Witherspoon almost
didnt make it to the Kodak to accept her
statuette, as she had been down the entire
week with the stomach u. George Clooney
in Syriana and a very pregnant Rachel Weisz
in The Constant Gardener were named the
years best supporting actor and actress.
For the rst time the show, again telecast
by ABC, was hosted by Jon Stewart, the
witty and envelope-pushing commentatorcomedian whod become a popular xture
on television with The Daily Show. Among
the high points was the lead-in to the presentation of an Honorary Award to veteran
director Robert Altman, which had Meryl
Streep and Lily Tomlin comically kidding
and praising Altman, with whom theyd
recently worked on the lm A Prairie Home
Companion.
The biggest controversy among the
morning-after quarterbacks focused on the
370
be s t p i c t ure : CRASH (Lions Gate Films; Paul Haggis and
Cathy Schulman, producers; directed by Paul Haggis) initially
had one of the lowest-key journeys of any lm on its way to capturing Oscars biggest prize. Released in theaters in May 2005,
the lm received a mixed batch of reviews but generated enthusiastic word of mouth, then disappeared. However, at years end,
it was put back in circulation, causing more talk and capturing
more eyes, and by Oscar time, it was being heralded as the one
that almost got away. A study of racism and racial stereotyping
in culturally mixed Los Angeles, Crash opens with a multicar
collision, then retraces the preceding 24 hours in the lives of
those either involved in, or affected by, that accident. Among
the actors in that diverse group: Sandra Bullock, Don Cheadle,
Matt Dillon, Brendan Fraser, Terrence Howard, Ryan Phillippe,
Chris Ludacris Bridges, Michael Pea and Tony Danza. It
was a particular triumph for Haggis, who not only directed and
produced the lm but also penned the original story and cowrote
the screenplay, earning three nominations and two Oscars in the
process. The lm, he said, was inspired by an incident that had
happened to him when his Porsche was carjacked in 1991 outside
a video store in Los Angeles.
8/8/13 7:39 PM
winner in the best song category and its

presentation on the telecast. The song was
Its Hard Out Here for a Pimp from Hustle
& Flow, music and lyric by members of the
rap group Three 6 MaaJordan Houston,
Cedric Coleman and Paul Beauregard; it
was sung live on the show by the writers.
Reactions were widely mixed, some observers noting how far things had changed since
the era in which songs by the likes of Irving
Berlin, Alan and Marilyn Bergman, and
Bruce Springsteen had won in that category,
and others saying life marches on, praising
Academy Award voters for keeping in step
with the times. But host Stewart summed it
up best by quipping after the win, Martin
Scorsese: 0; Three 6 Maa: 1.
In all, fourteen of those competing in the
acting divisions this year had never been
nominees before; of the six who had previously been nominated, four (Judi Dench,
William Hurt, Frances McDormand, and
Charlize Theron) had also won. John Williams, receiving his 44th and 45th nominations, became the second most-nominated
individual in Academy Award history,
second only to Walt Disney, who received 59
nominations during his lifetime.
be s t s u p p or t in g ac tress: RACHEL WEISZ as Tessa
Quayle in The Constant Gardener (Focus Features; directed by
Fernando Meirelles). In this lm version of a 2001 John le Carr
novel, Weisz (above left) plays a political activist who, while
living in Africa, discovers a corporate scandal involving a wide
pharmaceutical fraud. She is murdered, setting her husband, a
British diplomat (Ralph Fiennes), on a frenzied international
hunt to nd out why his wife has died under suspicious circumstances. Le Carr based his book on the life and death of Yvette
Pierpaoli, an activist and charity worker killed in 1999; in his
novels afterword, he states, By comparison with the reality, my
story is as tame as a holiday postcard.
best directing: ANG LEE, Brokeback Mountain (Focus

Features). Lees adaptation of an award-winning New Yorker
short story by Annie Proulx quickly became one of the years
most-discussed and best-reviewed lms. It was also one of its
most provocative, covering two decades in the lives of a pair of
cowboys (left, Heath Ledger and Jake Gyllenhaal), who rst
meet as sheep wranglers in Wyoming in 1963 and fall in love.
Over the next 20 years, the two meet for periodic trysts, while
separately going through disastrous marriages, suffering apprehension, agony, and a deep longing for each other. This was a
cowboy tale far from anything John Wayne or Roy Rogers fans
could have imagined; in the words of another critic, It makes
one rethink the possible subtexts in every western from Red River
to Butch Cassidy and the Sundance Kid. The Taiwan-born
Lee, previously nominated for directing and producing 2000s
Crouching Tiger, Hidden Dragon, had also directed three lms
nominated in the Academys best foreign language lm category,
1993s The Wedding Banquet, 1994s Eat Drink Man Woman,
and Crouching Tiger, which had gone on to win in that category
for his native country. He had also directed the 1995 best picture
nominee Sense and Sensibility.
371
be s t a ct or : PHILIP SEYMOUR HOFFMAN as Truman

Capote in Capote (UA/Sony Pictures Classics; directed by
Bennett Miller). Some say it was acting, others say it was channeling, but whichever, Hoffmans portrayal of the cunning and
controversial Truman Capote was brilliantly done, with the
nearly six-foot, bearlike and rough-edged Hoffman (left) amazingly morphing himself into a convincing physical replica of the
effete, diminutive writer. The lm focuses on Capote when he
was already a well-known author on an assignment by The New
Yorker to do an essay about a grisly murder in Kansas, which
Capote later turned into his best-selling book In Cold Blood.
Filmed in Manitoba, Canada, the lm released on September 30,
2005, coinciding with what would have been Capotes own 81st
birthday (he had died in 1984); it was followed the next year by
the release of another lm on the same subject, Infamous, directed by Douglas McGrath, in which Toby Jones plays Capote.
8/8/13 7:39 PM
B E S T PI C TUR E
T HE CONST ANT G A R DE N E R , Potboiler Production,
T ERREN CE HOW ARD in Hustle & Flow, Crunk
Focus Features. Jeffrey Caine.

A HI ST ORY OF VI OL E N C E , Benderspink Production,
Production, Focus Features. Diana Ossana and James
New Line. Josh Olson.
Schamus, Producers.
M U NI CH, Universal Pictures/DreamWorks Pictures
CAP OT E, A-Line Pictures/Coopers Town/Innity
Production, Universal and DreamWorks. Tony
Media Production, UA/Sony Pictures Classics.
Kushner and Eric Roth.
Caroline Baron, William Vince and Michael Ohoven,
Producers.
* CRASH, Bob Yari/DEJ/BlackFriars Bridge/Harris
Company/ApolloProscreen GmbH & Co./Bulls Eye
Entertainment Production, Lions Gate Films. Paul
Haggis and Cathy Schulman, Producers.
Haggis and Bobby Moresco.
GOOD N I GHT , AN D GOOD LU CK . , Good Night
G OOD NI G HT , AND G O O D L U C K . , Good Night
Good Luck LLC Production, Warner Independent
Pictures. Grant Heslov, Producer.
Pictures. George Clooney and Grant Heslov.
MUNICH, Universal Pictures/DreamWorks Pictures
M AT CH P OI NT , Jada in association with BBC Films and
Production, Universal and DreamWorks. Kathleen
Thema S.A. Production, DreamWorks. Woody Allen.
Kennedy, Steven Spielberg and Barry Mendel, Producers. T HE SQ U I D AN D T H E W H A L E , Squid and Whale, Inc.
Production, Samuel Goldwyn Films and Sony Pictures
A C TO R
Releasing. Noah Baumbach.
* P HI LI P SEY M OU R HOFFM AN in Capote, A-Line
SY RI ANA, Warner Bros. Pictures Production, Warner
Pictures/Coopers Town/Innity Media Production,
Bros. Stephen Gaghan.
UA/Sony Pictures Classics.
BROK EBACK M OU NT AI N, River Road Entertainment
Nominations 2005
be s t s up p ort i n g acto r : GEORGE CLOONEY as Bob

Barnes in Syriana (Warner Bros.; directed by Stephen Gaghan).
With his nomination for this category and for best directing (for
Good Night, and Good Luck.), Clooney (above) became the
rst person to be nominated for acting and directing in a single
year for two different motion pictures. As for Syriana, although
Clooney received top billing and also executive produced the lm,
he was very much an ensemble player in this political thriller
about the global inuence of the oil industry. Loosely based
on Robert Baers memoir See No Evil, the screenplay, also by
Gaghan, follows several parallel storylines occurring in Texas,
Switzerland, Washington, D.C., Spain, and the Middle East,
one involving Clooney as a veteran CIA operative attempting to
stop illegal arms trafcking. Others in the varied locales included
Matt Damon, Jeffrey Wright, William Hurt, Christopher
Plummer, Amanda Peet and Chris Cooper. Clooneys acceptance
speechwarm, funny and thoughtfulbegan, All right, so Im
not winning director, and then continued, commending the lm
industry for its tendency to discuss and take stands on historical
and social issues, such as civil rights and AIDS, before society at
large was ready to deal with them.
372
be s t ac t re s s : REESE WITHERSPOON as June Carter in

Walk the Line (20th Century Fox; directed by James Mangold).
James Cagney had done it as far back as 1942 but it didnt become
an Oscar trend until 1980, when Sissy Spacek played country
singing legend Loretta Lynn in Coal Miners DaughterSpacek
did her own singing in the stars style instead of lip-synching
to Lynn recordings, winning an Academy Award in the process.
Jamie Foxx had done the same in his Oscar-winning interpretation of Ray Charles in 2004s Ray; now it was Witherspoon
(above) who took on such a dare with the same kind of exceptional results, playing country singer June Carter. (Her Walk
the Line co-star Joaquin Phoenix also impressively went the
same vocal route, as Carters husband Johnny Cash.) This
was Witherspoons rst time as an Academy Award nominee;
although shed never before been known as a singer, she had nonetheless been a professional actress since the age of fourteen and
had rst attracted serious attention in 1999s Cruel Intentions
and Election, and then became a bona de star with a spunky,
charming performance in 2001s Legally Blonde.
Pictures/Homegrown Pictures Production, Paramount

Classics, MTV Films and New Deal Entertainment.
HEAT H LED GER in Brokeback Mountain, River Road
Entertainment Production, Focus Features.
JOAQ U I N P HOEN I X in Walk the Line, Fox 2000
Pictures Production, 20th Century Fox.
D AVI D ST RAT HAI RN in Good Night, and Good Luck.,
Good Night Good Luck LLC Production, Warner
Independent Pictures.

Pictures. Jim Bissell; Jan Pascale.
HARRY P OT T ER AND T H E G O B L E T O F F I R E , Warner
Bros. Productions Ltd. Production, Warner Bros.
Stuart Craig; Stephenie McMillan.
K I NG K ON G , Universal Pictures Production, Universal.
Grant Major; Dan Hennah and Simon Bright.
* M EM OI RS OF A G EI S H A , Columbia Pictures/
A C TR E S S
DreamWorks Pictures/Spyglass Entertainment
JU D I D ENCH in Mrs. Henderson Presents, Heyman
Production, Sony Pictures Releasing. John Myhre;
Hoskins Production, The Weinstein Company.
Gretchen Rau.
FELI CI T Y HU FFM AN in Transamerica, Belladonna
P RI D E & P REJ U D I CE , Working Title/Scion Films
Production, The Weinstein Company and IFC Films.
Production, Focus Features. Sarah Greenwood; Katie
K EI RA K N I GHT LEY in Pride & Prejudice, Working Title/
Spencer.
Scion Films Production, Focus Features.
CHARLI Z E T HERON in North Country, Warner Bros.
BAT M AN BEG I NS, Warner Bros. Pictures Production,
* REESE W I T HERSP OON in Walk the Line, Fox 2000
Warner Bros. Wally Pster.
BROK EBACK M OU N T A I N , River Road Entertainment
Production, Focus Features. Rodrigo Prieto.
* GEORG E CLOONEY in Syriana, Warner Bros. Pictures
Pictures. Robert Elswit.
M AT T D I LLON in Crash, Bob Yari/DEJ/BlackFriars
Bridge/Harris Company/ApolloProscreen GmbH &
Co./Bulls Eye Entertainment Production, Lions Gate
Production, Sony Pictures Releasing. Dion Beebe.
Films.
THE NEW WORLD, Virginia Company, LLC Production,
P AU L G I AM AT T I in Cinderella Man, Universal Pictures
New Line. Emmanuel Lubezki.
and Imagine Entertainment Production, Universal and
Miramax.
C
O S TUM E D ESIGN
JAK E G Y LLENHAAL in Brokeback Mountain, River Road
CHARLI E AN D T HE C H O C O L A T E F A C T O R Y, Warner
Entertainment Production, Focus Features.
Bros. Productions Ltd. Production, Warner Bros.
W I LLI AM HU RT in A History of Violence, Benderspink
Gabriella Pescucci.
Production, New Line.
Production, Sony Pictures Releasing. Colleen Atwood.
AM Y AD AM S in Junebug, Epoch Films Production, Sony
M RS. HEN D ERSON P R E S E N T S , Heyman Hoskins
Pictures Classics.
Production, The Weinstein Company. Sandy Powell.
CAT HERI N E K EEN ER in Capote, A-Line Pictures/
P RI D E & P REJ U D I CE , Working Title/Scion Films
Coopers Town/Innity Media Production, UA/Sony
Production, Focus Features. Jacqueline Durran.
Pictures Classics.
W ALK T HE LI N E, Fox 2000 Pictures Production, 20th
FRAN CES M CD ORM AND in North Country, Warner
Century Fox. Arianne Phillips.
* RACHEL W EI SZ in The Constant Gardener, Potboiler
F I LM E D I TI NG
CI N D ERELLA M AN , Universal Pictures and Imagine
M I CHELLE W I LLI AM S in Brokeback Mountain, River
Entertainment Production, Universal and Miramax.
Road Entertainment Production, Focus Features.
Mike Hill and Dan Hanley.
T HE CONST ANT G A R DE N E R , Potboiler Production,
D I R E C TI N G
Focus Features. Claire Simpson.
* BROK EBACK M OU NT AI N, River Road Entertainment
Production, Focus Features. Ang Lee.
Entertainment Production, Lions Gate Films. Hughes
Media Production, UA/Sony Pictures Classics. Bennett
Winborne.
Miller.
M U NI CH, Universal Pictures/DreamWorks Pictures
CRASH, Bob Yari/DEJ/BlackFriars Bridge/Harris
Production, Universal and DreamWorks. Michael
Kahn.
W ALK T HE LI N E, Fox 2000 Pictures Production, 20th
Haggis.
Century Fox. Michael McCusker.
GOOD N I GHT , AN D GOOD LU CK . , Good Night
M A KE UP
Pictures. George Clooney.
* T HE CHRON I CLES O F N A R N I A : T H E L I O N , T H E
M U N I CH, Universal Pictures/DreamWorks Pictures
W I T CH AND T HE WA R DR O B E , Walt Disney
Production, Universal and DreamWorks. Steven
Pictures/Walden Media Production, Buena Vista.
Spielberg.
Howard Berger and Tami Lane.
CI N D ERELLA M AN , Universal Pictures and Imagine
WR I TI N G
Entertainment Production, Universal and Miramax.
David Leroy Anderson and Lance Anderson.
* BROK EBACK M OU NT AI N, River Road Entertainment
ST AR W ARS: EP I SOD E I I I R E V E N G E O F T H E S I T H ,
Production, Focus Features. Larry McMurtry and
Lucaslm Ltd. Production, 20th Century Fox. Dave
Diana Ossana.
Elsey and Nikki Gooley.
Media Production, UA/Sony Pictures Classics. Dan
Futterman.
8/8/13 7:39 PM
S O UN D E D I TI N G
* K I N G K ONG, Universal Pictures Production, Universal.

Mike Hopkins and Ethan Van der Ryn.
M EM OI RS OF A G EI SHA, Columbia Pictures/
Production, Sony Pictures Releasing. Wylie Stateman.
W AR OF T HE W ORLD S, Amblin Entertainment/C|W
Production, Paramount and DreamWorks. Richard
King.
S O UN D M I XI N G
T HE CHRON I CLES OF NARNI A: T HE LI ON, T HE

W I T CH AND T HE W ARD ROBE, Walt Disney
Pictures/Walden Media Production, Buena Vista. Terry

Porter, Dean A. Zupancic and Tony Johnson.
Christopher Boyes, Michael Semanick, Michael
Hedges and Hammond Peek.
M EM OI RS OF A G EI SHA, Columbia Pictures/
Production, Sony Pictures Releasing. Kevin OConnell,
Greg P. Russell, Rick Kline and John Pritchett.
W ALK T HE LI NE, Fox 2000 Pictures Production,
20th Century Fox. Paul Massey, D.M. Hemphill and
Peter F. Kurland.
W AR OF T HE W ORLD S, Amblin Entertainment/
C|W Production, Paramount and DreamWorks.
Andy Nelson, Anna Behlmer and Ronald Judkins.
h on orary aw ard : ROBERT ALTMAN. As with director Sidney Lumet, who was saluted with an Honorary Award
the preceding year, the Academys Board of Governors sought
to recognize another veteran director whod made a string of
extraordinary, nonconforming cinema treats without ever having personally won an Oscar. The Honorary Award to Altman
was specically in recognition of a career that has repeatedly
reinvented the art form and inspired lmmakers and audiences
alike. It came none too soon. Just seven months later, with his
36th and nal lm, A Prairie Home Companion, only recently
released in theaters, Altman died at the age of 81.
T HE CHRON I CLES OF NARNI A: T HE LI ON, T HE

W I T CH AND T HE W ARD ROBE, Walt Disney
Pictures/Walden Media Production, Buena Vista.

Dean Wright, Bill Westenhofer, Jim Berney and Scott
Farrar.
Joe Letteri, Brian Vant Hul, Christian Rivers and
Richard Taylor.
W AR OF T HE W ORLD S, Amblin Entertainment/
C|W Production, Paramount and DreamWorks.
Dennis Muren, Pablo Helman, Randal M. Dutra and
Daniel Sudick.
S H O R T F I LM S
(a n ima t e d)
BAD GERED , National Film and Television School
Production. Sharon Colman.

* T HE M OON AND T HE SON: AN I M AGI N ED
CON VERSAT I ON, John Canemaker Production. John
Canemaker and Peggy Stern.
T HE M Y ST ERI OU S GEOG RAP HI C EX P LORAT I ONS
OF J ASP ER M ORELLO, 3D Films Production,
Monster Distributes. Anthony Lucas.
9 , Shane Acker Production. Shane Acker.
ON E M AN BAN D , Pixar Animation Studios Production.
Andrew Jimenez and Mark Andrews.
best documentary feature: MARCH OF THE PENGUINS

(liv e a ct ion )
(Warner Independent Pictures). It began as a French movie
AU SREI SSER ( T HE RU N AW AY ) , Hamburg Media
called La Marche de lempereur (The Emperors Journey),
School, Filmwerkstatt Production. Ulrike Grote.
covering the yearly journey, fraught with hazards, of the emperor
CASHBACK , Left Turn Films Production, The British
penguins of Antarctica as they trek from their natural habitat of
Film Institute. Sean Ellis and Lene Bausager.
the ocean to their ancestral breeding grounds many miles inland.
T HE LAST FARM , Zik Zak Filmworks Production. Rnar
After ritualistic courtships, breeding, and births, they must
Rnarsson and Thor S. Sigurjnsson.
endure an equally treacherous journey back to the sea. Initially
OU R T I M E I S U P , Station B Production. Rob Pearlstein
released in Europe in a version in which the penguins spoke
and Pia Clemente.
dialogue dubbed by actors, it was given an entirely different
edit for its U.S. bookings, with the earlier soundtrack erased and * SI X SHOOT ER, Missing in Action Films and Funny
Farm Films Production, Sundance Film Channel.
the deep, melodic voice of Morgan Freeman doing the straightMartin McDonagh.
forward narration.
D O C UM E N TA R Y
MUSIC
(fe a t u r e s )
D ARW I N S NI G HT M ARE, Mille et Une Production,
International Film Circuit. Hubert Sauper.

* BR O KE BA C K MOUNTAIN, River Road Entertainment ENRON : T HE SM ART EST G U Y S I N T HE ROOM ,
HDNet Films Production, Magnolia Pictures. Alex
Production, Focus Features. Gustavo Santaolalla.
Gibney and Jason Kliot.
THE C O NS TA NT GARDENER, Potboiler Production,
Focus Features. Alberto Iglesias.
* M ARCH OF T HE P ENGU I N S, Bonne Pioche
Production, Warner Independent Pictures. Luc Jacquet
ME MO IR S O F A GEISHA, Columbia Pictures/
and Yves Darondeau.
M U RD ERBALL, Eat Films Production, THINKFilm.
Production, Sony Pictures Releasing. John Williams.
Henry-Alex Rubin and Dana Adam Shapiro.
MU NIC H, Universal Pictures/DreamWorks Pictures
ST REET FI G HT , Marshall Curry Production. Marshall
Production, Universal and DreamWorks. John
Curry.
Williams.
P R ID E & P R E JUDICE, Working Title/Scion Films
Production, Focus Features. Dario Marianelli.
T HE D EAT H OF K EVI N CART ER: CASU ALT Y OF T HE

BANG BAN G CLU B, Dan Krauss Production. Dan
Krauss.
GOD SLEEP S I N RW AND A, Acquaro/Sherman
Bridge/Harris Company/ApolloProscreen GmbH &
Production. Kimberlee Acquaro and Stacy Sherman.
Co./Bulls Eye Entertainment Production, Lions Gate
T HE M U SHROOM CLU B, Farallon Films Production.
Films). Music by Kathleen Bird York and Michael
Steven Okazaki.
Becker; Lyric by Kathleen Bird York.
* IT S HA R D O UT HERE FOR A PIMP (Hustle & Flow, * A NOT E OF T RI U M P H: T HE G OLD EN AG E OF
N ORM AN CORW I N, NomaFilms Production.
Crunk Pictures/Homegrown Pictures Production,
Corinne Marrinan and Eric Simonson.
Paramount Classics, MTV Films and New Deal
Entertainment). Music and Lyric by Jordan Houston,
Cedric Coleman and Paul Beauregard.
HOW L S M OVI N G CAST LE, Studio Ghibli Production,
TR A VE L IN THR U (Transamerica, Belladonna
Buena Vista. Hayao Miyazaki.
Production, The Weinstein Company and IFC Films).
T I M BU RT ON S CORP SE BRI D E, Warner Bros.
Music and Lyric by Dolly Parton.
Productions Ltd. Production, Warner Bros. Mike
Johnson and Tim Burton.
IN THE D E E P (Crash, Bob Yari/DEJ/BlackFriars
* W ALLACE & G RO M I T I N T H E C U R S E O F T H E
W ERE- RABBI T , Aardman Animations Limited
Production, DreamWorks Animation SKG. Nick Park
and Steve Box.
D ON T T ELL (Italy).
J OY EU X N OL (France).
P ARAD I SE N OW (The Palestinian Territories).
SOP HI E SCHOLL T H E F I N A L DA YS (Germany).
* T SOT SI (South Africa).

T O ROBERT ALT M A N in recognition of a career that
has repeatedly reinvented the art form and inspired

lmmakers and audiences alike.
T O D ON HALL in appreciation for outstanding service
and dedication in upholding the high standards of


T O G ARY D EM OS
A WA R D S
D AVI D G ROBER for the concept and mechanical
design and SCOT T L E W A L L E N for the electronic
and software design of the Perfect Horizon camera

stabilization head.
AN AT OLI Y K OK US H , YU R I Y PO PO V S K Y and
OLEK SI Y Z OLO T A R O V for the concept and
development of the Russian Arm gyro-stabilized
camera crane and the Flight Head.
AN AT OLI Y K OK US H for the concept and development
of the Cascade series of motion picture cranes.
G ARRET T BROW N for the original concept of the
Skycam ying camera systemthe rst use of 3-D
volumetric cable technology for motion picture
cinematography.
D AVI D BARAFF, M I C H A E L K A S S and A N DR E W
W I T K I N for their pioneering work in physically-based
computer-generated techniques used to simulate
realistic cloth in motion pictures.
LAU RI E FROST , P E T E R H A N N A N and R I C H A R D
LON CRAI N E for the development of the remote
camera head known as the Hot-Head.
G ARY T HI ELT G ES for the design and development
of the remotely-operated, lightweight camera head

known as the Sparrow Head.
FRANK FLET CHER and DA V E S H E R W I N for the
introduction and continuing development of the
Power Pod modular camera head system.
ALVAH M I LLER, M I C H A E L S O R E N S E N and J . W A L T
AD AM CZ Y K for the design and development of the
Aerohead motion control camera head and the J-Viz
Pre-Visualization system.
SCOT T LEVA for the design and development of the
Precision Stunt Airbag for motion picture stunt falls.
LEV Y EVST RAT OV , G E O R G E PE T E R S and V A S I L I Y
ORLOV for the development of the Ultimate
Arm Camera Crane System for specialized vehicle
photography.
J AM ES ROD NU NS K Y, A L E X M A C DO N A L D and
M ARK CHAP M A N for the development of the
Cablecam 3-D volumetric suspended cable camera
technologies.
T I M D RN EC, BEN B R I T T E N S MI T H and M A T T DA V I S
for the development of the Spydercam 3-D volumetric
suspended cable camera technologies.
J OHN P LAT T and DE M E T R I T E R ZO PO U L O S for
their pioneering work in physically-based computergenerated techniques used to simulate realistic cloth in
motion pictures.
ED CAT M U LL, for the original concept, and T O N Y
D EROSE and J O S S T A M for their scientic and
practical implementation of subdivision surfaces as a
modeling technique in motion picture production.
373
HAROLD RAT T RA Y, T E R R Y C L A B O R N , S T E V E
GARLI CK , BI LL H O G U E and T I M R E YN O L DS for
the design, engineering and implementation of the

Technicolor Real Time Answer Print System.
U D O SCHAU SS and H I L DE G A R D E B B E S M E I E R
for the optical design and N I C O L E W E M K E N and
M I CHAEL AND E R E R for the mechanical design of
the Cinelux Premiere Cinema Projection Lenses.
8/8/13 7:39 PM
2006
The Seventy-Ninth Year
he Academys 79th awards year

accomplished something no other
Academy Awards year had yet done:
it placed a shiny Oscar into the hands of director Martin Scorsese after seven previous
nominations, ve of them for directing. He
had no wins on his credit sheet, although
he had guided several actors into their own
place in Oscars winners circle, among
them Ellen Burstyn in the 1970s, Robert De
Niro and Paul Newman in the 80s, Joe Pesci
in the 90s and Cate Blanchett in the 2000s.
But now Scorsese was, at long last, in that
circle himself, named 2006s best director
for The Departed and presented his statuette
by fellow directors Steven Spielberg, George
Lucas and Francis Ford Coppola. When
Scorsese reached the podium on stage at
the Kodak Theatre on February 25, 2007, he
enthusiastically said, Thank you, thank
you, thank you, and then added, Could
you double-check the envelope?
Adding a decidedly worldly punch to
the evening was the appearance of former
U.S. Vice President Al Gore, rst on the red
carpet with wife Tipper, then later on stage
when a documentary he had appeared in,
An Inconvenient Truth, was named the years
best documentary feature. There was strong
speculation Gore might be planning to soon
announce a run for president in 08 and, as
a good-natured tease, at one point during
the show when Gore was on stage with
Leonardo DiCaprio discussing the greening
of the Academy Awards, the actor queried
the politico about his future plans, whereupon Gore turned to the audience, saying,
My fellow Americans . . . Then, by prearrangement, the orchestra began playing

and drowned out his words.
From the evenings start it looked as
though Scorsese had a good chance to
nally win that heretofore elusive Oscar,
but things were much less denite for which
of the ve nominated lms would be the
ultimate Best Picture. No single lm seemed
a sure thing. However, when the nal tally
was in, it was Scorseses muscular tale of
crime and punishment in blue-collar South
Boston that was named the years best; it
was also the years most honored lm with
four awards, still fewer than many charttoppers in the Academys past. The Departed
received no awards for its actors but was
acknowledged for its lm editing by Thelma
Schoonmaker and its adapted screenplay by
William Monahan.
The Spanish-language fantasy Pans
Labyrinth scored the next highest number
of Oscars for the night, winning for its art
direction, cinematography, and makeup;
it had also represented Mexico as one of
the years foreign language lm nominees,
losing in that category to the German-made
The Lives of Others. Three lms earned two
Oscars each: Dreamgirls, including Jennifer Hudson as the years best supporting
actress; Little Miss Sunshine, for which Alan
Arkin won as the years best supporting
actor; and An Inconvenient Truth, which, in
addition to its documentary award, became
the rst documentary to also win in the best
song category (I Need to Wake Up, music
and lyric by Melissa Etheridge). Etheridge
374
be s t p i c t ure : THE DEPARTED (Warner Bros.; produced by
Graham King) and be s t d i r ecti ng : MARTIN SCORSESE
for The Departed. Using the 2002 Hong Kong actioner Infernal
Affairs as the basis for this violent and engrossing gangster tale
about moles, murder and mayhem in Massachusetts, Scorsese
scored not only a bulls-eye but also his rst Academy Award as
a director after more than 30 years as one of the screens premier
lmmakers. Working with many of his longtime lm companions, including ace lm editor Thelma Schoonmaker (who was
also recognized for The Departed, the third time shed won
for her work on a Scorsese lm), his outstanding cast included
Leonardo DiCaprio (right), in his third lm for the director,
Alec Baldwin in his second Scorsese outing, and many Scorsese
rst-timers, among them Matt Damon (at left), Jack Nicholson,
Mark Wahlberg and Martin Sheen.
8/8/13 7:39 PM
also sang her song on the telecast, which

was carried on ABC-TV and hosted for the
rst time by Ellen DeGeneres.
The two top acting awards went to performers playing real people: Forest Whitaker
as Idi Amin in The Last King of Scotland, and
Helen Mirren as Queen Elizabeth II in The
Queen, a rst win for both of them, as it was
for their fellow acting winners Arkin and
Hudson. Happy Feet was named the years
best animated feature and an Honorary
Award went to composer Ennio Morricone,
who delivered his entire thank-you speech
in Italian. Sherry Lansing, the former Paramount executive, received the Jean Hersholt
Humanitarian Award. The running time of
the show was 3 hours and 52 minutes.
Meanwhile, several more Academy records had been set. Meryl Streeps competing in the best actress category for The Devil
Wears Prada marked her 14th nomination,
the most attained by any performer in the
Academys history; the closest runners-up at
this point were Jack Nicholson and the late
Katharine Hepburn, each with 12 nominations to their credit. Peter OToole, nominated as best actor for Venus, was competing
for the eighth time in that category, and
lost for the eighth time. No other performer
had been nominated so many times for
a competitive Academy Award without a
single win. OToole had, however, received
an Honorary Award in 2002 for his body
of work.
be s t s u p p or t in g ac tress: JENNIFER HUDSON as Efe

White in Dreamgirls (DreamWorks and Paramount; directed
by Bill Condon). Having been axed as a contestant on TVs
American Idol show not long before, Hudson (above) became
the years great success story, making her motion picture debut
in a high-prole musical, then capping that with an Academy
Award for her performance. Dreamgirls had started as a successful 1981 Broadway musical, an only slightly veiled roman clef
based on the formation of the singing group The Supremes and a
later traumatic reorganization of its three original vocalists that
pushed the groups best singer out the door to virtual oblivion.
In this vivid, colorful, and ambitious lm version, Hudson is the
belter who has the supreme voice among the trio (which includes
Beyonc Knowles and Anika Noni Rose) but, in the view of the
groups manager (Jamie Foxx), doesnt possess the cosmetic qualications to be the focal point of the act, called The Dreamettes.
Hudson was one of 783 singer-actresses who auditioned for the
role. When she was selected she was also asked to gain 20 pounds
before lming started.
375
be s t a ct or : FOREST WHITAKER as Idi Amin in The Last
King of Scotland (Fox Searchlight; directed by Kevin Macdonald). It was the role of a lifetime for Whitaker (left), playing
the notorious and real-life Ugandan dictator who could be as
gracious as he was tyrannical, often charming and, as history
has shown, quite crazed. The Peter MorganJeremy Brock screenplay beautifully depicted Amins terrifying persona, but it was
Whitakers performance that brought it so vibrantly to life as the
dictator as seen through the eyes of a nave young doctor (James
McAvoy), who is initially captivated by Amin but soon realizes
that behind the dictators often smiling, buoyant and compelling
demeanor there lives a madman.
8/8/13 7:39 PM
B E S T PI C TUR E
BABEL, Anonymous Content/Zeta Film/Central Films

Production, Paramount and Paramount Vantage.
Guillermo Arriaga.
Alejandro Gonzlez Irritu, Jon Kilik and Steve
LET T ERS FROM I W O J I MA , DreamWorks Pictures/
Golin, Producers.
Warner Bros. Pictures Production, Warner Bros. Iris
* T HE D EP ART ED , Warner Bros. Pictures Production,
Yamashita and Paul Haggis.
Warner Bros. Graham King, Producer.
* LI T T LE M I SS SU NSH I N E , Big Beach/Bona Fide
LET T ERS FROM I W O J I M A, DreamWorks Pictures/
Production, Fox Searchlight. Michael Arndt.
Warner Bros. Pictures Production, Warner Bros.
P AN S LABY RI N T H, Tequila Gang/Esperanto Filmoj/
Clint Eastwood, Steven Spielberg and Robert Lorenz,
Estudios Picasso Production, Picturehouse. Guillermo
Producers.
del Toro.
LI T T LE M I SS SU NSHI NE, Big Beach/Bona Fide
T HE Q U EEN, Granada Production, Miramax, Path and
Production, Fox Searchlight. David T. Friendly, Peter
Granada. Peter Morgan.
Saraf and Marc Turtletaub, Producers.
T HE Q U EEN , Granada Production, Miramax, Path and
A
R T D I R E C TION
Granada. Andy Harries, Christine Langan and Tracey
Seaward, Producers.
D REAM G I RLS, Laurence Mark Production,
A C TO R
DreamWorks and Paramount. John Myhre; Nancy
LEON ARD O D I CAP RI O in Blood Diamond, Liberty
Haigh.
Pictures, Inc. Production, Warner Bros.
T HE GOOD SHEP HE R D, Morgan Creek Production,
RY AN G OSLI NG in Half Nelson, Hunting Lane Films
Universal. Jeannine Oppewall; Gretchen Rau and
Production, THINKFilm.
Leslie E. Rollins.
P ET ER O T OOLE in Venus, Free Range Film Production, * P AN S LABY RI NT H, Tequila Gang/Esperanto Filmoj/
Miramax, FilmFour and UK Film Council.
Estudios Picasso Production, Picturehouse. Eugenio
W I LL SM I T H in The Pursuit of Happyness, Columbia
Caballero; Pilar Revuelta.
Pictures Production, Sony Pictures Releasing.
P I RAT ES OF T HE CA R I B B E A N : DE A D MA N S
CHEST , Walt Disney Pictures/Jerry Bruckheimer
* FOREST W HI T AK ER in The Last King of Scotland,
Cowboy Films/Slate Films Production, Fox Searchlight.
Films Production, Buena Vista. Rick Heinrichs; Cheryl
Carasik.
A C TR E S S
T HE P REST I GE, Touchstone Pictures/Warner Bros.
P EN LOP E CRU Z in Volver, El Deseo D.A., S.L.U.
Pictures Production, Buena Vista. Nathan Crowley;
Julie Ochipinti.
JU D I D ENCH in Notes on a Scandal, Scott Rudin/Robert
Fox Production, Fox Searchlight.
T HE BLACK D AHLI A , Millennium Films Production,
* HELEN M I RREN in The Queen, Granada Production,
Miramax, Path and Granada.
Universal. Vilmos Zsigmond.
M ERY L ST REEP in The Devil Wears Prada, Fox 2000
CHI LD REN OF M EN , Universal Pictures/Strike
Entertainment Production, Universal. Emmanuel
K AT E W I NSLET in Little Children, Bona Fide/Standard
Lubezki.
Film Company Production, New Line.
T HE I LLU SI ONI ST , Yari Film Group Production, Yari
Film Group. Dick Pope.
* P AN S LABY RI NT H, Tequila Gang/Esperanto Filmoj/
* ALAN ARK I N in Little Miss Sunshine, Big Beach/Bona
Estudios Picasso Production, Picturehouse. Guillermo
Fide Production, Fox Searchlight.
Navarro.
JACK I E EARLE HALEY in Little Children, Bona Fide/
T HE P REST I GE, Touchstone Pictures/Warner Bros.
Standard Film Company Production, New Line.
Pictures Production, Buena Vista. Wally Pster.
D J I M ON HOU NSOU in Blood Diamond, Liberty
Pictures, Inc. Production, Warner Bros.
C O S TUM E D ESIGN
ED D I E M U RP HY in Dreamgirls, Laurence Mark
CU RSE OF T HE GOL DE N F L O W E R , Film Partner
Production, DreamWorks and Paramount.
International Inc. Production, Sony Pictures Classics.
M ARK W AHLBERG in The Departed, Warner Bros.
Yee Chung Man.
T HE D EVI L W EARS P R A DA , Fox 2000 Pictures
Production, 20th Century Fox. Patricia Field.
D REAM G I RLS, Laurence Mark Production,
AD RI ANA BARRAZ A in Babel, Anonymous Content/
DreamWorks and Paramount. Sharen Davis.
Zeta Film/Central Films Production, Paramount and
* M ARI E ANT OI N ET T E , I Want Candy, LLC Production,
Paramount Vantage.
Sony Pictures Releasing. Milena Canonero.
CAT E BLAN CHET T in Notes on a Scandal, Scott Rudin/
Robert Fox Production, Fox Searchlight.
Granada. Consolata Boyle.
ABI GAI L BRESLI N in Little Miss Sunshine, Big Beach/
Bona Fide Production, Fox Searchlight.
F I LM E D I TI NG
* JEN N I FER HU D SON in Dreamgirls, Laurence Mark
Production, DreamWorks and Paramount.
RI N K O K I K U CHI in Babel, Anonymous Content/Zeta
Stephen Mirrione and Douglas Crise.
Film/Central Films Production, Paramount and
BLOOD D I AM ON D , Liberty Pictures, Inc. Production,
Paramount Vantage.
Warner Bros. Steven Rosenblum.
CHI LD REN OF M EN , Universal Pictures/Strike
D I R E C TI N G
Entertainment Production, Universal. Alex Rodrguez
and Alfonso Cuarn.
Alejandro Gonzlez Irritu.
Warner Bros. Thelma Schoonmaker.
U N I T ED 93 , Universal Pictures/StudioCanal/Working
Warner Bros. Martin Scorsese.
Title Films Production, Universal and StudioCanal.
LET T ERS FROM I W O J I M A, DreamWorks Pictures/
Clare Douglas, Christopher Rouse and Richard
Warner Bros. Pictures Production, Warner Bros. Clint
Pearson.
Eastwood.
T HE Q U EEN , Granada Production, Miramax, Path and
M A KE UP
Granada. Stephen Frears.
AP OCALY P T O, Icon Distribution, Inc. Production,
U NI T ED 93 , Universal Pictures/StudioCanal/Working
Buena Vista. Aldo Signoretti and Vittorio Sodano.
Title Films Production, Universal and StudioCanal.
CLI CK , Columbia Pictures/Revolution Studios
Paul Greengrass.
Production, Sony Pictures Releasing. Kazuhiro Tsuji
and Bill Corso.
WR I TI N G
* P AN S LABY RI NT H, Tequila Gang/Esperanto Filmoj/
Estudios Picasso Production, Picturehouse. David
Mart and Montse Rib.
BORAT CU LT U RAL LEARN I NGS OF AM ERI CA
Nominations 2006
be s t s up p ort i n g acto r : ALAN ARKIN as Grandpa in

Little Miss Sunshine (Fox Searchlight; directed by Jonathan
Dayton and Valerie Faris). The lm itself was the sleeper of the
year, a low-budget independent pleaser that caused no fuss until
it began being shown on the festival circuit, where word of mouth
turned it into one of the years must-see lms. Arkin plays a
gruff grandfather in a family of mists pursuing an impossible
dream: to help a likable but otherwise unremarkable junior member of the clan (Abigail Breslin) enter a kiddie beauty pageant.
En route to the event in a rickety vehicle, Grandpa expires, something that saddens the family but only momentarily deters them
from their mission. The unstoppable Hoover clan also includes
Greg Kinnear, Toni Collette, Paul Dano and Steve Carell, each
one contributing to the family dysfunction.
376
FOR M AK E BEN EFI T GLORI OU S NAT I ON OF

K AZ AK HST AN, 20th Century Fox Production, 20th
M US I C
Century Fox. Sacha Baron Cohen, Anthony Hines,

Peter Baynham, Dan Mazer and Todd Phillips.
* BABEL, Anonymous Content/Zeta Film/Central Films
CHI LD REN OF M EN, Universal Pictures/Strike
Entertainment Production, Universal. Alfonso
Gustavo Santaolalla.
Cuarn, Timothy J. Sexton, David Arata, Mark Fergus
T HE GOOD G ERM AN , Warner Bros. Pictures
and Hawk Ostby.
Production, Warner Bros. Thomas Newman.
N OT ES ON A SCAN DA L , Scott Rudin/Robert Fox
Warner Bros. William Monahan.
Production, Fox Searchlight. Philip Glass.
LITTLE CHILDREN, Bona Fide/Standard Film Company
P AN S LABY RI N T H, Tequila Gang/Esperanto Filmoj/
Production, New Line. Todd Field and Tom Perrotta.
Estudios Picasso Production, Picturehouse. Javier
NOT ES ON A SCAND AL, Scott Rudin/Robert Fox
Navarrete.
Production, Fox Searchlight. Patrick Marber.
Granada. Alexandre Desplat.
8/8/13 7:39 PM
be s t a ct r e s s : HELEN MIRREN as Queen Elizabeth II in The

Queen (Miramax, Path and Granada; directed by Stephen
Frears). Few actresses have had as many prizes and plaques
bestowed on them as Mirren did for her magnicent work in this
lm, but then, few actresses have deserved those honors as much.
In 2005, she had also been conspicuous as Englands rst Queen
Elizabeth in a TV miniseries, Elizabeth I. Beautifully guided by
Frears and with an excellent screenplay by Peter Morgan (who
also cowrote The Last King of Scotland), Mirren neither caricatured nor canonized the current queen but made her a thoroughly
understandable woman caught in a tide of events that both
confuse and distress her when she must decide, at the time of
the death of Princess Diana, whether the queens subjects want
her to behave as their stiff-upper-lip monarch or as the victims
compassionate, all-too-human mother-in-law. Mirren, for the
record, had three years earlier been made Dame Helen by that
same Queen Elizabeth II.
T O I OAN ALLEN , J . W A YN E A N DE R S O N , MA R Y
ANN AND ERSO N , T E D C O S T A S , PA U L R .
GOLD BERG , SH A W N J O N E S , T H O M A S K U H N ,
D R. ALAN M ASS O N , C O L I N M O S S MA N ,
M ART I N RI CHA R DS , F R A N K R I C O T T A and
RI CHARD C. SE H L I N for their contributions to the
* I NE E D TO W A KE UP (An Inconvenient Truth, Lawrence

Bender/Laurie David Production, Paramount Classics
and Participant Productions). Music and Lyric by
Melissa Etheridge.
L IS TE N (Dreamgirls, Laurence Mark Production,
DreamWorks and Paramount). Music by Henry
Krieger and Scott Cutler; Lyric by Anne Preven.
L O VE Y O U I D O (Dreamgirls, Laurence Mark
Production, DreamWorks and Paramount). Music by
Henry Krieger; Lyric by Siedah Garrett.
O U R TO W N (Cars, Pixar Animation Studios
Production, Buena Vista). Music and Lyric by Randy
Newman.
P A TIE NC E (Dreamgirls, Laurence Mark Production,
DreamWorks and Paramount). Music by Henry
Krieger; Lyric by Willie Reale.
A P O C A L Y P TO , Icon Distribution, Inc. Production,
Buena Vista. Sean McCormack and Kami Asgar.

BL O O D D IA MO N D, Liberty Pictures, Inc. Production,
Warner Bros. Lon Bender.
FL A GS O F O U R FATH ERS, Malpaso/Amblin
Entertainment Production, DreamWorks and Warner
Bros., Distributed by Paramount. Alan Robert Murray
and Bub Asman.
* L E TTE R S FR O M IWO JIMA, DreamWorks Pictures/
Warner Bros. Pictures Production, Warner Bros. Alan
Robert Murray and Bub Asman.
P IR A TE S O F THE CARIB B EAN: DEAD MANS
C HE S T, Walt Disney Pictures/Jerry Bruckheimer
Films Production, Buena Vista. Christopher Boyes and

George Watters II.
A P O C A L Y P TO , Icon Distribution, Inc. Production,
Buena Vista. Kevin OConnell, Greg P. Russell and

Fernando Cmara.
BL O O D D IA MO N D, Liberty Pictures, Inc. Production,
Warner Bros. Andy Nelson, Anna Behlmer and Ivan
Sharrock.
* D R E A MGIR L S , Laurence Mark Production,
DreamWorks and Paramount. Michael Minkler, Bob
Beemer and Willie Burton.
FL A GS O F O U R FATH ERS, Malpaso/Amblin
Entertainment Production, DreamWorks and Warner
Bros., Distributed by Paramount. John Reitz, Dave
Campbell, Gregg Rudloff and Walt Martin.
LI FT ED , Pixar Animation Studios Production, Buena
Vista. Gary Rydstrom.
T HE LI T T LE M AT CHGI RL, Walt Disney Pictures
Production, Buena Vista. Roger Allers and Don Hahn.
M AEST RO, Kedd Production, SzimplaFilm. Gza M.
Tth.
N O T I M E FOR N U T S, Blue Sky Studios Production,
20th Century Fox. Chris Renaud and Michael

Thurmeier.
(liv e a ct ion )
BI N T A AND T HE GREAT I D EA ( BI N T A Y LA G RAN
I D EA) , Peliculas Pendelton and Tus Ojos Production.
Javier Fesser and Luis Manso.
RAM OS P OCOS ( ON E T OO M AN Y ) , Altube Filmeak
Production, Kimuak. Borja Cobeaga.

HELM ER & SON, Nordisk Film Production. Sren
Pilmark and Kim Magnusson.
T HE SAVI OU R, Australian Film Television and Radio
School Production, Australian Film Television and
Radio School. Peter Templeman and Stuart Parkyn.
* W EST BAN K ST ORY , Ari Sandel, Pascal Vaguelsy, Amy
Kim, Ravi Malhotra and Ashley Jordan Production. Ari
Sandel.
D O C UM E N TA R Y
(fe a t u r e s )
D ELI VER U S FROM EVI L, Disarming Films Production,
Lionsgate. Amy Berg and Frank Donner.
* AN I N CON VENI EN T T RU T H, Lawrence Bender/Laurie
David Production, Paramount Classics and Participant

Productions. Davis Guggenheim.
I RAQ I N FRAGM EN T S, Typecast Pictures/Daylight
Factory Production, Typecast Releasing in association
with HBO Documentary Films. James Longley and
John Sinno.
J ESU S CAM P , Loki Films Production, Magnolia
Pictures. Heidi Ewing and Rachel Grady.
M Y COU N T RY , M Y COU N T RY , Praxis Films
Production, Zeitgeist Films. Laura Poitras and Jocelyn
Glatzer.
* T HE BLOOD OF Y I N G Z HOU D I ST RI CT , Thomas

Lennon Films Production. Ruby Yang and Thomas
Lennon.
RECY CLED LI FE, Iwerks/Glad Production. Leslie Iwerks
and Mike Glad.
REHEARSI N G A D REAM , Simon & Goodman Picture
P IR A TE S O F THE CARIB B EAN: DEAD MANS
Simon.
C HE S T, Walt Disney Pictures/Jerry Bruckheimer Films
T W O HAN D S, Crazy Boat Pictures Production.
Production, Buena Vista. Paul Massey, Christopher
Nathaniel Kahn and Susan Rose Behr.
Boyes and Lee Orloff.
CARS, Pixar Animation Studios Production, Buena

* P IR A TE S O F THE CARIB B EAN: DEAD MANS
Vista. John Lasseter.
C HE ST, Walt Disney Pictures/Jerry Bruckheimer
Films Production, Buena Vista. John Knoll, Hal Hickel, * HAP P Y FEET , Kingdom Pictures, LLC Production,
Warner Bros. George Miller.
Charles Gibson and Allen Hall.
M ON ST ER HOU SE, Columbia Pictures Production,
P O SE ID O N, Warner Bros. Pictures Production, Warner
Sony Pictures Releasing. Gil Kenan.
Bros. Boyd Shermis, Kim Libreri, Chas Jarrett and John
Frazier.
SUP E R MA N R E TURNS, Outback Pictures Inc.
AFT ER T HE W ED D I N G (Denmark).
Production, Warner Bros. Mark Stetson, Neil
D AY S OF GLORY ( I N D I G N ES) (Algeria).
Corbould, Richard R. Hoover and Jon Thum.
* T HE LI VES OF OT HERS (Germany).
P AN S LABY RI N T H (Mexico).
S H O RT FI L M S
W AT ER (Canada).
(an i m at e d )
* THE D A NISH P O ET, Mikrolm and National Film

Board of Canada Production, National Film Board of
Canada. Torill Kove.

T O EN N I O M ORRI CONE in recognition of his
magnicent and multifaceted contributions to the art

of lm music.
environmentally responsible industry conversion from

silver-based to cyan dye analog soundtracks. (Award of
Commendation)
T O RI CHARD ED L U N D for his outstanding service
and dedication in upholding the high standards of

T O SHERRY LAN S I N G

T O RAY FEEN EY
A WA R D S
P HI LLI P J . FEI NER , J I M H O U S T O N , DE N I S
LECONT E and C H R I S B U S H MA N of Pacic Title
and Art Studio for the design and development of

the Rosetta process for creating digital YCM archival
masters for digital lm restoration.
ST EVE SU LLI VAN , C O L I N DA V I DS O N , MA X C H E N

and FRANCESCO C A L L A R I for the design and
development of the ILM Image-based Modeling

System.
D R. BI LL COLLI S , S I MO N R O B I N S O N , B E N
K ENT and D R. A N I L K O K A R A M for the design
and development of the Furnace integrated suite

of software tools that robustly utilizes temporal
coherence for enhancing visual effects in motion
picture sequences.
HOWARD PRESTON and MIRKO KOVACEVIC for the
design and engineering of the Preston Cinema Systems
FI+Z wireless remote system.
J OSHU A P I NES and C H R I S K U T C K A of Technicolor
Digital Intermediates for the design and development

of the TDI process for creating archival separations
from digital image data.
W I LLI AM FEI GHT N E R and C H R I S E DW A R DS of
E-Film for the design and development of the E-Film
process for creating archival separations from digital
image data.
377
ALBERT RI D I LLA, PA PK E N S H A H B A ZI A N , R O N A L D
BELK N AP and J A Y MC G A R R I G L E for the design
and development of the Hollywood Film Company

Brumagic MPST Densitometer.
K LEM ENS K EHRER , J O S E F H A N DL E R , T H O M A S

SM I D EK and M A R C S H I PM A N M U E L L E R for the
design and development of the Arriex 235 Camera

System.
FLORI AN K AI N Z for the design and engineering of
OpenEXR, a software package implementing 16-bit,
oating-point, high dynamic range image les.
W ALT ER T RAU N I N G E R and E R N S T T S C H I DA for
the design and engineering of the Arri WRC wireless
remote lens control system.
CHRI ST I AN T SCH I DA and MA R T I N W A I T Z of
cmotion for the design and engineering of the cmotion
Wireless Remote System.
P ET ER LI T W I NOW I C Z and PI E R R E J A S MI N for
the design and development of the RE:Vision Effects
family of software tools for optical ow-based image
manipulation.
8/8/13 7:39 PM
2007
The Eightieth Year
he days leading up to Oscar LXXX

were part Hitchcock thriller and part
old-time melodrama, but, in the nal
analysis, there was also a last-minute happy
ending in the tradition of a Minnelli musical. For weeks it wasnt a question of Who
will win the Oscar? but Will the Oscar ceremony even happen? On November 5, 2007,
an industry-wide Writers Guild of America
strike had started with passions aring over
several issues, including new media compensation. As weeks passed and the clock ticked
toward the February 24, 2008, date scheduled
for Oscars 80th anniversary celebration,
little progress was being made regarding a
settlement. With writers picketing studios
and TV networks, the Screen Actors Guild,
among other unions, lined up in sympathy
and agreed that its members would not cross
the picket lines, bringing lm and TV production across the country to a virtual standstill.
As the strike stretched on into its second
month, the Academy, along with producers of several other awards shows, asked
for waivers to proceed with their scheduled
telecasts, but the requests from nearly all
were denied, causing several shows to be immediately canceled (the exceptions were the
Screen Actors Guild awards, Film Independents Spirit awards, and the NAACP Image
awards). Instead of postponing or canceling
the 80th Oscar event, however, the Academy
decided to proceed with two alternate plans:
one for a full-scale show, complete with star
power, should the strike be settled in time,
and another that would rely heavily on historic lm clips and a simple announcement
of the names of some of the Oscar winners

should a strike agreement not be reached.
At the last minuteactually, twelve days
before either Plan A or B would have been
put in placethe 100-day strike was settled,
allowing the show to proceed full-throttle
on the ABC-TV network. Hosted for the
second time by Jon Stewart, the show was
complete with a full contingent of famous
names, among them George Clooney, Jack
Nicholson, Johnny Depp, Tom Hanks,
Cate Blanchett, Nicole Kidman, Philip
Seymour Hoffman, Julie Christie, Harrison Ford, John Travolta, Jennifer Garner,
Hilary Swank, Denzel Washington, Mickey
Rooney, Faye Dunaway, Colin Farrell, Jane
Russell, Patrick Dempsey, Steve Carell,
Penlope Cruz, Miley Cyrus, and the previous years winners in ve major categories,
Forest Whitaker, Helen Mirren, Alan Arkin,
Jennifer Hudson, and Martin Scorsese.
In a year when many of the nominated
lms had darker and more violent themes
than any Oscar year in the past, No Country
for Old Men was the evenings big winner,
receiving four Academy awards. Three of
those went to brothers Ethan and Joel Coen
as producers (with Scott Rudin) of the lm
chosen as the years best, and two others for
their codirection of the lm and for cowriting
its adapted screenplay. It was only the second
time in Oscars eighty-year history that
two individuals shared the directing honor.
(Their predecessors: Robert Wise and Jerome
Robbins in 1961 for West Side Story.) The nextlargest total of Academy prizes for 2007 went
to The Bourne Ultimatum, with three awards.
378
be s t ac t or: DANIEL DAY- LEWIS as Daniel Plainview in
There Will Be Blood (Paramount Vantage and Miramax). The
lm, based on the Upton Sinclair novel Oilinitially published
in 1927, the same year Oscar was borntakes a stark look at the
greed and corruption that prevailed among prospectors lusting
for black gold in Californias past. That avarice was embodied in
this Paul Thomas Andersondirected lm by the evil but endlessly
fascinating character played by Day-Lewis in a towering performance. A previous best actor winner for 1989s My Left Foot,
Day-Lewis earned his fourth Academy Award nomination in
nineteen years, a remarkable number considering he had appeared
in only eight lms during that time.
8/8/13 7:39 PM
For the rst time since 1964, all of the acting winners were non-Americans: Englands
Daniel Day-Lewis was named best actor for
There Will Be Blood, and made a deep, very
British-Sir-Galahad bow to Dame Helen
Mirren when she presented him his statuette. Tilda Swinton, also British-born, was
chosen as best supporting actress for Michael
Clayton; French-born Marion Cotillard won
as best actress in the French-made Edith
Piaf biopic La Vie en Rose; and Spains Javier
Bardem was named best supporting actor for
No Country for Old Men. Cotillards victory
made her the third performer in a foreign
language lm to win one of the Academys
acting prizes, following Sophia Loren in
1961s Italian-made Two Women and Roberto
Benigni in 1998s Life Is Beautiful, also from
Italy. (Although The Godfather Part II was
predominantly in English, Robert De Niros
Oscar-winning performance had been
almost entirely in Italian.) In his acceptance
speech, Bardem thanked the Coen brothers
for being crazy enough to think that I could
do that [role] and for putting one of the most
horrible haircuts in history over my head.
Gil Cates produced the telecast, with
Louis J. Horvitz directing and Bill Conti as
the evenings music director. During the
show, veteran production designer Robert
Boyle, at age 98, was presented the nights
Honorary Award, in recognition of one of
cinemas great careers in art direction, and
received a prolonged standing ovation. The
years winner as best foreign language lm
was Austrias The Counterfeiters, the rst lm
from that country to win in the category.
be s t p ict u r e : NO COUNTRY FOR OLD MEN (Miramax
and Paramount Vantage; produced by Scott Rudin, Ethan Coen
and Joel Coen), be s t d irec to rs: JOEL COEN AND ETHAN
COEN, and be s t s u p po rting ac to r: JAVIER BARDEM
as Anton Chigurh. Reecting stronger themes and violence that
had become a part of mainstream Hollywood movies by 2007,
this neo-Western crime caper recounts a 1980 drug deal gone
wrong and the attempt by an innocent bystander to capitalize on it. Both brutal and harrowing, it abounds with searing
performances by Josh Brolin as the bystander, Tommy Lee Jones
as a sheriff, and, notably, Bardem (above) as a killer without
conscience who, with a slaughterhouse airbolt gun in hand, is
trying to retrieve $2 million in cash that he determined belonged
to his employers. No Country was a triple triumph for the Coen
brothers, who both won Oscars for their joint contribution as
producers, writers and directors.
379
be s t a ct r e s s : MARION COTILLARD as Edith Piaf in La Vie

en Rose (Picturehouse). The thirty-two-year-old, Paris-born
Cotillard (left) strikingly transformed herself physically and
emotionally while giving a tour-de-force performance as Frances
much-beloved singing legend Edith Piaf, as she lived out a very
intense and very public private life. Cotillards was the rst
performance in French to win one of the Academys acting prizes,
and, in fact, the only Academy Awardwinning performance
not in English or Italian. Her win also marked the sixth time a
performer won an Oscar for portraying a real-life musical legend.
(Her predecessors: James Cagney, Barbra Streisand, Sissy Spacek,
Jamie Foxx, and Reese Witherspoon.)
8/8/13 7:39 PM
AT ON EM ENT , Working Title Production, Focus

Features. Sarah Greenwood; Katie Spencer.
of Fleet Street, Parkes/MacDonald and Zanuck
Company Production, DreamWorks and Warner Bros., T HE GOLD EN COM PA S S , Scholastic/Depth of Field
Production, New Line in association with Ingenious
Distributed by DreamWorks/Paramount.
Film Partners. Dennis Gassner; Anna Pinnock.
T OM M Y LEE J ON ES in In the Valley of Elah, Nala Films
Production, Warner Independent Pictures.
* SW EEN EY T OD D T H E DE MO N B A R B E R O F F L E E T
ST REET , Parkes/MacDonald and Zanuck Company
VI GGO M ORT ENSEN in Eastern Promises, Kudos
Production, DreamWorks and Warner Bros.,
Pictures/Serendipity Point Films Production, Focus
Distributed by DreamWorks/Paramount. Dante
Features.
A C TR E S S
T HERE W I LL BE BLO O D, JoAnne Sellar/Ghoulardi
CAT E BLAN CHET T in Elizabeth: The Golden Age,
Film Company Production, Paramount Vantage and
Working Title Production, Universal.
Miramax. Jack Fisk; Jim Erickson.
JU LI E CHRI ST I E in Away from Her, Film Farm and
Foundry Films in association with Capri Releasing,
T HE ASSASSI N AT I O N O F J E S S E J A M E S B Y T H E
Hanway Films and Echo Lake Production, Lionsgate.
COW ARD ROBERT F O R D, J J Pictures, Inc.
* M ARI ON COT I LLARD in La Vie en Rose, Legende
Production, Warner Bros. Roger Deakins.
Production, Picturehouse.
LAU RA LI N N EY in The Savages, Savage and Lone Star
Features. Seamus McGarvey.
Films Production, Fox Searchlight.
T HE D I VI NG BELL A N D T H E B U T T E R F L Y, Kennedy/
ELLEN P AG E in Juno, Mandate Pictures/Mr. Mudd
Marshall Company and Jon Kilik Production,
Production, Fox Searchlight.
Miramax/Path Renn. Janusz Kaminski.
N O COU NT RY FOR O L D ME N , Scott Rudin/Mike
CASEY AFFLECK in The Assassination of Jesse James by
Zoss Production, Miramax and Paramount Vantage.
the Coward Robert Ford, J J Pictures, Inc. Production,
Roger Deakins.
Warner Bros.
* T HERE W I LL BE BLO O D, JoAnne Sellar/Ghoulardi
* JAVI ER BARD EM in No Country for Old Men,
Scott Rudin/Mike Zoss Production, Miramax and
Miramax. Robert Elswit.
Paramount Vantage.
C O S TUM E D ESIGN
P HI LI P SEY M OU R HOFFM AN in Charlie Wilsons War,
ACROSS T HE U NI VE R S E , Revolution Studios
Universal Pictures Production, Universal.
Production, Sony Pictures Releasing. Albert Wolsky.
HAL HOLBROOK in Into the Wild, Square One C.I.H./
Linson Film Production, Paramount Vantage and River
Features. Jacqueline Durran.
Road Entertainment.
T OM W I LK I N SON in Michael Clayton, Clayton
* ELI Z ABET H: T HE G O L DE N A G E , Working Title
Production, Universal. Alexandra Byrne.
Productions, LLC Production, Warner Bros.
LA VI E EN ROSE, Legende Production, Picturehouse.
Marit Allen.
CAT E BLAN CHET T in Im Not There, Endgame
SW EENEY T OD D T H E DE MO N B A R B E R O F F L E E T
Entertainment/Killer Films/John Wells and John
ST REET , Parkes/MacDonald and Zanuck Company
Goldwyn Production, The Weinstein Company.
Production, DreamWorks and Warner Bros.,
RU BY D EE in American Gangster, Universal Pictures and
Distributed by DreamWorks/Paramount. Colleen
Imagine Entertainment Production, Universal.
Atwood.
SAOI RSE RON AN in Atonement, Working Title
F I LM E D I TI NG
AM Y RY AN in Gone Baby Gone, Ladd Company
* T HE BOU RN E U LT I M A T U M, Universal Pictures
Production, Universal. Christopher Rouse.
T HE D I VI NG BELL A N D T H E B U T T E R F L Y, Kennedy/
* T I LD A SW I N T ON in Michael Clayton, Clayton
Miramax/Path Renn. Juliette Weling.
D I R E C TI N G
I NT O T HE W I LD , Square One C.I.H./Linson Film
T HE D I VI N G BELL AND T HE BU T T ERFLY , Kennedy/
Production, Paramount Vantage and River Road
Entertainment. Jay Cassidy.
Miramax/Path Renn. Julian Schnabel.
N O COU NT RY FOR O L D ME N , Scott Rudin/Mike
JU N O, Mandate Pictures/Mr. Mudd Production, Fox
Searchlight. Jason Reitman.
Roderick Jaynes.
M I CHAEL CLAY T ON , Clayton Productions, LLC
T HERE W I LL BE BLO O D, JoAnne Sellar/Ghoulardi
Production, Warner Bros. Tony Gilroy.
* NO COU N T RY FOR OLD M EN, Scott Rudin/Mike
Miramax. Dylan Tichenor.
M A KE UP
Joel Coen and Ethan Coen.
T HERE W I LL BE BLOOD , JoAnne Sellar/Ghoulardi
* LA VI E EN ROSE, Legende Production, Picturehouse.
Didier Lavergne and Jan Archibald.
N ORBI T , John Davis Production, DreamWorks,
Miramax. Paul Thomas Anderson.
Distributed by Paramount. Rick Baker and Kazuhiro
WR I TI N G
Tsuji.
JOHNNY D EP P in Sweeney Todd The Demon Barber
Nominations 2007
be s t s up p ort i n g actr es s : TILDA SWINTON as Karen

Crowder in Michael Clayton (Warner Bros.). Swinton (above)
plays a ruthless corporate attorney working for a company
engaged in a multimillion-dollar, class-action lawsuit. When
Swinton became an Academy Award winner her rst time in contention, she thanked the lms director, Tony Gilroy, who walks
on water, leading man Clooney for his seriousness and dedication, but, above all, her American agent Brian Swardstrom for
persuading her to come to the U.S. to work in the rst place, adding, Im giving this to you. Later in the pressroom she restated,
Im giving it to Brian . . . he deserves it. I wouldnt be here if it
werent for him. She also said she hoped it might calm him down
when Im on the speakerphone telling him Im going to do another art lm in Europe.
(Universal) turned each of its

three nominations into Academy Awards for lm editing, sound
editing and sound mixing, making it the second most-honored
picture of 2007. Directed by Paul Greengrass, the nonstop chase
lm follows Jason Bourne (played by Matt Damon, above) as he
continues his search for clues to his identity prior to his life as a
specially trained CIA assassin. Third in the series of fast-moving
adventures from Robert Ludlums Bourne books, The Bourne
Ultimatum bested its predecessors by becoming the rst to win
notice from Academy voters.
THE BOURNE ULTIMATUM
380
B ES T P I CT U R E
A TO NE ME NT, Working Title Production, Focus
Features. Tim Bevan, Eric Fellner and Paul Webster,

Producers.
JU NO , Mandate Pictures/Mr. Mudd Production, Fox
Searchlight. Lianne Halfon, Mason Novick and
Russell Smith, Producers.
MIC HA E L C L A Y TO N, Clayton Productions, LLC
Production, Warner Bros. Sydney Pollack, Jennifer
Fox and Kerry Orent, Producers.
* NO C O U NTR Y FO R OLD MEN, Scott Rudin/Mike
Scott Rudin, Ethan Coen and Joel Coen, Producers.
THE R E W IL L BE BL OOD, JoAnne Sellar/Ghoulardi
Miramax. JoAnne Sellar, Paul Thomas Anderson and
Daniel Lupi, Producers.
A CT O R
GE O R GE C L O O NE Y in Michael Clayton, Clayton

* D A NIE L D A Y - L E W IS in There Will Be Blood, JoAnne
Sellar/Ghoulardi Film Company Production,
Paramount Vantage and Miramax.
AT ONEM EN T , Working Title Production, Focus
Features. Christopher Hampton.

AW AY FROM HER, Film Farm and Foundry Films in
association with Capri Releasing, Hanway Films and
Echo Lake Production, Lionsgate. Sarah Polley.
T HE D I VI N G BELL AND T HE BU T T ERFLY , Kennedy/
Miramax/Path Renn. Ronald Harwood.
* NO COU N T RY FOR OLD M EN, Scott Rudin/Mike
Joel Coen and Ethan Coen.
T HERE W I LL BE BLOOD , JoAnne Sellar/Ghoulardi
Miramax. Paul Thomas Anderson.
* JU N O, Mandate Pictures/Mr. Mudd Production, Fox

Searchlight. Diablo Cody.
LARS AN D T HE REAL G I RL, Sidney Kimmel
Entertainment Production, MGM Distribution Co.
Nancy Oliver.
Production, Warner Bros. Tony Gilroy.
RAT AT OU I LLE, Pixar Production, Walt Disney. Brad
Bird, Jan Pinkava and Jim Capobianco.
T HE SAVAG ES, Savage and Lone Star Films Production,
Fox Searchlight. Tamara Jenkins.
AM ERI CAN G AN G ST ER, Universal Pictures and
Imagine Entertainment Production, Universal. Arthur

Max; Beth A. Rubino.
P I RAT ES OF T HE CA R I B B E A N : A T W O R L DS E N D,
Walt Disney Pictures/Jerry Bruckheimer Films

Production, Walt Disney. Ve Neill and Martin Samuel.
M US I C
* AT ONEM EN T , Working Title Production, Focus

Features. Dario Marianelli.
T HE K I T E RU NNER, Sidney Kimmel Entertainment and
Parkes/MacDonald Production, DreamWorks, Sidney
Kimmel Entertainment and Participant Productions,
Distributed by Paramount Classics. Alberto Iglesias.
Production, Warner Bros. James Newton Howard.
RAT AT OU I LLE, Pixar Production, Walt Disney. Michael
Giacchino.
3:10 T O Y U M A, Relativity Media & Tree Line Film
Production, Lionsgate. Marco Beltrami.
* FALLI NG SLOW LY (Once, Samson Films Production,

Fox Searchlight). Music and Lyric by Glen Hansard
and Marketa Irglova.
HAP P Y W ORK I NG S O N G (Enchanted, Walt Disney
Pictures Production, Walt Disney). Music by Alan
Menken; Lyric by Stephen Schwartz.
RAI SE I T U P (August Rush, Warner Bros. Pictures
Production, Warner Bros.). Music and Lyric by Jamal
Joseph, Charles Mack and Tevin Thomas.
SO CLOSE (Enchanted, Walt Disney Pictures
Production, Walt Disney). Music by Alan Menken;
Lyric by Stephen Schwartz.
T HAT S HOW Y OU KN O W (Enchanted, Walt Disney
Pictures Production, Walt Disney). Music by Alan
Menken; Lyric by Stephen Schwartz.
8/8/13 7:39 PM
* THE BO UR NE U LTIMATUM, Universal Pictures

Production, Universal. Karen Baker Landers and Per
Hallberg.
NO C O UNTR Y F OR OLD MEN, Scott Rudin/Mike
Skip Lievsay.
R A TA TO UIL L E , Pixar Production, Walt Disney. Randy
Thom and Michael Silvers.
THE R E W IL L BE BLOOD, JoAnne Sellar/Ghoulardi
Miramax. Christopher Scarabosio and Matthew Wood.
TR A NSF O R ME R S, Don Murphy/Tom DeSanto and Di
Bonaventura Pictures Production, DreamWorks and
Paramount in association with Hasbro. Ethan Van der
Ryn and Mike Hopkins.
* THE BO UR NE U LTIMATUM, Universal Pictures

Production, Universal. Scott Millan, David Parker and
Kirk Francis.
NO C O UNTR Y F OR OLD MEN, Scott Rudin/Mike
M M E LES P I GEON S VONT AU P ARAD I S ( EVEN
P I GEON S GO T O HEAVEN) , BUF Compagnie
Skip Lievsay, Craig Berkey, Greg Orloff and Peter
Production, Premium Films. Samuel Tourneux and
Kurland.
Simon Vanesse.
R A TA TO UIL L E , Pixar Production, Walt Disney. Randy
M Y LOVE ( M OY A LY U BOV) , Dago-Film Studio,
Thom, Michael Semanick and Doc Kane.
Channel One Russia and Dentsu Tec Production,
3:10 TO Y UMA , Relativity Media & Tree Line Film
Channel One Russia. Alexander Petrov.
Production, Lionsgate. Paul Massey, David Giammarco * P ET ER & T HE W OLF, BreakThru Films/Se-ma-for
and Jim Stuebe.
Studios Production, BreakThru Films. Suzie Templeton
TR A NSF O R ME R S, Don Murphy/Tom DeSanto and
and Hugh Welchman.
Di Bonaventura Pictures Production, DreamWorks
(liv e a ct ion )
and Paramount in association with Hasbro. Kevin
AT NI G HT , Zentropa Entertainments 10 Production.
OConnell, Greg P. Russell and Peter J. Devlin.
Christian E. Christiansen and Louise Vesth.
I L SU P P LEN T E ( T HE SU BST I T U T E) , Frame by Frame
THE
GO
L
D
E
N
C
OMPASS,
Scholastic/Depth
of
Field
Italia Production, Sky Cinema Italia. Andrea Jublin.
*
Production, New Line in association with Ingenious
* LE M OZ ART D ES P I CK P OCK ET S ( T HE M OZ ART OF
Film Partners. Michael Fink, Bill Westenhofer, Ben
P I CK P OCK ET S) , Kar Production, Premium Films.
Morris and Trevor Wood.
Philippe Pollet-Villard.
P IR A TE S O F THE CARIB B EAN: AT WORLDS END,
T ANGHI ARG EN T I N I , Another Dimension of an Idea
Walt Disney Pictures/Jerry Bruckheimer Films
Production, Premium Films. Guido Thys and Anja
Production, Walt Disney. John Knoll, Hal Hickel,
Daelemans.
Charles Gibson and John Frazier.
T HE T ONT O W OM AN, Knucklehead, Little Mo and
TR A NSF O R ME R S, Don Murphy/Tom DeSanto and Di
Rose Hackney Barber Production. Daniel Barber and
Bonaventura Pictures Production, DreamWorks and
Matthew Brown.
Paramount in association with Hasbro. Scott Farrar,
D O C UM E N TA R Y
Scott Benza, Russell Earl and John Frazier.
S H O RT FI L M S
(an i m at e d )
I ME T THE W A L RUS, Kids & Explosions Production.
Josh Raskin.
MA D A ME TUTL I- PUTLI, National Film Board of
Canada Production, National Film Board of Canada.

Chris Lavis and Maciek Szczerbowski.
(fe a t u r e s )
N O END I N SI GHT , Representational Pictures
Production, Magnolia Pictures. Charles Ferguson and

Audrey Marrs.
OP ERAT I ON HOM ECOM I NG: W RI T I N G T HE

W ART I M E EX P ERI ENCE, The Documentary Group
Production, The Documentary Group. Richard E.

Robbins.
SI CK O, Dog Eat Dog Films Production, Lionsgate and
The Weinstein Company. Michael Moore and Meghan
OHara.
* T AX I T O T HE D ARK SI D E, X-Ray Production,
THINKFilm. Alex Gibney and Eva Orner.
W AR/ D ANCE, Shine Global and Fine Films Production,
THINKFilm. Andrea Nix Fine and Sean Fine.
* FREEHELD , Lieutenant Films Production. Cynthia

Wade and Vanessa Roth.
LA CORONA (THE CROWN), Runaway Films and Vega
Films Production. Amanda Micheli and Isabel Vega.
SALI M BABA, Ropa Vieja Films and Paradox Smoke
Production. Tim Sternberg and Francisco Bello.
SARI S M OT HER, Daylight Factory Production, Cinema
Guild. James Longley.
P ERSEP OLI S, 2.4.7. Films Production, Sony Pictures
Classics. Marjane Satrapi and Vincent Paronnaud.

* RAT AT OU I LLE, Pixar Production, Walt Disney. Brad
Bird.
SU RF S U P , Sony Pictures Animation Production, Sony
Pictures Releasing. Ash Brannon and Chris Buck.
BEAU FORT (Israel).

* T HE COU N T ERFEI T ERS (Austria).
(Poland).
K AT Y N
M ON G OL (Kazakhstan).
best song: FALLING SLOWLY from Once (Fox Searchlight).
12 (Russia).
For the rst time since 1934, when the Academy began honor-
ing movie songs, the writers of the winning song were also the
principal actors in the lm in which the song was introduced,
a movie based on their own lives. Glen Hansard and Marketa
Irglova (above) both starred in the low-budget feature and wrote
the music and lyrics. Among the other works competing for the
best song award were three written by Alan Menken and Stephen
Schwartz for the Disney lm Enchanted, the rst time in thirteen
years that two songwriters had the pleasure, and the frustration,
of competing against themselves so many times in a single Oscar
category. In 1994 Elton John and Tim Rice were also thrice nominated for songs from a single lm, Disneys The Lion King, winning for one of the trio, Can You Feel the Love Tonight.

T O ROBERT BOY LE in recognition of one of cinemas
great careers in art direction.
T O J ON AT HAN ERLAND in recognition of his
leadership and efforts toward identifying and

solving the problem of High-Speed Emulsion Stress
Syndrome in motion picture lm stock. (Award of
Commendation)
T O D AVI D I NGLI SH for his outstanding service and
dedication in upholding the high standards of the
Academy of Motion Picture Arts and Sciences. (John
A. Bonner Medal of Commendation)
best animated feature: RATATOUILLE (Walt Disney).

Easily the most appealing movie yet made about a rodent loose in
a kitchen, this became the third Pixar/Disney feature to win the
category since its inauguration seven years earlier. Remy, the rat
(voiced by Patton Oswalt), longs to exercise his talents as a gourmet chef and gets the chance when he nds himself in a famous
Parisian restaurant after becoming separated from his family during an escape through the sewers. When his secret improvements
to the restaurants food are mistakenly attributed to Linguini, the
garbage boy, the two team up to form an unlikely culinary partnership that will benet them both. Other talent lending their voices
to the movie were Peter OToole, Brian Dennehy, Brad Garrett,
Janeane Garofalo, John Ratzenberger and Ian Holm. The lms
writer-director Brad Bird took home his second Oscar, the rst
having been for 2004s animated feature The Incredibles.

2007 G O R DON E. SAWY ER

A WA R D
T O D AVI D A. G RA F T O N
A WA R D S
of photographic emulsion technologies incorporated

into the Kodak Vision2 family of color negative lms.

D R. D OU G ROBL E , N A F E E S B I N ZA F A R and R YO
SAK AG U CHI for the development of the uid
simulation system at Digital Domain.
N I CK RASM U SSEN , R O N F E DK I W and F R A N K

LOSASSO P ET T E R S O N for the development of the
Industrial Light & Magic uid simulation system.
381
CHRI ST I EN T I NSL E Y for the creation of the transfer
techniques for creating and applying 2-D and 3-D

makeup known as Tinsley Transfers.
J RG P HLER and R DI G E R K L E I N K E of OTTEC
Technology GmbH for the design and development of
the battery-operated series of fog machines known as
Tiny Foggers.
SEBAST I AN CRAM E R for the invention and general
design, and AND R E A S DA S S E R , head of development
at P&S Technik GmbH, for the mechanical design, of
the Skater Dolly and its family of products.
VI CT OR GON Z AL E Z, I G N A C I O V A R G A S and
AN G EL T ENA for the creation of the RealFlow
software application.
J ON AT HAN M . CO H E N , DR . J E R R Y T E S S E N DO R F ,
D R. J EROEN M O L E M A K E R and M I C H A E L
K OW ALSK I for the development of the system of uid
dynamics tools at Rhythm & Hues.
D U NCAN BRI N SM E A D, J O S S T A M , J U L I A
P AK ALN S and M A R T I N W E R N E R for the design and
implementation of the Maya Fluid Effects system.
ST EP HAN T ROJ AN S K Y, T H O M A S G A N S H O R N
and OLI VER P I L A R S K I for the development of the
Flowline uid effects system.
8/8/13 7:39 PM
20082012
The First Half of the Academys Ninth Decade
t the start of its ninth decade,

while the lm industry continued
to embrace new technologies, the
Academy rose to the challenges of the digital
age, established a new annual awards tradition, announced major developments in
the quest to establish a world-class motion
picture museum and modied Awards voting procedures.
One of the major changes of this time
had to do with voting for the best picture
category and adjusting how many lms
could be included on that list. In the early
years of Oscar history, the number varied.
There were ve nominees for best picture
in the third and fourth years (192829 and
193031), eight nominees in the fth year
(193132), ten in year six (193233), twelve
in years seven and eight (1934 and 1935),
and ten nominees per year for the next eight
years (1936 through 1943). But from 1944
and onward through the next sixty-four
years, the number remained at exactly ve
per year.
That state of affairs changed in June 2009,
when the Academys Board of Governors
decided to return to a slate of ten nominees.
In August 2009, the Board announced that
a preferential voting system would be used
to determine which of the ten contenders would receive the award. Such a system
had long been applied in the rst round of
voting, when nominees in most categories
were determined, but hadnt been used for
the nal ballot for best picture since 1945.
Tweaking things a bit two years later, in
June 2011 the Board voted to institute a new
system for tallying the rst round of votes,

and amended the number of nominees in
that category from a predetermined ten to
between ve and ten, adding a greater element of suspense to the announcement of
nominations.
Another landmark change for Oscar voters began with the eighty-fth awards, when
Academy members were given the opportunity for the rst time to vote online through
a secure, password-protected site.
Other notable modications within the
Academy Awards process and the various
branches of the Academy included a shift
affecting Visual Effects, which increased the
number of nominated lms in that category
from three to ve beginning in 2010. The
Original Song rules were amended in 2012
to require that ve songs be nominated
in that category, and two awards categories were retitled: the Art Direction award
became Production Design, and the Makeup
award was renamed Makeup and Hairstyling to better reect the work being recognized. In 2012 the Art Directors Branch was
renamed the Designers Branch, and the
Costume Designers Branch was created in
early 2013 (costume designers had been part
of the Art Directors Branch).
A momentous new kickoff to awards
season was created in 2009, when the Board
of Governors voted to establish the rst
Governors Awards presentation, a gala evening celebrating the recipients of the years
honorary awards, the Irving G. Thalberg
Memorial Award and the Jean Hersholt
Humanitarian Award. The stand-alone
382
C H R I ST O P H E R P L U M M E R
I was perfectly content and completely resigned to living out my life clutching to my bosom the few trinkets
I have won over the years. Imagine then my utter
surprise and shock when, at the impossible age of 82,
I was presented with the much beloved and elusive
Oscar. And if that wasnt enough, it appears I am the
oldest ham ever to receive one! Needless to say I am
quite beside myselfover the moon and all that sort
of thing. Becoming a member of the most exclusive
of clubs is pretty heady stuff, and though I try not to
show it, Im afraid its gone to my head completely
and I dont careIm as proud as Punch!
The most pleasantly significant thing, however, is
that I seem to be working harder and more frequently
than ever before in a profession I have been in love
with since the very beginning, and Im having the
time of life! What more could one ask?!
M E L I SSA L E O
Looking up at the stage and seeing Kirk Douglas,

whom I had just heard give an amazing, moving
speech at a luncheon, and realizing that if my name
was in the envelope I would receive my Oscar from
Mr. Douglasa icon of my industryI happily sat
through his teasing and vaudevillian stalling as my
heart calmed. I silently wished Amy one last good
luck, and at last Kirk said my name! As I floated up
the stairs and bowed to my handsome leading man of
the moment I turned, and when I faced that house is
when I lost my head and began to shake from head to
toe and realized I had to say something. . . . And boy
I guess I did. . . . Thank goodness for the five-second
delay!
Melissa Leo
Christopher Plummer
Actor in a Supporting Role, 2011
8/8/13 7:39 PM
Hugh Jackman, Beyonc at the 2008 (81st) Awards
Kate Winslet, Sean Penn, Penlope Cruz at the 2008 (81st) Awards
Ben Stiller at the 2009 (82nd) Awards
Danny Boyle, Ayush Mahesh Khedekar at the 2008 (81st) Awards
383
TO M HO O PE R
The thing about the Oscars that you are totally

unprepared for is the level of stress you feel about the
fact that, if you win, you have to get up and speak live
to half a billion people. As the moment approaches, the
anxiety about the possibility of the speech outweighs
any anxiety you have about whether you have won.
It was an irony that never left me. I was here because
of a film about a man who struggled to speak in
publicand I was facing my own version of that fear. I
remembered advice Ricky Gervais had given me: if you
can get to the microphone without tripping up, then
take a moment to reward yourself for that and reflect
that youve avoided the worst case scenario! When the
envelope was being opened my adrenaline was through
the roof and my heart racing. When I heard my name
it was like a charge of electricity shooting through me.
And then much to my surprise I felt calm. I collected
the Oscar from Hilary Swank, apologised to her for not
yet responding to her nice email about the film, and
made the speech. The best thing about it was being able
to honour my mother, who was sitting with me and
was instrumental in advising me that this unproduced
play, The Kings Speech, should be my next film.
MICHEL HAZANAVICIUS
It was not so fun for me to go onstage because of my

bad English, and also because I dont really like to
speak in public. And on this particular night, the
Academy Awards stage is not the most intimate place
to be. Also, I had 40 seconds, as does everyone. So
when I heard my name for best director, I really tried
to go fast, and not forget anyone. I did my best, I
even thanked the dog, but when I got off the stage, I
realized I had forgotten to thank the most important
person, Brnice, who was so important in the success
of the film, being the lead actress, but also being the
woman I love. I was destroyed. Thankfully, we also
won best film, so I had a chance to say all this to her,
in front of millions of people. I thought I finally did
good, but months later when I was on a TV show,
they showed me my acceptance speech and I saw myself, with my poor English, doing my best to go fast.
I have to say I barely understood what I was saying.
O C T A V I A SPENCER
I empathize with those who suffer from momentary

memory loss, because thats what winning an Oscar
did to me, left me in a blissful fugue state. As Christian Bale broke the envelopes seal and began to read
the winners name, time slowed to a crawl. I focused
on his lips to determine if he were pronouncing a
consonant or a vowel. Then it hit me: it was a vowel.
Mine was the only name that began with a vowel.
Adrenaline took over, my knees locked up. The only
other thing I remember from that moment forward
was saying over and over in my head, A billion people
are watching, DONT FALL DOWN! The next day
I had to rewatch the telecast to recall exactly what
had actually transpired.
Octavia Spencer
Michel Hazanavicius
Directing, 2011
Tom Hooper
Directing, 2010
8/8/13 7:39 PM
Kathryn Bigelow, Mark Boal at the 2009 (82nd) Awards
Sandra Bullock at the 2009 (82nd) Awards
event meant that each honoree could be

feted by several presenters and bask in the
glow of unrushed, heartfelt tributes. At the
rst Governors Awards gala, Lauren Bacall,
Roger Corman and Gordon Willis received
honorary awards, and seven past recipients
of the Irving G. Thalberg Award took to the
stage to pay tribute to that years honoree,
John Calley (who was too ill to attend).
Oscar night itself underwent many
changes between the eighty-rst and eightyfth awards, and some of the most dramatic
developments didnt take place in the Dolby
Theatre (formerly known as the Kodak), but
rather on the air and online. In February
2010, the Academy launched its rst ofcial Oscars app, giving users from around
the world access to special content, movie
trailers and real-time Oscar night results.
Starting with the eighty-third awards, more
than two dozen 360-degree cameras were
positioned to stream live content from the

red carpet, inside the theater and the pressrooms, and even at the Governors Ball, giving Oscar fans worldwide a virtual backstage
pass to the nights events.
When it came time for the 2012 awards,
viewers were given more opportunities to
watch the show than ever before. In an unprecedented move, ABCs entire eighty-fth
Oscars telecast was made available online
within hours of the live broadcast, for three
days only, through streaming services such
as ABCs on-demand service and Hulu.
On the 364 days a year when the Academy
is not putting on the Oscars, the organization is busy with a wide range of other
initiatives. In the rst half of the Academys
ninth decade, for example, the Science and
Technology Council made substantive contributions to the lm industry by tackling
pressing technological challenges. Most
noticeably, the council developed and made
available, through an open-source license
(after eight years of research and testing),
the Emmy Awardwinning Academy Color
Encoding System (ACES), a new industry
standard for color management to enable
higher quality motion picture images, even
when using multiple cameras with different
color characteristics.
Hundreds of popular public programs and
events took place during the rst half of the
Academys ninth decade, including a 2011
tribute to Sophia Loren held at the Samuel
Goldwyn Theater (hosted by Billy Crystal),
and celebrations honoring directors Mel
Brooks and Blake Edwards, actress Leslie
Caron, songwriters Alan and Marilyn
Bergman, and makeup artist Dick Smith.
At the Academy Theater in New York,
director Robert Benton was feted in 2011,
while Academy events in London honored
384
L EE UNK RICH
At the Oscar Nominees Luncheon, I tripped as I

headed up the steps to receive my nominee certificate,
nearly wiping out in front of a room full of celebrities.
Any illusion that I was part of some cool kids club
seemingly vanished in that instant. I vowed not to
repeat this humiliation on Oscar night. After Justin
Timberlake read my name, all I remember about approaching the stage was a voice in my head screaming
DONT TRIP! FORTY MILLION PEOPLE! DONT
TRIP! DONT TRIP! This would probably be a better
story if I actually HAD tripped on my way up, but
thankfully, that didnt happen. It was a long, crazy
journey to winning the Academy Award that ended in
eight treacherous steps. Yes, I counted.
Lee Unkrich
Animated Feature Film, 2010
W I L L I A M G O L D E N B E RG
After the amazing moment of winning the Oscar, I

was on my way back to my seat, after finishing all
the press and pictures, when I realized that Barbra
Streisand was singing and I was going to miss seeing
her live. I stopped at a TV monitor to watch, and a
few moments later George Clooney, who produced
Argo and had just presented an award, came by on
his way back to his seat. So Im backstage at the
Oscars, holding my Academy Award, watching Barbra
Streisand sing The Way We Were, standing next to
George Clooney and thinking, how can it get better
than this!
William Goldenberg
Film Editing, 2012
M I C H A E L G I ACCHINO
Sitting in the theater at the Academy Awards that

night, I found myself wondering how the hell I ended
up there. I was actually sitting RIGHT NEXT to composers James Horner and Hans Zimmer when Jennifer
Lopez announced my name. I had grown up in South
Jersey, where my childhood creativity was fueled by
the likes of Ray Harryhausen, John Williams, Steven
Spielberg, and George Lucas. Should I thank THEM?
I thought? The truth is, I was walking up to that stage
because I had parents who had applauded every crazy
stop-motion film I had ever made, who had supported
my attempts to make my own version of ET using my
dads Super 8 camera, and who had allowed me to
purchase countless soundtrack LPs. Yes, I had watched
and learned from hundreds of movies over the years,
but I also had the incredible fortune to have grown
up with a family who embraced and encouraged my
creative passions. My only hope is that others have
the same type of support in their lives, from parents,
from school or from friends. Winning an Oscar is a
wonderful example of what happens when you do.
Michael Giacchino
8/8/13 7:40 PM
Vanessa Redgrave in 2011 and director Pedro

Almodvar in 2012. During Oscar week,
public events at the Goldwyn featured
onstage panels of the years nominees in
several categories, from documentaries to
animated features, as well as the directors
of the nominated foreign language lms.
Other popular programs ranged from a series on the ten best picture nominees of 1939
to events exploring the impact of the digital
age on such craft areas as acting, cinematography and production design.
International outreach efforts expanded
too, as ofcial delegations of Academy
members traveled to Vietnam in 2007 and
2008, Iran in 2009, Cuba in 2010, 2011
and 2012, and East Africa in 2011. In each
instance, the Academy group met with
local lmmakers, screened and discussed
movies, and led workshops in their areas
of expertise; Sound Branch members spent
two weeks in Hanoi in 2008, for example,
educating Vietnamese lmmakers on sound
recording techniques and practices.
Back on the home front, one of the most
ambitious initiatives in the history of the
Academy was put on hold in 2008, when the
nationwide economic downturn necessitated a re-evaluation of plans to build a
movie museum in Hollywood. The project
took on new life in October 2011, when the
Academy signed an agreement with the Los
Angeles County Museum of Art (LACMA)
to establish the Academy Museum of Motion Pictures in the former Wilshire May
Company building on LACMAs campus.
Architects Renzo Piano and Zoltan Pali were
selected to design the museum. Fundraising began in late 2011, with Walt Disney
Company President and CEO Bob Iger
chairing the campaign. In early 2012, a major acquisition was secured with the help of
Eva Marie Saint, Whoopi Goldberg, Tilda Swinton, Goldie Hawn, Anjelica Huston at the 2008 (81st) Awards
Leonardo DiCaprio, Steven Spielberg, Terry

Semel and other donors: a pair of Dorothys
ruby slippers from The Wizard of Oz. The
targeted completion date for the museum
is 2017.
Once plans for the Academy Museum
shifted to the LACMA campus, the space
in Hollywood that had originally been
intended for the museum was transformed
into Oscars Outdoors, an open-air movie
theater that opened in June 2012 with summertime weekend screenings.
In 2010 the Academys Margaret Herrick
Library debuted a public database of transcribed Oscar acceptance speeches, with
photographs and links to video clips; in
2012, another major new database was
launched, this one providing online access
to digitized materials from the library,
including correspondence, photos, rare
periodicals, sheet music and full copies of
hundreds of Academy publications dating

back to 1927. The library continued adding
to its vast collection as well, acquiring the
papers of lm luminaries such as James L.
Brooks, Joseph L. Mankiewicz and Sydney
Pollack, as well as the massive Bison Archives historical photo collection.
The Academy Film Archive also continued
to build on its holdings, which now include
the worlds largest collection of movie trailers. In 2011, the archive launched Project
Film-to-Film, a two-year initiative to preserve as many lms as possible while 35mm
motion picture stock is still available. New
prints of nearly 400 lms were made in the
rst year of the project. The archive was also
involved in many high-prole restorations,
including that of John Fords 1927 silent lm
Upstream, one of seventy-ve lost lms rediscovered in the New Zealand Film Archive.
In June 2011, Academy Executive Director
385
K IRK BAX T ER
To win one Oscar is like being struck by lightning.

To win two years in a row seemed completely
implausible. The year of The Social Network we were
favorites to win, so I came in prepared with a speech.
Sweaty palms and panic in my eyes. When they called
our names for editing The Girl with the Dragon
Tattoo I was floored. Angus [Wall] and I never even
spoke about who would say what, as we truly didnt
think we would win, and our completely ridiculous
speech has been compared to dialogue from Animal
House. I must say it was the greatest surprise in my
life. Backstage you get dizzy as you are led through a
maze of corridors and rooms to take pictures and do
press; everyone you pass is wearing a suit and saying
congratulations and stepping out of your way. I felt
like Ray Liottas girlfriend in Goodfellas when she
visits the packed nightclub only to be whisked through
the back door, through the twists and turns of the
kitchen, and end up with the best seat in the house.
All I could do was laugh like a little kid the whole
time. I hope that memory never fades, I cherish it
more than the statue itself.
Kirk Baxter
Film Editing, 2010; 2011
P A U L N . J . O T T O SSO N
Sitting at the Oscars, the show starts, and you feel

very excited. You know it will be a good show. Hollywood, the stars and glitz, great songs, performances,
etc. As your category draws closer you realize you
could be a part of the show. At that point it becomes
a very worrisome rest of the show. At the Oscar
luncheon they tell you to be spontaneous if you are
awarded the Oscar. At this point youre thinking,
HAIll be lucky to remember my name if I get up
there. A theater with thousands of your peers, the
best storytellers on the planet, and a billion watching
on TVs across the world. I try to get my mind off
the entire thing. I cant talk to my wifeshe is more
of a wreck than I am at this point. We get to two
categories before mine. I get this strange thought in
my head. I leaned over to my fellow nominee and said,
What would happen if we had the same amount of
votes? Do they roll dice, flip a coin? He didnt know
and he couldnt remember whether it had happened
before. Somehow we both thought there couldnt be
a tie. Our category comes. I hear, and the Oscar
for Best Sound Editing goes to . . . its a tie! (I was
thinking, Greattwo chances!) Then they called my
name. I jumped out of the chair, and my wife kissed

me. As I walked up to the stage I said to myself that
I would tell the Academy that this makes the case
that your vote is very important, every vote counts.
Halfway to the stage were Mark, Kathryn and Jessica;
they congratulated and hugged me, and then I dont
remember too much more until I was off the stage and
someone handed me a glass of champagne. Friends
and colleagues told me I had a good speech, but the
entire experience is too humbling, and somehow I still
cant believe it happened. I have yet to view the Oscars on the DVR. Maybe one day I will have enough
courage to view it. There are nights when I go down
to get a glass of water, and I make a stop to see if the
Oscar is still thereand it isit all happened. Every
vote counts.
Paul N.J. Ottosson

Sound Editing, 2009; 2012 (tie)
Sound Mixing, 2009
8/8/13 7:40 PM
Jack Nicholson, Ben Afeck at the 2012 (85th) Awards
Kirk Douglas, Melissa Leo at the 2010 (83rd) Awards
Viola Davis, Octavia Spencer at the 2011 (84th) Awards
DAVID SEIDL ER
us extra innings and, as his friend the great Larry

Gelbart said, Death is the new eighties. My final email was a challenge: Last one to win an Oscar over
100 is a rotten egg.
386
My daughter pleaded, Dad, dont cry. That would be
sooooo embarrassing. As the moment approached, I
kept repeating the mantra: If you win, dont cry. If
you lose, absolutely definitely dont cry. Josh Brolin
and Javier Bardem toyed with the envelope. I could
hear a voice intone distinctly, The winner is . . .
Christopher Nolan for Inception! A gasp, Dad, you
won! Maya was hugging me, and everything went
into slow motion. I wasnt afraid of crying. Now I
was terrified of falling on the stairs, flat on my face,
in front of the entire world. Floating on watery knees,
I navigated the obstacles. Home and hosed. Not quite.
Now I couldnt find the fing microphone. The
Academy uses an ultra-skinny mike. It is matte black.
Most Academy members out there in the audience are
wearing matte black. Javier kindly showed me where
the mike was, and I thanked the Academy for making
me the oldest person to win the Original Screenplay
award. I hoped my record would be broken quickly and
often.
A year later Woody Allen won. Hes a year older, so
I sent a congratulatory e-mail saying I didnt realize
he had been home listening to my speech so carefully.
Woody replied it was great how longevity was giving
David Seidler
focus shifted back to the here and now, and I thanked

the Academy. My mother left the hospital a month or
so later to live the remaining four-plus years of her
life at home. The doctors and nurses made possible her
deepest wish, to die in her home. I believe the Oscar
and the Academy gave her those precious extra years.
I am forever grateful.
R O B E RT R I C H A R D SO N
Robert Richardson
Cinematography, 1991; 2004; 2011
Oscar night 2004. Kodak Theatre. Guilt riding me

hard. I should be back East beside my mother, who
was lying in the intensive care unit slowly dying. As
she let go of her life spirit she stridently told me, This
is not up for discussion, I will be fine. Youre going.
Period. I did. Despite her approval, I felt terribly
conflicted as I sat in the theater. My heart pounded as
the cinematography nominations were listed, louder
and louder, until I vaguely heard my name called out
for The Aviator. Time stopped. I have no memory
of moving from seat to podium. As I leaned in to
the microphone, I looked from Oscar in hand to the
lights, and I saw my mother softly superimposed atop
the audience. Words slipped off my tongue dedicating this Oscar to my mother and to the doctors and
nurses who cared for her. A second or two ticked past,
ST E P H E N R O SENBAUM
I had knee surgery a few days before the ceremony and

was on crutches and pain medication. They called our
names, and the three other guys bolted for the stage.
Struggling to keep up, I had to carefully navigate the
line of famous feet as I thumped down the front row.
I have this clear memory of shiny shoes jerking back
under their seats in a choreographed wave as my
crutches crashed down past them. Unfortunately, I
dont think Jack Nicholson saw me coming, and with
adrenaline pumping I managed to plow the end of a
crutch straight into the toes of his left foot. Stumbling
past him I hollered a loud Sorry! as I then had to
conquer the stairs while everyone waited for me at
the top.
8/8/13 7:40 PM
Bruce Davis retired after nearly twenty-two

years in that post and thirty years with the
organization, and Dawn Hudson began
her tenure as the Academys Chief Executive Ofcer. Hudson came on board after
twenty years as Executive Director of Film
Independent. Longtime Academy Executive
Administrator Ric Robertson was named
to the new position of Chief Operating Ofcer. The new executive structure required a
change to the Academys bylaws, voted in by
the Board of Governors in April 2011.
a c ad e my p r e s i de n t s
fi r s t half o f t h e n i n t h de ca de

August 2009July 2010 . . . . . . . . . . . . . . .Tom Sherak
August 2010July 2011 . . . . . . . . . . . . . . . .Tom Sherak
August 2011July 2012 . . . . . . . . . . . . . . . .Tom Sherak
August 2012July 2013 . . . . . . . . . . . . . . . . Hawk Koch
Tom Cruise, Meryl Streep at the 2011 (84th) Awards
Anne Hathaway, Jennifer Lawrence at the 2012 (85th) Awards
387
Typically, the Visual Effects award recipients pass
without notoriety, but apparently some people were
paying attention, because at every party for the rest
of the night I was instantly recognized by swarms of
fans shouting, Hey look! Its the guy who stomped on
Jacks foot! Way to go Crutch Guy!
Stephen Rosenbaum
Visual Effects, 1994, 2009
K IM SINCL AIR
My wife, my daughter and I were sharing a limo with

Stephen Rosenbaum and his family. We assembled in
the lobby of the hotel, but Stephen was nowhere to be
seen. He had lost three pages of his speech, and had
retired back to his hotel room to rewrite it! Consequently we were late getting to the Kodak Theatre,
raced along the red carpet, and just got to our seats in
timemissing the opportunity to have a drink.
After a long, exciting wait our names were called
your heart stops, and you think this cant be right!
Then sheer survival instincts cut in. We stumbled
onto the stage, where Rob Stromberg was overcome by
emotion and delivered a heartfelt ten-minute address;
meanwhile Rick Carter was standing on Sigourney

Weavers dress, so she couldnt step back from the
microphone. It was not a polished performance!
Once off the stage it was an enjoyable blur of crazy
sensationsluckily lubricated by many glasses of
champagne. It was an unreal and surreal experience
a blur of people, movement, photographs and activity.
We spotted on monitors our friends winning for
Visual Effects (Stephens speech came in handy) and
Cinematography. After a Spinal Taplike corridor
odyssey we resumed our seats. My 16-year-old daughter, Electra, seized and clutched the little gold man to
her chest. I missed the Governors Ball while waiting
outside in the cold for a satellite feed in order to be
interviewed on New Zealand television. Then on to
the parties and letting the whole thing sink in a little
bit. A very memorable night.
Kim Sinclair
Art Direction, 2009
L U K E M A T HENY
After Jake Gyllenhaal called my name, I remember

running to the stage from the back of the auditorium. When I reached the podium, I collected the
statue, caught my breath, looked out into the bright
lights and blurted out, I shouldve gotten a haircut.
(I had a big, untamed Afro at the time.) Not long
after all the surreal fun of the ensuing nightgoing
to the Governors Ball with my girlfriend, riding in
the limo with my NYU classmates who had crewed
invaluably on my film, meeting Tom Hanks at the
Vanity Fair partya reporter asked me if I planned
to get a haircut. I told him Id have to check with
Maxine or Tenisha at the Supercuts on 6th Avenue
back in New York. A few weeks later, Supercuts sent
me a huge box of hair-care products as a thankyou for plugging their business. I remain a loyal
customer.
Luke Matheny
Short Film (Live Action), 2010
8/8/13 7:40 PM
2008
The Eighty-First Year
t had been a tough year all over the globe,

a time of worldwide nancial crisis,
crashing economies and hardship, and
when Oscars eighty-rst birthday party
took place at the Kodak Theatre in Hollywood on February 22, 2009, one more
catastrophe loomed: the possibility of
another lm industry labor strike, this time
by the Screen Actors Guild. But optimism
and hope for change were in the air: a historically signicant new president, Barack
Obama, was in Washington, and it was just
one month after his inauguration that the
Academy Awards for 2008 were handed out.
The ambitiously planned evening included
Hugh Jackman making his rst appearance
(and scoring a big hit) as the Oscar show
emcee. He was joined by a lineup of famous
faces that included Sophia Loren, Steve
Martin, Tina Fey, Steven Spielberg, Will
Smith, Daniel Craig, Nicole Kidman,
Shirley MacLaine, Liam Neeson, Kevin
Kline, Halle Berry, Reese Witherspoon,
Christopher Walken, Cuba Gooding, Jr.,
Marion Cotillard, Zac Efron, Jack Black
and Jennifer Aniston among the many.
The most conspicuous lms of the year
were The Curious Case of Benjamin Button,
with a total of thirteen nominations, and
Slumdog Millionaire, with ten, and in the
nal tally it was the British-made Slumdog
that hit the home run. It won eight of the
years awards, including best picture and
the best directing prize for its guiding hand,
Danny Boyle; Benjamin Button ended up
with three prizes, for art direction, makeup
and visual effects.
Sean Penn, who had won a best actor

Oscar for 2003s Mystic River, won his
second as leading actor for Milk, portraying
the assassinated San Francisco politician
and gay activist Harvey Milk. Penns acceptance speech began with a tongue-in-cheek
shout-out to Academy voters in the audienceYou commie, homo-loving sons of
gunsafter which he took a serious tone,
voicing the plea, weve got to have equal
rights for everyone. Kate Winslet won the
best actress Oscar for her layered performance in The Reader, bucking the trend of
the three previous Oscar years, when the
golden prize in that category had gone to
actresses who portrayed real women (Reese
Witherspoon as June Carter, Helen Mirren
as Queen Elizabeth II and Marion Cotillard
as Edith Piaf).
The most emotional moment of the
night occurred when Heath Ledgers name
was read as the winner in the supporting
actor category for his work in The Dark
Knight. His win was no surprise: he had
been considered a lock for the prize from
the time the lm was initially shown, although the actor wasnt around to be
aware of itthe lm premiered six months
after his death. Ledgers parents and sister
accepted the award in his name and on
behalf of the late actors young daughter.
The only previous performer to win an
Oscar posthumously had been Peter Finch
in 1977 for the 1976 lm Network; unlike
Ledger, Finch had been well aware of the
success of his lm and the Oscar buzz surrounding it; he died one month before that
388
B EST ACT R ESS: KATE WINSLET as Hanna Schmitz in The
Reader (The Weinstein Company; directed by Stephen Daldry). It
was an abundance of riches for Winslet, who gave award-worthy
performances in two top-of-the-line 2008 lms, The Reader and
Revolutionary Road. At awards time, agents, managers and
publicists tried for a double whammy for Kate, suggesting she
be considered for Oscar attention in the best actress division for
Revolutionary and in the supporting actress category for Reader,
despite her playing the principal female role in each lm. One
awards group did buy into the two-for-Kate proposal, voting her
the prize in both categories; Oscar voters, however, didnt take
the suggestion and nominated her only in the upstairs category
and only for her work in Reader, not for the Revolutionary
performance. In Reader, with a screenplay by David Hare, Winslet plays an older woman who has an affair with a teenage boy
(David Kross) in Germany in the 1950s, then turns up again in
his life years later when hes a lawyer (Ralph Fiennes) observing a
war crimes trial, in which she is one of several women accused of
having been guards at a Nazi concentration camp and responsible
for many deaths. This was Winslets rst Academy Award after
ve previous nominations; for her, number six was the charm.
8/8/13 7:40 PM
years Academy Award nominations were

announced.
Penlope Cruz was named 2008s best
supporting actress for Vicky Cristina Barcelona, making her the fth performer bestowed an Oscar for a performance directed
by Woody Allen, following Diane Keaton in
1977, Michael Caine and Dianne Wiest in
1986, Wiest again in 1994 and Mira Sorvino
in 1995. The Madrid-born Cruz was only the
second Spaniard in history to win an acting
Oscar, the rst being her Vicky Cristina costarand future husbandJavier Bardem,
born in the Canary Islands, who had won in
the supporting actor category the previous
year for No Country for Old Men. No honorary Oscars were awarded at the ceremony,
but veteran comedian, actor, director and
writer Jerry Lewis was presented the Jean
Hersholt Humanitarian Award.
The telecast, produced by rst-timers
Bill Condon and Laurence Mark and
directed by Roger Goodman, opened with
the agile Jackman giving a tuneful salute
to some of the great movie musicals of the
past. Later elements included tributes to
various lm genres, among them a Judd
Apatowdirected send-up of the years lm
comedies, and John Legend, joined by the
Soweto Gospel Choir, singing one of the
years best original song nominees, Down
to Earth from WALL-E, which was named
the years best animated feature.
The presentation of the four acting
awards included something brand new: the
nominees in each category were singled out
by ve previous winners of that particular
accolade. For example, in the best supporting actress division, former winners
Whoopi Goldberg, Eva Marie Saint, Goldie
Hawn, Anjelica Huston and Tilda Swinton
each gave heartfelt comments about one of
the ve 2008 nominees; in the best actor
division, Robert De Niro, Michael Douglas,
Adrien Brody, Anthony Hopkins and Ben
Kingsley lauded the nominees. Those four
segments were among the evenings pleasures; another was seeing the ecstatic faces
of Slumdogs youngest cast members after all
the envelopes had been opened and the lm
had triumphed as the picture of the year. As
for the Academy Awards show itself, it was
described by director Danny Boyle, while he
clutched his shiny, new Oscar statuette, as
bloody wonderful.
be s t s up p ort i n g a cto r : HEATH LEDGER as Joker in The

Dark Knight (Warner Bros.; directed by Christopher Nolan).
The great potential Heath Ledger had been showing since his
impressive turn in 2000s The Patriot was more than fullled in
this visually stunning continuation of the escapades of Batman on
screen, this chapter a multimillion-dollar extravaganza that had
Christian Bale as Bruce Wayne, a.k.a. Batman (standing behind
Ledger, right), and such fellow actors as Morgan Freeman, Aaron
Eckhart, Michael Caine, Gary Oldman, Maggie Gyllenhaal, Eric
Roberts and Anthony Michael Hall. Ledger, despite the competition of splashy action and visual effects, exploded on screen with
riveting force as he solidly stole every scene and foreshadowed for
himself a Brando-caliber screen future. However, by the time the
lm opened in July 2008, the Australian-born Ledger was dead
from an accidental overdose of prescription drugs. At Oscar time,
a year after his death, he became the second actor in history to
posthumously win a competitive Academy Award. His one predecessor: Peter Finch, who won in the best actor category for 1976s
Network.
be s t a ct or : SEAN PENN as Harvey Milk in Milk (Focus

Features; directed by Gus Van Sant). The lm was based on the
life and circumstances surrounding the tragic death of Harvey
Milk, a relentless and much-respected but controversial gay activist in San Franciscos political circles in the 1970s, who went
on to become the rst openly gay man to be voted into public ofce in California, winning a seat on the San Francisco Board of
Supervisors in 1977. A year later he was assassinated by a fellow
supervisor, Dan White, played in the lm by Josh Brolin. Penn
did a brilliant job channeling Milk, despite formidable competition from Milk himself in an earlier feature-length documentary,
The Times of Harvey Milk, the winner of 1984s Oscar for
best documentary feature. This Van Sant biopic brought Penn
his second Academy Award in six years (his rst: for 2003s
Mystic River); a superb supporting cast included Victor Garber
as San Franciscos mayor, George Moscone, who was also killed
by White on November 27, 1978, and James Franco as Milks
younger partner, Scott Smith.
389
8/8/13 7:40 PM
Nominations 2008
be s t s up p ort i n g actr es s : PENLOPE CRUZ as Maria

Elena in Vicky Cristina Barcelona (The Weinstein Company;
directed by Woody Allen). Woody Allens 38th directorial effort,
set and lmed in Barcelona, Spain, concerns two girlfriends,
Vicky (Rebecca Hall) and Cristina (Scarlett Johansson), who
go to Spain on holiday and fall under the spell of a charismatic,
studly painter (Javier Bardem), who woos and beds them both.
The young women are unaware that the Spanish Lothario is still
rmly tied to a volcanic, constantly erupting recracker of a wife,
played with delicious gusto by a hilariously funny Cruz (at right,
with Allen). This was Cruzs second Oscar nomination and her
rst win. In 2010, life imitated art, when Cruz and Bardem married for real.
B ES T P I CT U R E
THE C UR IO U S C A S E OF B ENJAMIN B UTTON ,
Kennedy/Marshall Production, Paramount and

Warner Bros. Kathleen Kennedy, Frank Marshall and
Cen Chafn, Producers.
FR O ST/NIXO N , Universal Pictures, Imagine
Entertainment and Working Title Production,
Universal. Brian Grazer, Ron Howard and Eric Fellner,
Producers.
MIL K , Groundswell and Jinks/Cohen Company
Production, Focus Features. Dan Jinks and Bruce
Cohen, Producers.
THE R E A D E R , Mirage Enterprises and Neunte
Babelsberg Film GmbH Production, The Weinstein
Company. Anthony Minghella, Sydney Pollack, Donna
Gigliotti and Redmond Morris, Producers.
*SL UMD O G MIL L IO NAIRE , Celador Films Production,
Fox Searchlight. Christian Colson, Producer.
A CT O R
R IC HA R D JE NKINS in The Visitor, Groundswell,
Participant, Next Wednesday Production, Overture

Films.
FR A NK L A NGE L L A in Frost/Nixon, Universal Pictures,
Imagine Entertainment and Working Title Production,
Universal.
*SE A N P E NN in Milk, Groundswell and Jinks/Cohen
Company Production, Focus Features.
BR A D P ITT in The Curious Case of Benjamin Button,
Warner Bros.
MIC K E Y R O U R KE in The Wrestler, Protozoa Pictures/
Wild Bunch Production, Fox Searchlight.
A CT RES S
A NNE HA THA W A Y in Rachel Getting Married, Clinica
Estetico Production, Sony Pictures Classics.
A NGE L INA JO L IE in Changeling, Universal Pictures and
390
Imagine Entertainment Production, Universal.

ME L ISS A L E O in Frozen River, Harwood Hunt
ME R Y L STR E E P in Doubt, Scott Rudin Production,
Miramax Films.
*KA TE W INS L E T in The Reader, Mirage Enterprises
and Neunte Babelsberg Film GmbH Production, The
Weinstein Company.
JO SH BR O L IN in Milk, Groundswell and Jinks/Cohen
Company Production, Focus Features.
R O BE R T D O W NE Y JR. in Tropic Thunder, Red
Hour Production, DreamWorks, Distributed by

DreamWorks/Paramount.
P HIL IP S E Y MO U R HOFFMAN in Doubt, Scott Rudin
*H E A TH L E D GE R in The Dark Knight, Cape Road Limited
MIC HA E L S HA NNON in Revolutionary Road, Evamere
Entertainment, BBC Films and Neal Street Production,
DreamWorks, Distributed by Paramount Vantage.
A MY A D A MS in Doubt, Scott Rudin Production,
Miramax Films.
*PE N L O P E C R U Z in Vicky Cristina Barcelona, The
Weinstein Company.
VIO L A D A VIS in Doubt, Scott Rudin Production,
Miramax Films.
T ARAJ I P . HENSON in The Curious Case of Benjamin
Button, Kennedy/Marshall Production, Paramount

and Warner Bros.
M ARI SA T OM EI in The Wrestler, Protozoa Pictures/
Wild Bunch Production, Fox Searchlight.
D I R E C TI N G
T HE CU RI OU S CASE OF BENJ AM I N BU T T ON ,

Warner Bros. David Fincher.
FROST / NI X ON , Universal Pictures, Imagine
Universal. Ron Howard.
M I LK , Groundswell and Jinks/Cohen Company
Production, Focus Features. Gus Van Sant.
T HE READ ER , Mirage Enterprises and Neunte
Company. Stephen Daldry.
*S LU M D OG M I LLI ONAI RE , Celador Films Production,
Fox Searchlight. Danny Boyle.
WR I TI N G
T HE CU RI OU S CASE OF BENJ AM I N BU T T ON ,

Warner Bros. Eric Roth and Robin Swicord.
D OU BT , Scott Rudin Production, Miramax Films. John
Patrick Shanley.
FROST / NI X ON , Universal Pictures, Imagine
Universal. Peter Morgan.
Company. David Hare.
*S LU M D OG M I LLI ONAI RE , Celador Films Production,
Fox Searchlight. Simon Beaufoy.
FROZ EN RI VER , Harwood Hunt Production, Sony
Pictures Classics. Courtney Hunt.
HAP P Y -GO-LU CK Y , Thin Man Films/Simon Channing
Williams Production, Miramax Films. Mike Leigh.
IN BRU GES , Blueprint Pictures Production, Focus
Features. Martin McDonagh.

*MI LK , Groundswell and Jinks/Cohen Company
Production, Focus Features. Dustin Lance Black.
W ALL-E , Pixar Animation Studios Production, Walt
Disney. Andrew Stanton, Jim Reardon and Pete Docter.
CHAN G ELI NG , Universal Pictures and Imagine
Entertainment Production, Universal. James J.

Murakami; Gary Fettis.
*T HE CU RI OU S CASE OF BEN J AM I N BU T T ON ,
Warner Bros. Donald Graham Burt; Victor J. Zolfo.
T HE D ARK K NI G HT , Cape Road Limited Production,
Warner Bros. Nathan Crowley; Peter Lando.
T HE D U CHESS , Qwerty Films/Magnolia Mae Films in
association with Path Renn and BIM Distribuzione
Production, Paramount Vantage, Path and BBC Films.
Michael Carlin; Rebecca Alleway.
REVOLU T I ON ARY ROAD , Evamere Entertainment,
BBC Films and Neal Street Production, DreamWorks,
Distributed by Paramount Vantage. Kristi Zea; Debra
Schutt.
CHANGELI N G , Universal Pictures and Imagine
Entertainment Production, Universal. Tom Stern.
T HE CU RI OU S CAS E O F B E N J A MI N B U T T O N ,

Warner Bros. Claudio Miranda.
T HE D ARK K N I GHT , Cape Road Limited Production,
Company. Chris Menges and Roger Deakins.
*SLU M D OG M I LLI O N A I R E , Celador Films Production,
Fox Searchlight. Anthony Dod Mantle.
C O S TUM E DESIGN
AU ST RALI A , 20th Century Fox/Bazmark Film 2 Pty Ltd
Production, 20th Century Fox. Catherine Martin.

Warner Bros. Jacqueline West.
*T HE D U CHESS , Qwerty Films/Magnolia Mae Films in
association with Path Renn and BIM Distribuzione
Production, Paramount Vantage, Path and BBC Films.
Michael OConnor.
Production, Focus Features. Danny Glicker.
REVOLU T I ONARY R O A D , Evamere Entertainment,
BBC Films and Neal Street Production, DreamWorks,
Distributed by Paramount Vantage. Albert Wolsky.
F I LM E D I TING

Warner Bros. Kirk Baxter and Angus Wall.
Warner Bros. Lee Smith.
FROST / N I X ON , Universal Pictures, Imagine
Universal. Mike Hill and Dan Hanley.
Production, Focus Features. Elliot Graham.
Fox Searchlight. Chris Dickens.
M A KE UP
*T HE CU RI OU S CAS E O F B E N J A MI N B U T T O N ,
Warner Bros. Greg Cannom.
Warner Bros. John Caglione, Jr., and Conor
OSullivan.
HELLBOY I I : T HE G O L DE N A R MY , Universal Pictures
Production, Universal. Mike Elizalde and Thom Floutz.
M US I C

Warner Bros. Alexandre Desplat.
D EFI ANCE , Grosvenor Park/Bedford Falls Production,
Paramount Vantage. James Newton Howard.
Production, Focus Features. Danny Elfman.
Fox Searchlight. A.R. Rahman.
W ALL-E , Pixar Animation Studios Production, Walt
Disney. Thomas Newman.
8/8/13 7:40 PM
be s t p ict u r e : SLUMDOG MILLIONAIRE (Fox Searchlight;

produced by Christian Colson) and b est d irec ting: DANNY
BOYLE for Slumdog Millionaire. British-made and sponsored,
Slumdog had come from out of nowhere with such small expectations that Warner Bros., which initially had the rights for the
lms U.S. distribution, got cold feet early on and sold 50 percent
of its ownership to Fox Searchlight to avoid red ink on the ledger
sheets. There was no red ink (only red faces). A feel-good movie of
the rst rank despite its realistic imagery of the rampant poverty
in modern-day India, Slumdog immediately charmed audiences of
all ages and became a genuine blockbuster. Simon Beaufoy, given
an Oscar for his Slumdog screenplay, which he adapted from the
2005 novel Q & A by Indian author Vikas Swarup, had made
several research trips to India in preparing the script and said one
of his primary aims had been to incorporate the huge amount of
fun, laughter and sense of community he found there, despite the
countrys hardships. The story concerns a young teenager from
the slums of Mumbai (played at age eighteen by Dev Patel, left,
with Freida Pinto) who, on the verge of winning the grand prize
as a contestant on the Indian version of the TV quiz show Who
Wants to Be a Millionaire, is suddenly arrested and grilled because no one believes a boy of his background could possibly know
the answers to the shows difcult questions without cheating. In
ashbacks, the boy explains how various events in his past had
given him the uncanny ability to correctly answer each of the quiz
questions hed been asked.
(ori gi n al s on g)
D O W N TO E A R T H (WALL-E, Pixar Animation Studios
Production, Walt Disney). Music by Peter Gabriel and

Thomas Newman; Lyric by Peter Gabriel.
*JA I HO (Slumdog Millionaire, Celador Films Production,
Fox Searchlight). Music by A.R. Rahman; Lyric by
Gulzar.
O SA Y A (Slumdog Millionaire, Celador Films Production,
Fox Searchlight). Music and Lyric by A.R. Rahman and
Maya Arulpragasam.
*THE D A R K K NIGH T , Cape Road Limited Production,

Warner Bros. Richard King.
IR O N MA N , Marvel Studios Production, Paramount
and Marvel Entertainment. Frank Eulner and
Christopher Boyes.
S L U MD O G MIL L I ONAIRE , Celador Films Production,
Fox Searchlight. Glenn Freemantle and Tom Sayers.
W A L L - E , Pixar Animation Studios Production, Walt
Disney. Ben Burtt and Matthew Wood.
W A NTE D , Universal Pictures and Spyglass
Entertainment Production, Universal. Wylie Stateman.
THE C U R IO US C ASE OF B ENJAMIN B UTTON ,

Warner Bros. David Parker, Michael Semanick, Ren
Klyce and Mark Weingarten.
THE D A R K K NIGHT , Cape Road Limited Production,
Warner Bros. Lora Hirschberg, Gary Rizzo and Ed
Novick.
*S L U MD O G MIL L I ONAIRE , Celador Films Production,
Fox Searchlight. Ian Tapp, Richard Pryke and Resul
Pookutty.
W A L L - E , Pixar Animation Studios Production, Walt
Disney. Tom Myers, Michael Semanick and Ben Burtt.
W A NTE D , Universal Pictures and Spyglass
Entertainment Production, Universal. Chris Jenkins,
Frank A. Montao and Petr Forejt.
(liv e a ct ion )
AU F D ER ST RECK E ( ON T HE LI N E) , Academy
of Media Arts Cologne Production, Hamburg

ShortFilmAgency. Reto Caf.
M ANON ON T HE ASP HALT , La Luna Productions.
Elizabeth Marre and Olivier Pont.
N EW BOY , Zanzibar Films Production, Network Ireland
Television. Steph Green and Tamara Anghie.
T HE P I G , M & M Production. Tivi Magnusson and
Dorte Hgh.
*SP I ELZ EU GLAND ( T OY LAND ) , Mephisto Film
Production. Jochen Alexander Freydank.
D O C UM E N TA R Y
(fe a t u r e s )
T HE BET RAY AL ( N ERAK HOON ) , Pandinlao Films
Production, Cinema Guild. Ellen Kuras and Thavisouk

Phrasavath.
EN COU N T ERS AT T HE EN D OF T HE W ORLD ,
Creative Differences Production, THINKFilm and
Image Entertainment. Werner Herzog and Henry
Kaiser.
T HE GARD EN , Black Valley Films Production. Scott
Hamilton Kennedy.
*M AN ON W I RE , Wall to Wall in association with Red
Box Films Production, Magnolia Pictures. James Marsh
and Simon Chinn.
T ROU BLE T HE W AT ER , Elsewhere Films Production,
Zeitgeist Films. Tia Lessin and Carl Deal.
T HE CONSCI EN CE OF NHEM EN , Farallon Films
Production. Steven Okazaki.
T O J ERRY LEW I S

T O ED CAT M U LL
A WA R D S
ERW I N M ELZ NER for the overall concept including the

optical and cooling systems, V O L K E R S C H U MA C H E R
for the optical design, and T I M O M L L E R for the
mechanical design of the Arrimax 18/12 lighting

xture for use in motion picture production.
J ACQ U ES D ELACO U X for the concept and electronic
design and ALEX A N DR E L E U C H T E R for the software
and electronic design of the Transvideo video-assist
monitors for the motion picture industry.
BRU NO COU M ER T and J A C Q U E S DE B I ZE for the
optical design and DO MI N I Q U E C H E R V I N and
CHRI ST OP HE R E B O U L E T for the mechanical design
of the compact and lightweight Angenieux 1540
and 2876 zoom lenses for handheld motion picture
photography.
ST EVE HY LN for the concept and his continued
leadership in the further development of the Hyln

Lens System for motion picture effects photography.
T HE FI NAL I N CH , Vermilion Films in association with
Google.org Production. Irene Taylor Brodsky and Tom

Grant.
*SM I LE P I N K I , Principe Production. Megan Mylan.
T HE W I T NESS FROM T HE BALCONY OF ROOM
306 , Rock Paper Scissors Production. Adam Pertofsky

and Margaret Hyde.
391
*THE C U R IO US C ASE OF B ENJAMIN B UTTON ,

BOLT , Walt Disney Pictures Production, Walt Disney.
Chris Williams and Byron Howard.
K U N G FU P AN D A , DreamWorks Animation LLC
Warner Bros. Eric Barba, Steve Preeg, Burt Dalton and
Production, DreamWorks Animation, Distributed by
Craig Barron.
THE D A R K K NIGHT , Cape Road Limited Production,
Paramount. John Stevenson and Mark Osborne.
Warner Bros. Nick Davis, Chris Corbould, Tim Webber *W ALL-E , Pixar Animation Studios Production, Walt
and Paul Franklin.
Disney. Andrew Stanton.
IR O N MA N , Marvel Studios Production, Paramount
F
O R E I G N LA N G UA G E F I LM
and Marvel Entertainment. John Nelson, Ben Snow,
T HE BAAD ER M EI NHOF COM P LEX (Germany).
Dan Sudick and Shane Mahan.
T HE CLASS (France).
S HO RT F I L M S
*D EP ART U RES (Japan).
REVANCHE (Austria).
(an i m at e d )
W ALT Z W I T H BASHI R (Israel).
*L A MA IS O N E N PETITS CUB ES , Robot
Communications Production. Kunio Kato.
L A VA TO R Y - L O VESTORY , Melnitsa Animation Studio
T O M ARK K I M BALL in appreciation for outstanding
and CTB Film Company Production. Konstantin
Bronzit.
O KTA P O D I , Gobelins, lcole de limage Production,
Talantis Films. Emud Mokhberi and Thierry
Marchand.
P R E S TO , Pixar Animation Studios Production, Walt
Disney. Doug Sweetland.
THIS W A Y UP , Nexus Production. Alan Smith and
Adam Foulkes.
8/8/13 7:40 PM
2009
The Eighty-Second Year
omething old was denitely new again

when the 82nd Academy Awards rolled
around: for the rst time in sixty-six
yearssince 1943!there were ten lms
instead of ve in contention for Oscars best
picture trophy. Sid Ganis, the Academy president, had announced the upcoming change
at a June 2009 press conference, remarking
that having ten best picture nominees is
going to allow Academy voters to recognize
and include some of the fantastic movies
that often show up in the other categories
but have been squeezed out of the race for
the top prize.
When the 2009 Oscar nominees were
announced, it turned out the additional
ve slots in the Academys foremost award
category were not lled, as some had hoped,
by several of the years more widely seen
movies, such as Harry Potter and the HalfBlood Prince, Star Trek and others, but for
the most part by smaller lms of note. Still,
all were basically upstaged by two lms with
nine nominations each: the sci- fantasy
extravaganza Avatar and the gritty war lm
The Hurt Locker. These lms had a noteworthy connection: the directors of each,
Avatars James Cameron and Lockers
Kathryn Bigelow, were former husband and
wife. Still friends and supportive of one
another, the two retained a family dynamic
that added considerable interest and suspense as their lms competed against each
other in seven categories, including the
best director slot. Locker went on to win six
awards, including those for best picture and
best director, compared to three wins for
Avatar. With her directing win, Ms. Bigelow

made more history: she became the rst
woman in Oscars eighty-two years to win in
that category.
The years awards ceremony took place at
the Kodak Theatre in Hollywood on March
7, 2010, slightly later than usual in order to
avoid competing for attention on television
sets with the XXI Olympic Winter Games,
which were held February 1228 in Vancouver, Canada. The world was also still reeling
from a chaotic economic crisis, so the Oscar
night fashion parade was somewhat more
restrained than usual though still festive.
The producers of the telecast were Bill
Mechanic and Adam Shankman, with
Hamish Hamilton directing, and for the
rst time since 1987 there were two hosts instead of one. Steve Martin, in his third time
as an Oscar show host, and rst-timer Alec
Baldwin were jointly in charge, delivering
quips and friendly industry roastings, making a formidable, witty team. In another departure from tradition, the telecast opened
with the ten nominees in the leading actor
and leading actress categories onstage
together. Following their appearance, actor
Neil Patrick Harris introduced the hosts
with a musical number, No One Wants to
Do It Alone. In a nod to a long-established
tradition of past Oscar ceremonies, the
phrase and the winner is . . . was returned
to the Oscar night proceedings after several
years of its banishment in favor of and the
Oscar goes to . . . (the policy since 1988).
Taking a cue from the previous years use of
multiple presenters for each of the acting
392
be s t p i c t ure : THE HURT LOCKER (Summit Entertainment;
produced by Kathryn Bigelow, Mark Boal, Nicolas Chartier and
Greg Shapiro) is a gripping, intense thriller about an Army team
of bomb squad experts (Jeremy Renner, Anthony Mackie, Brian
Geraghty), who irt with death on a daily basis while fullling
their ongoing mission to dismantle explosives in Iraq during the
recent war there. Its Academy Awardwinning screenplay by Mark
Boal was ctional but heavily based on Boals own experiences
as a journalist embedded with such a squad in Iraq; he was also
one of the producers of this unsentimental look at war from the
point of view of the soldiers who ght it. The lms basically allmale cast also included strong support by Guy Pearce and Ralph
Fiennes. Locker won six Academy Awards: best picture, directing,
original screenplay, lm editing, sound editing and sound mixing.
It was also the sixth lm that unfolds primarily on the contemporary battleeld to win Oscars best picture prize, its predecessors
being 1927s Wings, in the Academys rst awards year, set during
World War I; 1930s All Quiet on the Western Front, also about
the Great War; 1970s Patton, set in World War II; 1978s The
Deer Hunter, set during the hostilities in Vietnam; and 1986s
Platoon, also about the Vietnam War.
8/8/13 7:40 PM
awards, this year the leading actor and actress

category presentations were announced by
groups of fellow actors, among them 2008s
winners, Kate Winslet and Sean Penn.
Jeff Bridges was named best actor of the
year for his role as an alcoholic country
singer in Crazy Heart; previously nominated
four times, starting with a supporting actor
nod for 1971s The Last Picture Show, he became the rst member of the Bridges family
of veteran actors (including father Lloyd
Bridges, mother Dorothy Dean Bridges and
brother Beau Bridges) to receive an Academy
Award. He was greeted by a standing ovation and dedicated his award to his parents,
his father having died in 1998, his mother in
February 2009.
The recurring theme of Oscars bestowed
for portrayals of real-life people resurfaced,
as Sandra Bullock received the best actress
award for her role as a determined Southern
mom in The Blind Side. Bullock was a rsttime nominee, as was the supporting actor
champ, Christoph Waltz, who won for
Inglourious Basterds; another rst-time nominee, MoNique, was named best supporting
actress for Precious: Based on the Novel Push
by Sapphire. One person who didnt pick up
a golden trophy but still added mightily to
her laurels was Meryl Streep, receiving her
sixteenth nomination for acting, far ahead of
her nearest competition, the late Katharine
Hepburn and Jack Nicholson, who each have
twelve nominations on their credit sheets.
Pixars Up showed its popular appeal and
strength and (thanks to those additional best
picture slots) was nominated in both the
best picture and best animated feature divisions, winning in the latter. There were also
two cases of title confusion: several voters
admitted theyd chosen the Coen brothers
A Serious Man for best picture, mistaking it
for Tom Fords A Single Man. Meanwhile, the
animated Up also had some name recognition problems with Jason Reitmans liveaction Up in the Air.
Honorary awards werent presented on
the Oscar telecast but given three months
earlier at the rst Governors Awards dinner
on November 14, 2009. Three of the four
honoreesactress Lauren Bacall, producer
Roger Corman and cinematographer Gordon
Willisattended the dinner, and Bacall
and Corman also took a bow on the Oscar
telecast. Studio executive and producer John
Calley, recipient of the Irving G. Thalberg
Memorial Award, was too ill to attend
either event.
be s t a ct r e s s : SANDRA BULLOCK as Leigh Anne Tuohy in

The Blind Side (Warner Bros.; directed by John Lee Hancock).
Based on a best-selling 2006 book by Michael Lewis, the lm is
about a real-life couple, Leigh Anne and Sean Tuohy of Memphis,
who befriend and eventually adopt Michael Oher, a homeless,
unrooted seventeen-year-old African American boy (played in
the lm by Quinton Aaron), and with care, grit and persistence
guide him to a new life as a college student and, eventually, an
all-American football player and a rst-round NFL draft pick.
It had been announced initially that Julia Roberts would play

Mrs. Tuohy, but the role eventually went to Bullock, who triumphed as the strong-willed Leigh Anne, a successful interior
designer in her own right, in addition to being Ohers most vocal
and dedicated cheerleader. Tim McGraw played her supportive
husband, and Kathy Bates had a prominent role as a tutor hired
to help in the Tuohys crusade. The lm, one of the years
best liked, was also one of the ten nominees for Oscars best
picture accolade.
393
be s t a n ima t e d fe a t u r e : UP (Walt Disney; directed by

Pete Docter). The inauguration in 2001 of an Oscar category to
salute animated features honored that worthy genre, which had
been multiplying in number of lms yearly. This year, Pixars
exceptional Up was not only nominated (and eventually won)
in the animated division but also became one of the best picture
candidates, that category now having ten slots available instead
of ve as before. There were many indications Up might end up
winning in both divisions; the 3-D computer-animated movie
was among the best liked of all the lms seen in 2009, whether
live-action or animated. Its funny but touching tale concerns
an elderly widower (voiced by Ed Asner) who makes his
humble home airborne by tying thousands of balloons to it,
after which he sets out with an eight-year-old Wilderness
Explorer named Russell (voiced by Jordan Nagai) to fulll the
longtime dream he and his late wife shared to have a look at
the wilds of South America.
8/8/13 7:40 PM
Nominations 2009
AVATAR (20th Century Fox; produced by James Cameron and Jon

Landau, also written and directed by Cameron) was the years
miracle movie, an eye-boggler of the rst order, full of groundbreaking visual effects and computer-generated characters evolved
from live actors, all of which plunged audiences into an entirely
new world as mesmerizing as the one Lewis Carrolls Alice faced
when she dropped into Wonderland. Epic on all fronts, Avatar
never wavered during its 162-minute running time in its attack on
the eyes and the emotions. It was a project Cameron began developing fteen years earlier but was forced to set aside until movie
technology was invented that would allow him to fulll his vision
of what Avatar could be. The completed lm, which also made extremely effective use of 3-D during a period of renewed interest in
three-dimensional movies, went on to become the highest-grossing
motion picture to date, surpassing the record held for twelve years
by another Cameron blockbuster, 1997s Titanic. Nominated for
nine Academy Awards, this later Cameron triumph won three, for
its visual effects, cinematography and art direction/set decoration.
B ES T P I CT U R E
A VA TA R , Lightstorm Entertainment Production,
20th Century Fox. James Cameron and Jon Landau,

Producers.
THE BL IND S ID E , Alcon Entertainment Production,
Warner Bros. Gil Netter, Andrew A. Kosove and
Broderick Johnson, Producers.
D IS TR IC T 9 , Block/Hanson Production, Sony Pictures
Releasing. Peter Jackson and Carolynne Cunningham,
Producers.
A N E D U C A TIO N , Finola Dwyer/Wildgaze Films
Production, Sony Pictures Classics. Finola Dwyer and
Amanda Posey, Producers.
*T HE HUR T L O C K E R , Voltage Pictures Production,
Summit Entertainment. Kathryn Bigelow, Mark Boal,
Nicolas Chartier and Greg Shapiro, Producers.
INGL O UR IO U S BA STERDS , Weinstein Company/
Universal Pictures/A Band Apart/Zehnte Babelsberg
Production, The Weinstein Company/Universal
Pictures. Lawrence Bender, Producer.
P R E C IO U S: BA S E D ON TH E NOV EL PUSH B Y
S A P P HIR E , Lee Daniels Entertainment/Smokewood
394
Entertainment Production, Lionsgate. Lee Daniels,

Sarah Siegel-Magness and Gary Magness, Producers.
A SE R IO US MA N , Working Title Films Production,
Focus Features. Joel Coen and Ethan Coen, Producers.
U P , Pixar Production, Walt Disney. Jonas Rivera,
Producer.
U P IN THE A IR , Montecito Picture Company
Production, Paramount in association with Cold
Spring Pictures and DW Studios. Daniel Dubiecki,
Ivan Reitman and Jason Reitman, Producers.
A CT O R
*J E FF BR ID GE S in Crazy Heart, Informant Media/

Butchers Run Films Production, Fox Searchlight.
GE O R GE C L O O NE Y in Up in the Air, Montecito Picture
Company Production, Paramount in association with
Cold Spring Pictures and DW Studios.
C O L IN FIR TH in A Single Man, Fade to Black and Depth
of Field Production, The Weinstein Company.
MO R GA N F R E E MA N in Invictus, Liberty Pictures
JE R E MY R E NNE R in The Hurt Locker, Voltage Pictures
Production, Summit Entertainment.
A CT RES S
*SA ND R A BU L L O C K in The Blind Side, Alcon

Entertainment Production, Warner Bros.
HE L E N MIR R E N in The Last Station, Egoli Tossell Film/
Zephyr Films Production, Sony Pictures Classics.
C A R E Y MU L L IGA N in An Education, Finola Dwyer/
Wildgaze Films Production, Sony Pictures Classics.
GA BO U R E Y S ID IBE in Precious: Based on the Novel
Push by Sapphire, Lee Daniels Entertainment/
Smokewood Entertainment Production, Lionsgate.
ME R Y L STR E E P in Julie & Julia, Columbia Pictures
M AT T D AM ON in Invictus, Liberty Pictures Production,
Warner Bros.
W OOD Y HARRELSON in The Messenger, All the Kings
Horses Production, Oscilloscope Laboratories.
CHRI ST OP HER P LU M M ER in The Last Station, Egoli
Tossell Film/Zephyr Films Production, Sony Pictures

Classics.
ST ANLEY T U CCI in The Lovely Bones, Wingnut Films
Production, DreamWorks in association with Film4,
Distributed by Paramount.
*C HRI ST OP H W ALT Z in Inglourious Basterds, Weinstein
Company/Universal Pictures/A Band Apart/Zehnte
Babelsberg Production, The Weinstein Company/
Universal Pictures.
P EN LOP E CRU Z in Nine, Weinstein Brothers/Marc
Platt/Lucamar/Relativity Media Production, The

Weinstein Company.
VERA FARM I GA in Up in the Air, Montecito Picture
M AG G I E GY LLEN HAAL in Crazy Heart, Informant
Media/Butchers Run Films Production, Fox
Searchlight.
ANNA K END RI CK in Up in the Air, Montecito Picture
*MO NI Q U E in Precious: Based on the Novel Push by
Sapphire, Lee Daniels Entertainment/Smokewood
Entertainment Production, Lionsgate.
D I R E C TI N G
AVAT AR , Lightstorm Entertainment Production, 20th
Century Fox. James Cameron.

*T HE HU RT LOCK ER , Voltage Pictures Production,
Summit Entertainment. Kathryn Bigelow.
IN G LOU RI OU S BAST ERD S , Weinstein Company/
Pictures. Quentin Tarantino.
P RECI OU S: BASED ON T HE NOVEL P U SH BY

SAP P HI RE , Lee Daniels Entertainment/Smokewood
Entertainment Production, Lionsgate. Lee Daniels.
U P I N T HE AI R , Montecito Picture Company

Spring Pictures and DW Studios. Jason Reitman.
WR I TI N G
D I ST RI CT 9 , Block/Hanson Production, Sony Pictures
Releasing. Neill Blomkamp and Terri Tatchell.
AN ED U CAT I ON , Finola Dwyer/Wildgaze Films
Production, Sony Pictures Classics. Nick Hornby.
*P RECI OU S: BASED O N T H E N O V E L PU S H B Y
SAP P HI RE , Lee Daniels Entertainment/Smokewood
Entertainment Production, Lionsgate. Geoffrey
Fletcher.
U P I N T HE AI R , Montecito Picture Company
Spring Pictures and DW Studios. Jason Reitman and
Sheldon Turner.
*T HE HU RT LOCK ER , Voltage Pictures Production,

Summit Entertainment. Mark Boal.
I NGLOU RI OU S BAS T E R DS , Weinstein Company/
Pictures. Quentin Tarantino.
T HE M ESSEN G ER , All the Kings Horses Production,
Oscilloscope Laboratories. Alessandro Camon and
Oren Moverman.
A SERI OU S M AN , Working Title Films Production,
Focus Features. Joel Coen and Ethan Coen.
U P , Pixar Production, Walt Disney. Bob Peterson, Pete
Docter and Tom McCarthy.
*AVAT AR , Lightstorm Entertainment Production, 20th

Century Fox. Rick Carter and Robert Stromberg; Kim
Sinclair.
T HE I M AGI N ARI U M O F DO C T O R PA R N A S S U S , Poo
Poo Pictures Production, Sony Pictures Classics. Dave
Warren and Anastasia Masaro; Caroline Smith.
N I NE , Weinstein Brothers/Marc Platt/Lucamar/
Relativity Media Production, The Weinstein Company.
John Myhre; Gordon Sim.
SHERLOCK HOLM ES , Warner Bros. UK Services
Production, Warner Bros. Sarah Greenwood; Katie
Spencer.
T HE Y OU NG VI CT O R I A , GK Films Production,
Apparition. Patrice Vermette; Maggie Gray.

Century Fox. Mauro Fiore.
HARRY P OT T ER AND T H E H A L F - B L O O D PR I N C E ,
Warner Bros. Bruno Delbonnel.
T HE HU RT LOCK ER , Voltage Pictures Production,
Summit Entertainment. Barry Ackroyd.
I NGLOU RI OU S BAS T E R DS , Weinstein Company/
Pictures. Robert Richardson.
T HE W HI T E RI BBON , X Filme Creative Pool/Wega
Film/Les Films du Losange/Lucky Red Production,
Sony Pictures Classics. Christian Berger.
IN T HE LOOP , Loop Film/BBC Films and UK Film
Council in association with Aramid Entertainment

Production, IFC Films. Jesse Armstrong, Simon
Blackwell, Armando Iannucci and Tony Roche.
8/8/13 7:40 PM
BR IGHT STA R , Jan Chapman/Bright Star Films
ST AR T REK , Bad Robot Production, Paramount and
Spyglass Entertainment. Anna Behlmer, Andy Nelson

and Peter J. Devlin.
T RANSFORM ERS: REVENGE OF T HE FALLEN , Don
Murphy/Tom DeSanto/di Bonaventura Pictures/Ian
Bryce Production, DreamWorks and Paramount in
association with Hasbro, Distributed by Paramount.
Greg P. Russell, Gary Summers and Geoffrey
Patterson.
Production, Apparition. Janet Patterson.

C O C O BE F O R E CHANEL , Haut et Court Production,
Sony Pictures Classics. Catherine Leterrier.
THE IMA GINA R I UM OF DOCTOR PARNASSUS ,
Poo Poo Pictures Production, Sony Pictures Classics.
Monique Prudhomme.
NINE , Weinstein Brothers/Marc Platt/Lucamar/
Relativity Media Production, The Weinstein Company.
Colleen Atwood.
*THE Y O UNG VICTORIA , GK Films Production,
Century Fox. Joe Letteri, Stephen Rosenbaum, Richard
Apparition. Sandy Powell.
Baneham and Andrew R. Jones.
D I ST RI CT 9 , Block/Hanson Production, Sony Pictures
F I LM ED I T I N G
Releasing. Dan Kaufman, Peter Muyzers, Robert
A VA TA R , Lightstorm Entertainment Production, 20th
Habros and Matt Aitken.
Century Fox. Stephen Rivkin, John Refoua and James
ST AR T REK , Bad Robot Production, Paramount and
Cameron.
Spyglass Entertainment. Roger Guyett, Russell Earl,
D IS TR IC T 9 , Block/Hanson Production, Sony Pictures
Paul Kavanagh and Burt Dalton.
Releasing. Julian Clarke.
*THE HU R T L O C KER , Voltage Pictures Production,
S H O R T F I LM S
Summit Entertainment. Bob Murawski and Chris
(a n ima t e d)
Innis.
FRENCH ROAST , Pumpkin Factory/Bibo Films
INGL O UR IO U S BASTERDS , Weinstein Company/
Production. Fabrice O. Joubert.
G RAN N Y O GRI M M S SLEEP I NG BEAU T Y , Brown
Bag Films. Nicky Phelan and Darragh OConnell.
Pictures. Sally Menke.
P R E C IO U S: BA S ED ON TH E NOV EL PUSH B Y
S A P P HIR E , Lee Daniels Entertainment/Smokewood
T HE LAD Y AND T HE REAP ER ( LA D AM A Y LA

M U ERT E) , Kandor Graphics and Green Moon
Production. Javier Recio Gracia.

*LOG ORAM A , Autour de Minuit. Nicolas Schmerkin.
A M AT T ER OF LOAF AND D EAT H , Aardman
M A K EU P
Animations. Nick Park.
IL D IVO , Indigo Film/Lucky Red/Parco Film/Babe Films
Production, MPI Media Group through Music Box.
(liv e a ct ion )
Aldo Signoretti and Vittorio Sodano.
T HE D OOR , Octagon Films Production, Network
*STA R TR E K , Bad Robot Production, Paramount and
Ireland Television. Juanita Wilson and James Flynn.
Spyglass Entertainment. Barney Burman, Mindy Hall
I NST EAD OF ABRACAD ABRA , Directrn & Fabrikrn
and Joel Harlow.
Production, The Swedish Film Institute. Patrik Eklund
THE Y O UNG VICTORIA , GK Films Production,
and Mathias Fjellstrm.
Apparition. Jon Henry Gordon and Jenny Shircore.
K AVI , Gregg Helvey Production. Gregg Helvey.
M I RACLE FI SH , Druid Films Production, Premium
MUSIC
Films. Luke Doolan and Drew Bailey.
*T HE N EW T ENANT S , Park Pictures and M & M
Production. Joachim Back and Tivi Magnusson.
Century Fox. James Horner.
FA NTA S TIC MR . FOX , American Empirical Production,
D O C UM E N TA R Y
20th Century Fox. Alexandre Desplat.
(fe a t u r e s )
THE HU R T L O C KER , Voltage Pictures Production,
BU RM A VJ , Magic Hour Films Production, Oscilloscope
Summit Entertainment. Marco Beltrami and Buck
Laboratories. Anders stergaard and Lise LenseSanders.
Mller.
SHE R L O C K HO L M ES , Warner Bros. UK Services
*T HE COVE , Oceanic Preservation Society Production,
Production, Warner Bros. Hans Zimmer.
Roadside Attractions. Louie Psihoyos and Fisher
*U P , Pixar Production, Walt Disney. Michael Giacchino.
Stevens.
FOOD , I NC. , Robert Kenner Films Production,
Magnolia Pictures. Robert Kenner and Elise Pearlstein.
A L MO ST THE R E (The Princess and the Frog, Walt Disney
T HE M OST D AN G EROU S M AN I N AM ERI CA:
Pictures Production, Walt Disney). Music and Lyric by
D AN I EL ELLSBERG AND T HE P EN T AGON
Randy Newman.
P AP ERS , Kovno Communications Production. Judith
D O W N IN NE W ORLEANS (The Princess and the Frog,
Ehrlich and Rick Goldsmith.
Walt Disney Pictures Production, Walt Disney). Music
W HI CH W AY HOM E , Mr. Mudd Production. Rebecca
and Lyric by Randy Newman.
Cammisa.
L O IN D E P A NA ME (Paris 36, Galate Films Production,
Sony Pictures Classics). Music by Reinhardt Wagner;
(s
h or t s u bje ct s )
Lyric by Frank Thomas.
CHI N A S U N N AT U RAL D I SAST ER: T HE T EARS OF
TA KE IT A L L (Nine, Weinstein Brothers/Marc Platt/
SI CHU AN P ROVI N CE , Downtown Community
Lucamar/Relativity Media Production, The Weinstein
Television Center Production. Jon Alpert and Matthew
Company). Music and Lyric by Maury Yeston.
ONeill.
*THE W E A R Y K IND ( TH EME FROM CRAZY H EART)
T HE LAST CAM P AI GN OF GOVERNOR BOOT H
(Crazy Heart, Informant Media/Butchers Run Films
GARD N ER , Just Media Production. Daniel Junge and
Production, Fox Searchlight). Music and Lyric by Ryan
Henry Ansbacher.
Bingham and T Bone Burnett.
T HE LAST T RU CK : CLOSI NG OF A GM P LANT ,
Community Media Production. Steven Bognar and
Julia Reichert.
Century Fox. Christopher Boyes and Gwendolyn Yates *M U SI C BY P RU D ENCE , iThemba Production. Roger
Ross Williams and Elinor Burkett.
Whittle.
RABBI T LA BERLI N , MS Films Production, Deckert
Distribution. Bartek Konopka and Anna Wydra.
Summit Entertainment. Paul N.J. Ottosson.
CORALI NE , LAIKA Production, Focus Features. Henry
Selick.
Pictures. Wylie Stateman.
FANT AST I C M R. FOX , American Empirical Production,
STA R TR E K , Bad Robot Production, Paramount and
20th Century Fox. Wes Anderson.
Spyglass Entertainment. Mark Stoeckinger and Alan
T HE P RI NCESS AN D T HE FROG , Walt Disney Pictures
Rankin.
Production, Walt Disney. John Musker and Ron
U P , Pixar Production, Walt Disney. Michael Silvers and
Clements.
Tom Myers.
T HE SECRET OF K ELLS , Cartoon Saloon/Les
Armateurs/Vivi Film Production, GKIDS. Tomm
Moore.
Century Fox. Christopher Boyes, Gary Summers, Andy *U P , Pixar Production, Walt Disney. Pete Docter.
Nelson and Tony Johnson.
AJ AM I (Israel).
Summit Entertainment. Paul N.J. Ottosson and Ray
T HE M I LK OF SORROW (Peru).
Beckett.
A P ROP HET (France).
*T HE SECRET I N T HEI R EY ES (Argentina).
T HE W HI T E RI BBON (Germany).
Pictures. Michael Minkler, Tony Lamberti and Mark
Ulano.
Entertainment Production, Lionsgate. Joe Klotz.

T O LAU REN BACA L L in recognition of her central
place in the golden age of motion pictures.
T O ROGER CORM A N for his rich engendering of lms
and lmmakers.
T O G ORD ON W I L L I S for unsurpassed mastery of
light, shadow, color and motion.

T O J OHN CALLEY

A WA R D S
P ER CHRI ST ENSE N , MI C H A E L B U N N E L L and
CHRI ST OP HE H E R Y for the development of point-
based rendering for indirect illumination and ambient

occlusion.
D R. RI CHARD K I R K for the overall design and
development of the Truelight real-time 3D look-up
table hardware device and color management
software.
VOLK ER M ASSM A N N , M A R K U S H A S E N ZA H L , DR .
K LAU S AND ERL E and A N DR E A S L O E W for the
development of the Spirit 4K/2K lm scanning system
as used in the digital intermediate process for motion
pictures.
M I CHAEL CI ESLI N S K I , DR . R E I M A R L E N Z and
BERND BRAU NE R for the development of the
ARRISCAN lm scanner, enabling high-resolution,
high-dynamic range, pin-registered lm scanning for
use in the digital intermediate process.
W OLFG AN G LEMPP , T H E O B R O W N , T O N Y S E DI V Y
and D R. J OHN QU A R T E L for the development of
the Northlight lm scanner, which enables highresolution, pin-registered scanning in the motion
picture digital intermediate process.
ST EVE CHAP M AN , M A R T I N T L A S K A L , DA R R I N
SM ART and D R. J A M E S L O G I E for their
contributions to the development of the Baselight
color correction system, which enables real-time
digital manipulation of motion picture imagery during
the digital intermediate process.
M ARK J ASZ BEREN YI , G YU L A PR I S K I N and T A MA S
P ERLAK I for their contributions to the development
of the Lustre color correction system, which enables
real-time digital manipulation of motion picture
imagery during the digital intermediate process.
BRAD W ALK ER , D. S C O T T DE W A L D , B I L L W E R N E R
and G REG P ET T I T T for their contributions
furthering the design and renement of the Texas
Instruments DLP Projector technology, achieving
a level of performance that enabled color-accurate
digital intermediate previews of motion pictures.
FU J I FI LM CORP O R A T I O N , R YO J I N I S H I MU R A ,
M ASAAK I M I K I and YO U I C H I H O S O YA for the
design and development of Fujicolor ETERNARDI digital intermediate lm, which was designed
exclusively to reproduce motion picture digital
masters.
P AU L D EBEVEC , T I M H A W K I N S , J O H N M O N O S and
D R. M ARK SAGA R for the design and engineering
of the Light Stage capture devices and the imagebased facial rendering system developed for character
relighting in motion pictures.
395

M ARK W OLFORTH and T O N Y S E DI V Y for their
contributions to the development of the Truelight

real-time 3D look-up table hardware system.
D R. K LAU S AN D E R L E , C H R I S T I A N B A E K E R and
FRANK BI LLASC H for their contributions to the
LUTher 3D look-up table hardware device and color
management software.
ST EVE SU LLI VAN , K E V I N W O O L E Y , B R E T T A L L E N
and COLI N D AV I DS O N for the development of the
Imocap on-set performance capture system.
HAY D EN LAN D I S , K E N MC G A U G H and H I L MA R
K OCH for advancing the technique of ambient
occlusion rendering.
BJ RN HED N for the design and mechanical
engineering of the silent, two-stage planetary friction
drive Hedn Lens Motors.
8/8/13 7:40 PM
2010
The Eighty-Third Year
or the second year in a row, and for

the eleventh time during the Academys eighty-three years of bestowing
awards, ten lms were nominated for the
years best picture Oscar, and those ten
showcased an unusually wide range
of subjects: a shy, stuttering English monarch, a disturbed ballerina, a middle-class
lesbian couple, an aging, one-eyed cowboy,
a dream invader, a teenager in the Ozarks,
a group of toys in revolt, a rock climber in
trouble, a boxer in despair and an Internet genius in court. Leading the eld with
twelve nominations was the lm about the
stuttering monarch, The Kings Speech; it
was followed by the 2010 remake of the 1969
John Wayne classic True Grit, which received
ten nods and was trailed by the sci- thriller
Inception and the drama about the founding of Facebook, The Social Network, each of
which pulled in eight nominations. The race
was on.
The eighty-third Oscar night took place
on February 27, 2011, again at the Kodak
Theatre at the Hollywood & Highland
Center and was again televised on ABC;
this edition was produced by Bruce Cohen
and Don Mischer, the latter also directing.
For the second year in a row, there were
two co-hosts, this time a male-female duo
for the rst time since the 1950s, twentyeight-year-old Anne Hathaway and James
Franco, age thirty-two. Franco, a best actor
nominee for 127 Hours, was the rst person
to be both a host and nominee since 1987,
when that nights co-emcee Paul Hogan
was also a nominee for the original screen-
play of Crocodile Dundee (1986). One of

the telecasts extracurricular treats was a
segment featuring Billy Crystal taking the
audience on a trip back in time to the very
rst televised Oscar ceremony, held in 1953.
Via visual effects, that presentations host,
Bob Hope, deceased since 2003, was brought
digitally to the Kodaks podium.
Another memorable moment of the night
came early, when Kirk Douglas, an indefatigable ninety-four years old, who had
received his rst of three best actor nominations playing a boxer in 1949s Champion,
presented Melissa Leo with an Oscar for her
supporting performance in the biographical
lm about boxer Micky Ward, The Fighter.
All four of the nights acting awards went
to rst-time victors: Christian Bale, Leos
teammate in The Fighter, was named best
supporting actor; Colin Firth, in The Kings
Speech, was chosen best actor; and Natalie
Portman was selected best actress for Black
Swan. Firth, at the podium accepting his
statuette, said modestly, I have a feeling my
career has just peaked. . . . Portman, who
was ve months pregnant, thanked Swan
director Darren Aronofsky and several others, especially her future husband, Benjamin
Millepied, who had choreographed the Swan
ballet sequences.
The years award for best director went
to Tom Hooper for The Kings Speech. He
credited his mother with discovering the
subject matter for what became his third
theatrical feature, telling the audience that
the moral of his experience was listen to
your mother. For the second year in a row,
396
be s t p i c t ure : THE KINGS SPEECH (The Weinstein Company; produced by Iain Canning, Emile Sherman and Gareth
Unwin), be s t d i re c t i ng : TOM HOOPER for The Kings
Speech and be s t ac t o r : COLIN FIRTH as King George VI in
The Kings Speech. A grand success in all departments, this latest
screen look at Britains royals covers the reluctant ascension to the
throne in 1936 of King George VI after the sudden abdication of
his older brother King Edward VIII (the future Duke of Windsor).
The lms story concentrates on the new kings attempt to overcome a debilitating vocal stammer in time to give an important
radio address to his country upon Britains declaration of war
with Germany in 1939. Director Hooper had originally offered the
role of George VI to Paul Bettany, and then to Hugh Grant, who
both turned it down; Firth was next in line and made it a personal
triumph, with grand support from Geoffrey Rush playing the
Australian speech therapist Lionel Logue, who was instrumental
in giving the monarch a vastly improved public speaking voice. The
exceptional cast also included Helena Bonham Carter (at right,
with Firth), Guy Pearce and Derek Jacobi. Screenwriter David
Seidler, who also won an Oscar for the lms original screenplay,
had suffered from a vocal stammer as a child and in the 1980s
had rst started researching and writing this story of the kings
sessions with the Aussie therapist, until the kings widow, Queen
Elizabeth the Queen Mother, asked him to postpone further work
on it until after her death, which he did. When she died in 2002
at the age of 101, he again took up the project.
8/8/13 7:40 PM
Pixar had a lm nominated in both the best

picture and best animated feature divisions
and took the award for the latter, this time
for Toy Story 3, the top-grossing lm of 2010.
Director Lee Unkrich said of making the
third lm in a series, Somehow we thought
we could pull it off. Does this mean we did
it? Aaron Sorkin won in the best adapted
screenplay category for The Social Network,
and was soon followed to the stage by David
Seidler for writing what was judged to be the
years nest original screenplay, The Kings
Speech. A stutterer himself, Seidler said he
hoped the award would inspire condence
among others who felt embarrassed by their
speech difculties.
Oddsmakers were trumpeting the main
competitors for the best picture slot as The
Kings Speech and The Social Network, and
when the nal tally was in it was The King
that reigned, winning that top-of-theline honor along with three other awards.
It wasnt, however, alone at the summit.
Inception also ended up with four awards;
Social Network followed with three; and Alice
in Wonderland, The Fighter and Toy Story 3
received two each.
Once again the Governors Awards, like
the Scientic and Technical Awards, were
presented prior to Oscar night. On November 13, 2010, the second annual Governors
Awards dinner was held in the Grand Ballroom of the Hollywood & Highland Center,
where honorary awards were bestowed
on French New Wave director Jean-Luc
Godard; Eli Wallach, still a working actor
at the age of ninety-ve; and British lm
historian Kevin Brownlow. Also that night,
the thirty-eighth Irving G. Thalberg Memorial Award was presented to Francis Ford
Coppola for his achievements as a lm
producer; hed previously won competitive
Oscars for his work as a director (once),
producer (once) and writer (three times).
be s t a ct r e s s : NATALIE PORTMAN as Nina Sayers in Black
Swan (Fox Searchlight; directed by Darren Aronofsky). No
relation in any way to a popular 1942 pirate tale of nearly the
same name (that lms title was The Black Swan and referred
to a seafaring vessel; it was a 1942 Oscar winner for its color
cinematography), this new Swan was more akin to The Red
Shoes refashioned as a nightmarish psychological thriller. The
story centers on a ballet company mounting a production of
Tchaikovskys Swan Lake in New York and the emotional stress
it puts on a young dancer, played by Portman, which ultimately
leads her to erratic behavior, breakdowns and hallucinations that
almost destroy her life. Prior to shooting, Portman went into intensive ballet training for six months and later was guided with
a sure hand by her director, Aronofsky. For long shots, American
Ballet Theatre soloist Sarah Lane was her dance double. The
nished lm, which heavily accentuated its horror-genre aspects,
had a distinctive look, with a muted, often grainy cinma vrit
style achieved through the extensive use of handheld Super 16mm
cameras. The end result had its enthusiasts as well as detractors,
but nearly everyone agreed on the effectiveness of Portmans
bravura performance.
397
be s t s up p ort i n g a cto r : CHRISTIAN BALE as Dicky

Eklund in The Fighter (Paramount; directed by David O. Russell) and be s t s up p o r ti ng a ctr es s : MELISSA LEO as Alice
Ward in The Fighter. The lm is a sports biopic about real-life
boxing pro Micky Ward (played by Mark Wahlbergwho was
also one of the lms producerspictured, at right, with Bale
and Leo) and his relationship and interactions with his older
half-brother Dicky, a former ghter and champion until he became waylaid by drugs, now working as Wards trainer but with
dreams of making his own comeback in the ring. Leo plays the
mother of both fellows, a tough, tenacious woman who is now
Wards manager and thus in charge of her sons currently stalled
career. The ferocious performances by Bale and Leo were among
the years most striking, Bale coming into the production after
Brad Pitt and Matt Damon were both slated and then, because of
other commitments, unavailable to play the complicated Dicky.
Martin Scorsese had been asked to direct but passed after deciding against taking on another boxing saga after his 1980 classic,
Raging Bull. But the powerful Fighter, in the hands of director
Russell, was much admired and respected, nominated for seven
Academy Awards and later cited by Sports Illustrated as the
best sports movie of the decade.
8/8/13 7:40 PM
A C TR E S S
ANNET T E BEN I NG in The Kids Are All Right, Antidote
Nominations 2010
Films, Mandalay Vision and Gilbert Films Production,

Focus Features.
NI COLE K I D M AN in Rabbit Hole, Olympus Pictures,
Blossom Films and Oddlot Entertainment Production,
Lionsgate.
JEN N I FER LAW REN CE in Winters Bone, Anonymous
Content and Winters Bone Production, Roadside
Attractions.
*N AT ALI E P ORT M AN in Black Swan, Protozoa and
Phoenix Pictures Production, Fox Searchlight.
M I CHELLE W I LLI AM S in Blue Valentine, Silverwood
Films and Hunting Lane Films Production, The
Weinstein Company.
*C HRI ST I AN BALE in The Fighter, Relativity Media

JOHN HAW K ES in Winters Bone, Anonymous Content
and Winters Bone Production, Roadside Attractions.
JEREM Y REN N ER in The Town, Charlestown
M ARK RU FFALO in The Kids Are All Right, Antidote
Films, Mandalay Vision and Gilbert Films Production,
Focus Features.
GEOFFREY RU SH in The Kings Speech, See-Saw Films
and Bedlam Production, The Weinstein Company.
AM Y AD AM S in The Fighter, Relativity Media
HELENA BONHAM CART ER in The Kings Speech, See-
(Sony Pictures Releasing; directed by

David Fincher). There were few topics hotter in 2010 than the
new social phenomenon Facebook and the man credited with its
invention and success, twenty-six-year-old Mark Zuckerberg,
played in The Social Network by Jesse Eisenberg (above left,
with Joseph Mazzello). The screenplay by Aaron Sorkin, partially
based on Ben Mezrichs book The Accidental Billionaires, is an
engrossing, staccato look at the founding of Zuckerbergs entrepreneurial empire and his battles with others involved in the creation
of Facebook, especially twin brothers Cameron and Tyler Winklevoss (both played by Armie Hammer), who instigate a lawsuit for
what they believe is a rightful nancial cut of a multibillion-dollar
pie. Though heavily criticized in many quarters, with some claiming historical inaccuracies, and receiving a big thumbs-down from
Zuckerberg himself, the lm was one of the best liked and most
viewed of the year, receiving eight Academy Award nominations
and winning three nal trophies, for Sorkins adapted screenplay,
the lm editing by Angus Wall and Kirk Baxter, and the original
music score by Trent Reznor and Atticus Ross.
THE SOCIAL NETWORK
B ES T P I CT U R E
BL A C K SW A N , Protozoa and Phoenix Pictures
398
Production, Fox Searchlight. Mike Medavoy, Brian

Oliver and Scott Franklin, Producers.
THE F IGHTE R , Relativity Media Production,
Paramount. David Hoberman, Todd Lieberman and
Mark Wahlberg, Producers.
INC E P TIO N , Warner Bros. UK Services Production,
Warner Bros. Emma Thomas and Christopher Nolan,
Producers.
THE KID S A R E A L L RIGH T , Antidote Films,
Mandalay Vision and Gilbert Films Production,
Focus Features. Gary Gilbert, Jeffrey Levy-Hinte and
Celine Rattray, Producers.
*T HE K ING S SP E E C H , See-Saw Films and Bedlam
Production, The Weinstein Company. Iain Canning,
Emile Sherman and Gareth Unwin, Producers.
127 HO UR S , Hours Production, Fox Searchlight.
Christian Colson, Danny Boyle and John Smithson,
Producers.
THE S O C IA L NE TWORK , Columbia Pictures
Production, Sony Pictures Releasing. Scott Rudin,
Dana Brunetti, Michael De Luca and Cen Chafn,
Producers.
TO Y S TO R Y 3 , Pixar Production, Walt Disney. Darla
K. Anderson, Producer.
TR UE GR IT , Paramount Pictures Production,
Paramount. Scott Rudin, Ethan Coen and Joel Coen,
Producers.
W INTE R S BO NE , Anonymous Content and Winters
Bone Production, Roadside Attractions. Anne
Rosellini and Alix Madigan-Yorkin, Producers.
A CT O R
JA VIE R BA R D E M in Biutiful, Menage Atroz, Mod
Producciones and Ikiru Films Production, Roadside

Attractions.
JE F F BR ID GE S in True Grit, Paramount Pictures
JE S S E E ISE NBE R G in The Social Network, Columbia
*CO L IN FIR TH in The Kings Speech, See-Saw Films and
Bedlam Production, The Weinstein Company.
JA ME S FR A NC O in 127 Hours, Hours Production, Fox
Searchlight.
Saw Films and Bedlam Production, The Weinstein

Company.
*MELI SSA LEO in The Fighter, Relativity Media
HAI LEE ST EI NFELD in True Grit, Paramount Pictures
JACK I W EAVER in Animal Kingdom, Porchlight Films
D I R E C TI N G
BLACK SW AN , Protozoa and Phoenix Pictures
Production, Fox Searchlight. Darren Aronofsky.
T HE FI G HT ER , Relativity Media Production,
Paramount. David O. Russell.

*T HE K I N G S SP EECH , See-Saw Films and Bedlam
Production, The Weinstein Company. Tom Hooper.
T HE SOCI AL N ET W ORK , Columbia Pictures
Production, Sony Pictures Releasing. David Fincher.
T RU E G RI T , Paramount Pictures Production,
Paramount. Joel Coen and Ethan Coen.
WR I TI N G
127 HOU RS , Hours Production, Fox Searchlight. Danny
Boyle and Simon Beaufoy.

*T HE SOCI AL NET W ORK , Columbia Pictures
Production, Sony Pictures Releasing. Aaron Sorkin.
T OY ST ORY 3 , Pixar Production, Walt Disney. Michael
Arndt, John Lasseter, Andrew Stanton and Lee
Unkrich.
Paramount. Joel Coen and Ethan Coen.
W I N T ER S BONE , Anonymous Content and Winters
Bone Production, Roadside Attractions. Debra Granik
and Anne Rosellini.
ANOT HER Y EAR , Thin Man Films Production, Sony
Pictures Classics. Mike Leigh.
T HE FI G HT ER , Relativity Media Production,
Paramount. Scott Silver, Paul Tamasy, Eric Johnson

and Keith Dorrington.
IN CEP T I ON , Warner Bros. UK Services Production,
Warner Bros. Christopher Nolan.
T HE K I D S ARE ALL RI G HT , Antidote Films, Mandalay
Vision and Gilbert Films Production, Focus Features.
Lisa Cholodenko and Stuart Blumberg.
*T HE K I N G S SP EECH , See-Saw Films and Bedlam
Production, The Weinstein Company. David Seidler.
*A LI CE I N W OND ERLAN D , Walt Disney Pictures

Production, Walt Disney. Robert Stromberg; Karen
OHara.
HARRY P OT T ER AN D T HE D EAT HLY HALLOW S
P ART 1 , Warner Bros. UK Services Production,
Warner Bros. Stuart Craig; Stephenie McMillan.

IN CEP T I ON , Warner Bros. UK Services Production,
Warner Bros. Guy Hendrix Dyas; Larry Dias and Doug
Mowat.
T HE K I NG S SP EECH , See-Saw Films and Bedlam
Production, The Weinstein Company. Eve Stewart;
Judy Farr.
Paramount. Jess Gonchor; Nancy Haigh.
Production, Fox Searchlight. Matthew Libatique.

*I NCEP T I ON , Warner Bros. UK Services Production,
T HE K I N G S SP EECH , See-Saw Films and Bedlam
Production, The Weinstein Company. Danny Cohen.
T HE SOCI AL NET W O R K , Columbia Pictures
Production, Sony Pictures Releasing. Jeff Cronenweth.
T RU E GRI T , Paramount Pictures Production,
Paramount. Roger Deakins.
C O S TUM E D ESIGN
*ALI CE I N W ON D ERL A N D , Walt Disney Pictures

Production, Walt Disney. Colleen Atwood.
I AM LOVE , First Sun and Mikado Production,
Magnolia Pictures. Antonella Cannarozzi.
Production, The Weinstein Company. Jenny Beavan.
T HE T EM P EST , Touchstone Pictures and Miramax Films
Production, Touchstone Pictures. Sandy Powell.
Paramount. Mary Zophres.
F I LM E D I TI NG
Production, Fox Searchlight. Andrew Weisblum.
T HE FI GHT ER , Relativity Media Production,
Paramount. Pamela Martin.
Production, The Weinstein Company. Tariq Anwar.
127 HOU RS , Hours Production, Fox Searchlight. Jon
Harris.
*T HE SOCI AL NET W O R K , Columbia Pictures
Production, Sony Pictures Releasing. Angus Wall and
Kirk Baxter.
M A KE UP
BARNEY S VERSI ON , Serendipity Point Films
Production, Sony Pictures Classics. Adrien Morot.
T HE W AY BACK , Exclusive Films Production,
Newmarket Films in association with Wrekin Hill

Entertainment and Image Entertainment. Edouard F.
Henriques, Gregory Funk and Yolanda Toussieng.
*T HE W OLFM AN , Universal Pictures Production,
Universal. Rick Baker and Dave Elsey.
M US I C
HOW T O T RAI N Y O U R DR A G O N , DreamWorks
Animation Production, Paramount. John Powell.
I NCEP T I ON , Warner Bros. UK Services Production,
Warner Bros. Hans Zimmer.
Production, The Weinstein Company. Alexandre

Desplat.
127 HOU RS , Hours Production, Fox Searchlight. A.R.
Rahman.
*T HE SOCI AL NET W O R K , Columbia Pictures
Production, Sony Pictures Releasing. Trent Reznor and
Atticus Ross.
COM I N G HOM E (Country Strong, Material Pictures
Production, Sony Pictures Releasing [Screen Gems]).

Music and Lyric by Tom Douglas, Troy Verges and
Hillary Lindsey.
I SEE T HE LI G HT (Tangled, Walt Disney Pictures
Production, Walt Disney). Music by Alan Menken;
Lyric by Glenn Slater.
I F I RI SE (127 Hours, Hours Production, Fox
Searchlight). Music by A.R. Rahman; Lyric by Dido
and Rollo Armstrong.
*W E BELON G T OG ET H E R (Toy Story 3, Pixar
Production, Walt Disney). Music and Lyric by Randy
Newman.
S O UN D E D I TING

Warner Bros. Richard King.
T OY ST ORY 3 , Pixar Production, Walt Disney. Tom
Myers and Michael Silvers.
T RON : LEG ACY , Walt Disney Pictures Production,
Walt Disney. Gwendolyn Yates Whittle and Addison
Teague.
Paramount. Skip Lievsay and Craig Berkey.
UNSTOPPABLE , 20th Century Fox. Mark P. Stoeckinger.
S O UN D M I XING

Warner Bros. Lora Hirschberg, Gary A. Rizzo and Ed
Novick.
Production, The Weinstein Company. Paul Hamblin,
Martin Jensen and John Midgley.
SALT , Columbia Pictures Production, Sony Pictures
Releasing. Jeffrey J. Haboush, Greg P. Russell, Scott
Millan and William Sarokin.
T HE SOCI AL NET W O R K , Columbia Pictures
Production, Sony Pictures Releasing. Ren Klyce, David
Parker, Michael Semanick and Mark Weingarten.
8/8/13 7:40 PM
INCEPTION (Warner Bros.; directed by Christopher Nolan)

was the years big movie puzzler: what actually is going on
during the 148-minute running time of this spectacular sci-
thriller? Written, produced and directed by Christopher Nolan,
it concerns a skilled player in corporate espionage (Leonardo
DiCaprio) who, with the help of experimental technology, is able
to inltrate the dreams and subconscious of various targets and
extract valuable secrets from them. He is then given his biggest
challenge, to do the same thing but in reverse: plant an idea in
someones subconscious while the person is dreaming. Nolan,
having initially envisioned this as a horror lm, switched it
instead to a thinking persons heist movie. It was spectacular and
expensive (it cost $160 million to make) and, with a storyline
extremely difcult to translate to lm, required most people
several viewings to gure out what was going on with its mindbending movie-within-a-movie-within-a-movie ashbacks and
fast-forwards. Nominated for eight Academy Awards, it won a
quartet of them, for its cinematography, visual effects, sound
mixing and sound editing; it also turned out to be a popular
hit with moviegoers, who were fascinated by the lms great
originality and dazzled by the eye-popping images, which came
courtesy of cinematographer Wally Pster.
TR UE GR IT , Paramount Pictures Production,
Paramount. Skip Lievsay, Craig Berkey, Greg Orloff

and Peter F. Kurland.
K I LLI NG I N T HE NAM E , Moxie Firecracker Films
Production. Jed Rothstein.
P OST ER GI RL , Portrayal Films Production. Sara Nesson
and Mitchell W. Block.

*S T RANGERS N O M ORE , Simon & Goodman Picture
Production, Walt Disney. Ken Ralston, David Schaub,
Carey Villegas and Sean Phillips.
Simon.
HA R R Y P O TTE R AND TH E DEATHLY H ALLOWS
SU N COM E U P , Sun Come Up Production. Jennifer
P A R T 1 , Warner Bros. UK Services Production,
Redfearn and Tim Metzger.
Warner Bros. Tim Burke, John Richardson, Christian
T HE W ARRI ORS OF Q I U G AN G , Thomas Lennon
Manz and Nicolas Aithadi.
Films Production. Ruby Yang and Thomas Lennon.
HE R E A F TE R , Dombey Street Production, Warner Bros.
Michael Owens, Bryan Grill, Stephan Trojansky and
Joe Farrell.
HOW T O T RAI N Y OU R D RAGON , DreamWorks
*INC E P TIO N , Warner Bros. UK Services Production,
Animation Production, Paramount. Chris Sanders and
Warner Bros. Paul Franklin, Chris Corbould, Andrew
Dean DeBlois.
Lockley and Peter Bebb.
T HE I LLU SI ON I ST , Django Films Production, Sony
IR O N MA N 2 , Marvel Studios Production, Paramount
Pictures Classics. Sylvain Chomet.
and Marvel Entertainment, Distributed by Paramount. *T OY ST ORY 3 , Pixar Production, Walt Disney. Lee
Janek Sirrs, Ben Snow, Ged Wright and Daniel Sudick.
Unkrich.
A L IC E IN W O NDERLAND , Walt Disney Pictures
S H O RT FI L M S
(an i m at e d )
D A Y & NIGHT , Pixar Animation Studios Production,
Walt Disney. Teddy Newton.
THE GR U FF A L O , Magic Light Pictures Production.
Jakob Schuh and Max Lang.
L E T S P O L L U TE , Geefwee Boedoe Production. Geefwee
Boedoe.
*THE L O ST THING , Passion Pictures Australia
Production, Nick Batzias for Madman Entertainment.
Shaun Tan and Andrew Ruhemann.
MA D A GA SC A R , CARNET DE V OYAGE
(MA D A GA SC A R, A JOURNEY DIARY) , Sacrebleu
Production. Bastien Dubois.
(l i ve ac t i on )
THE C O NF E SS ION , National Film and Television
School. Tanel Toom.
THE C R U SH , Purdy Pictures Production, Network
Ireland Television. Michael Creagh.

*GO D O F L O VE , Luke Matheny Production. Luke
Matheny.
NA W E W E , CUT! Production. Ivan Goldschmidt.
W IS H 143 , Swing and Shift Films/Union Pictures
Production. Ian Barnes and Samantha Waite.
D O CU M EN T AR Y
(f e at ure s )
E XIT THR O U GH TH E GIFT SH OP , Paranoid Pictures
Production, Producers Distribution Agency. Banksy

and Jaimie DCruz.
GA S L A ND , Gasland Production. Josh Fox and Trish
Adlesic.
*INSID E JO B , Representational Pictures Production,
Sony Pictures Classics. Charles Ferguson and Audrey
Marrs.
R E STR E P O , Outpost Films Production, National
Geographic Entertainment. Tim Hetherington and
Sebastian Junger.
W A STE L A ND , Almega Projects and O2 Filmes
Production, Arthouse Films. Lucy Walker and Angus
Aynsley.
BI U T I FU L (Mexico).
D OGT OOT H (Greece).
*I N A BET T ER W ORLD (Denmark).
I N CEND I ES (Canada).
OU T SI D E T HE LAW ( HORS-LA-LOI ) (Algeria).

T O K EVI N BROW NLOW for the wise and devoted
chronicling of the cinematic parade.
T O J EAN -LU C G OD ARD for passion. For
confrontation. For a new kind of cinema.
T O ELI W ALLACH for a lifetimes worth of indelible
screen characters.
T O D EN N Y CLAI RM ONT in appreciation for

Commendation)
M ARK NOEL for the design, engineering and

development and to J O H N F R A ZI E R for his
contributions to the design and safety features of the

NAC Servo Winch System.
J AM ES ROD NU NS K Y , A L E X M A C DO N A L D and
M ARK CHAP M A N for the development of the
Cablecam 3-D volumetric suspended cable camera
technologies.
T I M D RN EC , BEN B R I T T E N S M I T H and M A T T DA V I S
for the development of the Spydercam 3-D volumetric
suspended cable camera technologies.
G REG ERCOLAN O for the design and engineering of
a series of software systems culminating in the Rush

render queue management system.
D AVI D M . LAU R for the development of the Alfred
render queue management system.
CHRI S ALLEN , GA U T H A M K R I S H N A M U R T I , MA R K
A. BROW N and L A N C E K I ME S for the development
of Queue, a robust, scalable approach to render queue
management.
FLORI AN K AI N Z for the design and development of the
robust, highly scalable distributed architecture of the
ObaQ render queue management system.
ERI C T ABELLI ON and A R N A U L D L A MO R L E T T E for
the creation of a computer graphics bounce lighting
methodology that is practical at feature lm scale.
T ON Y CLARK , ALA N R O G E R S , N E I L W I L S O N and
RORY M CG REG O R for the software design and
continued development of cineSync, a tool for remote
collaboration and review of visual effects.
399
T O FRAN CI S FORD COP P OLA

A WA R D S
D R. M ARK SAG AR for his early and continuing
development of inuential facial motion retargeting

solutions.
8/8/13 7:40 PM
2011
The Eighty-Fourth Year
ith The Artist winning the Academy Award as the best picture of
2011, Oscar had come full circle:
it was the rst time in the eighty-four years
since Wings took the top honors at the initial Academy Awards shindig in 1929 that an
(almost) silent lm was named the best of
the lot. The Artist is a lm basically without
dialogue but not otherwise silent: it has
sound effects, a beautiful music score and
a handful of spoken wordstwo of which
are uttered by the lms leading man, Jean
Dujardin (With pleasure, he says, near
the lms nish, the actors strong French
accent making it come out as Wif playzure). But certainly no other major lm in
the past eighty-four years had been quite as
wordless, including Chaplins 1936 Modern
Times, and none had been embraced by
Academy voters, including Chaplins classic.
The Artist received ten acknowledgments
from Academy voters, and ve nal awards,
tying with Martin Scorseses Hugo for the
most wins of the year. The Artists quintet
was best picture, best director (Michel
Hazanavicius), best actor (Jean Dujardin),
best original music score (Ludovic Bource)
and best costume design (Mark Bridges).
The lm could also boast of other accomplishments: although it was shot entirely
in Los Angeles by a French lmmaker and
crew, it was the rst production from a nonEnglish-speaking country to win Oscars
best picture salutation; it was also the rst
completely black-and-white lm to win as
best picture since 1960s The Apartment.
After two years of expanding the number
of nominations in the best picture category to ten, the governors of the Academy
added a new twist for these eighty-fourth
awards in June 2011. They voted to alter the
method of determining the nominees in
the best picture category so there would
be no xed number of candidates, allowing only that there would be a maximum
of ten and a minimum of ve. Inclusion
on the list would depend on the share of
votes given to each lm in the nomination
process. This time around it ended up that
nine lms were in the running for 2011s
top statuette. As it happened, nostalgia was
denitely in the air: four of the nine best
picture nominees were lms set in the early
decades of the twentieth century. Director
Martin Scorseses Hugo, utilizing state-ofthe-art 3-D visual effects in an homage to
the early French lmmaker Georges Mlis,
pulled in eleven nominations, making it the
most nominated movie of the year; it was
followed closely by those ten nods for The
Artist, also a lm that paid homage to an
earlier lm era.
Producer-director Brett Ratner had
initially been chosen to produce the Awards
telecast and had selected Eddie Murphy as
host. Three months later, following a rhubarb unrelated to the Academy Awards per
se, Ratner withdrew, followed by Murphy
shortly after. Stepping into Ratners shoes
on short notice, Brian Grazer shared the
producing responsibilities with producerdirector Don Mischer, who had performed
the same duties the previous year. Billy
Crystal, taking over for Murphy, signed on
400
be s t p i c t ure : THE ARTIST (France; The Weinstein Company;
produced by Thomas Langmann), b es t d i r ecti ng : MICHEL
HAZANAVICIUS for The Artist and b es t a cto r : JEAN
DUJARDIN as George Valentin in The Artist. One can easily
imagine the stunned look on the face of any potential nancial
backer being pitched this project in todays world: What we have
in mind is a silent lm . . . in black and white . . . with French
actors . . . none of whom are well known. But although that may
have been a less-than-mouthwatering premise for a movie being
made in 2011, what emerged was one of the most delightful, witty,
offbeat and thoroughly beguiling movies of the decade. The Artist
jauntily tells the story of a Douglas Fairbankslike silent-screen
movie idol (played by Dujardin, right, with Brnice Bejo), whose
career wilts with the advent of talking pictures, while a starlet
who loves him (Bejo) concurrently achieves great success. Filmed
in Hollywood by French-born director Hazanavicius and a French
crew, The Artist stood well apart from the crowd. It introduced a
multifaceted, talented new leading man to the international scene,
the dashing Dujardin, who earned his own Academy Award. It
also made a star of the most lovable four-legged tail-wagger since
Asta or Lassie, this one a Jack Russell terrier named Uggie, who
plays his masters best and most loyal friend through all the ups
and downs, something many of Hollywoods most famous personalities had gone through during the lm industrys transition
from silence to sound in 1927 to 1930.
8/8/13 7:40 PM
be s t a ct r e s s : MERYL STREEP as Margaret Thatcher in

The Iron Lady (The Weinstein Company; directed by Phyllida
Lloyd). By this time, Streep was already lauded near and far as
the nest screen actress of her generation; she was also the most
Oscar-nominated performer, male or female. The 2011 awards
season only added to the Streep laurels: it brought her Academy
Award nomination seventeen and her third Oscar, making her
one of the ve most-Oscared performers up to that time, the
others being three-time champs Walter Brennan, Ingrid Bergman
and Jack Nicholson, and four-time winner Katharine Hepburn.
(Another three-time winner, Daniel Day-Lewis, would be
added the following year.) Streeps performance as Englands
controversial former prime minister Margaret Thatcher was
among her strongest: the actress herself virtually disappeared
as she delivered a spot-on physical and emotional re-creation of
Thatcher in her later years, frail and in ill health, looking back
on the dening moments of her remarkable life, which included
being the longest-serving prime minister of the twentieth century. Thatcher was still alive at the time the lm came out but
she never saw it; she died two years later, on April 8, 2013, at the
age of eighty-seven.
for his ninth stint as the Oscar show emcee,

making him second only to Bob Hope in
the number of appearances as an Academy
Awards show host. Crystals appearance also
meant a return to the single emcee format
after two years of co-hosts. The awards
ceremony was held at the same theater at
the Hollywood & Highland Center that
had been its home for the past ten years,
although it was no longer called the Kodak.
At this time, it was simply known as the
Theatre at the Hollywood & Highland
Center. The show took place on February
26, 2012, and opened with a video montage
of scenes from the years top lms, mashed
together with comical inserts featuring
Crystal. It was great to have him back.
In the supporting actor category, eightytwo-year-old Christopher Plummer took
home the 2011 award for his work in Beginners as an elderly man who reveals to his
adult son that he is gay. Octavia Spencer received the best supporting actress award for
The Help, in which she appeared as a spunky
maid in 1960s Mississippi. Iran won its rst

Academy Award, receiving the best foreign
language lm prize for A Separation, which
also earned a nomination for its original
screenplay.
And then there was Meryl Streep. She set
yet another Academy record, receiving her
seventeenth nomination for acting, fourteen in the upstairs best actress category,
three in the supporting actress division. Out
of those, shed won two, the rst as best supporting actress for Kramer vs. Kramer (1979),
the second as best actress for 1982s Sophies
Choice. This also meant that for all her Academy acknowledgment, shed also lost the
Oscar more than any other performer. But
this time around she won once again, for
her exceptional portrayal of Prime Minister
Margaret Thatcher in The Iron Lady. As she
received her shiny new statuette, she said,
When they called my name, I had this feeling I could hear half of America going, Oh,
no . . . her? Again?
be s t s u p p or t in g ac tress: OCTAVIA SPENCER as Minny

Jackson in The Help (Touchstone Pictures; directed by Tate
Taylor). Adapted from the 2009 novel by Kathryn Stockett, The
Help is set in Mississippi during the civil rights era of the 1960s
and follows a would-be writer (Emma Stone) as she attempts to
interview locals for a book dealing with how African American
maids feel about the white families they serve on a daily basis.
One of the maids is Spencer, who has been unceremoniously red
by her employer because she used a bathroom that had been designated by her employer as for whites only; later, Spencer goes to
work for a white woman (Jessica Chastain, above, with Spencer)
who is being shunned by the locals because she doesnt t in.
Spencer later gets solidly behind Stones book despite warnings,
with repercussions, not to do so. The Helps cast included two
past Oscar winners, Sissy Spacek and Mary Steenburgen, and
in addition to the nomination and win for Spencer, the lm also
received nominations for best picture, for Viola Davis as best
actress, and for Chastain, like Spencer, in the supporting
actress category.
401
be s t s u p p or t in g ac to r: CHRISTOPHER PLUMMER as
Hal in Beginners (Focus Features; directed by Mike Mills). This
was a rst for Plummer: with more than fty years of acting in
lms to his credit but only one other Oscar nomination to boast
about (for 2009s The Last Station, also in the supporting actor
division), he won a long overdue Academy Award at age eightytwo, playing a father whose relationship with his son (Ewan
McGregor, near left, with Plummer) drastically changes after
the death of his wife, when he comes out of the closet and begins
living for the rst time as an openly gay man. The lms writerdirector, Mike Mills, based the character on his own father,
who opened up for the rst time about his sexuality at the age
of seventy-ve, ve years before his death. Prior to Beginners,
Plummers closest association with Oscar, beyond that earlier
nomination, had been acting in two Academy Awardwinning
best pictures, 1965s The Sound of Music, a movie from
which he recoiled for years, and 2001s A Beautiful Mind;
the Canadian-born Plummer also contributed his voice to the
lm chosen as 2009s best animated feature, Up.
8/8/13 7:41 PM
BRN I CE BEJ O in The Artist, La Petite Reine/Studio
Nominations 2011
B ES T P I CT U R E
*T HE A R TIST , La Petite Reine/Studio 37/La Classe

Amricaine/JD Prod/France 3 Cinma/Jouror
Productions/uFilm Production, The Weinstein
Company. Thomas Langmann, Producer.
THE D E S C E ND A NTS , Ad Hominem Enterprises
Production, Fox Searchlight. Jim Burke, Alexander
Payne and Jim Taylor, Producers.
E XTR E ME L Y L O UD & INCREDIB LY CLOSE , Warner
Bros. Pictures Production, Warner Bros. Scott Rudin,
Producer.
THE HE L P , DreamWorks Pictures Production,
Touchstone Pictures. Brunson Green, Chris
Columbus and Michael Barnathan, Producers.
HUGO , Paramount Pictures and GK Films Production,
Paramount. Graham King and Martin Scorsese,
Producers.
MID NIGHT IN P A RIS , Pontchartrain Production,
Sony Pictures Classics. Letty Aronson and Stephen
Tenenbaum, Producers.
MO NE Y BA L L , Columbia Pictures Production, Sony
Pictures Releasing. Michael De Luca, Rachael
Horovitz and Brad Pitt, Producers.
THE TR E E O F L IF E , River Road Entertainment
Production, Fox Searchlight. Sarah Green, Bill
Pohlad, Dede Gardner and Grant Hill, Producers.
W A R HO R SE , DreamWorks Pictures Production,
Touchstone Pictures. Steven Spielberg and Kathleen
Kennedy, Producers.
A CT O R
D E MI N BIC HIR in A Better Life, Summit
Entertainment.
GE O R GE C L O O NE Y in The Descendants, Ad
Hominem Enterprises Production, Fox Searchlight.

*J E A N D UJA R D IN in The Artist, La Petite Reine/Studio
37/La Classe Amricaine/JD Prod/France 3 Cinma/
Jouror Productions/uFilm Production, The Weinstein
Company.
GA R Y O L D MA N in Tinker Tailor Soldier Spy, Working
Title Films Production, Focus Features.
BR A D P ITT in Moneyball, Columbia Pictures
A CT RES S
GL E NN C L O SE in Albert Nobbs, Trillium Productions,
Mockingbird Pictures and Parallel Films Production,

Roadside Attractions.
VIO L A D A VIS in The Help, DreamWorks Pictures
Production, Touchstone Pictures.
R O O NE Y MA R A in The Girl with the Dragon Tattoo,
Columbia Pictures and Metro-Goldwyn-Mayer
*MERYL STREEP in The Iron Lady, Weinstein Company/
Yuk Films/Path/UK Film Council/Canal+/Cine+/
Goldcrest Production, The Weinstein Company.
MIC HE L L E W IL L IA MS in My Week with Marilyn, The
Weinstein Company.
K E NNE TH BR A NA GH in My Week with Marilyn, The
Weinstein Company.
JO NA H HIL L in Moneyball, Columbia Pictures
NIC K NO L TE in Warrior, Solaris Entertainment
402
and Filmtribe/Lionsgate/Mimran Schur Pictures

Production, Lionsgate.
*CHR ISTO P HE R P L UMMER in Beginners, Olympus
Pictures in association with Parts & Labor
MA X VO N SY D O W in Extremely Loud & Incredibly
Close, Warner Bros. Pictures Production, Warner
Bros.
37/La Classe Amricaine/JD Prod/France 3 Cinma/

Jouror Productions/uFilm Production, The Weinstein
Company.
JESSI CA CHAST AI N in The Help, DreamWorks Pictures
M ELI SSA M CCART HY in Bridesmaids, Universal
Pictures Production, Universal.
JAN ET M CT EER in Albert Nobbs, Trillium Productions,
Mockingbird Pictures and Parallel Films Production,
Roadside Attractions.
*O CT AVI A SP EN CER in The Help, DreamWorks Pictures
D I R E C TI N G
*T HE ART I ST , La Petite Reine/Studio 37/La Classe

Company. Michel Hazanavicius.
T HE D ESCEND AN T S , Ad Hominem Enterprises
Production, Fox Searchlight. Alexander Payne.
HU GO , Paramount Pictures and GK Films Production,
Paramount. Martin Scorsese.
M I D N I GHT I N P ARI S , Pontchartrain Production, Sony
Pictures Classics. Woody Allen.
T HE T REE OF LI FE , River Road Entertainment
Production, Fox Searchlight. Terrence Malick.
WR I TI N G
*HU G O , Paramount Pictures and GK Films Production,

Paramount. Dante Ferretti; Francesca Lo Schiavo.
M I D NI G HT I N P ARI S , Pontchartrain Production, Sony
Pictures Classics. Anne Seibel; Hlne Dubreuil.
W AR HORSE , DreamWorks Pictures Production,
Touchstone Pictures. Rick Carter; Lee Sandales.
T HE ART I ST , La Petite Reine/Studio 37/La Classe

Company. Guillaume Schiffman.
T HE GI RL W I T H T HE DR A G O N T A T T O O , Columbia
Pictures and Metro-Goldwyn-Mayer Pictures
Production, Sony Pictures Releasing. Jeff Cronenweth.
*HU G O , Paramount Pictures and GK Films Production,
Paramount. Robert Richardson.
T HE T REE OF LI FE , River Road Entertainment
Production, Fox Searchlight. Emmanuel Lubezki.
W AR HORSE , DreamWorks Pictures Production,
Touchstone Pictures. Janusz Kaminski.
C O S TUM E D ESIGN
AN ONY M OU S , Columbia Pictures Production, Sony
Pictures Releasing. Lisy Christl.

*T HE ART I ST , La Petite Reine/Studio 37/La Classe
Company. Mark Bridges.
HU G O , Paramount Pictures and GK Films Production,
Paramount. Sandy Powell.
J ANE EY RE , Ruby Films Production, Focus Features.
Michael OConnor.
W . E. , Semtex Films/The Weinstein Company/IM Global
Production, The Weinstein Company. Arianne Phillips.
*T HE D ESCEN D ANT S , Ad Hominem Enterprises

Production, Fox Searchlight. Alexander Payne, Nat
Faxon and Jim Rash.
HU GO , Paramount Pictures and GK Films Production,
Paramount. John Logan.
F I LM E D I TI NG
T HE I D ES OF M ARCH , Columbia Pictures and Cross
Creek Pictures in association with Exclusive Media
Group and Crystal City Entertainment Production,
Sony Pictures Releasing. George Clooney, Grant Heslov
Company. Anne-Sophie Bion and Michel
and Beau Willimon.
Hazanavicius.
M ONEY BALL , Columbia Pictures Production, Sony
T HE D ESCEN D ANT S , Ad Hominem Enterprises
Pictures Releasing. Steven Zaillian, Aaron Sorkin and
Production, Fox Searchlight. Kevin Tent.
Stan Chervin.
*T HE GI RL W I T H T HE DR A G O N T A T T O O , Columbia
T I NK ER T AI LOR SOLD I ER SP Y , Working Title Films
Production, Focus Features. Bridget OConnor and
Production, Sony Pictures Releasing. Kirk Baxter and
Peter Straughan.
Angus Wall.
HU G O , Paramount Pictures and GK Films Production,
Paramount. Thelma Schoonmaker.
M ON EY BALL , Columbia Pictures Production, Sony
Pictures Releasing. Christopher Tellefsen.
Company. Michel Hazanavicius.
M
A KE UP
BRI D ESM AI D S , Universal Pictures Production,
ALBERT N OBBS , Trillium Productions, Mockingbird
Universal. Annie Mumolo and Kristen Wiig.
Pictures and Parallel Films Production, Roadside
M ARG I N CALL , Benaroya Pictures and Before The
Attractions. Martial Corneville, Lynn Johnston and
Door Pictures Production, Roadside Attractions. J.C.
Matthew W. Mungle.
Chandor.
HARRY P OT T ER AND T H E DE A T H L Y H A L L O W S
*MI D NI G HT I N P ARI S , Pontchartrain Production, Sony
P ART 2 , Warner Bros. Services UK Ltd. Production,
Pictures Classics. Woody Allen.
Warner Bros. Nick Dudman, Amanda Knight and Lisa
A SEP ARAT I ON , Dreamlab Films Production, Sony
Tomblin.
Pictures Classics. Asghar Farhadi.
*T HE I RON LAD Y , Weinstein Company/Yuk Films/
Path/UK Film Council/Canal+/Cine+/Goldcrest
Production, The Weinstein Company. Mark Coulier
and J. Roy Helland.
M US I C
Company. Laurence Bennett; Robert Gould.
T HE AD VENT U RES O F T I N T I N , Paramount Pictures
HARRY P OT T ER AN D T HE D EAT HLY HALLOW S
and Columbia Pictures Production, Paramount. John
P ART 2 , Warner Bros. Services UK Ltd. Production,
Williams.
Warner Bros. Stuart Craig; Stephenie McMillan.
HUGO (Paramount; directed by Martin Scorsese) led the eld

in Academy Award nominations for the year, with eleven, and
came out top dog in ve categories, for its cinematography, art
direction/set decoration, visual effects, sound editing and sound
mixing. It was a $170-million love letter to the history of movies
from director Scorsese, a long-time cinema addict and enthusiast,
with a screenplay by John Logan, based on Brian Selznicks book
The Invention of Hugo Cabret. Basically a history lecture about
pioneering French lmmaker Georges Mlis (played by Ben
Kingsley), the lm came disguised as a fable about a young orphan
named Hugo (Asa Buttereld) and his adventures while hiding
from the police in the cavernous, Beaux-Arts Gare Montparnasse
train station in Paris. Featuring impressive 3-D and stunning
visual effects, Hugo was a treat for the eyes, if not the emotions.
Along with two of its prime competitors for the years best picture prize, The Artist and Midnight in Paris, this eye-arresting
Scorsese valentine helped make 2011 a monumental one in saluting
nostalgia, Hollywoods past and the lm pioneers who made the
whole idea of motion pictures actually happen.
8/8/13 7:41 PM
be s t f ore i gn l an g u a g e f i l m : A SEPARATION (Sony

Pictures Classics) from Iran. Produced, written and directed
by Asghar Farhadi, this was the rst motion picture from Iran
to win the Academys best foreign language lm award, and
only the second to be nominated in that category (the rst was
1998s Children of Heaven). Farhadis lm is an engrossing but
harrowing drama about the struggles of a middle-class Iranian
couple, who separate after fourteen years when the wife (Leila
Hatami) wants to emigrate but the husband (Peyman Moadi,
right, with Sarina Farhadi as the couples daughter) insists they
stay to look after his elderly father, suffering from Alzheimers
disease. Their complicated lives become more tangled when a
caregiver (Sareh Bayat) with a complex personal life of her own
is hired to look after the ailing parent. Hailed by many as the
nest lm of 2011 from any source, it also received a personal
nomination for Farhadi in Oscars best original screenplay category, the rst non-English-language motion picture in ve years
to receive a writing nomination.
*THE A R TIS T , La Petite Reine/Studio 37/La Classe

Company. Ludovic Bource.
HUGO , Paramount Pictures and GK Films Production,
Paramount. Howard Shore.
TINK E R TA IL O R SOLDIER SPY , Working Title Films
Production, Focus Features. Alberto Iglesias.
Touchstone Pictures. John Williams.
*MA N O R MU P P E T (The Muppets, Walt Disney Pictures

Production, Walt Disney). Music and Lyric by Bret
McKenzie.
R E A L IN R IO (Rio, Blue Sky Studios Production, 20th
Century Fox). Music by Sergio Mendes and Carlinhos
Brown; Lyric by Siedah Garrett.
D R IVE , Bold Films, OddLot Entertainment and Marc
Platt Production, FilmDistrict. Lon Bender and Victor

Ray Ennis.
THE GIR L W ITH TH E DRAGON TATTOO , Columbia
Production, Sony Pictures Releasing. Ren Klyce.
*HUGO , Paramount Pictures and GK Films Production,
Paramount. Philip Stockton and Eugene Gearty.
TR A NSF O R ME R S: DARK OF TH E MOON , Paramount
Pictures Production, Paramount. Ethan Van der Ryn
and Erik Aadahl.
Touchstone Pictures. Richard Hymns and Gary
Rydstrom.
THE GIR L W ITH TH E DRAGON TATTOO , Columbia

Production, Sony Pictures Releasing. David Parker,
Michael Semanick, Ren Klyce and Bo Persson.
Paramount. Tom Fleischman and John Midgley.
MO NE Y BA L L , Columbia Pictures Production, Sony
Pictures Releasing. Deb Adair, Ron Bochar, David
Giammarco and Ed Novick.
Pictures Production, Paramount. Greg P. Russell, Gary
Summers, Jeffrey J. Haboush and Peter J. Devlin.
Touchstone Pictures. Gary Rydstrom, Andy Nelson,
Tom Johnson and Stuart Wilson.
HA R R Y P O TTE R AND TH E DEATHLY H ALLOWS

P A R T 2 , Warner Bros. Services UK Ltd. Production,
Warner Bros. Tim Burke, David Vickery, Greg Butler

and John Richardson.
Paramount. Rob Legato, Joss Williams, Ben
Grossmann and Alex Henning.
R E A L S TE E L , DreamWorks Pictures Production,
Touchstone Pictures. Erik Nash, John Rosengrant, Dan
Taylor and Swen Gillberg.
R IS E O F THE P L ANET OF TH E APES , 20th Century
Fox. Joe Letteri, Dan Lemmon, R. Christopher White
and Daniel Barrett.
Pictures Production, Paramount. Scott Farrar, Scott
Benza, Matthew Butler and John Frazier.
S H O RT FI L M S
(an i m at e d )
D IMA NC HE /SUNDAY , National Film Board of Canada.
W I LD LI FE , National Film Board of Canada. Amanda
Forbis and Wendy Tilby.
(liv e a ct ion )
P ENT ECOST , EMU Production, Network Ireland
Television. Peter McDonald and Eimear OKane.
RAJ U , Hamburg Media School/Filmwerkstatt
Production. Max Zhle and Stefan Gieren.

*T HE SHORE , All Ashore Production. Terry George and
Oorlagh George.
T I M E FREAK , Team Toad Production. Andrew Bowler
and Gigi Causey.
D O C UM E N TA R Y
(fe a t u r e s )
HELL AN D BACK AGAI N , Roast Beef Limited
Production, Docurama Films. Danfung Dennis and

Mike Lerner.
I F A T REE FALLS: A ST ORY OF T HE EART H

LI BERAT I ON FRON T , Marshall Curry Production,
Oscilloscope Laboratories. Marshall Curry and Sam

Cullman.
P ARAD I SE LOST 3 : P U RG AT ORY , @radical.media
Production. Joe Berlinger and Bruce Sinofsky.
P I N A , Neue Road Movies Production, Sundance Selects.
Wim Wenders and Gian-Piero Ringel.
*U ND EFEAT ED , Spitre Pictures Production, The
Weinstein Company. TJ Martin, Dan Lindsay and Rich
Middlemas.
T HE BARBER OF BI RM I NGHAM : FOOT SOLD I ER
OF T HE CI VI L RI GHT S M OVEM ENT , Purposeful
Production. Robin Fryday and Gail Dolgin.
G OD I S T HE BI GGER ELVI S , Documentress Films
Production. Rebecca Cammisa and Julie Anderson.
I NCI D EN T I N N EW BAGHD AD , Morninglight Films
Production. James Spione.

*SAVI N G FACE , Milkhaus/Jungelm Production. Daniel
Junge and Sharmeen Obaid-Chinoy.
T HE T SU NAM I AND T HE CHERRY BLOSSOM , Supply
& Demand Integrated Production. Lucy Walker and
Kira Carstensen.
A CAT I N P ARI S , Folimage Production, GKIDS. Alain
Gagnol and Jean-Loup Felicioli.
CHI CO & RI T A , Chico & Rita Distribution Limited
Production, GKIDS. Fernando Trueba and Javier

Mariscal.
K U N G FU P AN D A 2 , DreamWorks Animation LLC
Paramount. Jennifer Yuh Nelson.
P U SS I N BOOT S , DreamWorks Animation LLC
Paramount. Chris Miller.
*RANGO , Paramount Pictures Production, Paramount.
Gore Verbinski.
Patrick Doyon.
BU LLHEAD (Belgium).
*THE F A NTA S TIC FLYING B OOKS OF MR. MORRIS
FOOT N OT E (Israel).
L E SS MO R E , Moonbot Studios LA Production. William
I N D ARK N ESS (Poland).
Joyce and Brandon Oldenburg.
M ON SI EU R LAZ HAR (Canada).
L A L U NA , Pixar Animation Studios Production, Walt
*A SEP ARAT I ON (Iran).
Disney. Enrico Casarosa.
A MO R NING STROLL , Studio AKA. Grant Orchard and
Sue Goffe.

T O J AM ES EARL J O N E S for his legacy of consistent
excellence and uncommon versatility.
T O D I CK SM I T H for his unparalleled mastery of
texture, shade, form and illusion.
T O J ON AT HAN ER L A N D in appreciation for

Commendation)

T O OP RAH W I NF R E Y

T O D OU G LAS T RU MB U L L
A WA R D S
FRANZ K RAU S , J O H A N N E S S T E U R E R and

W OLFG AN G RI E DE L for the design and development
of the ARRILASER Film Recorder.

RAD U CORLAN , A N DY J A N T ZE N , PE T R U PO P
and RI CHARD F. T O F T N E S S for the design and
engineering of the Phantom family of high-speed

cameras for motion picture production.
D R. J RG EN N OF F K E for the optical design and U W E
W EBER for the mechanical design of the ARRI Zeiss
Master Prime Lenses for motion picture photography.
M I CHAEL LEW I S , G R E G MA R S DE N , R A I G O A L A S
and M I CHAEL V E L L E K O O P for the concept, design
and implementation of the Pictorvision Eclipse, an
electronically stabilized aerial camera platform.
E. F. BOB N ET T M A N N for the concept and system
architecture, M I C H A E L S A YO V I T Z for the electronic
packaging and integration, B R A D F R I T ZE L for the
electronic engineering, and F R E D MI L L E R for the
mechanical engineering of the Stab-C Classic, Super-G
and Stab-C Compact stabilizing heads.
J OHN D . LOW RY , I A N C A V N , I A N G O DI N ,
K I M BALL T HU R S T O N and T I M C O N N O L L Y for
the development of a unique and efcient system for
the reduction of noise and other artifacts, thereby
providing high-quality images required by the
lmmaking process.
FU J I FI LM CORP O R A T I O N , H I DE YU K I S H I R A I , DR .
K AT SU HI SA OO ZE K I and H I R O S H I H I R A N O for
the design and development of the FUJIFILM black and
white recording lm ETERNA-RDS 4791 for use in the
archival preservation of lm and digital images.
403

AN D REW CLI NT O N and M A R K E L E N DT for the
invention and integration of micro-voxels in the

Mantra software.
8/8/13 7:41 PM
2012
The Eighty-Fifth Year
he year 2012 broke records at the box

ofce, tallying $10.8 billion in ticket
sales, and even more encouraging, for
the rst time in three years theaters reported
an increase in the number of tickets sold.
When the years Academy Award nominations were announced, six of the nine best
picture nominees had earned more than
$100 million each at the box ofce by the
time the Oscar show aired on February 24,
2013, which may have factored into the
telecasts becoming the most-watched since
2010 and its 3 percent increase in viewership
over the 2012 show.
Five lms earned nominations in seven
or more categories, led by Steven Spielbergs
Lincoln, competing in twelve, and Ang Lees
Life of Pi, in eleven. Les Misrables and Silver
Linings Playbook each drew eight nominations, while Argo received seven. For the
rst time all the candidates in the best
supporting actor division already had
Oscars on their mantels at home. Silver
Linings Playbook became the rst lm since
Reds in the 1981 awards to have nominees
in all four of the acting categories. The
much-admired Amour received nominations
in both the best picture and best foreign
language lm divisions, and received an
impressive total of ve nominations. Its
leading lady, Emmanuelle Riva, at age 85,
became the oldest best actress nominee to
date; by contrast, one of her 2012 competitors, Quvenzhan Wallis, the nine-year-old
star of Beasts of the Southern Wild, was the
youngest ever to compete in the best actress
division.
As the night to hand out awards approached, there was no clear indication of
which lm or lms were most likely to succeed. Lincoln, Playbook and Zero Dark Thirty
all had particularly strong cheering sections,
and the enthusiasm for Argo was growing in
intensity. When the nal awards were announced it was Life of Pi that won the most
(four), followed by Argo and Les Misrables
with three each. Lincoln, Django Unchained
and Skyfall took home two apiece, and one
Oscar each went to ve other major lms.
It turned out to be a historic night for
Daniel Day-Lewis: from the start he had
been the odds-on favorite to win as best actor for his portrayal of Americas sixteenth
president in Lincoln, and win he did, receiving his third Academy Award in the process,
all of his Oscars in the best actor category,
something no one else had accomplished
before. With this one, he became the sixth
performer in history to win as many as three
Academy Awards for acting, joining Walter
Brennan, Ingrid Bergman, Jack Nicholson,
Meryl Streep and four-time winner
Katharine Hepburn.
When Jennifer Lawrence was pronounced
winner of the best actress award for Playbook, on her way to the stage she tripped on
the stairs and momentarily fell but quickly
recovered, a throwback to the very rst
telecast of an Oscar ceremony, on March 19,
1953, when that years best actress winner,
Shirley Booth, also stumbled during her
enthusiastic rush up some stairs to collect
her prize.
Christoph Waltz was named best support-
404
be s t p i c t ure : ARGO (Warner Bros.; produced by Grant
Heslov, Ben Afeck and George Clooney; directed by Ben Afeck).
The rst espionage thriller to wind up with the Academys best
picture statuette, Argo dramatized an actual 1980 secret operation
by the CIA and Canadian government ofcials to get six American
consulate workers out of Iran during the hostage crisis there, in
which the would-be escapees posed as lmmakers scouting locations for a ctional lm in Tehran. Afeck (right, standing), besides producing and directing, starred in the lm as Tony Mendez,
a real-life American involved in the ruse; Victor Garber played the
Canadian ambassador to Iran, Ken Taylor; and Alan Arkin, John
Goodman, Tate Donovan, Zeljko Ivanek and Richard Kind also
played prominent roles. The nished lm found great favor with
audiences and, ultimately, Academy voters, but simultaneously
received several brickbats from historians, who claimed Afeck
and screenwriter Chris Terrio had incorporated many inaccuracies, especially in crediting the ultimate success of the ultra-secret
operation to Mendez and the American contingent. Those involved
claim, and historical reports conrm, that the ones primarily
responsible had been Taylor and the Canadians, one reason the
operation was popularly known as the Canadian Caper.
8/8/13 7:41 PM
ing actor for Django Unchained, his second

win in that category; director Ang Lee also
received his second Academy Award, this
time for Life of Pi. Anne Hathaway was
named best supporting actress for Les
Misrables, and Austrias Amour was named
the years best foreign language lm. A surprise came in the sound editing category,
when Skyfall and Zero Dark Thirty both
received Oscars in a tie; it was only the sixth
time in the awards eighty-ve-year history that a tie had gured into the voting
outcome.
The nights biggest surprise, though,
came when First Lady Michelle Obama
live via satellite from the White House
announced the winner for best picture
of the year: it was Argo. Ben Afeck, who
produced the lm with Grant Heslov and
George Clooney, hadnt been nominated
for his direction of it, mystifying to many,
including Afeck, and he emotionally told
the audience, It doesnt matter how you
get knocked down in life . . . all that matters
is that you gotta get up. It was the fourth
time in Oscars eighty-ve years that a lm
had won the best picture prize without its
director being nominated for his or her
contribution, the others being the rst
Oscar-winning lm, 1927s Wings, directed
by William Wellman; 1932s winner, Grand
Hotel, helmed by Edmund Goulding; and
1989s champ, Driving Miss Daisy, the work
of the unacknowledged Bruce Beresford.
The Oscar show was again held at the
former Kodak Theatre at the Hollywood &
Highland Center in Hollywood, now renamed the Dolby Theatre. Craig Zadan and
Neil Meron were the telecasts rst-time
producers, Don Mischer again directed, and
Seth MacFarlane was the emcee. Highlights
included Barbra Streisand, who hadnt
performed on an Oscar show since 1977,
performing a musical tribute to the late
Marvin Hamlisch, and Shirley Bassey belting out her signature song, Goldnger,
in a salute to the ftieth anniversary of
the James Bond lm franchise. Later in the
night, singer-songwriter Adele (full name
Adele Adkins) sang, and then accepted an
Oscar for co-writing, the title song from the
movie Skyfall, marking the rst time a James
Bond theme song had ever earned an Oscar.
be s t s u p p or t in g a ct r e s s : ANNE HATHAWAY as Fantine

in Les Misrables (Universal; directed by Tom Hooper). The
brief but potent role of Fantine was always a crucial element
in the various stage productions of the musical adaptation, by
Claude-Michel Schnberg and Alain Boublil, of Victor Hugos
epic 1862 novel Les Misrables, especially when she sings the
heart-wrenching ballad I Dreamed a Dream. The tragic Fantine, a factory worker in nineteenth-century France who has
turned to prostitution by necessity to pay a greedy, corrupt couple
to care for her infant daughter, worked her magic for Hathaway
in this lm adaptation of the long-running musical. Les Miz
received consistently lukewarm critical approval but always garnered fervent popular support from audiences, and so it was with
this expensive, determinedly unglamorous lm adaptation.
Hathaway and her fellow actors, including Hugh Jackman,
Russell Crowe, Eddie Redmayne and Helena Bonham Carter,
sang their songs live as the cameras turned, rather than taking
the usual route of lip-synching to previously recorded tracks.
405
be s t a ct or : DANIEL DAY-LEWIS as Abraham Lincoln in

Lincoln (Walt Disney/20th Century Fox; directed by Steven
Spielberg). Through the years, the sixteenth president of the
United States has been portrayed on screen more often than any
other once-living person, sometimes as the focal character
brought to life by such actors as Walter Huston (1930), Henry
Fonda (1939) and Raymond Massey (1940), the last earning
an Oscar nomination for his performancewhile at other times
having only a minor presence in a story. In 2005, when director
Spielberg began preparing this Lincoln project, he cast Liam
Neeson in the title role, but after the lm was delayed several
years Neeson opted out, and Day-Lewis later signed on for

it. Despite the movies epic size, scope and seriousness as it concentrates on Lincoln during the rst four months of 1865,
a particularly chaotic time in U.S. history when the president
was pushing to abolish slavery by obtaining passage of the Thirteenth Amendment to the United States Constitution, Day-Lewis
(above, with Sally Field) nevertheless dominated the 150-minute
lm at every turn. Stunningly good, one critic said of his performance. Academy voters wholeheartedly agreed, awarding him
best actor Oscar number three for his mantel, a rst for an actor
in this category.
8/8/13 7:41 PM
B E S T PI C TUR E
D I R E C TI N G
A C TO R
AM OU R , Les Films du Losange/X Filme Creative
Nominations 2012
be s t s up p ort i n g acto r : CHRISTOPH WALTZ as Dr. King

Schultz in Django Unchained (The Weinstein Company; directed
by Quentin Tarantino). Set two years before the Civil War and
with an original screenplay by its director, Django Unchained is
loosely based on Sergio Corbuccis 1966 Italian western Django,
with Franco Nero, who has a cameo role in this lm as well. In
this Tarantinod version, which has a high quota of blood and
violence, Waltz (above left, with Jamie Foxx) masterfully plays a
German dentist and bounty hunter in the American South of the
1850s, who offers freedom to a former slave (Foxx) in return for
help in hunting down other quarry. Their partnership ultimately
leads to a confrontation with a cruel plantation owner (Leonardo
DiCaprio) who claims ownership of Foxxs wife (Kerry Washington), who had earlier been abducted and sold. It was the second
supporting actor Oscar for Waltz; his earlier win had been for
another well-received Tarantino lm three years earlier, 2009s
Inglourious Basterds. The win made Waltz the seventh actor to
earn two Oscars in the supporting actor division, his predecessors
being Walter Brennan (who garnered a third trophy as well),
Anthony Quinn, Peter Ustinov, Melvyn Douglas, Jason Robards
and Michael Caine.
AM OU R , Les Films du Losange/X Filme Creative Pool/

Pool/Wega Film Production, Sony Pictures Classics.
Wega Film Production, Sony Pictures Classics. Michael
Margaret Menegoz, Stefan Arndt, Veit Heiduschka and
Haneke.
BEAST S OF T HE SOUT H E R N W I L D , Cinereach and
Michael Katz, Producers.
*A RGO , Stage 16 Pictures Production, Warner Bros.
Court 13 Production, Fox Searchlight. Benh Zeitlin.
* LI FE OF P I , Fox 2000 Pictures Production, 20th
Grant Heslov, Ben Afeck and George Clooney,
Century Fox. Ang Lee.
Producers.
BEAST S OF T HE SOU T HERN W I LD , Cinereach and
LI NCOLN , DreamWorks Pictures/20th Century Fox
Court 13 Production, Fox Searchlight. Dan Janvey, Josh
Production, Walt Disney/20th Century Fox. Steven
Penn and Michael Gottwald, Producers.
Spielberg.
D J ANGO U N CHAI N ED , Weinstein Company and
SI LVER LI N I NGS P L A YB O O K , Weinstein Company
Columbia Pictures Production, The Weinstein
Production, The Weinstein Company. David O.
Company. Stacey Sher, Reginald Hudlin and Pilar
Russell.
Savone, Producers.
WR I TI N G
LES M I SRABLES , Universal Pictures and Working Title
Production, Universal. Tim Bevan, Eric Fellner, Debra
(a da p t e d s cr e e n p lay )
Hayward and Cameron Mackintosh, Producers.
* ARG O , Stage 16 Pictures Production, Warner Bros. Chris
LI FE OF P I , Fox 2000 Pictures Production, 20th
Terrio.
Century Fox. Gil Netter, Ang Lee and David Womark,
BEAST S OF T HE SOUT H E R N W I L D , Cinereach and
Producers.
Court 13 Production, Fox Searchlight. Lucy Alibar and
LI N COLN , DreamWorks Pictures/20th Century Fox
Benh Zeitlin.
Production, Walt Disney/20th Century Fox. Steven
Spielberg and Kathleen Kennedy, Producers.
Century Fox. David Magee.
SI LVER LI NI N G S P LAY BOOK , Weinstein Company
Production, The Weinstein Company. Donna Gigliotti,
Production, Walt Disney/20th Century Fox. Tony
Bruce Cohen and Jonathan Gordon, Producers.
Kushner.
Z ERO D ARK T HI RT Y , Columbia Pictures Production,
Sony Pictures Releasing. Mark Boal, Kathryn Bigelow
Production, The Weinstein Company. David O.
and Megan Ellison, Producers.
Russell.
BRAD LEY COOP ER in Silver Linings Playbook,
Weinstein Company Production, The Weinstein

Company.
*DANI EL D AY -LEW I S in Lincoln, DreamWorks
Pictures/20th Century Fox Production, Walt
Disney/20th Century Fox.
HU GH J ACK M AN in Les Misrables, Universal Pictures
and Working Title Production, Universal.
JOAQ U I N P HOEN I X in The Master, Ghoulardi Film
Company/Annapurna Pictures Production, The
Weinstein Company.
D EN Z EL W ASHI NGT ON in Flight, Paramount Pictures
A C TR E S S
JESSI CA CHAST AI N in Zero Dark Thirty, Columbia

*J EN N I FER LAW REN CE in Silver Linings Playbook,
Weinstein Company Production, The Weinstein
Company.
EM M ANU ELLE RI VA in Amour, Les Films du Losange/X
Filme Creative Pool/Wega Film Production, Sony
Pictures Classics.
Q U VEN Z HAN W ALLI S in Beasts of the Southern Wild,
Cinereach and Court 13 Production, Fox Searchlight.
NAOM I W AT T S in The Impossible, Apaches
Entertainment/Telecinco Cinema in association
with La Trini, CANAL+, ICAA, IVAC and Generalitat
Valenciana Production, Summit Entertainment and
Mediaset Espaa.
406
be s t ac t re s s : JENNIFER LAWRENCE as Tiffany in Silver

Linings Playbook (The Weinstein Company; written and
directed by David O. Russell). It was a meaty, challenging role
for Lawrence at age twenty-one: a young widow who has recently
lost her job, she is facing new challenges as she begins a relationship with a man (Bradley Cooper, above, with Lawrence) who has
a bipolar disorder. He has recently been released from a psychiatric
hospital and in his mid-30s faces having to live with his parents
(Robert De Niro, Jacki Weaver) again. Based on a debut novel
by Matthew Quick, Playbook was risky material for a movie,
its story and emotions complicated and intense, changing at bullet
speed from starkness to whimsy to humor then darkness again.
Still, lmmakers had been eyeing it for years. Even before the novels publication in 2008, Harvey Weinstein optioned it for Mirage
Productions (Sydney Pollack and Anthony Minghella) to develop
as a movie. Anne Hathaway was at one point set to co-star in the
planned adaptation; so at different times were Zooey Deschanel,
Vince Vaughn and Mark Wahlberg. The nal lm that emerged
was exceptionally well liked in some quarters, less so in others,
but the performance by its leading lady was universally adored
and applauded, Oscar being among those giving her an enthusiastic thumbs-up.
AM OU R , Les Films du Losange/X Filme Creative Pool/
Wega Film Production, Sony Pictures Classics. Michael

Haneke.
* D J AN G O U NCHAI N E D , Weinstein Company and
Company. Quentin Tarantino.
FLI G HT , Paramount Pictures Production, Paramount.
John Gatins.
M OONRI SE K I N G D O M , Indian Paintbrush
Production, Focus Features. Wes Anderson and Roman
Coppola.
Sony Pictures Releasing. Mark Boal.
AN N A K AREN I NA , Working Title Films Production,
Focus Features. Seamus McGarvey.
D J AN G O U NCHAI N E D , Weinstein Company and

Company. Robert Richardson.
Century Fox. Claudio Miranda.
Production, Walt Disney/20th Century Fox. Janusz
Kaminski.
SK Y FALL , Eon Productions Ltd./Metro-Goldwyn-Mayer
Pictures/Columbia Pictures Production, Sony Pictures
Releasing and Metro-Goldwyn-Mayer. Roger Deakins.
C O S TUM E D ESIGN
* AN N A K AREN I NA , Working Title Films Production,
Focus Features. Jacqueline Durran.
ALAN ARK I N in Argo, Stage 16 Pictures Production,
LES M I SRABLES , Universal Pictures and Working Title
ROBERT D E NI RO in Silver Linings Playbook, Weinstein
Warner Bros.
Company Production, The Weinstein Company.
P HI LI P SEY M OU R HOFFM AN in The Master,
Ghoulardi Film Company/Annapurna Pictures

Production, The Weinstein Company.
T OM M Y LEE J ON ES in Lincoln, DreamWorks
Pictures/20th Century Fox Production, Walt
Disney/20th Century Fox.
*C HRI ST OP H W ALT Z in Django Unchained, Weinstein
Company and Columbia Pictures Production, The
Weinstein Company.
AM Y AD AM S in The Master, Ghoulardi Film Company/
Annapurna Pictures Production, The Weinstein

Company.
SALLY FI ELD in Lincoln, DreamWorks Pictures/20th
Century Fox Production, Walt Disney/20th Century
Fox.
*A NNE HAT HAW AY in Les Misrables, Universal Pictures
and Working Title Production, Universal.
HELEN HU NT in The Sessions, Such Much Films/Rhino
Films Production, Fox Searchlight.
JACK I W EAVER in Silver Linings Playbook, Weinstein
Company Production, The Weinstein Company.
Production, Universal. Paco Delgado.
Production, Walt Disney/20th Century Fox. Joanna

Johnston.
M I RROR M I RROR , Goldmann Pictures/Relativity
Media/RAT Entertainment/Misher Films Production,
Relativity Media. Eiko Ishioka.
SNOW W HI T E AN D T H E H U N T S MA N , Universal
Pictures Production, Universal. Colleen Atwood.
F I LM E D I TI NG
* ARG O , Stage 16 Pictures Production, Warner Bros.
William Goldenberg.
Century Fox. Tim Squyres.
Production, Walt Disney/20th Century Fox. Michael

Kahn.
Production, The Weinstein Company. Jay Cassidy and
Crispin Struthers.
Sony Pictures Releasing. Dylan Tichenor and William
Goldenberg.
M A KE UP A N D HAIRSTY L ING
HI T CHCOCK , Montecito Picture Company/Barnette/
Thayer Production, Fox Searchlight. Howard Berger,

Peter Montagna and Martin Samuel.
T HE HOBBI T : AN U N E X PE C T E D J O U R N E Y , New
Line and Metro-Goldwyn-Mayer Pictures Production,
Warner Bros. and Metro-Goldwyn-Mayer. Peter
Swords King, Rick Findlater and Tami Lane.
* LES M I SRABLES , Universal Pictures and Working
Title Production, Universal. Lisa Westcott and Julie
Dartnell.
8/8/13 7:41 PM
MUSIC
A NNA KA R E NINA , Working Title Films Production,
Focus Features. Dario Marianelli.

A R GO , Stage 16 Pictures Production, Warner Bros.
Alexandre Desplat.
*L IF E O F P I , Fox 2000 Pictures Production, 20th
Century Fox. Mychael Danna.
L INC O L N , DreamWorks Pictures/20th Century Fox
Production, Walt Disney/20th Century Fox. John
Williams.
SKY F A L L , Eon Productions Ltd./Metro-Goldwyn-Mayer
Releasing and Metro-Goldwyn-Mayer. Thomas
Newman.
Century Fox. Ron Bartlett, D.M. Hemphill and Drew

Kunin.
Production, Walt Disney/20th Century Fox. Andy
Nelson, Gary Rydstrom and Ronald Judkins.
SK Y FALL , Eon Productions Ltd./Metro-Goldwyn-Mayer
Releasing and Metro-Goldwyn-Mayer. Scott Millan,
Greg P. Russell and Stuart Wilson.
T HE HOBBI T : AN U N EX P ECT ED J OU RNEY , New

Warner Bros. and Metro-Goldwyn-Mayer. Joe Letteri,
Eric Saindon, David Clayton and R. Christopher
White.
BE FO R E MY TIME (Chasing Ice, Exposure Production,
Century Fox. Bill Westenhofer, Guillaume Rocheron,
Submarine Deluxe). Music and Lyric by J. Ralph.
Erik-Jan De Boer and Donald R. Elliott.
E VE R Y BO D Y NE EDS A B EST FRIEND (Ted, Media
M ARVEL S T HE AVEN G ERS , Marvel Studios
Rights Capital Production, Universal). Music by
Production, Walt Disney. Janek Sirrs, Jeff White, Guy
Walter Murphy; Lyric by Seth MacFarlane.
Williams and Dan Sudick.
P I S L UL L A BY (Life of Pi, Fox 2000 Pictures Production,
P ROM ET HEU S , 20th Century Fox Production, 20th
20th Century Fox). Music by Mychael Danna; Lyric by
Century Fox. Richard Stammers, Trevor Wood, Charley
Bombay Jayashri.
Henley and Martin Hill.
*SKY F A L L (Skyfall, Eon Productions Ltd./MetroSNOW W HI T E AN D T HE HU N T SM AN , Universal
Goldwyn-Mayer Pictures/Columbia Pictures
Pictures Production, Universal. Cedric Nicolas-Troyan,
Production, Sony Pictures Releasing and MetroPhilip Brennan, Neil Corbould and Michael Dawson.
Goldwyn-Mayer). Music and Lyric by Adele Adkins
and Paul Epworth.
S H O R T F I LM S
SUD D E NL Y (Les Misrables, Universal Pictures and
(a n ima t e d)
Working Title Production, Universal). Music by
AD AM AN D D OG , Lodge Films Production. Minkyu
Claude-Michel Schnberg; Lyric by Herbert Kretzmer
Lee.
and Alain Boublil.
FRESH G U ACAM OLE , PES Production. PES.
HEAD OVER HEELS , National Film and Television
P RO DU CT I ON D E S I GN
School. Timothy Reckart and Fodhla Cronin OReilly.
A NNA KA R E NINA , Working Title Films Production,
Focus Features. Sarah Greenwood; Katie Spencer.

THE HO BBIT: A N UNEXPECTED JOURNEY , New
Warner Bros. and Metro-Goldwyn-Mayer. Dan
Hennah; Ra Vincent and Simon Bright.
L E S MIS R A BL E S , Universal Pictures and Working
Title Production, Universal. Eve Stewart; Anna LynchRobinson.
L IF E O F P I , Fox 2000 Pictures Production, 20th
Century Fox. David Gropman; Anna Pinnock.
*L INC O L N , DreamWorks Pictures/20th Century Fox
Production, Walt Disney/20th Century Fox. Rick
Carter; Jim Erickson.
A R GO , Stage 16 Pictures Production, Warner Bros. Erik
Aadahl and Ethan Van der Ryn.

D JA NGO UNC HAINED , Weinstein Company and
Company. Wylie Stateman.
L IF E O F P I , Fox 2000 Pictures Production, 20th
Century Fox. Eugene Gearty and Philip Stockton.
*SKY F A L L , Eon Productions Ltd./Metro-Goldwyn-Mayer
Releasing and Metro-Goldwyn-Mayer. Per Hallberg
and Karen Baker Landers.
*Z E R O D A R K THIRTY , Columbia Pictures Production,
Sony Pictures Releasing. Paul N.J. Ottosson.
M AGGI E SI M P SON I N T HE LON G EST D AY CARE,
Gracie Films Production, 20th Century Fox

Animation. David Silverman.
* P AP ERM AN , Disney Animation Studios Production,
Walt Disney. John Kahrs.
(liv e a ct ion )
ASAD , Hungry Man Production. Bryan Buckley and
Mino Jarjoura.
BU Z K ASHI BOY S , Afghan Film Project Production. Sam
French and Ariel Nasr.
* CU RFEW , Fuzzy Logic Pictures Production, Ouat Media.
Shawn Christensen.
D EAT H OF A SHAD OW ( D OOD VAN EEN

SCHAD U W ) , Serendipity Films Production, Premium
Films. Tom Van Avermaet and Ellen De Waele.

HEN RY , Yan England Production. Yan England.
D O C UM E N TA R Y
(fe a t u r e s )
5 BROK EN CAM ERAS , Guy DVD Films/Burnat Films
Palestine Production, Kino Lorber. Emad Burnat and

Guy Davidi.
THE GATEKEEPERS , Les Films du Poisson/Dror Moreh/
Cinephil Production, Sony Pictures Classics. Dror
Moreh, Philippa Kowarsky and Estelle Fialon.
HOW T O SU RVI VE A P LAG U E , How to Survive a
Plague Production, Sundance Selects. David France
and Howard Gertler.
T HE I N VI SI BLE W AR , Chain Camera Pictures
Production, Cinedigm/Docurama Films. Kirby Dick
and Amy Ziering.
A R GO , Stage 16 Pictures Production, Warner Bros. John
* SEARCHI NG FOR SU G AR M AN , Red Box Films and
Reitz, Gregg Rudloff and Jose Antonio Garcia.
Passion Pictures in association with Caneld Pictures
*L E S MIS R A BL E S , Universal Pictures and Working Title
Production, Sony Pictures Classics. Malik Bendjelloul
Production, Universal. Andy Nelson, Mark Paterson
and Simon Chinn.
and Simon Hayes.
* I NOCENT E , Shine Global Production. Sean Fine and
Andrea Nix Fine.
K I NGS P OI NT , Kings Point Documentary Production.
Sari Gilman and Jedd Wider.
M ON D AY S AT RA C I N E , Cynthia Wade Production.
Cynthia Wade and Robin Honan.
OP EN HEART , Urban Landscapes Production. Kief
Davidson and Cori Shepherd Stern.
RED EM P T I ON , Downtown Docs Production. Jon
Alpert and Matthew ONeill.
A N I M A TE D FEATU RE FIL M
* BRAVE , Pixar Animation Studios Production, Walt
Disney. Mark Andrews and Brenda Chapman.
FRANK ENW EENI E , Walt Disney Pictures Production,
Walt Disney. Tim Burton.
P ARANORM AN , LAIKA Production, Focus Features.
Sam Fell and Chris Butler.
T HE P I RAT ES! BA N D O F MI S F I T S , Columbia and
Sony Pictures Animation Production, Sony Pictures

Releasing. Peter Lord.
W RECK -I T RALP H , Walt Disney Animation Studios
Production, Walt Disney. Rich Moore.
* AM OU R (Austria).
K ON-T I K I (Norway).
N O (Chile).
A ROY AL AFFAI R (Denmark).
W AR W I T CH (Canada).

T O HAL N EED HAM , an innovator, mentor and master
technician who elevated his craft to an art and made

the impossible look easy.
T O D . A. P EN N EBA K E R , who redened the language of
lm and taught a generation of lmmakers to look to
reality for inspiration.
T O G EORGE ST EV E N S , J R . , a tireless champion of the
arts in America and especially that most American of
arts: the Hollywood lm.
T O BI LL T AY LOR in appreciation for outstanding

T O J EFFREY K AT Z E N B E R G

A WA R D S
COOK E OP T I CS L I M I T E D for their continuing
innovation in the design, development and

manufacture of advanced camera lenses that have
helped dene the look of motion pictures over the last
century.

SI M ON CLU T T ER B U C K , J A ME S J A C O B S and DR .
RI CHARD D ORL I N G for the development of
the Tissue Physically-Based Character Simulation

Framework.
D R. P HI LI P M CLA U C H L A N , A L L A N J A E N I C K E ,
J OHN -P AU L SM I T H and R O S S S H A I N for
the creation of the Mocha planar tracking and
rotoscoping software at Imagineer Systems Ltd.
J OE M U RT HA , W I L L I A M F R E DE R I C K and J I M
M ARK LAND of Anton/Bauer, Inc., for the design and
creation of the CINE VCLX Portable Power System.
407

J . P . LEW I S , M AT T C O R DN E R and N I C K S O N F O N G
for the invention and publication of the Pose Space

Deformation technique.
LAW REN CE K ESTE L O O T , DR E W O L B R I C H and
D ANI EL W EX LE R for the creation of the Light system
for computer graphics lighting at PDI/DreamWorks.
ST EVE LAVI ET ES , B R I A N H A L L and J E R E M Y S E L A N
for the creation of the Katana computer graphics
scene management and lighting software at Sony
Pictures Imageworks.
T HEOD ORE K I M , N I L S T H U E R E Y , DR . M A R K U S
G ROSS and D OUG J A M E S for the invention,
publication and dissemination of Wavelet Turbulence
software.
RI CHARD M ALL for the design and development of the
Matthews Max Menace Arm.
be s t d i re c t i n g: ANG LEE for Life of Pi (20th Century Fox).
It was the second time the Taiwan-born Lee won in Oscars best
directing category, the rst being eight years earlier, for 2005s
groundbreaking Brokeback Mountain. This later project was
also a daring choice, a complex translation to the screen of a
best-selling novel by Yann Martel about a dreamlike sea journey
by a young man (played at various ages by Gautam Belur, Ayush
Tandon, Suraj Sharma and Irrfan Khan) attempting to survive

after a shipwreck. The title character shares a lifeboat with an
orangutan, a zebra, a hyena and a Bengal tiger named Richard
Parker, the latter two animals eyeing their human boat-mate
with increasing interest the hungrier they get. The excellent cast
was largely made up of unknowns; the one famous face involved
was Frances Grard Depardieu, playing a ships cook.
8/8/13 7:41 PM
Awards Ceremonies
The First Eighty-Five Years
8TH AWARDS: MARCH 5, 1936
Thursday, 8:00 PM
The Biltmore Bowl of the Biltmore Hotel,
Los Angeles (banquet)
HostFrank Capra, Academy President
Thursday, 8:00 PM
MCGeorge Jessel
Thursday, 8:15 PM (postponed from
March 3rd)
MCBob Burns
Frank Borzage
1ST AWARDS: MAY 16, 1929

Thursday, 8:00 PM
Blossom Room of the Hollywood Roosevelt
Hotel (banquet)
HostsDouglas Fairbanks, Academy
President; William C. de Mille
2ND AWARDS: APRIL 3, 1930
Thursday, 8:00 PM
The Cocoanut Grove of the Ambassador
Hotel, Los Angeles (banquet)
HostWilliam C. de Mille, Academy
President
3RD AWARDS: NOVEMBER 5, 1930
Wednesday, 8:00 PM
Fiesta Room of the Ambassador Hotel,
HostConrad Nagel
408
4TH AWARDS: NOVEMBER 10, 1931

Tuesday, 8:00 PM
Sala DOro of the Biltmore Hotel,
MCLawrence Grant
5TH AWARDS: NOVEMBER 18, 1932
Friday, 8:00 PM
HostConrad Nagel, Academy President
Friday, 8:00 PM
MCWill Rogers
7TH AWARDS: FEBRUARY 27, 1935
Wednesday, 8:00 PM
MCIrvin S. Cobb

Thursday, 8:30 PM
HostFrank Capra, Academy President
Thursday, 8:30 PM
MCBob Hope
Thursday, 8:45 PM
Banquet addressed by President Franklin
D. Roosevelt via direct-line radio from
Washington, D.C.
MCBob Hope
Thursday, 7:45 PM
Wendell Willkie, principal speaker
MCBob Hope
Thursday, 8:30 PM
MCBob Hope
Thursday, 8:00 PM
Graumans Chinese Theatre, Hollywood
MCJack Benny (for overseas
broadcast)
Thursday, 8:00 PM
MCsJohn Cromwell (for rst half),
Bob Hope (for last half)
Program DirectorCharles Brackett
General Stage DirectorMervyn LeRoy
Musical DirectorFranz Waxman
8/8/13 7:42 PM
First Awards Banquet, May 16, 1929

Thursday, 8:00 PM
MCsBob Hope, James Stewart
Produced and Staged byDore Schary
Musical DirectorJohnny Green
Thursday, 8:45 PM
Shrine Civic Auditorium, Los Angeles
MCJack Benny
Produced and Staged byMervyn LeRoy
Musical DirectionLeo Forbstein
Saturday, 8:15 PM
Produced and Directed byDelmer
Daves
Musical DirectionRay Heindorf
21ST AWARDS: MARCH 24, 1949
Thursday, 8:00 PM
Academy Award Theater, Hollywood
MCRobert Montgomery
General DirectorWilliam Dozier
Lionel Barrymore, Clark Gable, Irvin S. Cobb at the 1934 (7th) Awards
22ND AWARDS: MARCH 23, 1950

Thursday, 8:00 PM
RKO Pantages Theatre, Hollywood
MCPaul Douglas
General DirectorJohnny Green
Musical DirectorRobert Emmett
Dolan

Thursday, 8:00 PM
MCDanny Kaye
General DirectorArthur Freed
ScriptSylvia Fine, Richard Breen
23RD AWARDS: MARCH 29, 1951

Thursday, 8:00 PM
MCFred Astaire
General DirectorRichard Breen
Musical DirectorAlfred Newman

Thursday, 7:30 PM (rst telecast)
MCBob Hope
Produced and Directed byJohnny
Green
Musical DirectorAdolph Deutsch
ScriptRichard Breen
NBC-TV DirectorWilliam A.
Bennington
NBC International Theatre, New York City
MCConrad Nagel
PresentationsFredric March

Thursday, 8:00 PM
MCDonald OConnor
General DirectorMitchell Leisen
Musical DirectorAndr Previn
ScriptHal Kanter
Bennington
NBC Century Theatre, New York City
MCFredric March
PresentationsJean Hersholt
NBC-TV DirectorGray Lockwood
409
8/8/13 7:42 PM

Wednesday, 7:30 PM
MCBob Hope
Producer and General Director
Jean Negulesco
Musical DirectorDavid Rose
ScriptRichard Breen, Melville
Shavelson, Jack Rose
Bennington
MCThelma Ritter
PresentationsConrad Nagel
NBC-TV DirectorGray Lockwood
Wednesday, 7:30 PM
MCJerry Lewis
ProducerRobert Emmett Dolan
DirectorGeorge Seaton
ScriptMelville Shavelson, Jack Rose,
Richard L. Breen
Bennington
Representing the AcademyClaudette
Colbert, Joseph L. Mankiewicz
NBC-TV DirectorRichard Schneider
Spencer Tracy, Bette Davis at the 1938 (11th) Awards

Wednesday, 7:30 PM
MCJerry Lewis
General DirectorValentine Davies
ScriptArthur Phillips, Harry Crane,
Hal Kanter
Bennington
MCCeleste Holm
ProducerRobert Emmett Dolan
NBC-TV DirectorMax Miller
Wednesday, 7:30 PM
MCsBob Hope, Jack Lemmon, David
Niven, Rosalind Russell, James
Stewart and Donald Duck (on lm)
ProducerJerry Wald
Musical DirectorAlfred Newman
410
ScriptRichard Breen, Melvin Frank,
John Michael Hayes, Hal Kanter,
Norman Panama, Jack Rose,
Mel Shavelson
NBC-TV Producer-DirectorAlan
Handley
31ST AWARDS: APRIL 6, 1959
Monday, 7:30 PM
MCsBob Hope, Jerry Lewis, David
Niven, Sir Laurence Olivier, Tony
Randall, Mort Sahl
General ChairmanValentine Davies
ProducerJerry Wald
Musical DirectorLionel Newman
ScriptRichard Breen, Harry Crane,
I.A.L. Diamond, Hal Kanter, Mort
Lachman, Arthur Phillips, Jack Rose,
Mel Shavelson
Handley
Walter Pidgeon, Greer Garson, Ronald Colman at the 1942 (14th) Awards Banquet

Monday, 7:30 PM
MCBob Hope
General ChairmanValentine Davies
ProducerArthur Freed
DirectorsVincente Minnelli,
John Houseman, Joe Parker
ScriptRichard Breen, Hal Kanter,
Jack Rose, Mel Shavelson
Handley
(Honorary Awards and Scientic or
Technical Awards were presented during
the Governors Ball at the Hilton Hotel
later in the evening)
33RD AWARDS: APRIL 17, 1961

Monday, 7:30 PM
Santa Monica Civic Auditorium,
Santa Monica
MCBob Hope
General ChairmanSteve Broidy
DirectorVincente Minnelli
Jack Rose, Mel Shavelson
ABC-TV Producer-DirectorRichard
Dunlap
8/8/13 7:42 PM
1956 (28th) Awards telecast
34TH AWARDS: APRIL 9, 1962

Monday, 7:30 PM
Santa Monica
MCBob Hope
General ChairmanSteve Broidy
Music DirectorJohn Green
ScriptRichard Breen, Hal Kanter
Dunlap
Monday, 7:00 PM
Santa Monica
MCFrank Sinatra
Music DirectorAlfred Newman
ScriptGeorge Axelrod, Richard Breen,
Hal Kanter, Stanley Roberts
Dunlap
Monday, 7:00 PM
Santa Monica
MCJack Lemmon
ProducerGeorge Sidney
ScriptGeorge Axelrod, Richard Breen,
Mort Lachman, Stanley Roberts,
Melville Shavelson
Dunlap
411
Frank Sinatra, Sophia Loren at the 1962 (35th) Awards

Monday, 7:00 PM
Santa Monica
MCBob Hope
ProducerJoe Pasternak
Milt Rosen
Dunlap

Monday, 7:00 PM (rst telecast in color)
Santa Monica
MCBob Hope
Music Director & ConductorJohn
Green
ScriptHal Kanter
Dunlap
8/8/13 7:42 PM

Monday, 7:00 PM
Santa Monica
MCBob Hope
Music Director & ConductorJohn
Green
ScriptHal Kanter, I.A.L. Diamond,
Mort Lachman
Dunlap

Monday, 7:00 PM
Dorothy Chandler Pavilion, Los Angeles
County Music Center
MCsHelen Hayes, Alan King, Sammy
Davis, Jr., Jack Lemmon
ProducerHoward W. Koch
DirectorMarty Pasetta
WritersLeonard Spigelgass, William
Ludwig, Hal Kanter
Music DirectorHenry Mancini
Telecast on NBC-TV

Wednesday, 7:00 PM (postponed from
April 8th)
Santa Monica
MCBob Hope
Music Director & ConductorElmer
Bernstein
ScriptHal Kanter, I.A.L. Diamond,
Mort Lachman
Script for Historical SequencesDaniel
Taradash
Dunlap

Tuesday, 7:00 PM
County Music Center
MCsCarol Burnett, Michael Caine,
Charlton Heston, Rock Hudson
WritersLeonard Spigelgass, William
Ludwig
Music DirectorJohn Williams
Telecast on NBC-TV

Monday, 7:00 PM
County Music Center
The Friends of OscarIngrid Bergman,
Diahann Carroll, Tony Curtis,
Jane Fonda, Burt Lancaster, Walter
Matthau, Sidney Poitier, Rosalind
Russell, Frank Sinatra, Natalie Wood
Producer-Director-Choreographer
Gower Champion
WritersTom Waldman, Frank
Waldman
Dunlap
412

Tuesday, 7:00 PM
County Music Center
ProducerM.J. Frankovich
DirectorJack Haley, Jr.
Music DirectorElmer Bernstein
WritersHal Kanter, Frank Pierson,
Mary Loos
Dunlap
43RD AWARDS: APRIL 15, 1971
Thursday, 7:00 PM
County Music Center
ProducerRobert E. Wise
Associate to Mr. WiseSaul Chaplin
Music DirectorQuincy Jones
WritersI.A.L. Diamond, Leonard
Spigelgass, William Bowers
NBC-TV Producer-DirectorRichard
Dunlap

Tuesday, 7:00 PM
County Music Center
MCsJohn Huston, Diana Ross, Burt
Reynolds, David Niven
ProducerJack Haley, Jr.
WriterMarty Farrell
Telecast on NBC-TV
Sidney Poitier, Anne Bancroft at the 1963 (36th) Awards

Tuesday, 7:00 PM
County Music Center
MCsSammy Davis, Jr., Bob Hope,
Shirley MacLaine, Frank Sinatra
WritersHal Kanter, William Ludwig,
Leonard Spigelgass
Telecast on NBC-TV
(Scientic or Technical Awards were
presented April 3, 1975, at a 4:00 PM press
call in the Champagne Room of the Beverly
Wilshire Hotel)
Monday, 7:00 PM
County Music Center
MCsWalter Matthau, Robert Shaw,
George Segal, Goldie Hawn, Gene
Kelly
WritersHal Kanter, William Ludwig,
Leonard Spigelgass
Telecast on ABC-TV
presented March 24, 1976, at a 4:00 PM
press call in the Academy Lobby)
Laurence Olivier at the 1978 (51st) Awards

Monday, 7:00 PM
County Music Center
MCsRichard Pryor, Jane Fonda, Ellen
Burstyn, Warren Beatty
ProducerWilliam Friedkin
WritersRay Bradbury, Hal Kanter
Music DirectorBill Conti
Telecast on ABC-TV
presented March 24, 1977, at a 7:00 PM
cocktail party in the Academy Lobby)
8/8/13 7:42 PM

Tuesday, 7:00 PM (postponed from
March 30th)
County Music Center
MCJohnny Carson
ProducerNorman Jewison
WritersBuz Kohan, Hal Kanter,
Rod Warren
Music Arranged and Conducted by
Henry Mancini
Telecast on ABC-TV
presented March 15, 1981, in the Grand
Ballroom of the Beverly Hilton Hotel)
Groucho Marx at the 1973 (46th) Awards

Monday, 7:00 PM
County Music Center
MCBob Hope
WritersWilliam Ludwig, Leonard
Spigelgass
Special MaterialHal Kanter
Musical DirectorNelson Riddle
Telecast on ABC-TV
presented March 29, 1978, in the Versailles
Room of the Beverly Hilton Hotel)
Monday, 7:00 PM
County Music Center
MCJohnny Carson
ProducerJack Haley, Jr.
WritersBuz Kohan, Tony Thomas,
Rod Warren
Music DirectorsJack Elliott, Allyn
Ferguson
Telecast on ABC-TV
presented April 6, 1979, in the Versailles
Monday, 6:00 PM
County Music Center
MCJohnny Carson
WritersBuz Kohan, Leonard Spigelgass,
Rod Warren
Henry Mancini
Telecast on ABC-TV
presented April 11, 1980, in the Grand

Monday, 6:00 PM
County Music Center
MCJohnny Carson
Produced byHoward W. Koch,
Melvin Frank
Creative Consultant/Chief Writer
Hal Kanter
WritersMelville Shavelson, Jack Rose,
Melvin Frank
Special MaterialLeonard Spigelgass
Bill Conti
Telecast on ABC-TV
Monday, 6:00 PM
County Music Center
HostsLiza Minnelli, Dudley Moore,
Richard Pryor, Walter Matthau
Produced byHoward W. Koch
Creative Consultant/Chief Writer
Hal Kanter
WritersJack Rose, Rod Warren,
Leonard Spigelgass
Bill Conti
Telecast on ABC-TV
Monday, 6:00 PM
County Music Center
MCJohnny Carson
Produced byJack Haley, Jr.
Written byRod Warren, Tony Thomas
Musical DirectorIan Fraser
Telecast on ABC-TV

Monday, 6:00 PM
County Music Center
HostJack Lemmon
Co-HostsCandice Bergen, Jeff Bridges,
Glenn Close, Michael Douglas,
Gregory Hines, William Hurt,
Amy Irving, Diana Ross, Tom Selleck,
Kathleen Turner
Produced byGregory Peck, Robert E.
Wise, Larry Gelbart, Gene Allen
Written byLarry Gelbart
Telecast on ABC-TV
Monday, 6:00 PM
County Music Center
HostsAlan Alda, Jane Fonda,
Robin Williams
Produced byStanley Donen
Directed byMarty Pasetta
Written byGlenn Gordon Caron,
Douglas Wyman, Larry Gelbart
Music Supervised and Conducted by
Lionel Newman
Associate Musical DirectorDominic
Frontiere
Telecast on ABC-TV
Monday, 6:00 PM
County Music Center
HostsChevy Chase, Goldie Hawn,
Paul Hogan
Produced bySamuel Goldwyn, Jr.
Written byJeffrey Barron, Ernest
Lehman, Jack Rose, Melville
Shavelson
Lionel Newman
Telecast on ABC-TV
413

Monday, 6:00 PM
HostChevy Chase
Produced bySamuel Goldwyn, Jr.
Written byErnest Lehman, Jack Rose,
Melville Shavelson
Bill Conti
Telecast on ABC-TV
8/8/13 7:42 PM
Shirley MacLaine at the 1986 (59th) Awards

Wednesday, 6:00 PM
Produced byAllan Carr
Directed byJeff Margolis
Written byBruce Vilanch, Hildy Parks
Music Supervised and Composed by
Marvin Hamlisch
Telecast on ABC-TV
presented March 19, 1989, in the Crystal
414

Monday, 6:00 PM
County Music Center
HostBilly Crystal
Produced byGilbert Cates
Written byErnest Lehman,
Mel Shavelson, Marty Farrell
Special Material byRobert Wuhl
Telecast on ABC-TV
Monday, 6:00 PM
HostBilly Crystal
Written byHal Kanter, Buz Kohan
Special Material byBruce Vilanch,
Robert Wuhl
Telecast on ABC-TV
Robin Williams at the 1988 (61st) Awards

Monday, 6:00 PM
County Music Center
HostBilly Crystal
Written byHal Kanter, Buz Kohan
Special Material byBilly Crystal,
David Steinberg, Bruce Vilanch,
Robert Wuhl
Telecast on ABC-TV
presented March 7, 1992, in the
Los Angeles Ballroom of the Century
Plaza Hotel)

Monday, 6:00 PM
County Music Center
HostBilly Crystal
Written byHal Kanter, Buz Kohan,
Sheila Benson
David Steinberg, Bruce Vilanch,
Robert Wuhl
Telecast on ABC-TV
(Scientic and Technical Awards
were presented March 6, 1993, in the
Los Angeles Ballroom of the Century
Plaza Hotel)
Marisa Tomei at the 1992 (65th) Awards
8/8/13 7:42 PM
Spike Lee, Denzel Washington, Danny Aiello at the 1989 (62nd) Awards Board of Governors Ball
Callie Khouri at the 1991 (64th) Awards
415
Production number, Whole New World, at the 1992 (65th) Awards
8/8/13 7:42 PM

Monday, 6:00 PM
County Music Center
HostWhoopi Goldberg
Written byHal Kanter and Buz Kohan
Special Material byBruce Vilanch,
Billy Grundfest, Drake Sather
Telecast on ABC-TV
(Scientic and Technical Awards were
presented February 26, 1994, in the Grand
Monday, 6:00 PM
Shrine Auditorium, Los Angeles
HostDavid Letterman
Written byHal Kanter, Buz Kohan,
Bruce Vilanch
Special Material byRob Burnett,
Mike Barrie, Jon Beckerman, Donick
Cary, Al Franken, Larry Jacobson,
Jim Mulholland, Gerry Mulligan,
Bill Scheft
Telecast on ABC-TV
presented March 4, 1995, in the Ballroom
of the Regent Beverly Wilshire Hotel)
Clint Eastwood, Arnold Schwarzenegger at the 1994 (67th) Awards

Monday, 6:00 PM
County Music Center
HostWhoopi Goldberg
Executive ProducerQuincy Jones
Produced byQuincy Jones, David
Salzman
Written byStephen Pouliot, Bruce
Vilanch
Special Material byJay Cocks, Daniel
M. Salzman, Alec Berg, Jeff Schaffer
Music DirectorTom Scott
Telecast on ABC-TV

Monday, 6:00 PM
HostBilly Crystal
Produced byGil Cates
Directed byLouis J. Horvitz
Written byHal Kanter, Carrie Fisher,
Buz Kohan
Special Material byBilly Crystal, Joe
Bolster, Ed Driscoll, Jon Macks,
Billy Martin, Marc Shaiman, David
Steinberg, Bruce Vilanch
Telecast on ABC-TV
presented March 1, 1997, in the Ballroom of
the Regent Beverly Wilshire Hotel)
416
Quincy Jones at the 1994 (67th) Awards
Christopher Reeve at the 1995 (68th) Awards
8/8/13 7:42 PM
Whoopi Goldberg at the 1995 (68th) Awards
Kim Basinger at the 1997 (70th) Awards
Cuba Gooding, Jr., at the 1996 (69th) Awards
417
Robin Williams at the 1997 (70th) Awards
Bruce Springsteen at the 1993 (66th) Awards
8/8/13 7:42 PM

Monday, 6:00 PM
HostBilly Crystal
Written byRita Cash, Billy Grundfest,
Hal Kanter and Buz Kohan
Dave Boone, Ed Driscoll, Jon Macks,
Billy Martin, Marc Shaiman, David
Steinberg, Bruce Vilanch
Telecast on ABC-TV
presented February 28, 1998, in the
Ballroom of the Regent Beverly Wilshire
Hotel)
Sunday, 5:30 PM (with a half-hour PreShow preceding)
County Music Center
HostWhoopi Goldberg
ProducerGil Cates
Written byRita Cash, Hal Kanter,
Buz Kohan
Special Material byWhoopi Goldberg,
Jon Macks, Billy Martin, Bruce
Vilanch
Telecast on ABC-TV
were presented February 27, 1999,
in the Ballroom of the Regent Beverly
Wilshire Hotel)
Presenters Tommy Lee Jones and Ashley Judd receive the Best Film Editing envelope from PricewaterhouseCoopers at the 1999 (72nd) Awards

HostBilly Crystal
ProducersRichard D. Zanuck, Lili Fini
Zanuck
Written byBruce Vilanch, Rita Cash,
Carol Leifer, Jonathan Tolins
Dave Boone, Ed Driscoll, Jon Macks,
Billy Martin, Jeffrey Ross, Marc
Shaiman, David Steinberg
Music DirectorsBurt Bacharach,
Don Was
Telecast on ABC-TV

HostSteve Martin
ProducerGil Cates
Buz Kohan
Special Material byAndy Breckman,
Jon Macks, Steve Martin, Rita Rudner,
Bruce Vilanch
Telecast on ABC-TV
418
Arrivals at the 1999 (72nd) Awards
8/8/13 7:42 PM
Bruce Paltrow, Gwyneth Paltrow, Blythe Danner at the 1998

(71st) Awards
Presenters John Travolta and Sharon Stone backstage at the 2001 (74th) Awards
419
Paul McCartney at the 2001 (74th) Awards

Sunday, 5:30 PM (with a half-hour
Pre-Show preceding)
Kodak Theatre, Hollywood & Highland
HostWhoopi Goldberg
ProducerLaura Ziskin
Written byBruce Vilanch, Dave Boone,
Carrie Fisher, Chris Henchy, Carol
Leifer, Jon Macks, Chuck Martin, Rita
Rudner, Wanda Sykes, Jonathan Tolins
Special Material byAlan and Marilyn
Bergman, James Cameron, Ethan and
Joel Coen, Cameron Crowe, Buck
Henry, David Mamet
Telecast on ABC-TV

Pre-Show preceding)
HostSteve Martin
ProducerGil Cates
Buz Kohan
Special Material bySteve Martin,
Beth Armogida, Dave Barry, Dave
Boone, Andy Breckman, Jon Macks,
Rita Rudner, Bruce Vilanch
Music Supervised and Composed by
Bill Conti
Telecast on ABC-TV
Salma Hayek, Elliot Goldenthal at the 2002 (75th) Awards
8/8/13 7:42 PM

Pre-Show preceding)
HostBilly Crystal
Produced byJoe Roth
Written byJon Macks, Billy Crystal,
Beth Armogida, Dave Boone, Ed
Driscoll, Carol Leifer, William
Martin, Marc Shaiman, David
Steinberg, Norman Steinberg, Scott
Wittman
Music DirectorMarc Shaiman
Telecast on ABC-TV
in the Ballroom of the Ritz-Carlton
Huntington Hotel)
Pre-Show preceding)
HostChris Rock
Buz Kohan
Special Material byVernon Chapman,
Nick DiPaolo, Mario Joyner, Carol
Leifer, Ali LeRoi, Jon Macks, Chuck
Martin, Chris Rock, Bill Scheft, Frank
Sebastiano, Chuck Sklar, Jeff Stilson,
Rich Voss
Telecast on ABC-TV
in the Ballroom of the Ritz-Carlton
Huntington Hotel)
420
Barbra Streisand, Adele Adkins, Shirley Bassey (85th Awards)

Sunday, 5:00 PM (with a one-hour
Pre-Show preceding)
Center
HostJon Stewart
Written byBuz Kohan, Jon Macks,
Bruce Vilanch
Special Material byJon Stewart,
Rich Blomquist, Josh Bycel, Jon Fener,
Tim Carvell, J. R. Havlan, Ben Karlin,
Scott Jacobsen, David Javerbaum,
Jason Reich, Rodney Rothman,
Dan Vebber
Telecast on ABC-TV
International Ballroom of the Beverly
Hilton Hotel)
Pre-Show preceding)
Center
HostEllen DeGeneres
Produced byLaura Ziskin
Written byBruce Vilanch, Dave Boone,
Billiam Coronel, Carrie Fisher, Carol
Leifer, Jon Macks
Special Material byEllen DeGeneres,
Karen Anderson, Alison Balian,
Vance DeGeneres, Liz Feldman,
Mike Gibbons, Alex Hershlag, Karen
Kilgariff, Alex Leman, Jeff Stilson
Music DirectorWilliam Ross
Telecast on ABC-TV
in the Ballroom of the Regent Beverly
Wilshire Hotel)

Pre-Show preceding)
Center
HostJon Stewart
ProducerGil Cates
Written byJon Macks, Hal Kanter,
Buz Kohan, Bruce Vilanch
Special Material byJon Stewart, Rory
Albanese, Rachel Axler, Kevin Bleyer,
Richard Blomquist, Steve Bodow, Tim
Carvell, JR Havlan, David Javerbaum,
Rob Kutner, Sam Means, Jason Ross
Telecast on ABC-TV
Ballroom of the Beverly Wilshire Hotel)
81ST AWARDS: FEBRUARY 22, 2009
Center
HostHugh Jackman
ProducersBill Condon, Laurence Mark
Directed byRoger Goodman
Written byJon Macks, Jenny Bicks, Bill
Condon, John Hoffman, Phil Alden
Robinson, Bruce Vilanch
Special Material byDan Harmon, Rob
Schrab, Ben Schwartz, Joel Stein
Music DirectorMichael Giacchino
Telecast on ABC-TV
Jean Dujardin, Uggie (84th Awards)
8/8/13 7:42 PM

Sunday, 5:30 PM (with a 90-minute PreShow preceding)
Theater, Hollywood & Highland Center
HostBilly Crystal
Produced byBrian Grazer, Don
Mischer
Directed byDon Mischer
Written byJon Macks, Dave Boone,
Carol Leifer
Special Material byTim Carvell, Jeff
Cesario, Billy Crystal, Ed Driscoll,
Billy Martin, Ben Schwartz, Marc
Shaiman, Eric Stangel, Justin Stangel,
David Steinberg, Mason Steinberg,
Colleen Werthmann
Music DirectorsHans Zimmer,
Pharrell Williams
Telecast on ABC-TV
(The Governors Awards were presented
November 12, 2011, in the Grand Ballroom,
Hollywood & Highland Center; Scientic
and Technical Awards were presented
February 11, 2012, in the Ballroom of the
Beverly Wilshire Hotel)
Natalie Portman (84th Awards)

Center
HostsSteve Martin, Alec Baldwin
ProducersBill Mechanic, Adam
Shankman
Directed byHamish Hamilton
Written byCarol Leifer, Jon Macks,
Jeffrey Richman, Bruce Vilanch
Special Material byBeth Armogida,
Dave Barry, David Feldman, Steve
Martin, Marc Shaiman, Colleen
Werthmann, Scott Wittman
Music DirectorMarc Shaiman
Telecast on ABC-TV
November 14, 2009, in the Grand
Ballroom, Hollywood & Highland Center;
Scientic and Technical Awards were
83RD AWARDS: FEBRUARY 27, 2011
Center
HostsAnne Hathaway, James Franco
Produced byBruce Cohen, Don
Mischer
Written byJon Macks, Jordan Rubin,
Bruce Vilanch, David Wild
Special Material byMegan Amram,
Neal Brennan, Liz Feldman, Chadd
Gindin, Paula Pell, Brian Posehn,
Julius Sharpe
Telecast on ABC-TV
November 13, 2010, in the Grand
Ballroom, Hollywood & Highland
Center; Scientic and Technical Awards
were presented February 12, 2011, in the

Dolby Theatre, Hollywood & Highland
Center
HostSeth MacFarlane
Produced byCraig Zadan, Neil Meron
Written byLeslie Dixon, Jon Macks,
Matt Roberts
Special Material byJesse Joyce, Seth
MacFarlane, Billy Martin, Patrick
Meighan, Julius Sharpe, Danny
Smith, Alec Sulkin, John Viener
Telecast on ABC-TV
December 1, 2012, in the Ray Dolby
Ballroom, Hollywood & Highland Center;
Scientic and Technical Awards were
presented February 9, 2013, in the Crystal
Ballroom of The Beverly Hills Hotel)
Quentin Tarantino (85th Awards)
421
Brad Pitt, Angelina Jolie (84th Awards)
8/8/13 7:42 PM
Academy Facts and Records

(Through the First Eighty-Five Years)
ELEVEN ACADEMY AWARDS:
BEN-HUR (1959)
TITANIC (1997)
THE LORD OF THE RINGS: THE RETURN OF
THE KING (2003)
TEN ACADEMY AWARDS:

WEST SIDE STORY (1961)
NINE ACADEMY AWARDS:

GIGI (1958)
THE LAST EMPEROR (1987)
THE ENGLISH PATIENT (1996)
EIGHT ACADEMY AWARDS:

GONE WITH THE WIND (1939)
FROM HERE TO ETERNITY (1953)
ON THE WATERFRONT (1954)
MY FAIR LADY (1964)
CABARET (1972)
GANDHI (1982)
AMADEUS (1984)
SLUMDOG MILLIONAIRE (2008)
MOST NOMINATED MOTION PICTURES:

ALL ABOUT EVE (1950), 14 nominations
TITANIC (1997), 14 nominations
GONE WITH THE WIND (1939), 13 nominations
FROM HERE TO ETERNITY (1953), 13 nominations
MARY POPPINS (1964), 13 nominations
WHOS AFRAID OF VIRGINIA WOOLF? (1966),
13 nominations
FORREST GUMP (1994), 13 nominations

SHAKESPEARE IN LOVE (1998), 13 nominations
THE LORD OF THE RINGS: THE FELLOWSHIP OF
THE RING (2001), 13 nominations
CHICAGO (2002), 13 nominations
THE CURIOUS CASE OF BENJAMIN BUTTON (2008),
13 nominations
MOST HONORED PERFORMER:
KATHARINE HEPBURN, winner of 4 Academy Awards
for acting, all of them in the Best Actress category,

1932/33, 1967, 1968, 1981.
MOST NOMINATED ACTRESSES:

MERYL STREEP, 17 nominations
KATHARINE HEPBURN, 12 nominations
BETTE DAVIS, 10 nominations
MOST NOMINATED ACTORS:
JACK NICHOLSON, 12 nominations

LAURENCE OLIVIER, 10 nominations for acting
422
(Lord Olivier was also nominated as a Director and

received two Honorary Oscars, in 1946 and 1978.)
SPENCER TRACY, 9 nominations
PAUL NEWMAN, 9 nominations (Mr. Newman was
also nominated for Best Picture and received two
Honorary Oscars, in 1985 and 1993.)
MOST HONORED INDIVIDUALS:
(male) WALT DISNEY, personally credited with

26 Awards, including 12 Cartoon Awards, plus
multiple Awards in the categories of Short Subjects,
Documentaries and Honorary.
(female) EDITH HEAD, 8 Academy Awards for Costume
Design, 1949, 1950 (2), 1951, 1953, 1954, 1960, 1973.
MOST HONORED INDIVIDUALS

AT A SINGLE CEREMONY:
(male) WALT DISNEY (1953), in the categories of

Documentary Feature, Documentary Short Subject,
Cartoon Short Subject and Two-reel Short Subject.
(female) FRAN WALSH (2003), in the categories of
Original Song, Best Picture and Adapted Screenplay.
MOST HONORED DIRECTORS:
JOHN FORD, 4 Awards, 1935, 1940, 1941, 1952

FRANK CAPRA, 3 Awards
WILLIAM WYLER, 3 Awards
MOST NOMINATED DIRECTORS:

WILLIAM WYLER, 12 nominations
BILLY WILDER, 8 nominations
MOST NOMINATED NON-WINNING

MOVIES:
THE TURNING POINT (1977), 11 nominations

THE COLOR PURPLE (1985), 11 nominations
THE ONLY SILENT FILM TO WIN AN OSCAR

AS BEST PICTURE:
WINGS (1927/28)
[The Artist (2011) had some audible dialogue and a
synchronized soundtrack.]
THE FIRST SOUND FILM TO WIN AN

OSCAR FOR BEST PICTURE:
THE BROADWAY MELODY (1928/29)
THE ONLY TELEPLAY TO BE MADE INTO

A FEATURE THAT WON A BEST PICTURE
OSCAR:
MARTY (1955)
THE FIRST MOVIE IN COLOR TO WIN A

BEST PICTURE OSCAR:
GONE WITH THE WIND (1939)
THE LAST ENTIRELY BLACK-AND-WHITE

MOVIE TO WIN A BEST PICTURE AWARD:
THE ARTIST (2011)

[Prior to 2011 The Apartment (1960) held this
distinction; Schindlers List (1993) had some color
elements.]
THE ONLY SEQUELS TO WIN OSCARS AS

BEST PICTURE:
THE GODFATHER PART II (1974)
THE KING (2003)
FOREIGN-LANGUAGE FILMS THAT HAVE

BEEN NOMINATED AS BEST PICTURE:
GRAND ILLUSION, 1938
Z, 1969
THE EMIGRANTS, 1972
CRIES AND WHISPERS, 1973
THE POSTMAN (IL POSTINO), 1995
LIFE IS BEAUTIFUL, 1998
CROUCHING TIGER, HIDDEN DRAGON, 2000
LETTERS FROM IWO JIMA, 2006
AMOUR, 2012
THE FIRST NON-HOLLYWOOD FILM TO

WIN AN ACADEMY AWARD:
THE PRIVATE LIFE OF HENRY VIII (1932/33), which
won a Best Actor Award for Charles Laughton.
THE FIRST NON-HOLLYWOOD FILM TO

WIN THE BEST PICTURE AWARD:
HAMLET (1948), nanced and lmed in England.
THE FIRST FOREIGN-LANGUAGE

PERFORMANCE TO WIN AN ACADEMY
AWARD:
SOPHIA LOREN, named 1961s Best Actress for her
work in the Italian lm Two Women.
BEST PICTURE OSCAR WINNERS THAT

RECEIVED NO NOMINATIONS FOR
ACTING:
WINGS (1927/28)
THE BROADWAY MELODY (1928/29)
ALL QUIET ON THE WESTERN FRONT (1929/30)
GRAND HOTEL (1931/32)
AN AMERICAN IN PARIS (1951)
THE GREATEST SHOW ON EARTH (1952)
AROUND THE WORLD IN 80 DAYS (1956)
GIGI (1958)
THE LAST EMPEROR (1987)
BRAVEHEART (1995)
THE KING (2003)
SLUMDOG MILLIONAIRE (2008)
THE ONLY MOTION PICTURES TO

WIN AWARDS FOR BEST PICTURE,
DIRECTING, ACTRESS, ACTOR, AND
SCREENPLAY:
IT HAPPENED ONE NIGHT (1934)
ONE FLEW OVER THE CUCKOOS NEST (1975)
THE SILENCE OF THE LAMBS (1991)
THE ONLY PERFORMERS TO WIN

CONSECUTIVE ACADEMY AWARDS:
LUISE RAINER, 1936 and 1937
SPENCER TRACY, 1937 and 1938
KATHARINE HEPBURN, 1967 and 1968
JASON ROBARDS, 1976 and 1977
TOM HANKS, 1993 and 1994
THE ONLY FILMS TO WIN THREE

ACADEMY AWARDS FOR ACTING:
A STREETCAR NAMED DESIRE (1951)
NETWORK (1976)
(To date, no lm has won all four of the Academy

Awards for acting.)
THE ONLY FILMS TO WIN BOTH BEST

ACTOR AND BEST ACTRESS AWARDS:
IT HAPPENED ONE NIGHT (1934)
ONE FLEW OVER THE CUCKOOS NEST (1975)
NETWORK (1976)
COMING HOME (1978)
ON GOLDEN POND (1981)
THE SILENCE OF THE LAMBS (1991)
AS GOOD AS IT GETS (1997)
THE ONLY PERFORMERS NOMINATED

FOR PLAYING THE SAME CHARACTER IN
THE SAME FILM:
KATE WINSLET as Rose DeWitt Bukater and
GLORIA STUART as Old Rose in Titanic (1997)
KATE WINSLET as Young Iris Murdoch and
JUDI DENCH as Iris Murdoch in Iris (2001)
THE ONLY PERFORMERS NOMINATED

TWICE FOR THE SAME ROLE BUT IN TWO
DIFFERENT FILMS:
BING CROSBY as Father OMalley in 1944s Going My
Way* and in 1945s The Bells of St. Marys
PAUL NEWMAN as Fast Eddie Felson in 1961s The
Hustler and in 1986s The Color of Money*
PETER OTOOLE as King Henry II in 1964s Becket and
in 1968s The Lion in Winter
AL PACINO as Michael Corleone in 1972s The
Godfather and in 1974s The Godfather Part II
CATE BLANCHETT as Elizabeth I in 1998s Elizabeth and
in 2007s Elizabeth: The Golden Age

(*Indicates the performance won an Academy Award)
THE FIRST POSTHUMOUS OSCAR

WINNER:
SIDNEY HOWARD, 1939 winner for writing the
screenplay of Gone with the Wind.
THE FIRST POSTHUMOUS OSCAR

WINNER AMONG PERFORMERS:
PETER FINCH, 1976, for Network.
ONLY YEAR OF A TIE IN THE BEST ACTOR

CATEGORY:
1931/32, WALLACE BEERY in The Champ tied with
FREDRIC MARCH in Dr. Jekyll and Mr. Hyde.
ONLY YEAR OF A TIE IN THE BEST

ACTRESS CATEGORY:
1968, KATHARINE HEPBURN in The Lion in Winter tied

with BARBRA STREISAND in Funny Girl.
FILMS IN WHICH THE ENTIRE CAST WAS

NOMINATED FOR OSCARS:
SLEUTH (1972)
GIVE EM HELL, HARRY (1975)
8/8/13 7:42 PM
THE ONLY YEARS TWO OSCARS WERE

GIVEN FOR BEST DIRECTOR:
1961, ROBERT WISE and JEROME ROBBINS,
codirectors of West Side Story.
2007, JOEL COEN and ETHAN COEN,
codirectors of No Country for Old Men.
THE ONLY PERSON TO WIN AN OSCAR FOR

PLAYING AN OSCAR LOSER:
MAGGIE SMITH, 1978, in California Suite.
THE ONLY PERFORMER TO WIN AN

OSCAR FOR PLAYING A MEMBER OF THE
OPPOSITE SEX:
LINDA HUNT, 1983, for The Year of Living Dangerously.
THE ONLY PERFORMER NOMINATED

TWICE FOR THE SAME PERFORMANCE:
BARRY FITZGERALD, 1944, nominated both as Best
Actor and Best Supporting Actor for Going My Way.

(Such a feat is not possible under present Academy
rules.)
THE ONLY PERFORMER TO WIN TWO

OSCARS FOR THE SAME PERFORMANCE:
HAROLD RUSSELL, 1946, voted Best Supporting
Actor for The Best Years of Our Lives, and voted an

Honorary Oscar that year for his performance.
THE MOST NOMINATED NON-WINNING

PERFORMERS:
PETER OTOOLE, 8 nominations, no wins (one
Honorary Oscar)
RICHARD BURTON, 7 nominations, no wins
THE ONLY PERFORMERS TO WIN THREE

OR MORE OSCARS FOR ACTING:
KATHARINE HEPBURN, 4 wins
WALTER BRENNAN, 3 wins
INGRID BERGMAN, 3 wins
JACK NICHOLSON, 3 wins
MERYL STREEP, 3 wins
DANIEL DAY-LEWIS, 3 wins
PERFORMERS WHO HAVE WON TWO

OSCARS FOR ACTING:
MARLON BRANDO, MICHAEL CAINE, GARY

COOPER, BETTE DAVIS, OLIVIA DE HAVILLAND,
ROBERT DE NIRO, MELVYN DOUGLAS, SALLY
FIELD, JANE FONDA, JODIE FOSTER, GENE
HACKMAN, TOM HANKS, HELEN HAYES, DUSTIN
HOFFMAN, GLENDA JACKSON, JESSICA LANGE,
VIVIEN LEIGH, JACK LEMMON, FREDRIC MARCH,
SEAN PENN, ANTHONY QUINN, LUISE RAINER,
JASON ROBARDS, MAGGIE SMITH, KEVIN SPACEY,
HILARY SWANK, ELIZABETH TAYLOR, SPENCER
TRACY, PETER USTINOV, CHRISTOPH WALTZ
DENZEL WASHINGTON, DIANNE WIEST, SHELLEY
WINTERS.
THE ONLY WOMEN NOMINATED AS BEST

DIRECTOR:
LINA WERTMLLER, 1976
JANE CAMPION, 1993
SOFIA COPPOLA, 2003
KATHRYN BIGELOW, 2009 (winner)
DIRECTORS RESPONSIBLE FOR THE

MOST OSCAR-WINNING PERFORMANCES:
WILLIAM WYLER, 14 (plus 1 honorary acting award)
ELIA KAZAN, 9
FRED ZINNEMANN, 6 (plus 1 honorary acting award)
WOODY ALLEN, 6
DIRECTORS RESPONSIBLE FOR

THE MOST OSCAR-NOMINATED
PERFORMANCES:
WILLIAM WYLER, 36
ELIA KAZAN, 24
GEORGE CUKOR, 21
THE ONLY PERSONS TO DIRECT

THEMSELVES TO A COMPETITIVE ACTING
OSCAR:
THE ONLY THREE-GENERATION OSCARWINNING FAMILIES:

THE HUSTONS. (Walter Huston won as Best
Supporting Actor in 1948; son John Huston won

as Best Director in 1948; granddaughter Anjelica
Huston won as Best Supporting Actress in 1985.)
THE COPPOLAS. (Carmine Coppola won for Original
Dramatic Score in 1974; son Francis Ford Coppolas
rst win was for Original Screenplay in 1970;
granddaughter Soa Coppola won for Original
Screenplay in 2003.)
THE ONLY BROTHER AND SISTER TO WIN

ACTING OSCARS:
LIONEL BARRYMORE, 1930/31
ETHEL BARRYMORE, 1944
THE ONLY SISTERS TO WIN ACTING

OSCARS:
JOAN FONTAINE, 1941
OLIVIA DE HAVILLAND, 1946 and 1949
THE ONLY BROTHERS NOMINATED FOR

ACTING OSCARS:
RIVER PHOENIX, 1988
JOAQUIN PHOENIX, 2000, 2005 and 2012
THE ONLY TWINS TO WIN OSCARS:
JULIUS J. EPSTEIN and PHILIP G. EPSTEIN, 1943.
(With Howard Koch, they scripted that years

winning screenplay, Casablanca.)
PAUL SYLBERT and RICHARD SYLBERT. (Both art
directors, Paul won in 1978 for Heaven Can Wait;
Richard won in 1966 for Whos Afraid of Virginia
Woolf? and in 1990 for Dick Tracy.)
CHRISTOPH LAUENSTEIN and WOLFGANG
LAUENSTEIN, 1989. (They produced the winning
animated short lm, Balance.)
THE ONLY BROTHERS TO WIN

CONSECUTIVE OSCARS:
Screenwriter JAMES GOLDMAN, 1968, for The Lion in

Winter; Screenwriter WILLIAM GOLDMAN, 1969, for
Butch Cassidy and the Sundance Kid.
Sound editor JAY BOEKELHEIDE, 1983, for The Right
Stuff; Sound mixer TODD BOEKELHEIDE, 1984, for
Amadeus.
THE ONLY MARRIED COUPLES TO WIN

OSCARS FOR ACTING:
LAURENCE OLIVIER (1948) and VIVIEN LEIGH (1951).
(They were not yet married when Vivien Leigh won

her rst Academy Award as Best Actress of 1939.)
PAUL NEWMAN (1986) and JOANNE WOODWARD
(1957). (The couple were married in January of 1958,
prior to her receiving 1957s Best Actress award.)
THE ONLY OSCAR WINNER WITH

PARENTS WHO BOTH RECEIVED OSCARS:
LIZA MINNELLI. (Her mother, Judy Garland, received
an Honorary miniature Oscar in 1939; father

Vincente Minnelli won as Best Director of 1958; Ms.
Minnelli herself won as Best Actress of 1972.)
THE FIRST PERSON TO REFUSE AN

OSCAR:
DUDLEY NICHOLS, 1935, winner for his screenplay of
The Informer.
THE ONLY CONSECUTIVE DOUBLE OSCAR

WINNERS:
GORDON HOLLINGSHEAD. (In 1945, he won Oscars
THE ONLY OSCAR GIVEN FOR WORK

DONE 20 YEARS EARLIER:
The 1972 award for Best Music Score for Charles

Chaplins Limelight, made in 1952. The lm was
shown in a few key U.S. cities but was never
commercially shown in Los Angeles until 1972
and thus was not eligible for Academy Award
consideration until that calendar year.
THE ONLY WRITE-IN OSCAR WINNER:

HAL MOHR, 1935, for his cinematography of A
Midsummer Nights Dream. (He won without having

been a nominee, a feat not possible under todays
Academy rules.)
THE YOUNGEST PERFORMER TO BE

NOMINATED FOR AN ACADEMY AWARD:
JUSTIN HENRY, 1979, supporting actor for
Kramer vs. Kramer.

(8 years, 276 days)
THE YOUNGEST PERFORMER TO

RECEIVE AN ACADEMY AWARD:
SHIRLEY TEMPLE, Special Award recipient in 1934.
(6 years, 310 days)
THE YOUNGEST PERFORMER TO WIN A

COMPETITIVE ACADEMY AWARD:
TATUM ONEAL, 1973, supporting actress for
Paper Moon.
(10 years, 148 days)
THE YOUNGEST WINNER AS BEST ACTOR:

ADRIEN BRODY, 2002, for The Pianist.
THE YOUNGEST WINNER AS BEST

ACTRESS:
MARLEE MATLIN, 1986, for Children of a Lesser God.
THE YOUNGEST SUPPORTING ACTOR

WINNER:
TIMOTHY HUTTON, 1980, for Ordinary People.
THE OLDEST WINNER AS BEST ACTRESS:

JESSICA TANDY, 1989, for Driving Miss Daisy.
THE OLDEST WINNER AS BEST ACTOR:

HENRY FONDA, 1981, for On Golden Pond.
THE OLDEST PERFORMER TO BE

NOMINATED FOR AN ACADEMY AWARD:
GLORIA STUART, 1997, supporting actress for Titanic.
THE OLDEST PERFORMER TO RECEIVE

AN ACADEMY AWARD:
ELI WALLACH , Honorary Award recipient in 2010.
THE OLDEST PERFORMER TO WIN A

COMPETITIVE ACADEMY AWARD:
CHRISTOPHER PLUMMER, 2011, supporting actor for
Beginners.
(82 years, 75 days)
423
for Documentary Short Subject for Hitler Lives? and

Two-reel Short Subject for Star in the Night; in 1946,
he won for One-reel Short Subject for Facing Your
Danger and Two-reel Short Subject for A Boy and
His Dog.)
JOSEPH L. MANKIEWICZ. (In 1949, he won Oscars
as director and screenwriter of A Letter to Three
Wives; in 1950, he repeated wins in those same two
categories for All about Eve.)
ALAN MENKEN. (For 1991s Beauty and the Beast, he
won Oscars for Original Score and Original Song;
the next year, for 1992s Aladdin, he again won
Academy Awards in those same two categories.)
LAURENCE OLIVIER, 1948. (Director of and Best Actor
for Hamlet)
ROBERTO BENIGNI, 1998. (Director of and Best Actor
in a Leading Role for Life Is Beautiful)
THE FIRST PERSON TO WIN OSCARS AS

DIRECTOR AND SCREENWRITER:
LEO MCCAREY, 1944, for Going My Way.
8/8/13 7:42 PM
OSCAR_80_p424-466_8-19-13.indd 424
8/21/13 6:59 PM
Index
Alphabetizing is word by word, except

for compound names of people (like
De Niro), which are treated as solid
words. Films with identical titles are
further identied by year (the year
of the Oscars nomination, not the
production year, is used). Articles (a,
the) are ignored in titles. Illustrations
are indicated by italic page references.
Nous la Libert, 28, 31

(A) Torzija [(A) Torsion], 365
Aadahl, Erik, 403, 407
Aalberg, John O., 47, 51, 61, 65, 68, 73,
93, 123, 135, 257, 269
Aaron, Quinton, 393
Abbott, F.R., 65
Abbott, George, 25
Abbott, L.B., 160, 193, 215, 223, 239
Abdullah, Achmed, 43
Abe Lincoln in Illinois, 68
About a Boy, 360
About Schmidt, 358, 360
Above and Beyond, 130, 131
Abraham, F. Murray, 249, 274, 276
Abramson, Phil, 242
Abroms, Edward, 273
Absence of Malice, 264
Absent Minded Professor, The, 168, 169
Absent-Minded Waiter, The, 243
Abyss, The, 302
Academy Awards: eligibility for, 15,
16, 32, 36, 102; format of awards,
1617; nomination and selection
procedures, 15, 16, 24, 28, 44, 48,
58, 90, 144, 382; venues, 336
Academy Color Encoding System
(ACES), 384
Academy Film Archive, 290, 33940,
385
Academy Foundation, 54, 55, 198
Academy Internship Program, 198
Academy Leader (magazine), 196
Academy Museum of Motion
Pictures, 385
Academy of Motion Picture Arts and
Sciences: branches, 9, 53, 294, 382;
lm and script archives, 33940,
385; formation, 7, 89; fundraising, 290; gala events, 29293;
headquarters, 1012, 55, 56, 194;
HUAC era, 102, 290; library, 1112,
54, 55, 148, 194, 196, 244, 290,
336, 385; membership, 9, 15, 16,
53, 55, 90, 244; presidents, 17, 56,
103, 153, 202, 249, 295, 341, 387;
publications, 12, 196, 198
Academy Players Directory, 12, 148,
196, 198, 248, 339
Academy Theater, The, 340
Accentuate the Positive, 88
Accidental Billionaires, The, 398
Accidental Tourist, The, 298, 299
Accidentally in Love, 369
Accountant, The, 357
Accused, The, 296, 297, 298
Acheson, James, 288, 298, 326
Achtenberg, Ben, 277
Acker, Shane, 373
Ackland, Rodney, 76
OSCAR_80_p424-466_8-19-13.indd 425
Ackland-Snow, Brian, 284

Ackroyd, Barry, 394
Acme Tool and Manufacturing Co.,
85, 261
Acquaro, Kimberlee, 373
Across the Universe, 380
Action in the North Atlantic, 80
Actor, The, 56
Actors Equity Association, 8
Actress, The, 130
Adair, Deb, 403
Adair, Tom, 143
dalen 31, 211
Adam, 315
Adam, Ken, 142, 234, 242, 318, 322
Adam and Dog, 407
Adam Clayton Powell, 303
Adamczyk, J. Walt, 373
Adams, Amy, 372, 390, 398, 406
Adams, Bryan, 311, 326, 330
Adams, David, 223, 227
Adams, John, 131
Adams, Nick, 176
Adams Rib, 116, 119, 207
Adamson, Andrew, 369
Adamson, Harold, 47, 61, 81, 85, 147
Adamson, Joy, 189
Adaptation, 358, 360, 361
Addams Family, The, 310
Addams Family Values, 318
Addica, Milo, 356
Addison, John, 177, 223
Addleman, David A., 323
Addleman, Lloyd A., 323
Address Unknown, 84, 85
Adefarasin, Remi, 344
Adele. See Adkins, Adele.
Adjani, Isabelle, 234, 302
Adkins, Adele, 405, 407, 420
Adkins, Hal, 93
Adler, Buddy, 129, 130, 138, 143
Adler, Larry, 135
Adler, Peter Herman, 123
Adlesic, Trish, 399
Adolescence, 189
Advanced Digital Systems Group
(ADSG), 353
Adventure in the Bronx, 73
Adventures in Perception, 219
Adventures of Baron Munchausen, The,
302, 303
Adventures of Don Juan, 115
Adventures of Mark Twain, The, 84, 85
Adventures of Priscilla, Queen of the
Desert, The, 320, 322
Adventures of Robin Hood, The, 58, 61
Adventures of Robinson Crusoe, 134
Adventures of Tintin, The, 402
Adventures of Tom Sawyer, The, 61
Affair in Trinidad, 127
Affair of the Necklace, The, 356
Affair to Remember, An, 147
Affair to Remember, An, 147
Affairs of Cellini, The, 39, 44
Affairs of Susan, The, 88
Afeck, Ben, 332, 334, 386, 404, 405,
406
Afeck, Casey, 380
Afiction, 342, 344, 344
Africa, Prelude to Victory, 77
African Queen, The, 98, 120, 121, 122,
350
After All, 302
After the Axe, 269

After the Thin Man, 47
After the Wedding, 377
Afterglow, 334
Again, 319
Against All Odds (Take a Look at Me
Now), 277
Against Wind and Tide: A Cuban
Odyssey, 265
Agalsoff, John, 243
Agatha, 256
Age, 180
Age of Innocence, The, 318, 318, 319
Age of Not Believing, The, 218
Agee, 261
Agee, James, 122
AGFA Ansco Corp., 43, 51
Aghayan, Ray, 211, 222, 234
Aghdashloo, Shohreh, 364
Agnes of God, 280
Agony and the Ecstasy, The, 184, 185
Agueda Martinez: Our People, Our
Country, 243
Aherne, Brian, 64
Ahnemann, Michael, 189
Ahrens, Lynn, 335
A.I. Articial Intelligence, 356, 357
Aiello, Danny, 302, 415
Aimee, Anouk, 188
Air Force, 80, 81
Air Force One, 334
Airport, 31, 212, 214, 215
Airport 77, 242
Aithadi, Nicolas, 399
Aitken, Matt, 395
Ajami, 395
AKAI Digital, 353
Akst, Albert, 143
Al Otro Lado del Ro, 367, 369
Aladdin, 312, 314, 315
Alamo, The, 164, 165
Alas, Raigo, 403
Alaska: Spirit of the Wild, 335
Alaska Wilderness Lake, 219
Alaskan Eskimo, The, 128, 131
Albee, Edward, 187
Albert, Eddie, 104, 130, 222
Albert, Edward, 220
Albert Nobbs, 402
Albert Schweitzer, 147
Albertson, Jack, 204, 206, 207
Albin, Fred, 65
Alborn, Al, 35
Alcott, John, 234
Alcott, Louisa May, 34
Alda, Alan, 278, 368
Alden, A.A., 169
Aldred, John, 211, 218
Aldredge, Theoni V., 231
Aldrich, Robert, 172
Aleandro, Norma, 288, 300
Alekan, Henri, 130
Alexander, Dick, 238, 243, 269, 280,
284, 288, 298, 314
Alexander, Gary, 280
Alexander, Jane, 214, 238, 255, 256,
272
Alexander, Jim, 260, 273
Alexander, Lexi, 361
Alexander, Richard, 345
Alexanders Ragtime Band, 61
Ale, 188, 189
Ale, 189
Alford, Jack, 161

Alfred, Christopher, 365
Algiers, 61
Ali, 356
Ali, Karolyn, 369
Ali, Muhammad, 236, 328
Ali Baba Goes to Town, 51
Alias/Wavefront, 361
Alibar, Lucy, 406
Alibi, 23
Alice, 306
Alice Adams, 43
Alice Doesnt Live Here Anymore, 228,
229, 230, 231
Alice in Wonderland (1951), 123
Alice in Wonderland (2010), 397, 398,
399
Alices Restaurant, 210
Alien, 248, 256
Aliens, 284, 285
Alien 3, 315
Alive in the Deep, 73
All about Eve, 95, 105, 114, 116, 117, 119,
136, 186, 291, 332, 338
All about My Mother, 349
All-American Co-Ed, 72
All the Brothers Were Valiant, 130
All His Children, 218
All Nothing, 260
All the Kings Horses, 43
All the Kings Men, 112, 113, 115, 338,
350
All Out for V, 77
All the Presidents Men, 236, 238, 239
All Quiet on the Western Front, 21, 24,
25, 145, 154, 244, 250, 294, 392
All That Jazz, 256
All That Love Went to Waste, 226
All That Money Can Buy, 72
All Things Fair, 327
All This, and Heaven Too, 68
All Through the Day, 93
All-Union Cinema and Photo
Research Institute, 307
All the Way, 147
Allan, Ted, 234
Allard, Eric, 349
Allder, Nick, 256
Allen, Brett, 395
Allen, Chris, 399
Allen, David (special effects), 85
Allen, David (visual effects), 280
Allen, Dede, 235, 264, 352
Allen, Gene, 134, 147, 181, 247, 249
Allen, Hervey, 46
Allen, Ioan, 253, 289, 299, 353, 377
Allen, Irving, 97, 115
Allen, Irwin, 127, 230
Allen, Jay Presson, 222, 248, 264
Allen, Jo, 369
Allen, Joan, 326, 330, 338, 352
Allen, Marit, 380
Allen, Peter, 264, 266
Allen, Reg, 222
Allen, Wilson H., 335
Allen, Woody, 240, 242, 252, 256,
276, 280, 282, 284, 288, 302, 306,
312, 314, 322, 326, 327, 334, 372,
389, 390, 402
Aller, Bob, 215
Allers, Roger, 377
Alleway, Rebecca, 390
Allgood, Sara, 70, 72
425
8/21/13 6:59 PM
Allied Artists, 140

Allwin, Pernilla, 272
Allyson, June, 150, 278
Almendros, Nestor, 252, 256, 260,
268
Almodvar, Pedro, 360, 385
Almost Famous, 352
Almost in Your Arms, 157
Almost There, 395
Aloma of the South Seas, 73
Along the Rainbow Trail, 89
Alonzo, John A., 231
Alper, Bud, 238, 280
Alpert, Jon, 395, 407
Alphin, Nick, 277
Alsino and the Condor, 269
Altramura, Elio, 284
Alter, Louis, 47, 72
Altered States, 260
Altman, Robert, 214, 215, 234, 314,
318, 356, 366, 370, 373, 373
Altman, Stephen, 356
Alton, John, 122
Alves, Joe, 242
Alvorada (Brazils Changing Face), 173
Always and Always, 61
Always in My Heart, 77
Always a New Beginning, 227
Am I in Love, 127
Ama Girls, 157
Amadeus, 274, 276, 277, 328, 338
Amarcord, 228, 231, 234
Amazing Mrs. Holliday, The, 81
Amazon, 335
Amazon Diary, 303
Ambler, Eric, 130
Ameche, Don, 49, 278, 280, 281
Amlie, 356, 357
Ament, Walton C., 115
America America, 176
American Beauty, 346, 346, 348, 349
American Broadcasting Company
(ABC), 82, 162, 166, 170, 174, 178,
182, 186, 190, 200, 204, 208, 232,
236, 240, 282, 296, 316, 320, 336,
362, 370, 375, 378
American Dream (1990), 307
American Dream, An (1966), 189
American Federation of Television
and Radio Artists (AFTRA), 152, 186
American Film Institute, 148, 198
American Gangster, 380
American Grafti, 226, 337
American History X, 344
American in Paris, An, 102, 120, 122,
123, 151, 154, 196
American President, The, 326
American Shoeshine, 239
American Society of
Cinematographers (ASC), 12, 357
426
American Splendor, 364
American Tail, An, 285
American Telephone and Telegraph
Company, 198
American Tragedy, An (book; Dreiser),
123
American Werewolf in London, An,
262, 264
Americanization of Emily, The, 180
Americas in Transition, 265
Ames, E. Preston, 123, 130, 134, 142,
156, 181, 214, 231
Amtheatrof, Daniele, 89, 96
Ami, Louis, 231
Amidei, Sergio, 93, 96, 115, 168
Amini, Hossein, 334
Amistad, 334, 335
Amityville Horror, The, 256
Amores Perros, 353
Amour, 404, 405, 406, 407
Ampex Professional Products Co., 165
Amphibious Fighters, 81
Amram, Robert, 218, 219
OSCAR_80_p424-466_8-19-13.indd 426
Amy, George, 76, 81, 88

Anastasia (1956), 83, 140, 141, 142,
143, 214, 230
Anastasia (1997), 335
Anatomy of a Murder, 160
Anchors Aweigh, 86, 88, 89, 100
Ancilotto, Alberto, 127
. . . And Justice for All, 256
And Now My Love, 234
And to Think I Saw It on Mulberry
Street, 85
Anderer, Michael, 373
Anderle, Klaus, Dr., 395
Anderson, Carl, 160, 222
Anderson, Charles C., 365
Anderson, Darla K., 398
Anderson, Dave, 139
Anderson, David LeRoy, 330, 335, 372
Anderson, Donald A., 277
Anderson, Eddie Rochester, 58
Anderson, George, 65
Anderson, Gilbert M. Broncho
Billy, 146, 147
Anderson, Hayward, 173
Anderson, Henry F., III, 349
Anderson, Hesper, 284
Anderson, Howard A., Jr., 193
Anderson, J. Wayne, 377
Anderson, John, 280
Anderson, John R., 357
Anderson, Judith, 68
Anderson, Julie, 403
Anderson, Lance, 372
Anderson, Mary Ann, 377
Anderson, Maxwell, 25
Anderson, Michael, 140, 142
Anderson, Paul Thomas, 334, 348,
380
Anderson, Philip W., 143, 147, 169
Anderson, Richard L., 265, 269, 331
Anderson, Robert, 160, 214
Anderson, Robin, 273
Anderson, Roland, 35, 43, 50, 69, 76,
88, 126, 134, 164, 168, 173, 176
Anderson, Scott E., 327, 335, 353
Anderson, Wes, 356, 395, 406
Anderson Platoon, The, 193
Andes, Keith, 94
Andreasen, Mie, 361
Andrews, Dana, 84, 90
Andrews, Del, 25
Andrews, Julie, 149, 178, 179, 180, 182,
184, 268, 359
Andrews, Mark, 373, 407
Andromeda Strain, The, 218
Andrus, Mark, 334
Andy Hardy series, 77, 346
Angel and Big Joe, 235
Angel Street (play; Hamilton), 83
Angelas Ashes, 349
Angels and Insects, 330
Angels over Broadway, 68
Angels with Dirty Faces, 61, 75, 350
Angenieux, Pierre, 181, 303
Anghie, Tamara, 391
Angry Harvest, 281
Angry Silence, The, 164
Anhalt, Edna, 119, 126
Anhalt, Edward, 119, 126, 180
Animal Kingdom, 398
animated pictures, as award category,
338
Aniston, Jennifer, 388
Anker, Daniel, 353
Ann-Margret, 153, 167, 218, 234
Anna, 288
Anna & Bella, 280
Anna and the King (1999), 348
Anna and the King of Siam (1946),
93, 141
Anna Christie, 25, 133
Anna Karenina, 406, 407
Annabella, 152, 174
Annakin, Ken, 184

Anne Frank Remembered, 324, 327
Anne of the Thousand Days, 210, 211
Annenkov, Georges, 134
Anni, Anna, 284
Annie, 269
Annie Get Your Gun, 116, 119, 337
Annie Hall, 240, 242
Annie Was a Wonder, 110
Annual Index to Motion Picture
Credits, 12, 248
Anonymous, 402
Another Year, 398
Ansbacher, Henry, 395
Anstey, Edgar, 177, 185, 189
Antarctic Crossing, 157
Antholis, Kary, 327
Anthony Adverse, 12, 44, 46, 47
Antonia: A Portrait of the Woman, 231
Antonias Line, 327
Antonioni, Michelangelo, 188, 320,
323
Anwar, Tariq, 348, 398
Anywhere, 88
Apartment, The, 162, 164, 165, 225,
400
Apatow, Judd, 389
Ape and Super-Ape, 223
Apocalypse Now, 248, 256, 270
Apocalypto, 376, 377
Apodaca, Tony, 315
Apollo 13, 326, 327
Apostle, The, 334
Appelle, Lynn, 357
Apple, Kalman, 357
Applebaum, Louis, 89
Appointment for Love, 73
Appointments of Dennis Jennings, The,
299
Apprenticeship of Duddy Kravitz, The,
231
April Love, 147
Apted, Michael, 259
Aquamania, 169
Aquatic House Party, 115
Arabian Nights, 76, 77, 80
Arango, Manuel, 218, 219
Arata, David, 376
Arbogast, Roy, 243
Arcand, Denys, 364
Arch, Jeff, 318
Archer, Anne, 288
Archer, Ernest, 206, 218
Archibald, Jan, 380
Arden, Eve, 88
Ardolino, Emile, 273
Ardrey, Robert, 188
Arent You Glad Youre You, 89
Argo, 404, 404, 405, 406, 407
Arise, My Love, 68, 69
Arizona, 68, 69
Arkin, Alan, 188, 206, 374, 375, 376,
376, 404, 406
Arlen, Alice, 273
Arlen, Harold, 64, 72, 81, 85, 88, 111,
135, 340
Arlen, Richard, 11, 19
Arling, Arthur, 93, 138
Arliss, George, 24, 25
Armageddon, 345
Armat, Thomas, 97
Armbruster, Robert, 181
Armour, Darryl A., 285
Arms and the Man, 157
Armstrong, Eric, 361
Armstrong, Jesse, 394
Armstrong, John, 239
Armstrong, Rollo, 398
Armstrong, Vic, 353
Army Champions, 73
Army Girl, 61
Arnardi, Vincent, 357
Arnaud, Leo, 181
Arnaz, Lucie, 258

Arndt, Michael, 376, 398
Arndt, Stefan, 406
Arness, James, 94
Arnold, Andrea, 369
Arnold, August, 269
Arnold, Edward, 45, 58
Arnold, Jack, 119
Arnold, John, 14, 51, 65
Arnold, Lindsay, 369
Arnold, Malcolm, 147
Arnold & Richter, 189, 299, 307, 315,
327, 345, 361
Aronofsky, Darren, 396, 397, 398
Aronson, Jerry, 253
Aronson, Josh, 353
Aronson, Letty, 402
Around the World in 80 Days, 140,
142, 143, 154
ARRI USA, Inc., 345
Arriaga, Guillermo, 376
Arriex Corporation, 299, 307, 315,
327
Arrighi, Luciana, 312, 314, 318, 348
Arrowsmith, 31
Arsenic and Old Lace, 118
Arsenijevic, Stefan, 365
Art Is . . . , 219
Arthur, 262, 264, 265
Arthur and Lillie, 235
Arthur, George K., 139, 143, 165
Arthur, Jean, 46, 58, 80, 81, 130
Arthur RubinsteinThe Love of Life, 211
Arthur 2: On the Rocks, 265
Arthurs Theme (Best That You Can
Do), 264
Articles of War, The, 52
Artie Shaw: Time Is All Youve Got, 285
Artist, The, 400, 400, 402, 403
Artists and Models, 50
Artists and Orphans: A True Drama,
357
Artman, Wayne, 288
Arturo Toscanini, 85
Arulpragasam, Maya, 391
As Good as It Gets, 332, 334, 335
As It Is in Heaven, 369
As You Like It, 91
Asad, 407
Ascher, Kenny, 256
Ascher, Steven, 327
Asgar, Kami, 377
Ashby, Hal, 189, 193, 233, 251, 252,
257, 294
Ashcroft, Dame Peggy, 249, 274, 275,
276
Asher, Japhet, 281
Ashley, Ray, 130
Ashman, Howard, 285, 302, 309, 311,
315
Ashton, Don, 222
Askey, Gil, 223
Asman, Bub, 331, 353, 377
Asman, John B., 323
Asp, Anna, 273
Aspegren, Chuck, 251
Asphalt Jungle, The, 116, 119
Asquith, Anthony, 176
Assassination of Jesse James by the
Coward Robert Ford, The, 380
Assault, The, 282, 285
Asseyev, Tamara, 255, 256
Astaire, Fred, 38, 105, 112, 113, 115, 116,
186, 208, 230, 337
Astin, Christine, 323
Astin, John, 207
Astin, Sean, 323
Astor, Mary, 21, 53, 70, 71, 72
Asylum, 365
At the Edge of Conquest: The Journey of
Chief Wai-Wai, 315
At Night, 381
Athaiya, Bhanu, 269
8/21/13 6:59 PM
Athletes of the Saddle, 127

Atkin, Laurie, 169
Atkinson, Ralph B., 65
Atlantic City, 262, 264
Atomic City, The, 126
Atomic Power, 93
Atonement, 380
Attanasio, Paul, 322, 334
Attenborough, Richard, 245, 266,
268, 274, 293
Atwood, Colleen, 322, 344, 348, 360,
369, 372, 380, 395, 398, 406
Au Revoir les Enfants (Goodbye,
Children), 286, 288, 289
Audio Tracks, Inc., 323
Audioscopiks, 43
Audran, Stephane, 223
Auer, Mischa, 47, 58
Auf der Strecke (On the Line), 391
August, Bille, 296
August, Joseph, 110
August Rush, 380
Auguste, Robert D., 219, 303, 315
Aumont, Jean-Pierre, 227
Auntie Mame, 156
Aurel, Jean, 181
Aurthur, Robert Alan, 256
Ausreisser (The Runaway), 373
Austin, John, 189
Austin, Michael, 274, 276
Austin, William, 127
Austin Powers: The Spy Who Shagged
Me, 348
Australia, 390
Autism Is a World, 369
Automania 2000, 177
Autry, Gene, 72
Autumn Sonata, 252
Avalon, 306, 307
Avary, Roger, 322
Avatar, 392, 394, 394, 395
Ave Satani, 238
Avery, Margaret, 280
Avery, Sid, 294
Avery, Stephen, 43
Aviator, The, 366, 368, 369
Avid Technology, Inc., 345
Avila, Ruben, 277
Avildsen, John G., 225, 236, 238, 269
Awakening, The, 23
Awakenings, 306
Away from Her, 380
Awful Truth, The, 48, 50, 51
Axelrad, Irving, 283
Axelrod, George, 168
Ayers, Maurice, 111
Aykroyd, Dan, 302
Ayling, Denys, 256
Ayn Rand: A Sense of Life, 335
Aynsley, Angus, 399
Ayres, Lew, 24, 109, 110
Ayres, Ralph, 123
Baader Meinhof Complex, The, 391

Baar, Tim, 165
Babcock, Fay, 76, 84
Babe, 326, 327
Babe: Pig in the City, 345
Babel, 376
Babenco, Hector, 278, 280
Babes in Arms, 64
Babes in Toyland, 169
Babes on Broadway, 77
Babettes Feast, 286, 289, 296
Baby, Its Cold Outside, 115
Baby Doll, 142
Baby Maker, The, 215
Baby Mine, 72
Bacall, Lauren, 230, 328, 330, 384,
393, 395
OSCAR_80_p424-466_8-19-13.indd 427
Bacalov, Luis Enrique, 189, 326

Bach, Danilo, 276
Bach, Jean, 323
Bacharach, Burt, 103, 185, 189, 193,
202, 208, 210, 211, 264
Bachelin, Franz, 160
Bachelor and the Bobby-Soxer, The,
94, 96
Bachelor in Paradise, 15253, 167,
169
Bachelor Mother, 65
Bachelor Party, The, 147
Back, Frdric, 260, 264, 289, 319
Back, Joachim, 395
Back Street (1941), 72
Back Street (1961), 169
Back to the Future, 280
Back to the Future Part II, 302
Backdraft, 310, 311
Background, 227
Backlar, Marshal, 185
Bad and the Beautiful, The, 124, 126,
127, 226
Bad Day at Black Rock, 138
Bad Girl, 28, 30, 31
Bad Seed, The, 142, 220
Badalucco, Nicola, 210
Badami, Bob, 299
Baddeley, Hermione, 160
Badgered, 373
Badham, Mary, 170, 172
Baeker, Christian, 395
Bagdad Cafe, 299
Baginski, Tomek, 361
Bagnall, George, 189
Bahnemann, Volker W., 331
Baier, Manfred, 235
Bailey, Chris, 327
Bailey, Drew, 395
Bailliu, Lionel, 365
Bainter, Fay, 60, 61, 168, 266, 358, 367
Baird, Stuart, 253, 298
Baird, Worth, 261
Bakaleinikoff, C., 81, 85
Baker, Buddy, 223
Baker, Carroll, 142, 145
Baker, Ezra R., 165, 177
Baker, Gordon, 319
Baker, Graham, 14
Baker, Harry J., 311, 319
Baker Landers, Karen, 381, 407
Baker, Mark, 303, 319, 345
Baker, Rick, 247, 262, 264, 277, 289,
299, 321, 322, 330, 335, 345, 348,
352, 380, 398
Baker, Suzanne, 238
Bakewell, William, 63, 244
Bakhsh, Shameela, 357
Balaban, Bob, 356
Balalaika, 65
Balance, 303
Balcony, The, 176
Balderston, John L., 43, 84
Baldwin, Adam, 258
Baldwin, Alec, 364, 374, 393
Baldwin, Howard, 368
Baldwin, Kevin, 319
Baldwin, Peter, 307
Bale, Christian, 389, 396, 397, 398
Ball, Alan, 348
Ball, Derek, 243
Ball, J. Arthur, 9, 11, 61
Ball, John, 190
Ball, Lucille, 291, 297
Ball of Fire, 72, 73
Ballad of Cat Ballou, The, 185
Ballad of a Soldier, 168
Ballard, Carroll, 193
Ballard, Glen, 369
Ballard, Lucien, 176
Ballard, Lucinda, 123
Ballet Robotique, 269
Ballhaus, Michael, 288, 302, 360
Ballon Vole (Play Ball!), 169

Balmer, Edwin, 122
Balsam, Martin, 150, 182, 184, 185
Balseros, 365
Balzac, 123
Bambi, 76, 77
Bamborough, Paul, 323
Bancroft, Anne, 170, 172, 180, 191, 192,
242, 280, 412
Bancroft, George, 23, 46
Band Wagon, The, 130, 131
Banderas, Antonio, 367
Baneham, Richard, 395
Bang the Drum Slowly, 226
Banjo on My Knee, 47
Banks, Lionel, 61, 64, 68, 73, 76, 84
Banks, Roger, 227, 235
Banksy, 399
Bannen, Ian, 184
Banning, 193
Baptism of Fire, 81
Baptista, John L., 285
Baraff, David, 373
Baran, Roma, 315
Baravalle, Victor, 61
Barba, Eric, 391
Barbachano Ponce, Manuel, 147
Barbarian Invasions, The, 362, 364,
365
Barbary Coast, 43
Barber, Daniel, 381
Barber, Lynn, 303
Barber of Birmingham: Foot Soldier of
the Civil Rights Movement, The, 403
Barbera, Joseph, 139, 147
Barclay, Richard, 223
Bardem, Javier, 339, 352, 367, 379, 379,
380, 389, 390, 398
Bare Necessities, The, 193
Barefoot Contessa, The, 105, 132, 134
Barefoot in the Park, 192
Bargar, Robin, 327
Barish, Keith, 267
Barker, The, 23
Barker, Chris, 345
Barker, Cordell, 299, 357
Barker, Lex, 94
Barker, Ronald C., 289
Barkleys of Broadway, The, 112, 113, 115
Barnathan, Michael, 402
Barnebey-Cheney Company, 239
Barnes, Billy, 216, 220
Barnes, George, 21, 23, 68, 88, 119
Barnes, Ian, 399
Barnes, John, 131
Barnes, Peter, 314
Barnett, Griff, 91
Barnett, S.H., 180
Barneys Version, 398
Baron, Caroline, 372
Baron, Fred, 356
Baron Cohen, Sacha, 376
Barratier, Christophe, 369
Barrault, Marie-Christine, 238
Barraza, Adriana, 376
Barrett, Alan, 238
Barrett, Daniel, 403
Barrett, W.E., 174
Barretts of Wimpole Street, The, 39
Barrie, Barbara, 256
Barrie, George, 226, 235
Barron, Craig, 315, 391
Barron, Thomas Major, 357
Barroso, Ary, 85
Barry, John (art direction), 203
Barry, John (music), 189, 207, 219,
280, 307, 315
Barry, Julian, 231
Barry, Philip, 194
Barry, Tom, 23
Barry Lyndon, 234, 235
Barrymore, Ethel, 54, 82, 84, 93, 96,
115
Barrymore, John, 28, 71

Barrymore, Lionel, 23, 26, 27, 28, 29,
49, 58, 409
Barsacq, Leon, 173
Bart, Lionel, 204
Bartell, James, 345
Barthelmess, Richard, 9, 15, 21
Bartholomew, Freddie, 49
Bartlett, Hall, 127
Bartlett, Paul, 345
Bartlett, Ron, 407
Barton, Charles, 35
Barton, Larry, 281
Barton Fink, 310
Bartscher, Fred, 239
Baryshnikov, Mikhail, 242
Basevi, James, 64, 69, 80, 88
Basic Instinct, 314, 315
Basinger, Kim, 332, 333, 334, 417
Baskett, James, 94, 97, 354
Bass, Jeff, 360
Bass, Ronald, 293, 298
Bass, Saul, 207, 243, 257
Basserman, Albert, 68
Bassett, Angela, 318
Bassey, Shirley, 405, 420
Bassler, Robert, 77
Bassman, Don, 214, 298, 302, 306
Bates, Alan, 206
Bates, Jonathan, 269
Bates, Kathy, 304, 305, 306, 344, 360,
393
Bates, Ken, 315
Batista, Henry, 135
Batman, 302
Batman Begins, 372
Batman Forever, 326, 327
Batman Returns, 315
Battle Cry, 139
Battle of Algiers, The, 189, 206
Battle of Berlin, 227
Battle of the Bulge . . . The Brave Ries,
The, 185
Battle of Gettysburg, The, 139
Battle of Midway, The, 77
Battle of Neretva, The, 211
Battle of Russia, 81
Battle over Citizen Kane, The, 327
Battleground, 112, 115
Bauchens, Anne, 39, 68, 127, 143
Bauer, Fritz Gabriel, 289, 319, 349
Baum, Vicki, 28
Bauman, Suzanne, 265
Baumbach, Harlan L., 93, 147
Baumbach, Noah, 372
Bausager, Lene, 373
Bausch & Lomb Optical Company,
65, 135, 161
Baxmeyer, Florian, 365
Baxter, Anne, 56, 90, 92, 93, 100, 116,
117, 119
Baxter, Gregg, 319
Baxter, Kirk, 385, 390, 398, 402
Baxter, Warner, 22, 23, 294
Bayat, Sareh, 403
Baye, Nathalie, 227
Bayliss, Trou, 345
Baynham, Peter, 376
Be Honest with Me, 72
Be My Love, 103, 119
Be Our Guest, 311
Beach Red, 193
Beaches, 298
Bead Game, The, 243
Beal, Scott, 35, 39
Bealmear, Robert, 277
Bear, The, 302
Bear, Jack, 214
Bear Country, 128, 131
Beasts of the Southern Wild, 404, 406
Beatles, The, 212, 215
Beaton, Cecil, 154, 156, 181
Beattie, Alan, 235
427
8/21/13 6:59 PM
Beatty, Ned, 238

Beatty, Warren, 192, 233, 234, 236,
246, 250, 252, 262, 263, 264, 310,
312, 346, 349
Beau Geste, 64
Beauchamp, Clem, 43, 47
Beaufort, 381
Beaufoy, Simon, 334, 388, 390, 398
Beaumont, Harry, 23
Beauregard, Paul, 371, 373
Beautiful Maria of My Soul, 315
Beautiful Mind, A, 354, 354, 356, 356,
401
Beauty and the Beach, 73
Beauty and the Beast, 308309, 310, 311
Beauty and the Beast, 311
Beauty and the Bull, 135
Beavan, Jenny, 277, 284, 288, 314, 318,
326, 348, 356, 398
Bebb, Peter, 399
Because You Loved Me, 330
Because Youre Mine, 127
Bechir, Gabriel, 173
Becker, Michael, 373
Beckert, Tom, 243, 288
Becket, 180, 181
Beckett, Ray, 395
Becky Sharp, 43
Bedknobs and Broomsticks, 218, 219
Beebe, Dion, 360, 372
Beecroft, Jeffrey, 306
Beemer, Bob, 319, 322, 331, 353, 361,
369, 377
Beep Prepared, 169
Beery, Noah, Jr., 71
Beery, Wallace, 8, 25, 27, 28, 29, 31,
204
Beethovens 2nd, 318
Beetlejuice, 299
Beetley, Samuel E., 173, 193
Beetson, Fred, 89, 11
Before My Time, 407
Before the Fact (book; Iles), 71
Before the Mountain Was Moved, 211
Before Night Falls, 352
Before the Rain, 323
Before Sunset, 367, 368
Beggs, Richard, 256
Beginners, 401, 401, 402
Begley, Ed, 170, 172, 173
Behind the News, 68
Behlmer, Anna, 326, 331, 334, 345,
357, 365, 373, 377, 395
Behlmer, Curt R., 361
Behr, Susan R., 365, 377
Beier, Thaddeus, 345
Being John Malkovich, 348
Being Julia, 368
Being There, 177, 256, 257
428 Bejo, Brnice, 400, 402
Belcher, Jim, 253
Bel Geddes, Barbara, 110
Belic, Adrian, 349
Belic, Roko, 349
Belin, Dirk, 361
Believe, 369
Belknap, Ronald, 377
Bell, John, 302
Bell, Madeline, 285
Bell and Howell Company, 39, 131, 235
Bell, Book and Candle, 156, 297
Bell Telephone Laboratories, 47
Bellah, Ross, 142
Bellamy, Ralph, 50, 51, 282, 285
Belle, 311
Belle, Anne, 331
Belle Epoque, 316, 319
Belle of the Yukon, 89
Beller, Hava Kohav, 311
Belleville Rendez-Vous, 365
Bellower, Nellie, 368
Bellfort, Tom, 335, 349
Bello, Francisco, 381
Bells Are Ringing, 165
OSCAR_80_p424-466_8-19-13.indd 428
Bells of St. Marys, The, 83, 86, 88, 89

Belmondo, Jean-Paul, 169
Beloved, 344
Belt, Haller, 65
Beltrami, Marco, 380, 395
Belur, Gautam, 407
Belzberg, Edet, 357
Ben, 223
Ben and Me, 131
Ben-Hur, 148, 158, 159, 160, 161, 286,
332, 362
Benchley, Robert, 51
Bender, Lawrence, 322, 334, 394
Bender, Lon, 327, 377, 403
Bendix, William, 76
Bendjelloul, Malik, 407
Beneath the 12-Mile Reef, 130
Benedek, Barbara, 273
Benedetti, Benedetto, 169
Benford, James R., 161
Benigni, Roberto, 337, 342, 343, 344,
379
Bening, Annette, 306, 348, 368, 398
Benjamin, Mary, 265
Benjamin, Robert, 254, 257
Benjamin, Stuart, 368
Benjis Theme (I Feel Love), 231
Benjy, 123
Ben-Meir, Izak, 289
Benmussa, Robert, 360
Bennett, Alan, 322
Bennett, Charles, 68
Bennett, Joan, 25, 34
Bennett, Laurence, 402
Bennett, Richard Rodney, 193, 219,
231
Bennett, Robert Russell, 61, 139
Bennington, William A., 124, 128, 136
Benny, Jack, 78, 90, 232
Benot-Fresco, Franoise, 352
Bens Mill, 269
Benson, David, 331
Benson, Joseph, 269
Benson, Sally, 93
Benson, Suzanne, 284
Benton, Bill W., 306, 319, 331
Benton, Robert, 192, 242, 248, 254,
255, 256, 275, 276, 322, 384
Benton, Robert R., 176, 180, 184, 189
Benz, Obie, 264
Benza, Scott, 381, 403
Berenger, Tom, 282, 284, 399
Beresford, Bruce, 260, 270, 273, 405
Berg, Amy, 377
Bergen, Candice, 208, 256, 266
Bergen, Edgar, 16, 48, 51
Berger, Christian, 394
Berger, Fred W., 223
Berger, Howard, 372, 406
Berger, Mark, 256, 273, 277, 331
Berger, Peter E., 289
Berger, Ralph, 76
Bergerac, Jacques, 154
Berggren, Glenn M., 223, 239, 253,
299, 353
Berglund, Per, 288
Bergman, Alan, 195, 207, 211, 215, 218,
223, 224, 226, 253, 256, 269, 273,
302, 326, 384
Bergman, David, 231
Bergman, Ingmar, 160, 164, 172, 212,
215, 226, 238, 252, 270, 272, 273
Bergman, Ingrid, 78, 80, 82, 83, 84,
88, 94, 110, 111, 140, 141, 142, 152,
178, 196, 202, 204, 211, 228, 230,
346, 401, 404
Bergman, Marilyn, 195, 207, 211, 215,
218, 223, 224, 226, 253, 256, 269,
273, 302, 326, 384
Bergner, Elisabeth, 40, 43
Bergren, Eric, 260
Bergvall, Joel, 345
Berkeley, Busby, 43, 47, 51
Berkeley, Reginald, 32
Berkeley in the Sixties, 307

Berkeley Square, 35
Berkey, Craig, 381, 398
Berkey, Jim, 264
Berkos, Peter, 235
Berlin, Irving, 43, 61, 64, 74, 76, 77,
93, 135, 170, 266, 292
Berlin, Jeannie, 222
Berlin Stories (book; Isherwood), 221
Berlinger, Joe, 403
Berman, Brigitte, 285
Berman, Henry, 189
Berman, Pandro S., 89, 126, 236, 239
Berman, Shari Springer, 364
Berman, Stan, 167
Bernard, James, 122
Bernari, Carlo, 176
Bernds, Edward, 140, 142
Berney, Jim, 373
Bernhardt, Sarah, 149
Bernstein, Bill, 299
Bernstein, Dick, 299
Bernstein, Elmer, 103, 139, 165, 169,
172, 189, 193, 211, 231, 273, 319, 360
Bernstein, Leonard, 135, 166, 182
Bernstein, Walter, 238
Berri, Claude, 185, 260
Berry, David, 280
Berry, Halle, 354, 355, 356, 388
Berry, Paul, 315
Bert, Malcolm, 134, 156
Bertino, Tom, 323
Bertolucci, Bernardo, 218, 226, 286,
288, 292
Bertrand, Robert, 226
Bespoke Overcoat, The, 143
Bessie, Alvah, 88
Best, Marjorie, 115, 143, 164, 184
Best Boy, 257
Best Friends, 269
Best Little Whorehouse in Texas, 268
Best Man, The, 180
Best of Everything, The, 160, 161
Best of Everything, The, 161
Best Picture Poster, 244
Best Things in Life Are Free, The, 143
Best Years of Our Lives, The, 29, 55, 90,
93, 275, 336
Betrayal, 273
Betrayal, The (Nerakhoon), 391
Bettany, Paul, 396
Better Life, A, 402
Bettis, John, 307
Betts, Dave, 369
Betty Blue, 285
Between Heaven and Hell, 143
Between the Tides, 161
Bevan, Tim, 344, 380, 406
Beverly Hills Cop, 276
Beverly Hills Cop II, 289
Beymer, Richard, 166
Beyonc. See Knowles, Beyonc.
Beyond the Forest, 115
Beyond Imagining: Margaret Anderson
and the Little Review, 315
Beyond the Line of Duty, 77
Beyond Silence (1960), 165
Beyond Silence (1997), 335
Beyond the Walls, 277
B. F.s Daughter, 110
BHP, Inc., 299, 327
Bibas, Frank P., 169
Bibbidi-Bobbidi-Boo, 119
Biberman, Herbert, 12
Bible, The, 189
Bicentennial Man, 348
Bichir, Demin, 402
Bickel, Moidele, 322
Bickford, Charles, 80, 96, 110, 157
Bickford, Laura, 352
Bicycle Thief, The, 115
Biddiscombe, Carl, 210, 214
Biddle, Adrian, 310
Biedrzycka-Sheppard, Anna. See
Sheppard, Anna
Big, 298
Big Broadcast of 1936, 43
Big Broadcast of 1938, 61
Big Carnival, The, 122
Big Chill, The, 270, 272, 273
Big City Blues, 173
Big Country, The, 154, 156, 157
Big Fish, 365
Big Fisherman, The, 160
Big House, The, 24, 25
Big Mama, 353
Big Pond, The, 25
Big Sky, The, 126
Big Snit, The, 280
Big Story, The, 323
Big Trail, The, 245
Bigelow, Kathryn, 384, 392, 393, 394,
406
Biggs, Julian, 193
Bikel, Theodore, 156
Bilcock, Jill, 356
Bilheimer, Robert, 299
Bilimoria, Fali, 207
Bill and Coo, 94, 97
Bill of Divorcement, A, 33, 245
Bill, Tony, 224, 226, 247
Billy Budd, 172, 177
Billy Elliot, 352
Billy the Kid, 73
Billy Roses Jumbo, 173
Billasch, Frank, 395
Binda, Beverley, 335
Binger, R.O. (Ray), 68, 77, 81
Bingham, Ryan, 395
Binoche, Juliette, 328, 330, 331, 352
Binta and the Great Idea (Binta Y La
Gran Idea), 377
bin Zafar, Nafees, 381
Bion, Anne-Sophie, 402
Birch, Michael, 369
Birch Street Gym, 311
Bird, 298
Bird, Brad, 368, 369, 380, 381
Birdcage, The, 330
Birdman of Alcatraz, 172
Birdnesters of Thailand (aka Shadow
Hunters), 311
Birds, The, 176
Birds Anonymous, 147
Birds Do It, Bees Do It, 235
Birkin, Andrew, 269
Biro, Lajos, 21
Biroc, Joseph, 180, 231
Birth of the Blues, 72
Birth of a Nation, The, 72, 245
Birthday Boy, 369
Bishop, Bill, 323
Bishop, John R., 135
Bishop, Stephen, 280
Bishops Wife, The, 94, 96
Bismuth, Pierre, 368
Bison Archives, 385
Bissell, Jim, 372
Bisset, Jacqueline, 227
Bite the Bullet, 235
Bitter Rice, 119
Bitter Sweet, 68, 69
Biutiful, 398, 399
Biziou, Peter, 298
Bjrk, 353
Blachford, H.L., 265
Black, Don, 189, 211, 223, 231, 238
Black, Dustin Lance, 390
Black, Jack, 388
Black, Karen, 214
Black, Noel, 185
Black, Shirley Temple. See Temple,
Shirley
Black American Film History
Collection, 196
Black and White in Color, 236, 239
Black Dahlia, The, 376
Black Fox, 173
8/21/13 6:59 PM
Black Fury, 40
Black Hawk Down, 356, 357
Black Hole, The, 256
Black Legion, 50
Black Narcissus, 94, 96, 350
Black Orpheus, 158, 161
Black Rain, 302
Black Rider (Schwarzfahrer), 319
Black Rose, The, 119
Black Stallion, 247, 254, 256, 257
Black Swan (2010), 396, 397, 398
Black Swan, The (1942), 76, 77
Blackboard Jungle, 138, 139, 245
Blackburn, Eddie, 40
Blacky, 311
Blackie-Goodine, Janice, 314
blacklist, 102, 290
Blackmer, Sidney, 173
Blackton, J. Stuart, 15
Blackton, Jay, 139
Blackwell, Simon, 394
Blackwood, 239
Blade Runner, 269
Blair, Betsy, 100, 137, 138
Blair, Jon, 327
Blair, Linda, 226
Blaise, Aaron, 365
Blake, 211
Blake, Ben, 97
Blake, John, 315
Blake, Michael, 306
Blake, Yvonne, 218, 234
Blakley, Ronee, 234
Blalack, Robert, 203, 243
Blame Canada, 349
Blanchett, Cate, 342, 344, 366, 368,
368, 374, 376, 380
Blane, Ralph, 85, 96
Blangsted, Folmar, 218
Blanke, Henry, 48, 59, 108, 160
Blaschek, Otto, 299, 315
Blasko, Edward J., 265
Blatty, William Peter, 226
Blaugrund, Andrea, 335
Blaze, 302
Blaze Busters, 119
Blaze of Glory, 306
Blazing Saddles, 230, 231
Blazing Saddles, 231
Bless the Beasts & Children, 218
Blethen, William, 319
Blethyn, Brenda, 330, 344
Blewitt, David, 260
Blind Side, The, 393, 393, 394
Blindscape, 319
Blinn, Arthur F., 93
Blithe Spirit, 90, 93
Blitz, Jeffrey, 361
Blitz Wolf, 77
Block, Mitchell W., 399
Block, Ralph, 65
Block, Werner, 243, 261, 289
Block-Heads, 61
Blockade, 61
Blomkamp, Neill, 394
Blondell, Joan, 22, 122, 212
Blood and Sand, 73
Blood Diamond, 376, 377
Blood of Yingzhou District, The, 377
Blood on the Land, 185
Blood on the Sun, 88
Blood Ties: The Life and Work of Sally
Mann, 319
Bloodbrothers, 252
Bloodworth, Baker, 369
Bloom, Claire, 122, 205
Bloom, Harold Jack, 130
Bloom, John, 264, 269, 280
Bloom, Jon N., 273
Bloom, Les, 277, 288
Bloomberg, Daniel J., 76, 77, 80, 81,
85, 88, 89, 110, 115, 127, 143
Blossoms in the Dust, 72, 73
Blount, Lisa, 268, 357
OSCAR_80_p424-466_8-19-13.indd 429
Blow-Up, 188
Blowers, William L., 299, 307
Blue, James, 207
Blue Bird, The, 68
Blue Dahlia, The, 93
Blue Grass Gentlemen, 85
Blue Lagoon, The, 260
Blue Skies, 93
Blue Sky, 320, 320, 322
Blue Thunder, 273
Blue Valentine, 398
Blue Veil, The, 122
Blue Velvet, 284
Blues Highway, 323
Blues in the Night, 72
Blumberg, Stuart, 398
Blume, Wilbur T., 139
Blumenthal, Herman A., 160, 176, 210
Blumofe, Robert F., 238, 239
Blundell, Christine, 348
Bluth, Joseph E., 223
Blyth, Ann, 52, 87, 88
Boal, Mark, 384, 392, 394, 406
Board and Care, 257
Boardman, Chris, 280
Boat Is Full, The, 265
Boates, Brent, 299
Bob & Carol & Ted & Alice, 210
Bobak, Celia, 368
Bobet, Jacques, 257
Bobker, Lee R., 189, 207
Bobs Birthday, 323
Bochar, Ron, 403
Bochert, Marc-Andreas, 349
Bochner, Sally, 315
Bode, Ralf D., 260
Bode, Susan, 322
Body and Soul, 94, 96
Bodyguard, The, 315
Boedoe, Geefwee, 399
Boehm, David, 84
Boehm, Sydney, 126
Boekelheide, Jay, 273
Boekelheide, Todd, 273, 277
Boemler, George, 139
Boetticher, Budd, 122
Bogarde, Dirk, 183
Bogart, Humphrey, 78, 80, 98, 101,
108, 120, 121, 122, 132, 134
Bogdanov, Mikhail, 206
Bogdanovich, Peter, 218, 219, 227
Bogdanowicz, Mitchell J., 345, 349
Bogios, Jim, 369
Bognar, Steven, 395
Bohanan, Fred, 143
Bohlen, Anne, 253
Boisson, Nolle, 302
Boisvert, Dominique, 335, 345
Boland, Bridget, 210
Bold and the Brave, The, 142
Bolero, The, 227
Bolger, John A., Jr., 235
Bolger, Ray, 44, 65, 232, 245
Bolles, Mike, 345
Bologna, Joseph, 214
Bolshoi Ballet, The, 157
Bolt, 391
Bolt, Robert, 172, 184, 187, 188
Bomba, Ray, 88
Bombalera, 85
Bombardier, 81
Bomber, 73
Bon Voyage!, 173
Bonar, John, 88
Bond, Edward, 188
Bond, Ward, 71, 126
Bondarchuk, Sergei, 206
Bondi, Beulah, 47, 61
Bonetto, Aline, 356, 368
Bonham Carter, Helena, 285, 334,
396, 398, 405
Bonicelli, Vittorio, 218
Bon Jovi, Jon, 304, 306
Bonner, John A., 323
Bonnie and Clyde, 149, 190, 192, 237

Bonnot, Franoise, 211
Bono, 360
Boogie Nights, 334
Boogie Woogie Bugle Boy of Company
B, 73
Boogie Woogie Bugle Boy of
Company B, 72
Boole, Philip S.J., 253
Boom Town, 68
Boomerang!, 96
Boorman, John, 222, 288
Boorstin, Jon, 231
Booth, Charles G., 88
Booth, Margaret, 43, 243
Booth, Shirley, 100, 101, 124, 125, 126,
128, 404
Boothe, Powers, 320
Bor, Milan, 269
Borat Cultural Learnings of America
for Make Benet Glorious Nation of
Kazakhstan, 376
Borberg, Willy, 157
Borders, Gloria S., 311, 323
Bored of Education, 47
Boren, Charles, 220, 223
Borggrebe, Johannes, 327
Borgnine, Ernest, 100, 102, 104, 136,
137, 138, 333
Born Free, 189
Born Free, 189
Born into Brothels, 367, 369
Born on the Fourth of July, 300, 302,
303
Born to Dance, 47
Born Yesterday, 116, 117, 119, 179
Borowsky, Marvin, 198
Borowsky, Maxine, 198
Borshukov, George, 353
Borsos, Phillip, 257
Bortnik, Aida, 280
Borzage, Frank, 11, 18, 20, 21, 28, 30,
31, 34, 408
Bosch, Carlos, 365
Bosom Friends, 39
Boss Film Corporation, 285
Bostonians, The, 242, 276, 277
Bosustow, Nick, 215, 227
Bosustow, Stephen, 115, 119, 123, 127,
131, 135, 143, 147
Boswell, Merideth, 326, 352
Botkin, Perry, Jr., 218
Bottin, Rob, 285, 307
Bottoms, Timothy, 218, 219, 226
Boublil, Alain, 405, 407
Boudry, Mike, 323
Boulanger, Daniel, 180
Boulle, Pierre, 145, 147, 248
Bound for Glory, 238, 239, 309
Boundin, 365
Bounty, The, 40
Bource, Ludovic, 400, 403
Bourgoin, Jean, 172
Bourguignon, Serge, 176
Bourne, Mel, 253, 277, 310
Bourne Ultimatum, The, 378, 380, 381
Boutelje, Phil, 64, 81
Bow, Clara, 19
Bowers, William, 119, 156
Bowery, The, 245
Bowery Boys, 140
Bowie, Les, 253
Bowler, Andrew, 403
Bowling for Columbine, 359, 359, 361
Bowman, Eileen, 296
Box, The, 193
Box, Betty, 231
Box, Euel, 231
Box, John, 173, 184, 206, 218, 222, 277
Box, Muriel, 93
Box, Steve, 373
Box, Sydney, 93
Boxer, Nat, 256
Boy and the Eagle, 115
Boy and His Dog, A, 93

Boy Friend, The, 219
Boy Named Charlie Brown, A, 215
Boy on a Dolphin, 147
Boyd, John, 288, 298
Boyd, Russell, 364
Boyd, Stephen, 158, 188
Boyd, William, 21
Boye, Conrad, 157
Boyens, Philippa, 356, 364
Boyer, Charles, 61, 77, 83, 84, 168
Boyer, Franois, 134
Boyes, Christopher, 335, 357, 361, 365,
373, 377, 391, 395
Boyle, Charles, 88
Boyle, Consolata, 376
Boyle, Danny, 383, 388, 389, 390, 398
Boyle, Edward G., 73, 160, 164, 168,
181, 188, 210
Boyle, Peter, 360
Boyle, Richard, 284
Boyle, Robert F., 160, 210, 218, 238,
379, 381
Boys and Girls, 273
Boys Dont Cry, 346, 347, 348
Boys from Brazil, The, 252, 253
Boys from Syracuse, The, 68, 69
Boys of Paul Street, The, 207
Boys Town, 27, 49, 59, 61
Boyz N the Hood, 310
Boze, Steven E., 369
Bozman, Ron, 310
Bozzetto, Bruno, 307
Brabourne, John, 206, 275, 276
Bracco, Lorraine, 306
Bracht, Frank, 206
Brackett, Charles, 65, 72, 86, 87, 88, 93,
103, 110, 116, 119, 130, 142, 147
Bradbury, David, 261, 285
Bradbury, Ray, 248
Bradford, William, 68
Brady, Alice, 47, 48, 49, 50
Bragg, Herbert E., 131, 169
Bram Stokers Dracula, 314, 315
Bramall, John, 214
Branagh, Kenneth, 302, 315, 330, 402
Branch, James K., 299, 345
Brand, Millen, 110
Brandauer, Klaus Maria, 264, 279, 280
Brando, Marlon, 40, 102, 120, 121,
122, 126, 127, 130, 132, 133, 134, 146,
147, 171, 220, 221, 222, 226, 228,
245, 302
Brannon, Ash, 381
Brnnstrm, Brasse, 288
Bransbury, Robin, 353
Braschi, Gianluigi, 344
Bratton, Robert L., 177, 181
Braun, Ewa, 318
Braun, Zev, 277
429
Brauner, Bernd, 395
Brave, 407
Brave Little Tailor, 61
Brave One, The, 140, 142, 143, 290
Braveheart, 324, 325, 326, 327
Braverman, Chuck, 353
Bravery in the Field, 257
Brazil (1944), 85
Brazil (1985), 280
Brazzi, Rossano, 132
Bread, Love and Dreams, 134
Breaker Morant, 260
Breakfast at Tiffanys, 130, 168, 169, 363
Breaking Away, 256
Breaking the Habit, 181
Breaking the Ice, 61
Breaking the Language Barrier, 169
Breaking the Sound Barrier, 126, 127
Breaking the Waves, 330
Breathing Lessons: The Life and Work of
Mark OBrien, 331
Brebner, Veronica, 335, 345
Brecher, Irving, 84
Breen, Joseph I., 131
8/21/13 6:59 PM
Breen, Richard L., 110, 116, 130, 176

Bregman, Martin, 234
Breier, Betsy Broyles, 303
Brendel, Frank, 231
Brennan, Eileen, 260
Brennan, Philip, 407
Brennan, Walter, 44, 45, 47, 58, 60,
61, 66, 68, 72, 204, 401, 404, 406
Brenner, Albert, 234, 242, 252, 277,
298
Brenner, David, 300, 302
Brenon, Herbert, 21
Brent, George, 71
Breschi, Arrigo, 164
Bresler, Jerry, 81, 85, 89, 93
Breslin, Abigail, 376
Breslin, Paul H., 335, 361
Brest, Martin, 314
Bretherton, David, 223
Brett, Jonathan, 319
Bretton, Raphael, 180, 210, 222, 231
Brevig, Eric, 307, 311, 357
Brewer, Daniel R., 265
Brewer, John C., 349
Brewsters Millions, 89
Brice, Fanny, 44
Brickman, Marshall, 240, 242, 256
Bricusse, Leslie, 193, 211, 215, 219, 269,
285, 307, 311
Bride of Frankenstein, The, 43
Bridesmaids, 402
Bridge, The, 161
Bridge, Joan, 189
Bridge of San Luis Rey, The (192829),
23
Bridge of San Luis Rey, The (1944), 85
Bridge of Time, 127
Bridge on the River Kwai, The, 144, 145,
147, 171, 172, 248, 249
Bridges, Beau, 393
Bridges, Chris Ludacris, 370
Bridges, Dorothy Dean, 393
Bridges, James, 226, 256
Bridges, Jeff, 218, 230, 276, 310, 352,
393, 393, 394, 398
Bridges, Lloyd, 393
Bridges, Mark, 400, 402
Bridges at Toko-Ri, The, 139
Bridges of Madison County, The, 326
Bridget Joness Diary, 354, 356, 365
Brief Encounter, 90, 93, 144
Brigadoon, 134, 135
Brigham, Tom, 315
Bright, John (costume designer), 277,
284, 288, 314, 318, 326
Bright, John (writer), 27
Bright, Simon, 372, 407
Bright Star, 395
Bright Victory, 122, 123
430 Briley, John, 268
Brincat, Paul, 345
Brind, Bill, 243
Brink, Gary, 256
Brinker, Norbert, 353
Brinks Job, The, 252
Brinsmead, Duncan, 381
Brinton, Ralph, 176
Briski, Zana, 367, 369
Briskin, Sam, 14
Bristol, Howard, 73, 76, 80, 84, 126,
138, 169, 192, 206
British Academy of Film and
Television Arts, 29394
British Ministry of Information, 73
Britt, Herbert, 93, 115
Brittain, Donald, 239
Britton, Michael, 257
Broad, Colin, 323
Broadbent, Jim, 354, 355, 356
Broadcast News, 278, 288, 289
Broadcast Tapes of Dr. Peter, The, 319
Broadway Danny Rose, 276
Broadway Hostess, 43
OSCAR_80_p424-466_8-19-13.indd 430
Broadway Melody, The, 22, 23, 120

Broadway Melody of 1936, 42, 43
Broccoli, Albert A., 265
Broch, Brigitte, 330, 356
Brochu, Don, 318
Brock, Louis, 35
Brod, Sidney S., 35
Broderick, Matthew, 244, 270, 282
Brodine, Norbert, 61, 122
Brodney, Oscar, 134
Brodsky, Irene Taylor, 391
Brodszky, Nicholas, 103, 119, 123, 127,
131, 139
Brody, Adrien, 358, 359, 359, 360, 389
Broidy, Steve, 173
Brokeback Mountain, 370, 371, 372,
373, 407
Broken Arrow, 119
Broken Lance, 134
Broken Rainbow, 281
Brokman, Dea, 273
Brolin, Josh, 389, 390
Bromhall, Derek, 307
Bronx Cheers, 307
Bronzit, Konstantin, 391
Brook, Clive, 30, 32
Brooklyn, U.S.A., 97
Brooklyn Bridge, 265
Brooks, Albert, 288
Brooks, Donald, 176, 206, 214
Brooks, Jack, 93, 127, 131
Brooks, James L., 270, 271, 272, 273,
288, 330, 332, 334, 385
Brooks, Joseph, 243
Brooks, Mel, 206, 231, 384
Brooks, Nicholas, 345
Brooks, Richard, 138, 156, 163, 164,
173, 188, 192, 245, 248, 294
Brooms, 327
Bror Min Bror (Teis and Nico), 349
Brother Bear, 363, 365
Brother Sun, Sister Moon, 226
Brothers Karamazov, The (1958), 156
Brothers Karamazov, The (1969), 211
Broughton, Bruce, 280
Brown, Barry Alexander, 257
Brown, Bernard B., 61, 65, 68, 73, 76,
77, 81, 85, 88
Brown, Bruce, 219
Brown, Bryan, 300
Brown, Carlinhos, 403
Brown, Clarence, 25, 27, 80, 86, 88,
93, 366
Brown, David, 234, 268, 281, 304,
307, 314, 352
Brown, Eleanora, 169
Brown, Frederick J., 280
Brown, Garrett, 243, 345, 373
Brown, George, 123, 157
Brown, Harry, 115, 122, 123
Brown, Hilyard, 176
Brown, Jeff, 281
Brown, John R.B., 323
Brown, John W., 192
Brown, Kenneth G., 157
Brown, Kerrie, 326
Brown, Kris, 299
Brown, Lew, 50
Brown, Malcolm F., 138, 142
Brown, Mark A., 399
Brown, Martin, 356
Brown, Matthew, 381
Brown, Paul, 330
Brown, Rowland, 27, 61
Brown, Russell, 85
Brown, Sam, 150
Brown, Theo, 395
Brown, Tom, 49
Brown, Tregoweth, 185
Browne, Coral, 296
Browne, Leslie, 242
Brownlow, Kevin, 397, 399
Broyles, William, Jr., 326
Brubacher-Cressman, Dale, 345

Brubaker, 260
Brugge, Pieter Jan, 348
Brun, Joseph C., 130
Brunetti, Dana, 398
Bruno, Anthony D., 285
Bruno, John, 277, 284, 302, 315, 319,
323
Bruns, George, 161, 169, 177, 226
Bryan, Bill, 299
Bryan, John, 93, 96, 97, 181
Bryans, Michael, 273
Bryant, Jim, 166
Bryce, Alexander, 285
Bryce, Ian, 344
Brynner, Yul, 105, 140, 141, 142, 148
Bryson, David, 369
Buccaneer, The (1938), 61
Buccaneer, The (1958), 156
Buchanan, Ann, 352
Buchman, Sidney, 65, 72, 76, 115
Buck, Chris, 381
Buck, Pearl S., 49
Buck Privates, 72
Buckley, Bryan, 407
Buckner, Robert, 76
Buddy Holly Story, The, 252, 253
Buena Vista Social Club, 349
Buff, Conrad, 310, 334
Bugs Bunny, 154, 283
Bugs Life, A, 345
Bugsy, 310, 311
Bugsy Malone, 238
Building Bombs, 307
Building a Building, 35
Bujold, Genevieve, 210
Bull Durham, 298
Bulldog Drummond, 25
Bullets over Broadway, 320, 322, 322
Bullghter and the Lady, The, 122
Bullhead, 403
Bullitt, 206
Bullock, Sandra, 370, 384, 393, 393,
394
Bullock, Walter, 47, 69
Bulworth, 344
Bumstead, Henry, 156, 173, 226, 314
Bunnell, Michael, 395
Bunny, 345
Buuel, Luis, 222, 223, 242
Buono, Alexander, 361
Buono, Victor, 172
Burbank Studios, 231
Burbridge, Lyle, 238
Burbulla, Horst, 369
Burgess, Don, 322
Burghoff, Gary, 215
Burk, Paul, 277
Burke, Billie, 61
Burke, Edwin, 14, 31
Burke, Jim, 402
Burke, Johnny, 47, 69, 82, 85, 89
Burke, Marcella, 61
Burke, Michle, 269, 285, 307, 315,
348, 352
Burke, Tim, 353, 369, 399, 403
Burkett, Elinor, 395
Burks, Robert, 104, 122, 134, 138,
184
Burma VJ, 395
Burman, Barney, 395
Burman, Tom, 299
Burn It Blue, 360
Burnat, Emad, 407
Burnett, Carol, 220, 246
Burnett, T Bone, 362, 365, 395
Burnett, W.R., 76
Burning Down Tomorrow, 307
Burns, Allan, 256
Burns, Bob, 48
Burns, Catherine, 210
Burns, Edward, 344
Burns, George, 202, 203, 232, 234
Burns, Ken, 265, 281

Burns, Ralph, 223, 256, 269
Burnside, Norman, 68
Burnt by the Sun, 320, 323
Burrill, Timothy, 260
Burrough, Tony, 326
Burroughs, Jim, 265
Burrow, Milton C., 302
Burstein, Nanette, 349
Burstyn, Ellen, 200, 218, 226, 228,
229, 230, 236, 252, 260, 352, 366,
374
Burt, Donald Graham, 390
Burth, Willi, 289
Burtnyk, Nestor, 331
Burton, Bernard W., 51
Burton, John W., 157, 161
Burton, Richard, 126, 130, 131, 176,
180, 184, 187, 188, 210, 242, 262,
279, 342
Burton, Robert R., 315
Burton, Tim, 373, 407
Burton, Willie D., 253, 260, 273, 298,
322, 349, 377
Burtt, Benjamin, Jr. (Ben), 240, 243,
265, 269, 273, 299, 302, 331, 349,
391
Burum, Stephen H., 314
Burwell, Lois, 326, 344
Bus Stop, 142
Busch, Niven, 50
Busey, Gary, 252
Bush, Gary, 277
Bush, John, 348
Bush, Nan, 299
Bushman, Chris, 377
Bushman, Francis X., 8
Buster, 299
Busy Little Bears, 64
Butch and Sundance: The Early Years,
256
Butch Cassidy and the Sundance Kid,
208, 210, 211
Butler, Bill (cinematographer), 234
Butler, Bill (lm editor), 218
Butler, Chris, 407
Butler, Chris A., 314
Butler, David (director), 60
Butler, David (writer), 238
Butler, Frank, 76, 84
Butler, Greg, 403
Butler, Hugo, 68
Butler, Lawrence, 68, 69, 73, 77, 88,
235
Butler, Matthew, 403
Buttereld, Asa, 402
Buttereld 8, 148, 162, 163, 164, 200
Butteries Are Free, 220, 222, 223
Buttons, Red, 100, 106, 144, 146, 147,
194, 210, 333
Buttons and Bows, 103, 111
Butts, Dale, 89
Butts, Jerry, 243
Buzkashi Boys, 407
By Courier, 353
Bye Bye Birdie, 176, 177
Byington, Spring, 34, 58, 61
Byrne, Alexandra (Alex), 330, 344,
369, 380
Byrne, David, 289
Byrne, Seamus, 357
Caan, James, 199, 221, 222

Caballero, Eugenia, 376
Cabaret, 195, 220, 221, 222, 223
Cabin in the Sky, 81
Caccialanza, Victor, 111
Cacoyannis, Michael, 180
Cactus Flower, 208, 210, 211
Caddy, The, 131
8/21/13 6:59 PM
Cadillac, The, 173

Cadillac Dreams, 299
Cady, Jerome, 84
Caesar, Adolph, 276
Caesar, Arthur, 39
Caesar and Cleopatra, 90, 93
Caf, Reto, 391
Cage, Nicolas, 287, 324, 324, 326,
360, 363
Cage of Nightingales, A, 96
Caged, 119
Caglione, John, Jr., 307, 390
Cagney, James, 14, 56, 57, 61, 74, 75,
76, 138, 152
Cahn, Sammy, 77, 85, 88, 103, 111, 115,
119, 123, 127, 135, 139, 143, 147, 157,
161, 165, 169, 177, 181, 193, 207, 226,
235, 294
Cain, James M., 87
Cain and Mabel, 47
Caine, Jeffrey, 372
Caine, Michael, 188, 220, 222, 252,
272, 282, 284, 297, 346, 347, 348,
360, 389, 399, 406
Caine Mutiny, The, 121, 134, 135
Calamity Jane, 131
Calandrelli, Jorge, 280, 353
Caldwell, Zoe, 208
Calgary Stampede, 110
Calhern, Louis, 48, 119
Calico Dragon, The, 43
California Reich, The, 235
California Suite, 208, 250, 252
Call Me Irresponsible, 177
Call Me Madam, 130, 131
Callaghan, Colleen, 326, 356
Callahan, Gene, 168, 176, 238
Callari, Francesco, 377
Calley, John, 318, 319, 384, 393, 395
Calling You, 299
Cmara, Fernando, 377
Cambern, Donn, 277
Camelot, 190, 192, 193
cameo roles, 140
Camera Thrills, 43
Cameron, Dan, 323, 327
Cameron, James, 332, 333, 334, 392,
394, 395
Cameron, John, 226
Camila, 277
Camille, 50, 133
Camille Claudel, 302, 303
Cammisa, Rebecca, 395, 403
Camon, Alessandro, 394
Campbell, Alan, 50
Campbell, Charles L., 247, 269, 280,
299, 306
Campbell, Colin, 353
Campbell, David, 306, 322, 349, 353,
365, 377
Campbell, Floyd, 119
Campbell, Glen, 209
Campbell, R. Wright, 147
Campbell, W. Stewart, 231, 234, 273
Campion, Jane, 318, 363, 393
Can You Feel the Love Tonight,
322, 381
Can-Can, 164, 165
Candidate, The, 222, 223
Candle on the Water, 243
Canemaker, John, 338, 373
Canhead, 331
Cannarozzi, Antonella, 398
Canning, Iain, 396, 398
Cannom, Greg, 311, 315, 318, 326, 335,
348, 356, 369, 390
Cannon, Andrew J., 365
Cannon, Dyan, 210, 239, 252
Cannon, Vince, 239
Cannon, William, 47
Canonero, Milena, 234, 264, 280,
298, 306, 348, 356, 376
Cant Help Singing, 89
OSCAR_80_p424-466_8-19-13.indd 431
Cantamessa, Gene S., 223, 231, 243,

256, 269, 277, 284
Cantamessa, Steve, 369
Cantarini, Giorgio, 343
Canterbury Tales, The, 345
Canterville Ghost, The, 82
Cantinas, 140
Cantor, Eddie, 143
Cantor, Steven, 319
Canutt, Yakima, 189
Canyon Passage, 93
Capaldi, Peter, 323
Cape Fear, 310
Capobianco, Jim, 380
Capote, 370, 371, 372
Capra, Frank, 1415, 16, 17, 32, 35, 36,
39, 44, 46, 47, 51, 53, 56, 58, 61, 64,
72, 93, 100, 198, 216, 247, 270
Capstaff, John G., 89
Captain Blood, 40, 43
Captain Carey, U.S.A., 119
Captain Caution, 68
Captain Eddie, 88
Captain from Castile, 96
Captain Fury, 64
Captain Kidd, 89
Captain Newman, M.D., 176
Captain of Kopenick, The, 143
Captains Courageous, 48, 49, 50, 51
Captains of the Clouds, 76
Captains Paradise, The, 130
Capturing the Friedmans, 365
Cara, Irene, 258, 261, 270, 273
Carasik, Cheryl, 326, 330, 334, 368,
376
Caravan (1999), 349
Caravans (1978), 253
Carbonara, Gerard, 81
Cardiff, Jack, 55, 96, 142, 164, 168,
294, 350, 353
Cardinal, The, 176
Cardinale, Claudia, 208
Career, 160
Carefree, 61
Carell, Steve, 376
Caretakers, The, 176
Carey, Altina, 165
Carey, Charles, 165
Carey, Harry, 64
Carey, Leslie I., 115, 119, 123, 131, 135,
156
Carey, Patrick, 185, 215
Carey, Vivien, 215
Carfagno, Edward, 123, 126, 130, 134,
160, 173, 206, 234
Carioca, 38, 39
Carl Zeiss Company, 239, 289, 345
Carlin, Lynn, 206
Carlin, Michael, 390
Carlino, Lewis John, 242
Carlos, Michael C., 365
Carlson, Richard, 118
Carmen, 273
Carmen Jones, 134, 135
Carmichael, Bob, 260
Carmichael, Hoagy, 90, 93, 99, 123
Carnal Knowledge, 218
Carney, Art, 228, 229, 230
Caron, Leslie, 120, 130, 154, 176, 278,
384
Carpenter, Chris, 319, 331, 349
Carpenter, Claude, 84, 88, 126
Carpenter, Loren, 315, 353
Carpenter, Russell, 334
Carr, Allan, 296, 297
Carr, Cindy, 310, 344
Carr, James, 131, 147, 157
Carr, Robert, 115
Carradine, David, 239
Carradine, John, 49
Carradine, Keith, 234, 235
Carranza, Bernadette, 331
Carrere, Edward, 115, 164, 192
Carrere, Fernando, 168

Carrie (1952), 126, 127
Carrie (1976), 238
Carrire, Jean-Claude, 173, 222, 242,
298
Carroll, Diahann, 204, 230
Carroll, Nancy, 25
Carroll, Ronan, 345
Carroll, Sidney, 168
Cars, 377
Carson, Johnny, 245, 250, 254, 258,
262, 270
Carson, Robert, 50
Carstensen, Kira, 403
Carter, Jimmy, 200
Carter, John (father), 235
Carter, John (son), 323, 327
Carter, Maurice, 181, 210
Carter, Michael A., 277, 284
Carter, Rick, 322, 394, 402, 407
Carter, Ruth, 314, 334
Carter Equipment Company, Inc.,
223, 235, 261
Cartoni, Guido, 311
Cartwright, H.G., 97
Cartwright, Randy, 311
Cartwright, Robert, 181, 214, 218, 260
Cartwright, Veronica, 272
Casablanca, 78, 80, 81, 121
Casals Conducts: 1964, 181
Casanova Brown, 84, 85
Casanova 70, 184
Casarosa, Enrico, 403
Casbah, 111
Cascio, Salvatore, 303
Case, Dale, 215
Case of Sergeant Grischa, The, 25
Casey, George V., 231, 235, 260, 335
Cashback, 373
Cashin, Jack, 273, 335
Casino, 326
Casino Royale, 193
Cass, Peggy, 156
Cassavetes, John, 192, 206, 231
Cassel, Jean-Pierre, 223
Cassel, Seymour, 206
Cassidy, Jay, 380, 406
Cast Away, 352, 353
Castellano, Richard, 214
Castillo, Antonio, 218
Castle-Hughes, Keisha, 364
Cat and the Canary, The, 88
Cat Ballou, 182, 183, 184, 185
Cat Came Back, The, 299
Cat Concerto, The, 93
Cat in Paris, A, 403
Cat on a Hot Tin Roof, 156, 157, 200
Catch Me If You Can, 360
Cates, Gilbert (Gil), 300, 305, 313,
332, 358, 379
Cathcart, Daniel B., 80, 84
Cathedral, The, 361
Catmull, Ed, 315, 327, 353, 373, 391
Cato, Vaughn, 369
Catozzo, Leo, 303
Cats Eye, 350
Cats Play, 231
Cattaneo, Peter, 307, 334
Causey, Gigi, 403
Causey, Thomas, 306
Cavalcade, 23, 32, 35
Cavalcade of the Dance with Veloz and
Yolanda, 81
Cavdek, Dick, 311
Cavn, Ian, 403
Cavett, Frank, 84, 96, 126
Cayton, William, 207
Cazale, John, 251
Cecchi DAmico, Suso, 184
Cecchi Gori, Mario, 326
Cecchi Gori, Vittorio, 326
Cecil B. DeMille Foundation, 338
Cecil B. DeMille Trust, 290
Celinski, Andrzej, 369

Cell, The, 352
Celso, Mario, 311
censorship, 78
Centennial Summer, 93
Center for Motion Picture Study.
See Fairbanks Center for Motion
Picture Study
Central Station, 344, 345
Century Precision Optics, 311
Cerami, Vincenzo, 344
Cerny, Karel, 277
Certain Smile, A, 156, 157
Certain Smile, A, 157
Cesari, Bruno, 288, 348
Cetera, Peter, 285
Chabert, Pierre, 361
Chafn, Cen, 390, 398
Chagall, 177
Chagrin, Claude, 231, 239
Chagrin, Julian, 231, 239
Chairy Tale, A, 147
Chakiris, George, 166, 168
Chalimon, Andrej, 330
Chalk Garden, The, 180
Challenge . . . A Tribute to Modern Art,
The, 231
Chalufour, Michel, 269
Chamberlain, Richard, 178
Chambers, John, 207
Champ, The (193132), 28, 29, 31
Champ, The (1979), 256
Champagne for Two, 97
Champion, 115
Champion, Gower, 144, 204
Champion, Marge, 144
Champions Carry On, 81
Chan, George B., 210
Chance to Live, A, 115
Chances Are, 302
Chandlee, Harry, 72
Chandler, Jeff, 119
Chandler, Michael, 277
Chandler, Raymond, 84, 93
Chandor, J.C., 402
Chaney, Lon, 8, 80
Chang, 21
Change of Heart, 81
Change Partners and Dance with
Me, 61
Changeling, 390
Changing Our Minds: The Story of Dr.
Evelyn Hooker, 315
Channing, Carol, 192
Channing, Stockard, 318
Channing-Williams, Simon, 330
Chaperot, Georges, 96
Chaplin, 314, 315
Chaplin, Charles, 18, 21, 21, 68, 96,
101, 196, 197, 216, 219, 220, 222,
223, 236, 400
Chaplin, Saul, 123, 131, 135, 143, 169
Chapman, Brenda, 407
Chapman, Christopher, 193
Chapman, Jan, 318
Chapman, Leonard, 253, 269
Chapman, Linda, 265
Chapman, Mark, 373, 399
Chapman, Michael, 260, 318
Chapman, Ralph, 173
Chapman, Steve, 395
Chappel, Tim, 322
Chapter Two, 256
Character, 332, 335
Charade (1963), 177
Charade (1984), 277
Charade, 177
Charest, Benot, 365
Charge of the Light Brigade, The, 47
Charig, Phil, 61
Chariots of Fire, 262, 264, 265
Chariots of the Gods, 215
Charisse, Cyd, 182, 278, 296
431
8/21/13 6:59 PM
432
Charles M. Powell Repository

of Motion Picture Marketing
Materials, 339
Charleson, Ian, 262
Charlie and the Chocolate Factory, 372
Charlie Wilsons War, 380
Charlone, Cesar, 364
Charly, 197, 204, 205, 206
Charman, Roy, 235, 253, 264, 284
Chartier, Nicolas, 392, 394
Chartoff, Robert, 236, 238, 259, 260,
272
Chase, Borden, 110
Chase, Chevy, 282, 286
Chase, Ken, 280
Chase of Death, 115
Chasing Ice, 407
Chasnoff, Debra, 311
Chastain, Jessica, 401, 401, 402, 406
Chatelain, Arthur B., 89
Chattanooga Choo Choo, 72
Chatterton, Ruth, 23, 25, 27
Chayefsky, Paddy, 100, 136, 137, 138,
156, 218, 237, 238
Cheadle, Don, 368, 370
Chedeville, Pascal, 327
Cheek to Cheek, 43
Cheers for Miss Bishop, 72
Chef in Love, A, 331
Chekhov, Michael, 88
Chekmayan, Ara, 273
Chen, Jerome, 349
Chen, Joan, 286
Chen, Max, 377
Cher, 249, 272, 286, 287, 288
Chernobyl Heart, 365
Chervin, Dominique, 391
Chervin, Stan, 402
Chesse, Matt, 369
Chetwynd, Lionel, 231
Chevalier, Maurice, 25, 154, 157
Chevry, Bernard, 211
Chew, Richard, 235, 243
Chewey, Michael V., III, 257, 299
Cheyenne Autumn, 180
Chiang, Doug, 315
Chiari, Mario, 192
Chicago, 358, 358, 360, 361, 365
Chicken, The (Le Poulet), 185
Chicken from Outer Space, The, 327
Chicks in White Satin, 319
Chico & Rita, 403
Chikaya, Inoue, 215
Childeater, The, 303
Children at Work, 227
Children of Darkness, 273
Children of Fate, 319
Children of Heaven, 345, 402
Children of Leningradsky, The, 369
Children of a Lesser God, 278, 282,
283, 284
Children of Mars, 81
Children of Men, 376
Children of Nature, 311
Children of Paradise, 90, 93
Children of Soong Ching Ling, The,
277
Children of Theatre Street, The, 243
Children Underground, 357
Children Without, 181
Childrens Hour, The, 168, 169
Childrens Storefront, The, 299
Childs, Martin, 344, 352
Chile: Hasta Cuando?, 285
Chilvers, Colin, 253
Chim Chim Cher-ee, 148, 179, 181
Chimps: So Like Us, 307
China Syndrome, The, 256
Chinas Unnatural Disaster: The Tears
of Sichuan Province, 395
Chinatown, 228, 230, 231
Chinn, Simon, 391, 407
Chip An Dale, 96
OSCAR_80_p424-466_8-19-13.indd 432
Chitty Chitty Bang Bang, 207

Chitty Chitty Bang Bang, 207
Chocolat, 352
Chocolate Soldier, The, 72, 73
Cholodenko, Lisa, 398
Chomet, Sylvain, 335, 363, 365, 399
Chopins Musical Moments, 93
Chorus, The (Les Choristes), 369
Chorus Line, A, 280
Chow Yun-Fat, 141
Choy, Christine, 299
Chrtien, Henri, 131
Christ among the Primitives, 131
Christensen, Per, 395
Christensen, Shawn, 407
Christian, Roger, 242, 256
Christiansen, Christian E., 381
Christie, Charles H., 9
Christie, Julie, 153, 182, 183, 184, 218,
334, 380
Christie Electric Corporation, 269
Christl, Lisy, 402
Christmas Carol, A, 223
Christmas Cracker, 181
Christmas Holiday, 85
Christmas under Fire, 73
Christo, Cyril, 289
Christopher, Frank, 277
Christopher Crumpet, 131
Christos Valley Curtain, 227
Chronicles of Narnia: The Lion, the
Witch and the Wardrobe, The, 372,
373
Chuang, Richard, 335
ChubbChubbs!, The, 361
Chukhrai, Grigori, 168
Church, Thomas Haden, 368
Churchill, Frank, 51, 72, 77
Churchills Island, 73
Churgin, Lisa Zeno, 348
Cider House Rules, The, 346, 347, 348,
349
Cieslinski, Michael, 395
Cilento, Diane, 176
Cimarron (193031), 26, 27
Cimarron (1960), 164, 165
Cimino, Michael, 250, 252
Cinderella, 119
Cinderella Horse, 110
Cinderella Liberty, 226
Cinderella Man, 372
Cinema Paradiso, 300, 303, 303
Cinema Product Development
Company, 207
Cinema Products Co., 219, 243
Cinema Research Corporation, 219
CinemaScope, 128, 131
Cinematographer, The, 56
Cinquegrana, August, 253
Circle of Life, 322
Circus, The, 18, 21
Cisco Kid, The, 23
Citadel, The, 61
Citizen Kane, 70, 72, 73
City Called Copenhagen, A, 165
City Decides, A, 143
City of God, 364
City of Gold, 147
City of Wax, 39
City Out of Wilderness, 231
City Slickers, 305, 308, 308, 310
Civil Action, A, 344
Claborn, Terry, 373
Claire, Ina, 149
Clairmont, Denny, 399
Clairmont Camera, 311
Clan of the Cave Bear, The, 285
Clark, Al, 51, 64, 115, 156, 165
Clark, Candy, 226
Clark, Carroll, 39, 43, 50, 77, 80, 84,
168, 181
Clark, Chris, 222
Clark, Daniel, 69, 77
Clark, James B., 73

Clark, Jim, 277, 284
Clark, Pete (Frank P.), 335
Clark, Tony, 399
Clarke, Arthur C., 206
Clarke, Charles G., 76, 80, 81, 110,
115, 257
Clarke, Julian, 395
Clarke, Malcolm, 299, 361
Clarke, Shirley, 161
Clarke, T.E.B., 115, 126, 164
Clarkson, Patricia, 364
Class, The, 391
Clatworthy, Robert, 164, 173, 184, 192
Claudelle Inglish, 169
Claudine, 230
Claudon, Paul, 231
Clave, 126, 127
Clawson, Elliott, 23
Clay or The Origin of Species, 185
Clayburgh, Jill, 252, 256
Clayton, Adam, 360
Clayton, David, 407
Clayton, Jack, 160, 161
Clear and Present Danger, 322
Cleary, Kevin F., 298, 302, 306
Cleese, John, 297
Clemente, Pia, 373
Clements, Ron, 361, 395
Cleopatra (1934), 36, 38, 39
Cleopatra (1963), 163, 174, 176, 177
Click, 376
Client, The, 322
Cliff Dwellers, The (formerly titled
One Plus One), 173
Cliffhanger, 319
Clift, Montgomery, 104, 110, 122, 123,
129, 130, 168
Climax, The, 84
Climb, 231
Climbing the Matterhorn, 97
Cline, Wilfred M., 73
Clinton, Andrew, 403
Clockmaker, 227
Clockwork Orange, A, 218
Clooney, George, 370, 372, 380, 394,
402, 404, 405, 406
Cloquet, Ghislain, 260
Clore, Leon, 131
Close, Glenn, 268, 270, 272, 276, 286,
288, 298, 300, 305, 316, 402
Close Encounters of the Third Kind,
203, 241, 242, 243, 337
Close Harmony, 264
Close Shave, A, 327
Close to Eden, 315
Closed Mondays, 231
Closely Watched Trains, 193
Closer, 368
Clothier, William H., 164, 180
Clouse, Robert, 173, 181
Clowes, Daniel, 356
Clutterbuck, Simon, 407
Coal Miners Daughter, 258, 259, 260,
372
Coates, Anne V., 173, 181, 260, 318,
344
Coates, John, 269
Cobb, Irvin S., 36, 39, 409
Cobb, Lee J., 134, 156
Cobeaga, Borja, 377
Coblenz, Walter, 222, 238
Coburn, Charles, 72, 78, 80, 81, 93,
100
Coburn, James, 342, 344, 344
Cochran, Steve, 90
Cocks, Jay, 318, 360
Coco, James, 264
Coco Before Chanel, 395
Cocoon, 278, 280, 281
Code Gray: Ethical Dilemmas in
Nursing, 277
Cody, Diablo, 380
Cody, Lew, 152

Coe, Fred, 100, 184, 185
Coe, George, 207
Coen, Ethan, 330, 352, 378, 379, 380,
394, 398
Coen, Franklin, 184
Coen, Joel, 330, 352, 378, 379, 380,
394, 398
Coffee, Lenore, 61
Cohan, George M., 75
Cohen, Bruce, 341, 348, 390, 393, 406
Cohen, Danny, 398
Cohen, Emory M., 243
Cohen, George, 9, 11
Cohen, Joel, 326
Cohen, Jonathan M., 381
Cohn, Alfred, 21
Cohn, Arthur, 169, 261, 307, 349
Cohn, Harry, 36, 117
Cohn, Robert, 207
Colasanti, Veniero, 169
Colbert, Claudette, 12, 36, 37, 38, 39,
43, 84, 104, 136, 281, 331
Cold Mountain, 362, 364, 365
Coldeway, Anthony, 21
Cole, Janet, 345
Cole, Natalie, 329
Coleman, C.C., Jr., 51
Coleman, Cedric, 371, 373
Coleman, Cy, 211
Coleman, Dabney, 263
Coleman, Howard S., 161
Coleman, Rob, 349, 361
Colesberry, Robert F., 298
Colette, 154
Colla, Johnny, 280
Collateral, 366, 367, 368, 369
Collector, The, 184
Collector of Bedford Street, The, 361
College Queen, 93
Collette, Toni, 348, 376
Collier, David, 319
Collinge, Patricia, 72
Collings, Pierre, 44, 47
Collingwood, Monica, 96
Collins, Anthony, 65, 69, 72
Collins, Joan, 153, 270
Collins, Judy, 231
Collins, Pauline, 302
Collins, Phil, 277, 299, 349
Collis, Bill, 377
Collis, Jack, 238
Colman, Edward, 168, 180
Colman, Ronald, 8, 24, 25, 76, 94, 95,
96, 100, 108, 140, 178, 410
Colman, Sharon, 373
Colombo, Alberto, 51
Colonel Redl, 281
Color of Money, The, 279, 283, 284
Color Purple, The, 278, 280
Colors of the Wind, 326
Colors Straight Up, 335
Colours of My Father: A Portrait of
Sam Borenstein, The, 315
Colson, Christian, 388, 390, 398
Columbia Pictures, 39, 51, 119, 124,
135, 165
Columbia TriStar Home Video, 293
Columbus, Chris, 402
Colwell, Thom, 327
Comandini, Adele, 47
Comandini, Pete, 311
Combat Counter-Intelligence, 52
Combat Report, 77
Comden, Betty, 130, 138, 292
Come and Get It, 44, 45, 47
Come Back, Little Sheba, 124, 125, 126,
127
Come Blow Your Horn, 176
Come Fill the Cup, 122, 210
Come Follow, Follow Me, 223
Come Saturday Morning, 211
Come to Me, 238
8/21/13 6:59 PM
Come to the Stable, 95, 115

Comer, Samuel M., 73, 76, 84, 88, 93,
119, 134, 138, 142, 147, 156, 160, 164,
168, 169, 173, 176
Comes a Horseman, 252
Coming Home (1978), 217, 250, 251,
252, 253, 346
Coming Home (song, 2012), 398
Coming to America, 298, 299
Commandos Strike at Dawn, 81
Commitments, The, 310
Common Threads: Stories from the
Quilt, 303
Competition, The, 260
Complaints of a Dutiful Daughter,
323
Compson, Betty, 23
Computer Film Company, 327
Comrade X, 68
Con Air, 334
Conan the Destroyer, 350
Concert, The (1963), 177
Concert, The (1974), 231
Condemned, 25
Condie, Richard, 280, 331
Condon, Bill, 344, 360, 389
Condon, Richard, 280
Coney Island, 81
Confession, The, 399
Condence, 261
Conformist, The, 218
Cong Su, 289
Conley, Renie. See Renie
Conn, Pamela, 289
Connaughton, Shane, 302
Connell, Richard, 72, 84
Connelly, Jennifer, 354, 354, 356
Connelly, Joe, 138
Connelly, Marc, 50
Conner, William, 357
Connery, Sean, 286, 288, 297
Connick, Harry, Jr., 304
Connolly, Bob, 273
Connolly, Bobby, 43, 47, 51
Connolly, Donald A., 257
Connolly, Myles, 88
Connolly, Tim, 403
Connors, Carol, 238, 243
Conover, Christopher D., 323
Conquer by the Clock, 77
Conquest, 50
Conquest of Everest, The, 131
Conquest of Light, 235
Conrad, Con, 38, 39
Conrad, Scott, 238
Conroy, Pat, 310
Conroy, Thomas R., 311
Conscience of Nhem En, The, 391
Considine, John W., Jr., 42
Consolidated Film Industries, 207,
215, 219, 223, 239
Constant Gardener, The, 370, 371, 372,
373
Constant Nymph, The, 71, 80
Constantine, John M., Jr., 357
Constantine, Paul J., 357
Constantine, Peter M., 357
Contact (1992), 315
Contact (1997), 334
Conte, Richard, 221
Contender, The, 352
Conti, Bill, 238, 264, 273, 358, 379
Conti, Tom, 272
Conti, Walt, 353
Continental, The, 38, 39
Conversation, The, 196, 230, 231
Converse, Charles E., 335
Conway, Lyle, 284
Conway, Richard, 302
Coogan, Robert, 27
Cook, Alan, 65
Cook, Gordon Henry, 299
Cook, Randall William, 357, 361, 365
OSCAR_80_p424-466_8-19-13.indd 433
Cook, Rob, 315, 353

Cook, Robert O., 93, 169, 173, 181
Cook, T.S., 256
Cook, Tim, 289
Cooke Optics Limited, 407
Cool Hand Luke, 190, 192, 193
Cooler, The, 364
Coolidge, Calvin, 10, 18
Cooney, Tim, 319
Coons, David B., 311
Coop, Denys, 253
Cooper, Bradley, 406, 406
Cooper, Chris, 358, 360, 361, 372
Cooper, Dorree, 322
Cooper, Gary, 14, 34, 46, 47, 68, 71,
72, 76, 80, 124, 126, 152, 162, 165,
337
Cooper, Gladys, 76, 80, 180
Cooper, Jackie, 26, 27, 29
Cooper, Merian C., 34, 126, 127
Cooper, Scott, 393
Cop, The, 23
Copland, Aaron, 64, 65, 69, 81, 115
Coppel, Alec, 130
Coppola, Carmine, 199, 201, 231, 307
Coppola, Francis Ford, 196, 201, 212,
214, 220, 221, 222, 226, 228, 230,
230, 231, 256, 306, 363, 374, 397,
399
Coppola, Roman, 406
Coppola, Soa, 363, 364, 393
Copy Shop, 357
Coquette, 22, 23, 234
Coraline, 395
Corbould, Chris, 391, 399
Corbould, Neil, 353, 377, 407
Corbucci, Sergio, 406
Corby, Ellen, 110
Corcoran, James P., 176, 184, 189
Cordell, Frank, 215
Cordner, Matt, 407
Cordwell, Harry, 269, 288
Corenblith, Michael, 326, 352
Corey, Wendell, 153
Corigliano, John, 260, 349
Corl, Hal, 97, 139
Corlan, Radu, 403
Corman, Avery, 255
Corman, Roger, 384, 393, 395
Corn Is Green, The, 88
Cornelius, David, 345
Cornell, John, 284
Cornell, Pamela, 214
Corneville, Martial, 402
Corr, Eugene, 307
Corsican Brothers, The, 77
Corso, Bill, 369, 376
Corso, John W., 260
Cort, Bud, 215
Cortese, Valentina, 227, 228, 230
Cortez, Stanley, 76, 84
Corvette K-225, 80
Corwin, Norman, 142
Cory, Judy Alexander, 318, 322
Cory, Philip C., 335
Cory, Ray, 85
Cosgrove, John R. (Jack), 65, 68, 77,
85, 88
Coslow, Sam, 81
Cosmic Voyage, 331
Costa-Gavras, 210, 268
Costas, Ted, 377
Costello, Dianna, 281
Costello, Elvis, 362, 365
Costner, Kevin, 288, 292, 304, 304,
306, 312
Costume Designer, The, 56
Cotillard, Marion, 341, 379, 379, 380,
388, 399
Cotten, Joseph, 72, 94
Cotton Club, The, 277
Cotts, Jerry, 369
Couch, Lionel, 164, 210
Couffer, Jack, 226

Coughlin, Sean, 357
Coulais, Bruno, 369
Coulier, Mark, 402
Coulter, Michael, 326
Coumert, Bruno, 391
Count Your Blessings Instead of
Sheep, 135
Counterfeiters, The, 379, 381
Country, 275
Country Cousin, 47
Country Girl, The, 132, 134
Country Strong, 398
Coup de Torchon (Clean State), 269
Couples and Robbers, 264
Courage, Alexander, 185, 193
Courage to Care, The, 281
Course Completed, 289
Court Martial of Billy Mitchell, The,
138
Courtenay, Tom, 184, 272
Courtley, Steve, 349
Cousin, Cousine, 238, 239
Cousteau, Jacques-Yves, 143, 161, 181
Coutant, Andre, 115
Couturie, Bill, 303, 311
Cove, The, 395
Cover Girl, 84, 85
Cow, The, 303
Cow Dog, 143
Cowan, Paul, 257
Coward, Noel, 32, 77, 80, 140
Cowboy, 156, 189
Cowboy and the Lady, The, 61
Cowboy and the Lady, The, 61
Cox, Joel, 312, 314, 369
Cox, John (sound), 169, 173, 181
Cox, John (visual effects), 327
Crabe, James, 260
Crabtree, Mark V., 349, 365
Crac, 264
Crack USA: County under Siege, 303
Cradle of Genius, 169
Craig, Daniel, 388
Craig, James, 67
Craig, Michael, 164
Craig, Stuart, 260, 269, 284, 298, 314,
330, 356, 372, 398, 402
Crain, Jeanne, 114, 115
Cram, Mildred, 65
Crama, Nico, 253
Cramer, Sebastian, 381
Crandell, Frank, 135
Crash, 370, 370, 372, 373
Crash Dive, 81
Crashing the Water Barrier, 143
Crawford, Broderick, 99, 100, 112, 113,
115, 117
Crawford, Joan, 28, 54, 86, 87, 88, 94,
96, 100, 126, 152, 170, 172
Crawley, F.R., 235
Crazy Heart, 393, 394, 395
Crazy Mixed Up Pup, 135
Crazylegs, 131
Creagh, Gethin, 357
Creagh, Michael, 399
Creation, The, 264
Creation of Woman, The, 165
Creative House Promotions, 295
Creature Comforts, 307
Creber, William, 184, 222, 231
Cresswell, Luke, 327
Crichton, Charles, 297, 298
Crichton, Michael, 323
Cries and Whispers, 226
Crimes and Misdemeanors, 302
Crimes of the Heart, 284
Criminal Code, The, 27
Crimson Tide, 326, 327
Crise, Douglas, 376
Crisp, Donald, 48, 54, 70, 72, 100
Cristiani, Gabriella, 289
Critchlow, Keith F., 235
Crites, Clark F., 335

Critic, The, 177
Crocodile Dundee, 282, 284, 396
Cromwell, 212, 214, 215
Cromwell, James, 326
Cromwell, John, 24, 82
Cronenweth, Jeff, 398, 402
Cronenweth, Jordan, 284
Cronjager, Edward, 27, 73, 76, 80, 84,
130
Cronyn, Hume, 84, 281
Crookham, David, 281
Crookham, Joe P., 281
Crosby, Bing, 64, 74, 82, 83, 84, 88,
99, 127, 134, 140, 340
Crosby, Floyd, 27
Crosby, Percy, 27
Cross, Ben, 262
Cross, Christopher, 264
Cross Creek, 272, 273
Crosse, Rupert, 210
Crossre, 96
Crossley, Callie, 289
Crothers, Scatman, 233
Crouch, Andrae, 280
Crouching Tiger, Hidden Dragon, 350,
352, 352, 353
Crouse, John, 85
Crouse, Lindsay, 276
Crowd, The, 21
Crowe, Cameron, 330, 352
Crowe, Russell, 348, 350, 350, 352,
354, 356, 356, 405
Crowley, Michael, 281
Crowley, Nathan, 376, 390
Crucible, The, 330
Cruel Sea, The, 130
Cruickshank, Art, 189, 256
Cruise, Tom, 283, 296, 302, 328, 330,
348, 366, 387
Cruise Control, 315
Crump, Owen, 123
Crunch Bird, The, 218
Crusades, The, 43
Crush, The, 399
Cruz, Maria. See Littlefeather,
Sacheen
Cruz, Penlope, 376, 378, 383, 389,
390, 390, 394
Cruze, James, 29
Cry Freedom, 288, 289
Cry Freedom, 289
Cry in the Dark, A, 298
Cry of ReasonBeyers Naud: An
Afrikaner Speaks Out, The, 299
Crying Game, The, 312, 314
Crystal, Billy, 292, 293, 300, 305, 308,
309, 313, 328, 332, 339, 346, 362,
384, 389, 396, 400
Csillag, Steve, 115
Cuarn, Alfonso, 360, 376
Cuarn, Carlos, 360
Cukor, George, 32, 34, 35, 63, 67, 68,
83, 95, 96, 99, 117, 119, 149, 153, 178,
179, 180, 194, 244, 245, 258
Cullen, Edward F., 161
Cullman, Sam, 403
Culture, 345
Cummings, Irving, 23
Cummings, Jack, 134
Cummings, Quinn, 241, 242
Cundey, Dean, 298
Cunningham, Carolynne, 394
Curfew, 407
Curious Case of Benjamin Button, The,
388, 390, 391
Curreri, Lee, 261
Curry, Marshall, 373, 403
Curse of the Golden Flower, 376
Curtain Call, 353
Curtin, Valerie, 256
Curtis, Charles, 26
Curtis, Jamie Lee, 297
433
8/21/13 6:59 PM
Curtis, Richard, 322

Curtis, Tony, 156, 165, 204
Curtiss, Edward, 47
Curtiz, Michael, 8, 40, 61, 75, 76, 78,
80, 86, 87, 350
Cusack, Joan, 298, 334
Cusack, John, 322
Cusack, Pud, 345
Cutler, Scott, 377
Cyrano and DArtagnan, 117
Cyrano de Bergerac (1950), 116, 117, 119
Cyrano de Bergerac (1990), 304, 306,
307
Czechoslovakia 1968, 211
D-Day Remembered, 323

Da Costa, Morton, 172
Dad, 303
Daddy Long Legs, 138, 139
Dadourian, Arpag, 323
Dae, 257
Daelemans, Anja, 361, 381
Daens, 315
Dafoe, Willem, 282, 284, 344, 352
DAgostino, Albert S., 47, 76, 80, 84,
88
DaGradi, Don, 180
Dahl, Arlene, 108
Dahl, Tom, 288
Dailey, Dan, 110
Daily, Charles R., 89, 97, 115, 143
Daily Variety (newspaper), 94
Daisy Miller, 231
Daldry, Stephen, 352, 360, 390, 391
Dale, James, 169
Dale, Jim, 189
Dalgleish, W.M., 85
Dall, John, 88, 165
Dallmayr, Horst, 215
Dalrymple, Ian, 61
Dalton, Burt, 391, 395
Dalton, Phyllis, 184, 206, 302
Dalva, Robert, 256
Daly, Tom, 127, 147, 157, 177, 189
Dam Busters, The, 139
Damage, 314
Damaschke, Bill, 369
Damn Yankees, 157
Damned, The, 210
Damon, Matt, 332, 334, 335, 372, 374,
380, 394, 397
DAmore, Hallie, 322
Damsel in Distress, A, 50, 51
Damski, Mel, 335
Dance Lexie Dance, 335
Dancemaker, 345
434 Dancer in the Dark, 353
Dances With Wolves, 304, 304, 306,
307, 308
Dancing Pirate, 47
Dandridge, Dorothy, 134
Dane, Clemence, 93
Danevic, Nena, 277
Danforth, Jim, 181, 219
Dang, Brian, 353
DAngelo, Beverly, 259
Danger under the Sea, 123
DAngerio, Alan, 318
Dangerous, 15, 40, 42, 43
Dangerous Liaisons, 298, 299
Dangerous Moves, 277
Daniel, Eliot, 115, 123
Daniel, Frank, 289
Daniel, Gordon, 189
Daniele, Gaetano, 326
Daniels, Anthony, 241
Daniels, Eric, 361
Daniels, Lee, 394
Daniels, William, 25, 110, 156
Danish Poet, The, 377
OSCAR_80_p424-466_8-19-13.indd 434
Danna, Mychael, 407

Danner, Blythe, 419
Dano, Paul, 396
Danon, Ambra, 256
Danon, Marcello, 256
Danquart, Pepe, 319
DAntoni, Philip, 216, 218
Danza, Tony, 370
Darabont, Frank, 322, 348
Darby, Jonathan, 315
Darby, Ken, 143, 157, 161, 169, 177, 193
Darby, Kim, 209
DArcy, Marcus, 326
Darin, Bobby, 176
Dark Angel, The, 43
Dark at the Top of the Stairs, The, 164
Dark Command, The, 69
Dark Eyes, 288
Dark Knight, The, 388, 389, 390, 391
Dark Mirror, The, 91, 93
Dark Victory, 64
Dark Wave, The, 143
Darling, 182, 183, 184
Darling, William S., 32, 35, 47, 50, 64,
80, 88, 93
Darling Lili, 214, 215
Darnell, Linda, 114
Darondeau, Yves, 373
dArrast, Harry dAbbadie, 27
Dartnell, Julie, 406
Darwell, Jane, 66, 68, 100
Darwins Nightmare, 373
Das Boot, 268, 269
Das Rad, 361
Dasser, Andreas, 381
Dassin, Jules, 164, 180
Dauber, Philip, 243
Daughter from Danang, 361
Daughter of the Bride, 335
Davaa, Byambasuren, 369
Davalos, Richard, 136
Dave, 318
Davey, Allen M., 61, 68, 80, 84, 88
Davey, Bruce, 324, 326
Daviau, Allen, 268, 280, 288, 306, 310
David, Christopher, 322
David, Hal, 103, 185, 189, 193, 210, 211
David, Mack, 119, 161, 169, 172, 177,
181, 185, 189
David, Saul, 188
David and Bathsheba, 122, 123
David and Lisa, 172
David Coppereld, 43
Davidi, Guy, 407
Davidson, Adam, 307
Davidson, Carson, 139, 181
Davidson, Colin, 377, 395
Davidson, Jaye, 314
Davidson, Kief, 407
Davidson, Kim, 335, 361
Davidson, Roy, 65
Davies, Jack, 184
Davies, Tessa, 273
Davies, Valentine, 96, 97, 115, 134,
143, 153
DAvino, Carmen, 177, 227
Davis, Bette, 10, 15, 17, 36, 40, 42, 43,
56, 58, 59, 60, 61, 64, 68, 70, 71, 72,
76, 79, 84, 87, 102, 116, 117, 119, 126,
152, 172, 172, 240, 283, 410
Davis, Bruce, 295, 387
Davis, C.C., 97
Davis, Clay, 323, 327
Davis, Dane A., 349
Davis, Frank, 88, 184
Davis, Geena, 295, 296, 298, 298, 310
Davis, George W., 119, 123, 130, 138,
147, 160, 164, 173, 176, 180, 181, 184,
188, 206
Davis, Hubert, 369
Davis, John A., 357
Davis, Judy, 276, 314
Davis, Lem, 311
Davis, Matt, 373, 399

Davis, Mike, 323
Davis, Nick, 391
Davis, Peter, 231
Davis, Sammy, Jr., 174, 216, 228, 250,
297
Davis, Sharen, 369, 376
Davis, Sidney, 207
Davis, Viola, 386, 390, 401, 402
Davison, Bruce, 306
Dawe, Tony, 273, 288, 298, 302
Dawn, Jeff, 311
Dawn Flight, 235
Dawn Patrol, The, 27
Dawns Here Are Quiet, The, 223
Dawson, Beatrice, 139
Dawson, Michael, 407
Dawson, Ralph, 43, 46, 47, 61, 135
Day, Doris, 160
Day, Ernest, 277
Day, Richard, 27, 31, 39, 43, 47, 50,
61, 69, 73, 76, 93, 110, 122, 126, 134,
184, 214
Day after Trinity, The, 261
Day & Night, 399
Day at the Races, A, 51
Day for Night, 227, 228, 230, 231
Day I Fall in Love, The, 318
Day in the Life of Bonnie Consolo, A,
235
Day of the Dolphin, The, 226
Day of the Jackal, The, 226
Day of the Locust, The, 234
Day of the Painter, 165
Daybreak in Udi, 115
Day-Lewis, Daniel, 285, 300, 301,
302, 318, 318, 360, 378, 379, 380,
401, 404, 405, 406
Daylight, 331
Days of Glory, 85
Days of Glory (Indignes), 377
Days of Heaven, 252, 253
Days of Thunder, 306
Days of Waiting, 307
Days of Wine and Roses, 172, 173, 225,
363
Days of Wine and Roses, 172
Dayton, Richard T., 311
DCruz, Jaimie, 399
Dead, The, 288
Dead End, 50, 110
Dead Man Walkin, 326
Dead Man Walking, 324, 325, 326, 362
Dead Poets Society, 302
Deadly Deception: General Electric,
Nuclear Weapons and Our
Environment, 311
Deakins, Roger, 322, 330, 334, 352,
356, 380, 390, 398, 406
Deal, Carl, 391
De Alba, Beatrice, 361
Dean, James, 136, 138, 142, 143, 245
Dean, Laura, 261
Dean, Lisa (Lisa Dean Kavanaugh),
306, 344
de Antonio, Emile, 211
Dear Diary, 331
Dear Heart, 181
Dear John, 185
Dear Rosie, 307
Dearden, James, 288
Dearly Beloved, 77
Deas, James, 327
Death Becomes Her, 315
Death in Venice, 218
Death of Kevin Carter: Casualty of the
Bang Bang Club, The, 373
Death of a Salesman, 122, 123
Death of a Shadow (Dood Van Een
Schaduw), 407
Death on the Job, 311
Death on the Nile, 253
Deats, Richard W., 269
DEaubonne, 122
Deauville Film Festival (France), 293
Debevec, Paul, 395
Debize, Jacques, 391
DeBlois, Dean, 399
Debney, John, 369
De Boer, Erik-Jan, 407
Debonair Dancers, 285
DeBrie, Andre, S.A., 261
De Broca, Philippe, 180
December 7th, 81
Decision before Dawn, 122, 123
Declaration of Independence, 61
Decline of the American Empire, The,
285
de Concini, Ennio, 172
Deconstructing Harry, 334
DeCuir, John, 122, 126, 138, 142, 156,
160, 176, 184, 192, 210
Dedalo, 238
Dee, Frances, 34
Dee, Ruby, 380
Deeley, Michael, 250, 252
Deep, The, 243
Deep South, 51
Deep Waters, 110
Deer Hunter, The, 250, 250, 251, 252,
253, 392
De Felitta, Raymond, 307
Defending Our Lives, 319
Deance, 390
Deant Ones, The, 156, 156, 157
De Fina, Barbara, 283
De Forest, Lee, 161
DeGeneres, Ellen, 339, 375
Degenkolb, David J., 223, 235, 253,
273, 319
de Givenchy, Hubert, 147
deGolian, George, 299
de Grasse, Robert, 61
de Havilland, Olivia, 53, 57, 64, 70,
71, 72, 90, 91, 93, 99, 100, 110, 112,
113, 115, 158, 186, 240, 286, 294, 340,
341, 359
Dehn, Paul, 122, 231
Dekker, Albert, 95
De La Cierva, Juan, 211
Delacoux, Jacques, 391
De La Mare, Elizabeth D., 273
Delamare, Rosine, 134
de Larios, Carlos, 273, 277, 288, 306
De Laurentiis, Dino, 143, 238, 350,
353
Delbonnel, Bruno, 356, 369, 394
De Leo, Antonello, 331
DeLeo, Maryann, 365
Delerue, Georges, 211, 226, 243, 256,
280
de Lestrade, Jean-Xavier, 357
Delgado, Paco, 406
Deliverance, 222, 223
Delmar, Vina, 50
Delpy, Julie, 368
Del Toro, Benicio, 350, 351, 352, 364
del Toro, Guillermo, 376
De Luca, Michael, 398, 402
Deluge, The, 231
Deluxe Laboratories, 169, 327
de Luze, Herv, 360
Demarest, William, 93
De Matteis, Marie, 143
De Mattos, Carlos, 269, 281
DeMille, Cecil B., 9, 10, 14, 20, 38,
54, 100, 112, 115, 125, 126, 127, 142,
194, 245
de Mille, William C., 17, 18, 22, 26, 196
DeMille Reading Room, 338
Demme, Jonathan, 260, 308, 309, 310
Demos, Gary, 277, 323, 327
Demoz, Leelai, 353
DeMuth, John, 265
Demy, Jacques, 184, 185, 207
Denaver, Deborah La Mia, 330
8/21/13 6:59 PM
Dench, Judi, 334, 342, 343, 344, 352,

354, 356
Denecke, Mike, 345
Deneuve, Catherine, 312, 314, 315
DeNicola, John, 289
De Niro, Robert, 228, 228, 230, 238,
245, 250, 251, 252, 258, 259, 260,
283, 288, 306, 310, 343, 346, 366,
374, 379, 389, 406
Denney, Bruce H., 115
Dennis, Danfung, 403
Dennis, Sandy, 186, 187, 188
Denove, Thomas F., 307
Densham, Pen, 227, 260
Denz, Peter, 327
De Palma, Brian, 288
Depardieu, Gerard, 304, 306, 407
Departed, The, 374, 374, 376
Departures, 391
de Passe, Suzanne, 222
DePatie, David H., 181, 189
DePatie, Edmond L., 185
de Paul, Gene, 77
Depp, Johnny, 364, 368, 380
Depression, 1314, 24
Der Fuehrers Face, 77
Derek, Bo, 254, 297
Derek, John, 112
Dern, Bruce, 210, 251, 252
Dern, Laura, 310
de Rochemont, Richard, 115
De Rooy, Adriaan, 269
de Roubaix, Paul, 177
Dersu Uzala, 232, 235
De Santis, Giuseppe, 119
De Santis, Pasqualino, 206
Descendants, The, 402
DeScenna, Linda, 256, 269, 280, 298,
314
Deschanel, Caleb, 254, 273, 277, 330,
352, 369
Deschanel, Zooey, 406
Desert Killer, 127
Desert Rats, The, 130
Desert Song, The, 84
Desert Victory, 81
Desert Wonderland, 77
De Sica, Vittorio, 96, 147, 169
Desideri, Osvaldo, 288
Design for Death, 97
Designing Woman, 147
De Silva, David, 261
Desire under the Elms, 156, 157
Desire, 134
Desperate Journey, 77
Desplat, Alexandre, 376, 390, 395,
398, 407
Destination Moon, 119
Destination Tokyo, 80
Destino, 365
Destry Rides Again, 67
de Sylva, Buddy, 64
Detective Story, 122, 233
De Titta, George, Jr., 264, 288
De Titta, George, Sr., 264
Detlefsen, Paul, 85
Detlie, John S., 69
de Toth, Andre, 119
Detouring America, 64
De Tripas, Corazn, 331
Deutsch, Adolph, 119, 123, 124, 131,
135, 139
Deutsch, Helen, 130
de Vestel, Robert, 226, 238
Devil and Daniel Webster, The, 72
Devil and Miss Jones, The, 72
Devil Came at Night, The, 147
Devil Dancer, The, 21
Devil Pays Off, The, 73
Devil Take Us, 127
Devil Wears Prada, The, 375, 376
DeVille, Willy, 289
Devils Holiday, The, 25
OSCAR_80_p424-466_8-19-13.indd 435
De Vinna, Clyde, 23
DeVinney, James A., 289
DeVito, Danny, 233, 352
Devlin, Peter J., 357, 381, 395, 403
DeVol, Frank, 161, 181, 185, 193
DeVore, Christopher, 260
DeVorzon, Barry, 218
De Waele, Ellen, 407
Dewald, D. Scott, 395
Dewey, Donna, 335
De Wilde, Brandon, 104, 130, 130, 174,
175, 177
Diage, Louis, 142, 147, 156
Diamond, I.A.L., 160, 162, 164, 188
Diamond, Matthew, 345
Diamonds Are Forever, 218
Diary of Anne Frank, The, 50, 143, 158,
160, 160, 161, 185
Diary of a Mad Housewife, 214
Dias, Larry, 398
Diaz, Ken, 303, 326
DiCaprio, Leonardo, 318, 333, 368,
374, 374, 376, 385, 399, 406
Dick, Kirby, 369, 407
Dick Tracy, 304, 305, 306, 307, 307
Dicken, Roger, 219
Dickens, Charles, 97, 204
Dickens, Chris, 390
Dickie, Garth A., 331
Dickinson, Thorold, 157
Dickson, Deborah, 289, 331, 357
Dickson, Ngila, 339, 356, 364
Did I Remember, 47
Dido, 398
Die Hard, 298, 299
Die Rote Jacke (The Red Jacket), 365
Diebold, Gerry, 227
Diehl, Gaston, 115
Dieterle, William, 45, 48, 50
Dietrich, Marlene, 27, 30, 44, 101, 116,
140, 168, 177, 292
Different Approach, A, 253
di Florio, Paola, 349
DiFrancesco, David, 323, 345
Dighton, John, 126, 130, 290
Digidesign, 365
Digirolamo, Don, 269, 288, 298
Digital Dilemma, The, 340
Digital Theater Systems, 327
Di Giulio, Edmund M., 207, 315, 345,
349, 357
Dilley, Leslie, 242, 256, 260, 264, 302
Dillinger, 88
Dillon, Carmen, 93, 110
Dillon, Matt, 266, 370, 372
Dillon, Melinda, 242, 264
Dilworth, John R., 327
Dimanche/Sunday, 403
Dimmers, Jacobus L., 269
Dine, Nancy, 327
Diner, 268
Dinesen, Isak (Karen Blixen), 278,
279, 289
Dion, Celine, 329
Dior, Christian, 134
Dior, Rick, 326
DiPersio, Vince, 303, 311, 323
Director, The, 56
Dirka, Karel, 277
Dirty Dancing, 289
Dirty Dozen, The, 192, 193
Dirty Pretty Things, 364
DiSarro, Al, 299
Discreet Charm of the Bourgeoisie, The,
220, 222, 223, 223
Dishonored, 30
Disney, Roy Edward, 365
Disney, Walt, 28, 31, 35, 44, 58, 60, 61,
73, 77, 81, 85, 89, 93, 94, 96, 97, 100,
107, 110, 115, 119, 123, 127, 128, 131,
134, 135, 139, 143, 147, 157, 161, 165,
169, 173, 179, 180, 207, 371. See also
Walt Disney Studio
Disraeli, 24, 25, 25

District 9, 394, 395
Dittert, Les, 319, 323
Dive Bomber, 73
Dive-Hi Champs, 93
Divided Trail: A Native American
Odyssey, The, 253
Divided We Fall, 353
Divine Lady, The, 23
Diving Bell and the Buttery, The, 380
DivorceItalian Style, 172
Divorce American Style, 192
Divorcee, The, 24, 25, 25
Dix, Richard, 26, 27
Dixon, Thomas P., 161
Dixon, Vernon, 206, 218, 234
Dizzy Acrobat, The, 81
Django, 406
Django Unchained, 404, 406, 406, 407
Dmytryk, Edward, 96, 247
Do the Right Thing, 302
Do You Know Where Youre Going
To (theme from Mahogany), 235
Dockendorf, David, 211
Docter, Peter (Pete), 326, 357, 361,
390, 394, 395
Doctor De Soto, 277
Doctor Dolittle, 149, 192, 193
Doctor Zhivago, 150, 172, 182, 183,
184, 185
Dodeska-Den, 219
Dodsworth, 47
Dog, Cat and Canary, The, 85
Dog Day Afternoon, 234, 235
Dogtooth, 399
Doherty, Edward, 84
Doing Time: Life inside the Big House,
311
Dolan, John C., 235
Dolan, Robert Emmett, 72, 77, 81, 85,
89, 93, 96, 112, 136
Dolby, Ray M., 253, 299
Dolby Laboratories, 327
Dolby Theatre, 384, 405
Dolgin, Gail, 361, 403
Dollar Bottom, The, 260
Dolly Sisters, The, 93
Dolores, 72
Dolphins, 353
Domela, Jan, 61
Domenech, Josep Mara, 365
Domingo, Placido, 274
Don Juan DeMarco, 326
Donahue, Chris, 335
Donald Duck, 144, 245
Donald in Mathmagic Land, 161
Donalds Crime, 89
Donaldson, Walter, 47
Donat, Robert, 61, 64, 64
Donati, Danilo, 189, 193, 206, 238
Donen, Stanley, 194, 231, 278, 292,
332, 335
Donfeld, 173, 211, 226, 280
Dong, Arthur, 273
Donkin, John C., 365
Donlevy, Brian, 64
Donner, Frank, 377
Donnie Brasco, 334
Donovan, Arlene, 275, 276
Donovan, Michael, 361
Donovan, Tate, 404
Dont, 231
Dont Mess with Bill, 260
Dont Talk, 77
Dont Tell, 373
Doolan, Luke, 395
Doonesbury Special, The, 243
Door, The, 395
Doorway to Hell, The, 27
Doran, Lindsay, 326
Dorian, Charles, 35
Dorlac, Jean-Pierre, 260
Dorling, Richard, Dr., 407
Dorn, Dody, 356

Dorney, Roger, 273
Dornhelm, Robert, 243
Dorothy Chandler Pavilion, 196, 204,
309, 313
Dorrington, Keith, 398
Dorrough, Michael, 319
Dot and the Line, The, 185
Doty, Douglas, 27
Double Feature, 277
Double Indemnity, 84, 85
Double Life, A, 94, 95, 96, 179, 207
Double or Nothing, 47
Doubletalk, 235
Doubt, 390
Douglas, Clare, 376
Douglas, Everett, 131
Douglas, Haldane, 80
Douglas, Kirk, 101, 126, 134, 142, 143,
153, 165, 274, 324, 327, 386, 396
Douglas, Lloyd C., 131
Douglas, Melvyn, 49, 174, 175, 176,
177, 197, 214, 254, 256, 257, 406
Douglas, Michael, 233, 234, 286, 287,
288, 389
Douglas, Nathan E. See Young,
Nedrick
Douglas, Paul, 112
Douglas, Tom, 398
Dourif, Brad, 233, 234
Dove, The (192728), 21
Dove, The (1968), 207
Dowd, Nancy, 252
Dowd, Ross J., 142, 164
Dower, John W., 289
Down and Out in America, 285
Down Argentina Way, 69
Down Argentine Way, 68, 69
Down in New Orleans, 395
Down on the Farm, 73
Down on the Waterfront, 319
Down to Earth, 389, 391
Downey, Robert Jr., 314, 390
Downfall, 369
Doyle, James, 311
Doyle, Patrick, 326, 330
Doyon, Patrick, 403
Dozier, Lamont, 299
Dozier, William, 108
Dr. Cyclops, 68
Dr. Ehrlichs Magic Bullet, 68
Dr. Jekyll and Mr. Hyde (193132), 28,
29, 29, 31, 90
Dr. Jekyll and Mr. Hyde (1941), 72, 73
Dr. Jekyll and Mr. Mouse, 96
Dr. Seuss How the Grinch Stole
Christmas, 352
Dr. Strangelove or: How I Learned to
Stop Worrying and Love the Bomb,
180
Drag (192829), 23
Drag, The (1966), 189
Dragic, Nedeljiko, 223
Dragon, Carmen, 85
Dragon Seed, 84
Dragonheart, 331
Dragonslayer, 264
Drake, Betsy, 152
Drake, Geoffrey, 222
Dratler, Jay, 84
Dream Doll, 257
Dream Wife, 130
Dreamgirls, 374, 375, 376, 377
Dreher, Carl, 39, 43
Drehsler, Alex W., 277
Dreiband-Burman, Bari, 299
Dreier, Hans, 23, 25, 27, 35, 43, 50, 61,
64, 68, 69, 73, 76, 80, 84, 88, 93, 119
Dreiser, Theodore, 123
Dresser, The, 272, 273
Dresser, Louise, 21
Dressler, Marie, 23, 26, 27, 31
Drever, Leslie, 349
435
8/21/13 6:59 PM
436
Drexler, Doug, 307

Drexler, Jorge, 367, 369
Dreyfuss, Richard, 201, 240, 241, 242,
326
Driemeyer, Thomas, 361
Driessen, Paul, 349
Driscoll, Bobby, 85, 97, 115
Drive, 403
Driver, Minnie, 334
Driving Miss Daisy, 300, 300, 302,
303, 405
Drnec, Tim, 373, 399
Drost, Jim, 281
Dru, Joanne, 112
Drumheller, Robert, 253
Drums along the Mohawk, 64
Drunk Driving, 64
Dry White Season, A, 302
Dryburgh, Stuart, 318
Dryer, David, 269
Dryfoos, Susan W., 331
Dubberke, Eric, 327
Dubiecki, Daniel, 394
Dubin, Al, 43, 50, 81
Dubois, Bastien, 399
DuBois, Richard, 235
Dubreuil, Hlne, 402
Ducarme, Jean-Louis, 243
Duchess, The, 390
Duclos, Paul, 365
Dudley, Anne, 335
Dudley, George, 64
Dudman, Nick, 402
Dudok de Wit, Michael, 323, 353
Duel in the Sun, 93, 337
Duell, Randall, 73, 76, 138
Duff, Howard, 255
Duff, Tom, 327, 335
Duffy, Gerald, 21
Dujardin, Jean, 400, 400, 402, 420
Dukakis, Michael, 286, 288
Dukakis, Olympia, 286, 288
Duke, Patty, 85, 152, 170, 170, 172, 194
Duke of Groove, 327
Dull, O.O. (Bunny), 35, 111
du Maurier, Daphne, 66
Dumbo, 72
Dumbrille, Douglas, 46
Dummy Ache, 47
Dunaway, Faye, 192, 201, 230, 236,
237, 238, 332
Duncan, Michael Clarke, 348
Duncan, Robert, 239
Dundas, Sally, 315
Dune, 277
Duning, George, 115, 119, 131, 139, 143
Dunlap, Richard, 162, 166, 170, 174,
182, 190, 204, 208, 212
Dunn, James, 30, 86, 88, 88
Dunn, Linwood G., 85, 189, 198, 253,
261, 277
Dunn, Michael, 184
Dunn, Stephen, 76, 81, 85, 88
Dunne, Grifn, 327
Dunne, Irene, 26, 27, 47, 50, 51, 64,
110, 152
Dunne, Philip, 72, 122, 248
Dunning, John D., 115, 160
Dunnock, Mildred, 122, 142
Duo, 207
DuPont Film Manufacturing Corp.,
27
Duprez, June, 69
Dupuis, Stephan, 285
Dupy, Olin L., 123
Durante, Jimmy, 178
Duras, Marguerite, 164
Durbin, Deanna, 58, 61, 85
Duritz, Adam, 369
Durning, Charles, 268, 272
Durran, Jacqueline, 372, 380, 406
Durrin, Ginny, 299
Dust, 61
OSCAR_80_p424-466_8-19-13.indd 436
Dust of Life, 327

Dutch Master, The, 319
Dutilleux, Jean-Pierre, 253
Dutra, Randal M., 335, 373
Dutton, George, 81, 85, 96, 147, 156
Duvall, Robert, 215, 221, 222, 256,
260, 270, 270, 272, 334, 344, 393
Dwan, Allan, 245
Dwyer, Finola, 394
Dwyer, John M., 260
Dyas, Guy Hendrix, 398
Dyer, Elmer, 80
Dyer, Vivienne, 349
Dykstra, John C., 243, 256, 349, 361,
369
Dylan, Bob, 353
Dylan Thomas, 173
Dynasciences Corporation, 211
Dynamite, 23
Eagels, Jeanne, 23
Eagler, Paul, 68, 110
Eargle, John M., 357
Earl, Don, 315
Earl, Russell, 381, 395
Earl Carroll Vanities, 88
Earnshaw, Tina, 335
Earrings of Madame De . . . , The, 134
Earthquake, 228, 231
Easdale, Brian, 111
Easley, Pamela, 319
East Lynne, 27
East of Eden, 106, 136, 138
East-West, 349
Easter Parade, 111
Eastern Promises, 380
Eastman, George, 16, 24
Eastman Kodak Company, 27, 31, 43,
51, 115, 127, 139, 207, 215, 243, 253,
289, 299, 307, 323, 381
Eastwood, Clint, 208, 220, 291, 312,
312, 314, 320, 323, 362, 364, 366,
367, 368, 376, 416
Easy Rider, 210, 33738
Eat Drink Man Woman, 323
Eaton, Jack, 93, 115, 123, 127, 131
Ebb, Fred, 224, 235, 359, 360
Ebbesmeier, Hildegard, 353, 373
Eber, Bob, 314
Eckhart, Aaron, 389
Eclair Laboratories, 327
Ed Wood, 320, 321, 322
Eddy Duchin Story, The, 142, 143
Edelman, Bernard, 311
Edelman, Pawel, 360
Edelstein, Alan, 281
Edemann, Louis L., 299
Edens, Roger, 64, 69, 77, 96, 111, 115,
119
Edeson, Arthur, 23, 25, 80
Edge, The, 360
Edison, the Man, 68
Edison, Thomas, 16, 24
Edlund, Richard, 243, 261, 264, 265,
269, 273, 277, 284, 285, 299, 315,
377
Edmundson, William, 211
Edouart, Farciot, 51, 61, 65, 68, 72, 73,
77, 81, 85, 96, 97, 139
Educated Fish, 51
Educating Peter, 315
Educating Rita, 272, 273
Education, An, 394
Edward, My Son, 115
Edward Mapp Collection, 294
Edward Scissorhands, 307
Edwards, Blake, 268, 363, 365, 384
Edwards, Chris, 377
Edwards, Keith, 369
Edwards, Roy W., 299
Edwards, Trisha, 368

Edwards, Vince, 178
Edzard, Christine, 298
EECO (Electrical Engineering
Company of California), 243
Efron, Edward, 223
Efron, Zac, 388
Egg and I, The, 94, 96
Eggar, Samantha, 184
Eggers, Walter G., 257
Eggleston, Ralph, 357
Egoyan, Atom, 334
Egstad, Jonathan, 357
Egyptian, The, 134
Ehrenberg, Lennart, 219
Ehrlich, Jacquot, 231
Ehrlich, Judith, 395
E.I. duPont de Nemours and Co.,
Inc., 81
8 Mile, 360
Eight Minutes to Midnight: A Portrait
of Dr. Helen Caldicott, 265
1848, 115
81st Blow, The, 231
89mm od Europy (89mm from Europe),
323
Eilers, Sally, 30
Eisenberg, Jesse, 398, 398
Eisenhardt, Robert, 273
Eisler, Hanns, 81, 85
Eisner, Michael, 245
Ekker, Leslie, 327
Eklund, Patrik, 395
El Amor Brujo, 193
El Cid, 169
El Crimen del Padre Amaro, 361
El Norte, 276
El Salvador: Another Vietnam, 265
Elam, Bud, 299
Elder, Lonne, III, 222
Eldridge, Florence, 14
Eleanor Roosevelt Story, The, 185
Election, 348
Election Night (Valgaften), 345
Electra, 173
Electric Horseman, The, 256
Electrical Research Products, Inc., 27,
35, 39, 43, 47
Electrical Research Products Division
of Western Electric Co., 73, 97
Electro Sound Incorporated, 215
Electro-Voice, Inc., 173
Elek, Zoltan, 280
Elemack Company, 231
Elementary School, The, 311
Elendt, Mark, 335, 361, 403
Elephant Man, The, 260
Elfand, Martin, 234, 268
Elfman, Danny, 335, 365, 390
Elias, Hal, 257, 365
Elicon, 299
Eliscu, Edward, 39
Elizabeth, 342, 344, 345
Elizabeth: The Golden Age, 380
Elizalde, Mike, 390
Ellenshaw, Harrison, 256
Ellenshaw, Peter, 181, 218, 231, 256
Elling, 357
Ellington, Duke, 169
Elliot, Adam, 365
Elliot, Denholm, 284, 285
Elliott, Alice, 361
Elliott, Donald R., 407
Elliott, Jack, 181
Elliott, John M., Jr., 361
Elliott, Ted, 356
Elliott, Walter G., 177
Elliott, William A., 288
Ellis, Clifford H., 227
Ellis, John, 280
Ellis, Ron, 257
Ellis, Sean, 373
Ellison, Megan, 406
Elmer Gantry, 162, 163, 164, 165

Else, Jon, 235, 261
Elsey, Dave, 372, 398
Elson, Richard, 315
Elswit, Robert, 372, 380
Emerson, Hope, 119
Emert, Oliver, 173
Emes, Ian, 273
Emigrants, The, 219, 222
Eminem, 360
Emma (193132), 31
Emma (1996), 330
Emperor Waltz, The, 110, 111
Emperors New Groove, The, 353
Empire of the Sun, 288, 289
Empire Strikes Back, The, 241, 260, 261
Employees Only, 157
Enchanted, 380, 381
Enchanted April, 314
Enchanted Cottage, The, 89
Encounter with Faces, An, 253
Encounters at the End of the World, 391
end, the, 327
End of the Affair, The, 348
End of the Game, The, 235
End of the Road, The, 239
Endless Love, 264
Endlessly, 88
Endore, Guy, 88
Enemies, A Love Story, 302
Enemy Below, The, 147
Engebretson, Mark E., 357
Engel, Jules, 173
Engel, Morris, 130
Engel, Volker, 331
Engelen, Paul, 277, 322
England, Yan, 407
English Patient, The, 328, 329, 330,
331, 331
Engstead, John, 294
Ennis, Victor Ray, 403
Enright, Nick, 314
Enron: The Smartest Guys in the Room,
373
Entertainer, The, 164
Entis, Glenn, 335
Entre Nous, 273
Enya, 356
Ephron, Henry, 176
Ephron, Nora, 273, 302, 318
Ephron, Phoebe, 176
Eppolito, John, 289
Epstein, Julius J., 61, 80, 222, 273
Epstein, Michael, 327
Epstein, Philip G., 80
Epstein, Robert, 277, 303
Epworth, Paul, 407
Equus, 242
ramos Pocos (One Too Many), 377
Eraser, 331
Ercolano, Greg, 399
Erdody, Leo, 85
Ericson, Rune, 357
Ericson, John, 128
Erickson, Jim, 407
Erin Brockovich, 350, 351, 352
Erland, Jonathan, 273, 277, 331, 381,
403
Erland, Kay Beving, 331
Ernest, Orien, 135
Ernst & Lyset, 331
Errol, Leon, 44, 51
Ersatz (The Substitute), 169
Erskine, Karin, 234
Eruption of Mount St. Helens, The, 260
Erwin, Stuart, 47
Escape Me Never, 43
Eskimo, 39
Eslick, Bill, 315
Esparza, Moctesuma, 243
Esposados, 331
Essay on Matisse, An, 331
Esson, Katja, 365
8/21/13 6:59 PM
Estabrook, Howard, 14, 25, 26, 27, 194

Estus, Boyd, 265
E.T. The Extra-Terrestrial, 248, 266,
268, 269
taix, Pierre, 173
Eternal Sunshine of the Spotless Mind,
368
Eternally Yours, 64
Etheridge, Melissa, 37475, 377
Etherington, Hal, 238
Eulner, Frank, 391
Europa Europa, 310
European lms, 90
Europeans, The, 256
Evans, Bruce A., 284
Evans, Chris, 299
Evans, Dale, 296
Evans, Dame Edith, 176, 180, 192
Evans, Denny, 218
Evans, John, 256
Evans, Ray, 88, 103, 111, 119, 143, 147,
157, 181, 292
Evans, Robert, 230, 231
Evans, William, 161
Everett, Morris, 244
Evergreen, 236, 238
Every Child, 257
Every Days a Holiday, 50
Everybody Famous!, 353
Everybody Needs a Best Friend,
407
(Everything I Do) I Do It for You,
311
Everything in This Country Must, 369
Evil, 365
Evita, 330, 331
Evolution, 218
Ewing, Heidi, 377
Excalibur, 264
Executive Suite, 134
Exit, 285
Exit Through the Gift Shop, 399
Exodus, 164, 165
Exorcist, The, 226, 229
Experiment Perilous, 88
Exploratorium, 231
Extremely Loud & Incredibly Close, 402
Eychenne, Jean-Pierre, 307
Eye of the Tiger, 269
Eyes of Love, The, 193
Eyes of the Navy, 69
Eyes on the Prize: Americas Civil
Rights Years/Bridge to Freedom 1965,
289
Eyewitness, 349
Ezaki, Kohei, 142
Fabbri, Diego, 168

Fabicki, Slawomir, 357
Fabulous Baker Boys, The, 302, 303
Face/Off, 335
Face of a Genius, The, 189
Face of Jesus, The, 169
Face of Lincoln, The, 139
Face to Face, 238
Faces, 206
Facets of the Diamond: 75 Years of
Best Picture Winners, 340
Facing Your Danger, 93
Facts of Life, The, 164, 165
Facts of Life, The, 165
Fadiman, Dorothy, 315
Faier, Yuri, 157
Fain, Sammy, 50, 131, 139, 147, 157, 172,
223, 238, 243
Fairbanks, Douglas, 8, 9, 11, 17, 18, 20,
62, 65, 71, 245
Fairbanks, Douglas, Jr., 33, 62, 108,
254
Fairbanks, Jerry, 85, 97
OSCAR_80_p424-466_8-19-13.indd 437
Fairbanks Center for Motion Picture

Study, 290, 338
Fairlight, 353
Fait DHiver, 361
Faith, Percy, 139
Faithful Forever, 64
Falcon Films, 119
Falk, Peter, 164, 168, 202
Fall Line, 260
Fall of the Roman Empire, The, 181
Fallen Idol, The, 115, 204
Fallen Sparrow, The, 81
Falling Slowly, 380, 381
Falorni, Luigi, 369
Faltermeyer, Harold, 289
Fame, 258, 260, 261
Fame, 258
Family, The, 289
Family Gathering, 299
Family That Dwelt Apart, The, 231
Famous Fred, 335
Fanfare for Oscar, 336
Fangmeier, Stefen, 331, 353, 365
Fanny, 168, 169
Fanny & Alexander, 270, 272, 273
Fantasia, 73
Fantastic Flying Books of Mr. Morris
Lessmore, The, 403
Fantastic Mr. Fox, 395
Fantastic Voyage, 188, 189
Fapp, Daniel L., 156, 160, 168, 180,
206, 210
Far from Heaven, 358, 360
Far from the Madding Crowd, 193
Faragoh, Francis, 27
Faraway Part of Town, 165
Farewell My Concubine, 318, 319
Farewell, My Lovely, 234
Farewell to Arms, A (193233), 32,
34, 35
Farewell to Arms, A (1957), 147
Fargo, 328, 329, 330
Farhadi, Asghar, 402, 403
Farhadi, Sarina, 403
Farhat, Jon, 323
Farinelli: Il Castrato, 323
Farm: Angola, U.S.A., The, 345
Farmer, Frances, 45, 267
Farmers Daughter, The, 94, 96
Farmiga, Vera, 394
Farnham, Joseph W., 9, 21
Farnsworth, Rawley, 316
Farnsworth, Richard, 252, 348
Farr, Glenn, 273
Farr, Judy, 398
Farrar, John, 253
Farrar, Scott, 280, 311, 357, 373, 381,
403
Farrell, Charles, 20
Farrell, Colin, 393
Farrell, Gregory, 357
Farrell, Joe, 399
Farrow, John, 76, 142
Farrow, Mia, 207, 284
Fassnacht, Paul, 161
Fast, Howard, 165
Fat City, 222
Fatal Attraction, 287, 288
Fate Is the Hunter, 180
Father and Daughter, 353
Father and Daughter, 360
Father Goose, 180, 181
Father of the Bride, 116, 119
Faulkner, Carl W., 93, 131, 139, 143,
156, 160
Fawcett, George, 15
Faye, Alice, 296
Faxon, Nat, 402
Fazakas, Faz, 311
Fazan, Adrienne, 123, 157
Federico, Richard J., 345
Federico Fellinis 8, 174, 176, 177
Fedkiw, Ron, 381
Feeney, Ray, 299, 311, 323, 357, 377

Fegte, Ernst, 80, 84, 88, 119
Fehr, Kaja, 280
Fehr, Rudi, 280
Feierlein, Heinz, 311
Feightner, William, 377
Fein, Joel, 253
Feiner, Phillip J., 377
Feitshans, Fred, 206
Feld, Don. See Donfeld
Feldman, Charles K., 122
Feldman, Edward S., 280
Felicioli, Jean-Loup, 403
Felix, Seymour, 47
Fell, Sam, 407
Fellini, Federico, 93, 115, 142, 147,
168, 176, 214, 234, 238, 292, 294,
313, 315
Fellini Satyricon, 214
Fellinis Casanova, 238
Fellner, Eric, 344, 380, 390, 406
Fellowes, Julian, 356
Fellows, Edith, 248
Felsberg, Ulrich, 349
Fenton, George, 269, 289, 299, 311
Feraud, Michelle, 327
Ferber, Edna, 26, 45, 143
Ferdinand the Bull, 61
Ference, Roy B., 345
Fergus, Mark, 376
Ferguson, Charles, 381, 399
Ferguson, Ian, 157, 161
Ferguson, Perry, 47, 73, 76, 80, 84
Fernandez del Paso, Felipe, 360
Ferno, John, 193
Ferrari, William, 84, 176
Ferren, Bran, 269, 284, 285
Ferrer, Jos, 87, 99, 110, 116, 117, 119,
126, 171
Ferretti, Dante, 302, 306, 318, 322,
334, 360, 368, 380, 402
Ferri, Elda, 344
Ferry, April, 322
Ferry Tales, 365
Fertik, William, 227
Fesser, Javier, 377
Festa Campanile, Pasquale, 176
Festinger, Rob, 356
Festival, 193
Fettis, Gary, 306, 390
Feuer, Cy, 61, 64, 69, 72, 221, 222
Feury, Joseph, 285
Few Good Men, A, 314
Few Notes on Our Food Problem, A,
207
Fey, Tina, 388
Fialon, Estelle, 407
FiddlefestRoberta Tzavaras and Her
East Harlem Violin Program, 327
Fiddler on the Roof, 216, 217, 218, 219
Field, The, 306
Field, Connie, 323
Field, Fern, 253
Field, Patricia, 376
Field, Ron, 216, 224, 278
Field, Roy, 253
Field, Sally, 246, 254, 255, 256, 274,
275, 276, 366, 405, 406
Field, Todd, 356, 376
Field of Dreams, 302, 303
Fielding, Henry, 175
Fielding, Jerry, 211, 219, 238
Fields, A. Roland, 73, 76, 88
Fields, Dorothy, 43, 47
Fields, Freddie, 242
Fields, James L., 76, 81
Fields, Verna, 197, 198, 226, 235
Fields, W.C., 48, 245
Fiennes, Joseph, 342
Fiennes, Ralph, 318, 328, 329, 330,
371, 391, 392
Fierlinger, Paul, 257
Fiesta, 96
Fifth Element, The, 335

50th Anniversary of Motion Pictures,
85
55 Days at Peking, 177
Fifty Percent Grey, 357
Figgis, Mike, 326
Fight: Science against Cancer, The, 119
Fight Club, 349
Fight for Life, 69
Fight of the Wild Stallions, 97
Fighter, The, 396, 397, 398
Fighting for Our Lives, 235
Fighting Lady, The, 85
Fighting Seabees, The, 85
Figueroa, Gabriel, 180
Film Classics Revisited series, 245
lm preservation and restoration,
Academy work toward, 33839
Films for the Fight, 293
Final Inch, The, 391
Finch, Peter, 218, 236, 237, 238, 332,
388
Fincher, David, 390, 398
Finding Nemo, 363, 364, 364, 365
Finding Neverland, 366, 368, 369
Findlater, Rick, 406
Fine, Andrea Nix, 381, 407
Fine, David, 323
Fine, Sean, 381, 407
Fine, Sylvia, 131, 161
Fine Food, Fine Pastries, Open 6 to 9,
303
Finerman, Wendy, 322
Finest Hours, The, 181
Finfer, David, 318
Finians Rainbow, 206, 207
Fink, Michael, 315, 381
Finkel, Abem, 72
Finkel, Robert, 216
Finklehoffe, Fred F., 84
Finlay, Frank, 184
Finnegan, Joe (Joe Yrigoyen), 327
Finney, Albert, 175, 176, 230, 272, 276,
352
Fiore, Mauro, 394
Firemens Ball, The, 207
Fires of Kuwait, 315
Firm, The, 318, 319
First Contact, 273
First Edition, 243
First Fifty Years, The (short lm), 200
First Love (1939), 64
First Love (1970), 168, 215
First Piano Quartette, The, 135
First Steps, 97
First Time It Happens, The, 264
First Winter, 264
First Wives Club, The, 330
Firth, Colin, 394, 396, 398
Firth, Michael, 239
Firth, Peter, 242
Fischer, Monique C., 335
Fish Called Wanda, A, 297, 298
Fish Fry, 85
Fishburne, Laurence, 318
Fisher, Carrie, 241
Fisher, Eddie, 162, 170
Fisher, James L., 253, 303
Fisher, Steve, 80
Fisher, Thomas L., 323, 335
Fisher King, The, 308, 310, 310, 311
Fitchett, Robert, 193
Fitz, Erich, 303
Fitzgerald, Barry, 70, 82, 83, 84, 126,
266, 367
Fitzgerald, Geraldine, 64, 265
5 Broken Cameras, 407
Five Cities of June, The, 177
Five Easy Pieces, 214
Five Fingers, 126
Five Graves to Cairo, 80, 81
500 Hats of Bartholomew Cubbins,
The, 81
437
8/21/13 6:59 PM
438
Five Pennies, The, 160, 161

Five Pennies, The, 161
Five Star Final, 31
5,000 Fingers of Dr. T, 131
Five Times Five, 64
Fixer, The, 206
Fjeldmark, Stefan, 345
Fjellstrm, Mathias, 395
Flagg, Fannie, 310
Flags of Our Fathers, 377
Flaherty, Frances, 110
Flaherty, Robert, 110
Flaherty, Stephen, 335
Flaiano, Ennio, 147, 168, 176
Flamand, Didier, 319
Flame and the Arrow, The, 119
Flame of Barbary Coast, 88, 89
Flame of New Orleans, The, 73
Flamenco at 5:15, 273
Flannery, William, 138
Flashdance, 273
Flashdance . . . What a Feeling, 273
Flat Top, 127
Flatliners, 306
Flaum, Marshall, 177, 185
Fleischer, Dave, 81
Fleischer, Richard O., 97, 188
Fleischman, Tom, 264, 310, 361, 369,
403
Fleming, Rhonda, 144
Fleming, Thomas B., 299
Fleming, Victor, 19, 49, 63, 64
Flemming, Howard, 327
Fletcher, Frank, 373
Fletcher, Geoffrey, 394
Fletcher, Louise, 203, 232, 233, 234,
332
Flick, Stephen, 269, 289, 299, 306,
323
Flight, 406
Flight Command, 72
Flight for Freedom, 80
Flight of the Eagle, The, 269
Flight of the Gossamer Condor, The,
253
Flight of the Phoenix, The, 184
Flirtation Walk, 39
Floating Free, 243
Florio, Maria, 281
Flournoy, Richard, 80
Floutz, Thom, 390
Flower Drum Song, 168, 169
Flowers, A.D., 215, 223, 256, 257
Flowers and Trees, 28, 31, 35
Fly, The (1980), 260
Fly, The (1986), 285
Fly Away Home, 330
Flying Down to Rio, 38, 39
Flying Tigers, 76, 77
Flying with Music, 77
Flynn, James, 395
Flynn, Robert M., 211
Foch, Nina, 120, 134, 165
Fog, Stephen, 277
Fog of War, The, 365
Foldes, Peter, 231
Foley, James F., 335
Folies Bergre, 43
Follow the Boys, 85
Folsey, George J., 35, 39, 47, 80, 84, 93,
96, 126, 130, 134, 176
Fonda, Henry, 59, 67, 68, 138, 147,
258, 260, 261, 262, 263, 264, 332,
346, 405
Fonda, Jane, 183, 204, 210, 216, 217,
218, 236, 242, 243, 250, 251, 252,
255, 256, 263, 264, 278, 284, 332,
346
Fonda, Peter, 210, 334
Foner, Naomi, 298
Fong, Nickson, 407
Fontaine, Joan, 57, 66, 68, 70, 71, 72,
80, 100, 152, 186, 203
OSCAR_80_p424-466_8-19-13.indd 438
Fontanne, Lynn, 31, 66

Food, Inc., 395
Fool in Love, A, 353
Foote, Horton, 172, 270, 273, 279, 280
Foothold on Antarctica, 147
Footloose, 277
Footloose, 277
Footnote, 403
For All We Know, 215
For Better or For Worse, 319
For the Birds, 357
For the Boys, 310
For Every Man Theres a Woman,
111
For the First Time, 330
For Love of Ivy, 207
For Love of Ivy, 207
For Me and My Gal, 77
For Scent-Imental Reasons, 115
For Whom the Bell Tolls, 78, 80, 81
For Your Eyes Only, 264
For Your Eyes Only, 264
Forbes, Bryan, 164, 294
Forbes, Louis, 64, 85, 89, 131
Forbidden Games, 127, 134
Forbidden Passage, 73
Forbidden Planet, 143
Forbis, Amanda, 349, 403
Forbstein, Leo, 46, 47
Force in Readiness, A, 169
Force of Arms, 34
Ford, Arthur L., 253
Ford, Frances, 126
Ford, Harrison, 241, 265, 280
Ford, John, 15, 40, 41, 43, 64, 66, 67,
68, 70, 72, 114, 124, 126, 138, 385
Ford, Michael, 260, 264, 273, 334
Ford, Roger, 326
Ford, Tom, 393
Foreign Affair, A, 110
Foreign Correspondent, 68, 69
foreign language lms, 94, 140141,
149
Forejt, Petr, 391
Foreman, Carl, 115, 119, 126, 147, 168,
222, 248, 249
Foreman, George, 328
Foreman, John, 210, 280
Forever Activists: Stories from the
Veterans of the Abraham Lincoln
Brigade, 307
Forever Amber, 94, 96
Forgency, Vladimir, 189
Forman, Milos, 202, 232, 233, 234,
274, 276, 330
Forman, Milton, 181
Formula, The, 260
Forrest, Chet, 61, 69, 77
Forrest, Frederic, 256
Forrest Gump, 320, 321, 322, 323
Forsey, Keith, 273, 289
Forslund, Bengt, 222
Forster, E.M., 275, 285
Forster, Robert, 334
Forth Road Bridge, The, 185
Fortress of Peace, 185
Fortune Cookie, The, 186, 188
Forty Boys and a Song, 73
42nd Street, 35
Fosse, Bob, 220, 221, 222, 231, 256,
270
Foster, David, 285, 315, 345
Foster, Jodie, 141, 238, 292, 295, 296,
297, 298, 308, 309, 310, 322, 332
Foster, Lesley, 231
Foster, Lewis R., 65, 80
Foster, Lilibet, 349
Foster, Nick, 345
Fotopoulos, Vassilis, 181
Foul Play, 253
Foulkes, Adam, 391
Four Daughters, 61, 350
Four Days in November, 181
Four Days in September, 335

Four Days of Naples, The, 173, 176
Four Devils, 23
400 Blows, The, 160
4 Little Girls, 335
Four Musketeers, The, 234
Four Poster, The, 130
Four Stones for Kanemitsu, 227
Four Weddings and a Funeral, 322
Fourteen Hours, 122
Fowler, Gene, Jr., 176
Fowler, Hugh S., 215
Fowler, Jeff, 369
Fowler, Marjorie, 193
Fox, The, 207
Fox, Charles, 235, 253
Fox, Fred, 35
Fox, Jennifer, 380
Fox, Josh, 399
Fox, Paul S., 93, 96, 115, 122, 123, 126,
130, 134, 138, 142, 156, 176
Fox, Ray Errol, 303
Fox, Robert, 360
Fox Film Corp., 10, 13, 18, 27, 32, 35
Foxes of Harrow, The, 96
Foxx, Jamie, 366, 367, 368, 372, 375,
406
Foy, Bryan, 123
FPC, Incorporated, 349
Fracker, Henry, 139
Fraisse, Robert, 314
Fraker, William A., 242, 252, 256,
273, 280
Frampton, Peter, 326
France, David, 407
Frances, 266, 267, 268
Frances Steloff: Memoirs of a
Bookseller, 289
Franci, Adolfo, 96
Franciosa, Anthony, 147
Franciosa, Massino, 176
Francis, Alec, 15
Francis, Cedric, 131, 135, 139, 143
Francis, Freddie, 164, 302
Francis, Kirk, 334, 381
Francis-Bruce, Richard, 322, 326,
334
Franco, James, 389, 396, 398
Franco, Robert J., 318
Franco, Vicente, 361
Frank, Charles, 272
Frank, Fredric M., 126
Frank, Harriet, Jr., 176, 256
Frank, Melvin, 93, 134, 164, 225, 226
Frank, Scott, 344
Frank Film, 227
Frankel, David, 331
Frankenweenie, 407
Franklin, Chester, 89
Franklin, Paul, 391, 399
Franklin, Richard, 306
Franklin, Scott, 398
Franklin, Sidney, 74, 77, 78, 92
Frankovich, M.J. Mike, 208, 270,
273
Franz Kafkas Its a Wonderful Life,
320, 323
Franzoni, David, 352
Fraser, Brendan, 370
Fraser, Ian, 215
Fraser, Robert D., 165
Frayne, John G., 127, 257, 273
Frazee, Logan R., 257
Frazee, Terry, 365
Frazier, Jim, 335
Frazier, John, 331, 345, 353, 357, 361,
369, 377, 381, 399, 403
Frears, Stephen, 306, 376
Frederick, Ericka, 353
Frederick, William, 407
Fredericks, Ellsworth, 147
Frederickson, Gray, 230, 256
Frederix, Marc, 188
Fredrick, William L., 285

Free Soul, A, 26, 27
Freed, Arthur, 69, 120, 122, 123, 153,
154, 156, 162, 166, 170, 190, 193
Freed, Ralph, 77
Freedom on My Mind, 323
Freeheld, 381
Freeman, Charles, 110
Freeman, Morgan, 288, 300, 302,
322, 366, 366, 368, 373, 389, 394
Freeman, Y. Frank, 143, 189
Freemantle, Glenn, 391
Frei, Christian, 357
Freleng, Friz, 169, 181, 189
French, Edward, 311
French, Sam, 407
French Connection, The, 216, 218
French Lieutenants Woman, The,
264
French Roast, 395
Frenchmans Creek, 86, 88
Frend, Charles, 64
Fresco, Robert M., 211
Fresh Guacamole, 407
Fresholtz, Les, 211, 226, 235, 238,
256, 260, 269, 280, 284, 288,
298, 314
Fresnadillo, Juan Carlos, 331
Freud, 172
Freund, Karl, 49, 50, 73, 135
Frey, Leonard, 218
Freydank, Jochen Alexander, 391
Friberg, Arnold, 143
Fricker, Brenda, 300, 301, 302
Frida, 358, 360, 361
Fried, Gerald, 235
Fried, Rob, 311
Fried Green Tomatoes, 310
Friedenberg, Richard, 314
Friedhofer, Hugo, 89, 93, 96, 111, 131,
143, 147, 157
Friedkin, Jay, 326
Friedkin, William, 216, 218, 226, 236,
294
Friedman, Bruce Jay, 276
Friedman, Jud J., 315, 330
Friedman, Sonya, 285
Friedman, Stephen J., 218
Friend Like Me, 315
Friendly Enemies, 76
Friendly Persuasion, 140, 142, 143
Friendly Persuasion (Thee I Love),
143
Frierson, K.M., 135
Fries, Douglas, 273
Frigerio, Ezio, 306
Fritzel, Brad, 403
Fritzen, Art, 323
Froemke, Susan, 357
Froeschel, George, 76
Frog, the Dog and the Devil, The, 285
Frog Story, 223
Frogmen, The, 122
From A to Z-Z-Z-Z, 131
From Generation to Generation, 161
From Here to Eternity, 101, 104, 128,
129, 130, 131, 132, 154
From Mao to Mozart, 261
Front, The, 238
Front Line, 261
Front Page, The, 27
Frost, Laurie, 373
Frost/Nixon, 390
Frozen River, 390
Fruchtman, Lisa, 256, 273, 306
Fryday, Robin, 403
Fuchs, Daniel, 138
Fudano, Kaz, 315
Fugitive, The, 316, 317, 318, 319
Fuji Photo Film Company, Ltd., 265,
307
Fujie, Daijiro, 357
Fujilm Corporation, 395, 403
8/21/13 6:59 PM
Full Metal Jacket, 288

Full Monty, The, 334, 334, 335
Fuller, Charles, 276
Fuller, Leland, 84, 122, 123, 126, 130,
134
Fullerton, Carl, 280, 318
Fulmer, Joseph, 345
Fulton, John, 68, 73, 77, 88, 143
Funk, Gregory, 398
Funke, Alex, 307, 361, 365
Funny Face, 147
Funny Girl, 204, 205, 206, 207
Funny Girl, 207
Funny Lady, 234, 235
Funny Thing Happened on the Way to
the Forum, A, 189
Furies, The, 119
Furness, John, 231
Furse, Margaret, 123, 181, 206, 211,
214, 218
Furse, Roger K., 108, 110
Furst, Anton, 302
Further Adventures of Uncle Sam: Part
Two, The, 215
Furthman, Jules, 43
Furuya, Osami, 214
Fury, 47
Fuss, Fred M., 345
Futterman, Dan, 372
Gable, Clark, 36, 37, 39, 40, 43, 64,

144, 294, 332, 409
Gable, John Clark, 294
Gabor, Eva, 154
Gabriel, Mike, 369
Gabriel, Peter, 391
GabyA True Story, 288
Gadgets Galore, 139
Gaeta, John, 349
Gaffney, Cathal, 357
Gagarin, 327
Gaghan, Stephen, 350, 352, 372
Gagn, Rjean, 335
Gagnol, Alain, 403
Gagnon, Jean-Pierre, 327
Gaily, Gaily, 210, 211
Gaines, George, 234, 238, 253, 277
Gal in Calico, A, 96
Galati, Frank, 298
Gale, Bob, 280
Gallenberger, Florian, 353
Gallico, Paul, 76
Galloway, James, 226
Gambit, 189
Gamble, David, 344
Game, The (Igra), 177
Gamley, Douglas, 231
Gandhi, 266, 268, 269
Gang Cops, 299
Gangelin, Victor A., 84, 169
Gangs All Here, The, 80
Gangs of New York, 358, 360, 361
Ganis, Sidney, 341, 387, 393
Gann, Mrs. Dolly, 26
Gannon, Kim, 77, 85, 88
Ganshorn, Thomas, 381
Ganton, Douglas, 322
Ganz, Armin, 298
Ganz, Lowell, 276
Garabedian, Bobby, 365
Garber, Jake, 330
Garber, Victor, 389, 404
Garbo, Greta, 24, 25, 28, 50, 64, 132,
133, 135, 177, 196, 340
Garbus, Liz, 345
Garcia, Andy, 306
Garcia, Jose Antonio, 407
Garca, Manuel, 369
Garca Bernal, Gael, 367
Garden, The, 391
OSCAR_80_p424-466_8-19-13.indd 439
Garden of Allah, The, 44, 47

Garden of Eden, The, 277
Garden of the Finzi Continis, The, 216,
218, 219
Garden Spider, The (Epeira Diadema),
127
Gardenia, Vincent, 226, 288
Gardiner, Ainsley, 369
Gardiner, Bob, 231
Gardiner, Lizzy, 320, 322
Gardner, Ava, 108, 130, 132
Gardner, Dede, 402
Gardner, F. Edward, 335
Gardner, Herb, 184, 185
Gardner, Robert, 281
Garey, Diane, 311
Gareld, John, 61, 95, 96
Garnkle, Louis, 252
Gargan, William, 68
Garity, William, 73
Garland, Judy, 65, 85, 103, 132, 134,
145, 168, 178, 245, 301
Garlick, Steve, 373
Garmes, Lee, 27, 30, 31, 84, 160, 198
Garner, James, 146, 280
Garner, Peggy Ann, 85, 86, 88, 89
Garr, Teri, 268, 278
Garrett, Siedah, 377, 403
Garson, Greer, 55, 57, 64, 72, 74, 75,
76, 78, 80, 84, 88, 100, 103, 164,
166, 410
Garwood, Norman, 280, 302, 310
Gasland, 399
Gaslight, 82, 83, 84, 230
Gasoi, Frederick, 345
Gaspar, Chuck, 277
Gassner, Dennis, 310, 360
Gast, Leon, 331
Gast, Michel, 253
Gate of Hell, 132, 134, 135
Gatekeepers, The, 407
Gates of Paris, 147
Gathering of Eagles, A, 177
Gatins, John, 406
Gattaca, 334
Gaudin, Thomas, 361
Gaudio, Gaetano (Tony), 25, 46, 47,
68, 80, 88
Gausman, Hal, 168, 181, 218, 231,
288
Gausman, Russell A., 73, 76, 80, 84,
160, 164
Gavin, John, 165
Gawley, Steve, 302
Gay, John, 156
Gay, Norman, 226
Gay Deception, The, 43
Gay Divorcee, The, 38, 39
Gay Parisian, The, 73
Gayer, Richard, 227
Gaylord, Jack, 123
Gaynor, Janet, 8, 11, 18, 20, 21, 100,
212, 240, 340
Gaynor, Mitzi, 153, 186
Gazebo, The, 160
Gazecki, William, 335
Gazzo, Michael V., 230
Gearty, Eugene, 361, 403, 407
Geisinger, Joseph, 369
Geisler, Robert Michael, 344
Geissler, E.H., 223
Gelbard, Rick, 327, 335, 349
Gelbart, Larry, 242, 248, 268
Gelow, William, 357
General Aniline and Film Corp.,
Ansco Film Division, 123, 127
General Cable Corp., 147
General Della Rovere, 168
General Died at Dawn, The, 47
General Electric Co., 157
General Precision Laboratory, Inc.,
157
General Spanky, 47
Generation on the Wind, 257

Genevieve, 134, 135
Genghis Blues, 349
Genn, Leo, 122
Gennaro, Peter, 178
Genocide, 265
Gentleman, Wally, 289
Gentlemans Agreement, 54, 86, 94,
95, 96
Genz, Henrik Ruben, 349
George, Bill, 369
George, Chief Dan, 214
George, Gladys, 47, 90
George, Oorlagh, 403
George, Peter, 180
George, Terry, 318, 368, 403
George, William, 289
George and Rosemary, 289
George Grosz Interregnum, 165
George Pal Lecture on Fantasy in
Film, 248
George Stevens Lecture on
Directing, 248
George Washington Slept Here, 76
Georgia, 326
Georgy Girl, 188, 189
Georgy Girl, 153, 186, 189
Geraghty, Brian, 392
Geraghty, Tom, 15
Gerald McBoing-Boing, 119
Gerald McBoing-Boing on Planet Moo,
143
Gerb, Joachim, 227
Gerchman, Mark Craig, 349
Gere, Richard, 268
Geris Game, 335
Gerlach, Steven, 357
Germi, Pietro, 172
Geronimo: An American Legend, 319
Gershe, Leonard, 147
Gershenson, Joseph, 135, 193
Gershwin, George, 50, 120, 178, 182
Gershwin, Ira, 50, 85, 135
Gerstad, Harry, 115, 127
Gertler, Howard, 407
Gervaise, 143
Gervasi, Luigi, 192
Get Out Your Handkerchiefs, 250, 253
Getchell, Robert, 231, 238
Gherardi, Piero, 168, 169, 176, 189
Ghia, Fernando, 283, 284
Ghost, 304, 306, 306, 307, 354
Ghost and Mrs. Muir, The, 96
Ghost and the Darkness, The, 331
Ghost World, 356
Ghostbusters, 277
Ghostbusters, 277
Ghosts of Mississippi, 330
G.I. Honeymoon, 89
G.I. Joe, 88, 89
Giacchino, Michael, 380, 384, 395
Giamatti, Paul, 372
Giammarco, David, 381, 403
Gianini, Giulio, 227
Giannetti, Alfredo, 172
Giannini, Giancarlo, 238
Giant, 136, 142, 143
Gibbons, Cedric, 8, 9, 11, 15, 16, 23, 35,
39, 47, 50, 61, 64, 69, 73, 76, 80, 84,
88, 93, 115, 119, 122, 123, 126, 130,
134, 138, 142
Gibbons, James, 97
Gibbs, Antony, 175
Gibbs, George, 277, 299, 315
Gibney, Alex, 373, 381
Gibney, Sheridan, 44, 47
Gibson, Angus, 331
Gibson, Charles, 327, 365, 377, 381
Gibson, John, 335
Gibson, Mel, 40, 270, 271, 300, 324,
325, 326
Gibson, William, 172
Gidding, Nelson, 156
Gideon, Raynold, 223, 284

Gielgud, John, 180, 245, 262, 264,
265, 266
Gieren, Stefan, 403
Gifford, Dan, 335
Gifts, The, 215
Giger, H.R., 256
Gigi, 102, 130, 151, 154, 156, 157, 158,
286
Gigi, 154, 157
Gigliotti, Donna, 344, 390, 406
Gigot, 173
Gilbert, Bruce, 263, 264
Gilbert, Gary, 398
Gilbert, Herschel Burke, 127, 131, 135
Gilbert, John (actor), 8
Gilbert, John (lm editor), 356
Gilbert, Lewis, 188
Gilbert, Ray, 96
Gilford, Jack, 226, 281
Gilks, Alfred, 122
Gilkyson, Terry, 193
Gillberg, Swen, 403
Gillespie, A. Arnold, 65, 68, 72, 77,
81, 85, 88, 96, 143, 157, 160, 173,
177
Gilliam, Terry, 280
Gilliatt, Penelope, 218
Gillingham, Charles, 369
Gillis, Alec, 315, 335
Gilman, Christopher S., 307
Gilman, Sari, 407
Gilmartin, David, 327
Gilmore, Stuart, 165, 214, 218
Gilpatric, Guy, 80
Gilroy, Frank, 207
Gilroy, Tony, 380
Gimbel, Norman, 235, 253, 256
Gingold, Hermione, 154
Ginsberg, Arthur, 319
Ginsberg, Henry, 142, 143
Girl, Interrupted, 346, 347, 348
Girl Said No, The, 51
Girl Who Used to Be Me, The, 302
Girl with the Dragon Tattoo, The, 402,
403
Girl with a Pearl Earring, 364
Girl with the Pistol, The, 207
Girls School, 61
Gish, Lillian, 93, 95, 197, 212, 215,
258, 279
Giuseppina, 165
Give em Hell, Harry!, 234
Give Me Liberty, 47
Give Up Yer Aul Sins, 357
Give Us the Earth, 97
Glad, Mike, 377
Gladiator, 350, 350, 352, 353
Gladstein, Richard N., 348, 368
Glasgow, William, 180
Glasmon, Kubec, 27
Glass, 161
Glass, Philip, 335, 360, 376
Glass, Robert J., 238, 243, 253, 256,
269
Glass, Robert W., Jr., 253, 264
Glass Cell, The, 253
Glatter, Lesli Linka, 277
Glatzer, Jocelyn, 377
Glazer, Benjamin, 9, 11, 20, 21, 68,
196
Glazier, Sidney, 185
Gleason, F. Keogh, 123, 126, 130, 134,
142, 156
Gleason, Jackie, 168
Gleason, James, 72
Glen Glenn Sound, 231, 243
Glengarry Glen Ross, 312, 313, 314
Glenn, Scott, 272
Glenn Miller Story, The, 134, 135
Glennan, Gordon R., 143
Glennon, Bert, 65, 73
Glenville, Peter, 180
439
8/21/13 6:59 PM
Glicker, Danny, 390

Glickman, Fred, 119
Glickman, Richard B., 181, 361
Gliese, Rochus, 21
Glimcher, Arne, 315
Gloria, 260
Glorious Betsy, 21
Glory, 300, 301, 302
Glory for Me (essay; Kantor), 90
Glory of Love, 285
Glossop, Peter, 345
Glover, Guy, 119, 135, 238
Gluskin, Lud, 65
Go-Between, The, 218
Go for Broke!, 122
Go the Distance, 335
Go into Your Dance, 43
God Is the Bigger Elvis, 403
God of Love, 399
God Sleeps in Rwanda, 373
Godard, Jean-Luc, 397, 399
Goddard, Paulette, 80
Goddess, The, 156
Godfather, The, 220, 221, 222, 223,
228, 230, 270
Godfather Part II, The, 221, 228, 228,
230, 230, 231
Godfather, Part III, The, 306, 307
Godfrejow, Bogumil, 357
Godfrey, Bob, 223, 235, 257, 319
Godin, Ian, 403
Godmilow, Jill, 231
Gods and Monsters, 344
Gods of Metal, 269
Goeppinger, Max, 135
Goetz, William, 147
Goff, Ivan, 147
Goffe, Sue, 403
Goffette, Vivian, 345
Gofn, Gerry, 235
Going the Distance, 257
Going My Way, 51, 82, 83, 84, 85, 86
Going Places, 61
Going to Blazes, 110
Gold, 231
Gold, Ernest, 161, 165, 177, 211
Gold Diggers of 1933, 35
Gold Rush, The, 76, 77
Goldberg, B.Z., 357
Goldberg, Paul R., 377
Goldberg, Tikki, 327
Goldberg, Whoopi, 280, 293, 304,
306, 306, 316, 324, 339, 343, 354,
385, 389, 417
Goldblatt, Mark, 310
Goldblatt, Stephen, 310, 326
Goldblum, Jeff, 327
440 Goldby, Roger, 335
Golden, Kit, 352
Golden Boy, 64
Golden Compass, The, 381
Golden Fish, The, 161
Golden Girl, 123
Golden Horses, 93
Goldenberg, William, 348, 364, 384,
406
Goldenthal, Elliot, 322, 330, 360, 419
Goldfarb, Lyn, 253
Goldnger, 181
Goldnger, 405
Golding, Fredric, 327
Goldman, Bo, 232, 234, 246, 260, 314
Goldman, James, 206
Goldman, Les, 185
Goldman, William, 200, 210, 238
Goldschmidt, Ivan, 399
Goldsman, Akiva, 356
Goldsmith, Jerry, 172, 185, 189, 207,
215, 226, 231, 235, 238, 253, 256,
269, 273, 285, 294, 315, 335, 336, 345
Goldsmith, Martin, 126
OSCAR_80_p424-466_8-19-13.indd 440
Goldsmith, Rick, 331, 395

Goldstein, Abbee, 299
Goldwyn, Samuel, 31, 47, 50, 64, 66,
72, 76, 90, 93, 96, 147, 336
Goldwyn, Samuel, Jr., 282, 286
Goldwyn Follies, 61
Goliath II, 165
Golin, Steve, 376
Golitzen, Alexander, 54, 69, 73, 76,
80, 84, 164, 169, 173, 182, 189, 192,
211, 214, 231
Gomberg, Sy, 119
Gomez, Thomas, 96
Gonchor, Jess, 398
Gondry, Michel, 368
Gone Baby Gone, 380
Gone Nutty, 365
Gone with the Wind, 62, 63, 64, 65,
66, 128, 129, 132, 154, 182, 247, 271
Gonna Fly Now, 238
Gonzalez, Victor, 381
Gonzalez Irritu, Alejandro, 376
Good Earth, The, 13, 48, 49, 50, 51
Good Fellas, 304, 305, 306
Good German, The, 376
Good Morning, 218
Good Morning Vietnam, 288
Good News, 96
Good Night, and Good Luck., 372
Good Scouts, 61
Good Shepherd, The, 376
Good Will Hunting, 332, 334, 335, 335
Good Will to Men, 139
Goodbye, Columbus, 210
Goodbye Girl, The, 240, 241, 242
Good-bye Miss Turlock, 97
Goodbye, Mr. Chips (1939), 62, 64, 65
Goodbye, Mr. Chips (1969), 210, 211
Goodell, John D., 227
Goodhill, Dean, 318
Goodie-Two-Shoes, 273
Gooding, Cuba, Jr., 328, 330, 330,
388, 417
Goodman, Barak, 353
Goodman, David, 281
Goodman, David Zelag, 214
Goodman, John, 404
Goodman, John B., 61, 76, 80, 84
Goodman, Karen, 299, 307, 377, 399
Goodman, Lee, 119
Goodman, Richard Bryce, 306
Goodman, Roger, 389
Goodman, Ronald C., 327
Goodnight Miss Ann, 253
Goodrich, Frances, 39, 47, 119, 134
Goodwin, Richard, 275, 276
Goodwin, Thomas C., 315
Gooley, Nikki, 372
Goosson, Stephen, 27, 50, 61, 73, 88
Gopher Broke, 369
Gordin, Myron, 281
Gordon, Charles, 302
Gordon, Dexter, 284
Gordon, Douglas, 243
Gordon, James B., 119, 160, 169
Gordon, Jon Henry, 395
Gordon, Jonathan, 406
Gordon, Josh, 345
Gordon, Lawrence, 302
Gordon, Mack, 69, 72, 77, 81, 85, 93,
96, 115, 119
Gordon, Mark, 344
Gordon, Michael, 117
Gordon, Ruth, 95, 96, 119, 126, 184,
204, 206, 207, 292
Gordon, Steve, 245, 264, 265
Gordon E. Sawyer Award, 299, 303,
307, 311, 315, 319, 323, 327, 331, 335,
391, 403
Gordon-Levitt, Joseph, 399
Gore, Al, 374
Gore, Christopher, 260
Gore, Lesley, 260
Gore, Michael, 260, 273

Gore, Tipper, 374
Gorgeous Hussy, 47
Gorillas in the Mist, 296, 298, 299
Goring, Marius, 132
Gorog, Laszlo, 88
Gorton, Assheton, 264
Gosford Park, 356
Gosling, Ryan, 376
Gospel According to St. Matthew, The,
188, 189
Goss, Walter, 243
Gossett, Louis, Jr., 266, 268, 300
Gottfried, Howard, 238
Gottschalk, Robert E., 161
Gottwald, Michael, 406
Gould, Dave, 42, 43, 47, 51
Gould, Elliott, 208, 210, 215
Gould, Robert, 364, 402
Gould, Roger, 361
Goulding, Edmund, 28, 71, 92, 405
Goulet, Robert, 170, 182
Gouri, Haim, 231
Governors Awards, 382, 384, 393, 397
Governors Ball, 152, 158, 384
Grable, Betty, 92, 144, 216
Grace, Christopher, 345
Grace, Henry, 138, 156, 160, 164, 173,
176, 180, 181, 184, 188
Gracia, Javier Recio, 395
Graduate, The, 149, 190, 191, 192
Grady, Rachel, 377
Grafti, 281
Grafton, David, 261, 285, 381
Graham, Angelo, 231, 252, 256, 277
Graham, Barbara, 155
Graham, Elliot, 390
Graham, William L., 239
Grahame, Gloria, 96, 100, 105, 124,
125, 126
Grain That Built a Hemisphere, The, 77
Grand Canyon (1958), 157
Grand Canyon (1991), 310
Grand Day Out, A, 307
Grand Hotel, 28, 29, 31, 154, 405
Grand Illusion, 61
Grand Prix, 189
Grandad of Races, 119
Grandfather, The, 345
Grandma Moses, 119
Granger, Bertram, 80
Granger, Stewart, 118
Granik, Debra, 398
Granny OGrimms Sleeping Beauty,
395
Grant, Cary, 51, 71, 72, 81, 82, 84, 104,
140, 152, 194, 195, 208, 211, 274, 294
Grant, Hugh, 396
Grant, James Edward, 156
Grant, Lawrence, 24, 26
Grant, Lee, 122, 196, 214, 232, 233,
234, 238
Grant, Richard Benjamin, 285
Grant, Ron, 285
Grant, Susannah, 352
Grant, Tom, 391
Granville, Bonita, 47
Granville, Roy, 81, 85
Grapes of Wrath, The, 66, 67, 68, 260
Grapewin, Charles, 49
Grashin, Mauri, 39
Grass Is Always Greener, The, 115
Grasshoff, Alex, 189, 207, 227
Grasshoppers (Cavallette), 307
Gratz, Joan C., 315
Grauman, Sid, 9, 15, 111
Graves, Ed, 192
Graves, Jim, 307
Gravity Is My Enemy, 243
Gray, David W., 345
Gray, Gilda, 44
Gray, Lorraine, 253
Gray, Maggie, 280, 394
Gray, Mike, 256

Gray, William S., 47
Graysmark, John, 222, 264
Grayson, Kathryn, 278
Grazer, Brian, 276, 326, 356, 390,
400
Grease, 253
Great, 235
Great American Cowboy, The, 227
Great Caruso, The, 123
Great Cognito, The, 269
Great Day in Harlem, A, 323
Great Dictator, The, 68, 69
Great Escape, The, 176
Great Expectations, 96, 97, 144
Great Gatsby, The, 231
Great Heart, The, 61
Great Lie, The, 70, 71, 72
Great McGinty, The, 68
Great Muppet Caper, The, 264
Great Race, The, 184, 185
Great Santini, The, 260, 270
Great To Be Nominated series, 340
Great Victor Herbert, The, 64, 65
Great Waltz, The, 61
Great War, The, 161
Great White Hope, The, 214
Great Ziegfeld, The, 13, 44, 47, 120
Greatest Show on Earth, The, 124, 125,
126, 127, 154
Greatest Story Ever Told, The, 184, 185
Greatrex, Richard, 344
Greaves, Daniel, 311
Greaves, John O.B., 369
Greco, Jos, 140
Greek Tragedy, A, 285
Green, Adolph, 130, 138, 292
Green, Alfred E., 25, 42
Green, Brunson, 402
Green, Guy, 96, 97, 185
Green, Jack N., 314
Green, John (Johnny), 96, 99, 106,
108, 111, 112, 120, 123, 124, 131, 135,
143, 147, 165, 167, 169, 177, 207, 211,
292
Green, Paul, 35
Green, Sam, 365
Green, Sarah, 402
Green, Steph, 391
Green, Walon, 210, 219
Green Card, 306
Green Dolphin Street, 94, 96
Green Goddess, The, 25
Green Grass of Wyoming, 110
Green Leaves of Summer, The, 165
Green Mile, The, 346, 348, 349
Green Years, The, 93
Greenberg, Adam, 310
Greenberg, Gerald B. (Jerry), 218, 256
Greenberg, Richard, 289
Greenberg, Robert, 285, 289
Greenbury, Christopher, 348
Greene, Clarence, 122, 160
Greene, Danford B., 214, 231
Greene, Graham (writer), 115, 118
Greene, Graham (actor), 306
Greene, Mort, 77
Greene, Richard, 60
Greene, Sparky, 239
Greene, W. Howard, 44, 47, 51, 65, 68,
73, 76, 80, 122
Greene, Walter, 89
Greenfeld, Josh, 231
Greeneld, Douglas, 365
Greeneld, Stephen, 323
Greengrass, Paul, 376, 380
Greenham, Vivian C., 169
Greenhut, Robert, 284
Greenstreet, Philip, 353
Greenstreet, Sydney, 72, 78
Greenwald, Ken, 218
Greenwell, Peter, 219
Greenwood, Don, Jr., 176
8/21/13 6:59 PM
Greenwood, Sarah, 372, 394, 407

Greenwood, Trevor, 193
Greetings, Bait!, 81
Gregors Greatest Invention, 357
Gregory, Andrew, 369
Gregory, Grace, 134, 176
Gregory, Robin, 243, 264
Gregson, Richard, 164
Greig, Robert, 44
Grenzbach, Charles Bud, 223, 231,
284
Gresham, Gloria, 306
Grey, Harry, 97, 110
Grey, Joel, 195, 198, 216, 220, 221, 222
Greystoke, The Legend of Tarzan, Lord
of the Apes, 27475, 276, 277
Grgic, Zlatko, 257
Grifn, Eleanore, 61
Grifn, James (Arthur James), 215
Grifn, Merv, 296
Grifth, Corinne, 23, 23
Grifth, D.W., 8, 12, 15, 17, 40, 43,
72
Grifth, Hugh, 158, 160, 161, 176, 204
Grifth, Melanie, 298
Grifths, Guy, 369
Grifths, Mildred, 88
Grifths, Rachel, 344
Grifths, Trevor, 264
Grifters, The, 306
Griggs, Loyal, 61, 130, 142, 184
Grignon, Lorin, 131
Grignon, Marcel, 188
Grill, Bryan, 399
Grillo, Michael, 298
Grimaldi, Alberto, 360
Grimes, Stephen, 180, 226, 280
Grindstaff, Chuck, 365
Grober, David, 373
Groesse, Paul, 69, 80, 93, 115, 119, 122,
126, 130, 173, 176, 188
Grofe, Ferde, 85
Gropman, David, 348, 407
Grosbard, Ulu, 207
Gross, Markus, Dr., 407
Gross, Matthew, 307
Gross, Roland, 85
Grossman, Robert, 243
Grossmann, Ben, 403
Grot, Anton, 27, 47, 50, 64, 69
Grote, Ulrike, 373
Groves, George R., 25, 147, 160, 165,
173, 181, 184, 189
Gruault, Jean, 260
Grubel, Robert, 165
Gruenberg, Louis, 69, 72, 81
Gruffalo, The, 399
Grusin, Dave, 253, 256, 264, 269,
299, 303, 307, 319
Grzimek, Bernhard, 161
Gu Changwei, 318
Guaraldi, Vince, 215
Guard Dog, 369
Guardsman, The, 31
Guare, John, 264
Guerra, Tonino, 184, 188, 234
Guess, Cameron, 215
Guess Whos Coming to Dinner, 76,
149, 190, 191, 192, 193, 247
Guest, Judith, 258
Guest in the House, 89
Guest Wife, 89
Guetary, Georges, 120
Guffey, Burnett, 130, 142, 172, 184,
192
Guffroy, Pierre, 188, 260
Guggenheim, Charles E., 181, 193,
207, 269, 277, 303, 323, 327, 345
Guggenheim, Davis, 377
Guidice, Don, 235
Guilaroff, Sydney, 106
Guinness, Alec, 97, 101, 126, 144, 145,
147, 156, 171, 242, 254, 257, 298
OSCAR_80_p424-466_8-19-13.indd 441
Guiol, Fred, 142

Gullah Tales, 299
Gullivers Travels, 64
Gulzar, 391
Gun in His Hand, A, 89
Gunght at the O.K. Corral, 106, 147
Gunghter, The, 119
Gunga Din, 62
Gunnarsson, Sturla, 269
Guns of Navarone, The, 168, 169
Guthrie, A.B., Jr., 130
Guthrie, Woody, 239
Gutierrez, Leslie, 361
Gutman, James, 239
Guttentag, William (Bill), 299, 303,
311, 323, 361
Gutteridge, Martin, 284
Gutterman, Robert P., 161
Guttfreund, Andre, 239
Guve, Bertil, 272
Guy Named Joe, A, 84
Guy-Blach, Alice, 393
Guyett, Roger, 369, 395
Guys and Dolls, 138, 139
Gwangwa, Jonas, 289
Gwenn, Edmund, 94, 96, 97, 100,
108, 119
Gwilym, Huw, 349
Gyllenhaal, Jake, 371, 372
Gyllenhaal, Maggie, 389, 393, 394
Gypsy, 172, 173
Haack, Morton, 181, 206, 218

Haanstra, Bert, 161, 181, 223
Haas, Robert M., 96, 110
Haboush, Jeffrey J., 369, 398, 403
Habros, Robert, 395
Hackett, Albert, 39, 47, 119, 134
Hackett, Joan, 264
Hackford, Taylor, 253, 268, 367, 368
Hackman, Gene, 192, 196, 214, 216,
218, 298, 312, 312, 314, 346, 366
Hadary, Susan Hannah, 349
Hadjidakis, Manos, 162, 165
Haessens, Robert, 115
Hafenrichter, Oswald, 119
Haff, Richard M., 123
Haffenden, Elizabeth, 160, 189
Haft, Steven, 302
Hagans, Donald, 311
Hageman, Richard, 61, 64, 69, 72, 77
Hagen, Earle H., 165
Hagen, Jean, 126
Hagen, Uta, 134
Hager, James, 235
Haggard, H. Rider, 118
Haggis, Paul, 339, 367, 368, 370, 372,
376
Hague, Albert, 261
Hahn, Don, 310, 377
Hahn, Edwin C., 65
Hahn, Thomas, 311
Haigh, Nancy, 310, 322, 360, 376, 398
Hail the Conquering Hero, 84
Haines, Fred, 192
Haines, Randa, 283
Hairy Ape, The, 85
Hajos, Karl, 85, 89
Hakuna Matata, 322
Halas, John, 177
Hale, Joe, 256
Hale, John, 210
Hale, Nancy, 299
Haley, Jack, 65
Haley, Jack, Jr., 208, 224
Haley, Jackie Earle, 376
Half a House, 238
Half Nelson, 376
Halfon, Lianne, 380
Hall, Alexander, 72
Hall, Allen, 311, 323, 345, 377

Hall, Anthony Michael, 389
Hall, Brian, 407
Hall, Cecelia, 284, 306
Hall, Charles D., 61, 64
Hall, Conrad L., 184, 188, 192, 210,
234, 254, 298, 318, 344, 348, 360
Hall, David, 50, 184
Hall, Don, 373
Hall, Grayson, 180
Hall, John, 73
Hall, Lee, 352
Hall, Mindy, 395
Hall, Rebecca, 390
Hall, Roy, 335
Hallberg, Per, 327, 335, 381, 407
Hall, Roland, 261, 265
Hallelujah, 25
Hallenberger, Harry, 73
Haller, Ernest, 61, 65, 88, 119, 172, 176
Hallinen, Eda Godel, 273
Hallstrm, Lasse, 288, 348
Halprin, Sol, 88, 131
Halsey, Richard, 238
Ham, Al, 189
Hamblin, Paul, 398
Hambling, Gerry, 253, 260, 298, 310,
318, 330
Hamerski, Steve, 311
Hamill, Mark, 241
Hamilton, Arthur, 215
Hamilton, Fenton, 211, 219
Hamilton, George, 182
Hamilton, Hamish, 392
Hamilton, Margaret, 245
Hamilton, Nancy, 139
Hamilton, Neil, 31
Hamilton, Patrick, 83
Hamlet (1948), 108, 109, 110, 111, 174,
250
Hamlet (1990), 300, 306
Hamlet (1996), 330
Hamlisch, Marvin, 219, 224, 226,
243, 253, 256, 269, 280, 302, 330,
405
Hammer, Armie, 398
Hammeras, Ralph, 21, 27, 110
Hammerstein, Oscar, II, 57, 61, 72, 73,
89, 93, 123, 141, 182
Hammett, Dashiell, 80, 243
Hammond, Albert, 289
Hampden, Walter, 95
Hampton, Christopher, 298, 380
Hampton, Orville H., 180
Hancock, Herbie, 285
Hancock, John, 215
Hancock, John Lee, 393
Handford, Peter, 280, 298
Handful of Dust, A, 298
Handler, Josef, 377
Handley, Alan, 154
Handley, Charles, 65
Handley, Kirk, 335
Hands That Built America, The, 360
Haneke, Michael, 406
Haney, Kevin, 303
Hanging Tree, The, 161
Hangmen Also Die, 81
Hank Aaron: Chasing the Dream, 327
Hankin, Larry, 257
Hanks, Tom, 283, 291, 298, 316, 317,
318, 320, 321, 322, 344, 344, 352
Hanley, Dan, 326, 356, 372, 390
Hanna, William, 139, 147
Hannah and Her Sisters, 282, 284
Hannan, Peter, 373
Hanneman, Walter, 238, 243
Hanrahan, Pat, 315, 365
Hans Christian Andersen, 126, 127
Hansard, Glen, 380, 381
Hansen, Edmund H., 39, 43, 47, 51,
61, 65, 68, 73, 76, 81, 85
Hansen, Franklin, 25, 35, 39, 43, 47
Hanson, Curtis, 333

Hanussen, 299
Happiest Millionaire, The, 192
Happiness Is a Thing Called Joe, 81
Happy Ending, The, 210, 211
Happy Feet, 375, 377
Happy-Go-Lucky, 390
Happy New Year, 289
Happy Working Song, 380
Harburg, E.Y., 64, 81, 89
Hard Days Night, A, 180, 181
Harden, Marcia Gay, 350, 352, 353,
364
Harder They Fall, The, 142
Harding, Ann, 27
Harding, Jay M., 260, 264
Harding, Warren, 7
Hardwicke, Cedric, 58
Hardwood, 369
Hardy, Jonathan, 260
Hardy, Oliver, 31
Hardy, Tom, 399
Hare, David, 360, 390, 391
Harlan, Russell, 126, 138, 172, 184, 188
Harlan County, U.S.A., 239
Harlem Nights, 302
Harline, Leigh, 51, 69, 77, 81, 173
Harling, Franke (Frank), 51, 64, 85
Harlow, Joel, 395
Harmon, Sidney, 76
Harp of Burma, 143
Harper, Tess, 270, 284
Harrah, Mark, 353
Harrelson, Woody, 328, 330, 394
Harris, Barbara, 218
Harris, Ed, 272, 326, 338, 344, 352,
360
Harris, James, III, 318
Harris, Jed, 134
Harris, Jon, 398
Harris, Julie (actress), 126
Harris, Julie (costume designer), 184
Harris, Leon, 256
Harris, Louis, 85
Harris, Mark Jonathan, 193, 353
Harris, Neil, 323
Harris, Neil Patrick, 392
Harris, Richard, 176, 306
Harris, Richard A., 310, 334
Harris, Rosemary, 322
Harris, Vernon, 206
Harrison, Charles, 285
Harrison, Doane, 81, 88, 119
Harrison, Joan, 68
Harrison, Rex, 141, 153, 176, 178, 179,
180
Harrison & Harrison, Optical
Engineers, 281
Harry and the Butler, 169
Harry and the Hendersons, 289
Harry and Tonto, 228, 229, 230, 231
Harry Potter and the Deathly Hallows
Part 1, 398, 399
Harry Potter and the Deathly Hallows
Part 2, 402, 403
Harry Potter and the Goblet of Fire, 372
Harry Potter and the Half-Blood Prince,
392, 394
Harry Potter and the Prisoner of
Azkaban, 369
Harry Potter and the Sorcerers Stone,
356
Harryhausen, Ray, 311
Hart, Bobby, 273
Hart, Charles, 369
Hart, Jay R., 334, 344
Hart, Moss, 43, 58, 96
Hart, Rick, 314
Harten, Charles, 164
Hartleben, Dale, 235
Hartley, David, 353
Hartman, Don, 43, 76, 102
Hartman, Elizabeth, 184, 185
441
8/21/13 6:59 PM
Hartstone, Graham V., 253, 277, 284

Harvest, 193
Harvey, 116, 118, 119
Harvey, Anthony, 205, 206
Harvey, Laurence, 160, 161, 183
Harvey, Rob, 353
Harvey, Tim, 330
Harvey Girls, The, 93
Harvie Krumpet, 365
Harwood, Ronald, 273, 360, 380
Harwood, Shuna, 326
Hasenzahl, Markus, 395
Hasford, Gustav, 287, 288
Haskell, Jack, 47
Haskin, Byron, 61, 65, 68, 73, 77
Hasso, Signe, 95
Hasty Heart, The, 115
Hatami, Leila, 403
Hatari!, 172
Hatch, Arthur J., 185
Hatch, Eric, 47
Hatch Up Your Troubles, 115
Hateld, Hurd, 89
Hatful of Rain, A, 147
Hathaway, Anne, 387, 390, 396, 405,
405, 406
Hathaway, Henry, 40, 43, 209
Hatley, Marvin, 51, 61
Hatten, Yankton, 275
Hauben, Lawrence, 232, 234
Hauge, Carl, 143, 165, 181, 207
Haugland, David, 315
Haugse, Bill, 322
Havana, 307
Have You Ever Really Loved a
Woman, 326
Havelock-Allan, Anthony, 93, 96,
206
Havlick, Gene, 51, 61, 64
Havoc, June, 95
Hawaii, 188, 189
Hawaiians, The, 214
Hawke, Ethan, 356, 367, 368
Hawkes, John, 398
Hawkins, Jack, 145, 171
Hawkins, John N.A., 73
Hawkins, Richard, 261
Hawkins, Tim, 395
Hawks, Howard, 45, 71, 72, 194, 228,
231
Hawn, Goldie, 197, 208, 210, 211, 220,
232, 260, 282, 385
Haworth, Ted (Edward S.), 100, 138,
147, 160, 164, 173, 181
Hawthorne, Nigel, 322
Hayakawa, Sessue, 145, 147
Hayden, Sterling, 221
Haydn, Richard, 182
Hayek, Salma, 360, 419
442 Hayes, Alfred, 115, 122
Hayes, Chris, 280
Hayes, Craig, 331, 353
Hayes, Helen, 10, 15, 28, 31, 34, 141,
212, 214, 216, 346, 366
Hayes, Isaac, 216, 219
Hayes, Jack, 181, 280
Hayes, John Michael, 134, 147
Hayes, John Patrick, 157
Hayes, Raphael, 180
Hayes, Simon, 407
Hayes, Tom, 169
Hayes, William, 369
Haymes, Dick, 216
Hayne, Rawdon, 361
Haynes, Todd, 360
Hays, Will H., 7, 8, 24
Hayton, Lennie, 93, 111, 115, 127, 207,
211
Hayward, Debra, 406
Hayward, Leland, 138
Hayward, Susan, 94, 96, 115, 126, 136,
138, 149, 152, 154, 155, 156, 224
Hayworth, Rita, 117, 155
OSCAR_80_p424-466_8-19-13.indd 442
Hazanavicius, Michel, 383, 400,

402
Hazeltine Corporation, 211
He Makes Me Feel Like Dancin, 273
Head, Edith, 106, 110, 115, 119, 123,
127, 130, 134, 139, 143, 147, 153,
156, 160, 164, 169, 173, 176, 181,
184, 189, 211, 214, 224, 226, 234,
242, 244, 262
Head over Heels, 407
Headley, Chuck, 327, 335
Healy, John, 131, 143
Heap, Jonathan, 307
Heard, Paul F., 115
Hearst, William Randolph, 72
Heart Is a Lonely Hunter, The, 206
Heart Like a Wheel, 273
Heart to Heart, 110
Heartbeeps, 264
Heartbreak Kid, The, 222
Heartbreak Ridge (1955), 139
Heartbreak Ridge (1986), 284
Hearts and Minds, 228, 231, 338
Heath, Hy, 119
Heath, Percy, 31
Heaven Can Wait (1943), 80
Heaven Can Wait (1978), 250, 252,
253
Heaven Can Wait (play; Segall), 70
Heaven Knows, Mr. Allison, 147
Heavenly Creatures, 322
Heavenly Music, 81
Heavens Gate, 264
Hecht, Allen, 257
Hecht, Ben, 21, 39, 43, 65, 68, 77, 93,
194
Hecht, Harold, 100, 138, 156
Heckart, Eileen, 142, 198, 199, 220,
222
Heckel, Sally, 260
Hecker, Scott A., 361
Heckroth, Hein, 110, 123
Hedd Wyn, 319
Hedda, 212, 234
Hedn, Bjrn, 395
Hedgecock, William, 68
Hedges, Michael, 361, 365, 373
Hedges, Peter, 360
Hedrick, A. Earl, 142
Heerman, Victor, 34, 35
Hein, Van, 74, 76, 130
Hegedus, Chris, 319
Heggen, Thomas, 138
Hehr, Addison, 164, 176
Heideman, Cecile, 364
Heiduschka, Veit, 406
Heim, Alan, 238, 256
Heindorf, Ray, 77, 81, 85, 89, 93, 96,
111, 115, 119, 127, 131, 135, 157, 173,
207
Heinrichs, Rick, 348, 368, 376
Heiress, The, 91, 112, 113, 115, 153
Held, Tom, 61
Helen Keller in Her Story, 139
Helfgott, David, 328, 329
Helgeland, Brian, 334, 364
Helicopter Canada, 189
Hell and Back Again, 403
Hell and High Water, 135
Helland, J. Roy, 402
Heller, Caryl, 310
Hellboy II: The Golden Army, 390
Hellre: A Journey from Hiroshima,
289
Hellman, Jerome, 209, 210, 234, 252
Hellman, Lillian, 72, 79, 80, 242, 243
Hello, Dolly!, 198, 210, 211
Hello, Frisco, Hello, 80, 81
Hells Angels, 25
Hellstrom Chronicle, The, 219
Helm, Levon, 259
Helman, Pablo, 361, 373
Helmer & Son, 377
Helmick, Paul, 100

Help, The, 401, 401, 402
Help! My Snowmans Burning Down,
181
Helpern, David, Jr., 239
Helpmann, Robert, 111
Helvey, Gregg, 395
Heman, Roger (father), 76, 81, 85,
88, 110
Heman, Roger (son), 235, 260
Hemingway, Ernest, 34, 80
Hemingway, Mariel, 256
Hemming, Carol, 322
Hemming, Lindy, 348
Hemphill, D.M. (Doug), 306, 314,
319, 334, 349, 365, 373, 407
Henderson, Charles, 89
Henderson, Duncan, 364
Henderson, Robert, 77
Henderson, Robert (Bob), 280, 302
Hendricks, William L., 169, 173
Hendrickson, Robert, 223
Hendrie, James, 303
Henkin, Hilary, 334
Henley, Barry K., 243
Henley, Beth, 284
Henley, Charley, 407
Hennah, Dan, 356, 360, 364, 372, 407
Hennesy, Dale, 189, 238, 269
Henning, Alex, 403
Henning, Paul, 168
Henreid, Paul, 78
Henriques, Edouard F. (III), 352, 364,
398
Henry, 407
Henry, Buck, 192, 252
Henry, Justin, 254, 255, 256
Henry, O., 23
Henry & June, 306
Henry Browne, Farmer, 77
Henry V (1946), 90, 93, 250
Henry V (1989), 302
Henson, Brian, 311
Henson, Jim, 185, 248
Henson, Taraji P., 390
Hepburn, Audrey, 128, 130, 134, 154,
160, 168, 178, 179, 192, 246, 313, 314,
315
Hepburn, Katharine, 11, 32, 33, 34, 35,
40, 43, 67, 68, 76, 121, 122, 138, 142,
153, 160, 172, 177, 190, 191, 192, 200,
204, 205, 206, 209, 224, 240, 245,
262, 263, 264, 320, 332, 358, 368,
375, 393, 401, 404; Collection, 340
Herald, Heinz, 50, 68
Herb Alpert and the Tijuana Brass
Double Feature, 189
Herbert, Jocelyn, 176
Herbich, Barbara, 289
Herbick, Michael, 319, 322, 326, 349
Hercules, 335
Herczeg, Geza, 50
Herdan, Earle, 211
Here Come the Waves, 88
Here Comes Mr. Jordan, 70, 72, 73
Here Comes the Groom, 122, 123
Here Comes the Navy, 39
Hereafter, 399
Herman, Al, 64
Herman, Justin, 115, 139
Hermanovic, Greg, 335, 361
Hero, 361
Heron, Julia, 73, 76, 84, 160, 164
Heroux, Denis, 264
Herr, Michael, 288
Herrick, Margaret, 12, 14, 16, 40, 194
Herring, Pembroke J., 215, 238, 280
Herring Hunt, 131
Herrmann, Bernard, 72, 93, 238
Herrmann, Edward, 226
Herrnfeld, Frank P., 123
Hers to Hold, 81
Hershey, Barbara, 272, 284, 330
Hersholt, Jean, 8, 56, 65, 100, 103, 111,

115, 244
Herskovitz, Marshall, 352
Hertzfeldt, Don, 353
Hery, Christophe, 365, 395
Herzbrun, Bernard, 61
Herzog, Werner, 391
Heslov, Grant, 372, 402, 404, 405,
406
Hessey, B. Russell, 211, 323
Hester Street, 234
Heston, Charlton, 125, 151, 158, 159,
160, 161, 220, 243, 300, 333
Hetherington, Tim, 399
Heureux Anniversaire (Happy
Anniversary), 173
Hey, Jerry, 280
Heyerdahl, Thor, 219
Heyman, Edward, 89
Heyman, Norma, 298
Heymann, Werner, 69, 72, 77, 85
Hi Diddle Diddle, 81
Hiawathas Rabbit Hunt, 73
Hibbard, Roger, 335
Hickel, Hal, 365, 377, 381
Hickey, William, 280
Hicks, Christopher, 369
Hicks, Scott, 330
Hidden World, The, 157
Hide-Out, 39
Hier, Rabbi Marvin, 265, 335
Higgins, Ken, 188
High and the Mighty, The, 110, 132,
134, 135
High and the Mighty, The, 135
High Grass Circus, 243
High Hopes, 161
High Noon, 124, 126, 127
High Noon (Do Not Forsake Me,
Oh My Darlin), 127
High Note, 165
High over the Borders, 77
High Schools, 277
High Society (Bernds & Ullman;
1956), 140, 142
High Society (Patrick; 1956), 140, 143
High Stakes in the East, 77
High Time, 165
Higher and Higher, 85
Hilary and Jackie, 344
Hildyard, David, 218, 223
Hildyard, Jack, 147
Hill, Elizabeth, 61
Hill, George, 27
Hill, George Roy, 168, 198, 210, 224,
226
Hill, Gladys, 234
Hill, Grant, 344, 402
Hill, James, 165, 177
Hill, Jerome, 147
Hill, Jonah, 402
Hill, Martin, 407
Hill, Mike, 326, 356, 372, 390
Hill Farm, The, 303
Hiller, Arthur, 214, 295, 355, 357
Hiller, Wendy, 61, 153, 154, 155, 156,
188
Hillias, Peg, 121
Hillmann, Robert, 307
Hilton, Arthur, 93
Hilton, James, 76, 78
Himeda, Sinsaku, 214
Hindenburg, The, 234, 235
Hines, Anthony, 376
Hines, Gregory, 297
Hinsdale, Ray, 85
Hinton, Christopher, 311, 365
Hirano, Hiroshi, 403
Hirose, Ryusho, 223
Hiroshima, Mon Amour, 164
Hirsch, Judd, 258, 260
Hirsch, Paul, 243, 369
Hirsch, Ted, 143
8/21/13 6:59 PM
Hirschberg, Lora, 391, 398

Hirschfelder, David, 330, 345
Hirschhorn, Joel, 196, 223, 231, 243
Hirsh, Ed, 357
His Butlers Sister, 85
Hiss and Yell, 93
History Brought to Life, 56
History of Violence, A, 372
History of the World in Three Minutes
Flat, 260
Hit Parade of 1941, 69
Hit Parade of 1943, 81
Hitchcock, 406
Hitchcock, Alfred, 66, 68, 71, 84, 88,
134, 164, 190, 193, 194, 244, 366
Hitchhike to Happiness, 89
Hitler Lives?, 89
Hitting a New High, 51
Hittle, Timothy, 331
Hively, George, 43
Hliddal, Petur, 326, 369
Ho, A. Kitman, 302, 310
Hoa-Binh, 215
Hoagland, Ellsworth, 43
Hoaxters, The, 127
Hobbit: An Unexpected Journey, The,
406, 407
Hobel, Philip S., 270, 272
Hoberman, David, 398
Hobson, Laura Z., 95
Hobson, Valerie, 97
Hoch, Winton C., 65, 110, 114, 115, 126
Hochheim, Frieder, 323
Hodge, John, 330
Hodson, David, 369
Hoedeman, Co, 243
Hoenig, Dov, 318
Hoffa, 314, 315
Hoffe, Monckton, 72
Hoffenstein, Samuel, 31, 39, 84
Hoffman, Al, 119
Hoffman, Dustin, 191, 192, 209, 210,
230, 239, 249, 254, 255, 256, 267,
268, 296, 296, 298, 334
Hoffman, Milton, 9
Hoffman, Philip Seymour, 370, 371,
372, 380, 390, 406
Hoffmann, Deborah, 323, 353
Hogan, Bill, 265
Hogan, Paul, 282, 284, 396
Hogberg, Kjell, 307
Hgh, Dorte, 391
Hogue, Bill, 373
Holbrook, Hal, 380
Holcomb, Arthur, 165
Hold Back the Dawn, 70, 72, 73
Hold My Hand, 135
Holden, Gloria, 48
Holden, William, 34, 104, 116, 117, 119,
128, 130, 134, 145, 237, 238, 263
Holder, Geoffrey, 291
Hole, The, 173
Hole, Fred, 273
Hole in the Head, A, 161
Holiday (193031), 27
Holiday (1938), 61
Holiday Inn, 74, 76, 77
Holiday Land, 39
Holiday Romance, 345
Holland, Agnieszka, 310
Holland, Bill, 299
Hollander, Frederick, 77, 111, 131
Hollander, Richard, 335
Holleran, Leslie, 352
Holliday, Judy, 99, 116, 117, 119, 178
Holliman, Elaine, 319
Hollingshead, Gordon, 35, 81, 85, 89,
93, 97, 110, 115, 119, 123, 127
Hollow Man, 353
Holloway, Stanley, 180
Hollywood, 12
Hollywood Canteen, 85
Hollywood Citizen News, 150
OSCAR_80_p424-466_8-19-13.indd 443
Hollywood Film Company, 235, 261,

299
Hollywood in Uniform, 81
Hollywood on Trial, 239
Hollywood Photographers Archive,
294
Hollywood Revue, The, 23
Holm, Celeste, 54, 94, 95, 96, 99,
100, 108, 115, 116, 117, 119, 141, 293,
333
Holm, Ian, 264
Holm, Wilton R., 223, 239
Holman, Tomlinson, 357
Holmes, Carl, 285
Holmes, John W., 218
Holmes, Milton, 88
Holmes, William, 73
Holscher, Walter, 84, 147
Holt, Hammond H., 243
Holt, Jack, 9
Holt, Tim, 108
Holt, Willy, 188
Holtz, Carl F., 345
Holway, Jerry, 345
Holy Matrimony, 80
Homage to ChagallThe Colours of
Love, 243
Home Alone, 307
Home from the Hill, 151
Home in Indiana, 84
Home-Made Car, 177
Homolka, Oscar, 110
Honan, Robin, 407
Hondo, 130
Honess, Peter, 334
Honeysuckle Rose, 260
Honolulu, 232
Hook, 310, 311
Hoop Dreams, 320, 322
Hooper, 253
Hooper, Tom, 383, 396, 398, 405
Hoosiers, 284, 285
Hoover, Herbert, 18, 26
Hoover, John, 265
Hoover, Mike, 277
Hoover, Richard R., 345, 377
Hope, Bob, 16, 56, 57, 62, 66, 69, 70,
74, 75, 82, 85, 86, 100, 124, 127, 132,
144, 150, 152, 154, 158, 161, 162, 167,
170, 178, 182, 185, 186, 190, 200,
204, 208, 212, 228, 240, 266, 290,
291, 297, 396, 401
Hope, Frederic, 39, 47
Hope and Glory, 288
Hopelessly Devoted to You, 253
Hopf, Werner, 161
Hopkins, Anthony, 40, 292, 295, 308,
309, 310, 318, 326, 332, 334
Hopkins, George James, 80, 96, 122,
134, 156, 164, 173, 181, 184, 188, 210
Hopkins, Michael (Mike), 361, 373,
381
Hopkins, Miriam, 43
Hopkins, Robert, 47
Hopkins, Speed, 277
Hopper, Dennis, 210, 284
Hornbeck, William, 93, 123, 143, 157
Hornblow, Arthur, Jr., 147
Hornby, Nick, 394
Horne, Geoffrey, 145
Horne, Victoria, 118
Horner, Harry, 115, 168, 211
Horner, James, 285, 303, 326, 335,
356, 365, 395
Horning, William A., 50, 64, 123, 147,
156, 160
Hornung, Richard, 310
Horovitz, Rachael, 402
Horse Whisperer, The, 345
Horse with the Flying Tail, The, 165
Horses Mouth, The, 144, 156
Horsley, David S., 135
Horsten, Michael W., 349
Horton, Michael, 360

Horvath, Joan, 211
Horvitz, Louis J., 358, 379
Hoskins, Bob, 284
Hosoya, Youichi, 395
Hospital, The, 218
Hot Millions, 180, 206
Hot Rock, The, 223
Hotaling, Frank, 126
Hotel Rwanda, 368
Hotel Terminus: The Life and Times of
Klaus Barbie, 299
Hott, Lawrence, 277, 311
Hounsou, Djimon, 364, 376
Hourihan, Jim, 331, 357
Hours, The, 358, 359, 360
House I Live In, The, 86, 89
House Is Not a Home, A, 181
House of Flying Daggers, 369
House of Rothschild, The, 39
House of Sand and Fog, 364, 365
House of the Seven Gables, The, 69
House on Chelouche Street, The, 227
House on 92nd Street, The, 86, 88
House on Telegraph Hill, The, 122
House That Amanda Built, The, 207
House That Jack Built, The, 207
House Un-American Activities
Committee, 46, 86, 102, 140, 249,
290
House without a Name, The, 143
Houseboat, 156, 157
Houseman, John, 130, 224, 226
Housman, Dave, 311
Houston, Bobby, 361, 369
Houston, Dianne, 327
Houston, James (Jim), 311, 377
Houston, Jordan, 371, 373
Houston, Kent, 302
How About You?, 77
How Do I Live, 335
How Do You Keep the Music
Playing?, 269
How Green Was My Valley, 67, 70,
72, 73
How Lucky Can You Get, 235
How to Avoid Friendship, 181
How to Marry a Millionaire, 130
How to Play Football, 85
How to Sleep, 43
How to Survive a Plague, 407
How to Train Your Dragon, 398, 399
How War Came, 73
How the West Was Won, 174, 176,
177
Howard, Byron, 391
Howard, James Newton, 311, 319,
322, 330, 335, 369, 380, 390
Howard, John C., 231
Howard, Leslie, 32, 35, 61
Howard, Ron, 281, 354, 356, 356, 390
Howard, Sidney, 31, 47, 62, 65
Howard, Terrence, 370, 372
Howard, Thomas (Tom), 93, 157
Howard, Trevor, 40, 164, 214, 266
Howards End, 312, 313, 314, 315
Howards of Virginia, The, 68, 69
Howarth, Anthony, 239
Howe, James Wong, 54, 61, 68, 76,
80, 138, 156, 176, 177, 188, 234
Howells, Barrie, 235
Howells, Jack, 173
Howitt, Peter, 218, 264, 298, 344
Howls Moving Castle, 373
Howse, S.E., 161
Hoyt, Judie G., 364
Hoyt, Robert L., 235
Hrastnik, Walter, 261, 307
Hsu Li Kong, 352
Hu, Lincoln, 323, 327
Hubbard, Allan, 270
Hubbard, Lucien, 19, 27, 31
Hubbard, Wineld, 161
Hubert, Harvey, Jr., 307

Hubert, Ren, 134, 181
Hubley, Faith, 173, 189, 207, 211, 231,
243
Hubley, John, 161, 173, 189, 207, 211,
231, 243
Hud, 174, 175, 176, 177, 257
Huddleston, Floyd, 226
Hudlin, Reginald, 406
Hudson, David J., 284, 310, 314
Hudson, Dawn, 387
Hudson, Hugh, 262, 264
Hudson, Jennifer, 375, 375, 376
Hudson, Kate, 352
Hudson, Robert, 361, 369
Hudson, Rock, 34, 142, 143, 144, 152,
220, 270
Huffman, Felicity, 372
Hughan, Oxley, 181
Hughes, Frank E., 88, 93
Hughes, Howard, 258, 260
Hughes, John J., 73, 80, 84
Hughes, Norman S., 207
Hughes, Robert, 177
Hugo, 400, 402, 402, 403
Huguenot van der Linden, Charles,
173, 223
Huguenot van der Linden, Martina,
173, 223
Hulce, Tom, 274, 276
Huldschinsky, Paul, 84
Hull, Josephine, 116, 118, 119
Human Comedy, The, 80
Human Dutch, The, 181
Humbrock, Harold, 157
Humdrum, 349
Humes, Immy, 311
Humoresque, 93
Humphreys, Gerry, 269, 280
Hunchback of Notre Dame, The (1939),
64, 65
Hunchback of Notre Dame, The (1996),
330
Hundertwassers Rainy Day, 223
Hungarians, 253
Hunger, 231
Hunky and Spunky, 61
Hunnicutt, Arthur, 126
Hunt, Courtney, 390
Hunt, Helen, 332, 332, 334, 406
Hunt, Hugh B., 80, 88, 119, 123, 130,
138, 147, 160, 164, 173, 176, 181, 188
Hunt, Linda, 270, 271, 272
Hunt, Marjorie, 277
Hunt, Marsha, 248
Hunt, Martita, 97
Hunt for Red October, The, 306
Hunter, Holly, 288, 316, 317, 318, 358,
364, 367
Hunter, Ian McLellan, 130, 290
Hunter, Kim, 100, 120, 121, 122
Hunter, Ross, 214
Huntley, Chris, 323
Hurletron, Inc., 169
Hurley, Joseph, 164
Hurricane, The (1937), 50, 51
Hurricane, The (1999), 348
Hurst, Ralph S., 142
Hurt, John, 252, 260
Hurt, William, 246, 278, 280, 282,
283, 284, 288, 371, 372
Hurt Locker, The, 392, 392, 393, 394,
395
Husain, Mohamed Ken T., 345
Husbands and Wives, 314
Huse, Emery, 65
Hush . . . Hush, Sweet Charlotte, 180,
181
Hush . . . Hush, Sweet Charlotte,
181
Hussey, Ruth, 68
Hustle & Flow, 371, 372
Hustler, The, 168, 283
443
8/21/13 6:59 PM
Huston, Anjelica, 108, 248, 278, 280,

302, 306, 385, 389
Huston, John, 68, 72, 100, 108, 110,
119, 121, 122, 126, 147, 176, 224, 234,
244, 278, 280, 297, 350
Huston, Tony, 288
Huston, Walter, 47, 72, 76, 100, 108,
110, 280, 350, 405
Hutchinson, Thomas Jefferson, 219
Hutchinson, Tim, 269
Hutchinson, William, 222
Hutshing, Joe, 300, 302, 310, 330,
352
Hutton, Betty, 125
Hutton, Timothy, 258, 260
Huyck, Willard, 226
Hyde, Margaret, 391
Hyer, Martha, 156
Hyln, Steve, 391
Hymns, Richard, 299, 302, 311, 319,
345, 349, 361, 403
Hynek, Joel, 285, 289, 345
Hynes, Fred, 139, 156, 160, 165, 169,
176, 184, 261, 289
Hypothese Beta, 193
I Am a Camera, 221
I Am a Fugitive from a Chain Gang,
35
I Am Love, 398
I Am a Promise: The Children of
Stanton Elementary School, 319
I Am Sam, 356
I Cant Begin to Tell You, 93
I Couldnt Sleep a Wink Last Night,
85
I Dont Want to Miss a Thing, 345
I Dream Too Much, 43
I Dreamed a Dream, 405
I Even Met Happy Gypsies, 193
I Fall in Love Too Easily, 88
I Finally Found Someone, 330
I Have Nothing, 315
I Just Called to Say I Love You, 277
I Love to See You Smile, 302
I Love You Rosa, 223
I Married a Witch, 77
I Met the Walrus, 381
I Move On, 359, 360
I Need to Wake Up, 374, 377
I Never Forget a Face, 143
I Never Promised You a Rose Garden,
242
I Never Sang for My Father, 214
I Poured My Heart into a Song, 64
I Remember Mama, 110
444 I, Robot, 369
I See the Light, 398
I Vitelloni, 147
I Want to Live!, 154, 155, 156, 157
I Want You, 123
I Wanted Wings, 73
I Was a Communist for the F.B.I., 123
I Will Wait for You, 185
I Wish I Didnt Love You So, 96
I Wont Play, 85
Iannucci, Armando, 394
Ianzelo, Tony, 239, 243
Ibbetson, Arthur, 210
Ibi, Keiko, 345
Icarus Montgoler Wright, 173
Ice Age, 361
Ice-Capades, 72
Ice Castles, 256
Ice Station Zebra, 206
Ichac, Marcel, 177
Icinkoff, Carlos, 307, 345
Id Know You Anywhere, 69
Ides of March, The, 402
Idriss, Ramey, 111
OSCAR_80_p424-466_8-19-13.indd 444
Idziak, Slawomir, 356

If I Didnt Have You, 354, 356
If I Rise, 398
If I Were King, 61
If a Tree Falls: A Story of the Earth
Liberation Front, 403
If We Were in Love, 269
If You Love This Planet, 269
Iger, Bob, 385
Iglesias, Alberto, 373, 380, 403
Ihnen, Wiard, 50, 84, 88
Ikerd, Percy, 35
Il Divo, 395
Il Supplente (The Substitute), 381
Iles, Francis, 71
Ill Buy That Dream, 89
Ill Cry Tomorrow, 106, 136, 138, 139,
155
Ill Find a Way, 243
Ill Get By, 119
Ill Never Say Goodbye, 256
Ill Never Stop Loving You, 139
Ill Wait For The Next
One . . . (JAttendrai Le
Suivant . . .), 361
Ill Walk Alone, 85
Illusionist, The (2006), 376
Illusionist, The (2010), 399
Im Checkin Out, 306
Im Easy, 234, 235
Im Making Believe, 85
Im Not There, 380
Images, 223
Imagica Corporation, Technical Staff,
357
Imaginarium of Doctor Parnassus, The,
394, 395
Imagination, 81
Imax Corporation, 281, 331
Imazu, Eddie, 47
Imitation of Life (1934), 36, 39
Imitation of Life (1959), 160
Immergluck, David, 369
Immortal Love, 169
Important Man, The, 169
Impossible, The, 406
Impression of John Steinbeck: Writer,
An, 211
Imus, Henry, 161
In America, 364
In & Out, 316, 334
In Beaver Valley, 119
In the Bedroom, 354, 356
In a Better World, 399
In Bruges, 390
In Cold Blood, 192, 193, 338
In the Cool, Cool, Cool of the
Evening, 99, 123
In Darkness, 403
In the Deep, 373
In Harms Way, 184
In the Heat of the Night, 149, 190, 192,
193, 338
In the Line of Fire, 318
In the Loop, 394
In the Name of the Father, 318
In the Name of the People, 277
In the Nuclear Shadow: What Can the
Children Tell Us?, 273
In Old Arizona, 22, 23
In Old Chicago, 48, 49, 50, 51
In Old Oklahoma, 80
In Our Water, 269
In the Region of Ice, 239
In the Shadow of the Stars, 311
In the Valley of Elah, 380
In the Wake of the Bounty, 40
In the Wee Wee Hours . . ., 289
In Which We Serve, 77, 80
In the Year of the Pig, 211
Incendiary Blonde, 89
Incendies, 399
Inception, 397, 398, 399, 399
Incident in New Baghdad, 403

Inconvenient Truth, An, 374, 377
Incredible Machine, The, 235
Incredible Sarah, The, 238
Incredibles, The, 366, 367, 368, 369, 381
Independence Day, 331
Indiana Jones and the Last Crusade,
302, 303
Indiana Jones and the Temple of Doom,
277
Indiscretion of an American Wife, 134
Indochine, 312, 314, 315, 315
Industrial Light and Magic, 265, 327
Infamous, 371
Information Please, 64
Informer, The, 14, 15, 40, 41, 43, 67
Inge, William, 168
Ingebretsen, Robert B., 345
Inglis, Tony, 234
Inglish, David, 381
Inglourious Basterds, 393, 394, 395,
406
Ingram, James, 318, 322
Ingram, Rex, 69
Inherit the Wind, 164, 165
Inja (Dog), 361
Inn of the Sixth Happiness, 156
Innerspace, 289
Innis, Chris, 395
Inocente, 407
Inside Daisy Clover, 184, 207
Inside Fighting China, 77
Inside Job, 399
Inside Moves, 260
Insider, The, 346, 348, 349
Instead of Abracadabra, 395
Institut National Polytechnique de
Toulouse, 327
Interiors, 252, 253
Intermezzo, 64
International Projector Corp., 115
Interrupted Melody, 138, 139
Interview with the Vampire, 322
Interviews with My Lai Veterans, 215
Into the Arms of Strangers: Stories of
the Kindertransport, 353
Into the West, 365
Into the Wild, 380
Introduction to the Photoplay (book),
12, 196
Invaders, The, 76
Invention of Hugo Cabret, The, 402
Investigation of a Citizen above
Suspicion, 212, 215, 218
Invictus, 394
Invisible Agent, 77
Invisible Man Returns, The, 68
Invisible War, The, 407
Invisible Woman, The, 73
Iphigenia, 243
Iraq in Fragments, 377
Ireland, John, 112, 115
Irene, 69
Irglova, Marketa, 380, 381
Iris, 354, 355, 355, 356
Irish Eyes Are Smiling, 85
Irma La Douce, 176, 177
Iron Lady, The, 401, 401, 402
Iron Man, 391
Iron Man 2, 399
Irons, Jeremy, 283, 304, 305, 306
Ironweed, 288
Irvine, Richard, 73
Irving, Amy, 272
Irving, John, 348
Irving G. Thalberg Memorial Award,
16, 48, 51, 61, 65, 73, 77, 81, 82, 85,
93, 111, 119, 123, 127, 131, 143, 157,
169, 177, 185, 189, 193, 215, 224, 227,
235, 239, 243, 257, 265, 282, 285,
289, 307, 310, 311, 323, 328, 331, 345,
349, 353, 382, 384, 393, 395, 399
Is It Always Right to Be Right?, 215
Is Paris Burning?, 188

Isaac in America: A Journey with Isaac
Bashevis Singer, 285
Isadora, 206, 242
Isham, Mark, 315
Isherwood, Christopher, 221
Ishioka, Eiko, 314, 406
Island at the Top of the World, The, 231
Islands in the Stream, 242
Islands of the Sea, 165
Istec Incorporated, 303
It Goes Like It Goes, 256
It Happened on Fifth Avenue, 96
It Happened One Night, 36, 36, 39, 46,
232, 251, 294
It Happened Tomorrow, 85
It Happens Every Spring, 115
It Might As Well Be Spring, 57, 89
It Might Be You, 269
It Seems I Heard That Song Before,
77
It Should Happen to You, 134
It Started in Naples, 164
It Started with Eve, 77
Its Always Fair Weather, 138, 139
Its a Blue World, 69
Its Easy to Say, 256
Its Everybodys War, 77
Its Good to Talk, 335
Its Got Me Again, 31
Its a Great Feeling, 115
Its Hard Out Here for a Pimp, 371,
373
Its a Mad, Mad, Mad, Mad World,
176, 177
Its Magic, 111
Its the Same World, 260
Its So Nice to Have a Wolf around the
House, 257
Its Tough to Be a Bird, 211
Its a Wonderful Life, 93
Ivanek, Zeljko, 404
Ivanhoe, 126, 127
Ive Got a Gal in Kalamazoo, 77
Ive Got You Under My Skin, 47
(Ive Had) the Time of My Life, 289
Ive Seen It All, 353
Ives, Burl, 154, 156, 157
Ivory, James, 284, 285, 314, 318
Iwerks, Don, 335
Iwerks, Leslie, 377
Iwerks, Ub, 161, 176, 181
Jabara, Paul, 253

Jablonski, Carl, 220
Jack Johnson, 215
Jack London, 85
Jack Oakie Lecture on Comedy in
Film, 248
Jackie Brown, 334
Jackman, Fred, 35
Jackman, George, 323
Jackman, Hugh, 383, 388, 389, 405,
406
Jackson, Calvin, 181
Jackson, Doug, 211
Jackson, Felix, 65
Jackson, Gemma, 368
Jackson, Geoff, 357
Jackson, Glenda, 212, 214, 218, 224,
225, 226, 234
Jackson, Harry, 96
Jackson, Horace, 27
Jackson, Janet, 318
Jackson, John, 361
Jackson, Joseph, 27
Jackson, Michael, 258, 304
Jackson, Peter, 322, 356, 360, 362,
363, 364, 394
Jackson, Samuel L., 322
8/21/13 6:59 PM
Jacob, the Liar, 239

Jacobi, Derek, 396
Jacobs, Arthur P., 192
Jacobs, Mrs. Edward, 20
Jacobs, Henry, 181
Jacobs, James, 407
Jacobs, Jim, 215
Jacobs, Michael, 322
Jacobs, Robert Nelson, 352
Jacobsen, Jan, 289
Jacobson, Arthur, 35
Jacobson, Larry, 335
Jacoby, Irving, 161
Jacoby, Oren, 369
Jacqueline Susanns Once Is Not
Enough, 234
Jacques-Yves Cousteaus World without
Sun, 161, 181
Jacquet, Luc, 373
Jaeckel, Richard, 218
Jaenicke, Allan, 407
Jaffe, Leo, 250, 253
Jaffe, Sam, 95, 119
Jaffe, Stanley R., 254, 256, 288
Jagged Edge, 280
Jagger, Dean, 100, 112, 114, 115, 163
Jahraus, Donald, 81, 85, 88
Jai Ho, 391
Jamaica Daddy, 147
James, Arthur. See Grifn, James
James, Doug, 407
James, Gennie, 275
James, Gerard, 298
James, Harry, 144
James, Henry, 113
James, Peter, 222, 234
James, Steve, 322
James and the Giant Peach, 330
Jammin the Blues, 85
Jandl, Ivan, 85, 111
Jane Eyre (1944), 82
Jane Eyre (2011), 402
Janie, 85
Janitor, The, 323
Jankovics, Marcell, 235
Janni, Joseph, 184
Jannings, Emil, 18, 19, 21
Janson, Len, 193
Janssen, Werner, 47, 61, 64, 89
Jantzen, Andy, 403
Janvey, Dan, 406
Jarecki, Andrew, 365
Jarjoura, Mino, 407
Jarman, Claude, Jr., 53, 55, 85, 92, 93,
333
Jarre, Maurice, 150, 172, 177, 185, 223,
243, 277, 280, 299, 307
Jarrett, Chas, 377
Jarrico, Paul, 72
Jarvis, John, 130
Jasmin, Pierre, 377
Jasper and the Beanstalk, 89
Jaszberenyi, Mark, 395
Jaworski, Tadeusz, 223
Jaws, 234, 235
Jaws: The Revenge, 282
Jayashri, Bombay, 407
Jaynes, Roderick, 330, 380
Jayston, Michael, 217
Jaywalker, The, 143
Jazz Singer, The (192728), 18, 20, 21
Jazz Singer, The (1952), 127
Jeakins, Dorothy, 108, 110, 119, 127,
143, 169, 173, 181, 184, 189, 226, 288
Jean, 211
Jean Hersholt Humanitarian Award,
143, 147, 161, 165, 169, 173, 185, 189,
193, 204, 207, 211, 215, 223, 227,
231, 235, 243, 253, 257, 265, 269,
273, 277, 281, 301, 303, 314, 315, 319,
323, 357, 369, 377, 382, 384, 391,
403, 407
Jean-Baptiste, Marianne, 330
OSCAR_80_p424-466_8-19-13.indd 445
Jeans, Isabel, 154

Jeepers Creepers, 61
Jefferies, Philip, 226
Jeffress, Jerry, 243, 285, 299
Jeffs, Robert W., 361
Jein, Gregory, 243, 256
Jenet, Veronika, 318
Jenkins, Chris, 280, 306, 314, 391
Jenkins, George, 238, 256
Jenkins, Richard, 390
Jenkins, Tamara, 380
Jennings, Brian, 299
Jennings, Dev (Devereux), 61, 96
Jennings, DeWitt, 14
Jennings, Gordon, 61, 65, 68, 72, 73,
77, 81, 85, 96, 123
Jennings, Joe, 256
Jennings, John D., 169
Jennings, Talbot, 43, 93
Jennings, Will (Wilbur), 260, 269,
335
Jenny Is a Good Thing, 211
Jensen, Al, 327, 335
Jensen, Anders Thomas, 331, 335,
345
Jensen, Henrik Wann, 365
Jensen, John, 143, 156
Jensen, Martin, 398
Jenson, George, 277
Jenssen, Elois, 119, 269
Jerome, M.K., 85, 89
Jerry Maguire, 328, 330, 330
Jerrys Cousin, 119
Jersey, William C. (Bill), 193, 303
Jessel, George, 44, 211
Jessup, Harley, 289, 311
Jester, Ralph, 143, 156
Jesus Camp, 377
Jesus Christ Superstar, 226
Jesus of Montreal, 303
Jet Carrier, 135
Jeunet, Jean-Pierre, 356
Jewison, Norman, 188, 190, 192, 217,
218, 276, 287, 288, 342, 345
Jezebel, 59, 60, 61
JFK, 309, 310, 311
Jhabvala, Ruth Prawer, 284, 285, 312,
314, 318
Jim Dine: A Self-Portrait on the Walls,
327
Jimenez, Andrew, 373
Jimmy the C, 243
Jimmy Neutron: Boy Genius, 357
Jin, Depu, 361
Jinks, Dan, 348, 390
Jirouch, Gustav, 127
Joan of Arc, 108, 110, 111
Joan of Paris, 77
Joblove, George, 319
Jobs Revolt, 273
Jodoin, Rene, 231, 235
Joe, 214
Joffa, Bernard, 307
Joffe, Carol, 284, 288
Joffe, Charles H., 240, 242
Joff, Roland, 275, 276, 283, 284
Johann Mouse, 127
Johansson, Scarlett, 390
John, Elton, 322, 381
John A. Bonner Medal of
Commendation, 331, 335, 345, 349,
353, 357, 361, 365, 373, 377, 381, 391,
399, 403, 407
John Glenn Story, The, 173
John Henry and the Inky Poo, 93
John Muirs High Sierra, 231
Johnny Belinda, 103, 108, 109, 110, 111
Johnny Come Lately, 81
Johnny Doughboy, 77
Johnny Eager, 76, 76
Johnny Flynton, 361
Johns, Arthur (A.W.), 65, 68, 85, 88
Johns, Glynis, 164
Johnson, Ben, 194, 198, 216, 218

Johnson, Brian, 256, 261, 264
Johnson, Bridget, 334
Johnson, Broderick, 394
Johnson, Celia, 93
Johnson, Eric, 398
Johnson, George, 353
Johnson, Joel W., 335
Johnson, Jon, 353
Johnson, Joseph McMillan, 110, 138,
164, 173, 184, 206
Johnson, Lamont, 194
Johnson, Larry, 214
Johnson, Lynda Bird, 182
Johnson, Malcolm, 133
Johnson, Mark, 294, 298, 310
Johnson, Martin, 247
Johnson, Mike, 373
Johnson, Nunnally, 67, 68, 80, 145,
245
Johnson, Osa, 247
Johnson, Paul, 299, 353
Johnson, Tom, 310, 322, 334, 349, 353,
369, 403
Johnson, Tony, 373, 395
Johnsrud, David, 319
Johnston, Arthur, 47
Johnston, Becky, 295, 310
Johnston, Clint, 188
Johnston, Eric, 53
Johnston, Joanna, 406
Johnston, Joe, 264
Johnston, Lynn, 402
Johnstone, Anna Hill, 222, 264
Johnstown Flood, The, 303
Joker Is Wild, The, 147
Jolie, Angelina, 346, 347, 348, 390,
421
Jolley, Stan, 280
Jolley, Walter, 139
Jolly Little Elves, 39
Jolly Roger, 345
Jolson, Al, 20
Jolson Sings Again, 115
Jolson Story, The, 90, 93
Jonathan Livingston Seagull, 226
Jones, Andrew R., 369, 395
Jones, Bob, 218
Jones, Carolyn, 147
Jones, Chuck, 169, 185, 324, 327
Jones, Dewitt, 231
Jones, Edward, 299
Jones, Eugene S., 231
Jones, Gary, 348
Jones, Grover, 31, 43
Jones, Harmon, 96
Jones, Herbert R., 323
Jones, James, 104, 129
Jones, James Earl, 208, 214, 403
Jones, Jennifer, 34, 78, 79, 80, 84, 88,
93, 134, 138, 144, 271, 283, 333
Jones, Leslie, 344
Jones, Natalie R., 231
Jones, Peter, 189
Jones, Quincy, 193, 207, 253, 280,
320, 323, 324, 416
Jones, Robert C., 176, 193, 238, 252
Jones, Shawn, 377
Jones, Shirley, 152, 162, 163, 164
Jones, Toby, 371
Jones, Tommy Lee, 259, 310, 316, 317,
318, 320, 379, 380, 406, 418
Jones, Watson, 139
Jnsson, Reidar, 288
Jonze, Spike, 348
Joplin, Scott, 224
Jordan, Jeanne, 327
Jordan, Neil, 313, 314
Jorry, Corinne, 310
Joseph, Jamal, 380
Joseph, John, 243
Josephson, Julian, 25
Jossen, Barry, 331
Jost, Jerry, 243

Jost, Lawrence O. (Larry), 226, 231
Joubert, Fabrice O., 395
Jourdan, Louis, 154, 176
Journey for Survival, 265
Journey into Life: The World of the
Unborn, 307
Journey into Medicine, 97
Journey into Self, 207
Journey into Spring, 157
Journey of Hope, 304, 307
Journey of Natty Gann, The, 280
Journey to the Center of the Earth, 160
Journey to the Outer Limits, 227
Journey to the Past, 335
Jovy, Alexander, 345
Joy, David, 65
Joy of Living, 131
Joyce, Adrien, 214
Joyce, William, 403
Joyeux Nol, 373
Ju Dou, 307
Juarez, 64
Jublin, Andrea, 381
Judd, Ashley, 418
Judgment at Nuremberg, 166, 168, 169
Judkins, Ronald (Ron), 319, 345, 373,
407
Juke Box Jamboree, 77
Julia, 168, 239, 240, 242, 243
Julia, Raul, 278
Julie, 142, 143
Julie, 143
Julie & Julia, 394
Juliet of the Spirits, 189
Julius Caesar, 105, 130, 131, 226, 245
June, Ray, 31, 43, 147
Junebug, 372
Junge, Alfred, 96, 130
Junge, Daniel, 395, 403
Junger, Sebastian, 399
Jungle Book (1942), 76, 77
Jungle Book, The (1967), 193
Junior, 322
Junior Miss, 86
Junkerman, John, 289
Juno, 380
Jurado, Katy, 134
Juraga, Boris, 176
Juran, Nathan, 73, 93
Jurassic Park, 316, 319, 319
Jurgens, John, 243
Jury Goes Round N Round, The, 89
Jury of Her Peers, A, 260
Just Another Missing Kid, 269
Just for You, 127
Just Imagine, 27
Justice, Milton, 285
Justin, John, 69
445
K-Z, 223
Kacic-Alesic, Zoran, 331
Kaczmarek, Jan A.P., 369
Kaestner, Erich, 227, 269, 315
Kagemusha (The Shadow Warrior),
260, 261
Kahane, B.B., 147, 153
Kahl, 169
Kahn, Gus, 39, 69
Kahn, Ivan, 194
Kahn, Madeline, 226, 230
Kahn, Michael, 243, 264, 289, 318,
344, 372, 406
Kahn, Nathaniel, 365, 377
Kahn, Richard, 295
Kahn, Sheldon, 235, 280
Kahrs, John, 407
Kainoscho, Tadaoto, 139
Kainz, Florian, 331, 377, 399
Kaiser, Henry, 391
8/21/13 6:59 PM
Kaiser, Konstantin, 143

Kajiya, James, 331
Kalafer, Steve, 345, 353, 369
Kalinina, Irina, 277
Kalmar, Bert, 123
Kalten, Nick, 111
Kama Sutra Rides Again, 223
Kamen, Michael, 311, 326
Kaminska, Ida, 188
Kaminski, Janusz, 318, 334, 344, 380,
402, 406
Kander, John, 224, 235, 359, 360
Kane, Carol, 234
Kane, Doc, 310, 314, 369, 381
Kane, Joel, 147
Kaneko, Shoji, 357
Kanfer, Michael, 327, 335
Kangaroo Court, 323
Kanin, Fay, 156, 247, 249, 292
Kanin, Garson, 95, 96, 119, 126, 292
Kanin, Michael, 76, 156, 292
Kansan, The, 81
Kantor, Mackinlay, 90
Kaper, Bronislau, 72, 131, 172
Kapil, K.K., 253
Kaplan, William B., 280, 284, 322,
326, 334, 353, 369
Kapler, Alan, 369
Kapo, 165
Karate Kid, The, 276
Karate Kid, Part II, 285
Karinska, Madame, 108, 110, 127
Karl Hess: Toward Liberty, 261
Karlin, Fred, 211, 215, 223
Karlin, Marsha, 223
Karmann, Sam, 315
Karmel, Pip, 330
Karmitz, Marin, 189
Karnes, Robert, 95
Karol, John, 269
Karrell, Matia, 299
Karsch, Andrew, 310
Kasdan, Lawrence, 248, 273, 298, 310
Kasdan, Meg, 310
Kasha, Al, 202, 223, 231, 243
Kasper, David, 315
Kass, Michael, 373
Kass, Ronald S., 231
Katanics, George, 361
Katcher, Leo, 142
Kate & Leopold, 357
Kato, Kunio, 391
Katselas, Milton, 220
Katy
n, 381
Katz, Gloria, 226
Katz, Michael, 406
Katz, Robert A., 289
Katz, Ross, 356, 364
Katz, Stephen M., 253
446 Katzenberg, Jeffrey, 361, 407
Kauffman, Ross, 367, 369
Kaufman, Boris, 134, 142
Kaufman, Charles, 172
Kaufman, Charlie, 348, 360, 368
Kaufman, Dan, 395
Kaufman, Donald, 360
Kaufman, George S., 58
Kaufman, Millard, 130, 138
Kaufman, Paul, 257
Kaufman, Philip, 270, 272, 298
Kaufman, Robert, 192
Kavanagh, Paul, 395
Kavanaugh, Lisa Dean. See Dean, Lisa
Kavi, 395
Kawashima, Taizoh, 214
Kay, Bruce, 252
Kay, Douglas S., 327
Kay, Edward, 72, 77, 85, 89
Kay, Stephen J., 345
Kay, Timothy, 331
Kaye, A.E., 51
Kaye, Danny, 99, 120, 132, 135, 265
Kaye, Simon, 264, 269, 284, 314
OSCAR_80_p424-466_8-19-13.indd 446
Kazan, Elia, 88, 94, 95, 96, 107, 121,

122, 127, 132, 133, 134, 136, 138, 176,
187, 34243, 345
Kazan, Nicholas, 306
Keating, James J., 335
Keaton, Buster, 72, 140, 158, 161, 222,
292
Keaton, Diane, 203, 221, 240, 242,
250, 262, 263, 264, 330, 364
Keats and His Nightingale: A Blind
Date, 281
Kedrova, Lila, 150, 178, 180
Keel, Howard, 278
Keele, D.B. Don, 357
Keener, Catherine, 348, 372
Keeney, Richard, 311
Keep Em Flying, 77
Keeper of the Flame, 76
Keeper of Promises (The Given Word),
173
Kehrer, Klemens, 377
Keitel, Harvey, 310
Keith, David, 268
Keith, JJ, 345
Kellaway, Cecil, 110, 192
Kellaway, Roger, 238
Keller, Bruce W., 285, 299
Keller, Frank P., 193, 206, 223, 226
Kellerman, Sally, 214, 215
Kelley, Wallace, 96
Kelley, William, 280
Kellner, William, 115, 160
Kellogg, Virginia, 115, 119
Kelly, Gene, 88, 100, 120, 123, 196,
232, 254, 274
Kelly, Grace, 102, 104, 124, 130, 132,
134, 136, 140
Kelly, Joseph, 173, 231, 243
Kelly, Nancy, 132, 142
Kelly, Thomas P., Jr., 207
Kelman, Alfred R., 189
Kelton, Vincent T., 323
Kemeny, John, 264
Kemp, Paul, 264
Kemplen, Ralph, 127, 206, 226
Kenan, Gil, 377
Kendrick, Anna, 394
Kenji Comes Home, 115
Kenley-Letts, Ruth, 323
Kennaway, James, 164
Kennedy, Arthur, 115, 122, 138, 147,
156, 163, 171
Kennedy, George, 190, 192
Kennedy, John F., 148, 174
Kennedy, Kathleen, 268, 280, 348,
364, 372, 390, 402, 406
Kennedy, Scott Hamilton, 391
Kennedy, Wes, 277
Kennel, Glenn, 323
Kennell, Louis C., 173
Kenner, Robert, 395
Kenojuak, 181
Kent, Ben, 377
Kent, Ted J., 181
Kent, Walter, 85, 88
Kentucky, 60, 61
Kenworthy, Duncan, 322
Kenworthy, N. Paul, Jr., 243, 353
Kerber, Randy, 280
Kermit the Frog, 254
Kern, Hal C., 64, 68, 85
Kern, Jerome, 43, 47, 72, 73, 77, 85,
89, 93
Kern, Robert J., 43, 88
Kernochan, Sarah, 223, 357
Kerr, Deborah, 104, 115, 118, 129, 130,
141, 142, 147, 156, 164, 316, 318, 319
Kesey, Ken, 233
Kessler, Stephen, 311
Kesteloot, Lawrence, 407
Kestner, Diane E., 365
Ketcham, James, 303, 323
Key Largo, 98, 108, 110
Keys of the Kingdom, The, 88, 89

Khan, Irrfan, 407
Kharitidi, Alexij, 327
Khartoum, 188
Khedekar, Ayush Mahesh, 383
Khondji, Darius, 330
Khouri, Callie, 295, 310, 415
Khovanshchina, 169
Kiankhooy, Paul, 307
Kick Me, 235
Kidd, Michael, 328, 331
Kidman, Nicole, 340, 354, 356, 356,
358, 359, 360, 388, 398
Kids Are All Right, The, 398
Kiebach, Jurgen, 222
Kiefer, Johannes, 357
Kiernan, William R., 142, 147, 160,
164, 189, 226
Kieslowski, Krzysztof, 322
Kiilerich, Karsten, 345
Kikuchi, Rinko, 376
Kilberg, Richard, 303
Kilik, Jon, 376
Killers, The, 93
Killey, Eddie, 35
Killing Fields, The, 274, 275, 276, 277
Killing Ground, The, 257
Killing in the Name, 399
Killing Joe, 349
Kilvert, Lilly, 322, 364
Kim, Theodore, 407
Kimball, David J., 260
Kimball, Mark, 311, 391
Kimball, Ward, 143, 211
Kimes, Lance, 399
Kind, Richard, 404
Kind Lady, 123
King, Alan, 216
King, Charles, 22
King, Frank, 142
King, Graham, 338, 368, 376, 402,
406
King, Henry, 9, 15, 49, 77, 79, 80, 84,
114
King, Martin Luther, Jr., 148, 152, 190
King, Maurice, 142
King, Morgana, 221
King, Paul, 160
King, Peter (Peter Swords King), 364,
406
King, Richard, 340, 365, 373, 391, 398
King: A Filmed Record . . . Montgomery
to Memphis, 215
King and I, The, 140, 141, 142, 143
King Gimp, 349
King Kong (1976), 236, 238, 239, 248,
338
King Kong (2005), 370, 372, 373
King of Burlesque, 43
King of Jazz, 24, 25
King of Kings, 10
King of the Zombies, 72
King Rat, 184
King Solomons Mines, 116, 118, 119
Kings of the Turf, 73
Kings Point, 407
Kings Row, 76
Kings Speech, The, 396, 396, 397, 398
Kings Story, A, 193
Kingsley, Ben, 249, 266, 268, 294,
310, 356, 364, 389, 402
Kingsley, Dorothy, 134
Kinnear, Greg, 334, 376
Kinoton GmbH, 365
Kinotone Corporation, 289
Kinsey, 368
Kinski, Nastassia, 258
Kipling, Rudyard, 49
Kirk, Mark-Lee, 69, 76, 84
Kirk, Richard, Dr., 395
Kirkland, Geoffrey, 273
Kirkland, Sally, 288
Kish, Joseph, 84, 110, 160, 184
Kismet, 84, 85
Kiss, The, 157
Kiss at the End of the Rainbow, A,
362, 365
Kiss the Girl, 302
Kiss Me Kate, 131
Kiss of Death, 96
Kiss of the Spider Woman, 278, 280
Kiss to Build a Dream On, A, 123
Kisses for My President, 181
Kitchell, Mark, 307
Kite Runner, The, 380
Kitty, 93
Kitty Foyle, 38, 56, 66, 67, 68
Kivolowitz, Perry, 331
Klan: A Legacy of Hate in America, The,
269
Kleban, Edward, 280
Klein, James, 243, 273
Klein, Jordan, 357
Klein, Saar, 344, 352
Kleingeld (Small Change), 349
Kleinke, Rdiger, 381
Klemme, Manfred N., 345
Kline, Herbert, 231
Kline, Kevin, 267, 296, 297, 298, 388
Kline, Richard H., 192, 238
Kline, Rick, 273, 280, 284, 298, 306,
314, 326, 334, 349, 353, 373
Klingman, Lynzee, 235
Kliot, Jason, 373
Klondike Fury, 77
Klotz, Florence, 242
Klotz, Joe, 395
Kloves, Steve, 352
Klute, 216, 217, 218, 251
Klyce, Ren, 349, 391, 398, 403
Knep, Brian, 331
Knickerbocker Holiday, 85
Knife in the Water, 177
Knight, Amanda, 402
Knight, Castleton, 131
Knight, Charles, 223
Knight, Darin, 253
Knight, June, 42
Knight, Shirley, 164, 172, 173
Knight, Steven, 364
Knightley, Keira, 372
Knights of the Round Table, 130, 131
Knighty Knight Bugs, 154, 157
Knoblock, Edward, 31
Knock on Wood, 134
Knode, Charles, 326
Knoll, John, 349, 361, 365, 377, 381
Knoth, Fred, 135
Knowles, Beyonc, 375, 383
Knowles, Patric, 70
Knox, Alexander, 84
Knudson, Carroll, 189
Knudson, Robert, 223, 226, 238, 243,
253, 256, 269, 288, 298
Knudtson, Frederic, 115, 157, 160, 165,
169, 176
Koch, Hawk, 387
Koch, Hilmar, 395
Koch, Howard (writer), 72, 80
Koch, Howard W. (producer), 202,
216, 220, 228, 232, 240, 249, 301,
303
Koch, Norma, 172, 173, 181, 222
Kodak Pathe CTP Cine, 327
Kodak Theatre, 336, 33940, 355, 358,
362, 366, 367, 370, 374, 384, 388,
401
Koehler, Ted, 85, 89
Koenekamp, Fred, 214, 231, 242
Koenekamp, Hans, 81
Koenig, John, 80
Koenig, Wolf, 189, 193, 207
Koerner, Charles, 82
Koff, David, 239
Kohlmar, Fred, 138
Kohn, John, 184
8/21/13 6:59 PM
Kohner, Frederick, 61
Kohner, Susan, 160
Kohut, Michael J., 256, 260, 264, 273,
277, 288, 306
Kokarum, Anil, 377
Kokoda Front Line!, 77
Kokush, Anatoliy, 373
Kolb, Fred, Jr., 307
Kollmorgen Corporation: Electro
Optical Division, 193; Photo
Research Division, 127, 219, 223,
239, 257
Koltai, Lajos, 352
Kolya, 328, 330, 331
Kon-Tiki (1951), 123
Kon-Tiki (2012), 407
Kong, Bill, 352
Kong, Thomas, 353
Konopka, Bartek, 395
Kopelson, Arnold, 282, 284, 318
Kopperl, David F., 345
Kopple, Barbara, 239, 307
Korda, Alexander, 33, 66, 69
Korda, Vincent, 69, 73, 76, 173
Korjus, Miliza, 61
Korngold, Erich Wolfgang, 47, 61,
64, 69
Korty, John, 181, 243
Koryo Celadon, 257
Kosa, Emil, Jr., 176
Koshelev, G., 206
Kosinski, Jerzy, 257
Kosove, Andrew A., 394
Kostal, Irwin, 169, 181, 185, 219, 243
Koster, Henry, 96, 118
Kotch, 218
Kotuk, Richard, 273
Kovacevic, Mirko, 377
Kovacs, Steven, 235
Kovacs, William, 335
Kove, Torill, 349, 377
Kovic, Ron, 302
Kowalski, Michael, 381
Kowarsky, Philippa, 407
Kozachik, Pete, 319
Kraemer, George, 315
Kraft, Robert, 315
Krainin, Julian, 219, 227, 322
Krakatoa, 35
Krakatoa, East of Java, 211
Kraly, Hans, 23, 50
Kramer, Larry, 214
Kramer, Stanley, 117, 126, 134, 156, 168,
169, 184, 191, 192, 245
Kramer vs. Kramer, 254, 255, 256, 401
Krams, Arthur, 126, 130, 138, 160,
164, 169
Krasker, Robert, 118, 119
Krasna, Norman, 39, 47, 72, 80
Krasner, Milton, 76, 119, 134, 147, 176,
180
Kraus, Franz, 357, 403
Krause, Edward B., 261
Krauss, Dan, 373
Krepela, Neil, 277, 319
Kress, Carl, 231
Kress, Harold F., 73, 77, 93, 176, 223,
231
Kretzmer, Herbert, 407
Krieger, Henry, 377
Krieger, Rob, 335
Krilanovich, Steve, 139
Krim, Arthur B., 231
Krishnamurthy, Venkat, 353
Krishnamurti, Gautham, 399
Kristofferson, Kris, 229, 277
Krizan, Kim, 368
Kroitor, Roman, 257
Krokaugger, William G., 273
Kroyer, Bill, 299
Kruglak, Ivan, 345
Kruschen, Jack, 164
Krzanowski, Tadeuz, 289
OSCAR_80_p424-466_8-19-13.indd 447
Kubrick, Stanley, 165, 180, 206, 218,

234, 288
Kudelski, Stefan, 185, 243, 253, 307
Kudzu, 239
Khl, Bernard, 243, 261, 289
Kuhn, Thomas, 377
Kukan, 73
Kuljian, Anne, 302
Kumar, Ashvin, 369
Kundun, 334, 335
Kung Fu Panda, 391
Kung Fu Panda 2, 403
Kunin, Drew, 407
Kupfer, Jerry, 345
Kuran, Peter, 357
Kuras, Ellen, 391
Kureishi, Hanif, 284
Kuri, Emile, 76, 115, 126, 134, 168, 181,
218
Kurland, Gilbert, 43
Kurland, Jeffrey, 322
Kurland, Peter F., 373, 381, 398
Kurnitz, Harry, 88
Kurosawa, Akira, 280, 301, 303
Kurtz, Gary, 226, 241, 242
Kushner, Tony, 372, 406
Kusnick, Harry, 85
Kutcka, Chris, 377
Kuter, Leo K, 294
Kwaidan, 185
Kymry, Tylwyth, 215
Kyo, Machiko, 122
L-Shaped Room, The, 176

L.A. Condential, 332, 333, 334, 335
La Cage aux Folles, 256
La Carte Postale (The Postcard), 345
La Corona (The Crown), 381
La Cucaracha, 39
La Dolce Vita, 168, 169
La Fiesta de Santa Barbara, 47
La Grande Olimpiade (Olympic Games
1960), 169
La Guerre Est Finie, 192
La Luna, 403
La Maison en Petits Cubes, 391
La Ronde, 122
La Salla, 331
La Strada, 142, 143
La Traviata, 269
La Venganza, 157
La Vrit, 165
La Vie en Rose, 379, 380
La Vieille Dame et les Pigeons (The Old
Lady and the Pigeons), 335
La Bounta, Henry, 331
La Cava, Gregory, 47, 50, 67
Lacey, John, 273
Lachman, Edward, 360
Lacombe, Lucien, 231
Ladd, Alan, 74, 130
Ladd, Alan, Jr., 324, 326
Ladd, Diane, 230, 306, 310
Laden, Bob, 289, 326
Ladies in Retirement, 72, 73
Ladue, Peter W., 261
Lady and Gent, 31
Lady and the Reaper, The (La Dama y
La Muerte), 395
Lady Be Good, 72, 73
Lady Eve, The, 72
Lady for a Day, 35
Lady from Texas, The, 118
Lady in the Dark, 84, 85
Lady in Waiting, The, 315
Lady, Lets Dance, 85
Lady Objects, The, 61
Lady of Burlesque, 81
Lady on a Train, 88
Lady Sings the Blues, 222, 223
Ladyhawke, 280
Ladykillers, The, 142
Laemmle, Carl (Academy founder/
producer), 8
Laemmle, Carl, Jr. (producer), 24
Lafuite, Rene, 169
Lagaan, 357
Lagarde, Jocelyne, 188
Lagerstrom, Oscar, 25
LaGravenese, Richard, 310
Lahr, Bert, 65
Lahti, Christine, 276, 327
Lai, Francis, 215
Laing, Robert W., 222, 269
Lake, Stuart N., 68
LaLees Kin: The Legacy of Cotton, 357
Lamb, Derek, 257
Lamb, John, 257
Lambert, Gavin, 164, 242
Lambert, the Sheepish Lion, 123
Lamberti, Tony, 395
LaMolinara, Anthony, 361, 369
Lamont, Peter, 218, 242, 284, 334
Lamorisse, Albert, 142, 253
Lamorlette, Arnauld, 399
LaMotta, Jake, 259
Lamour, Dorothy, 125, 296
Lancaster, Burt, 104, 125, 129, 130, 137,
151, 153, 155, 162, 163, 164, 168, 172,
204, 264, 274
Lanchester, Elsa, 115, 147
Land of Promise, 235
Landaker, Alan, 265, 281, 285
Landaker, Gregg, 260, 264, 310, 322,
326, 331, 353
Landaker, Hal, 265, 285
Landau, Ely, 215
Landau, Jon, 334, 394
Landau, Martin, 296, 298, 302, 320,
321, 322
Landis, Carole, 78
Landis, Hayden, 395
Landis, Ilene, 273
Landis, John, 338
Landlord, The, 214, 233
Lando, Peter, 390
Landreth, Chris, 327, 369
Landsburg, Alan, 219
Lane, Burton, 77, 123
Lane, Diane, 360
Lane, Sarah, 397
Lane, Tami, 372, 406
Lang, Charles Bryant, Jr., 27, 34, 35,
68, 73, 80, 84, 96, 110, 126, 134, 138,
156, 160, 164, 168, 176, 210, 222
Lang, Fritz, 245
Lang, John W., 261, 307
Lang, Max, 399
Lang, Otto, 131, 135
Lang, Walter, 141, 142
Langan, Christine, 376
Lange, Arthur, 64, 81, 85, 89
Lange, Harry, 206, 260
Lange, Hope, 147
Lange, Jessica, 238, 256, 266, 267,
268, 275, 276, 280, 302, 320, 322,
346, 367
Lange, Johnny, 119
Lange, Robert John (Mutt), 311,
326, 330
Langella, Frank, 390
Langlois, Daniel, 335
Langlois, Henri, 224, 227
Langmann, Thomas, 400, 402
Langrehr, Larry L., 273
Language Says It All, 289
Lannon, Jack, 111
Lansburgh, Brian, 235
Lansburgh, Larry, 143, 147, 165
Lansburgh, Lawrence M., 235
Lansbury, Angela, 84, 88, 153, 172,
220
Lansing, Sherry, 288, 375, 377
Lantieri, Michael, 302, 311, 319, 335,

357
Lantz, Walter, 81, 85, 89, 93, 135, 139,
250, 253
Laperrire, Richard, 335
Lapis, Joseph, 68
La Porte, Steve, 299
Lappas, Tasso, 361
Larche, Kurt, 273
Lardner, Ring, Jr., 76, 214, 215
Larkin, Ryan, 211
Larner, Jeremy, 222
Lars and the Real Girl, 380
Larsen, Birger, 335
Larsen, Tambi, 138, 176, 184, 214, 264
Larson, Harry, 223
Larson, Maurice, 139
Larson, Richard, 323
LaRue, Jack, 49
La Rue, Jim, 269
Las MadresThe Mothers of Plaza de
Mayo, 281
Las Vegas Nights, 72
LaShelle, Joseph, 84, 100, 115, 126, 138,
160, 164, 176, 188
Lasker, Lawrence, 273, 306
Lasky, Jesse L., 8, 9, 35, 39, 120
Lasky, William, 115
Lasoff, Mark, 335
Lassally, Walter, 180
Lasseter, John, 285, 299, 326, 327, 357,
377, 398
Lassie Come Home, 80
Last Angry Man, The, 160
Last Bomb, The, 89
Last Breeze of Summer, 311
Last Campaign of Governor Booth
Gardner, The, 395
Last Command, The, 18, 19, 21
Last Dance, 253
Last Days, The, 345
Last Detail, The, 226
Last Emperor, The, 154, 248, 286, 288,
289
Last Farm, The, 373
Last King of Scotland, The, 375, 376
Last Metro, The, 261
Last of the Mohicans, The (1936), 47
Last of the Mohicans, The (1992), 314
Last of Mrs. Cheyney, The, 23
Last Picture Show, The, 216, 218, 219,
229, 393
Last Samurai, The, 364, 365
Last Station, The, 394, 401
Last Summer, 210
Last Tango in Paris, 226
Last Temptation of Christ, The, 298
Last Time I Felt Like This, The, 253
Last Time I Saw Paris, The, 72, 73
Last Truck: Closing of a GM Plant,
The, 395
Last Tycoon, The, 238
Last Voyage, The, 165
Last Year at Marienbad, 172
Laszlo, Ernest, 164, 168, 176, 184, 188,
206, 214, 238
Latady, William R., 243
Late Show, The, 242
Lathrop, Philip H., 180, 231
Latimore, Frank, 92
Laube, Grover, 69, 85
Lauenstein, Christoph, 303
Lauenstein, Wolfgang, 303
Laughter, 27
Laughton, Charles, 32, 33, 35, 40, 43,
147, 158, 165, 294, 342
Laur, David M., 399
Laura, 84
Laurant, Guillaume, 356
Laurel, Stan, 31, 162, 165
Laurents, Arthur, 242
Laurie, Piper, 100, 168, 238, 284
Lavalou, Jean-Marie, 261, 369
447
8/21/13 6:59 PM
Lavatory-Lovestory, 391
Lavender Blue, 115
Lavender Hill Mob, The, 126, 144
Lavergne, Didier, 380
Lavery, Emmet, 138
Lavietes, Steve, 407
Lavis, Chris, 381
LaVezzi Machine Works, Inc., 269
Law, Jude, 348, 364, 367
Lawrence, Charlie, 369
Lawrence, D.H., 212
Lawrence, Gertrude, 141
Lawrence, Jack, 135
Lawrence, Jennifer, 387, 398, 404,
406, 406
Lawrence, Richard J., 273
Lawrence, Robert, 165
Lawrence, Steve, 250
Lawrence, Thomas Edward, 171
Lawrence, Viola, 147, 165
Lawrence of Arabia, 150, 170, 171, 172,
173
Lawson, Arthur, 110
Lawson, John Howard, 14, 61
Lay, Beirne, Jr., 130, 138
Layton, R.T., 68
Lazare, Howard T., 223, 265
Lazaridi, Christina, 353
Lazaridis, Mike, 345
Lazarowitz, Les, 260, 269
Lazarus, Margaret, 319
Lazin, Lauren, 369
Le Bal, 273
Le Ciel et la Boue (Sky Above and Mud
Beneath), 169
Le Maillon et la Chaine (The Link and
the Chain), 177
Le Mozart des Pickpockets (The Mozart
of Pickpockets), 381
Le Plaisir, 134
Le Volcan Interdit (The Forbidden
Volcano), 189
Leachman, Cloris, 197, 216, 218, 219
Leader, Graham, 356
Leaf, Caroline, 238
Leahy, Fred, 14
Lean, David, 93, 96, 138, 144, 147,
170, 171, 172, 184, 214, 275, 276,
277, 293
Lear, Norman, 192
Learn to Be Lonely, 369
Leather, Mark, 319
Leatherneck, The, 23
Laud, Jean-Pierre, 227
Leave Her to Heaven, 86, 88
Leaving Las Vegas, 324, 324, 326
Leavitt, J. Noxon, 303
Leavitt, Sam, 156, 160, 164
LeBaron, William, 26
448 Lebenthal, James A., 157
Lebenzon, Chris, 284, 326
LeBlanc, Andr, 345
LeBlanc, Pam, 265
LeBlanc, Paul, 277
Leconte, Denis, 377
Lecuona, Ernesto, 77
Ledger, Heath, 371, 372, 388, 389, 389,
390
Leduc, Andr, 235
Lee, Alan, 360, 364
Lee, Ang, 338, 350, 352, 370, 371, 372,
404, 406, 407
Lee, Anna, 70, 182
Lee, Danny, 219, 256
Lee, David (sound; Chicago), 361
Lee, David (sound; The Matrix), 349
Lee, Harper, 171
Lee, Lester, 131
Lee, Minkyu, 407
Lee, Peggy, 138
Lee, Robert N., 27
Lee, Sammy, 43, 51
Lee, Spike, 302, 335, 415
OSCAR_80_p424-466_8-19-13.indd 448
Lee Electric, Limited, 285

Lee Thompson, J., 168
Leeds, Andrea, 50
Leeson, Mick, 264
Lefer, Samuel J., 335
Legacy, 353
Le Gallienne, Eva, 260
Legato, Robert (Rob), 327, 335, 403
Legend, 285
Legend, John, 389
Legend of Jimmy Blue Eyes, The, 181
Legend of John Henry, The, 227
Legend of Rock-a-bye Point, The, 139
Legendary Champions, The, 207
Legends of the Fall, 322, 322, 324
Legrand, Michel, 182, 185, 207, 211,
215, 219, 269, 273
Lehman, Ernest, 134, 160, 168, 188,
210, 351, 353
Lehman, Gladys, 84
Lehman, Robin, 231, 235, 239
Leigh, Janet, 164
Leigh, Mike, 330, 348, 368, 390, 398
Leigh, Vivien, 53, 56, 62, 63, 64, 106,
120, 121, 122, 366
Leighton, Eric, 319
Leighton, Leroy G., 157
Leighton, Margaret, 155, 218
Leighton, Robert, 314
Leimeter, Dan, 335
Leipold, John, 64
Leisen, Mitchell, 23, 120, 128
Leisinger, Hans, 327, 345
Leisure, 238
Le Lorrain, Edward, 269
Lelouch, Claude, 151, 188, 234
LeMaire, Charles, 119, 123, 127, 130,
134, 135, 139, 143, 147, 156, 160
Le-Mare, Mike, 269
Le Mat, Paul, 260
Le Messurier, Nicolas, 253, 277, 284
Lemmon, Dan, 403
Lemmon, Jack, 106, 136, 138, 144, 160,
162, 164, 172, 174, 186, 194, 200, 216,
219, 224, 225, 226, 249, 256, 260,
268, 274, 292, 300, 333, 346
Lemony Snickets A Series of
Unfortunate Events, 368, 369
Lempp, Wolfgang, 395
Lend a Paw, 73
Lending, Tod, 353
Lengyel, Melchior, 65
Lenhardt, Karl, 353
Lennart, Isobel, 138, 164
Lennon, Thomas, 327, 377, 399
Lennox, Annie, 362, 365
Lense-Mller, Lise, 395
Lenny, 230, 231
Lenny Bruce: Swear to Tell the Truth,
345
Lenya, Lotte, 168
Lenz, Reimar, Dr., 395
Leo, Melissa, 382, 386, 390, 396, 397,
398
Leo Beuerman, 211
Leonard, Dennis, 369
Leonard, Harry, 88
Leonard, Jack, 126
Leonard, Judith, 303
Leonard, Robert J., 231
Leonard, Robert Z., 25, 44, 47
Leondopoulos, Jordan, 226
Leopard, The, 176
Leriche, Guillaume, 357
Lerner, Alan Jay, 102, 122, 123, 154,
156, 157, 180, 231
Lerner, Gail, 353
Lerner, Michael, 310
Lerner, Mike, 403
Lerner, Murray, 193, 261
LeRoy, Mervyn, 12, 46, 65, 76, 86, 89,
90, 138, 232, 235, 245, 294
Lerpae, Paul, 85, 96
Les Films du Compass, 123

Les Girls, 147
Les Miserables (1935), 43
Les Misrables (2012), 404, 405, 406,
407
Leshing, Michael S., 89
Leslie, F.D., 169
Lesnie, Andrew, 356
Lesser, Sol, 165
Lessin, Tia, 391
Lester, Dominic, 345
Lester, Mark, 204
Let It Be, 212, 215
Let My People Go, 185
Let the River Run, 299
Leterrier, Catherine, 395
Lethal Weapon, 288
Lethal Weapon 2, 302
Lets Get Lost, 299
Lets Go to the Movies, 56
Lets Hear It for the Boy, 277
Lets Make Love, 165
Lets Pollute, 399
Letter, The (192829), 23
Letter, The (1940), 68, 69
Letter from Home, A, 73
Letter to a Hero, 81
Letter to Three Wives, A, 112, 114, 115
Letteri, Joe, 361, 365, 369, 373, 395,
403, 407
Letterman, David, 320, 339
Letters from Iwo Jima, 376, 377
Letters from Marusia, 235
Leuchter, Alexandre, 391
Leva, Scott, 373
Levant, Oscar, 120
Levee, M.C., 9, 11, 17, 26
Leven, Boris, 61, 76, 142, 169, 184, 189,
206, 218, 284
Levene, Sam, 232
Leventhal, Harold, 238
Leveque, John, 315, 319, 322, 327
Lever Brothers Lux Radio Theater
Collection, 194
Leverett, George, 76
Le Vien, Jack, 181, 193
Levien, Sonya, 35, 138
Levin, Ira, 207
Levinsohn, Gary, 344
Levinson, Barry, 256, 268, 296, 298,
306, 310
Levinson, Nathan, 14, 35, 39, 43, 47,
51, 61, 65, 68, 69, 73, 76, 77, 81, 85,
88, 93, 97, 110, 123
Levinson, Shelley, 264
Levitt, Helen, 115
Levitt, Ruby R., 160, 184, 218, 231
Levy, David, 356
Levy, Edmond A., 189
Levy, Eugene, 363
Levy-Hinte, Jeffrey, 398
Lewallen, Scott, 373
Lewin, Albert, 40
Lewin, Robert, 142
Lewis, Andy, 218
Lewis, Cecil, 61
Lewis, Dave, 218
Lewis, E.M. Al, 285
Lewis, Edward, 268
Lewis, Garrett, 298, 302, 310, 314
Lewis, Harold C., 34
Lewis, Herbert Clyde, 96
Lewis, Herman, 214, 223, 231
Lewis, Huey, 280
Lewis, J.P., 407
Lewis, Jerry, 102, 106, 136, 141, 150,
154, 248, 391
Lewis, Juliette, 310
Lewis, Michael (book author, The
Blind Side), 393
Lewis, Michael (sci-tech award
winner), 403
Lewis, Mildred, 268
Lewis, Russell, 47
Lewis, Sheldon, 29
Lewis, Sinclair, 163
Lewis, Terry, 318
Libatique, Matthew, 398
Libel!, 160
Libeled Lady, 47
Liberators: Fighting on Two Fronts in
World War II, 315
Library of Congress, 54, 55
Library of Congress (documentary;
1945), 89
Libreri, Kim, 353, 377
Lichteneld, Louis, 147
Lieberman, Todd, 398
Lieberman in Love, 327
Lies My Father Told Me, 234
Lievsay, Skip, 381, 398
Life, 348
Life and Times of Judge Roy Bean, The,
223
Life at the Zoo, 93
Life in a Looking Glass, 285
Life Is Beautiful, 342, 343, 344, 345,
350, 379
Life Is What You Make It, 219
Life of Emile Zola, The, 44, 48, 50, 51
Life of Pi, 404, 405, 406, 407, 407
Life of a Thoroughbred, 73
Life on Film, A (book; Astor), 53
Life Times Nine, 227
Life with Father, 94, 96
Life with Feathers, 89
Lifeboat, 84, 193
Lifted, 377
Light, Allie, 311
Light in the Window: The Art of
Vermeer, 127
Light That Failed, The, 62
Lightbody, Derek C., 345
Lighthouse International, 340
Lil Abner, 161
Lili, 130, 131
Lilies of the Field, 174, 176, 354
Lilley, Joseph J., 161
Lillian Russell, 69
Lillie, Beatrice, 140
Lilo & Stitch, 361
Limelight, 220, 222, 223
Lin, Paul T.K., 277
Lincoln, 404, 405, 406, 407
Linda, 89
Lindbergh, Charles A., 10
Lindblom, Gunnel, 164
Linder, Stewart (Stu), 189, 298
Lindfors, Viveca, 141
Lindon, Lionel, 84, 142, 156
Lindsay, Dan, 403
Lindsey, Hillary, 398
Line King: The Al Hirschfeld Story, The,
331
Linge, Horst, 353
Link, John (lm editor, d. 4/8/68), 81
Link, John F. (lm editor), 298
Linklater, Richard, 368
Linn, Ralf, 353
Linney, Laura, 338, 352, 368, 380
Lins, Gabriele, 349
Linson, Art, 288
LInvitation, 227
Linwood Dunn Theater, 339
Lion in Winter, The, 204, 205, 206,
207
Lion King, The, 322, 323, 381
Lipper, Ken, 345
Lipschitz, Elan, 285
Lipscomb, W.P., 61
Lipsky, Eleazar, 96
Lipsner-Smith Corp., 161
Lipstein, Harold, 138
Listen, 377
Listen to Britain, 77
Lisziewicz, Antal, 299
8/21/13 6:59 PM
Lithgow, John, 256, 268, 272

Litt, Robert J., 298, 322, 349
Little, Howard M., 147
Little, Thomas, 73, 76, 80, 84, 88, 93,
96, 115, 119, 122, 123, 126
Little Ark, The, 223
Little Belgium, 77
Little Big Man, 214
Little Caesar, 27
Little Children, 376
Little Dorrit, 298
Little Foxes, The, 72, 73
Little Fugitive, 130
Little Isles of Freedom, 77
Little Johnny Jet, 127
Little Kidnappers, The, 135
Little Match Girl, The (1937), 51
Little Matchgirl, The (2006), 377
Little Mermaid, The, 302, 303
Little Miss Marker, 39
Little Miss Sunshine, 374, 376
Little Night Music, A, 242, 243
Little Orphan, The, 110
Little Prince, The, 231
Little Prince, 231
Little Princess, A, 326
Little Romance, A, 256
Little Shop of Horrors, 284, 285
Little Surprises, 327
Little Terrorist, 369
Little Vicious, A, 311
Little Voice, 344
Little Witch, The, 89
Little Women (193233), 32, 33, 34,
35, 179
Little Women (1949), 115
Little Women (1994), 322
Littlefeather, Sacheen (Maria Cruz),
197, 220
Littleton, Carol, 269
Littman, Lynne, 239
Litvak, Anatole, 110, 122, 141
Litwinowicz, Peter, 377
Livadary, John P., 39, 43, 47, 51, 61, 65,
68, 73, 76, 81, 85, 88, 93, 119, 131, 135,
143, 147
Live and Let Die, 226
Live and Let Die, 226
Live for Life, 193
Lively Set, The, 181
Lives of a Bengal Lancer, The, 40, 43
Lives of Others, The, 374, 377
Living City, The, 131
Living Desert, The, 128, 131
Living Sea, The, 327
Living Stone, The, 157
Livingston, Jay, 88, 103, 111, 119, 143,
147, 157, 181, 292
Livingston, Jerry, 119, 161, 185
Lizzani, Carlo, 119
Llewellyn, Richard, 70
Lloyd, Christopher, 233
Lloyd, Frank, 9, 11, 14, 15, 17, 22, 23,
32, 35, 40, 43, 53
Lloyd, Harold, 8, 9, 100, 127
Lloyd, Mervyn, 231
Lloyd, Michael, 280
Lloyd, Phyllida, 401
Lloyd, Russell, 235
Lloyd Webber, Andrew, 226, 330, 367,
369
Lloyds of London, 47
Loane, Tim, 335
Locke, Sondra, 206
Lockhart, Gene, 61
Lockhart, Warren L., 243
Lockley, Andrew, 399
Lockwood, Gray, 128
Loder, John, 70
Loeb, Edwin, 9, 11
Loeb, Janice, 111, 115
Loefer, Louis R., 160, 176
Loesser, Frank, 72, 81, 96, 115, 127
OSCAR_80_p424-466_8-19-13.indd 449
Loew, Andreas, 395

Loew, Edgar, 77
Loewe, Frederick, 154, 157, 231
Lofquist, Al, 161
Logan, John, 352, 368, 402
Logan, Joshua, 138, 146, 147, 168
Logans Run, 236, 238, 239
Loggia, Robert, 280
Loggins, Kenny, 277
Logie, James, Dr., 395
Logorama, 395
Lohman, A.J., 165
Loin de Paname, 395
Lolita, 172
Lombard, Carole, 47, 70
Lombardi, Joe, 331
Lomino, Dan, 242
Loncraine, Richard, 373
London, Mel, 177
London, Michael, 368
London Can Take It, 69
Lone, John, 286
Lone Star, 330
Lonelyhearts, 156
Lonergan, Arthur, 189
Lonergan, Kenneth, 352, 360
Long Ago and Far Away, 85
Long Days Journey into Night, 172
Long Nights Journey into Day, 353
Long Voyage Home, The, 68, 69
Long Way from Nowhere, A, 215
Long Way Home, The, 335
Longenecker, John, 215
Longest Day, The, 172, 173
Longest Yard, The, 231
Longley, James, 377, 381
Longpr, Bernard, 235
Longtime Companion, 306
Look for the Silver Lining, 115
Look of Love, The, 193
Look to Your Path, 369
Look What Love Has Done, 322
Looking for Mr. Goodbar, 242
Lootens, Charles, 61, 65, 68, 73
Loquasto, Santo, 273, 288, 322
Lorber, Kino, 407
Lord, Peter, 315, 331, 407
Lord, Robert, 35, 50
Lord Jim, 339
Lord of the Rings: The Fellowship of the
Ring, The, 354, 356, 357, 363
Lord of the Rings: The Return of the
King, The, 362, 362, 363, 364, 365
Lord of the Rings: The Two Towers, The,
358, 360, 361, 363
Loren, Sophia, 152, 166, 168, 169, 180,
294, 304, 307, 313, 342, 379, 384,
388, 411
Lorenz, Barbara, 361
Lorenz, Robert, 364, 376
Lorenzo, 369
Lorenzos Oil, 314
Lorimore, Alec, 327, 353
Lorre, Peter, 78, 134
Lorring, Joan, 88
Lorton, Bill, 369
Lory, Milo, 160, 173
Los Angeles County Museum of Art,
294, 385
Los Angeles Times (newspaper), 62
Los Tarantos, 177
Losasso Petterson, Frank, 381
Lo Schiavo, Francesca, 302, 306, 322,
334, 360, 368, 380, 402
Lose Yourself, 360
Losee, Harry, 51
Losmandy, B.J., 215
Lost Angel, 82
Lost Horizon, 50, 51
Lost in Translation, 363, 364
Lost Patrol, The, 39
Lost Thing, The, 399
Lost Weekend, The, 86, 87, 88, 89
Lost World: Jurassic Park, The, 335

Lottman, Evan, 226
Loucks, Grant, 299, 331
Loud Mouth, The, 31
Louis, Jean, 119, 127, 130, 134, 135, 139,
143, 147, 156, 169, 184, 189, 193
Louisa, 119
Louisiana Purchase, 73
Louisiana Story, The, 110
Lourie, Eugene, 211
Love, 226
Love, Bessie, 22, 23
Love, Cecil D., 85, 261
Love Affair, 64, 65
Love Before Time, A, 353
Love Field, 314
Love Finds Andy Hardy, 346
Love in Bloom, 39
Love Is a Many-Splendored Thing, 138,
139
Love Is a Many-Splendored Thing,
139
Love Is a Song, 77
(Love Is) The Tender Trap, 139
Love Letters, 88, 89
Love Letters, 89
Love Me Forever, 43
Love Me or Leave Me, 75, 138, 139
Love of My Life, 69
Love Parade, The, 25
Love Song from Mutiny on the
Bounty (Follow Me), 172
Love Story, 212, 214, 215
Love Struck, 285
Love Theme from El Cid, 169
Love with the Proper Stranger, 176
Love You I Do, 377
Lovejoy, Ray, 284
Lovely Bones, The, 394
Lovely to Look At, 43
Lover, The, 314
Lover, Anthony, 207
Lover Come Back, 168
Lovering, Otho, 64
Lovers and Other Strangers, 214, 215
Lovers Wind, The, 253
Loves of a Blonde, 189
Loves of Carmen, The, 110
Lovett, Josephine, 23
Lovett, Robert Q., 277
Low, Colin, 165, 177
Low, Warren, 68, 127, 139, 147
Lowe, Greg, 260
Lowe, Rob, 296
Lowell, Carol, 257
Lowell, Ross, 257
Lowry, John D., 403
Loy, Myrna, 36, 44, 90, 208, 246, 281,
304, 306, 307
Loy, Nanni, 176
Lozinski, Marcel, 323
Lu Yue, 326
Lubbock, Jeremy, 280
Lubezki, Emmanuel, 326, 348, 372,
376, 402
Lubitsch, Ernst, 23, 25, 80, 93, 196
Lucas, Anthony, 373
Lucas, George, 226, 242, 270, 300,
303, 310, 311, 374
Lucas, Marcia, 226, 243
Lucci-Chiarissi, Vincenzo, 131
Luce, Clare Boothe, 53, 115
Luciano, Michael, 181, 184, 193, 231
Luck of the Irish, The, 110
Luckey, Bud, 365
Luckiest Guy in the World, The, 93
Ludwig, 226
Ludwig, Carl, 357
Ludwig, Otto, 131
Ludwig, William, 138
Luedtke, Kurt, 264, 278, 280
Luhrmann, Baz, 356
Lukas, Paul, 78, 79, 80, 134
Luke, Keye, 248

Lullaby, The (play; Knoblock), 31
Lullaby of Broadway, 43
Lumet, Sidney, 147, 230, 234, 237,
238, 264, 268, 336, 337, 366, 368,
369, 372
Lunch Date, The, 307
Lund, Kenneth, 307
Lundell, Richard J., 311
Lunt, Alfred, 31, 66
LUomo in Grigio (The Man in Gray),
169
Lupi, Daniel, 380
Lurin, Christian, 357
Luske, Hamilton, 181
Lust for Life, 142, 143, 226
Lustig, Branko, 318, 352
Luthardt, Robert, 188
Luther Metke at 94, 261
Luxo Jr., 285
Luzzati, Emanuele, 185, 227
Lycett, Eustace, 169, 181, 219, 256
Lydecker, Howard, 68, 77
Lydholm, Thomas, 335
Lydia, 72
Lynch, David, 260, 284, 356
Lynch, Karl, 349
Lynch-Robinson, Anna, 407
Lyne, Adrian, 288
Lynn, Billy, 118
Lynn, Loretta, 258, 259
Lyon, Bruce, 257
Lyon, Francis, 96
Lyon, William A., 93, 131, 135, 139,
156, 211
Ma, Yo Yo, 337

Mabry, Moss, 143, 181, 184, 226
Macao, 126
Macario, 165
MacArthur, Charles, 35, 43, 65
Macaulay, Eunice, 253, 289
MacAvin, Josie, 176, 184, 280
Macbeth, 109
Maccari, Ruggero, 234
MacDonald, Alex, 373, 399
MacDonald, Jeanette, 74
MacDonald, Joseph, 156, 164, 188
Macdonald, Kevin, 349
MacDonald, R.A. (Robert), 88, 160,
173
MacDougall, Donald W., 203, 235,
243, 253, 256
MacDougall, Ranald, 88
MacDougall, Roger, 126
MacEwen, Walter, 81
MacFarlane, Seth, 405, 407
MacGillivray, Greg, 327, 353
Macgowan, Kenneth, 34, 39
MacGraw, Ali, 208, 214
Macher, Karl, 253
Machline, Paulo, 353
Mack, Charles, 380
Mack, Earle, 243
Mack, John, 235
Mack, Kevin, 345
MacKay, Jim, 207
Mackay, John Victor, 50, 64, 69
Mackendrick, Alexander, 126
MacKenzie, Louis G., 173
MacKenzie, Michael, 323, 345
Mackie, Anthony, 392
Mackie, Bob, 222, 234, 264
Mackintosh, Cameron, 406
MacLaine, Shirley, 140, 144, 156, 162,
164, 176, 228, 235, 242, 247, 257,
270, 271, 272, 399, 414
MacLean, Duncan, 323
MacLean, Fred, 73, 84, 184
MacMahon, Aline, 84
449
8/21/13 6:59 PM
MacMillan, David R.B., 273, 322, 326

MacMillan, Michael, 277
MacNicol, Peter, 267
Macpherson, Jeanie, 9
MacRae, Gordon, 163
Macrorie, Alma, 139
MacWilliams, Glen, 84
Macy, William H., 330
Mad about Music, 61
Madagascar, Carnet de Voyage
(Madagascar, A Journey Diary), 399
Madame Bovary (1949), 115
Madame Bovary (1991), 310
Madame Curie, 80, 81
Madame Rosa, 240, 243
Madame Tutli-Putli, 381
Madame X (192829), 23, 27
Madden, John, 344
Madden, Matthew, 369
Maddow, Ben, 119
Madeline, 127
Madery, Earl, 235
Madigan, Amy, 280
Madigan-Yorkin, Alix, 398
Madness of King George, The, 322
Madonna, 292, 304
Madron, 215
Madsen, Nels, 369
Madsen, Virginia, 368
Madwoman of Chaillot, The, 190
Maestro, 377
Magee, David, 368, 406
Maggie Simpson in The Longest
Daycare, 407
Magic Flame, The, 21
Magic Fluke, The, 115
Magic Flute, The, 234
Magic Machines, The, 211
Magic of Lassie, The, 253
Magic Pear Tree, The, 207
Magidson, Herb, 38, 39, 81, 89
Magna-Tech Electronic Company,
227, 303
Magnani, Anna, 105, 136, 137, 138,
147, 169
Magne, Michel, 173
Magness, Clif, 318
Magness, Gary, 394
Magnier, Pierre, 117
Magnicent Ambersons, The, 76
Magnicent Brute, The, 47
Magnicent Obsession, 134
Magnicent Seven, The, 165
Magnicent Yankee, The, 119
Magnoli, Albert, 276
Magnolia, 348, 349
Magnusson, Kim, 331, 335, 345, 377
Magnusson, Tivi, 391, 395
Maguire, Jeff, 318
450 Mahan, Shane, 391
Mahin, John Lee, 48, 50, 147
Mahogany, 235
Maids of Wilko, The, 257
Main, Marjorie, 96
Main Street on the March!, 73
Main Street Today, 85
Maitland, Tod A., 302, 310, 365
Majani, Alain, 311
Major, Grant, 356, 360, 364
Major and Minor Miracles, 349
Majority of One, A, 168
Make a Little Magic, 220
Make Up Your Mind, 322
Make a Wish, 51
Making OverturesThe Story of a
Community Orchestra, 281
Making Waves, 289
Mako, 188
Makovsky, Judianna, 344, 356, 364
Malcolm X (1972), 223
Malcolm X (1992), 314
Malden, Karl, 98, 120, 121, 122, 134,
194, 290, 295, 333, 337
OSCAR_80_p424-466_8-19-13.indd 450
Malna, 352, 353

Maley, Alan, 219
Malick, Terrence, 342, 344, 402
Malkin, Barry, 277, 306
Malkovich, John, 276, 318
Mall, Richard, 407
Malle, Louis, 222, 264, 286, 288
Mallette, Yvon, 231
Malley, Bill, 226
Malley, Matthew, 369
Malmgren, Russell, 85
Malone, Dorothy, 106, 140, 142
Maltese Falcon, The, 70, 72
Maltese Falcon, The (book; Hammett),
243
Maltz, Albert, 86, 88, 89
Mama Turns a Hundred, 257
Mambo Kings, The, 315
Mamet, David, 268, 334
Mamoulian, Rouben, 29, 198
Mamut, Eugene, 285
Man Alive!, 127
Man and a Woman, A, 188, 189
Man Called Peter, A, 138
Man for All Seasons, A, 186, 187, 188,
189
Man in the Glass Booth, The, 168, 234
Man in the Iron Mask, The, 65
Man in Space, 143
Man in the White Suit, The, 126
Man of Conquest, 64, 65
Man of Iron, 265
Man of La Mancha, 223
Man of a Thousand Faces, 147
Man on Lincolns Nose, The, 353
Man on Wire, 391
Man or Muppet, 403
Man That Got Away, The, 135
Man Thing, A (Meska Sprawa), 357
Man Who Knew Too Much, The, 143
Man Who Planted Trees, The, 289
Man Who Shot Liberty Valance, The,
173
Man Who Skied Down Everest, The,
235
Man Who Walked Alone, The, 89
Man Who Wasnt There, The, 356
Man Who Would Be King, The, 234,
235, 297
Man with the Golden Arm, The, 129,
138, 139
Man without a Country, The, 51
Man without a Past, The, 361
Manchurian Candidate, The, 172, 173
Mancini, Henry, 135, 151, 169, 172, 177,
181, 185, 215, 218, 238, 256, 269, 285
Mandel, Babaloo, 276
Mandel, Johnny, 185, 189
Mandela, 331
Mandell, Daniel, 73, 76, 93, 147, 165
Mandragola, 189
Mandys Grandmother, 253
Manfredi, Manfredo, 238
Manger, William L., 302
Mangini, Mark, 284, 315, 335
Manhattan, 254, 256
Manhattan Melodrama, 39
Manhattan Merry-Go-Round, 50
Maniac, 273
Manian, Bala S., 345
Manipulation, 311
Mankiewicz, Don, 156
Mankiewicz, Herman J., 70, 72
Mankiewicz, Joseph L., 27, 38, 67, 68,
76, 105, 112, 114, 115, 116, 117, 119,
126, 132, 134, 136, 222, 292, 385
Mann, Abby, 168, 184
Mann, Aimee, 349
Mann, Barry, 285
Mann, Daniel, 125, 137, 163
Mann, David, 369
Mann, Delbert, 100, 136, 137, 138, 155
Mann, Klaus, 264
Mann, Michael, 348, 368

Mann, Stanley, 184
Mannequin (1938), 61
Mannequin (1987), 289
Mannheimer, Albert, 119
Manon on the Asphalt, 391
Mansbridge, John B., 218, 231
Manso, Luis, 377
Manson, 223
Mantell, Joe, 100, 138
Mantle, Anthony Dod, 390
Mantovani, Braulio, 364
Manz, Christian, 399
Mara, Rooney, 402
Marathon Man, 238
Marber, Patrick, 376
March, Fredric, 14, 27, 28, 29, 31, 46,
50, 57, 90, 93, 100, 122, 128, 204
March, Marvin, 234, 242, 252, 269,
318
March of the Penguins, 370, 373, 373
March of Time, The, 44, 47
Marchand, Anne-Marie, 273
Marchand, Colette, 126
Marchand, Nancy, 137
Marchand, Thierry, 391
Marcus, Lawrence B., 260
Marcus, Louis, 227, 235
Mardi Gras (1943), 81
Mardi Gras (1958), 157
Margadonna, Ettore, 134
Margaret Herrick Library, 194, 196,
244, 290, 294, 340, 385
Margin Call, 402
Margolyes, Miriam, 318
Maria Full of Grace, 368
Marianelli, Dario, 373, 380, 407
Mariani, Giuseppe, 192
Marie Antoinette, 61, 376
Marie-Louise, 86, 88
Marines in the Making, 77
Marino, Sebastian, 357
Marion, Frances, 24, 25, 31, 35
Marion, George, Jr., 21
Mariscal, Javier, 403
Marischka, Ernst, 88
Marjoe, 223
Marjorie Morningstar, 157
Mark, The, 168
Mark, Laurence, 330, 376, 377, 389
Mark of the Maker, The, 311
Mark of Zorro, The, 69
Marker, Harry, 88
Markland, Jim, 407
Markowitz, Donald, 289
Marks, Daniel J., 299
Marks, Gertrude Ross, 227
Marks, Owen, 81, 85
Marks, Richard, 256, 273, 289, 334
Markwitz, Paul, 130
Marlene, 277
Marley, John, 155, 214
Marley, Peverell, 61, 96
Marlowe, Hugh, 117
Marmalade, Molasses & Honey, 223
Marooned, 210, 211
Marquet, Henri, 138
Marre, Elizabeth, 391
Marriage Italian Style, 180, 185
Married to the Mob, 298
Marrinan, Corinne, 373
Marrs, Audrey, 381, 399
Marsan, Jean, 138
Marschner, Stephen R., 365
Marsden, Greg, 403
Marsh, James, 391
Marsh, Oliver T., 61, 68
Marsh, Terence, 184, 206, 214, 218
Marshall, Alan, 252, 261
Marshall, Charles, 80
Marshall, Edward, 176, 184
Marshall, Frank, 264, 280, 348, 364,
390
Marshall, Herbert, 92
Marshall, Rob, 360
Marshman, D.M., Jr., 116, 119
Martel, Yann, 407
Mart, David, 341, 376
Martin, Catherine, 330, 356, 390
Martin, George, 181
Martin, Hugh, 85, 96
Martin, Marty, 93, 111
Martin, Pamela, 398
Martin, Robert, 211
Martin, Steve, 117, 258, 274, 339, 351,
358, 388, 392
Martin, TJ, 403
Martin, Tony, 296
Martin, Walt, 377
Martin Luther, 130
Martineau Industries, 327
Marty, 100, 136, 137, 138
Marvels The Avengers, 407
Marvin, Jeffrey, 331
Marvin, Johnny, 61
Marvin, Lee, 182, 183, 184
Marvin, Niki, 322
Marvin Borowsky Lectureship on
Screenwriting, 198, 248
Marvins Room, 330
Marx, Frederick, 322
Marx, Groucho, 224, 227, 245, 413
Marx, Harpo, 56
Marx, Sue, 289
Mary Poppins, 148, 178, 179, 180, 181
Mary, Queen of Scots, 218, 219, 242
Mary Shelleys Frankenstein, 322
Masaro, Anastasia, 394
Maschwitz, Eric, 65
Mascott, Laurence E., 185
M*A*S*H, 212, 214, 215
Masina, Giulietta, 313
Mask (1985), 280
Mask, The (1994), 323
Mask of Zorro, The, 345
Maslow, Steve, 260, 264, 277, 322,
326, 331, 353
Mason, James, 134, 188, 226, 245,
268
Mason, Marsha, 226, 241, 242, 256,
264
Mason, Sarah Y., 34, 35
Masser, Michael, 235
Masseron, Alain, 261, 369
Massey, Daniel, 206
Massey, David M., 311
Massey, Paul, 322, 334, 365, 373, 377,
381
Massey, Raymond, 68, 405
Massie, Paul, 29
Massie, Robert K., 217
Massine, Leonide, 111
Massmann, Volker, 395
Masson, Alan, 377
Masten, William N., 331
Master, The, 406
Master and Commander: The Far Side
of the World, 364, 365
Masters, Tony, 206
Masters of Disaster, The, 285
Masterson, Peter, 279
Mastrantonio, Mary Elizabeth, 284
Mastroianni, Marcello, 172, 242, 288,
294, 313
Match Point, 372
Mat, Rudolph, 68, 73, 76, 80, 84
Mateos, Antonio, 214
Matewan, 288
Matheny, Luke, 387, 399
Matheson, Richard, 248
Mathias, Harry, 257
Mathieson, John, 352, 369
Mathison, Melissa, 268
Mathot, Jacques, 115
Mating Season, The, 122
Matkosky, Dennis, 273
8/21/13 6:59 PM
Matlin, Marlee, 248, 282, 283, 284

Matrix, The, 348, 348, 349
Matsuyama, Takashi, 126, 142
Matter of Loaf and Death, A, 395
Mattey, Robert A., 169
Matthau, Walter, 151, 186, 188, 194,
200, 204, 211, 212, 218, 232, 234,
246, 266
Mattinson, Burny, 273
Matz, Peter, 235, 292
Maugham, Somerset, 92
Maumont, Jacques, 173
Maurice, 288
Maurice, Bob, 215
Maurischat, Fritz, 130
Maus, Rodger, 269
Maverick, 322
Max, Arthur, 352, 380
Maxsted, Jack, 218
Maxwell Davies, Peter, 219
May, Elaine, 252, 344
May It Be, 356
Maya Lin: A Strong Clear Vision, 323
Mayer, Al, Jr., 353
Mayer, Al, Sr., 315, 353
Mayer, Louis B., 89, 11, 13, 20, 24, 26,
44, 116, 119
Mayer, Roger, 366, 369
Mayes, Wendell, 160
Mayo, Virginia, 90
Mayor of 44th Street, The, 77
Maysles, Albert, 227
Maysles, David, 227
Mayuzumi, Toshiro, 189
Mazer, Dan, 376
Mazursky, Paul, 210, 229, 252, 294,
302
Mazzello, Joseph, 398
McAlister, Michael, 277, 299
McAlpine, Donald M., 356
McAvoy, James, 375
McBride, Elizabeth, 302
McBride, Robert, 215
McCabe & Mrs. Miller, 218
McCall, Cheryl, 277
McCallum, Gordon K., 214, 218, 253
McCambridge, Mercedes, 104, 105,
112, 115, 142, 333
McCann, Dan, 243
McCarey, Leo, 48, 50, 51, 65, 68, 82,
83, 84, 88, 126, 147, 194
McCarthy, Frank, 122, 213, 214
McCarthy, John, 126, 189
McCarthy, Kevin, 122
McCarthy, Melissa, 402
McCarthy, Tom, 394
McCarthy, Tom C., 315
McCartney, Linda, 226
McCartney, Paul, 226, 357, 419
McCaughey, William, 235, 238, 253,
256
McCleary, Urie, 73, 88, 130, 147, 184,
214
McCloy, Terence, 222
McClung, Patrick, 323, 345
McConaghy, Jack, 84, 88
McCord, Ted, 110, 172, 184
McCormack, Patty, 142, 170
McCormack, Sean, 377
McCown, Will, 323
McCoy, Herschel, 123, 130
McCoy, Horace, 210
McCrackan, Michael E., 345
McCrea, Joel, 81, 262
McCune, Grant, 243, 256
McCusker, Michael, 372
McDaniel, Hattie, 62, 64, 300
McDonagh, Martin, 373, 390
McDonald, Peter, 403
McDonell, Fergus, 96
McDonell, Gordon, 80
McDonnell, Mary, 306, 314
McDonough, Joe, 35
OSCAR_80_p424-466_8-19-13.indd 451
McDormand, Frances, 298, 328, 329,

330, 352, 371, 372
McDowall, Roddy, 70, 338
McElroy, Jim, 271
McEntire, Reba, 304
McEuen, William E., 243
McGann, William, 93
McGarrigle, Jay, 377
McGarvey, Seamus, 380, 406
McGaugh, Ken, 365, 395
McGaw, Bill, 207
McGill, Barney Chick, 27
McGovern, Elizabeth, 258, 264
McGovern, Tim, 307
McGowan, David, 311
McGrath, Douglas, 322, 371
McGraw, Tim, 393
McGregor, Ewan, 356, 401
McGregor, Rory, 399
McGuinness, Nathan, 365
McGuire, Don, 268
McGuire, Dorothy, 94, 95, 96
McGuire, Michele, 323
McGuire, William Anthony, 47
McHugh, Jimmy, 43, 61, 69, 81, 85
McKay, Craig, 264, 310
McKean, Michael, 36263, 365
McKellen, Ian, 274, 344, 356
McKelvy, Frank R., 142, 156, 160, 173,
211, 231, 234
McKendry, Gary, 369
McKenna, Virginia, 189
McKenzie, Bret, 403
McKeon, Doug, 263
McKeown, Charles, 280
McKern, Leo, 214
McKinnon, Ray, 357
McKuen, Rod, 211, 215
McLaglen, Victor, 15, 17, 40, 41, 43,
44, 100, 126, 140
McLaren, Norman, 127, 147
McLauchlan, Philip, Dr., 407
McLean, Barbara, 43, 47, 61, 64, 81,
85, 119
McLean, Ramsey, 318
McLeod, Sandy, 365
McLoughlin, Patrick, 181, 210
McMillan, Stephenie, 330, 356, 372,
398, 402
McMoyler, David, 345
McMurtry, Larry, 218, 271, 340, 372
McNair, Barbara, 208
McNally, Lianne Klapper, 357
McNally, Stephen, 109
McNamara, Maggie, 130
McNichol, Kristy, 266
McNicholas, Steve, 327
McNutt, William Slavens, 31, 43
McQuarrie, Christopher, 326
McQuarrie, Ralph, 280
McQueen, Steve, 188, 212
McSweeney, John, Jr., 173
McTeer, Janet, 348, 402
McWilliams, Donald, 345
Mead, Thomas, 89, 97, 110, 123
Meahl, E. Michael, 207
Mean Green Mother from Outer
Space, 285
Meara, Anne, 261
Mechanic, Bill, 392
Medal for Benny, A, 88
Medavoy, Mike, 398
Meddings, Derek, 253, 256
Medford, Kay, 206
Medioli, Enrico, 210
Mediterraneo, 311
Medium, The, 127
Medoff, Mark, 284
Meehan, John (art direction), 115,
119, 134
Meehan, John (writer), 25, 61
Meek, Donald, 58
Meerson, Lazare, 31
Meet John Doe, 72

Meet Me in Las Vegas, 143
Meet Me in St. Louis, 57, 82, 84, 85, 294
Meet the Parents, 353
Meirelles, Fernando, 364
Melanson, John, 365
Melendez, Bill, 215
Mlis, Georges, 292, 400, 402
Mellor, William C., 122, 123, 147, 160,
184
Melody from the Sky, A, 47
Meluch, Ray, 335
Melvin and Howard, 258, 260, 368
Melzner, Erwin, 391
Member of the Wedding, The, 126
Mme les Pigeons Vont au Paradis
(Even Pigeons Go to Heaven), 381
Memel, Jana Sue, 289, 315, 319, 327
Memento, 356
Memoirs of a Geisha, 370, 372, 373
Memorial: Letters from American
Soldiers, 311
Men, The, 119
Men Against the Arctic, 139
Men in Black (1934), 39
Men in Black (1997), 334, 335
Men in Her Life, The, 73
Men of Boys Town, 59
Mendel, Barry, 348, 372
Mendes, Sam, 348, 348
Mendes, Sergio, 403
Mendleson, Anthony, 222, 238
Mendoza, Joe, 185
Menegoz, Margaret, 406
Menegoz, Robert, 215
Menell, Jo, 331
Menges, Chris, 277, 283, 284, 330,
390
Menjou, Adolphe, 27, 33
Menke, Sally, 322, 395
Menken, Alan, 285, 293, 302, 303,
308, 311, 312, 315, 326, 330, 335, 380,
381, 395, 398
Menotti, Gian-Carlo, 127
Mental Images, Team of
Mathematicians, Physicists and
Software Engineers, 361
Menu, 35
Menville, Chuck, 193
Menzies, William Cameron, 8, 21, 23,
25, 63, 65, 196
Mephisto, 262, 264, 265
Mercer, Johnny, 61, 69, 72, 77, 81, 88,
93, 99, 123, 139, 151, 165, 169, 172,
177, 185, 215, 219
Merchant, Ismail, 165, 284, 285, 314,
318
Merchant, Vivien, 188
Mercouri, Melina, 164
Mercury Players, 72
Mercy Island, 72
Meredith, Burgess, 234, 236, 238
Meredyth, Bess, 9, 15, 23
Merideth, Joseph E., 357
Merkel, Una, 168
Mermaid, The, 335
Merman, Ethel, 170, 266
Meron, Neil, 405
Merrick, David, 231
Merrick, Laurence, 223
Merrick, Mahlon, 85
Merrill, Bob, 207
Merrill, Gary, 117
Merrill, James, 361
Merrill, Kieth, 227, 335
Merrily We Live, 61
Merrily We Live, 61
Merry Monahans, The, 85
Merry Old Soul, The, 35
Merry Widow, The (1934), 39
Merry Widow, The (1952), 126, 127
Merry Wives of Windsor Overture,
The, 131
Mersereau, Jacques, 80
Merson, Marc, 211
Mesa, William, 289
Mescall, John, 76
Mesenkop, Louis H., 61, 73, 77
Messel, Oliver, 160
Messenger, The, 394
Messenger, James R., 243, 257
Messner, Jean, 327, 335
Mester, Gyula, 369
Metcalfe, Mel, 284, 310, 314
Metcalfe, Melvin, Sr., 231
Meteor, 256
Metro-Goldwyn-Mayer (MGM),
10, 16, 22, 28, 43, 44, 47, 51, 52,
73, 77, 98, 108, 120, 123, 127, 135,
143, 158, 244
Metropolis, 245
Metropolitan, 306
Metty, Russell, 164, 168
Metzger, Tim, 399
Metzler, Fred L., 169
Meunier, Jean-Charles, 193
Mexicali Shmoes, 161
Meyer, Herbert, 207
Meyer, Jim, 345
Meyer, Nicholas, 238
Meyer, Otto, 47, 76
Meyers, Nancy, 260
Meyers, Sidney, 115
Meyjes, Menno, 280
Mezrich, Ben, 398
Michael, Danny, 298
Michael Clayton, 379, 380
Michael Collins, 330
Michaels, Mickey S., 214, 242
Michelet, Michel, 85
Micheli, Amanda, 381
Michelson, Gunnar P., 273, 335
Michelson, Harold, 256, 273
Michelson, Manfred G., 223, 239,
285, 299, 307, 319
Michener, James A., 146
Mickey and the Seal, 110
Mickey Mouse, 220, 245
Mickeys Christmas Carol, 273
Mickeys Orphans, 31
Middlemas, Rich, 403
Midgley, John, 349, 398, 403
Midler, Bette, 256, 26263, 283, 310
Midnight Cowboy, 199, 208, 209,
210, 211
Midnight Express, 252, 253
Midnight in Paris, 402
Midnight Lace, 164
Midsummer Nights Dream, A, 40,
43
Mielziner, Jo, 138
Mifune, Toshiro, 122, 139
Mighty Aphrodite, 324, 326, 327
Mighty Joe Young, 115, 345
Mighty Mouse in Gypsy Life, 89
Mighty River, The, 319
Mighty Times: The Childrens March,
369
Mighty Times: The Legacy of Rosa
Parks, 361
Mighty Wind, A, 365
Mikes New Car, 361
Miki, Masaaki, 395
Milagro Beaneld War, The, 299
Milchan, Arnon, 334, 335
Mildred Pierce, 52, 86, 87, 88
Miles, Christopher, 177
Miles, Sarah, 214
Miles, Sylvia, 210, 234
Miles, Walter R., 20
Miles, William, 315
Milestone, Lewis, 10, 18, 21, 24, 25,
27, 244, 294
Milford, Gene, 39, 51, 135
Milford, Penelope, 252
Milius, John, 256
451
8/21/13 6:59 PM
452
Milk, 388, 389, 390

Milk, Harvey, 388
Milk of Sorrow, The, 395
Milky Way, The (1940), 69
Millan, Scott, 319, 326, 353, 361, 369,
381, 398, 407
Milland, Ray, 86, 87, 88, 100
Millar, Hal, 206
Millard, Oscar, 122
Millenotti, Maurizio, 284, 306
Millepied, Benjamin, 396
Miller, Allan, 227, 327
Miller, Alvah J., 243, 299, 353, 373
Miller, Ann, 58, 278
Miller, Arthur (cinematographer),
68, 73, 76, 80, 88, 93
Miller, Arthur (writer), 330
Miller, Barry, 261
Miller, Bennett, 372
Miller, Bill, 326
Miller, Burton, 242
Miller, Burton F., 93
Miller, Charles, 69
Miller, Chris, 403
Miller, Ernest, 61
Miller, F. Hudson, 311
Miller, Fred, 403
Miller, George, 314, 326, 336, 377
Miller, Harley, 80
Miller, Harvey, 260
Miller, Jason, 226
Miller, Jim, 369
Miller, Peter, 311
Miller, Roland, 135
Miller, Seton I., 27, 72
Miller, Stan, 345
Miller, Tim, 369
Miller, Virgil E., 126
Miller, Wesley C., 135, 139, 143, 147
Million Dollar Baby, 366, 366, 367,
368, 369
Million Dollar Mermaid, 126
Millions of Years Ahead of Man, 235
Mills, Harry, 61
Mills, Hayley, 85, 162, 164, 165, 214
Mills, Jack, 176
Mills, John, 97, 164, 198, 212, 214,
266, 293
Mills, Michael (makeup), 311
Mills, Michael (shorts), 218, 260
Mills, Mike (director), 401
Mills, Peter, 185
Mills, Reginald, 110
Mills, Wally, 319
Milner, Victor, 25, 38, 39, 43, 47, 61,
68, 76, 119
Milo, George, 164, 168, 173
Milton, Franklin E., 160, 165, 176, 181,
184, 189
Min and Bill, 26, 27
Mineo, Sal, 138, 164
Miner, William F., 235
Minghella, Anthony, 328, 329, 330,
348, 390, 406
Mini-Micro Systems, Incorporated,
257
Minkler, Bob, 243, 269
Minkler, Lee, 269
Minkler, Michael, 256, 260, 269, 280,
302, 310, 319, 338, 357, 361, 377, 395
Minnelli, Liza, 182, 198, 210, 220, 221,
222, 224, 245, 246, 265, 266
Minnelli, Vincente, 120, 122, 126,
143, 151, 154, 156, 162, 247, 340
Minnesota Mining and
Manufacturing Co., 207
Minnis, Jon, 277
Minority Report, 361
Minoura, Jingo, 122
Minsky, Howard G., 214
Minstrel Man, 85
Mintz, Sam, 27
Miracle Fish, 395
OSCAR_80_p424-466_8-19-13.indd 452
Miracle of Fatima, 127

Miracle of Morgans Creek, The, 84
Miracle on 34th Street, 94, 96, 97
Miracle Worker, The, 170, 172, 173
Miranda, Carmen, 281
Miranda, Claudio, 390, 406
Mirisch, Walter, 140, 149, 190, 192,
202, 232, 234, 243, 269
Mirren, Helen, 322, 337, 356, 375, 376,
377, 379, 394
Mirrione, Stephen, 350, 352, 376
Mirror Has Two Faces, The, 328, 330
Mirror Mirror, 406
Mischer, Don, 396, 400, 405
Misener, Garland C., 123
Misery, 304, 305, 306
Miss Celies Blues (Sister), 280
Miss Misery, 335
Miss Sadie Thompson, 131
Missing, 268
Mission, The, 283, 284, 285
Mission to Moscow, 80
Mississippi Burning, 298
Mississippi Gambler, The, 131
Mississippi River Relief Fund, 13
Mist over the Moon, A, 61
Mister. See also Mr.
Mister Buddwing, 188, 189
Mister 880, 119
Mister Magoos Puddle Jumper, 143
Mister Mugg, 35
Mister Roberts, 136, 138, 139, 224, 225
Mitchell, Donald O., 226, 238, 260,
273, 280, 284, 302, 306, 314, 319,
322, 326
Mitchell, Doug, 326
Mitchell, George Alfred, 127
Mitchell, J. Gary, 253
Mitchell, James, 182
Mitchell, Jim, 345
Mitchell, John, 218, 277
Mitchell, Margaret, 63
Mitchell, Robert, 215
Mitchell, Sidney, 47
Mitchell, Thomas, 50, 64
Mitchell Camera Company, 65, 189,
207
Mitchum, Robert, 88, 151
Mix, Ronald, 299
Miyagishima, Takuo, 307, 345, 349,
369
Miyazaki, Hayao, 361, 373
Mnouchkine, Ariane, 180
Moadi, Peyman, 403
Mock, Freida Lee, 269, 307, 323, 327,
338, 357
Mockridge, Cyril J., 139
Model and the Marriage Broker, The,
123
Modern Times, 400
Moffat, Ivan, 142
Mogambo, 130, 134
Mogulescu, Miles, 243
MohammadMessenger of God, 243
Mohr, Hal, 40, 43, 80, 130
Mokhberi, Emud, 391
Mole-Richardson Co., 43, 65, 93
Molemaker, Jeroen, 381
Molen, Gerald R., 318
Molinaro, Edouard, 256
Moll, James, 345
Mollo, Ann, 264
Mollo, John, 242, 269
Molly Maguires, The, 214
Mollys Pilgrim, 281
Moments in Music, 56
Mon Oncle dAmerique, 260
Mona Lisa, 284
Mona Lisa, 119
Mona Lisa Descending a Staircase, 315
Monaco, James, 69, 81, 85, 93
Monahan, William, 374, 376
Monaster, Nate, 172
Mondays at Racine, 407

Mondello, Anthony, 273
Mondo Cane, 177
Mondshein, Andrew, 348
Moneyball, 402, 403
Monfery, Dominique, 365
Mongiardino, Lorenzo, 192, 226
Mongol, 381
Monicelli, Mario, 180, 184
MoNique (Monique Imes), 393, 394
Monk and the Fish, The, 323
Monos, John, 395
Monroe, Marilyn, 117
Monroe, Thomas, 72, 88
Monsieur Lazhar, 403
Monsieur Pointu, 235
Monsieur Verdoux, 96
Monsieur Vincent, 111
Monster, 362, 364
Monster House, 377
Monsters Ball, 355, 356
Monsters, Inc., 354, 357
Montage Group, Ltd., 289
Montagna, Peter, 406
Montand, Yves, 150, 158
Montanelli, Indro, 168
Montao, Frank A., 314, 319, 322,
326, 391
Montell, Judith, 307
Montenegro, Fernanda, 344
Montgomery, George, 73
Montgomery, Robert, 50, 72, 108
Montgomery, Tyron, 331
Monument to the Dream, 193
Monzani, Sarah, 269
Moody, Ron, 204, 206
Moon and Sixpence, The, 81
Moon and the Son: An Imagined
Conversation, The, 373
Moon Is Blue, The, 130, 131
Moon Is Blue, The, 131
Moon River, 169
Moon Rockets, 97
Moonbird, 161
Moonjean, Hank, 298
Moonlight, 326
Moonraker, 256
Moonrise, 110
Moonrise Kingdom, 406
Moonstruck, 246, 286, 287, 288
Moontide, 76
Moorcroft, Judy, 256, 277
Moore, Colleen, 9, 94
Moore, Demi, 297, 306
Moore, Dickie, 71
Moore, Dudley, 245, 264, 265, 266,
297
Moore, Grace, 36, 39
Moore, Jack D., 76, 115, 122, 130, 211,
214
Moore, John, 169
Moore, John R., 161
Moore, Juanita, 160
Moore, Julianne, 334, 348, 358, 360,
367
Moore, Mary Tyler, 258, 260
Moore, Michael, 359, 359, 361, 381
Moore, Pearse, 335
Moore, Rich, 407
Moore, Robin, 216
Moore, Roger, 197, 297
Moore, Steve, 335
Moore, Ted, 188
Moore, Terry, 126
Moore, Tomm, 395
Moorehead, Agnes, 72, 76, 84, 110,
180
Moorer, Allison, 345
Moorer, James A., 345
Morahan, Jim, 115
Morahan, Tom, 164
Moran, A.J., 111
Moraweck, Lucien, 65
More, 345
More, 177
More about Nostradamus, 69
More and More, 89
More the Merrier, The, 78, 80, 81, 143
Moreau, Jeanne, 212, 337
Moreh, Dror, 407
Moreno, Rita, 166, 167, 168
Moresco, Bobby, 372
Morey, Larry, 77, 115
Morgan!, 188, 189, 242
Morgan, Dennis, 67
Morgan, Earle, 81
Morgan, Frank, 36, 39, 44, 76
Morgan, Herbert, 93, 97, 110, 127
Morgan, Michele, 28
Morgan, Peter, 376, 377, 390
Morgan, Ralph, 65
Morgan, Terence, 109
Morgen, Brett, 349
Mori, Mark, 307
Moriarty, Cathy, 260
Moriarty, David, 214
Morita, Noriyuki Pat, 276
Morituri, 184
Morley, Angela, 231, 243
Morley, Christopher, 67
Morley, Robert, 61
Morley, Ruth, 173
Morning After, The, 284
Morning After, The, 223
Morning Glory, 32, 33, 35
Morning Spider, The, 239
Morning Stroll, A, 403
Morocco, 27, 30
Moroder, Giorgio, 245, 253, 273, 285
Moross, Jerome, 157
Morot, Adrien, 398
Morricone, Ennio, 253, 285, 289, 311,
353, 375, 377
Morris, Ben, 381
Morris, Brian, 330
Morris, Chester, 23
Morris, Errol, 365
Morris, Julian, 369
Morris, John, 231, 260
Morris, Oswald, 206, 218, 252
Morris, Redmond, 390
Morris, Thaine, 289, 299
Morris, William, 182
Morriss, Frank, 273, 277
Morros, Boris, 61
Morrow, Barry, 298
Morrow, Douglas, 115
Morse, Susan E., 284
Mortensen, Viggo, 380
Morton, Samantha, 348, 364
Mosbacher, Dee, 323
Moscow Does Not Believe in Tears, 261
Moscow Moods, 47
Moscow Strikes Back, 77
Mosely, John, 277
Mosher, Bob, 138
Moss, Gary, 299
Moss, Jeff, 277
Mosser, Russell A., 211
Mossman, Colin F., 269, 289, 327,
345, 353, 377
Most (The Bridge), 365
Most Dangerous Man in America:
Daniel Ellsberg and the Pentagon
Papers, The, 395
Mother Goose Goes Hollywood, 61
Mother India, 147
Mother Is a Freshman, 115
Mother Wore Tights, 94, 96
Motion Picture and Television
Research Center, 207
Motion Picture Producers and
Distributors Association (later
the Motion Picture Association of
America), 24, 55
Motion Picture Relief Fund, 65
8/21/13 6:59 PM
Motion Picture Research Council, 147

Motion Pictures Code Committee, 14
Motorcycle Diaries, The, 367, 368, 369
Motsumoto, H., 126
Moulin Rouge (1952), 126, 127
Moulin Rouge (2001), 354, 356, 356,
357
Moulton, Herbert, 85, 89, 97, 110
Moulton, Thomas T., 39, 43, 47, 51,
61, 65, 68, 73, 76, 77, 80, 81, 85, 88,
115, 119, 127
Moultrie, James, 349
Mouris, Frank, 227
Mourning Becomes Electra, 94, 96
Mouse and Garden, 165
Mouse Trouble, 85
Mouse Wreckers, 110
Moussy, Marcel, 160
Moverman, Oren, 394
Movie Pests, 85
Movies Are Adventure, 56
Movietone, 11
Mowat, Doug, 398
Moyer, Ray, 84, 88, 93, 119, 134, 142,
147, 168, 176, 184
Mr. See also Mister
Mr. & Mrs. Bridge, 306
Mr. Blabbermouth!, 77
Mr. Deeds Goes to Town, 14, 44, 46,
47
Mr. Dodd Takes the Air, 50
Mr. Gardenia Jones, 77
Mr. Hollands Opus, 326
Mr. Hulots Holiday, 138
Mr. Saturday Night, 314
Mr. Skefngton, 84
Mr. Smith Goes to Washington, 62,
64, 65, 67
Mrs. Brown, 334, 335
Mrs. Doubtre, 318
Mrs. Henderson Presents, 372
Mrs. Miniver, 56, 74, 75, 76, 77
Mrs. Parkington, 84
Mt. Head, 361
Mudd, Victoria, 281
Muddy River, 265
Mudlark, The, 123
Mueller, Lynn, 289
Mueller, Marc Shipman, 377
Mueller, Martin S., 327
Mueller, William A., 43, 131, 139
Mueller-Stahl, Armin, 330
Muggleston, Ken, 206
Mukai, Jiro, 223
Mula, Richard, 307
Mulan, 345
Mulconery, Walt, 273
Mule Train, 119
Mulford, Marilyn, 323
Mulholland Drive, 356
Mullen, Larry, 360
Mller, Timo, 391
Mulligan, Carey, 394
Mulligan, Robert, 171, 172
Mummy, The, 349
Mumolo, Annie, 402
Munck, Eckehard, 223
Mungle, Matthew W., 315, 318, 330,
402
Muni, Paul, 14, 23, 32, 35, 40, 44, 45,
47, 48, 49, 50, 100, 160
Munich, 372, 373
Muoz, Susana, 281
Munro, 165
Munro, Chris, 349, 357
Muppet Movie, The (1979), 256
Muppets, The, 254
Muppets, The (2011), 403
Muppets Take Manhattan, The, 277
Murakami, James J., 207, 277, 390
Muraki, Shinobu, 280
Muraki, Yoshiro, 169, 214, 260, 280
Mural on Our Street, 185
OSCAR_80_p424-466_8-19-13.indd 453
Murawski, Bob, 395

Murch, Walter, 231, 243, 256, 306,
330, 331, 364
Murder, Inc., 164
Murder on a Sunday Morning, 357
Murder on the Orient Express, 83, 141,
228, 230, 231
Murderball, 373
Muren, Dennis, 261, 264, 265, 269,
273, 277, 280, 289, 299, 302, 311,
319, 335, 349, 357
Murn, Jane, 14, 31
Murmur of the Heart, 222
Murnau, F.W., 18, 28
Murphy, Brianne, 269
Murphy, Cillian, 399
Murphy, Eddie, 376, 400
Murphy, George (actor), 119
Murphy, George (visual effects),
323
Murphy, Michael, 215
Murphy, Richard, 96, 130
Murphy, Shawn, 302, 319, 349
Murphy, Tab, 298
Murphy, Walter, 407
Murphy, William B., 189
Murphys Romance, 280
Murray, Alan Robert, 280, 302, 331,
353, 377
Murray, Bill, 364
Murray, Don, 142
Murray, Ken, 94
Murtha, Joe, 407
Museum of Modern Art (New York),
51, 250, 253, 29293
Musgrave, Don, 65
Mushroom Club, The, 373
Music Box, The (193132), 31, 31
Music Box (1989), 302
Music by Prudence, 395
Music for Millions, 88
Music for the Movies: Bernard
Herrmann, 315
Music in Manhattan, 85
Music in My Heart, 69
Music Man, The, 172, 173
Music of the Heart, 348, 349
Music of My Heart, 349
Music Teacher, The, 299
Musker, John, 395
Musuraca, Nicholas, 110
Mutiny on the Bounty (1935), 40, 43,
44
Mutiny on the Bounty (1962), 171,
172, 173
Muyzers, Peter, 395
My Architect, 365
My Beautiful Laundrette, 284
My Best Friends Wedding, 335
My Big Fat Greek Wedding, 360
My Boy Johnny, 85
My Brilliant Career, 260
My Country, My Country, 377
My Country Tis of Thee, 119
My Cousin Rachel, 126, 127
My Cousin Vinny, 312, 314
My Dearest Seorita, 223
My Fair Lady, 154, 178, 179, 180, 181
My Family, Mi Familia, 326
My Favorite Wife, 68, 69
My Favorite Year, 268
My Financial Career, 177
My Flaming Heart, 131
My Foolish Heart, 115, 155
My Foolish Heart, 115
My Funny Friend and Me, 353
My Gal Sal, 76, 77
My Geisha, 173
My Grandmother Ironed the Kings
Shirts, 349
My Heart Will Go On, 335
My Kind of Town, 181
My Left Foot, 300, 301, 302
My Life as a Dog, 288

My Love (Moya Lyubov), 381
My Man Godfrey, 47
My Mother Dreams the Satans
Disciples in New York, 349
My Night with Maud, 211, 214
My Own, 61
My Shining Hour, 81
My Sister Eileen, 76
My Son John, 126
My Son, My Son!, 69
My Sweet Little Village, 285
My Uncle, 154, 157
My Week with Marilyn, 402
My Wild Irish Rose, 96
My Wishing Doll, 189
Myasnikov, Gennady, 206
Myers, John, 143
Myers, Richard, 135
Myers, Ruth, 310, 330
Myers, Tom, 391, 395, 398
Myerson, Jonathan, 345
Myhre, John, 344, 360, 372, 376,
394
Mylan, Megan, 391
Myrow, Josef, 96, 119
Mysteries of the Deep, 161
Mysterious Castles of Clay, 253
Mysterious Geographic Explorations
of Jasper Morello, The, 373
Mystery Street, 119
Mystic River, 362, 364, 388
Na Wewe, 399
Nabokov, Vladimir, 172
Nabulsi, Hazem, 327, 335
Nadoolman, Deborah, 298, 338
Nagel, Conrad, 89, 11, 1314, 17, 20,
24, 25, 26, 28, 65, 124, 196
Nails, 257
Naish, J. Carrol, 80, 88
Nakai, Asakazu, 280
Naked City, The, 110
Naked Eye, The, 143
Naked Prey, The, 188
Naked Spur, The, 130
Naked Yoga, 231
Nalbandyan, Ashot, 353
Napier, Sheena, 315
Napoleon and Samantha, 223
Narrow Margin, The, 126
Nash, Erik, 369, 403
Nash, Terri, 269
Nashville, 234, 235, 337
Nasr, Ariel, 407
Nasty Girl, The, 307
Natanson, Jacques, 122
Nathanson, Michael, 334
National Broadcasting Company
(NBC), 124, 128, 132, 136, 140,
144, 154, 158, 212, 216, 220, 224,
228
National Carbon Co., 65, 139
National Endowment for the Arts,
277
National Film Board of Canada, 299
National Film Information Service,
54
National Film Society, 196
National Industrial Recovery Act, 14
National Recovery Administration,
14
National Velvet, 52, 86, 88
Natural, The, 276, 277
Natures Half Acre, 123
Natwick, Mildred, 126, 192
Naughton, Bill, 188
Naughton, James, 226
Naughty but Nice, 94
Naughty Marietta, 43
Nava, Gregory, 276

Navajo, 126, 127
Navarrete, Javier, 376
Navarro, Guillermo, 376
Navigator, The, 72
Navy Comes Through, The, 77
Nazarro, Ray, 122
Neal, Patricia, 152, 174, 175, 176, 186,
206, 207
Neame, Ronald, 77, 93, 96, 97, 208
Neary, John, 335
Needham, Hal, 285, 407
Neeson, Liam, 316, 318, 388, 405
Neff, Thomas L., 285
Negulesco, Jean, 109, 110
Neighbours, 127
Neil, Iain, 307, 311, 315, 323, 327, 335,
345, 349, 353, 357
Neil, William, 284
Neill, Sam, 319
Neill, Ve, 299, 307, 315, 318, 322, 364
380
Neiman-Tillar Associates, 257
Nell, 322
Nelligan, Kate, 310
Nellys Folly, 169
Nelson, Andy, 298, 319, 326, 331, 334,
345, 349, 357, 365, 373, 377, 395,
403, 407
Nelson, Charles, 88, 139, 184
Nelson, Gene, 95
Nelson, George R., 231, 252, 256, 273
Nelson, Greg, 303
Nelson, Harmon Oscar, Jr., 40
Nelson, Jennifer Yuh, 403
Nelson, John, 353, 369, 391
Nelson, Kay, 115
Nelson, Prince Rogers. See Prince
Nelson, Ralph, 174, 176, 205
Nelson, William, 284, 288
Nelson, Willie, 260
Neptunes Daughter, 115
Nero, Franco, 406
Nervig, Conrad A., 39, 47, 118, 119
Neshamkin, Paul, 265
Nesson, Sara, 399
Nest, The, 261
Netter, Gil, 394, 406
Nettinga, Myron, 357
Nettmann, Ernst (E.F. Bob), 243,
265, 281, 403
Network, 128, 201, 236, 237, 238, 251,
388
Neumann, Alfred, 84
Never, 123
Never Cry Wolf, 273
Never Give Up: The 20th Century
Odyssey of Herbert Zipper, 327
Never on Sunday, 164, 165, 367
Never on Sunday, 162, 165, 367
New Americans, 85
New Boy, 391
New Kind of Love, A, 176, 177
New Land, The, 223
New Spirit, The, 77
New Tenants, The, 395
New World, The, 372
New Zealand Film Archive, 385
Newcom, James E., 64, 85, 119, 215
Newcombe, Warren, 77, 85, 96
Newell, Norman, 177
Newley, Anthony, 219
Newman, Alfred, 50, 51, 61, 64, 65, 69,
72, 77, 81, 85, 89, 93, 96, 111, 115, 119,
123, 127, 131, 135, 139, 143, 157, 161,
169, 170, 177, 185, 193, 215
Newman, Charles, 85
Newman, Christopher (Chris), 218,
223, 226, 260, 277, 280, 310, 331
Newman, David (music), 335
Newman, David (writer), 192
Newman, Emil, 72
Newman, Eve, 206, 238
453
8/21/13 6:59 PM
Newman, Joseph, 43, 47

Newman, Lionel, 61, 119, 123, 135, 143,
157, 161, 165, 185, 193, 198, 211
Newman, Luther, 161
Newman, Paul, 122, 156, 168, 173, 175,
176, 177, 192, 206, 210, 224, 249,
264, 268, 27879, 281, 282, 283,
284, 316, 319, 322, 360, 366, 374
Newman, Randy, 264, 277, 302, 307,
322, 326, 330, 345, 349, 353, 354,
356, 377, 395, 398
Newman, Thomas, 322, 326, 349,
360, 365, 369, 376, 390, 391, 407
Newman, Walter, 122, 184, 252
Newton, Robert, 140
Newton, Teddy, 399
Ney, Richard, 74
Ngor, Haing S., 274, 275, 276
Nibbles, 365
Niblo, Fred, 89, 11, 20
Niblo, Fred, Jr., 27
Niccol, Andrew, 344
Nice to Be Around, 226
Nicholas, Anthony E., 307
Nicholas and Alexandra, 216, 217, 218,
219
Nicholl Fellowships, 33940
Nichols, Dudley, 14, 15, 40, 41, 43, 68,
80, 147
Nichols, Mike, 151, 187, 188, 190, 191,
192, 273, 298, 318
Nicholson, Bill, 260
Nicholson, Bruce, 261, 264, 269
Nicholson, Jack, 210, 214, 226, 230,
232, 233, 234, 263, 264, 270, 271,
272, 280, 288, 314, 320, 332, 334,
346, 358, 360, 370, 374, 375, 386,
393, 401, 404
Nicholson, William, 318, 352
Nicolas-Troyan, Cedric, 407
Niebeling, Hugo, 173
Nigh-Strelich, Alison, 285
Night and Day, 93
Night at the Movies, A, 51
Night before Christmas, The, 73
Night Must Fall, 50
Night of the Iguana, The, 180, 181
Night People, 134
Night Train, 72
Nightlife, 239
Nightmare before Christmas, The, 319
Nights and Days, 239
Nights of Cabiria, The, 144, 147
Nikel, Hannes, 269
Niklewicz, David, 361
9 (2005, short) 373
Nine (2009), 394, 395
Nine from Little Rock, 181
Nine Lives, 147
454 Nine to Five, 260
1941, 256
Nini, Diane, 285
Ninotchka, 64, 65, 133
Ninth Circle, The, 165
Nishimura, Douglas W., 335
Nishimura, Ryoji, 395
Nitzsche, Jack, 235, 269
Niven, David, 140, 144, 149, 152, 153,
154, 155, 156, 200, 224, 294
Niver, Kemp, 55, 135
Nixon, 326
Nixon, Marni, 166, 178
Nixon, Robert, 303
No, 407
No Country for Old Men, 378, 378,
379, 380, 381, 389
No End in Sight, 381
No Hunting, 139
No Mans Land, 354, 357
No One Wants to Do It Alone, 392
No Sad Songs for Me, 119
No Time for Love, 84
No Time for Nuts, 377
OSCAR_80_p424-466_8-19-13.indd 454
No Way Out, 119

Noahs Ark, 161
Nob Hill, 86
Noble, Nigel, 264
Noble, Thom, 280, 310
Nobody Does It Better, 243
Nobodys Fool, 322
Noel, Mark, 399
Noffke, Jrgen, Dr., 403
Noggle, Thomas L., 345
Noiret, Philippe, 303
Nolan, Christopher, 356, 389, 398,
399
Nolan, Jonathan, 356
Nolte, Nick, 310, 344, 344, 402
None but the Lonely Heart, 82, 84, 85
None Shall Escape, 84
Noonan, Chris, 326
Noose, The, 21
Norbit, 380
Nord, Richard, 318
Nordemar, Olle, 123
Noremark, Henny, 234
Norin, Gustaf, 117
Norin, Josef, 117
Norlind, Lloyd B., 72
Norma Rae, 255, 256, 275
Norman, Geoffrey F., 239
Norman, Marc, 344
Norman Rockwells World . . . An
American Dream, 223
Normand, Mabel, 393
Norowzian, Mehdi, 349
Norris, Dan C., 289
Norris, Patricia, 253, 260, 269, 277,
298
Norsch, Herbert, 68
North, Alex, 123, 127, 139, 143, 165,
177, 185, 189, 207, 231, 235, 264, 277,
278, 281, 294
North, Edmund H., 212, 214
North American Philips Co., Inc., 173
North by Northwest, 160
North Country, 372
North Star, The, 80, 81
North West Mounted Police, 68, 69
Northrop, Don, 323
Northwest Passage, 68
Norton, Edward, 330, 344
Norton, Rosanna, 269
Norway in Revolt, 73
Norwood, Donald W., 207
Nossel, Murray, 361
Not As a Stranger, 139
Note of Triumph: The Golden Age of
Norman Corwin, A, 373
Notes on the Popular Arts, 243
Notes on a Scandal, 376
Nothings Gonna Stop Us Now,
289
Notorious, 93
Nottingham, Eugene, 261
Novacek, Milan, 335
Novak, Kim, 297
Novarese, Vittorio Nino, 115, 176,
184, 214
Novarro, Ramon, 9
Novi, Charles, 84
Novick, Ed, 361, 391, 398, 403
Novick, Mason, 380
Novros, Lester, 239
Novros, Paul, 335
Now Hear This, 173
Now I Know, 85
Now It Can Be Told, 61
Now That Were in Love, 235
Now, Voyager, 76, 77
Now You See It, 97
Nowak, Amram, 285
Nowhere in Africa, 361
Noyes, Eliot, Jr., 185
Nozaki, Albert, 142
Nozari, Mohammad S., 269
Nozik, Michael, 322

Nudnik #2, 181
Nugent, Frank S., 126
Number One, 239
Number Our Days, 239
Numbers Start with the River, The, 219
Nuns Story, The, 130, 160, 161
Nurse Edith Cavell, 65
Nutty Professor, The, 330
Nuzzi, Gary, 319
Nyberg, Mary Ann, 130, 135
Nyby, Christian, 110
Nye, Harold, 65, 93
Nye, Nancy, 334
Nye, Peter, 311
Nykvist, Sven, 226, 273, 298
Nyswaner, Ron, 318
O Brother, Where Art Thou?, 352

O Quatrilho, 327
O Saya, 391
Oakie, Jack, 68
Obaid-Chinoy, Sharmeen, 403
Obama, Barack, 388
Obama, Michelle, 405
Oberon, Merle, 43, 177, 212
Objective, Burma!, 88, 89
OBrian, Hugh, 146
OBrien, Edmond, 95, 105, 106, 132,
134, 151, 180, 188
OBrien, Joseph, 89
OBrien, Liam, 122
OBrien, Margaret, 57, 82, 85, 294
OBrien, Sheila, 127
OBrien-Moore, Erin, 48
Obsession, 238
Obzina, Martin, 64, 73
Occurrence at Owl Creek Bridge, An,
177
Ochipinti, Julie, 376
OConnell, Arthur, 138, 160
OConnell, Darragh, 357, 395
OConnell, Kevin, 273, 277, 280, 284,
302, 306, 314, 326, 331, 334, 345,
353, 357, 361, 369, 373, 377, 381
OConnell, Patricia Hitchcock, 244
OConnor, Bridget, 402
OConnor, Chadwell, 235, 315
OConnor, Donald, 128, 254
OConnor, Geoffrey, 315
OConnor, Jim, 169
OConnor, Michael, 390, 402
OConnor, Patrick D., 323
Odd Couple, The, 206
Odd Man Out, 96
Odds Against, The, 189
Odell, Cary, 84, 156, 181
Odell, Robert, 64
Odets, Clifford, 48, 82, 194
ODonnell, Cathy, 90
ODonoghue, Robin, 269, 345
ODonovan, Edwin, 253
Oedekerk, Steve, 357
Oestreicher, Christine, 264, 266, 269
Of Human Bondage, 36, 42
Of Human Hearts, 61
Of Men and Demons, 211
Of Mice and Men, 64, 65
Of Pups and Puzzles, 73
Of Time, Tombs and Treasures, 243
Off the Edge, 239
Ofcer and a Gentleman, An, 266, 268,
269
Ofcial Story, The, 278, 280, 281
OFlaherty, Liam, 41
Oh Brother, My Brother, 257
Oh, God!, 242
Oh My Darling, 253
Oh, My Nerves, 43
Ohanian, Tom A., 323
OHara, Catherine, 363

OHara, John, 163
OHara, Karen A., 284, 398
OHara, Maureen, 70, 77, 97, 126
OHara, Meghan, 381
Ohayon, Michele, 335
OHerlihy, Dan, 134
Ohoven, Michael, 372
Oisin, 215
OKane, Eimear, 403
Okazaki, Steven, 281, 307, 373, 391
OKeefe, Michael, 260
Okey, Jack, 25, 88
Oklahoma!, 138, 139
Okonedo, Sophie, 368
Oktapodi, 391
Okun, Charles, 298
Oland, Warner, 30
Olbrich, Drew, 407
Old Man and the Sea, The, 156, 157, 349
Old Mill, The, 51
Old Mill Pond, 47
Oldenburg, Brandon, 403
Oldman, Gary, 389, 402
Ole Buttermilk Sky, 93, 99
Olin, Lena, 302
Oliver!, 161, 204, 206, 207, 337, 338
Oliver, Brian, 398
Oliver, Edna May, 64
Oliver, Harry, 21, 23
Oliver, Nancy, 380
Oliver Twist (Dickens), 204
Olivier, Joseph A., 357
Olivier, Laurence, 53, 53, 64, 66, 68,
91, 93, 108, 109, 110, 120, 142, 154,
164, 165, 184, 194, 222, 238, 245,
250, 251, 252, 253, 274, 342, 412
Oliviero, Nino, 177
Olmos, Edward James, 298
Olson, Josh, 372
Olson, Leonard L., 223
Olson, Nancy, 34, 116, 119
Olsson, Marcus, 349
Olympics in Mexico, The (Olympia en
Mxico), 211, 338
OMeara, C. Timothy, 256
Omen, The, 238
Omens, Sherwood, 219
Omnibus, 315
On Any Sunday, 219
On the Atchison, Topeka and the
Santa Fe, 93, 99
On the Beach, 160, 161
On the Bowery, 147
On Golden Pond, 258, 262, 263, 264
On Hope, 323
On the Riviera, 123
On the Road Again, 260
On the Ropes, 349
On Tiptoe: Gentle Steps to Freedom, 353
On the Town, 115
On the Twelfth Day . . ., 139
On the Waterfront, 132, 133, 134, 135,
154
Once, 380, 381
Once More, My Darling, 115
Once upon a Honeymoon, 76
Ondricek, Miroslav, 264, 277
One Day Crossing, 353
One Day in September, 349
One Droopy Knight, 147
One-Eyed Jacks, 168
One-Eyed Men Are Kings, 231
One Fine Day, 330
One Flew over the Cuckoos Nest, 36,
232, 233, 234, 235, 251, 274, 286,
308, 328, 338
One Foot in Heaven, 72
One from the Heart, 269
One Hour with You, 31
140 Days under the World, 181
One Hundred Men and a Girl, 50, 51
127 Hours, 396, 398
8/21/13 6:59 PM
102 Dalmatians, 352

One in a Million, 47
One Man Band, 373
One Million B.C., 68, 69
One More Hour, 264
One Night of Love, 39
One of Our Aircraft Is Missing, 76, 77
One Potato, Two Potato, 180
One Survivor Remembers, 324, 327
$1,000 a Minute, 43
One True Thing, 344
One, Two, Three, 168
One Way Passage, 35
One Who Came Back, 123
ONeal, Ryan, 214, 227
ONeal, Tatum, 85, 197, 224, 227
ONeil, Barbara, 68
ONeill, Matthew, 395, 407
Only Angels Have Wings, 65
Only Forever, 69
Only When I Laugh, 264
Oozeki, Katsuhisa, Dr., 403
Opel, Robert, 224
Open City, 90, 93, 96
Open Doors, 307
Open Heart, 407
Orchard, Grant, 403
Operation Blue Jay, 131
Operation Homecoming: Writing the
Wartime Experience, 381
Operation Petticoat, 160
Operation Thunderbolt, 243
Operation Vittles, 110
Operator 13, 39
Ophuls, Marcel, 219, 299
Ophuls, Max, 122, 134
Oppenheimer, Deborah, 353
Oppenheimer, George, 76
Oppewall, Jeannine, 334, 344, 364,
376
Optical Coating Laboratories, 207
Orban, Robert, 315
Orbom, Eric, 164
Orchestra Wives, 77
Ordinary People, 258, 259, 260
Oreck, Sharon, 277
OReilly, Fodhla Cronin, 407
OReilly, Valli, 369
Orent, Kerry, 380
Organization, The, 190
Organizer, The, 180
Orhall, Bengt O., 307
Orkin, Ruth, 130
Orlando, 318
Orloff, Greg, 369, 381, 398
Orloff, Lee, 302, 310, 319, 349, 353,
365, 377
Orlov, Vasiliy, 373
Ormond, Julia, 322
Orner, Eva, 381
Orr, Mary, 117
Orreindy, Philippe, 361
Orry-Kelly, 123, 147, 160, 173
Ortolani, Riz, 177, 215
Osbiston, Alan, 169
Osborn, Paul, 138, 147
Osborne, Barrie M., 356, 360, 364
Osborne, John, 176
Osborne, Mark, 345, 391
Oscar, The, 189
Oscar and Lucinda, 334
Oscar statuettes: copyright
infringement case, 295; donated to
the Academy by benefactors, 294
95; new molding of, 336; recovery
of stolen ones, 29495, 339
Oscars Best . . . series, 200, 202
Oscars Greatest Moments (video),
293
Oscars Outdoors, 385
OShannon, Dan, 335
Osment, Haley Joel, 347, 348
Osram GmbH, 243, 261, 273, 289
OSCAR_80_p424-466_8-19-13.indd 455
Ossana, Diana, 340, 372

Ostby, Eben, 335
Ostby, Hawk, 376
OSteen, Sam, 189, 231, 273
stergaard, Anders, 395
OSullivan, Conor, 344, 359, 390
Otello (1986), 284
Othello (1965), 184
Other Half of the Sky: A China
Memoir, The, 235
Other Side of Midnight, The, 242
Other Side of the Mountain, The, 235
Other Side of Sunday, The, 331
Other Voices, 207
OToole, Annette, 36263, 365
OToole, Peter, 64, 171, 172, 180, 206,
210, 222, 249, 260, 268, 279, 286,
360, 361, 375, 376
Ott, Howard F., 227
Otterson, Jack, 47, 50, 61, 64, 69, 73,
76
Otto Nemenz International,
Incorporated, 311
Ottosson, Paul N.J., 369, 385, 395, 407
Our Dancing Daughters, 23
Our Love Affair, 69
Our Time Is Up, 373
Our Town, 68, 69
Our Town, 377
Our Very Own, 119
Ouspenskaya, Maria, 47, 64
Out Here on My Own, 260
Out of Africa, 278, 279, 280
Out of Sight, 344
Out of the Silence, 72
Outland, 264
Outlaw Josey Wales, The, 238
Outrage, The, 122
Outside the Law (Hors-la-Loi), 399
Ouverture, 185
Over the Rainbow, 64, 301
Over There, 191418, 181
Over You, 273
Overnight Sensation, 273
Overton, Al, Jr., 235, 256, 264, 298
Overton, Alfred J., 218
Overton, Richard, 299, 302, 306
Overton, Tom, 238
Overture, 157
Owen, Alison, 344
Owen, Alun, 180
Owen, Clive, 368
Owen, Gwil, 345
Owen, Peter, 356
Owens, Harry, 50
Owens, Michael, 399
Ox, The, 311
Ox-Bow Incident, The, 80
Ozymok, Glen, 335
Pacic Liner, 61
Pacino, Al, 221, 222, 226, 228, 230,
234, 256, 306, 312, 313, 314, 367
Paddle to the Sea, 193
Page, Anita, 22
Page, Ellen, 380, 399
Page, Geraldine, 130, 168, 172, 173,
188, 222, 252, 276, 278, 279, 280
Page, Patti, 163
Paggi, Simona, 344
Paglia, Anthony, 165, 181
Pagliero, Marcello, 115
Paint Your Wagon, 211
Painted Door, The, 277
Painter, Gerald, 327, 353
Paisan, 115
Paix Sur Les Champs, 215
Pakalns, Julia, 381
Pakula, Alan J., 172, 217, 238, 239,
267, 268
Pal, George, 73, 77, 81, 85, 89, 93, 97,

122, 181
Pal Joey, 147
Palance, Jack, 104, 126, 130, 308, 310,
313
Paleface, The, 111
Pali, Zoltan, 385
Pallette, Eugene, 30
Palmer, Adele, 160
Palmer, Ernest, 23, 73, 119
Palmer, Patrick, 276, 283, 284, 287,
288
Palmer, Stephen, 319
Palmieri, Matt, 315
Palminteri, Chazz, 322
Palmquist, Philip V., 207, 223
Paltrow, Bruce, 419
Paltrow, Gwyneth, 342, 342, 344, 419
Pampel, Udo, 345
Pan, 173
Pan, Hermes, 12, 43, 47, 48, 51, 292
Pan, Kant, 314
Panama, Norman, 93, 134, 164
Panama Deception, The, 315
Panavision Incorporated, 157, 189,
193, 207, 211, 223, 239, 243, 253,
307, 311, 319, 345, 349, 361
Panavision International, L.P., 323,
327
Panic in the Streets, 119
Pans Labyrinth, 374, 376, 377
Panzini, Philippe, 345
Papa, Can You Hear Me?, 273
Papas Delicate Condition, 177
Paper, The, 322
Paper Chase, The, 224, 226
Paper Moon, 224, 226, 227
Paperman, 407
Paperny, David, 319
Papillon, 226
Paquin, Anna, 316, 317, 318
Parada, Gustave, 319
Paradine Case, The, 82, 96
Paradise, 277
Paradise Lost 3: Purgatory, 403
Paradise Now, 373
Paramount News Issue #37 (Twentieth
Anniversary Issue! 1927 . . . 1947), 93
Paramount Pictures, 10, 27, 31, 43, 51,
52, 65, 73, 77, 81, 89, 97, 108, 111, 115,
119, 123, 135, 139, 143, 147, 194, 245,
259, 336
Paramount West Coast Laboratory,
93
Paranorman, 407
Parent Trap, The, 169
Parenthood, 302
Partt, David, 315, 344
Paris Blues, 169
Paris 36, 395
ParisUnderground, 89
Parisot, Dean, 299
Park, Nick, 307, 319, 327, 340, 373, 395
Park, Sejong, 369
Parker, Alan, 252, 261, 298
Parker, Arthur Jeph, 238, 256
Parker, Daniel, 322
Parker, David, 273, 331, 365, 381, 391,
398, 403
Parker, Dorothy, 50, 96
Parker, Eleanor, 119, 122, 138, 182
Parker, Gilbert, 20
Parker, Jean, 34
Parker, Joe, 299
Parker, Max, 76
Parker, Ray, Jr., 277
Parker, Trey, 349
Parkes, Walter F., 235, 273, 306
Parks, Gordon, 247
Parks, Larry, 93
Parks, Peter D., 265, 285, 365
Parks, Stan, 353
Parkyn, Stuart, 377
Parole, 127
Parrish, Robert, 96, 115
Parrondo, Gil, 214, 218, 222
Parsons, Estelle, 190, 192, 206
Parsons, Louella O., 244
Partners, 319
Parton, Dolly, 254, 260, 270, 373
Partos, Frank, 110
Partridge, Meg, 299
Pascale, Jan, 372
Pasetta, Marty, 216, 220, 224, 228,
232, 236, 240, 28687
Pasolini, Uberto, 334
Pass That Peace Pipe, 96
Passage to India, A, 172, 274, 275, 276,
277
Passenger, The, 320
Passion Fish, 314
Passion of the Christ, The, 369
Passover Plot, The, 238
Passport to Nowhere, 97
Passport to Pimlico, 115
Pasternak, Carol, 335
Pasternak, Joe, 61, 178, 182, 186
Pasteur, Louis, 44
Pastic, George, 231
Pasvolsky, Steven, 361
Pat and Mike, 126, 207
Patch Adams, 345
Patch of Blue, A, 160, 182, 184, 185
Patel, Dev, 388
Patel, Ishu, 243, 277
Patent Leather Kid, The, 21
Paterson, Mark, 407
Paterson, Neil, 158, 160
Pathnder, 289
Patience, 377
Patrick, Jack, 93
Patrick, John, 140
Patriot, The (192829), 23, 44
Patriot, The (2000), 352, 353
Patrono, Carmelo, 226
Patten, Luana, 97
Patterson, Geoffrey, 331, 395
Patterson, Janet, 318, 330, 334, 395
Patterson, Richard, 323
Pattison, Paul, 326
Patton, 212, 213, 214, 215, 230, 392
Pau, Peter, 352
Paul, Edward, 85
Paul, M.B., 115
Paul Bunyan, 157
Paul Robeson: Tribute to an Artist, 257
Paull, Lawrence G., 269
Pavan, Marisa, 138
Pavignano, Anna, 326
Pavlatova, Michaela, 315
Paw, 161
Pawnbroker, The, 184
Paxinou, Katina, 78, 80
Paxton, John, 96
Paxton, Michael, 335
Paymer, David, 314
Payne, Alexander, 348, 368, 402
Payne, James, 176, 189, 226
Payne, John, 92, 97, 248
Peace on Earth, 64
Peachey, Darwyn, 315
Peake, Peter, 349
Pearce, Donn, 192
Pearce, Guy, 392, 396
Pearcy, Glen, 235
Pearl Harbor, 357
Pearlman, Daniel J., 181
Pearlstein, Elise, 395
Pearlstein, Rob, 373
Pearson, Keir, 368
Pearson, Noel, 302
Pearson, Richard, 376
Peasgood, H., 169
Peck, Gregory, 88, 92, 93, 94, 95, 96,
114, 115, 130, 152, 170, 171, 172, 190,
193, 202, 246, 294
455
8/21/13 6:59 PM
456
Peckinpah, Sam, 210, 244, 294

Pederson, Steve, 319, 326
Pedestrian, The, 227
Pedigo, Tom, 273
Peek, Hammond, 357, 361, 365, 373
Peet, Amanda, 372
Pefferle, Richard A., 84, 115, 119, 147,
173
Peggy Sue Got Married, 284
Pell, Charles, 323
Pelle the Conqueror, 296, 298, 299
Pelling, Maurice, 176
Pelzer, Chris, 281
Pea, Michael, 370
Pending, Pat, 273
Pene du Bois, Raoul, 73, 84
Penn, Arthur, 170, 172, 192, 210, 247
Penn, Josh, 406
Penn, Sean, 325, 326, 348, 356, 362,
362, 364, 383, 388, 389, 390, 393
Pennebaker, D.A., 319, 407
Penner, Jonathan, 319
Penney, Edmund F., 227
Pennies for Peppino, 77
Pennies from Heaven, 264
Pennies from Heaven, 47
Penny Serenade, 72
Penny Wisdom, 51
Pentecost, 403
Pentimento (book; Hellman), 242
People Alone, 260
People of the Wind, 239
People Soup, 211
People vs. Larry Flynt, The, 330
Peoples, David Webb, 314
Pepe, 164, 165
Peploe, Mark, 288
Pereira, Hal, 126, 130, 134, 138, 142,
147, 156, 160, 164, 168, 169, 173, 176,
184, 189
Pereira, William L., 77
Perelman, S.J., 142
Perez, Rosie, 318
Perez, Vincent, 315
Perfect Storm, The, 353
Perils of Pauline, The, 96
Perinal, Georges, 68, 69
Period of Adjustment, 173
Perisic, Zoran, 253, 257, 280, 289
Periwig-Maker, The, 353
Perkins, Anthony, 29, 142
Perkins, Frank, 173
Perkins, Jeffrey, 306
Perl, Arnold, 223
Perlaki, Tamas, 395
Perlberg, William, 134, 139, 143, 147
Perlin, Ken, 331
Perlman, Itzhak, 337
Perlman, Janet, 264
Pernicone, Carl, 365
Peroni, Geraldine, 314
Perret, Jacques, 138
Perri, 147
Perrin, Jacques, 210, 361
Perrine, Valerie, 230
Perrotta, Tom, 376
Perry, Eleanor, 172
Perry, Frank, 172
Perry, Harry, 25
Persepolis, 381
Personals: Improvisations on Romance
in the Golden Years, The, 345
Persson, Bo, 403
Pertofsky, Adam, 391
PES, 407
Pesci, Joe, 260, 304, 305, 306, 314,
366, 374
Pescucci, Gabriella, 302, 318, 372
Pete Kellys Blues, 138
Pete n Tillie, 222
Peter & the Wolf, 381
Peter Ibbetson, 43
Peterik, Jim, 269
OSCAR_80_p424-466_8-19-13.indd 456
Peterman, Don, 273, 284

Peters, Bernadette, 266, 282
Peters, Don, 188
Peters, Eric C., 323
Peters, George, 373
Peters, Hans, 88, 119, 130, 142, 180
Peters, Susan, 76
Petersen, David, 303
Petersen, Niels G., 207
Petersen, Wolfgang, 268
Peterson, Bob, 364, 394
Peterson, Chris, 331
Peterson, Leonard, 235
Peterson, Lorne, 277
Peterson, Robert, 68
Petes Dragon, 243
Pethel, Price, 357
Petok, Ted, 218
Petri, Elio, 218
Petrie, Daniel, Jr., 276
Petrov, Alexander, 303, 335, 349, 381
Petters, Franz, 361
Pettersson, Birgitta, 164
Pettitt, Greg, 395
Peverall, John, 250, 252
Peyton Place, 147
Pfeiffer, Michelle, 298, 302, 314, 318
Pster, Wally, 372, 376, 390, 398
Phaedra, 173
Phantom of the Opera, The (1943), 78,
80, 81
Phantom of the Opera, The (2004),
367, 368, 369
Phantom of the Paradise, 231
Pharaoh, 189
Phelan, Anna Hamilton, 298
Phelan, Nicky, 395
Philadelphia, 316, 317, 318, 320
Philadelphia, 318
Philadelphia Story, The, 66, 67, 68, 179
Phillippe, Ryan, 370
Phillips, Arianne, 372, 402
Phillips, Cary, 345, 357
Phillips, Edward, 269, 281
Phillips, Frank, 256
Phillips, Julia, 224, 226, 238
Phillips, Lloyd, 260
Phillips, Michael, 224, 226, 238
Phillips, Michael E., 323
Phillips, Nick, 349
Phillips, Sean, 399
Phillips, Todd, 376
Phipps, Ned, 369
Phoenix, Joaquin, 350, 352, 372, 372,
406
Phoenix, River, 298, 350
Photo Electronics Corporation, 215
Photo-Sonics, Incorporated, 299
Phrasavath, Thavisouk, 391
Pianissimo, 177
Pianist, The, 358, 359, 360, 360
Piano, The, 316, 317, 318
Piano, Renzo, 385
Piantadosi, Arthur, 211, 223, 235, 238,
256, 260, 269
Pichel, Marlowe A., 349
Picker, James, 243, 273
Pickford, Mary, 7, 9, 11, 20, 22, 23,
100, 125, 232, 234, 235, 244, 245,
292, 337
Pickford Center for Motion Picture
Study, 339
Pickup on South Street, 130
Pickwick Papers, The, 139
Piclear, Inc., 243
Picnic, 138, 139
Picture of Dorian Gray, The, 86, 88, 89
Pidgeon, Walter, 70, 74, 75, 76, 80,
410
Pieces of April, 364
Pieces of Dreams, 215
Pied Piper, The, 76
Pied Piper of Guadalupe, 169
Pier, David, 289

Pierce, Oscar, 40
Pierce, Ronald K., 214, 226, 231
Pierce-Roberts, Tony, 284, 314
Pierson, Frank R., 184, 192, 234, 341
Piesiewicz, Krzysztof, 322
Pig, The, 391
Pig Foot Pete, 77
Pigeon That Took Rome, The, 173
Pigs in a Polka, 77
Pigs Is Pigs, 135
Pigskin Parade, 47
Pikser, Jeremy, 344
Pilarski, Oliver, 381
Pileggi, Nicholas, 305, 306
Pillow Talk, 160, 161
Pillsbury, Sarah, 257
Pilmark, Sren, 377
Pina, 403
Pincus, Leonard, 353
Pinelli, Tullio, 142, 147, 168, 176
Pines, Joshua, 377
Pink and Blue Blues, 127
Pink Blueprint, The, 189
Pink Panther, The, 181
Pink Panther Strikes Again, The, 238
Pink Phink, The, 181
Pinkava, Jan, 335, 380
Pinky, 82, 115
Pinney, Clay, 311, 331
Pinnock, Anna, 356, 407
Pinocchio, 69
Pinsker, Seth, 253
Pinter, Harold, 264, 273
Pinto, Freida, 388
Pintoff, Ernest, 161, 177
Piovani, Nicola, 345
Piponi, Dan, 353
Pirate, The, 111
Pirates, 284
Pirates! Band of Mists, The, 407
Pirates of the Caribbean: At Worlds
End, 380, 381
Pirates of the Caribbean: The Curse of
the Black Pearl, 364, 365
Pirates of the Caribbean: Dead Mans
Chest, 376, 377
Pirosh, Robert, 112, 115, 122
Pirro, Ugo, 218
Pis Lullaby, 407
Pistek, Theodor, 277, 302
Pitchford, Dean, 260, 277, 302
Pitt, Brad, 322, 326, 390, 397, 402,
421
Place in the Land, A, 345
Place in the Sun, A (1951), 120, 122,
123, 143, 151, 185
Place in the Sun, A (1960), 165
Place in the World, A, 312
Place to Stand, A, 193
Places in the Heart, 255, 274, 275, 276,
277
Placido, 169
Plan for Destruction, 81
Planck, Robert, 88, 110, 115, 130
Planer, Franz F., 115, 122, 130, 160,
168
Planet Ocean, 231
Planet of the Apes, 206, 207
Platoon, 282, 284, 287, 392
Platt, Janice L., 273, 277
Platt, John, 373
Platt, Polly, 273
Player, The, 314
Pleasantville, 344, 345
Pleasence, Donald, 188
Pleasure Seekers, The, 185
Ploquin, Raoul, 138
Plowright, Joan, 314
Plumb, Edward, 77, 81, 89
Plummer, Amanda, 310
Plummer, Christopher, 182, 372, 382,
394, 401, 401, 402
Plunkett, Walter, 119, 123, 130, 147,

156, 169, 176
Plutos Blue Note, 97
Plymouth Adventure, 127
Plympton, Bill, 289, 369
Pocahontas, 326
Pocketful of Miracles, 168, 169
Pocketful of Miracles, 169
Poe, James, 142, 156, 176, 210
Poet and Peasant, 89
Poetic Justice, 318
Pohl, Wadsworth E., 161, 169, 181
Pohlad, Bill, 402
Phler, Jrg, 381
Point of View, 185
Pointer, The, 64
Poiret, Jean, 256
Poitier, Sidney, 149, 156, 174, 176, 185,
190, 194, 204, 300, 33637, 340,
354, 357, 366, 412
Poitras, Laura, 377
Polak, Hanna, 369
Polanski, Roman, 206, 207, 230, 258,
260, 358, 359, 360, 360
Polar Express, The, 369
Polglase, Van Nest, 14, 39, 43, 61, 64,
69, 73
Policeman, The, 219
Polito, Sol, 65, 73, 76
Poll, Martin, 206
Pollack, Lew, 85
Pollack, Nick, 323
Pollack, Sydney, 210, 267, 268, 278,
279, 280, 380, 385, 390, 406
Pollard, Michael J., 192
Pollard, Sam, 335
Pollard, William B., 285
Pollet-Villard, Philippe, 381
Polley, Sarah, 380
Pollock, 352, 353, 354
Pollyanna, 164, 165
Polonsky, Abraham, 96
Poltergeist, 269
Poltergeist II: The Other Side, 284
Pomeroy, Roy, 9, 11, 21
Poncet, Denis, 357
Pond, John, 143
Ponedel, Fred, 97, 123, 157
Pont, Olivier, 391
Pontecorvo, Gillo, 206
Ponti, Carlo, 143, 184, 304
Pookutty, Resul, 391
Pool, Endel, 169
Poore, Vern, 280, 284, 288, 298, 314
Pop, Petru, 403
Pope, Dick, 376
Pope, Leslie, 364
Pope of Greenwich Village, The, 276
Popelka, Otto, 211
Poplin, Jack, 184
Popovsky, Yuriy, 373
Popular Science J-6-2, 47
Popular Science J-7-1, 51
Porgy and Bess, 160, 161
Port, Robert David, 361
Port of New York, 141
Porter, Cole, 47, 72, 73, 81, 143, 178
Porter, Terry, 284, 310, 314, 373
Porter, Thomas, 315, 327, 335
Portia on Trial, 51
Portillo, Lourdes, 281
Portman, Clem, 211
Portman, Eric, 155
Portman, Natalie, 368, 396, 397, 398,
421
Portman, Rachel, 330, 349, 352
Portman, Richard, 218, 223, 226, 231,
235, 253, 260, 264, 277
Portrait of Chieko, 193
Portrait of Giselle, A, 269
Portrait of Imogen, 299
Portrait of Jennie, 110
Portrait of a Lady, The, 330
8/21/13 6:59 PM
Portugal, 147
Poseidon, 377
Poseidon Adventure, The, 185, 220,
222, 223
Posey, Amanda, 394
Pospisil, John, 289
Possessed, 96
Postcards from the Edge, 306
Poster Girl, 399
Postlethwaite, Pete, 318
Postman, The (Il Postino), 326
Potter, Dennis, 264
Potter, H.C., 94
Potter, Stephen W., 323
Powell, Anthony, 222, 253, 260, 284,
310, 352
Powell, Dick, 126
Powell, Eleanor, 22, 245
Powell, Jane, 278
Powell, John, 398
Powell, Michael, 76, 111
Powell, Sandy, 318, 334, 344, 360, 369,
372, 395, 398, 402
Powell, William, 36, 39, 44, 47, 96,
138
Power, Tyrone, 49, 58, 74, 77, 92
Power and the Prize, The, 143
Power of Love, The, 280
Powers, Thomas F., 345
Poyner, John, 193
Pozner, Vladimir, 93
Prairie Home Companion, A, 370,
373
Pratolini, Vasco, 176
Pratt, Albert S., 173
Pratt, Anthony, 288, 368
Pratt, Roger, 348
Prayer, The, 345
Preachers Wife, The, 330
Precious: Based On the Novel Push
by Sapphire, 393, 394, 395
Precious Images, 285
Predator, 289
Predovich, Robert, 345
Preeg, Steve, 391
Preferred List, A, 35
Preloran, Jorge, 261
Prelude, 207
Prelude to War, 77
Preminger, Ingo, 214, 215
Preminger, Otto, 84, 160, 176, 340
Preo, Paul, 307
Presidents Lady, The, 130
Presnell, Robert, 72
Pressburger, Emeric, 76, 110, 111
Pressman, Edward R., 287
Prestige, The, 376
Presto, 391
Preston, Howard J., 277, 377
Preston, Robert, 266, 268
Preston, Ward, 231
Pretty Baby, 253
Pretty Woman, 306
Preven, Anne, 377
Prevert, Jacques, 93
Previn, Andr, 119, 128, 131, 139, 157,
161, 162, 165, 172, 177, 181, 193, 226
Previn, Charles, 61, 64, 69, 72, 77, 85
Previn, Dory (Langdon), 165, 172, 211
Previnaire, Emanuel, 323
Previte, Franke, 289
Prey, Richard A., 331
Price, Richard, 284
Price, Vincent, 247, 296
Price of Victory, The, 77
Price Waterhouse & Co., 13, 32, 40,
66
Pride and Prejudice (1940), 69
Pride & Prejudice (2005), 372, 373
Pride of the Marines, 88
Pride of St. Louis, The, 126
Pride of the Yankees, The, 56, 74, 75,
76, 77
OSCAR_80_p424-466_8-19-13.indd 457
Prideaux, Don W., 157

Priestley, Robert, 138, 147
Priestley, Tom (documentary), 257
Priestley, Tom (lm editor), 223
Prieto, Rodrigo, 372
Primal Fear, 330
Primary Colors, 344
Prime of Miss Jean Brodie, The, 208,
210, 211, 252
Primrose Path, 67, 68
Prince (Prince Rogers Nelson), 274,
276, 277
Prince, Hugh, 72
Prince of the City, 264
Prince of Egypt, The, 345
Prince of Foxes, 115
Prince of Tides, The, 309, 310, 311
Princess and the Frog, The, 395
Princess and the Pirate, The, 84, 85
Princess Bride, The, 289
Princess ORourke, 80
Princeton: A Search for Answers, 227
Pringle, David, 327, 353
Prinz, LeRoy, 43, 51
Priskin, Gyula, 395
Prisoner of the Mountains, 331
Prisoner of Paradise, 361
Prisoner of Zenda, 50, 51
Pritchett, John Patrick, 361, 373
Private Benjamin, 260
Private Life, 269
Private Life of the Gannets, 51
Private Life of Helen of Troy, The, 21
Private Life of Henry VIII, The, 32, 33,
35, 294
Private Lives of Elizabeth and Essex,
The, 64, 65
Private Smith of the U.S.A., 77
Private War of Major Benson, The, 1
38
Private Worlds, 43
Prizeghter and the Lady, The, 35
Prizzis Honor, 108, 278, 280
Probes in Space, 235
Producers, The, 206
Producers Service Company, 207,
219
Profession of Arms, The (War Series
Film #3), 273
Professionals, The, 188
Project Film-to-Film, 385
Project Hope, 169
Prometheus, 407
Promise, The, 256
Promise Me Youll Remember, 307
Promises, 357
Promises to Keep, 299
Promoter, The, 127
Prophet, A, 395
Prophet without Honor, 64
Proud, Trefor, 348
Proud and the Beautiful, The, 142
Proud and Profane, The, 142
Prudhomme, Monique, 395
Pryke, Richard, 391
Pryor, Richard, 236, 266
PSC Technology Inc., 223
Psihoyos, Louie, 395
Psychiatric Nursing, 157
Psycho, 164, 193
Public Enemy, The, 27
Public Pays, The, 47
Puenzo, Luis, 280
Puig, Manuel, 278
Pulcinella, 227
Pulcini, Robert, 364
Pulp Fiction, 322, 323
Pumpkin Eater, The, 180
Purple Rain, 276, 277
Purple Rose of Cairo, The, 280
Pursuit of Happyness, The, 376
Purves, Barry J.C., 315
Puss Gets the Boot, 69
Puss in Boots, 403

Puttnam, David, 252, 262, 264, 275,
276, 283, 284
Puzo, Mario, 220, 221, 222, 228, 231
Pye, Merrill, 160
Pygmalion, 61
Pygmalion (play; Shaw), 178
Pyke, Trevor, 269
Pytlak, John P., 353
Qivitoq, 143
Quad-Eight Sound Corporation, 231
Quaid, Dennis, 272
Quaid, Randy, 226
Quality Street, 51
Quaranta, Gianni, 226, 269, 284
Quartel, John, Dr., 395
Quartullo, Pino, 285
Quayle, Anthony, 171, 210
Queen, The, 375, 376
Queen Bee, 138, 139
Queen Is Crowned, A, 131
Queen Latifah, 359, 360
Queen Margot, 322
Quenzer, Arthur, 61
Quertier, Jill, 344, 352
Quest, 331
Quest for Camelot, 345
Quest for Fire, 269
Quick, Matthew, 406
Quicker N a Wink, 69
Quiero Ser (I want to be . . .), 353
Quiet American, The, 360
Quiet Man, The, 67, 124, 126, 127
Quiet One, The, 111, 115
Quiet Please!, 89
Quills, 352
Quimby, Frederick C., 81, 85, 89, 93,
96, 110, 115, 119, 123, 127, 135, 139
Quinlan, Kathleen, 326
Quinn, Aidan, 322
Quinn, Anthony, 124, 126, 127, 140,
142, 143, 147, 171, 180, 283, 406
Quinn, Joanna, 335
Quiz Show, 322
Quo Vadis, 122, 123
RA Expeditions, The, 219

Rabasse, Jean, 352
Rabbit la Berlin, 395
Rabbit Hole, 398
Race for Space, The, 161
Rachedi, Hamed, 210
Rachel Getting Married, 390
Rachel, Rachel, 206
Rachmil, Lewis J., 69
Racket, The, 21
Radford, Michael, 326
Radin, Helen Kristt, 189
Radio Bikini, 289
Radio Corporation of America, 85,
123; RCA-Victor Division, 97. See
also RCA.
Radio Days, 288
Radnitz, Robert B., 222
Rafelson, Bob, 214
Rafes, 25
Raft, George, 14
Rage to Live, A, 184
Raging Bull, 258, 259, 260, 397
Ragsdale, Carl V., 193
Ragtime, 264
Raguse, Elmer A., 47, 51, 61, 65, 68, 73
Rahman, A.R., 390, 391, 398
Raiders of the Lost Ark, 262, 264, 265
Raim, Daniel, 353
Raimondi, Paul N., 243
Rain Man, 296, 296, 298, 299

Rainbow Connection, The, 254,
256
Rainbow War, 281
Raindrops Keep Fallin on My
Head, 210, 211
Raine, Norman Reilly, 50
Rainer, Luise, 13, 44, 47, 48, 49, 50,
100, 204, 240, 245, 266, 320, 333,
359, 366
Rainger, Ralph, 39, 61, 64
Rainier, Prince, 136
Rainmaker, The, 142, 143
Rains, Claude, 64, 78, 80, 84, 93, 171
Rains Came, The, 62, 64, 65
Rains of Ranchipur, The, 139
Raintree County, 147
Raise It Up, 380
Raise the Red Lantern, 311
Rajski, Peggy, 323
Raju, 403
Raksin, David, 84, 96, 157
Raksin, Ruby, 189
Ralph, J., 407
Ralston, Ken, 264, 273, 280, 299, 302,
315, 323, 399
Ram, A. Tulsi, 345
Rambaldi, Carlo, 238, 239, 248, 256,
269
Rambeau, Marjorie, 68, 130
Rambling Rose, 310
Rambo: First Blood Part II, 280
Ramin, Sid, 169
Ramsey, Anne, 288
Ramtronics, 207, 223, 235
Ran, 280
Rand, Tom, 264
Randall, Terri, 335
Randall, Tony, 154, 181
Random, Ida, 298
Random Harvest, 76, 77
Ranft, Joe, 326
Ranger, Richard H., 143
Rango, 403
Rank Film Laboratories,
Development Group, 269, 289
Rank Organization, 207
Rankin, Alan, 395
Ransford, Maurice, 88, 96, 130
Raoni, 253
Rapf, Harry, 9, 11, 22
Raphael, Frederic, 184, 192
Raposo, Joe, 264
Rappeneau, Jean-Paul, 180
Rasch, Raymond, 220, 223
Rash, Jim, 402
Rashomon, 120, 122, 123, 126
Raskin, Josh, 381
Rasky, Harry, 243
Rasmussen, Nick, 381
Rasputin and the Empress, 35, 82
Ratatouille, 380, 381, 381
Rathbone, Basil, 47, 61
Ratner, Brett, 400
Ratoff, Gregory, 117
Rattigan, Terence, 126, 155, 156, 176
Rattray, Celine, 398
Rattray, Harold, 373
Rau, Gretchen, 364, 372, 376
Raucher, Herman, 218
Ravens End, 181
Ravetch, Irving, 176, 256
Rawlings, Marjorie Kinnan, 92
Rawlings, Terry, 264
Rawner, Assaff, 345
Ray, 366, 368, 369, 372
Ray, Gene Anthony, 261
Ray, Michel, 142
Ray, Nicholas, 138
Ray, Satyajit, 308, 311, 338
Ray, Tony, 252
Raye, Don, 72, 77
Raye, Martha, 178, 195, 204, 207
457
8/21/13 6:59 PM
458
Raymond, Alan, 311, 319

Raymond, Gene, 248
Raymond, Susan, 311, 319
Rays Male Heterosexual Dance Hall,
289
Razors Edge, The, 90, 92, 93
RCA Manufacturing Co., 47, 51, 73
RCA-Photophone, Inc., 27
RCA-Victor Co., Inc., 35, 97
Rea, Stephen, 314
Reader, The, 390, 391
Reading, Anthony, 264
Ready to Take a Chance Again,
253
Ready, Willing and Able, 51
Reagan, Ronald, 14, 186, 258
Real in Rio, 403
Real Steel, 403
Reale, Willie, 377
Reali, Stefano, 285
Really Big Family, The, 189
Reap the Wild Wind, 76, 77
Rear Window, 134, 135, 193
Reardon, Jim, 390
Reason and Emotion, 81
Rebecca, 66, 68, 69, 193
Rebel in Paradise, 165
Rebel without a Cause, 138
Reboulet, Christophe, 391
Reci, Reci, Reci . . . (Words, Words,
Words), 315
Reckart, Timothy, 407
Recollections of Pavlovsk, 277
Recording Sound for Motion Pictures
(book; AMPAS), 12
Recycled Life, 377
Red, 322
Red Balloon, The, 142
Red Danube, The, 119
Red Garters, 134
Red Grooms: Sunower in a Hothouse,
285
Red Lanterns, The, 177
Red River, 110
Red Shoes, The, 108, 110, 111, 350
Red Violin, The, 349
Redeker, Quinn K., 252
Redemption, 407
Redfearn, Jennifer, 399
Redeld, William, 233
Redford, Robert, 210, 222, 224, 226,
239, 245, 258, 260, 279, 322, 355,
357
Redgrave, Lynn, 186, 188, 344
Redgrave, Michael, 96
Redgrave, Vanessa, 186, 188, 206, 208,
218, 240, 242, 276, 313, 314, 385
Redman, Joyce, 176, 184
Redman, Nick, 331
Redmayne, Eddie, 405
Reds, 248, 250, 262, 263, 264, 404
Redux Riding Hood, 335
Redwoods, The, 193
Re, Max, 26, 27
Reed, Carol, 115, 118, 119, 204, 206
Reed, Donna, 104, 128, 129, 130
Reed, J. Theodore, 14, 17
Reed, John, 263
Reed, Oliver, 204, 212
Reed, Tom, 134
Reek, Edmund, 81, 85, 89, 93, 110,
119, 139
Reeve, Christopher, 325, 416
Reeves, Keanu, 348
Reeves, William, 285, 299, 331, 335
Reeves Soundcraft Corp., 131
Refoua, John, 395
Regelous, Stephen, 365
Regla, Peter A., 261, 299
Regret to Inform, 345
Rehearsal, The, 218
Rehearsing a Dream, 377
Rehme, Robert, 290, 295, 341
OSCAR_80_p424-466_8-19-13.indd 458
Reichard, Edward, 143, 165, 181, 207,

215, 223
Reichert, Julia, 243, 273, 395
Reid, Frances, 323, 353
Reid, Kenneth A., 164
Reifsnider, Lyle, 115
Reilly, James M., 335
Reilly, John C., 360
Reinecke, Wolfgang, 353
Reiner, Rob, 305, 314
Reiners, Diana, 277
Reinert, Al, 303, 326
Reinhardt, Betty, 84
Reinhardt, Wolfgang, 172
Reinl, Harald, 215
Reisch, Walter, 65, 68, 84, 130
Reiss, Stuart A., 130, 142, 160, 181,
189, 192
Reisz, Barney, 335
Reiter, W.J., 35
Reitherman, Wolfgang, 231
Reitman, Ivan, 394
Reitman, Jason, 380 393, 394
Reitz, John T., 253, 349, 353, 377, 407
Reivers, The, 210, 211
Rejected, 353
Relph, Michael, 115
Remains of the Day, The, 318, 319
Remarque, Erich Maria, 24
Rembrandt: A Self-Portrait, 135
Remember Me, 257
Remember Me, 50
Remember Me to Carolina, 85
Remick, Lee, 172
Remo Williams: The Adventure Begins,
280
Renaldo, Duncan, 23
Renaud, Chris, 377
Renie (Renie Conley), 123, 130, 160,
176, 253
Renis, Tony, 345
Rennahan, Ray, 65, 68, 73, 80, 84
Renner, Jeremy, 392, 394, 398
Renoir, Jean, 88, 196, 228, 231
Renzetti, Joe, 253
Report from the Aleutians, 81
Report on Incandescent Illumination
(book; AMPAS), 12
Republic Studio, 73, 77, 81, 85, 89,
124, 143
Requiem for a Dream, 352
Resch, Klaus, 303
Rescuers, The, 243
Research Products, Inc., 219
Resisting Enemy Interrogation, 85
Restless Conscience, The, 311
Resto, Luis, 360
Restoration, 326
Restrepo, 399
Resurrection, 260
Resurrection of Broncho Billy, The, 215
Reticker, Gini, 365
Return of the Cisco Kid, The, 23
Return of the Jedi, 241, 270, 273
Return of Martin Guerre, The, 273
Return of the Seven, 189
Return to Glennascaul, 131
Return to Oz, 280
Reuben, Reuben, 272, 273
Reunion in Vienna, 35
Revanche, 391
Revel, Harry, 77, 85
Revere, Anne, 52, 80, 86, 88, 95, 96
Reversal of Fortune, 304, 305, 306
Revolutionary Road, 390, 391
Revolving Door, The, 207
Revuelta, Pilar, 376
Rey, Fernando, 223
Reynolds, Burt, 224, 271, 334
Reynolds, Craig W., 335
Reynolds, David, 364
Reynolds, Debbie, 180, 278
Reynolds, Marjorie, 74
Reynolds, Norman, 238, 242, 260,

264, 273, 288
Reynolds, Tim, 373
Reynolds, William H., 169, 184, 189,
211, 223, 226, 243
Rezende, Daniel, 364
Reznor, Trent, 398
Rhapsody in Blue, 88, 89
Rhapsody in Rivets, 73
Rhodes, Erik, 38
Rhodes, Leah, 115
Rhythm in the Ranks, 73
Rhythm on the River, 69
Rib, Montse, 376
Rice, Charles, 165, 176
Rice, Grantland, 81, 89
Rice, H.E., 169
Rice, Joe H., 323
Rice, Tim, 312, 315, 322, 323, 330, 381
Rich, Allan Dennis, 315, 330
Rich, Frederic E., 81, 85
Rich, Robert. See Trumbo, Dalton
Rich, Ron, 186
Rich, Young and Pretty, 123
Richard, James A., 193
Richard, Jean-Louis, 231
Richard III (1956), 142
Richard III (1995), 326
Richards, Ariana, 319
Richards, Beah, 192
Richards, Dick, 267, 268
Richards, Martin, 358, 360, 377
Richards Window, 235
Richardson, Henry, 280
Richardson, John, 284, 319, 335, 369,
399, 403
Richardson, Miranda, 314, 322
Richardson, Ralph, 113, 115, 276
Richardson, Robert, 284, 302, 309,
310, 348, 369, 386, 394, 402, 406
Richardson, Tony, 174, 175, 176, 320
Richest Girl in the World, The, 39
Richie, Lionel, 264, 280
Richler, Mordecai, 231
Richlin, Maurice, 160
Richter, Kenneth, 277
Richter, Robert, 269, 323
Richter, W.D., 260
Rickards, Jocelyn, 189
Rickman, Tom, 260
Ricotta, Frank, 327, 377
Riddle, Nelson, 161, 165, 181, 211, 231
Ride the Pink Horse, 96
Ridenour, Roy J., 207
Ridicule, 331
Ridilla, Albert, 377
Ridin on a Rainbow, 72
Ridin the Rails, 123
Riding High, 81
Riedel, Richard H., 160
Riedel, Wolfgang, 357, 403
Riegert, Peter, 353
Ries, Irving, 143
Riesenfeld, Hugo, 51
Right Stuff, The, 270, 272, 273
Right to Love, The, 27
Riney, Hal, 219
Ringel, Gian-Piero, 403
Ringwald, Molly, 282
Ringwood, Bob, 288, 369
Rio, 403
Rio de Janeiro, 85
Rip Van Winkle, 253
Rippling Romance, 89
Ripps, Hillary, 307
Risacher, Rene, 139
Rise and Fall of Legs Diamond, The,
164
Rise of the Planet of the Apes, 403
Risi, Dino, 234
Rising Tide, The, 115
Riskin, Everett, 51
Riskin, Robert, 35, 36, 39, 47, 61, 122
Ritt, Martin, 122, 175, 176, 177, 255

Ritter, Tex, 100, 124
Ritter, Thelma, 97, 116, 117, 119, 122,
126, 130, 132, 160, 172
Ritz, Harry, 248
Riva, Emmanuelle, 404, 406
Riva, J. Michael, 280
Rivas, Carlos, 123, 127, 135
Rivele, Stephen J., 326
River, The, 275, 276, 277
River Runs through It, A, 314, 315
Rivera, Jonas, 394
Rivera, Jos, 367, 368
Rivers, Christian, 373
Rivkin, Stephen, 395
Rizzo, Gary A., 369, 391, 398
RKO Radio Studio, 13, 27, 61, 72, 77,
81, 85, 98, 108, 111, 194
Roach, Hal, 31, 270, 273, 293, 309
Roach, Janet, 280
Road to Morocco, The, 76
Road to Perdition, 360, 361
Road to Rio, 96
Road to Utopia, 93
Road to the Wall, The, 173
Road a Year Long, The, 157
Rob Roy, 326
Robards, Jason, 185, 236, 238, 239,
240, 242, 243, 260, 320, 368, 406
Robb-King, Peter, 285
Robbe-Grillet, Alain, 172
Robbins, Ayn, 238, 243
Robbins, Jerome, 149, 166, 168, 169,
378
Robbins, Joseph E., 51, 65, 85
Robbins, Richard, 315, 319, 381
Robbins, Tim, 324, 325, 326, 362, 362,
364
Robe, The, 130, 131
Roberdeau, John, 344
Robert, Daniel, 253
Robert Frost: A Lovers Quarrel with
the World, 177
Robert Kennedy Remembered, 207
Roberta, 43
Roberts, Austin, 273
Roberts, Ben, 147
Roberts, Edwin Casey, 76, 110
Roberts, Eric, 79, 280, 389
Roberts, Irmin, 61
Roberts, James M., 247, 295
Roberts, Julia, 302, 306, 350, 351, 352,
393
Roberts, Mark, 345
Roberts, Rachel, 176
Roberts, Stanley, 134
Robertson, Cliff, 197, 204, 205, 206,
208
Robertson, Hugh A., 211
Robertson, Ric, 387
Robertson, Robbie, 211
Robertson, Stuart, 345
Robin, Leo, 39, 50, 61, 64, 89, 96, 111,
127, 131
Robin and the 7 Hoods, 181
Robin Hood, 226
Robin Hood: Prince of Thieves, 311
Robin Hoodlum, 110
Robings, Ken, 311
Robinson, Benjamin C., 89
Robinson, Bruce, 276
Robinson, David P., 253
Robinson, Edward G., 110, 220, 223
Robinson, Edward R., 76
Robinson, Glen, 123, 161, 231, 235,
238, 239
Robinson, Jane, 298
Robinson, Jay, 131
Robinson, Phil Alden, 302
Robinson, Ruairi, 357
Robinson, Scott, 335
Robinson, Simon, 377
Robinson, Susan, 307
8/21/13 6:59 PM
Roble, Douglas R., 345, 381

Robledo, Hania, 360
Robley, Les Paul, 289
RoboCop, 288, 289
Robson, Flora, 93
Robson, Mark, 147, 156
Robson, May, 32, 35
Rocchetti, Manlio, 303
Roche, Tony, 394
Rocheron, Guillaume, 407
Rochester, Arthur, 231, 288, 322, 334,
365
Rochester, James R., 219
Rochin, Aaron, 235, 238, 253, 256,
260, 273, 277, 288, 307
Rock, The, 331
Rock, Chris, 339, 367
Rock, Joe, 35
Rockett, Norman, 184, 214
Rocky, 236, 238, 367
Rocky III, 269
Rodat, Robert, 344
Roddy McDowall Photograph
Archive, 338
Rode, Fred J., 122
Roder, Milan, 51
Rodgers, Aggie Guerard, 280
Rodgers, Mic, 357
Rodgers, Richard, 57, 89, 141, 182
Rodnunsky, James, 345, 373, 399
Rodrguez, Alex, 376
Roelfs, Jan, 318, 334
Roelofs, Al, 231
Roemheld, Heinz, 72, 77
Rofusz, Ferenc, 260
Rogell, Sid, 97
Rogers, Alan, 399
Rogers, Bob, 269, 281
Rogers, Charles Buddy, 19, 244,
278, 281, 296
Rogers, Donald C., 327
Rogers, Elizabeth E., 239
Rogers, Ginger, 38, 54, 56, 66, 67, 68,
100, 112, 113, 186, 194, 248
Rogers, Richard, 284
Rogers, Roy, 296, 312
Rogers, Will, 32
Rogosin, Lionel, 147
Rogue Cop, 134
Rogue Song, The, 25
Rohmer, Eric, 214
Roizman, Morrie, 135
Roizman, Owen, 218, 226, 238, 268,
322
Rokos, Will, 356
Rolf, Tom, 273
Rolfe, Sam, 130
Roller Derby Girl, 115
Rollins, Howard E., Jr., 264
Rollins, Leslie E., 376
Rolph, James, Jr., 26
Roman Holiday, 101, 104, 128, 130,
290
Roman Spring of Mrs. Stone, The, 168
Romance, 133
Romance of Radium, 51
Romance of Transportation, 127
Romance on the High Seas, 111
Romancing the Stone, 277
Romano, Pete, 307, 357
Romeo and Juliet (1936), 44, 47
Romeo and Juliet (1968), 206
Romero, Cesar, 23
Romero, Peter, 273
Romulus Films, 143
Ronan, Saoirse, 380
Rondi, Brunello, 168, 176
Ronell, Ann, 89
Ronne, David, 264, 277, 280
Rooftops of New York, 169
Rookie Bear, The, 73
Room at the Top, 158, 160, 161
Room with a View, A, 284, 285
OSCAR_80_p424-466_8-19-13.indd 459
Roommates, 326
Rooney, Mickey, 49, 52, 58, 59, 61, 64,
80, 85, 142, 246, 254, 256, 266, 269
Roos, Fred, 230, 256
Roos, Paul A., 299
Roosevelt, Franklin D., 13, 14, 28, 66,
70, 86
Rooster Cogburn, 209
Root, Alan, 253
Rooty Toot Toot, 123
Rosco Laboratories, Incorporated,
227, 277
Rose, The, 256
Rose, Alex, 255, 256
Rose, Anika Noni, 375
Rose, David, 85, 89
Rose, Fred, 72
Rose, Helen, 106, 123, 127, 130, 134,
139, 143, 160, 189
Rose, Jack, 138, 156, 226
Rose, Kay, 277
Rose, Reginald, 147
Rose, William, 134, 142, 188, 192
Rose Kennedy: A Life to Remember, 307
Rose Tattoo, The, 136, 137, 138, 139
Rosellini, Anne, 398
Rosemarys Baby, 204, 206, 207
Rosenbaum, Joel, 280
Rosenbaum, Stephen, 323, 386, 395
Rosenberg, Aaron, 172
Rosenberg, Philip, 253, 256
Rosenberg, Stuart, 192
Rosenberg, Tom, 368
Rosenberger, Harold E., 161
Rosenbloom, David, 348
Rosenblum, Nina, 315
Rosenblum, Steven, 302, 326, 376
Rosendahl, Carl, 335
Rosengrant, John, 403
Rosenman, Leonard, 235, 238, 239,
273, 285
Rosenthal, Laurence, 181, 223
Rosher, Charles, 15, 21, 39, 84, 93,
119, 122
Ross, Angelo, 243
Ross, Arthur, 260
Ross, Atticus, 398
Ross, Diana, 195, 222, 224, 258, 274,
301
Ross, Frank, 80, 86, 130
Ross, Gary, 298, 318, 364
Ross, Herbert, 232, 241, 242, 252
Ross, Katharine, 191, 192, 208
Rosse, Herman, 25
Rossellini, Roberto, 96, 115, 140
Rossen, Robert, 112, 115, 168
Rossi, Walter, 147, 185, 189
Rossif, Frdric, 185
Rossio, Terry, 356
Rosson, Harold, 44, 47, 68, 84, 119, 142
Rostand, Edmond, 117
Rosten, Irwin, 211, 235
Rota, Nino, 223, 231
Roth, Ann, 277, 330, 348, 360
Roth, Eric, 320, 322, 348, 372, 390
Roth, Richard, 242
Roth, Tim, 326
Roth, Vanessa, 381
Rothstein, Jed, 399
Rotter, Stephen A., 273
Rotunno, Guiseppe, 256
Rouet, Christian, 331
Round Midnight, 284, 285
Rourke, Mickey, 390
Rouse, Christopher, 376, 380
Rouse, Russell, 122, 160
Rousselot, Philippe, 288, 306, 314
Rouxel, Jacques, 306
Rowe, Bill, 288
Rowland, George John, 345
Rowlands, Gena, 230, 260
Roxanne, 117
Royal Affair, A, 407
Royal Family of Broadway, The, 27

Royal Scotland, 127
Royal Tenenbaums, The, 356
Royal Wedding, 123
Royer, Robb (Robb Wilson), 215
Rozhdestvensky, G., 157
Rozsa, Miklos, 52, 69, 72, 77, 85, 89,
93, 96, 123, 127, 131, 161, 169
Rubell, Paul, 348, 369
Rubeo, Bruno, 302
Rubin, Bruce Joel, 306
Rubin, Henry-Alex, 373
Rubino, Beth, 348, 380
Ruby, Harry, 123
Rucker, Joseph T., 25
Ruddy, Albert S., 221, 222, 368
Rude, John, 169
Rudin, Scott, 360, 378, 379, 380, 398,
402
Rudloff, Gregg C., 302, 349, 353, 377,
407
Rudloff, Tex, 253
Rudolph, William, 65
Ruehl, Mercedes, 295, 308, 310, 310
Ruffalo, Mark, 398
Rugged Bear, 131
Ruggiero, Gene, 139, 143
Ruggles, Wesley, 27
Ruggles of Red Gap, 43
Ruhemann, Andrew, 399
Ruhoff, David, 327
Ruling Class, The, 222
Run to You, 315
Rnarsson, Rnar, 373
Runaway Brain, 327
Runaway Train, 280
Running, Jumping and Standing-Still
Film, The, 161
Running on Empty, 298, 350
Rush, Geoffrey, 328, 328, 330, 344,
352, 396, 398
Rush, Richard, 260
Russell, Bob, 193, 207
Russell, David O., 397, 398, 406
Russell, Erica, 323
Russell, Greg P., 302, 331, 334, 345,
353, 357, 361, 369, 373, 377, 381, 395,
398, 403, 407
Russell, Harold, 55, 90, 93, 194, 275,
333
Russell, Jane, 266
Russell, John C., 164
Russell, Ken, 212, 214
Russell, L.W., 119
Russell, Larry, 220, 223
Russell, Lloyd, 135
Russell, Robert, 80
Russell, Rosalind, 76, 78, 93, 94, 96,
144, 156, 204, 220, 223
Russell, Shirley, 256, 264
Russell, Willy, 273
Russians Are Coming The Russians Are
Coming, The, 188, 189
Rutherford, Margaret, 174, 176
Rutledge, Robert, 280
Ruttenberg, Joseph, 61, 68, 73, 76, 80,
84, 130, 142, 156, 164
Ryack, Rita, 352
Ryan, 369
Ryan, Amy, 380
Ryan, Gail, 352
Ryan, Joy, 327
Ryan, Nicky, 356
Ryan, Richard T., 311
Ryan, Robert, 96
Ryan, Roderick T., 265, 307, 349
Ryan, Roma, 356
Ryans Daughter, 212, 214
Rybczynski, Zbigniew, 26667, 269
Rydell, Mark, 263, 264
Ryder, Loren L., 51, 61, 65, 68, 73, 76,
81, 85, 88, 89, 115, 119, 131, 135, 139,
143, 253
Ryder, Winona, 318, 318, 322

Rydstrom, Gary, 310, 311, 319, 334,
345, 349, 357, 361, 365, 377, 403,
407
Rygiel, Jim, 357, 361, 365
Ryskind, Morris, 47, 50
Sabatini, Rafael, 77
Sabbatini, Enrico, 284
Sabrina (1954), 130, 134
Sabrina (1995), 326
Sabu, 69
Sacks, Andrew J., 365
Sadhvani, Kish, 365
Sadie Thompson, 21
Sadie Thompsons Song (Blue Pacic
Blues), 131
Safeguarding Military Information, 52
Saer, Emil, 323
Sagan, Carl, 248
Sagar, Mark, Dr., 395, 399
Sage, DeWitt L., Jr., 219, 227, 243
Sagebrush and Silver, 73
Sager, Carole Bayer, 243, 256, 264,
318, 322, 345
Sahara, 80, 81
Sahl, Mort, 154
Said, Fouad, 211
Saiki, Albert K. (Al), 311, 323, 345, 357
Saindon, Eric, 407
Saint. See also St., names
beginning with
Saint, Eva Marie, 102, 132, 133, 134,
194, 333, 385, 389
Saint Matthew Passion, 189
Sainte-Marie, Buffy, 269
Saito, Takao, 280
Sakaguchi, Ryo, 381
Sakai, Richard, 330
Sakall, S.Z. Cuddles, 78
Sakamoto, Ryuichi, 289
Saks, Gene, 211
Sal of Singapore, 23
Salaam Bombay!, 299
Saldanha, Carlos, 365
Salim Baba, 381
Salinger, Conrad, 123
Sallah, 181
Salles, Walter, 367
Sallis, Crispian, 284, 302, 352
Sally, 25
Salomon, Mikael, 302, 311
Salt, 398
Salt, Waldo, 209, 210, 226, 248, 252
Salter, Hans (H.J.), 77, 81, 85, 89
Salter, Mike, 349
Salty ORourke, 88
Saludos Amigos, 81
Saludos Amigos, 81
Salvador, 282, 284
Salvioni, Georgio, 184
Salzman, Bert, 235
Salzman, David, 324
Sam, 285
Samba-Mania, 110
Same Time, Next Year, 252, 253
Samoa, 143
Sampson, Will, 233
Samson and Delilah, 112, 116, 119
Samuel, Martin, 364, 380, 406
Samuel Goldwyn Studio, 65, 193, 231
Samuel Goldwyn Theater, 194, 290
92, 33940, 384, 385; gala events at,
29293
Samuels, Lesser, 119, 122
Samuelson, David W., 261, 285, 369
Samuelson, Kristine, 235
Samurai, The Legend of Musashi, 136,
139
San Antonio, 88, 89
459
8/21/13 6:59 PM
San Francisco, 47
Sanchez, Mark, 326
Sand, 115
Sand Castle, 243
Sand Pebbles, The, 188, 189
Sandakan No. 8, 235
Sandales, Lee, 402
Sandel, Ari, 340, 377
Sandell, William, 364
Sander, Peter, 218
Sanders, Buck, 395
Sanders, Chris, 361, 399
Sanders, Denis, 135, 211
Sanders, George, 116, 117, 119
Sanders, Glenn, 361
Sanders, Jessica, 357
Sanders, Sidney, 35
Sanders, Terry, 135, 227, 307, 323, 327
Sanders, Thomas (Tom), 314, 344
Sanderson, Job, 181
Sandino Moreno, Catalina, 368
Sandman, The, 315
Sandpiper, The, 185
Sandquist, Simon, 345
Sands, Dennis, 322, 334, 353, 369
Sands, Julian, 285
Sands, William, 206
Sands of Iwo Jima, 115, 209
Sandy Claws, 135
Sanger, Jonathan, 260, 289
Santa Monica Civic Auditorium, 148,
152
Santana, Carlos, 367
Santaolalla, Gustavo, 337, 373, 376
Santiago, Emile, 130
Santillo, Frank, 189
Saraband, 115
Saraf, Irving, 311
Saraf, Peter, 376
Sarah and Son, 25
Sarandon, Chris, 234
Sarandon, Susan, 264, 310, 314, 322,
324, 325, 326
Saratoga Trunk, 93
Sarde, Alain, 360
Sarde, Philippe, 260
Sardi, Jan, 330
Sargent, Alvin, 226, 242, 258, 260
Saris Mother, 381
Sarokin, William, 398
Saroyan, William, 80
Sarrazin, Michael, 210
Sartre, Jean Paul, 142
Sass, Steven, 327
Sassenberg, Uwe, 357
Satlof, Ron, 223
Satoh, Masamichi, 214
Satrapi, Marjane, 381
Saturday Night Fever, 242
460 Saudek, Robert, 173
Saunders, Brian, 298
Saunders, Jan, 269
Saunders, John Monk, 27
Saunders, Russ, 51
Sauper, Hubert, 373
Sauve, George, 323
Savage, John, 250, 251
Savage, Norman, 184
Savage, Roger, 357
Savages, The, 380
Savalas, Telly, 172
Save Me, 349
Save the Tiger, 138, 224, 225, 226
Savegar, Brian, 284
Savelyeva, Ludmilla, 206
Saville, Victor, 64
Saving Face, 403
Saving Private Ryan, 342, 344, 344,
345
Saviour, The, 377
Savone, Pilar, 406
Sawley, George, 76, 119
Sawyer, David H., 207
OSCAR_80_p424-466_8-19-13.indd 460
Sawyer, Gordon E., 88, 93, 96, 119,

123, 127, 143, 147, 156, 160, 165, 169,
176, 189, 243
Sawyer, Joan, 277
Sax, Jacques, 323
Saxon, Edward, 310
Say Goodbye, 215
Say One for Me, 161
Say a Prayer for the Boys Over
There, 81
Say You, Say Me, 280
Sayers, Tom, 391
Sayles, John, 314, 330
Sayonara, 144, 146, 147
Sayovitz, Michael, 403
Sayre, Rick, 331
Scaccianoce, Luigi, 188
Scaife, Hugh, 242, 260, 277
Scalia, Pietro, 310, 334, 352, 356
Scanlan, Neal, 327
Scarabosio, Christopher, 381
Scarecrow, 196
Scared Straight!, 253
Scarotti, Ferdinando, 288, 314
Scarlet Tide, 365
Scarpelli, Furio, 180
Scarpelli, Giacomo, 326
Scarwid, Diana, 260
Scent of Green Papaya, The, 319
Scent of a Woman (1975), 234, 235
Scent of a Woman (1992), 312, 313, 314
Schachter, Julia, 335
Schaeffer, Chester, 123
Schafer, Eric R.L., 357
Schfer, Annette, 353
Schfer, Steffen, 353
Schaffner, Franklin J., 212, 213, 214
Schaidt, Gunther, 277
Schamoni, Peter, 223
Schamus, James, 352, 353, 372
Scharf, Walter, 72, 77, 81, 85, 127, 207,
219, 223
Schary, Dore, 53, 61, 68, 127, 139, 194
Schaub, David, 399
Schauss, Udo, 353, 373
Scheib, Harold A., 227
Scheider, Roy, 218, 256
Scheinman, Andrew, 314
Schell, Brian A., 365
Schell, Maximilian, 166, 168, 194,
234, 242
Schenck, Joseph M., 9, 11, 127
Schermer, Jules, 84
Schertzinger, Victor, 39, 51
Scheuer, Walter, 327
Schiffman, Guillaume, 402
Schiffman, Suzanne, 231
Schiffrin, Simon, 177
Schifrin, Lalo, 193, 207, 238, 256, 260,
273
Schildkraut, Joseph, 48, 50
Schindel, Morton, 277
Schindlers List, 316, 316, 318, 319, 342
Schisgal, Murray, 268
Schisler, Donald, 269
Schioler, Torben, 243
Schlag, John, 331
Schlesinger, Adam, 330
Schlesinger, John, 183, 184, 199, 208,
209, 210, 218
Schlesinger, Leon, 81
Schlosser, Gary, 189
Schlyter, Fredrik, 235, 257
Schmerkin, Nicolas, 395
Schmidle & Fitz, 303
Schmidt, Arthur (lm editor, son of
Arthur P. Schmidt), 260, 298, 322
Schmidt, Arthur P. (lm editor), 119,
147
Schmidt, Eddie, 369
Schmidt, L. Ron, 349
Schmidt, Steven R., 345
Schmiechen, Richard, 277
Schmit, Joseph, 161

Schmoeger, Mary L., 349
Schnabel, Julian, 380
Schnee, Charles, 126
Schneider, Aaron, 365
Schneider, Bert, 228, 231
Schneider, Jason, 319
Schneider, Mark R., 323
Schneider, Rolf, 357
Schock, Barbara, 349
Schoenbaum, Charles, 115
Schnberg, Claude-Michel, 405, 407
Schoendoerffer, Pierre, 193
Schoenfeld, Bernard C., 119
School in the Mailbox, 97
School of Assassins, 323
Schoonmaker, Thelma, 215, 260, 306,
360, 369, 374, 376, 402
Schoppe, James, 273
Schrader, Leonard, 278, 280
Schrader, Paul, 198
Schreiber, Edward, 181
Schroeder, Barbet, 305, 306
Schroeder, Harold H., 161
Schtonk!, 315
Schuh, Jakob, 399
Schulberg, Budd, 133, 134
Schuler, Chester L., 289
Schumacher, Volker, 392
Schulman, Arnold, 176, 210
Schulman, Cathy, 372
Schulman, Roger S.H., 356
Schulman, Tom, 294, 302
Schultz, Bill, 345
Schulze, John DuCasse, 69, 73
Schumann, Werner, 269
Schutt, Debra, 390
Schwartz, Arthur, 81, 96
Schwartz, Bernard, 259, 260
Schwartz, Stephen, 326, 330, 345,
380, 381
Schwartz, Vanessa, 323
Schwartzman, Arnold, 265
Schwartzman, John, 364
Schwary, Ronald L., 258, 260, 276
Schwarzenegger, Arnold, 416
Schweizer, Richard, 88, 110
Schwep, Charles F., 165
Science and Technology Council,
33940, 384
scientic or technical achievement
category, 16
Scobey, Fred, 223, 235, 253
Scoeld, Paul, 186, 187, 188, 274, 322
Scognamillo, Gabriel, 130
Scorsese, Martin, 229, 259, 260, 283,
298, 305, 306, 318, 341, 343, 358,
360, 366, 368, 374, 376, 397, 400,
402
Scott, Allan, 80
Scott, Carolyn, 322
Scott, Cynthia, 273
Scott, Deborah L., 334
Scott, Elliot, 238, 298
Scott, Geoffrey, 181
Scott, George C., 160, 166, 168, 212,
213, 214, 218, 267
Scott, Jane, 330
Scott, John, 345
Scott, Martha, 68
Scott, Michael, 235, 280
Scott, Morton, 89
Scott, Rey, 73
Scott, Ridley, 310, 350, 352, 356
Scott, Tom, 273, 277
Scott, Walter M., 119, 123, 126, 130,
134, 138, 142, 156, 160, 176, 181, 184,
189, 192, 206, 210, 214
Scott Thomas, Kristin, 329, 330
Scottsboro: An American Tragedy, 353
Scoundrel, The, 43
Scoville, R.R., 127
Scratch-As-Catch-Can, 31
Screen Achievement Records Bulletin

(book, AMPAS; now called Annual
Index to Motion Picture Credits), 12,
148, 19698
Screen Actors Guild, 14, 378
Screen Extras Guild, 48
Screen Play, 315
Screen Snapshots 50th Anniversary, 85
Screen Snapshots 25th Anniversary, 89
Screen Souvenirs, 31
Screen Writers Guild, 14, 15, 102,
140, 196
Screw, The (La Vis), 319
Scrooge, 214, 215
Scrooged, 299
Sea, The, 35
Sea around Us, The, 127
Sea Hawk, The, 68, 69
Sea Inside, The, 367, 369
Sea Wolf, The, 73
Seabiscuit, 364, 365
Seal Island, 110
Seale, John, 280, 298, 330, 364
Seaman, Anthony, 369
Seance on a Wet Afternoon, 180
Search, The, 110, 111
Searching for Bobby Fischer, 318
Searching for Sugar Man, 407
Seaton, George, 80, 96, 97, 1023, 134,
136, 153, 169, 214
Seaward, Tracey, 376
Seawards the Great Ships, 169
Seawright, Roy, 65, 68, 73
Sebastian, B. Tennyson, II, 280
Sechan, Edmond, 231
Second Chorus, 69
Second Class Mail, 280
Second Fiddle, 64
Second Time Around, The, 165
Seconds, 188
Secret Command, 85
Secret in Their Eyes, The, 395
Secret Land, The, 111
Secret Love, 131
Secret of Kells, The, 395
Secret of Santa Vittoria, The, 211
Secrets, 23
Secrets & Lies, 330
Secrets of the Heart, 335
Sedivy, Tony, 395
See What I Say, 265
See You at the Pillar, 193
Seeds of Destiny, 93
Seeing Eye, The, 123
Seeing Hands, 81
Seeing Red, 273
Segal, Erich, 214
Segal, George, 187, 188, 225, 232
Segall, Harry, 70, 72
Seger, Bob, 289
Sehlin, Richard C., 345, 349, 377
Seibel, Anne, 402
Seibert, Siegfried, 239
Seid, George, 85
Seidelman, Susan, 319
Seidler, David, 386, 396, 397, 398
Seirton, Michael, 264, 269
Seitz, Gordon, 357
Seitz, John F., 23, 80, 84, 88, 119, 122,
134
Sekiguchi, Kiichi, 253
Selan, Jeremy, 407
Self DefenseFor Cowards, 173
Selsh Giant, The, 218
Selick, Henry, 395
Selig, William N., 97
Selin, Bjorn, 307
Selkirk, Jamie, 364
Sellar, JoAnne, 380
Selleck, Tom, 274
Sellers, Peter, 161, 180, 256, 257
Selling Out, 223
Selwyn, Edgar, 31
8/21/13 6:59 PM
Selzer, Eddie, 89, 93, 97, 110, 115, 131,

135, 139, 147
Selznick, Brian, 402
Selznick, David O., 14, 34, 47, 50, 53,
56, 61, 62, 63, 64, 65, 66, 68, 78, 84,
88, 140
Selznick International Pictures, Inc.,
65
Semanick, Michael, 357, 361, 365, 373,
381, 391, 398, 403
Sembello, Michael, 273
Semel, Terry, 385
Semenya, Caiphas, 280
Semler, Dean, 304, 306
Semprun, Jorge, 192, 210
Sender, Stuart, 361
Senior, Anna, 260
Sennett, Mack, 31, 48, 51
Sennheiser, Fritz, 285
Sensations of 1945, 85
Sense and Sensibility, 326, 326
Sentinels of Silence, 218, 219
Senzeni Na? (What Have We Done?),
307
Separate Lives, 280
Separate Tables, 154, 155, 156, 157
Separation, A, 401, 402, 403, 403
Seraglio, 353
Serengeti Shall Not Die, 161
Seretean, Tracy, 353
Sergeant York, 68, 71, 72, 73, 124, 162
Serious Man, A, 393, 394
Serpico, 226
Serra, Eduardo, 334, 364
Serrurier, Mark, 257
Sersen, Fred, 65, 68, 73, 76, 81, 85, 88,
110
Service with the Colors, 69
Session Man, 311
Sessions, The, 406
Seven, 326
Seven Beauties, 238, 239
Seven Brides for Seven Brothers, 134, 135
Seven Days in May, 180, 226
Seven Days to Noon, 122
7 Faces of Dr. Lao, 178, 181
Seven Little Foys, The, 75, 138
Seven-Per-Cent Solution, The, 238
Seven Pillars of Wisdom (book;
Lawrence), 171
Seven Thieves, 164
7:35 in the Morning (7:35 de la
Maana), 369
1776, 222
Seventh Cross, The, 84
7th Heaven, 18, 20, 21, 30
Seventh Veil, The, 90, 93
Sevigny, Chlo, 347, 348
Sewing Woman, 273
Sex Hygiene, 52
sex, lies, and videotape, 302
Sexton, Timothy J., 376
Sexy Beast, 356
Seydor, Paul, 331
Seymour, Michael, 256
Seymour, Stephen A., 73
Seyrig, Delphine, 223
Sforza, Fabrizio, 303
Shadie, Ken, 284
Shadow of a Doubt, 80
Shadow of Hate, The, 327
Shadow of the Vampire, 352
Shadow of Your Smile, The, 185
Shadowlands, 318
Shaffer, Beverly, 243
Shaffer, Peter, 242, 274, 276
Shaft, 219
Shaft, 216, 219
Shagan, Steve, 225, 226, 238
Shahbazian, Papken, 377
Shaiman, Marc, 318, 326, 330, 345,
349
Shain, Ross, 407
OSCAR_80_p424-466_8-19-13.indd 461
Shakedown, 289
Shakespeare, William, 91, 105, 109
Shakespeare in Love, 342, 342, 343,
344, 345
Shall We Dance, 50
Shamberg, Michael, 272, 352
Shampoo, 232, 233, 234
Shamroy, Leon, 61, 68, 76, 77, 84, 88,
115, 122, 126, 130, 134, 138, 142, 156,
160, 176, 184
Shane, 101, 104, 130, 143, 247
Shanghai Express, 30, 31
Shanghai Gesture, 76, 77
Shanghai Triad, 326
Shankar, Ravi, 269
Shankman, Adam, 392
Shanks, 231
Shanley, John Patrick, 246, 288, 390
Shannon, Michael, 390
Shantzis, Michael, 311
Shapiro, Arnold, 253
Shapiro, Dana Adam, 373
Shapiro, Greg, 392, 394
Shapiro, Justine, 357
Shapiro, Stanley, 160, 168, 172, 194
Sharaff, Irene, 107, 123, 130, 134, 135,
139, 143, 160, 164, 169, 176, 189, 192,
211, 242
Sharif, Omar, 171, 172
Shark Tale, 369
Sharma, Suraj, 407
Sharpe, Don, 284
Sharpe, Robert K., 211
Sharpless, Don K., 235
Sharpsteen, Ben, 147, 157
Sharrock, Ivan, 288, 353, 361, 377
Shatz, Leslie, 349
Shavelson, Melville, 138, 156
Shaw, Ariel Velasco, 319
Shaw, Artie, 69
Shaw, Frank X., 35
Shaw, George Bernard, 61, 178
Shaw, Irwin, 76
Shaw, Robert, 187, 188, 224, 232, 342
Shawshank Redemption, The, 322
She, 43
She Done Him Wrong, 35
She Loves Me Not, 39
She Married a Cop, 64
She Wore a Yellow Ribbon, 114, 115
Shean, Al, 215
Shearer, Cameron, 345
Shearer, Douglas, 24, 25, 39, 43, 47,
51, 61, 65, 68, 73, 76, 77, 80, 85, 88,
96, 123, 161, 177
Shearer, Moira, 111
Shearer, Norma, 9, 10, 13, 24, 25, 26,
27, 36, 39, 44, 47, 61, 75, 82
Shearman, Russell, 110, 111
Shedd, Ben, 253
Shedd, Jacqueline Phillips, 253
Sheen, Charlie, 282, 287
Sheen, Martin, 207, 266, 374
Sheep Has 5 Legs, The, 138
Sheepman, The, 156
Sheldon, Sidney, 96, 107, 194
Shelton, Ron, 298
Shenandoah, 184
Shepard, Sam, 272
Shepherd, The, 215
Sheppard, Anna, 318, 360
Sher, Stacey, 352, 406
Sherak, Tom, 387
Sheridan, Ann, 87
Sheridan, Jim, 301, 302, 318, 364
Sheridan, Kirsten, 364
Sheridan, Naomi, 364
Sheriff, Paul, 93, 126
Sherlock Holmes (2009), 394, 395
Sherman, Emile, 396, 398
Sherman, Lowell, 33
Sherman, Richard M., 148, 181, 207,
218, 219, 226, 243, 253
Sherman, Robert B., 148, 181, 207, 218,

219, 226, 243, 253
Sherman, Roger M., 277
Sherman, Stacy, 373
Shermis, Boyd, 377
Sherriff, R.C., 65
Sherwin, Dave, 373
Sherwood, Robert E., 68, 93, 194
Shetland Experience, The, 243
Shields, Arthur, 126
Shilkret, Nathaniel, 47
Shine, 328, 328, 330
Shingleton, Wilfred, 96, 97
Ship Comes In, A, 21
Ship Is Born, A, 77
Ship of Fools, 161, 183, 184
Shirai, Hideyuki, 403
Shircore, Jenny, 344, 395
Shire, David, 256
Shire, Talia, 221, 230, 236, 238
Shirley Valentine, 302
Shocking Accident, A, 269
Shoe-Shine, 94, 96, 97
Shoes of the Fisherman, The, 206,
207
Shoeshine, 289
Shootist, The, 238
Shop on Main Street, The, 182, 185,
188
Shore, The, 403
Shore, Dinah, 78
Shore, Howard, 356, 365, 403
Shorr, Richard, 299
Short, Marjorie Anne, 239
Short, Robert, 299
Short Cuts, 318
Shostak, Murray, 218
Shostakovich, Dimitri, 169
Should Wives Work?, 51
Shoup, Howard, 160, 164, 169, 181,
184
Shoup, Richard, 335
Show Boat, 122, 123
Shrek, 338, 354, 356, 357, 357
Shrek 2, 369
Shue, Elisabeth, 324, 326
Shuftan, Eugen, 168
Shuken, Leo, 64, 181
Shumlin, Herman, 79
Shut Up . . . Im Crying, 215
Shyamalan, M. Night, 348
Shyer, Charles, 260
Siam, 135
Sibley, Amber, 352
Sickner, Roy N., 210
Sicko, 381
Sics, Guntis, 357
Sideways, 368
Sidibe, Gabourey, 394
Sidney, George, 174
Sidney, Sylvia, 226
Sidneys Family Tree, 157
Siege, 69
Siegel, Bill, 365
Siegel, Otto, 164
Siegel, Sol C., 114, 134
Siegel-Magness, Sarah, 394
Siegler, Robert, 215
Sign of the Cross, The, 35
Signoret, Simone, 150, 158, 160, 161,
180, 184
Signoretti, Aldo, 356, 376, 395
Sigrist, Michael, 273
Sigurdsson, Sjon, 353
Sigurjnsson, Thor S., 373
Silber, Glenn, 257, 265
Silberman, Serge, 223
Silence, The, 269
Silence of the Lambs, The, 308, 309,
309, 310
Silent Revolution, The, 223
Silent World, The, 143
Silkwood, 272, 273, 287
Silleck, Bayley, 331

Silliphant, Stirling, 192
Sills, Milton, 9, 54
Silver, Scott, 398
Silver Chalice, The, 134, 135
Silver into Gold, 289
Silver Linings Playbook, 404, 406, 406
Silver Queen, 76, 77
Silver Shadows and Golden
Dreams, 85
Silver Streak, 238
Silvera, Darrell, 73, 76, 80, 84, 88,
138, 214
Silverado, 280
Silverman, David, 407
Silvers, Louis, 61, 64
Silvers, Michael, 357, 365, 369, 381,
395, 398
Silverstein, Elliot, 183
Silverstein, Shel, 306
Silvertooth, Wilbur, 73
Silvestri, Alan, 322, 369
Silvey, Benjamin, 35
Silvi, Maurizio, 356
Sim, Gordon, 360, 394
Simmons, Brian, 326
Simmons, Jean, 33, 97, 110, 131, 144,
145, 163, 210
Simon, Carly, 299
Simon, Kirk, 285, 307, 377, 399
Simon, Neil, 206, 234, 241, 242, 252
Simon, Paul, 360
Simon, Roger L., 302
Simonds, Walter, 138
Simoni, Dario, 173, 184, 192
Simonson, Eric, 353, 373
Simple Plan, A, 344
Simple Story, A, 257
Simpson, Claire, 284, 372
Simpson, Rick, 277, 306
Simpson, Robert E., 68
Simpson, Susanne, 265, 331
Sin of Madelon Claudet, The, 28, 31
Sinatra, Frank, 86, 89, 1045, 128, 129,
130, 133, 138, 140, 170, 204, 208,
212, 215, 22829, 411
Sinbad the Sailor, 47
Since I Kissed My Baby Goodbye,
72
Since You Went Away, 82, 84, 85
Sinclair, Kim, 387, 394
Sing!, 357
Sing, Baby, Sing, 47
Sing Your Way Home, 89
Singer, Kurt, 97
Singer, Steve, 257
Singin in the Rain, 126, 127, 247
Singing Guns, The, 119
Singing Nun, The, 189
Single Man, A, 393, 394
Singleton, John, 310
Sinise, Gary, 322
Sinno, John, 377
Sinofsky, Bruce, 403
Siodmak, Robert, 93
Sirk, Douglas, 142
Sirrs, Janek, 349, 399, 407
Sister Kenny, 93
Sister Roses Passion, 369
Sisyphus, 235
Six Degrees of Separation, 318
Six Shooter, 373
Six-Sided Triangle, 177
Sixth Sense, The, 346, 348
Skala, Lilia, 174, 176
Skall, William V., 68, 73, 76, 96, 110,
122, 134
Skaterdater, 185
Skelton, Red, 140, 232
Skiles, Marlin, 89
Skinner, Frank, 61, 69, 72, 77, 81
Skippy, 26, 27
Skipworth, Allison, 42
461
8/21/13 6:59 PM
Sklar, Zachary, 310

Skolsky, Sidney, 17, 40
Skotak, Dennis, 302, 315
Skotak, Robert, 284, 311
Sky over Holland, 193
Skyfall, 404, 405, 407
Skyfall, 405, 407
Skylark, 73
Skys the Limit, The, 81
Skyscraper, 23, 161
Slade, Bernard, 252
Slater, Barney, 147
Slater, Dan, 261, 299
Slater, Glenn, 398
Slaughter, Nugent, 21
Sleepers, 330
Sleeping Beauty, 161
Sleepless in Seattle, 317, 318
Sleepy Hollow, 348
Sleighride in July, 89
Slender Thread, The, 184
Slesin, Aviva, 289
Slesinger, Tess, 88
Sleuth, 222, 223
Slifer, Clarence, 81, 110
Slimon, Scot, 160
Sling Blade, 330
Slipper and the RoseThe Story of
Cinderella, The, 243
Slipper and the Rose Waltz, The (He
Danced with Me/She Danced with
Me), 243
Sloane, Everett, 72
Slocombe, Douglas, 222, 242, 264
Sloss, Nancy, 277
Slumdog Millionaire, 388, 388, 389,
390, 391
Slyeld, C.O. (Sam), 76, 93
Small Talk, 319
Small Town Girl, 131
Smallman, Kirk, 185
Smart, Darrin, 395
Smart as a Fox, 93
Smart Money, 27
Smash-UpThe Story of a Woman,
96, 155
Smerling, Marc, 365
Smidek, Thomas, 377
Smile Pinki, 391
Smilin Through, 35
Smiling Lieutenant, The, 31
Smilow, Margaret, 315
Smith, Alan, 391
Smith, Albert E., 97
Smith, Alvy Ray, 327, 335
Smith, Art, 61
Smith, Ben Britten, 373, 399
Smith, Bernard, 164, 176
Smith, Betty, 88
462 Smith, Bud, 226, 273
Smith, C. Aubrey, 33
Smith, Caroline, 394
Smith, Chas, 357
Smith, Christina, 311, 318
Smith, Dick, 277, 303, 384, 403
Smith, Douglas, 331
Smith, Elliott, 335
Smith, Harold Jacob, 156, 164
Smith, Howard, 223
Smith, Jack C., 323
Smith, Jack Martin, 115, 142, 176, 181,
184, 189, 192, 210, 214
Smith, John N., 264
Smith, John-Paul, 407
Smith, Kenneth, 269, 289
Smith, Lee, 364, 390
Smith, Leonard, 73, 80, 88, 93
Smith, Maggie, 176, 184, 208, 210, 212,
222, 250, 252, 284, 285, 346, 356
Smith, Mark, 314
Smith, Oliver, 138
Smith, Paul J., 51, 69, 81, 89, 96, 119,
147
OSCAR_80_p424-466_8-19-13.indd 462
Smith, Pete, 35, 39, 43, 47, 51, 69, 73,

77, 81, 85, 93, 97, 110, 115, 119, 131
Smith, Remy, 345
Smith, Robert Emmet, 184
Smith, Russell, 380
Smith, Scott B., 344
Smith, Scott D., 314, 319
Smith, Shirley W., 115
Smith, Ted, 76, 88
Smith, Tom, 269
Smith, Will, 356, 376, 388
Smith, William B., 147, 173
Smith, William Craig, 269
Smith, Yvonne, 303
Smithson, John, 398
Smithson, Mike, 349
Smokey and the Bandit, 243
Smyth, Patty, 322
Smyth, Paul, 369
Smythe, Douglas, 295, 315, 319, 327
Snake Pit, The, 110, 111
Snell, Richard, 311
Snider, Dick, 219
Sniper, The, 126
Snodgress, Carrie, 214
Snow, 185
Snow, Ben, 357, 361, 391, 399
Snow, Tom, 277, 302
Snow Capers, 110
Snow Carnival, 115
Snow Falling on Cedars, 348
Snow White and the Huntsman, 406,
407
Snow White and the Seven Dwarfs, 35,
51, 58, 60, 61, 247
Snowden, Alison, 280, 323
Snowman, The, 269
Snows of Aorangi, 157
Snows of Kilimanjaro, The, 126
Snyder, David L., 269
Snyder, Edward, 110
Snyder, Robert, 119, 157
Snyder, William, 73, 110, 115
Snyder, William L., 165, 173, 181
So Close, 380
So Dear to My Heart, 115
So Ends Our Night, 72
So in Love, 89
So Little Time, 177
So Much for So Little, 115
So Proudly We Hail!, 80, 81
So This Is Harris, 35
So This Is Washington, 81
So You Think Youre Not Guilty, 115
So You Want to Be in Pictures, 97
So You Want to Be on the Radio, 110
Sobieski, Carol, 310
Sobocinski, Piotr, 322
Soccer Story, A (Uma Historia de
Futebol), 353
Social Network, The, 396, 397, 398,
398
Socit dOptique et de Mcanique
de Haute Prcision, 147
Society of Motion Picture and
Television Engineers, 147, 148, 198;
Engineering Committees, 303
Sodano, Vittorio, 376, 395
Soderberg, Theodore, 39, 218, 223,
231, 243, 256
Soderbergh, Steven, 302, 350, 351,
352
Soderlund, Britt, 234
Soffer, Simeon, 349
Soft Place to Fall, A, 345
Sokolove, Richard, 210
Sokolow, Alec, 326
Sokolow, Leonard L., 181, 215, 265
Solar Film, The, 257
Soldiers in Hiding, 281
Soldiers of the Sky, 73
Soldiers Story, A, 276
Solid Gold Cadillac, The, 142
Solinas, Franco, 206

Sollys Diner, 257
Solo, 223
Solomon, Jack, 211, 218, 235, 238, 253,
256
Solomon and Gaenor, 349
Solow, Sidney P., 181, 243
Some Came Running, 156, 157
Some Like It Hot, 160, 225
Some Sunday Morning, 89
Somebody Up There Likes Me, 142, 143
Somebody Waiting, 219
Someones Waiting for You, 243
Something to Shout About, 81
Something to Sing About, 51
Somethings Gotta Give (2003), 364
Somethings Gotta Give (1955,
song), 139
Sometimes a Great Notion, 218
Somewhere in My Memory, 307
Somewhere in Time, 260
Somewhere Out There, 285
Son of the Bride, 357
Son of Monte Cristo, The, 73
Son of Paleface, 127
Sondergaard, Gale, 12, 44, 46, 47,
48, 93
Sondheim, Stephen, 166, 304, 307
Sonenberg, David, 331
Song from Two for the Seesaw
(Second Chance), 172
Song of Bernadette, The, 78, 79, 80,
81, 86
Song of the Flame, 25
Song of the Open Road, 85
Song of the South, 94, 96, 97, 354
Song to Remember, A, 88, 89
Song without End (The Story of Franz
Liszt), 165
Songer, Jim, 361
Songwriter, 277
Sonneborn, Barbara, 345
Sons and Lovers, 164
Sons of Liberty, 64
Sony Corporation, 327
Sooky, 27
Sooner or Later (I Always Get My
Man), 304, 307
Sopher, Sharon I., 285
Sophie SchollThe Final Days, 373
Sophies Choice, 254, 266, 267, 268,
269
Sorcerer, 243
Sorensen, Michael, 345, 373
Sorrell and Son, 21
Sorrow and the Pity, The, 219
Sorry, Wrong Number, 110
Sorkin, Aaron, 397, 398, 402
Sorvino, Mira, 294, 324, 326, 327
Sothern, Ann, 73, 114, 288
Souls at Sea, 50, 51
Sound and Fury, 353
Sound Man, The, 56
Sound of Music, The, 179, 182, 184,
185, 401
Sound of SunshineSound of Rain,
273
Sounder, 222
South Pacic, 156, 157
South Park: Bigger, Longer & Uncut,
349
Southern, Terry, 180, 210
Southerner, The, 88, 89
Soweto Gospel Choir, 389
Space Cowboys, 353
Space to Grow, A, 207
Spaceborne, 243
SpaceCam Systems, Inc., 327
Spacek, Sissy, 238, 258, 259, 260,
268, 275, 276, 284, 344, 354, 356,
372, 401
Spaces: The Architecture of Paul
Rudolph, 273
Spacey, Kevin, 324, 326, 327, 337,

346, 346, 348, 366
Spanish Main, The, 88
Spartacus, 162, 164, 165
Spawn of the North, 61
Speaking in Strings, 349
Speaking of Animals and Their Families,
77
Spears, Ross, 261
Special Day, A, 242, 243
Special Delivery, 253
Special Effects, 331
Speck, Will, 345
Specter, Ronnie, 315
Speed, 322, 323
Speed for Thespians, 357
Speedy, 21
Speedy Gonzales, 139, 147
Spellbound (1945), 86, 88, 89, 193
Spellbound (2002), 361
Spencer, David W., 281
Spencer, Dorothy, 64, 123, 176, 231
Spencer, Herbert, 215, 226
Spencer, Katie, 372, 380, 394, 407
Spencer, Octavia, 383, 386, 401, 401,
402
Sperling, Milton, 138
Spewack, Bella, 68
Spewack, Samuel, 68
Spider-Man, 361
Spider-Man 2, 369
Spiegel, Sam, 133, 134, 144, 147, 171,
172, 177, 217, 218, 238
Spielberg, Anne, 298
Spielberg, Steven, 241, 242, 248, 264,
265, 266, 268, 274, 278, 280, 282,
285, 293, 29495, 300, 303, 310,
316, 316, 318, 319, 342, 344, 346,
372, 374, 376, 385, 388, 402, 404,
405, 406
Spielzeugland (Toyland), 391
Spies, R.H., 139
Spigelgass, Leonard, 119
Spikings, Barry, 250, 252
Spills and Chills, 115
Spinello, Barry, 235
Spinotti, Dante, 334, 348
Spione, James, 403
Spiral Staircase, The, 82, 93
Spirawski, Hans, 315
Spirer, Peter, 319
Spirit of America, The, 177
Spirit of St. Louis, The, 147
Spirit: Stallion of the Cimarron, 361
Spirited Away, 361, 361
Spitzak, Bill, 357
Spivack, Murray, 211, 214
Splash, 276
Splendor in the Grass, 168, 187
Splet, Alan, 257
Split Cherry Tree, 269
Spoilers, The, 76
Sponable, Earl, 131, 169
Spoor, George K., 97
Sporn, Michael, 277
Sport Is Born, A, 165
Sprague, Chandler, 84
Sprague, G.M., 135
Spring Parade, 68, 69
Springer, Dave, 335
Springeld, Chris, 361
Springeld, Tom, 189
Springsteen, Bruce, 316, 318, 326, 371,
417
Spurlock, Morgan, 369
Spy Who Came in from the Cold, The,
184
Spy Who Loved Me, The, 242, 243
Squarciapino, Franca, 306
Squash, 365
Squatters Rights, 93
Squid and the Whale, The, 372
Squires, Buddy, 281
8/21/13 6:59 PM
Squires, Scott, 323, 331, 349

Squires of San Quentin, 253
Squyres, Tim, 352, 406
Sredni Vashtar, 269
St. John, Theodore, 126
St. Johns, Adela Rogers, 31
Stacey, Eric, 43, 47, 51
Stack, Jonathan, 345, 349
Stack, Robert, 142, 288
Stadler, Gary, 319
Staenberg, Zach, 348
Staffell, Charles D., 207
Stafford, J.W., 135
Stage Door, 50
Stage Door Canteen, 81
Stagecoach, 62, 64, 65
Stagecoach to Fury, 142
Stahl, John, 9, 11
Stairs, The, 119
Stairway to Light, 89
Stalag 17, 104, 128, 130
Stallone, Sylvester, 236, 238, 240, 270
Stam, Jos, 381
Stambler, Bruce, 315, 319, 322, 327, 331
Stammers, Richard, 407
Stamp, Terence, 172
Stancliffe, S.L., 123
Stand and Deliver, 298
Stand by for Action, 81
Stand by Me, 284
Staneld, James S., 257
Stanford, Thomas, 169, 198
Stanford Research Institute, 161
Stankiewicz, Louis, 265
Stanley, George, 16, 336
Stanley, Kim, 180, 268, 272
Stanton, Andrew, 326, 364, 365, 390,
391, 398
Stanwyck, Barbara, 72, 84, 87, 110,
247, 26263, 265, 340
Stapleton, Maureen, 156, 214, 249,
252, 262, 263, 264, 281
Star!, 206, 207
Star!, 207
Star, The, 126
Star 80, 270
Star in the Night, 89
Star Is Born, A (1937), 18, 50, 51
Star Is Born, A (1954), 132, 134, 135,
246
Star Is Born, A (1976), 236, 238
Star Maker, The, 327
Star Spangled Rhythm, 81
Star Trek (2009), 392, 395
Star Trek: First Contact, 330
Star TrekThe Motion Picture, 256
Star Trek IV: The Voyage Home, 284,
285
Star Trek VI The Undiscovered Country,
310, 311
Star Wars, 203, 240, 241, 242, 243
Star Wars Episode I: The Phantom
Menace, 349
Star Wars Episode III: Revenge of the
Sith, 372
Star Wars Episode II: Attack of the
Clones, 361
Star Witness, The, 31
Stark, Howard, 361
Stark, Ray, 206, 234, 242, 252, 254,
257
Starkey, Steve, 322
Starkman, Maxwell, 194
Starkweather, Gary, 323
Starman, 276
Starship Troopers, 335
Starski, Allan, 318
Starting Over, 256
State Fair (193233), 35
State Fair (1945), 86, 89
Stateman, Wylie, 302, 319, 373, 391,
395, 407
Statue of Liberty, The, 281
OSCAR_80_p424-466_8-19-13.indd 463
Staub, Ralph, 81, 85, 89

Staunton, Imelda, 368
Stears, John, 184, 243
Steel Magnolias, 302
Steele, Gile, 110, 115, 119, 123, 127
Steenburgen, Mary, 258, 260, 368,
401
Steiger, Rod, 134, 137, 149, 184, 190,
192, 194
Stein, Joan, 353
Stein, Jules C., 232, 235
Steinbeck, John, 67, 84, 88, 126, 136
Steiner, Fred, 280
Steiner, John H., 273
Steiner, Max, 39, 41, 43, 47, 51, 61, 64,
69, 72, 77, 78, 81, 85, 89, 93, 96, 111,
115, 119, 127, 135, 139
Steinfeld, Hailee, 398
Steinkamp, Fredric, 189, 211, 235, 269,
280
Steinkamp, William, 269, 280, 302
Steinore, Michael, 81, 88, 96
Stella Dallas, 50
Stellmach, Thomas, 331
Stenhouse, Bob, 285
Stenner, Chris, 361
Stensvold, Larry, 280
Step Lively, 84
Stephani, Frederick, 96
Stephens, Jack, 260, 284
Stephenson, John, 311
Stepmother, The, 223
Sterile Cuckoo, The, 210, 211
Sterling, Jan, 134
Stern, Cori Shepherd, 407
Stern, Garland, 357
Stern, Joan Keller, 211
Stern, Jonathan, 335
Stern, Peggy, 373
Stern, Stewart, 122, 206
Stern, Tom, 390
Sternad, Rudolph, 76, 88, 168
Sternberg, Tim, 381
Sternberg, Tom, 256
Stetson, Mark, 277, 357
Steurer, Johannes, 357, 403
Stevens, C.C., 77
Stevens, David, 260
Stevens, Fisher, 395
Stevens, Freddi, 265
Stevens, George, 76, 80, 81, 101, 122,
123, 130, 131, 140, 142, 143, 151, 153,
160, 194, 244, 340
Stevens, George, Jr., 177, 344, 345,
407
Stevens, Leith, 143, 161, 177
Stevens, Robert C., 89
Stevens, Robert W., 69
Stevenson, Edward, 123, 164
Stevenson, John, 391
Stevenson, Philip, 88
Stevenson, Robert, 179, 180
Stevenson, Robert Louis, 29
Stewart, Dave, 256
Stewart, Donald, 268
Stewart, Donald Ogden, 27, 68
Stewart, Douglas, 273
Stewart, Douglas Day, 268
Stewart, Edward, 253, 256
Stewart, Eve, 348, 398, 407
Stewart, James, 54, 58, 64, 66, 67, 68,
86, 93, 99, 100, 119, 125, 144, 160,
162, 178, 277, 297
Stewart, James G., 77, 81, 85, 110
Stewart, Jon, 339, 370, 371, 378
Stewart, Paul, 72
Stewart, Roy C. and sons, 143
Stewart Filmscreen Corporation,
181
Sticky My Fingers . . . Fleet My Feet,
215
Still Kicking: The Fabulous Palm
Springs Follies, 335
Stiller, Ben, 383

Stillman, Joe, 356
Stillman, Whit, 306
Stilwell, Richard, 327
Stindt, Robert, 253
Stine, Harold E., 222
Sting (musician), 353, 357, 362, 365
Sting, The, 153, 224, 226
Sting II, The, 273
Stitch for Time, A, 289
Stites, Wendy, 364
Stockett, Kathryn, 401
Stockham, Thomas G., Jr., 345
Stockton, Philip, 403, 407
Stockwell, Dean, 95, 298
Stoeckinger, Mark P., 335, 395, 398
Stokdyk, Scott, 353, 361, 369
Stoker, Robert W., Jr., 311, 335
Stokowski, Leopold, 73
Stolen Kisses, 207
Stolen Life, A, 93
Stoll, George, 64, 69, 77, 85, 89, 139,
143, 173
Stoll, John, 173
Stoll, Nelson, 277, 306
Stoloff, Morris, 61, 72, 77, 81, 85, 89,
93, 115, 131, 143, 165, 169
Stoloff, Victor, 77
Stolz, Robert, 69, 85
Stone, Andrew L., 142
Stone, Burton Bud, 331
Stone, David E., 315
Stone, Emma, 401
Stone, Gregory, 61
Stone, Joseph, 160
Stone, Leroy, 85
Stone, Lewis, 23, 44
Stone, Oliver, 248, 282, 284, 287,
300, 302, 302, 310, 326
Stone, Peter, 180, 194
Stone, Randy, 323
Stone, Robert, 289
Stone, Sharon, 326, 419
Stone Carvers, The, 277
Stones, E.L., 161
Stop, Look and Listen, 193
Stop the WorldI Want to Get Off,
189
Stoppard, Tom, 280, 344
Storaro, Vittorio, 248, 256, 264, 288,
306
Storm over Bengal, 61
Story of Adele H., The, 234
Story of a Dog, 89
Story of Dr. Wassell, The, 85
Story of G. I. Joe, The, 88, 89, 338
Story of Healing, A, 335
Story of Louis Pasteur, The, 44, 45,
47, 48
Story of Three Loves, The, 130
Story of Time, The, 123
Story of the Weeping Camel, The, 369
Storybook Love, 289
Stoten, David, 323
Stothart, Herbert, 43, 51, 61, 65, 69,
72, 77, 81, 85, 89
Stoumen, Louis Clyde, 143, 173
Stout, Archie, 126
Strabel, Herbert, 222
Stradling, Harry, Jr., 222, 226
Stradling, Harry, Sr., 80, 88, 89, 115,
122, 126, 138, 142, 156, 160, 168, 172,
180, 206, 210
Straight, Beatrice, 199, 236, 237, 238
Straight from the Heart, 323
Straight Story, The, 348
Strange Are the Ways of Love
(Fain/Webster), 223
Strange Are the Ways of Love
(Tiomkin/Washington), 161
Strange Fruit, 253
Strange Invaders, 357
Strange Love of Martha Ivers, The, 93
Strange-Hansen, Martin, 361

Stranger, The, 93
Strangers No More, 399
Strangers on a Train, 122
Strasberg, Lee, 230
Strategic Air Command, 138
Stratford Adventure, The, 135
Strathairn, David, 372
Strathie, Angus, 356
Stratton Story, The, 115
Straughan, Peter, 402
Straus, James, 331
Strauss, Robert, 104, 130
Strauss Fantasy, The, 135
Straw Dogs, 219
Strawberry and Chocolate, 323
Strawberry Blonde, The, 72
Streep, Meryl, 250, 252, 254, 255, 256,
262, 264, 266, 267, 268, 272, 279,
280, 288, 298, 306, 326, 344, 346,
348, 358, 360, 360, 370, 375, 376,
387, 390, 393, 394, 401, 401, 402,
404
Street, The, 238
Street Angel, 18, 21, 23
Street Fight, 373
Street of Chance, 25
Street Smart, 288
Streetcar Named Desire, A, 98, 120, 121,
122, 123, 236
Streets of Philadelphia, 316, 318
Streetwise, 277
Streisand, Barbra, 195, 204, 205,
206, 208, 226, 236, 238, 270, 309,
310, 330, 405, 420
Strenge, Walter, 142
Strick, Joseph, 192, 215
Striepeke, Daniel C., 322, 344
Strike Up the Band, 68, 69
Strikes and Spares, 39
Stringer, Michael, 218
Strings, 311
Strip, The, 123
Stripper, The, 176
Stromberg, Hunt, 44
Stromberg, Robert, 365, 394, 398
Strong, Austin, 20
Stroweis, Jacques, 323
Strub, Lucinda, 285
Strudwick, Shepperd, 112
Struss, Karl, 11, 21, 31, 35, 73
Struthers, Crispin, 406
Stuart, Gloria, 334, 342
Stuart, Mel, 181
Stuart, Walker, 177
Stuart Little, 349
Stubble Trouble, 357
Stubbs, Jack, 138
Student Film Awards, 148, 198, 340
Studio Basic Agreement, 8
Stuebe, Jim, 381
Stultz, Barry M., 277
Stump, David, 353
Stumpf, Richard J., 231, 265, 311
Stunt Man, The, 260
Sturges, John, 138
Sturges, Preston, 68, 84, 337
Sturm, Dieter, 323
Sturtevant, John, 189
Stussy, Jan, 243
Styne, Jule, 69, 77, 81, 85, 88, 103, 111,
115, 135, 207
Subject Was Roses, The, 204, 206, 207
Sudden Fear, 126, 127
Suddenly, 407
Suddenly, Last Summer, 160, 200
Sudick, Daniel (Dan), 365, 373, 391,
399, 407
Suez, 61
Sugarman, Burt, 283, 284
Sugerman, Andrew, 253
Sukman, Harry, 165, 169, 189
Sullavan, Margaret, 61
463
8/21/13 6:59 PM
Sullivan, Frank, 110

Sullivan, Frankie, III, 269
Sullivan, Jack, 47
Sullivan, James W., 142
Sullivan, Mark, 311
Sullivan, Steve, 357, 377, 395
Sullivans, The, 84
Summer and Smoke, 168, 169
Summer of 42, 218, 219
Summer Storm, 85
Summer Wishes, Winter Dreams, 226
Summers, Gary, 273, 302, 310, 319,
334, 345, 395, 403
Summertime, 138, 144
Sun Come Up, 399, 403
Sun Valley Serenade, 72, 73
Sunbonnet Sue, 89
Sundae in New York, 273
Sunday Bloody Sunday, 199, 212, 218
Sundays and Cybele, 170, 173, 176, 177
Sundown, 72, 73
Sundowners, The, 164, 165
Sunower, 215
Sunny, 72
Sunrise, 18, 21
Sunrise at Campobello, 164, 165
Sunrise over Tiananmen Square, 345
Sunset, 298
Sunset Blvd., 116, 119, 128
Sunshine Boys, The, 202, 203, 232,
234
Super Chief: The Life and Legacy of Earl
Warren, 303
Super Size Me, 369
Superman, 253
Superman No. 1, 73
Superman Returns, 377
supporting role, 16, 44
Sure Cures, 93
Surfs Up, 381
Surprise, Surprise, 280
Surtees, Bruce, 231
Surtees, Robert, 84, 118, 119, 122, 126,
138, 160, 172, 192, 218, 226, 234,
238, 242, 252
Survival City, 139
Susan Slept Here, 135
Suspicion, 70, 71, 72
Sutherland, Donald, 215, 217, 258, 297
Sutherland, Kiefer, 297
Sutter, Charles E., 147, 173
Sutton, Peter, 260
Suzanne Farrell: Elusive Muse, 331
Suzman, Janet, 217, 218
Suzukawa, Hiroshi, 239
Suzy, 47
Svengali, 27
Swan Song, 315
Swanee River, 64
464 Swank, Hilary, 337, 346, 347, 348,
366, 366, 368
Swanson, Gloria, 9, 21, 24, 25, 99,
100, 116, 119
Swardstrom, Brian, 380
Swarm, The, 253
Swarthe, Robert, 235, 256
Swarup, Vikras, 388
Swedes in America, 81
Sweeney, Matt, 285, 327, 335, 357
Sweeney Todd The Demon Barber of
Fleet Street, 380
Sweet and Lowdown (1944), 85
Sweet and Lowdown (1999), 348
Sweet Bird of Youth, 170, 172, 173
Sweet Charity, 211
Sweet Dreams, 280
Sweet Dreams Sweetheart, 85
Sweet Hereafter, The, 334
Sweet Leilani, 50
Sweete, Barbara Willis, 281
Sweetheart Tree, The, 185
Sweethearts (1938), 61
Sweethearts? (1997), 335
OSCAR_80_p424-466_8-19-13.indd 464
Sweetland, Doug, 391

Swerling, Jo, 76
Swicord, Robin, 390
Swing High, 31
Swing Shift, 276
Swing Time, 47
Swinging on a Star, 82, 85
Swingler, Humphrey, 223
Swingtime in the Movies, 61
Swink, Gary, 323
Swink, Robert E., 131, 206, 253
Swinton, Tilda, 379, 380, 385, 389
Swiss Family Robinson, 68
Switzerland, 139
Switzgable, Meg, 269
Swooner Crooner, 85
Sword Fishing, 64
Sword in the Stone, The, 177
Sylbert, Anthea, 231, 242
Sylbert, Paul, 253, 310
Sylbert, Richard, 188, 231, 234, 264,
277, 306
Sylvania Electric Products, Inc., 169,
215
Symansky, Adam, 273
Symphony of a City, 110
Symposium on Popular Songs, 173
Syriana, 370, 372
Syrup, 323
Szabo, Istvan, 264
Szalay, Attila, 327
Szczerbowski, Maciek, 381
T Is for Tumbleweed, 157

T-Men, 96
Tabasco Road, 147
Tabellion, Eric, 399
Tabu, 27, 28
Tacchella, Jean-Charles, 238
Tajima, Renee, 299
Take the High Ground, 130
Take It All, 395
Take a Letter, Darling, 76, 77
Take My Breath Away, 285
Takimura, Kazuo, 139
Tale of Two Cities, A, 47
Talented Mr. Ripley, The, 348, 349
Tales of Hoffmann, 123
Tales of Meeting and Parting, 277
Talk of the Town, The, 76
Talk to the Animals, 103, 193
Talk to Her, 360
talking pictures, 10, 11, 13, 15, 19, 20,
21, 22, 24
Tall, Dark and Handsome, 72
Tally, Ted, 292, 308, 310
Talmadge, Norma, 9
Talsky, Ron, 234
Tamasy, Paul, 398
Tamblyn, Russ, 147
Tamburella, Paolo W., 96
Taming of the Shrew, The, 192
Tamiroff, Akim, 47, 80
Tammuz, Jonathan, 303
Tammy, 147
Tammy and the Bachelor, 147
Tan, Shaun, 399
Tan Dun, 352
Tandon, Ayush, 407
Tandy, Jessica, 281, 300, 302, 310
Tanghi Argentini, 381
Tangled, 398
Tango, 266, 269, 345
Tanks Are Coming, The, 73
Tanks a Million, 72
Tansman, Alexander, 89
Tapp, Ian, 391
Taradash, Daniel, 101, 130, 202, 212
Tarantino, Quentin, 322, 332, 394,
406, 421
Taras Bulba, 172

Target for Tonight, 73
Tarloff, Frank, 180
Tarzan, 349
Tashima, Chris, 335
Tasker, Homer G., 47, 51
Taste of Others, The, 353
Tate, Cullen, 39
Tate, Paul, 369
Tati, Jacques, 138
Taurog, Norman, 26, 27, 59, 61
Tavella, Dominick, 361
Tavoularis, Dean, 231, 252, 256, 298,
306
Taxi Driver, 238
Taxi to the Dark Side, 381
Taylor, Bill, 265, 407
Taylor, Christian M., 315
Taylor, Dan, 403
Taylor, Elizabeth, 86, 107, 108, 123,
143, 147, 148, 151, 152, 156, 160, 162,
163, 164, 176, 186, 187, 188, 200,
208, 224, 232, 283, 313, 314, 315
Taylor, Jim, 348, 368, 402
Taylor, John, 131
Taylor, Peter, 147
Taylor, Renee, 214
Taylor, Richard, 356, 357, 364, 373
Taylor, Robert, 42, 76
Taylor, Ronnie, 268
Taylor, Ross, 261
Taylor, Sam, 23
Taylor, Samuel, 134
Taymor, Julie, 360
Tazieff, Haroun, 189
Tchaikovsky, 219
Tea for Two Hundred, 110
Teachers Pet, 156, 210
Teague, Addison, 398
Technicolor, Inc., 327
Technicolor Film Continuity Sheets
(collection), 194
Technicolor Motion Picture Corp.,
31, 65, 127, 161, 169
Technological Threat, 299
Ted, 407
Teddy, the Rough Rider, 69
Teenage Father, 253
Teenage Rebel, 142, 143
Tegnell, Ann, 299
television, 98, 100, 124, 136
Tell Tale Heart, The, 131
Tell the Truth and Run: George Seldes
and the American Press, 331
Tellefsen, Christopher, 402
Telson, Bob, 299
Temperton, Rod, 280
Tempest (192728), 21
Tempest, The (2010), 398
Temple, Shirley, 36, 39, 55, 58, 85, 164,
244, 245, 270, 333
Templeman, Peter, 377
Templeton, George, 89, 93
Templeton, Suzie, 381
10, 256, 297
Ten Commandments, The, 141, 142,
143
Ten Gentlemen from West Point, 76
Ten-Year Lunch: The Wit and Legend
of the Algonquin Round Table, The,
289
Tena, Angel, 381
Tender Is the Night, 172
Tender Is the Night, 172
Tender Mercies, 270, 272, 273
Tender Tale of Cinderella Penguin, The,
264
Tender Trap, The, 139
Tenenbaum, Stephen, 402
Tent, Kevin, 402
Teolovski, Risto, 257
Tequila Sunrise, 298
Teresa, 122
Terminator 2: Judgment Day, 310, 311

Terms of Endearment, 270, 271, 272,
273
Terr, Max, 77
Terri, Tatchell, 394
Terrio, Chris, 404, 406
Terry, Paul, 85, 89
Terzopoulos, Demetri, 373
Teshigahara, Hiroshi, 184
Tesich, Steve, 256
Tess, 258, 260
Tessendorf, Jerry, 381
Test Pilot, 61
Testa, Alberto, 345
Testament, 272
Tetrick, Harry Warren, 235, 238
Tetzlaff, Ted, 76
Texas Rangers, The, 47
Thackery, Ellis J., 68
Thalberg, Irving G., 9, 13, 14, 15, 16,
28, 40, 43, 44, 48, 49, 51, 196
Than, Joseph, 84
Thank God Its Friday, 253
Thank You Very Much, 215
Thank Your Lucky Stars, 81
Thanks a Million, 43
Thanks for the Memory, 61
Thar She Blows!, 127
Tharp, Grahame, 131
That Certain Age, 61
That Forsyte Woman, 119
That Girl from Paris, 47
That Hamilton Woman, 73
That Lady in Ermine, 111
That Man from Rio, 180
That Mothers Might Live, 61
That Obscure Object of Desire, 242,
243
That Old Black Magic, 81
That Old Feeling, 50
That Thing You Do!, 330
That Thing You Do!, 330
That Touch of Mink, 172, 173
That Uncertain Feeling, 72
Thatll Do, 345
Thats Amore, 131
Thats How You Know, 380
Thats Life, 285
Thats Me, 177
Their Own Desire, 25
Theiss, William Ware, 238, 256, 273
Thelma & Louise, 310
Them!, 135
Theme from Mahogany (Do You
Know Where Youre Going To),
235
Theme from Shaft, 216, 219
Theodora Goes Wild, 47
There Goes My Heart, 61
There Will Be Blood, 378, 379, 380,
381
There Youll Be, 357
Theres a Breeze on Lake Louise, 77
Theres No Business Like Show
Business, 134, 135
Theron, Charlize, 362, 363, 364, 371,
372
These Three, 47
Thevenet, Pierre-Louis, 214
They Call Me Mister Tibbs!, 190
They Cant Take That Away from
Me, 50
They Knew What They Wanted, 68
They Planted a Stone, 131
They Shall Have Music, 64
They Shoot Horses, Dont They?, 208,
210, 211, 217
They Were Expendable, 88
Theyre Always Caught, 61
Theyre Either Too Young or Too
Old, 81
Thief, The (1952), 127
Thief, The (1997), 335
8/21/13 6:59 PM
Thief of Bagdad, The, 66, 68, 69

Thieltges, Gary, 373
Thiermann, Eric, 273
Thieving Magpie, The (La Gazza
Ladra), 185
Thijssen, Willem, 285
Thin Ice, 51
Thin Man, The, 36, 39
Thin Red Line, The, 342, 344, 345
Things Have Changed, 353
3rd Ave. El, 139
Third Man, The, 116, 118, 119, 204
Thirteen, 364
38, 285
Thirty Million Letters, 177
Thirty Seconds over Tokyo, 84, 85
Thirlwell, Curly, 235, 253
Thirlwell, Robert M., 264, 277, 280
This above All, 76
This Charming Man (Der Er En Yndig
Mand), 361
This Is the Army, 80, 81
This Is Cinerama, 131
This Is the Moment, 111
This Land Is Mine, 81
This Love of Ours, 89
This Mechanical Age, 135
This Sporting Life, 176
This Theater and You, 56
This Tiny World, 223
This Way Up, 391
This Woman Is Mine, 72
Thom, Randy, 273, 310, 322, 323, 334,
338, 353, 369, 381
Thoma, Georg, 311
Thomas, Anna, 276
Thomas, Barry, 253
Thomas, Bill, 153, 164, 169, 173, 176,
184, 192, 214, 218
Thomas, Emma, 398
Thomas, Frank, 395
Thomas, Henry, 322
Thomas, Jeremy, 286, 288
Thomas, Kit, 307
Thomas, Tevin, 380
Thomas, Tony, 302
Thomas Crown Affair, The, 207
Thompson, Barnaby, 307
Thompson, Barton, 81
Thompson, Betsy, 319
Thompson, Charles S., 126, 184
Thompson, Daniele, 238
Thompson, Emma, 292, 312, 313, 314,
318, 324, 326, 332, 358, 367
Thompson, Ernest, 262, 263, 264
Thompson, F. Thomas, 77
Thompson, Francis, 231
Thompson, Linda, 315
Thompson, Robert E., 210
Thompson, Simon, 335
Thompson, Walter, 76, 160
Thoms, Jerome, 147
Thomson, Alex, 264
Thomson, Andy, 239
Thorgerson, Ed, 81
Thorne, Ken, 189
Thornton, Billy Bob, 328, 330, 332,
344
Thoroughly Modern Millie, 192, 193
Thoroughly Modern Millie, 103,
153, 193
Those Magnicent Men in Their Flying
Machines, 184
Thoth, 357
Thousand and One Nights, A, 88
Thousand Clowns, A, 182, 184, 185
Thousands Cheer, 80, 81
Three, 189
Three Brothers, 265
Three Caballeros, The, 88, 89
Three Coins in the Fountain, 134
Three Coins in the Fountain, 103,
135
OSCAR_80_p424-466_8-19-13.indd 465
Three Comrades, 61
Three Days of the Condor, 235
Three Faces of Eve, The, 144, 145, 147
Three Is a Family, 88
Three Kisses, 139
Three Little Pigs, 35, 35
Three Little Words, 119
Three Men and a Cradle, 281
3 Misses, 349
Three Musketeers, The, 110
Three Orphan Kittens, 43
Three Russian Girls, 85
Three 6 Maa, 371
Three Smart Girls, 47
3:10 to Yuma, 380, 381
Through the Eyes of Love, 256
Through a Glass Darkly, 169, 172
Through a Long and Sleepless
Night, 115
Throw Momma from the Train, 288
Thuerey, Nils, 407
Thum, Jon, 349, 377
Thumbelina, 127
Thumim, Alfred, 285
Thunderball, 184
Thunderbolt, 23
Thunderbolt and Lightfoot, 230
Thurman, Uma, 322, 323
Thurmeier, Michael, 377
Thursdays Children, 135
Thurston, Kimball, 403
Thys, Guido, 381
Tibbett, Lawrence, 25
Tibbles, George, 111
Tichenor, Dylan, 380, 406
Tide of Trafc, The, 223
Tidyman, Ernest, 218
Tiehel, Tammy, 349
Tierney, Gene, 84, 88, 92
Tiffen, Ira, 315
Tiffen, Nat, 277, 349
Tihonov, Vyacheslav, 206
Tilby, Wendy, 311, 349, 403
Till Love Touches Your Life, 215
Tilly, Jennifer, 322
Tilly, Meg, 280
Tim Burtons Corpse Bride, 373
Timber Toppers, 61
Time (magazine), 247
Time for Burning, A, 193
Time for Justice, A, 323
Time for Love, A, 189
Time Freak, 403
Time Is Running Out, 215
Time Machine, The (1960), 165
Time Machine, The (2002), 361
Time Out of War, A, 135
Time Piece, 185
Time, the Place, and the Girl, The, 96
Time Stood Still, 143
Time to Love and a Time to Die, A, 156
Timeline, Incorporated, 353
Times of Harvey Milk, The, 277, 389
Tin Drum, The, 254, 257
Tin Pan Alley, 69
Tin Star, The, 147
Tin Toy, 299
Tingler, Kenneth L., 365
Tinker Tailor Soldier Spy, 402, 403
Tinsley, Christien, 369, 381
Tiomkin, Dimitri, 51, 64, 77, 81, 85,
100, 101, 115, 127, 132, 135, 143, 147,
157, 161, 165, 169, 177, 181, 219
Tippett, Phil, 264, 273, 299, 319, 331,
335
Tipton, George Aliceson, 231
Tisch, Steve, 321, 322
Tison, Hubert, 319
Tit for Tat, 43
Titan: Story of Michelangelo, The, 119
Titanic (1953), 130
Titanic (1997), 332, 333, 334, 335, 342,
362, 394
Title, Stacy, 319

Titus, 348
Tlaskal, Martin, 395
Tlayucan, 173
To Be Alive!, 185
To Be or Not to Be (1942), 77
To Be or Not to Be (1983), 272
To Catch a Thief, 138, 139
To Die in Madrid, 185
To Each His Own, 90, 91, 93
To Forget Venice, 257
To Kill a Mockingbird, 152, 170, 171, 172,
173, 270
To Live Again, 177
To Live or Let Die, 269
To Love and Be Loved, 157
To the People of the United States, 81
To the Shores of Iwo Jima, 89
To the Shores of Tripoli, 76
Toast of New Orleans, The, 119
Toback, James, 310
Tobruk, 193
Toch, Ernst, 43, 72, 85
Todd, Michael, 140, 142
Todd, Richard, 115
Todd, Sherman, 68, 81
Todd, Susan, 319
Todd-AO Company, 147, 207
Toftness, Richard F., 403
Toland, Gregg, 43, 50, 65, 68, 73
Toldy, John S., 68
Tolkin, Michael, 314
Toll, John, 322, 324, 326, 344
Tollin, Mike, 327
Tolstoy, Leo, 206
Toluboff, Alexander, 50, 61, 64
Tom & Viv, 322
Tom, Dick and Harry, 72
Tom Jones, 161, 174, 175, 176, 177, 262
Tom Sawyer, 226
tom thumb, 157
Tomasini, George, 160
Tomblin, Lisa, 402
Tomei, Marisa, 312, 314, 356, 390, 414
Tomkins, Alan, 260
Tomkins, Leslie, 273, 277
Tomlin, Lily, 234, 258, 370
Tommy, 234, 235
Tomorrow We Fly, 81
Tompkins, Joe I., 273, 302
Tondreau, A.J., 65
Tondreau, Bill, 299, 353, 365
Tone, Franchot, 40, 43, 44
Tonight and Every Night, 88, 89
Tonto Woman, The, 381
Too Late Now, 123
Too Many Husbands, 68
Too Much in Love, 85
Too Young to Kiss, 122
Toom, Tanel, 399
Toot, Whistle, Plunk and Boom, 128,
131
Tootsie, 266, 267, 268, 269
Top Gun, 284, 285
Top Hat, 43
Top o the Morning, 83
Topkapi, 165, 178, 180
Topol, 217, 218
Topper, 50, 51
Topper Returns, 73
Topper Takes a Trip, 65
Topsy-Turvy, 348
Tora! Tora! Tora!, 212, 214, 215
Torch Song, 130
Torero!, 147
Torn, Rip, 272
Torpedo Run, 157
Tortilla Flat, 76
Tortoise and the Hare, The, 39
Torture Money, 51
Torzija, (A). See (A) Torzija [(A)
Torsion]
Tosi, Piero, 176, 218, 226, 256, 269
Total Recall, 306, 307

Tth, Gza M., 377
Touch of Class, A, 212, 224, 225, 226
Touch, Pussy Cat, 135
Tourneux, Samuel, 381
Toussieng, Yolanda, 318, 322, 364,
398
Tover, Leo, 73, 115
Toward Independence, 110
Towering Inferno, The, 228, 230, 231
Town, The, 398
Town without Pity, 169
Town without Pity, 169
Towne, Robert, 198, 226, 228, 231,
234, 275
Townshend, Peter, 235
Toy Story, 326
Toy Story 2, 349
Toy Story 3, 397, 398, 399
Toy Tinkers, 115
Toys, 314
Toys in the Attic, 176
Tracy, Lee, 180
Tracy, Spencer, 29, 47, 48, 49, 50, 58,
59, 61, 76, 119, 138, 156, 164, 168, 190,
191, 192, 204, 240, 320, 410
Trader Horn, 27
Trading Places, 273
Trafc, 350, 351, 352
Trafc with the Devil, 93
Trail of the Lonesome Pine, The, 47
Train, The, 184
Training Day, 354, 355, 356
Trainspotting, 330
Trank, Richard, 335
Transamerica, 372, 373
Transatlantic, 31
Transformers, 381
Transformers: Dark of the Moon, 403
Transformers: Revenge of the Fallen,
395
Trauner, Alexander, 164, 234
Trauninger, Walter, 377
Travelin Thru, 373
Traveling Hopefully, 269
Travels with My Aunt, 222
Travers, Bill, 189
Travers, Henry, 74, 76
Travers, P.L., 179
Travilla, 115, 130, 135, 176
Travis, Neil, 292, 306
Travolta, John, 240, 242, 322, 323,
419
Treasure of the Sierra Madre, The, 108,
110
Treasure Planet, 361
Tree Grows in Brooklyn, A, 86, 88
Tree of Life, The, 402
Trees, 147
Tregaskis, Gary, 345
Trent, Barbara, 315
Tresfon, Constant, 269
Trespasser, The, 25
Trester, Paul W., 257
Treves, Giorgio, 223
Trevor, 320, 323
Trevor, Claire, 50, 98, 100, 101, 108,
110, 134, 194, 333, 350
Trial, 138
Triangle, 323
Tribby, John, 25
Tribute, 260
Trilling, Emanuel, 299
Trio, 119
Trip to Bountiful, The, 278, 279, 280
Triplets of Belleville, The, 363, 365
Tristana, 215
Trivas, Victor, 93
Troell, Jan, 222
Troisi, Massimo, 326
Trojansky, Stephan, 381, 399
Trolley Song, The, 85
Tron, 269
465
8/21/13 6:59 PM
466
Tron: Legacy, 398

Tropic Holiday, 61
Tropic Thunder, 390
Trosper, Guy, 126
Trotter, John Scott, 215
Trotti, Lamar, 65, 84, 134
Trouble Indemnity, 119
Trouble the Water, 391
Troublesome Creek: A Midwestern, 327
Troy, 369
Troyat, Henry, 138
Truant Ofcer Donald, 73
Truce, The, 231
Trudeau, Garry, 243
True Glory, The, 86, 89
True Grit (1969), 208, 209, 210, 211
True Grit (2010), 396, 398, 399
True Grit, 211
True Lies, 323
True Love, 143
True Story of the Civil War, The, 143
Trueba, Fernando, 403
Truffaut, Francois, 160, 227, 230, 231
Truman Show, The, 344
Trumbo, Cleo, 290
Trumbo, Dalton (Robert Rich), 68,
130, 140, 142, 290
Trumbull, Donald (Don), 277, 307,
345
Trumbull, Douglas, 243, 256, 269,
315, 403
Truscott, John, 192
Truth about Mother Goose, The, 147
Tsai Kuo Jung, 352
Tschida, Christian, 377
Tschida, Ernst, 377
Tsotsi, 370, 373
Tsuji, Kazuhiro, 376, 380
Tsukada, Makoto, 357
Tsunami and the Cherry Blossom,
The, 403
Tubby the Tuba, 97
Tucci, Stanley, 394
Tucker, Larry, 210
Tucker The Man and His Dream, 298
Tudal, Antoine, 176
Tuesday Morning Ride, 327
Tulips Shall Grow, 77
Tully, Tom, 134
Tulsa, 115
Tumbleweeds, 348
Tummel, William, 35
Tunberg, Karl, 72, 160
Tunes of Glory, 164
Tunick, Jonathan, 243
Tuntke, William H., 181, 218
Tup Tup, 223
Tupac: Resurrection, 369
Turell, Saul J., 257
Turkey the Bridge, 189
Turkish Delight, 227
Turlure, Philippe, 330
Turman, Lawrence, 191, 192
Turner, A. Francis, 161
Turner, Kathleen, 280, 284
Turner, Lana, 22, 147
Turner, Sheldon, 394
Turner, Willard H., 81
Turner/M-G-M script collection, 294
Turning Point, The, 242, 243, 278
Turpin, Gerald L., 273
Turtletaub, Marc, 376
Tuttle, Frank, 88, 184, 192
Tuttle, William, 178, 181, 245
Tweetie Pie, 97
12, 381
12 Angry Men, 147
12 Monkeys, 326
Twelve OClock High, 112, 114, 115
12:01 PM, 307
20th Century-Fox, 48, 52, 69, 73, 77,
81, 85, 98, 108, 111, 119, 131, 139, 165,
169, 181
OSCAR_80_p424-466_8-19-13.indd 466
20th Century Productions, 13

24-Hour Alert, 139
21 Grams, 364
Twenty-One Miles, 77
20,000 Leagues under the Sea, 134, 135
Twice in a Lifetime, 280
Twilight of Honor, 176
Twilight Samurai, The, 365
Twin Sisters, 365
Twin Sisters of Kyoto, 177
Twin Towers, 361
Twining, S.J., 85
Twist of Faith, 369
Twister, 331
Two Arabian Knights, 18, 21, 294
Two Cars, One Night, 369
Two for the Road, 192
Two for the Seesaw, 172
Two Girls and a Sailor, 84
Two Girls on Broadway, 22
Two Hands, 377
Two Hearts, 299
Two-Minute Warning, 238
Two Mouseketeers, The, 123
Two Soldiers, 365
2001: A Space Odyssey, 206
2010, 277
Two Tickets to Broadway, 123
Two Women, 166, 168, 169, 342, 379
Tyler, Nelson, 181, 265, 369
Tyler, Richard, 235, 238, 243, 264
Tyler, Walter H., 93, 119, 130, 134, 142,
160, 164, 169, 231
Typhoon, 68
Tyrrell, Susan, 222
Tyson, Cicely, 222
Tyson, Elliot, 298, 302, 322, 349
U-571, 353
Ueda, Masaharu, 280
Ugetsu, 139
Uggie, 400, 420
Ugly Duckling, The, 64
Uhlig, Ronald E., 327, 345
Uhry, Alfred, 291, 300, 302
Ulano, Mark, 334, 395
Ulees Gold, 334
Ullman, Elwood, 140, 142
Ullman, Frederic, Jr., 77, 81, 97
Ullmann, Liv, 197, 222, 238
Ulysses, 192
Umansky, Jean, 357
Umberto D, 142
Umbrellas of Cherbourg, The, 181, 184,
185
Umeki, Miyoshi, 106, 144, 146, 147
Unbearable Lightness of Being, The,
298
Unchained Melody, 139
Unconquered, 96
Undefeated, 403
Under Fire, 273
Under the Sea, 291, 302
Under Siege, 314, 315
Under the Sun, 349
Under the Volcano, 276, 277
Under Western Stars, 61
Underworld, 21
Unfaithful, 360
Unnished Business, 281
Unforgiven, 312, 314, 366, 367
Ungaro, Mario, 101
Unicorn Engineering Corp., 147
Uninvited, The, 84
Union Maids, 243
Union Pacic, 65
United Artists Studio, 47, 51
United 93, 376
United States Marine Band, 77
United States Supreme Court, 14
Universal City Studios, 193, 231

Universal International Studio, 135
Universal Studios, 10, 13, 80, 124,
224
Universe (1960), 165
Universe (1976), 239
University of California at Los
Angeles, 54
University of Southern California, 12,
54, 196
Unkrich, Lee, 384, 397, 398, 399
Unmarried Woman, An, 252
Uno, Michael Toshiyuki, 266, 269
Unseen, The, 88
Unsinkable Molly Brown, The, 180,
181
Unstoppable, 398
Unstrung Heroes, 326
Unsworth, Geoffrey, 180, 222, 231,
260
Until, 357
Untouchables, The, 286, 288, 289
Unwin, Gareth, 396, 398
Unwin, Paul, 323
Up (1984, short), 277
Up (2009), 393, 394, 395, 401
Up Close and Personal, 330
Up in the Air, 393, 394
Up in Arms, 85
Up in Mabels Room, 85
Up Where We Belong, 269
Upstream, 385
Ure, Mary, 164
Urecal, Minerva, 137
Urge to Build, 265
Urioste, Frank J., 289, 298, 314
Urrutia, Antonio, 331
Usher, Robert, 68, 73, 84
Ustinov, Peter, 122, 162, 164, 165, 174,
178, 180, 194, 206, 294, 406
Usual Suspects, The, 324, 326, 327
Usual Unidentied Thieves, The, 157
Utt, Kenneth, 310
Uvarov, V., 206
Uytterhoeven, Pierre, 188, 234
Vacano, Jost, 268

Vacation from Marriage, 90, 93
Vaccaro, Brenda, 234
Vachlioti, Deni, 164, 173
Vagabond King, The, 25
Valberg, Birgitta, 164
Valdes, David, 348
Valentine, Joseph, 50, 61, 68, 110
Valentino, Rudolph, 10, 245
Valiant, The, 23
Valiant Is the Word for Carrie, 47
Valla, Marie-Laure, 356
Vallee, Rudy, 248
Valles (costume designer), 119, 164
Valley of Decision, The, 88, 89
Valley of the Dolls, 193
Valli, Eric, 311
Valliant, William W., 227
Vallone, John, 256
Vallone, Raf, 169
Valmont, 302
Van Avermaet, Tom, 407
Van Bork, Bert, 349
Van Camp, Paul, 357
Vance-Straker, Marilyn, 288
van den Bogert, Antonie J., 369
van der Horst, Herman, 173
Vanderlaan, Keith, 369
Van der Ryn, Ethan, 361, 373, 381,
403, 407
Van der Veer, Frank, 238, 239
Van Der Veer, Willard, 25
Van Dijk, Cilia, 280
Van Druten, John, 84
Van Dyke, W.S., 39, 47

Van Dyke, Willard, 161
Van Enger, Richard L., 115
Vanesse, Simon, 381
Van Every, Dale, 50
Van Fleet, Jo, 106, 136, 138
van Gelder, Hans, 219
Vangelis (composer), 262, 264
Van Gogh, 115
Van Heusen, James, 82, 85, 89, 103,
139, 147, 157, 161, 165, 169, 177, 181,
193, 207
Vanilla Sky, 357
Vanilla Sky, 357
Vanishing Prairie, The, 135
Van Os, Ben, 318, 364
Van Runkle, Theadora, 192, 231, 284
Van Sant, Gus, 334, 335, 389, 390
van Straalen, Dien, 364
Vant Hul, Brian, 373
Van Tulden, Linda, 285
VanWagenen, Sterling, 279
Vardalos, Nia, 360
Vargas, Ignacio, 381
Vargo, Mark, 277
Varney, Bill, 260, 264, 277, 280
Varsi, Diana, 147
Varsity Show, 51
Vasconcellos, Tete, 265
Vassar, David A., 257
Vatel, 352
Vaughn, Charles, 261
Vaughn, Robert, 160
Vaughn, Vince, 406
Vazak, P.H., 274, 276
Veber, Francis, 256
Vega, Isabel, 381
Veidt, Conrad, 69, 78
Veiller, Anthony, 50, 93
Velcoff, Alexander, 115
Vellekoop, Michael, 403
Velvet Goldmine, 344
Venus, 375
Vera Drake, 368
Verbinski, Gore, 403
Verdict, The, 268
Verdon, Gwen, 281
Verdon-Roe, Vivienne, 24445, 273,
285
Vereen, Ben, 256
Verges, Troy, 398
Vermette, Patrice, 394
Vermont, Boris, 127, 131
Verne, Jules, 134, 140
Verneuil, Henri, 138
Veron, Elmo, 51
Verona, Stephen F., 218
Verrall, Robert, 189, 193, 231
Vertes, Marcel, 126, 127
Vertigo, 156, 297
Very Long Engagement, A, 368, 369
Very Nice, Very Nice, 169
Very Precious Love, A, 157
Vesth, Louise, 381
Vesuvius Express, 131
Vetter, Richard H., 227
Vickery, David, 403
Vickrey, Daniel, 369
Vicky Cristina Barcelona, 389, 390
Victor, 345
Victor/Victoria, 179, 266, 268, 269,
363
Victory through Air Power, 81
Vidor, King, 14, 21, 25, 29, 31, 61, 142,
198, 250, 253, 258, 366
Vietnam War, 250
Vigalondo, Nacho, 369
Viljoen, Tina, 273
Village, The (1993, short), 319,
Village, The (2004), 369
Village on the River, The, 161
Villegas, Carey, 399
Vince, William, 372
8/21/13 6:59 PM
Vincent, Allen, 110

Vincent, Ra, 407
Vinton, Will, 231, 253, 264, 269, 280
Viola, C.G., 96
Violet, 264
Violin, The, 231
Violinist, The, 161
V.I.P.s, The, 174, 176
Virgin Queen, The, 139
Virgin Spring, The, 162, 164, 165
Virkler, Dennis, 306, 318
Visas and Virtue, 335
Visconti, Luchino, 210
Visit, The, 181
Visit to a Small Planet, 164
Visiting Artists Program, 198, 247,
340
Visitor, The, 390
Viskocil, Joseph, 331
Vitaphone, 10, 11
Viva Italia!, 253
Viva Villa!, 39
Viva Zapata!, 124, 126, 127
Vivacious Lady, 61
Vivian, Nick, 323
Vlahos, Paul, 323
Vlahos, Petro, 165, 181, 315, 319, 323
Vogel, Paul C., 112, 115, 172
Voice in the Wind, 85
Voice Is Born: The Story of Niklos
Gafni, A, 97
Voight, Jon, 208, 209, 210, 250, 251,
252, 280, 332, 346, 356
Volcano: An Inquiry into the Life and
Death of Malcolm Lowry, 239
Volck, A. George, 15
Volver, 376
Volver a Empezar (To Begin Again),
269
Von Brandenstein, Patrizia, 264, 277,
288
Von Cube, Irmgard, 110
Von Ryans Express, 184
Von Sternberg, Josef, 19, 27, 31
Von Stroheim, Erich, 9, 116, 119
Von Sydow, Max, 164, 245, 296, 298,
402
von Trier, Lars, 353
von zur Muehlen, Bengt, 227, 261
Vorisek, Dick, 264
Vos, Marik, 164, 226, 273
Vowell, David H., 215
Voyage of the Damned, 233, 238
Voyage to Next, 231
Vukotic, Dusan, 177
Vystrecil, Frantisek, 165
Wabash Avenue, 119

Waco: The Rules of Engagement, 335
Wada, Emi, 280
Wada, Sanzo, 134
Wade, Cynthia, 381, 407
Wade, William, 143
Wag the Dog, 334
Wager, Anthony, 97
Waggner, George, 80
Wagner, Jack, 88
Wagner, Paul, 277
Wagner, Reinhardt, 395
Wagner, Sidney, 68, 84
Wahlberg, Mark, 374, 376, 397, 398,
406
Wahrman, Michael, 335
Waikiki Wedding, 50, 51
Wait until Dark, 130, 192
Waite, Samantha, 399
Waititi, Taika, 369
Waits, Tom, 269
Waitz, Martin, 377
Wajda, Andrzej, 346, 349
OSCAR_80_p424-466_8-19-13.indd 467
Wake Island, 76
Wakeling, Gwen, 119
Wakley, Simon, 345
Walas, Chris, 285
Wald, Jerry, 88, 109, 111, 144, 147, 154,
164, 282
Wald, Malvin, 110
Wald, Robert, 288
Waldo Salt: A Screenwriters Journey,
307
Walk, Dont Run, 81
Walk the Line, 370, 372, 373
Walk on the Wild Side, 172
Walken, Christopher, 250, 251, 252,
360, 388
Walker, Algernon G., 177
Walker, Brad, 395
Walker, Don, 185
Walker, Hal, 51
Walker, Joseph B., 61, 73, 93, 265
Walker, Lucy, 399, 403
Walker, Robert, 365
Walker, Roy, 234, 273, 348
Walker, Vernon L., 68, 77, 81, 85
Walking, 211
Walky Talky Hawky, 93
Wall, Angus, 390, 398, 402
Wall Street, 286, 287, 288
Wallace, Earl W., 280
Wallace, Lew, 158
Wallace, Oliver, 72, 81, 119, 123, 157
Wallace, Pamela, 280
Wallace, Randall, 326
Wallace, William, 110
Wallace & Gromit in The Curse of the
Were-Rabbit, 373
Wallach, Eli, 129, 397, 399
Wallach, Ira, 206
Wall-E, 389, 390, 391
Waller, Fred, 131
Waller, Garry, 284
Wallin, Dan, 214, 238
Wallis, Hal B., 59, 61, 78, 81, 125, 137,
138, 180, 210, 244
Wallis, Quvenzhan, 404, 406
Wallis, Shani, 204
Walls, Howard, 55
Walls of Fire, 227
Walls of Malapaga, The, 116, 119
Walsh, Bill, 180
Walsh, Dick, 361
Walsh, Frances (Fran), 322, 356, 360,
364, 365
Walsh, Martin, 360
Walsh, Raoul, 9, 23, 245
Walt Disney Company, 35, 296, 323
Walt Disney Studios, 51, 93, 220
Walter Wangers Vogues of 1938, 50
Walters, Charles, 130
Walters, Julie, 272, 352
Walthall, Henry B., 12
Walton, Barry, 345
Walton, Tony, 181, 231, 253, 256
Walton, William, 93, 111
Waltz, Christoph, 393, 394, 404,
406, 406
Waltz with Bashir, 391
Waltzing in the Clouds, 69
Waltzing Regitze, 303
Wang, Shui-Bo, 345
Wang Hui Ling, 352
Wanger, Walter, 56, 64, 68, 78, 81,
86, 89, 111, 155, 176
Wanstall, Norman, 181
Wanted, 391
Wanted, a Master, 47
War/Dance, 381
War against Mrs. Hadley, The, 76
War and Peace (1956), 142, 143, 350
War and Peace (1968), 204, 206,
207
War at Home, The, 257
War Clouds in the Pacic, 73
War Department Report, 81

War Game, The, 189
War Horse, 402, 403
War of the Worlds, The (1953), 131
War of the Worlds (2005), 373
War Photographer, 357
War Room, The, 319
War Witch, 407
Warbeck, Stephen, 345
Warburton, Irvine Cotton, 131, 181
Ward, David S., 224, 226, 318
Ward, Edward, 61, 72, 77, 81
Ward, Fred, 272
Ward, Rachel, 300
Warden, Jack, 233, 234, 239, 252
Ware, Darrell, 72
WarGames, 273
Wargo, Lorand, 147
Warner, Aron, 357
Warner, Frank, 243
Warner, H.B., 58
Warner, Harry M., 9, 61
Warner, Jack L., 9, 153, 157, 178, 180
Warner, Mark, 302
Warner, William J., 323
Warner Bros., 10, 13, 18, 20, 21, 25, 35,
48, 52, 59, 61, 69, 78, 91, 93, 97, 98,
108, 111, 124, 157
Warren, Dave, 394
Warren, Diane, 289, 330, 335, 345,
349, 357
Warren, Gene, 165
Warren, Gene, Jr., 311
Warren, Harry, 43, 50, 61, 69, 72, 77,
81, 93, 127, 131, 147
Warren, John F., 134
Warren, Lesley Ann, 268
Warren, Robert Penn, 112
Warrick, Ruth, 72
Warrington, Bill, 169
Warrior, 402
Warriors of Qiugang, The, 399
Warth, Theron, 97
Wartime Romance, 277
Wary, Joe, 327, 353
Washburn, Deric, 252
Washington, Denzel, 288, 293, 300,
301, 302, 314, 348, 354, 355, 356,
366, 378, 406, 415
Washington, Kerry, 406
Washington, Ned, 69, 72, 81, 85, 115,
127, 131, 135, 147, 161, 169
Washington Square (book; James),
113
Wasp, 369
Wassell, James L., 173
Wasserman, Lew, 224, 227
Waste Land, 399
Watanabe, Ken, 364, 399
Watch on the Rhine, 78, 79, 80
Water Birds, 127
WaterFriend or Enemy, 377
Water Trix, 115
Waterloo Bridge, 68, 69
Waters, Ethel, 115
Waters, John, 35, 39
Waterston, Sam, 275, 276
Waterworld, 326
Watkin, David, 279, 280
Watkins, A.W., 65, 131, 160, 184
Watkins, Gregory H., 302, 306, 326
Watkins, Peter, 189
Wats Pig, 331
Watson, Charles J., 261, 273, 307
Watson, Emily, 330, 344
Watson, John, 227, 260
Watson, Lucile, 80, 92
Watson, Waldon O., 169, 173, 176,
181, 184, 189, 193, 231, 253
Watters, George, II, 284, 294, 306,
311, 327, 345, 357, 365, 377
Watts, Naomi, 364, 406
Watts, Tim, 323
Waugh, Dean, 20
Wax, Steve, 349
Waxman, Franz, 61, 69, 72, 89, 93,
119, 123, 135, 161, 172
Way Back, The, 398
Way Down South, 64
Way He Makes Me Feel, The, 273
Way of All Flesh, The, 18, 19, 21
Way Out of the Wilderness, A, 207
Way Out West, 51
Way We Were, The, 226
Way We Were, The, 195, 226
Way You Look Tonight, The, 47
Wayne, John, 100, 114, 115, 126, 152,
164, 195, 202, 208, 209, 210, 245,
250, 251
Wayne, June, 227
W.E., 402
We Belong Together, 398
We May Never Love Like This
Again, 231
We Mustnt Say Good Bye, 81
We Refuse to Die, 77
Wead, Frank, 61
Weary Kind, The (Theme from
Crazy Heart), 395
Weary River, 23
Weather Underground, The, 365
Weathers, Carl, 236
Weatherstone, Joe, 361
Weatherwax, Paul, 110, 143
Weaver, Jacki, 398, 406
Weaver, Sigourney, 284, 296, 298, 367
Weaving, Hugo, 348
Webb, Clifton, 84, 92, 93, 110
Webb, Elven, 176, 192
Webb, George C., 189, 192, 211, 242
Webb, Ira S., 76, 80, 84
Webb, James R., 176
Webb, Jim, 238, 256
Webb, Kenneth, 39
Webb, Robert, 51
Webb, Roy, 51, 69, 77, 81, 85, 89
Webber, Bob, 345
Webber, James, 345
Webber, Tim, 391
Weber, Billy, 284, 344
Weber, Bruce, 299
Weber, Lois, 393
Weber, Uwe, 403
Webster, Ferris, 139, 173, 176
Webster, Paul Francis, 85, 131, 139,
143, 147, 157, 165, 169, 172, 177, 185,
189, 223, 238, 380
Wechsler, David, 110
Wechsler, Richard, 214
Wedding Banquet, The, 319
Wedge, Chris, 345, 361
Wee Water Wonders, 131
Wee Willie Winkie, 50
Weekend at the Waldorf, 28
Weekly Variety, 17
Weide, Robert B., 345
Weigert, Dedo, 307, 361
Weil, Cynthia, 285
Weill, Kurt, 85
Wein, Marceli, 331
Weinberg, Wendy L., 315
Weingarten, Lawrence, 11, 156, 224,
227
Weingarten, Mark, 391, 398
Weinstein, Harvey, 344, 360, 406
Weinstein, Lisa, 306
Weintraub, Bruce, 277
Weir, Peter, 271, 280, 302, 306, 344,
364
Weisbart, David, 110
Weisberg, Roger, 353, 361
Weisblatt, Aaron D., 285
Weisblum, Andrew, 398
Weisburd, Dan E., 207
Weiser, Stanley, 287
Weisman, David, 278, 280
467
8/21/13 6:59 PM
468
Weiss, Fredda, 285

Weiss, Julie, 326, 360
Weiss, William M., 157
Weisz, Rachel, 370, 371, 372
Weitz, Chris, 360
Weitz, Paul, 360
Weitz, Robert, 335
Welch, Raquel, 188, 199, 208, 216
Welch, Robert L., 124
Welch, Robert W. (Bo), 280, 326,
330, 334
Welch, Sean, 361
Welchman, Hugh, 381
Welcome Stranger, 83
Weld, Tuesday, 242
Weldon, Alex, 211, 215
Weldon, John, 253
Weling, Juliette, 380
Well, The, 122, 123
Welland, Colin, 264
Weller, Michael, 264
Weller, Peter, 319
Welles, Orson, 70, 72, 72, 118, 176,
212, 215, 236
Wellesley, Gordon, 72
Wellman, William A., 19, 50, 115, 134,
338, 405
Wells, George, 147
Wells, Paul, 243, 256
Wells, Robert, 256
Wells Fargo, 51
Welsh, Andrew, 231
Wemken, Nicole, 373
Wenders, Wim, 349, 403
Wente, E.C., 47
Werfel, Franz, 79
Werner, Bernard M., 357
Werner, Bill, 395
Werner, Martin, 381
Werner, Oskar, 184
Werner, Peter, 239
Wertmller, Lina, 236, 238, 363, 393
West, Charles, 139
West, Claudine, 65, 76
West, Jacqueline, 352, 390
West, Kit, 264, 280, 331
West, Mae, 10, 144, 245
West, Mark, 285
West, Ray, 243
West Bank Story, 377
West Point Story, The, 119
West Side Story, 148, 153, 166, 167, 168,
169, 286, 378
Westcott, Lisa, 335, 345, 406
Westenberger, Theo, 294
Westenhofer, Bill, 373, 381, 407
Wester, Keith A., 302, 326, 331, 334,
345, 353
Western Electric Co., 85; Electrical
Research Products, 73, 97
Westerner, The, 66, 68, 69
westerns, 146
Westheimer, Joseph, 235, 311
Westinghouse Electric Corporation,
235
Westlake, Donald E., 306
Westmore, Michael, 277, 280, 285,
330
Westmore, Monty, 311
Weston, Ken, 331, 353
Weston, Maggie, 303
Westrex Corp., 127, 131, 147
Wet Blanket Policy, 111
Wetback Hound, The, 147
Wetzel, Donald E., 345
Wexler, Daniel, 407
Wexler, Haskell, 188, 234, 238, 239,
254, 288, 302, 309
Wexler, Jeff, 331, 365
Wexler, Jerry, 253
Wexler, Norman, 214, 226
Weyl, Carl J., 61, 80
Whale Rider, 364
OSCAR_80_p424-466_8-19-13.indd 468
Whales of August, The, 288

What Are You Doing the Rest of
Your Life?, 211
What Dreams May Come, 344, 345
What Ever Happened to Baby Jane?,
172, 173
What Happened to Santiago, 303
What Next, Corporal Hargrove?, 88
What, No Men!, 39
What on Earth!, 193
What Price Hollywood?, 31
What a Way to Go!, 181
Whatever Will Be, Will Be, 143
Whats Eating Gilbert Grape, 318
Whats Love Got to Do with It, 318
Whats the Matter with Helen?, 218
Whats New Pussycat?, 185
Whats New Pussycat?, 185
Whedon, Joss, 326
Wheeler, Charles F., 214
Wheeler, Lyle R., 50, 61, 64, 69, 84,
88, 93, 96, 115, 119, 122, 123, 126,
130, 134, 138, 142, 156, 160, 176
Wheeler, Rene, 96
Wheeler, Scott, 330
Wheelwright, Ralph, 147
When Abortion Was Illegal: Untold
Stories, 315
When the Day Breaks, 349
When Did You Leave Heaven, 47
When Dinosaurs Ruled the Earth, 219
When Father Was Away on Business,
281
When Harry Met Sally . . . , 302
When Ladies Meet (193233), 35
When Ladies Meet (1941), 73
When Life Departs, 345
When Magoo Flew, 135
When My Baby Smiles at Me, 110, 111
When She Loved Me, 349
When Time Ran Out, 260
When Tomorrow Comes, 62, 65
When We Were Kings, 328, 331
When Willie Comes Marching Home,
119
When Worlds Collide, 122, 123
When You Believe, 345
When You Wish Upon a Star, 69
When Youre Alone, 311
When Youre Loved, 253
Where Love Has Gone, 181
Where Mountains Float, 143
Wherever Love Takes Me, 231
Which Way Home, 395
Whiffs, 235
While I Run This Race, 193
Whisperers, The, 192
Whispers in the Dark, 50
Whistling Away the Dark, 215
Whistling Smith, 235
Whitaker, Craig, 243
Whitaker, Forest, 336, 375, 375, 376
White, George, 96
White, Jeff, 407
White, Jules, 89, 93
White, Merrill G., 143
White, Miles, 127, 135, 143
White, Onna, 195, 204, 207
White, R. Christopher, 403, 407
White Banners, 60, 61
White Bim Black Ear, 253
White Christmas, 135
White Christmas, 74, 77
White Cliffs of Dover, The, 84
White Eagle, 77
White Heat, 115
White Nights, 280
White Parade, The, 39
White Rhapsody, 89
White Ribbon, The, 394, 395
White Savage, 80
White Shadows in the South Seas, 23
White Sister, The, 95
White Wilderness, 157

Whiteford, William A., 349
Whiteley, Jon, 85, 135
Whiteman, Gene, 285
Whiting, Richard A., 47
Whitlock, Albert, 193, 231, 235
Whitlock, Tom, 285
Whitman, Stuart, 168
Whitmore, James, 115, 234
Whitmore, R.D., 169
Whitney, Helen, 243
Whitney, Jack, 68, 69, 73, 76, 8o, 85,
88, 96
Whitney, John, Jr., 277
Whitney, John H., Sr., 281
Whittaker, David A., 331
Whittaker, Ian, 256, 312, 314, 318, 348
Whittaker, Michael, 119
Whittle, Gwendolyn Yates, 395, 398
Whitty, Dame May, 50, 74, 76
Who Am I?, 69
Who Are the DeBolts? And Where Did
They Get Nineteen Kids?, 243
Who Framed Roger Rabbit, 296, 298,
299
Who Is Harry Kellerman and Why
Is He Saying Those Terrible Things
about Me?, 218
Who Killed Cock Robin?, 43
Who Killed Vincent Chin?, 299
Who Wrote the Movie (and What Else
Did He Write?) (book; AMPAS),
196
Whole New World, A, 312, 315,
369, 415
Whoopee!, 27
Whos Afraid of Virginia Woolf?, 163,
186, 187, 188, 189
Whos Who in Animal Land, 85
Why Cant We Be a Family Again?,
361
Why Girls Leave Home, 89
Why Korea?, 119
Why Man Creates, 207
Wick, Douglas, 298, 336, 352, 353
Wider, Jedd, 407
Widmark, Richard, 96, 168, 336
Widmer, Arthur, 369
Widrich, Virgil, 357
Wiedemann, Claus, 315
Wiest, Dianne, 282, 284, 302, 320,
322
Wiig, Kristen, 402
Wilborn, Charles, 306
Wilbur, Claire, 235, 239
Wilcox, Bob, 285
Wilcoxon, Henry, 74, 125
Wild, Harry, 61
Wild, Jack, 204, 206
Wild and the Brave, The, 231
Wild at Heart, 306
Wild Bunch, The, 210, 211
Wild Bunch: An Album in Montage,
The, 331
Wild by Law, 311
Wild Hare, A, 69
Wild in the Streets, 206
Wild Is the Wind, 147
Wild Is the Wind, 147
Wild Life, 403
Wild Strawberries, 160
Wild Thornberrys Movie, The, 360
Wild Wings, 189
Wilde, Cornel, 88, 125
Wilde, Oscar, 89
Wilde, Ted, 21
Wilder, Billy, 65, 72, 84, 86, 87, 88,
110, 116, 119, 122, 128, 130, 134, 147,
160, 162, 164, 172, 186, 188, 289
Wilder, Gene, 206, 231, 248
Wilder, Matthew, 345
Wildest Show in the South: The Angola
Prison Rodeo, The, 349
Wiles, Gordon, 31
Wilhelmina, 119
Wilkinson, Christopher, 326
Wilkinson, John K., 253, 264, 284
Wilkinson, John N., 219
Wilkinson, Ray, 73
Wilkinson, Tom, 356, 380
William Shakespeares Romeo & Juliet,
330
Williams, Barry, 253
Williams, Billy, 214, 264, 268
Williams, Cara, 156
Williams, Chris, 391
Williams, Derek, 189
Williams, Douglas O., 214, 238, 243,
256
Williams, Elmo, 127, 135
Williams, Esther, 278, 293
Williams, Glenn, 310
Williams, Guy, 407
Williams, J. Terry, 189
Williams, JoBeth, 255, 323
Williams, John, 193, 211, 219, 223,
226, 231, 235, 243, 253, 260, 264,
269, 273, 277, 289, 299, 303, 307,
311, 319, 326, 330, 335, 345, 349,
353, 356, 360, 369, 371, 373, 402,
403, 407
Williams, Joss, 403
Williams, Lance J., 357
Williams, Megan, 289
Williams, Michael, 365
Williams, Michelle, 372, 398, 402
Williams, Patrick, 256
Williams, Paul, 226, 231, 236, 238,
256
Williams, Richard, 223, 299
Williams, Robin, 278, 288, 302, 310,
310, 332, 334, 335, 414, 417
Williams, Roger Ross, 395
Williams, Russell, II, 302, 306
Williams, Steve, 323
Williams, Tennessee, 121, 122, 137,
142, 173, 216, 245
Williams, Thomas, 331
Williamson, Geoffrey H., 289, 299,
303, 307, 315
Willimon, Beau, 402
Willingham, Calder, 192
Willis, Bruce, 297
Willis, Edwin B., 47, 73, 76, 80, 84,
88, 93, 115, 119, 122, 123, 126, 130,
134, 138, 142, 147
Willis, Gordon, 254, 273, 306, 384,
393, 395
Willkie, Wendell L., 70
Willow, 299
Wills, Chill, 164, 166
Wills, Mary, 127, 139, 143, 156, 160,
173, 238
Willson, Meredith, 69, 72
Willy Wonka and the Chocolate
Factory, 219
Wilmarth, William H., 73, 77
Wilson, 82, 84, 85
Wilson, Carey, 9, 11, 43
Wilson, Dooley, 78
Wilson, Fred R., 135, 193
Wilson, Janis, 79
Wilson, Jim, 306
Wilson, Juanita, 395
Wilson, Michael, 122, 123, 126, 140,
142, 147, 172, 248, 249, 290
Wilson, Neil, 399
Wilson, Owen, 356
Wilson, Paul, 256
Wilson, Rita, 291
Wilson, Robb. See Royer, Robb
Wilson, S., 169
Wilson, Stuart, 403, 407
Wilton, Bruce, 307, 345
Wimperis, Arthur, 76
Wimpy, Rex, 81
8/21/13 6:59 PM
Winborne, Hughes, 372

Wind and the Lion, The, 235
Windmills of Your Mind, The, 195,
207
Window, The, 115
Windy Day, 207
Winetrobe, Maury, 206
Wineld, Paul, 222
Winfrey, Oprah, 280, 282, 403
Wing, Paul, 43
Wing and a Prayer, 84
Wingate, Ann, 289
Winged Migration, 361
Winger, Debra, 268, 270, 271, 272, 318
Wingrove, Ian, 280
Wings, 18, 19, 21, 154, 194, 24445,
392, 400, 405
Wings of the Dove, The, 334
Wings over Honolulu, 50
Wings over Mt. Everest, 43
Winik, Leslie, 165, 189
Wink and a Smile, A, 318
Winkler, Irwin, 236, 238, 259, 260,
272, 306
Winnie the Pooh and the Blustery Day,
207
Winnie the Pooh and Tigger Too, 231
Winning Strain, The, 189
Winning Your Wings, 77
Winningham, Mare, 326
Winslet, Kate, 326, 333, 334, 342, 356,
368, 376, 383, 390, 391, 393
Winston, Seth, 311
Winston, Stan, 264, 284, 289, 307,
311, 315, 319, 335, 357
Winter, Vincent, 85, 135, 333
Winter Paradise, 131
Winters, Ralph E., 118, 119, 123, 135,
160, 184, 218
Winters, Shelley, 95, 122, 123, 151, 158,
160, 182, 184, 185, 194, 222, 333
Winters Bone, 398
Winterset, 47
Wisdom of Eve, The (story; Orr),
117
Wise, Robert, 9, 73, 153, 155, 156, 166,
168, 182, 184, 188, 189, 193, 212, 247,
249, 378
Wish 143, 399
Wishing, 64
Wishy, Joseph, 269
Wisner, Kenneth, 285
Witches of Eastwick, The, 288, 289
With Babies and Banners: Story of the
Womens Emergency Brigade, 253
With Byrd at the South Pole, 24, 25
With the Marines at Tarawa, 85
With a Song in My Heart, 126, 127, 155
With These Hands, 119
Withers, Jane, 248
Witherspoon, Reese, 370, 372, 372,
388
Witkin, Andrew, 373
Witness, 278, 280
Witness for the Prosecution, 147
Witness From the Balcony of Room
306, The, 391
Witness to Apartheid, 285
Witness to War: Dr. Charlie Clements,
281
Witt, Paul Junger, 302
Witte, Louis J., 111
Wittlinger, Heidi, 361
Wives and Lovers, 176
Wiz, The, 252, 253
Wizard of Oz, The, 62, 64, 65, 245,
301, 385
Wizard of the Strings, The, 281
Wodoslawsky, Stefan, 257
Wofford, Wesley, 369
Wohl, Ira, 257
Wohlrab, Hans C., 173
Wolcott, Charles, 81, 89, 96
OSCAR_80_p424-466_8-19-13.indd 469
Wolf, Arthur H., 211

Wolf, David F., 311
Wolf, Fred, 193
Wolf Men, The, 211
Wolfe, Robert L., 238, 256, 264
Wolfe, Tom, 272
Wolfe, W.V., 88
Wolff, Lothar, 185
Wolff, Perry, 331
Wolfgang, 335
Wolfman, The, 398
Wolforth, Mark, 395
Wolheim, Louis, 24
Wolpaw, James, 281
Wolper, David L., 161, 274, 277
Wolsky, Albert, 256, 269, 280, 310,
314, 380, 390
Woman in the Dunes, 181, 184
Woman in Red, The, 277
Woman in the Window, The, 89
Woman of Affairs, A, 23
Woman of the Town, 85
Woman of the Year, 76
Woman under the Inuence, A, 231
Womark, David, 406
women, historic gathering of Oscar
winners, 294
Women at War, 81
Womenfor America, for the World,
244, 285
Women in Love, 212, 214, 225
Women in War, 68
Women on the Verge of a Nervous
Breakdown, 299
Wonder, Stevie, 277
Wonder Boys, 352, 353
Wonder Man, 88, 89
Wonder of Women, 23
Wonder Why, 123
Wonderful World of the Brothers
Grimm, The, 172, 173
Wong, Anna May, 30, 127
Wood, Matthew, 381, 391
Wood, Michael, 269
Wood, Natalie, 97, 138, 166, 168, 176
Wood, Peggy, 182, 184
Wood, Sam, 63, 64, 67, 68, 76, 80
Wood, Trevor, 381, 407
Woodard, Alfre, 272
Woodburn, Roger, 357
Woodbury, Albert, 211
Woodruff, Tom, Jr., 315
Woods, Frank, 9, 11, 22
Woods, James, 284, 330
Woodstock, 212, 214, 215
Woodward, Joanne, 144, 145, 147,
206, 226, 306
Woody Woodpecker Song, The,
111
Wooley, Kevin, 395
Woolf, Chris, 349
Woolf, James, 160
Woolf, John, 160, 204, 206
Woollard, Joan, 288
Woolley, Monty, 76, 84
Woolley, Stephen, 314
Word, The, 131
Wordless, 331
Work Experience, 303
Working Girl, 298, 299
Workman, Chuck, 285
World According to Garp, The, 266,
268
World Is Rich, The, 97
World of Kids, 123
World That Never Was, A, 238
World War II, 52, 66, 70, 75, 78, 82;
Hollywoods role in, 293
Worrall, George, 311
Worth, Marvin, 223, 230, 231
Wottitz, Walter, 172
Wrangell, Basil, 51
Wreck-It Ralph, 407
Wrestler, The, 390

Wrestling Swordsh, 31
Wright, Arthur, 323
Wright, Bob, 61, 69, 77
Wright, Dean, 373
Wright, Ged, 399
Wright, Jeffrey, 372
Wright, John, 306, 322
Wright, Joseph C., 69, 73, 76, 80, 115,
123, 138, 169, 173
Wright, Robert, 85
Wright, Steven, 299
Wright, Teresa, 55, 56, 72, 74, 75, 76,
78, 90, 100, 170, 266, 333, 337, 359,
367
Wright, William, 194
Writer, The, 56
Writers Guild of America, 378
Written on the Wind, 142, 143
Written on the Wind, 143
Wrong Trousers, The, 319
Wrong Way Butch, 119
Wrubel, Allie, 89, 96
Wrye, Donald, 211, 219
Wunderlich, Jerry, 226, 238
Wunderlich, Renner, 319
Wurtzel, Stuart, 284
Wurzburg, Gerardine, 315, 369
Wuthering Heights, 62, 64, 65, 336
Wyatt, Jane, 95
Wyatt Earp, 322
Wycherly, Margaret, 72
Wydra, Anna, 395
Wyler, Robert, 122
Wyler, William, 45, 47, 56, 59, 64,
68, 72, 74, 76, 90, 93, 113, 115, 122,
130, 142, 151, 157, 158, 159, 160, 172,
184, 185, 205, 336, 340
Wylie, Philip, 122
Wyman, Jane, 92, 93, 99, 100, 103,
108, 109, 110, 122, 134
Wynn, Ed, 160
Wynter, Dana, 153
Wynyard, Diana, 32, 35, 83
Y Tu Mam Tambin, 360

Yad Vashem: Preserving the Past to
Ensure the Future, 303
Yamamura, Koji, 361
Yamashita, Iris, 376
Yan Zhong Fang, 327
Yang, Ruby, 377, 399
Yank in the R.A.F., A, 73
Yankee Doodle Dandy, 56, 74, 75, 76,
77
Yankee Doodle Mouse, 81
Yanks Are Coming, The, 177
Yared, Gabriel, 330, 349, 365
Yarid, Rockwell, 345
Yasui, Lise, 299
Yates, Janty, 352
Yates, Peter, 256, 272, 273
Year of Living Dangerously, The, 270,
271, 272
Year toward Tomorrow, A, 189
Yearling, The, 90, 92, 93
Yeatman, Hoyt H., 302, 345, 349
Yeats Country, 185
Yee Chung Man, 376
Yellow StarThe Persecution of the
Jews in Europe 193345, The, 261
Yentl, 270, 273
Yeoh, Michelle, 352
Yes, Giorgio, 269
Yesterday, 369
Yesterday, Today and Tomorrow, 178,
181
Yeston, Maury, 395
Yevstratov, Lev, 373
Yip, Tim, 352
Yojimbo, 169
Yordan, Philip, 88, 122, 134
York, Gabe, 54
York, Kathleen Bird, 373
York, Susannah, 175, 210
Yoshida, Yuki, 243
Yoshov, Valentin, 168
Yost, Jeffrey, 331
You Are Free (Ihr Zent Frei), 273
You Can Count on Me, 352
You Cant Take It with You, 46, 58, 61
You Cant Win, 110
You Do, 96
You Dont Have to Die, 299
You Keep Coming Back Like a Song,
93
You Light Up My Life, 243
You Must Love Me, 330
You Were Never Lovelier, 76, 77
You Will Be My Ain True Love, 365
Youd Be So Nice to Come Home
To, 81
Youll Be in My Heart, 349
Youll Find Out, 69
Youll Never Get Rich, 72
Youll Never Know, 81
Youmans, Vincent, 39
Young, Andrew, 319
Young, Burt, 236, 238
Young, Dick, 257, 260, 265
Young, Erin Faith, 369
Young, Fred A. (Freddie), 126, 150,
172, 184, 212, 214, 218
Young, Gig, 122, 156, 208, 210
Young, Irwin W., 257, 353
Young, Loretta, 57, 60, 94, 96, 100,
108, 115
Young, Nedrick, 156, 164
Young, Neil, 318
Young, P.C., 135
Young, Peter, 302, 348
Young, Rob, 314
Young, Robert, 73
Young, Victor, 61, 64, 65, 69, 72, 77,
81, 89, 111, 115, 119, 143
Young, Waldemar, 14, 43
Young Americans, 207
Young at Heart, 289
Young Bess, 33, 130
Young Cassidy, 183
Young Frankenstein, 231
Young Girls of Rochefort, The, 207
Young Guns II, 306
Young in Heart, The, 61
Young Land, The, 161
Young Lions, The, 156, 157
Young Mr. Lincoln, 65
Young Philadelphians, The, 160
Young Sherlock Holmes, 280
Young Victoria, The, 394, 395
Young Winston, 222
Youngson, Robert, 119, 123, 135, 139,
143
Your Face, 289
Your National Gallery, 89
Youre a Big Boy Now, 188
Youre a Sweetheart, 50
Youth in Crisis, 81
Youth on Parade, 77
Youve Got a Friend in Me, 326
Yrigoyen, Joe. See Finnegan, Joe
Yu, Jessica, 295, 331
Yuricich, Matthew, 239, 243
Yuricich, Richard, 243, 256, 269
469
Z, 208, 210, 211, 342, 350

Zabka, William, 365
Zadan, Craig, 405
Zaentz, Saul, 233, 234, 274, 276, 328,
329, 330, 331
8/21/13 6:59 PM
Zhle, Max, 403

Zaidi, Nasir J., 299, 345
Zaillian, Steven, 306, 318, 360, 402
Zamecnik, John S., 19
Zamparelli, Elsa, 306
Zanetti, Eugenio, 326, 344
Zanuck, Darryl F., 9, 1314, 18, 48,
51, 52, 60, 61, 67, 82, 85, 92, 95,
100, 114, 117, 119, 172, 328
Zanuck, Lili Fini, 281, 290, 291, 302,
346
Zanuck, Richard D., 234, 235, 268,
281, 291, 302, 304, 307, 346
Zapponi, Bernadino, 238
Zaret, Hy, 139
Zargarpour, Habib, 331, 353
Zaritsky, John, 269
Zastupnevich, Paul, 222, 253, 260

Zavattini, Cesare, 96, 115, 142
Zea, Kristi, 334, 390
Zeff, Paul, 85
Zefrelli, Franco, 206, 269
Zehetbauer, Rolf, 222
Zeitlin, Benh, 406
elary, 365
Z
Zelig, 273
Zeller, Gary, 299
Zelli, Salvatore, 269
Zelli, Sante, 269
Zellweger, Rene, 338, 354, 356, 360,
362, 364, 365
Zemach, Benjamin, 43
Zemeckis, Robert, 280, 320, 321, 322
Zero Dark Thirty, 404, 405, 406, 407
Zeta-Jones, Catherine, 358, 358, 359,

360
Zhao, Xiaoding, 369
Zhou, Joe, 323
Ziegfeld, Florenz, 44
Ziegler, William, 156, 173, 181
Ziering, Amy, 407
Ziff, Stuart, 265
Zimbalist, Sam, 118, 122, 158, 160
Zimmer, Hans, 299, 322, 323, 330,
335, 345, 352, 395, 398
Zimmerman, Don, 253
Zing a Little Zong, 127
Zinnemann, Fred, 101, 110, 123, 124,
126, 128, 129, 130, 160, 164, 165, 172,
186, 187, 188, 242, 244
Zinner, Peter, 223, 253, 269
Zip-a-Dee-Doo-Dah, 96
Zippel, David, 335, 345
Zola, Emile, 48
Zolfo, Victor J., 390
Zollo, Frederick, 298
Zolotarov, Oleksiy, 373
Zophres, Mary, 398
Zorba the Greek, 178, 180
Zsigmond, Vilmos, 242, 252, 277, 376
Zucker, Nathan, 157
Zukerman, Jay, 257
Zukor, Adolph, 20, 111
Zupancic, Dean A., 373
Zus & Zo, 361
Zwaneveld, Ed, 345
Zwick, Edward, 344, 352
Zwigoff, Terry, 356
470
OSCAR_80_p424-466_8-19-13.indd 470
8/21/13 6:59 PM
Photograph Credits
The Academy is grateful to the many companies

that gave their permission for the use of
copyrighted still photographs from Awardwinning productions. The specic shots indicated
below have been reproduced courtesy of:
AB Svensk Filmindustri. All rights reserved. Page
164.
American Broadcasting Companies, Inc. All rights
reserved. Pages 66, 94, 205, 210. Disney/ABC
International.
Associazione Amici di Vittorio De Sica. All rights
reserved. Page 96.
Alex Berliner. Page 420.
Carlton International. All rights reserved. Pages 91,
97, 108, 109, 111, 161, 263, 267, 270.
Castle Hill Productions, Inc. All rights reserved.
Page 64.
Castle Rock Entertainment. Licensed by: Warner
Bros. Entertainment Inc. All rights reserved.
Misery, City Slickers.
CBS Entertainment. All rights reserved. Pages 178,
179.
Columbia Pictures Industries Inc. Pages 36 and
37 (1934, renewed 1962), 46 (1936, renewed
1963), 51 (1937, renewed 1965), 58 (1938,
renewed 1966), 81 (1943, renewed 1971), 112
and 113 (1949, renewed 1977), 117 (1951,
renewed 1979), 128 and 129 (1953, renewed
1981), 132 and 133 (1954, renewed 1982), 183
(1965, renewed 1993), 189 (1965, renewed
1993), 191 (1967, renewed 1995), 204 (1968,
renewed 1996), 205 (1968, renewed 1996), 211
(1969, renewed 1997), 218 and 219 (1971),
220 (1972, renewed 2000), 233 (1975), 254
and 255 (1979), 267 (1982), 318 (1993),
326 (1995). Highland Films, Ltd. Pages 186 and
187 (1962, renewed 1994), 347 (2000), 351
(2000), 361 (2002). Horizon Pictures (G.B.)
Ltd., renewed Columbia Pictures Industries, Inc.
All rights reserved. Pages 144 and 145 (1957,
renewed 1985), 170, 171 and 172 (1962, renewed
1990), 217 (1971, renewed 1999). Rastar Films
Inc. Page 252 (1979). Carolina Bank Ltd.,
and National Film Development Corporation
and Goldcrest Films International, Ltd. Page
266 (1982). Thorn EMI Finance PLC. Page
275 (1984). All rights reserved. Courtesy of
Columbia Pictures. Columbia Pictures/20th
Century Fox 1979 Columbia Pictures
Industries, Inc. All rights reserved. Courtesy
of Columbia Pictures and 1980 Twentieth
Century Fox. All rights reserved. Page 256.
2010 Columbia Pictures Industries, Inc. and
Beverly Blvd LLC. All rights reserved. Courtesy of
Columbia Pictures. Page 398.
Disney Publishing Group. All rights reserved.
Disney Enterprises, Inc. Pages 35, 60, 97, 135,
164, 179, 311, 323. Touchstone Pictures. All
rights reserved. Pages 283, 307, 321. Touchstone
Pictures and Amblin Entertainment, Inc. All
rights reserved. Page 298.
Reprinted with permission of Dreamworks LLC.
Pages 344 (photograph by David James. and
1998 Dreamworks LLC and Paramount
Pictures), 346 (photograph by Lorey Sebastian.
and 1999 Dreamworks LLC), 346 and
348 ( and 1999 Dreamworks LLC), 350
( and 2000 Dreamworks LLC and Universal
Pictures), 350 (photograph by Jaap Buitendijk.
and 2000 Dreamworks LLC and Universal
Pictures), 354 ( and 2001 Universal Pictures
and Dreamworks LLC), 354 (photograph by
OSCAR_80_p424-466_8-19-13.indd 471
Eli Reed. and 2001 Universal Pictures

and Dreamworks LLC), 356 ( and 2001
Dreamworks LLC, reprinted with permission
DreamWorks Animation), 401 ( and 2011
Dreamworks II Distribution Co.), 405 ( and
2012 Dreamworks II Distribution Co. and
Twentieth Century Fox).
El Deseo. Page 349. Photographer: Teresa Isasi.
El Deseo.
Just Betzer Films Inc. All rights reserved. Page 289.
Kadokawa-Daiei Pictures, Inc. Page 122.
1948 King World Productions. All rights reserved.
Page 111.
Kultur Video. All rights reserved. Page 206.
Lions Gate Entertainment Corp. Page 344
(courtesy of Lions Gate Home Entertainment).
Page 355 (courtesy of Lions Gate Films, Inc.
Photograph by Jeanne Louise Bulliard).
Merchant Ivory Productions. All rights reserved.
Pages 285, 313.
Metro-Goldwyn-Mayer Inc. Pages 33 (1933
London Films Productions Limited), 45 (1936
The Goldwyn Entertainment Company),
68 (1940 The Goldwyn Entertainment
Company), 69 (1940 London Films
Productions, Inc.), 90 (1946 The Goldwyn
Entertainment Company), 132 (1954 United
Artists Corporation), 157 (1958 AnthonyWorldwide Productions), 162 (1960), 163
(1960 Elmer Gantry Productions), 166 and
167 (1961 United Artists Corporation), 168
(1961 United Artists Corporation), 170 (1962
Playlm Productions, Inc.), 174 and 175 (1963
Woodfall Film Presentations Ltd.), 174 (1963
Rainbow Productions, Inc.), 185 (1965 Mrs.
Joyce Coe), 186 (1966), 190 (1967), 208 and
209 (1969), 212 (1969 Larry Kramer), 217
(1971 Mirisch Productions Inc. and Cartier
Productions, Inc.), 236 (1976 United Artists
Corporation), 237 (1976 United Artists
Corporation), 251 (1978), 259 (1980 United
Artists Corporation), 284 (1986 Orion
Pictures Corporation), 287 and 288 (1987),
296 (1988 Orion Pictures Corporation),
297 (1988), 299 (1988 Orion Pictures
Corporation), 304 (1990 Tig Productions,
Inc.), 308 and 309 (1991 Orion Pictures
Corporation), 321 (1994 Orion Pictures
Corporation), 324 (1995 Initial Productions,
S.A. Courtesy MGM Clip+Still).
Miramax Films. All rights reserved. Pages 301, 303,
317, 322, 323, 327, 328, 329, 330, 331, 335, 342,
343, 347, 355, 358.
New Line Cinema. Licensed by: Warner Bros.
Entertainment Inc. All rights reserved. Mephisto,
Shine.
Objektiv Film Studio. All rights reserved. Page 264.
Orly Films. All rights reserved. Page 315.
Pandora. Page 328.
Paramount/Viacom. 2002 by Paramount
Pictures. All rights reserved. Courtesy
Paramount Pictures. Pages 18, 19, 95, 116, 117, 122,
123, 124, 125, 128, 130, 134, 137, 175, 177, 207, 209,
220, 221, 225, 227, 228, 230, 258, 263, 265, 268,
270, 271, 283, 288, 297, 306, 314, 320, 321, 325.
Polygram/ITC. All rights reserved. Courtesy of
PolyGram. Pages 278, 279, 282, 325, 327, 329.
Recorded Picture Company. Page 286.
Republic. All rights reserved. Courtesy of Republic
Entertainment, Inc. Page 126.
Romulus Films Ltd. All rights reserved. Page 121.
Roy Export Company Establishment. All rights

reserved. Pages 21, 222.
Saul Zaentz Company. All rights reserved.
Courtesy Saul Zaentz Company. Pages 232 and
233 (1975), 274 ( 1984), 328, 329 and 331
(1996 Tiger Moth Productions).
Sostar Productions. All rights reserved. Page 169.
StudioCanal Image. All rights reserved. Pages 118,
183, 191, 205, 238, 272, 310.
Summit Entertainment LLC. Pages 392, 393
(2009).
1954 Toho Co., Ltd. All rights reserved. Page 139.
Touchstone Pictures. All rights reserved. Pages 283,
307, 321 (Touchstone Pictures). Touchstone
Pictures and Amblin Entertainment, Inc. All
rights reserved. Page 298 (Touchstone Pictures
and Amblin Entertainment, Inc.).
TriStar Pictures, Inc. All rights reserved. Pages 275
(1984), 301 (1989), 310 (1991), 317 (1993),
322 (1994), 330 (1996), 332 (1997).
Turner Entertainment Co. An AOL Time
Warner Company. Licensed by: Warner Bros.
Entertainment Inc. All rights reserved. The
Broadway Melody, The Divine Lady, Disraeli, The
Divorcee, Cimarron, A Free Soul, Min and Bill,
Grand Hotel, Dr. Jekell and Mr. Hyde, The Champ,
The Sin of Madelon Claudet, Morning Glory, Little
Women, The Gay Divorcee, Mutiny on the Bounty,
The Informer, The Broadway Melody of 1936,
Dangerous, The Great Ziegfeld, The Story of Louis
Pasteur, Anthony Adverse, The Life of Emile Zola,
Captains Courageous, The Good Earth, Jezebel,
Boys Town, Gone with the Wind, Stagecoach,
Goodbye, Mr. Chips, Sergeant York, Citizen Kane,
Lady Be Good, Mrs. Miniver, Yankee Doodle
Dandy, Two-Faced Woman, Johnny Eager, Woman
of the Year, Casablanca, Watch on the Rhine, None
but the Lonely Heart, Gaslight, Meet Me in St.
Louis, National Velvet, Mildred Pierce, The Picture
of Dorian Gray, The Yearling, The Treasure of the
Sierra Madre, Johnny Belinda, Key Largo, The
Barkleys of Broadway, She Wore a Yellow Ribbon,
King Solomons Mines, An American in Paris, The
Bad and the Beautiful, Lust for Life, Gigi, Ben-Hur,
Buttereld 8, Sweet Bird of Youth, The V.I.P.s, 7
Faces of Dr. Lao, A Patch of Blue, The Subject Was
Roses, Ryans Daughter, A Touch of Class, The
Sunshine Boys, The Goodbye Girl, Fame, The Year
of Living Dangerously.
Twentieth Century Fox Film Corporation. All
rights reserved. Pages 18 (1927), 18 (1928), 19
(1927), 20 (1927), 23 (1929), 30 (1931),
32 (1933), 49 (1938), 60 (1938), 67 and 68
(1940), 70 and 72 (1941), 77 (1942), 79
(1943), 79 (1944), 84 (1944), 88 (1945),
92 (1946), 94 and 95 (1947), 97 (1947), 114
(1949), 116 and 117 (1950), 127 (1952), 131
(1953), 141 (1956), 142 (1956), 145 (1957),
160 ( 1959), 180 (1964), 182 (1965), 188
(1966), 208 (1969), 210 (1969), 212 and
213 (1970), 215 (1970), 216 (1971), 226
(1973), 229 (1974), 241 (courtesy Lucas
Film Ltd.), 242 and 243 (1977), 255 (1979),
256 (1979), 262 (1981 20th Century
Fox [International] and Warner Brothers
[Domestic]), 281 (1985), 287 (1987), 314
(1992), 334 (1997), 356 (1999), 394
(2009), 407 (2012). Fox Searchlight. Pages
388 (2008), 397 (2010).
Twentieth Century Fox Film Corporation and
Paramount Pictures Corporation. Pages 324 and
325 (1995), 332 and 333 (1997).
United China Vision Incorporated. Page 352.
471
8/21/13 6:59 PM
Universal Studio Licensing LLLP. All rights

reserved. Universal Pictures Corporation.
Pages 24 (1930), 118 (1950), 142 (1956),
214 (1970), 224 (1973), 235 (1975), 259
(1980), 260 (1981), 278 and 279 (1985),
302 (1989), 313 (1992), 326 (1995), 367
(2004), 380 (2007), 405 (2012). Universal
Pictures Corporation & Bryna Productions, Inc.
Page 165 (1960). Pakula-Mulligan Productions,
Inc. and Brentwood Productions, Inc. Page 171
(1962). Universal Pictures Corporation and
Amblin Entertainment, Inc. Pages 316 (1993),
319 (1993). Universal Studios and Columbia
Pictures Industries, Inc. Page 351 (2000).
Paramount Pictures. Page 27 (1931), 80
(1943), 82 and 83 (1944), 86 and 87 (1945),
91 (1946), 113 (1949). Paramount Publix

Corporation. Page 30 (1932). EMKA, Ltd. Page
38 (1934). EMI Films, Inc. Page 250 and 251
( 1978). Focus Features. Pages 371 ( 2005),
371 (2005), 389 (2008), 401 (2011). Focus
Features and Film Four, Ltd. (2004). Gramercy
Films LLC. Page 351 (2000). R.P. Productions,
S.A., Studio Babelsberg GmbH, Heritage Films
Sp. Z o.o., Runteam Limited. Page 359 (2002).
Voltage Pictures. Pages 392, 393 (2009).
Licensed by: Warner Bros. Entertainment Inc.
All rights reserved. East of Eden, Mister Roberts,
Around the World in 80 Days, Giant, What Ever
Happened to Baby Jane?, Whos Afraid of Virginia
Woolf?, Bonnie and Clyde, Cool Hand Luke, Klute,
The Candidate, Day for Night, Alice Doesnt Live
Here Anymore, All the Presidents Men, Being

There, Chariots of Fire, Arthur, The Right Stuff,
The Killing Fields, Purple Rain, The Mission, The
Accidental Tourist, Driving Miss Daisy, Reversal
of Fortune, Good Fellas, Unforgiven, The Fugitive,
L.A. Condential, The Dark Knight, The Blind Side,
Inception, Argo.
The Weinstein Company. Pages 390 (2008),
391 (2008), 396 (2010), 400 (2011), 401
(2011), 406 (2012), 406 (2012).
David Weisman. Page 278.
The Academy apologizes if it failed to properly
thank or credit any person or entity that
contributed to this publication. Additional art
credit information is available upon request.
472
OSCAR_80_p424-466_8-19-13.indd 472
8/21/13 6:59 PM
OSBORNE
Robert Osborne is host of Turner Classic Movies

(TCM) and serves as the ofcial host for the TCM
Classic Film Festival. For more than twenty-ve
years, Osborne was a reporter and columnist for
The Hollywood Reporter, one of the industrys most
important newspapers. He has written a dozen
books on the lm world, many of them focused on
the Academy of Motion Picture Arts and Sciences,
and has frequently served as host of the Academys
in-person tributes, in both Beverly Hills and New
York. Osborne earned a star on the Hollywood
Walk of Fame in 2006 and in 2008, received a
special award from the National Board of Review
for his contributions as a lm historian.
AL S O AVAIL AB LE
F RO M ABBE VILLE P R E SS
Starstruck
Vintage Movie Posters from Classic Hollywood
By Ira M. Resnick
Foreword by Martin Scorsese
ISBN 978-0-7892-1019-7
$65
Stories My Father Told Me
ABBEV IL L E P R E SS
137 Varick Street
New York, NY 10013
1-800-A rtb ook (in U.S. only)
Available wherever ne books are sold
I say this softly, the Oscar along with the Academy or the Academy
along with the Oscar, could not have a better lm historian or
human being who loves what the Academy and statuette stands for.
A friend, Bill Cosby
No one knows more about Oscar historyor chronicles it with greater
enthusiasmthan the one and only Robert Osborne. I look forward to
each new edition of this handsome and valuable book.
Leonard Maltin
This terric resource on the Academy Awards offers all things Oscar.
Library Journal
Notes from The Lyons Den

By Jeffrey Lyons
Foreword by Charles Osgood
ISBN 978-0-7892-1102-6
$35
Robert Osborne keeps the legend of Hollywood alive and well!

Drew Barrymore
ABO UT THE AU T H OR
85
YEARS
OF THE
OSCAR
media , film & television / reference
Robert Osbornes knowledge and love of movies is

extraordinary! 85 Years of the Oscar is a must read for
everyone who loves movies. Who doesnt love movies
and who doesnt love Robert Osborne?
Eva Marie Saint
It is a beautiful book!
Good Morning America
A must own for any serious fan of lm.
IMDb.com, The Internet Movie Database
A must-have for any Hollywood buff.
iVillage.com
Selection: Top Ten Performing Arts Books, 2013
Publishers Weekly
BY ROBERT OSBORNE
or the lm industry, the Academy Awards is the

most celebrated and most signicant night of the
year: everyone longs for the recognition of being
nominated to win a golden statuette. For most of us,
however, even a walk down the red carpet is just a dream.
85 Years of the Oscar puts readers into those iconic plush
seats for the thrill of the Academy Awards, from the rst
show in 1928, shortly after the introduction of the talking picture, to this years eighty-fth anniversary.
With over 750 photographs and surprising details
from each years awards revealed by lm historian
Robert Osborne, 85 Years of the Oscar is the only ofcial
history of the Academy Awards. Organized by year, 85
Years of the Oscar chronicles the ceremonies themselves,
as well as the accomplishments, trends, developments,
and events that occurred, both within the Academy and
for the lm industry as a whole. Osborne comments on
each years most important lms and shares the stories
behind them. He also transports readers into the awards
show, quoting from notable acceptance speeches and
celebrity reactions, as well as sharing anecdotes from
each year. All award nominees and winners are listed,
with a special listing of Oscar record-holders.
An indispensable and encyclopedic reference for the
amateur and expert alike, from the aspiring actor to
the lm critic, this book has been a popular favorite
since its rst edition was published twenty-four years
ago, just after the sixtieth awards ceremony. 85 Years of
the Oscar provides an authority and depth of coverage
found nowhere else, and it is sure to please movie-goers
around the world.
BY ROBERT OSBORNE
THE OFFICIAL HISTORY OF THE ACADEMY AWARDS
Visit us at www.abbeville.com
Printed in China
A M PA S
Oscar85_jack_mech_output_rev8.20.indd 1
8/20/13 4:08 PM

85 Years of The Oscar

Uploaded by

Copyright:

Available Formats

85 Years of The Oscar

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

85 Years of The Oscar

Uploaded by

Copyright:

Available Formats

OSBORNE

Robert Osborne is host of Turner Classic Movies

Stories My Father Told Me

Notes from The Lyons Den

Robert Osborne keeps the legend of Hollywood alive and well!

85 YEARS OF THE OSCAR

media , film & television / reference

Robert Osbornes knowledge and love of movies is

85 YEARS OF THE OSCAR

or the lm industry, the Academy Awards is the

THE OFFICIAL HISTORY OF THE ACADEMY AWARDS

85 YEARS OF THE OSCAR

THE OFFICIAL HISTORY OF

abbeville press publishers

Dedicated to the Founders of the Academy,

editors: Joan Strasbaugh

The Beginning ............................................ . . . 7

The First Decade ........................................ . . 10

The Second Decade .................................. . . . 52

The Third Decade ...................................... . 98

The Fourth Decade ................................... 148

The Fifth Decade ...................................... . 194

The Sixth Decade ...................................... 244

The Seventh Decade .................................290

The Eighth Decade ................................... . 33 6

The First Half of the Ninth Decade ..... 382

n 1928, no one knew better than Mary

hundreds of short subjects) each year for

WHAT THE ACADEMY MEANS TO ME

The Academy is the League of Nations of the Motion

to head up a new self-policing body for the

Still, more change was inevitable, one way

William Cameron Menzies

On May 4, 1927, the articles of incorporation for

four men planned a dinner for the following

a week later, on May 11, 1927, a festive and

bodies have done for other arts and sciences

tion to live up to its idealistic early hopes for itself.

Robert E. Wise, President

ay, 1927: the same month the

arguing that costs couldand shouldbe

I wish to take this glorious opportunity to express my

Advice to young actors winning Oscars: Enjoy! Dont

country for sound equipment to cash in on

The effort to win votes by advertising, selling,

Academy Awards are in all good faith. An attempt to

Moving again in 1935, the accounting and

Henry B. Walthall, D.W. Grifth

tions eld have been more durable. In 1933,

What can one say about receiving the Academy Award

I came to Hollywood in 1935, not to seek a career

The Academy of Motion Picture Arts and Sciences is,

goodwill with the public included such

continue, scratch production plans, or shut

The Academy Awardwhat shall I say? I shall jot

old; but Luise is a young girl; we just have made her

is what I felt then. Now I feel that it is wonderful to

and he received a vote of no condence from

Fredric March, wife Florence Eldridge