80 Years of the Oscar: The Official History of the Academy Awards by Misha Beletsky

1057-2 JKT 4/c YELO MAG CYAN BLACK

(continued from front flap)

80 Years of the Oscar opens with a history of the founding of the Academy, detailing the organization’s aims and covering the background of the establishment of these highly coveted awards. The rest of the book is divided into decades, with lively overviews that document trends, track new developments, and capture the thrills of the film industry’s most significant and popular events. For each year author Robert Osborne presents the range of movies in competition and contemporary reaction to and from the winners, describing memorable moments of the evening’s events. Each chapter concludes with a complete list of nominees in all categories, plus the winners in each. The annual illustrations include evocative stills from many of the winning films, and candid shots of the celebrities in attendance. Altogether this book is illustrated with more than 750 photographs, and also includes the original movie posters for every year’s best picture. With illustrations that are themselves worth an Oscar, this is an unparalleled reference source for the film buff and scholar. This superb volume, like the world’s most recognizable award statuette, is a golden treasure.

Years of the Oscar

“Features a year-by-year rundown of nom inations and winners, plus dozens of Oscars memories.” —People “A well-organized and well-indexed reference source on award nominations, winners, and ceremonies. Osborne’s extensive coverage of the ceremonies themselves is probably his most unique contribution. . . . A very readable and visually attractive presentation of a popular subject, as well as a solid reference source.” —Choice

f all the thousands of achievement awards presented each year, none captures so many people’s imaginations in the same compelling way as the Oscar. Every year hundreds of mil lions of viewers around the world watch the Academy Awards® ceremony. Since 1927 the Academy of Motion Picture Arts and Sciences has presented the Oscar, the film world’s preeminent recognition of excellence. The 80th Academy Awards ceremony, held February 24, 2008, was filled with memorable moments, passionate speeches, and stirring testimo nials to the enduring magic of movies and the people who make them. With an entertaining text and starstudded photographs, this expanded and updated edition is the only official history of the Academy Awards, presenting the story of the Oscar from its banquet beginnings at the Hollywood Roosevelt Hotel to the 80th awards ceremony, held at the 3,401-seat Kodak Theatre. Combining Hollywood insider Robert Osborne’s cogent observations and the Academy’s exceptional historical and photographic archives, this book is unrivaled in illustration, accuracy, and completeness.

O f F I ci a l H i st o ry

a.m.p.a.s.®

of the

Ac a d e m y Awa r d s

Ab b e v i l l e P r e s s

137 Varick Street New York, NY 10013 1-800-Artbook (in U.S. only) Available wherever fine books are sold Visit us at www.abbeville.com

robert osborne

Printed in China

(continued on back flap) ©

“Unique . . . by virtue of the number and quality of its hundreds of illustrations.” —Los Angeles Times Book Review

the

Reel Art Great Posters from the Golden Age of the Silver Screen By Stephen Rebello and Richard Allen i sb n 978-0-89659-869-0 $75.00

p rai s e f or p re vi ou s e d i ti on s

Osca r ©

robert osborne

of the

Al s o ava i l a b l e f ro m A b b ev ille P r e s s

Years of the Oscar

Years

robert osborne is a columnist and critic for The Hollywood Reporter, one of Hollywood’s most important daily newspapers, and primetime host and anchor on the Turner Classic Movies cable television network. He has written a dozen books on the film world, many of them focused on the Academy of Motion Picture Arts and Sciences. He is also a frequent host of the Academy’s in-person tributes, in both Beverly Hills and New York.

fi lm

a.m.p.a.s.®

80 Years of the Oscar 速

abbeville press publishers new yorkâ&#x20AC;&#x192; london

robert osbor n e

Years of the Oscar 速

the OfFIcial History of the Academy Awards

robert osborne

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: Bruce Davis, Mikel Gordon, and Erin Dress production editor: Michaelann Millrood photographic archivist: Val Almenderez historians: Patrick Stockstill, Lucia Schultz, and Libby Wertin production director: Louise Kurtz jacket design and typography: Misha Beletsky layout: Advantage Graphics composition: North Market Street Graphics Library of Congress Cataloging-in-Publication Data Osborne, Robert A. 80 years of the Oscar : the official history of the Academy Awards / Robert Osborne. —1st ed. p. cm. ISBN 978-0-7892-0992-4 (hardcover : alk. paper) 1. Academy Awards (Motion pictures) 2. Motion pictures—United States—History. I. Title. II. Title: Eighty years of the Oscar. PN1993.92.O83 2008 791.43079—dc22

2008030022

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 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 Hong Kong. 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.

Table of Contents

The Beginning. .................................. 7

1927–1937

The First Decade............................. 10

1938–1947

The Second Decade........................ 52

1948–1957

The Third Decade........................... 98

1958–1967

The Fourth Decade. ...................... 148

1968–1977

The Fifth Decade. .......................... 194

1978–1987

The Sixth Decade.......................... 24 4

1988–1997

The Seventh Decade.................... 290

1998–2007

The Eighth Decade.. ...................... 336

Awards Ceremonies...................... 382 Academy Facts and Records....... 396 Index.. ................................................. 398

1927–28 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 Rockne’s Notre Dame football team became the year’s national champion, Wall Street had its thunder- ing 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 first 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 Academy’s organization, but little business was done that night beyond the presentation of the Academy’s awards of merit and certificates 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 five dollars to their hosts). After a dinner of Fillet of Sole Sauté au Beurre, Half Broiled Chicken on Toast, New String Beans and Long Branch Potatoes, preceded by Consommé 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 official nominees and five other judges made the final

decisions. Fairbanks then made the official presentations while William C. de Mille called the winners to the head table. In explaining the difficulty the five final judges had in making their selections, he com- mented, “It is a bit like asking, ‘Does this man play checkers better than that man plays chess?’ ” Twelve awards were presented at this first dinner, and twenty additional certificates 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 first individual to actually receive an Academy statuette, later called an “Oscar.”) All the honored films were silent ones, and Wings was chosen the outstanding picture of the year, Janet Gaynor was named best actress for her work in three films (7th Heaven, Street Angel, and Sunrise), and the Academy, for the first 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 b e s t a c t r e 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 O’Brien; directed by F.W. Murnau), all Fox films. New to the screen, Janet Gaynor was the Academy’s first Award-winning actress, chosen on the basis of three films, all of them silent. Later, she smoothly adjusted to the coming of sound films and was again nominated in 1937, for her performance in A Star Is Born.

Osborne_01_r3.r.indd 18

8/6/08 3:13:38 PM

b e s t p i c t u r e : wings (Paramount; produced by Lucien Hubbard) was the story of World War I aviation and, specifically, two American aviators (Charles “Buddy” Rogers and Richard Arlen) both in love with the same hometown beauty (Clara Bow). It was a silent film, 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 first found its mass audience and support.

best actor: 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 figure in the German film industry, he went to Hollywood and stayed until the advent of talking pictures. He was not

Osborne_01_r3.r.indd 19

only the first actor to win an Academy Award, but the first 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 definition, that also makes him the first no-show winner at an Academy Award presentation.

8/6/08 3:13:42 PM

s pecial awar d: to Warner Bros. for producing The Jazz Singer (above, with Al Jolson), “the pioneer outstanding talking picture which has revolutionized the industry.” The film opened during the Academy’s 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-film had become a country-wide sensation, and silent films were suddenly passé.

best dr amatic dir ector: Frank Borzage (with Charles Farrell sitting in the trench) for 7th Heaven (Fox). Borzage made a bona fide classic, in the best tradition of silent screen romance, with his adaptation of Austin Strong’s stage play

about a young Montmartre waif whose faith and loyalty bring her lover back from the World War I battlefield. The film was additionally honored for Benjamin Glazer’s 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 Fed- erated Women’s 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 film, photographed at Paramount’s Long Island, New York, studios and featuring Adolph Zukor visiting with Douglas Fairbanks, was shown, then Al Jolson—in person—brought the evening to a close. Years later, Miss Gaynor recalled the evening. “Naturally, I was thrilled,” she said. “But being the first year, the Academy had no background or tradition and it naturally didn’t mean what it has come to mean. Had I known then what it would come to mean in the next few years, I’m sure I would have been overwhelmed. But I still remember that night as very special, a warm evening, and a room filled 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!”

Osborne_01_r3.r.indd 20

8/6/08 3:13:44 PM

Nominations 1927–28

note: For the first 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” certificates.

WR ITI NG (adap tation)

ALF RED COH N, The Jazz Singer, Warner Bros. ANTHONY COLDEWAY, Glorious Betsy, Warner

Bros. * BENJAMIN GLAZER , 7th Heaven, Fox. (or iginal story)

LAJ OS BIRO, The Last Command, Paramount Famous

OUTSTAND ING PI CTURE

T HE RAC KET, The Caddo Company, Paramount

Famous Lasky.

7 T H HEAVEN, Fox.

* WINGS, Paramount Famous Lasky.

UN IQ UE AND ARTI STI C PI CTURE

C HANG , Paramount Famous Lasky. T HE CROWD , M-G-M. * SU NRISE, Fox.

ACTOR

RIC HARD BARTHELMESS in The Noose, First

National, and The Patent Leather Kid, First National. * EMIL JANNINGS in The Last Command, Paramount Famous Lasky, and The Way of All Flesh, Paramount Famous Lasky.

ACTRESS

LOU ISE DRESSER in A Ship Comes In, DeMille

Pictures, Pathé Exchange. * JANET GAYNOR in 7th Heaven, Fox, Street Angel, Fox, and Sunrise, Fox. GLORIA SWANSON in Sadie Thompson, Gloria Swanson Productions, UA.

D IRECT I NG (comedy pictur e)

(note: Award not given after this year.) * LEWIS MILESTONE for Two Arabian Knights, The Caddo Company, UA. TED WILD E for Speedy, Harold Lloyd Corp., Paramount Famous Lasky. C HARLES C HAP LIN, “. . . 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 first 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 HEC HT, Underworld, Paramount Famous Lasky. (title wr iting)

(note: Award not given after this year.)

GERALD D U F FY, The Private Life of Helen of Troy,

First National. * J OSEP H FARNHAM.

GEORGE MARION, J R .

C INEMATO GRAP HY

GEORGE BARNES, The Devil Dancer, Samuel

Goldwyn, UA, The Magic Flame, Samuel Goldwyn, UA, and Sadie Thompson, Gloria Swanson Productions, UA. * C HARLES ROSH ER , Sunrise, Fox. * KARL STRU SS, Sunrise, Fox.

ART DI RECT ION

ROC H US GLIESE, Sunrise, Fox. * WILLIAM C AMERON MENZIES, The Dove, Norma Talmadge Productions, UA, and Tempest, Feature Productions, UA HARRY OLIV ER, 7th Heaven, Fox.

ENGI NEER ING EFF ECTS (note: Award not given after this year.) RALP H HAMMERAS. * ROY POMEROY, Wings, Paramount Famous Lasky. NU GENT SLAU G H TER .

(note: Though no specific titles were indicated during the presentation on May 16, 1929, or in the official 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 PEC I AL AWARDS

TO WARNER BROS . for producing The Jazz Singer,

the pioneer outstanding talking picture, which has revolutionized the industry. (statuette) TO C HARLES C HA P LIN for acting, writing, directing and producing The Circus. (statuette) * INDIC ATES WINNER

(dr amatic pictur e)

s p e c i a l awa r d : C harles C haplin (above) in The Circus. Chaplin was very much in evidence during the Academy’s first 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.

* FRANK BORZAGE for 7th Heaven, Fox. HERBERT BRENON for Sorrell and Son, Feature Productions, UA. KING VI D OR for The Crowd, M-G-M.

b e s t c o m e d y d i r e c to r: Lewis Miles tone for Two Arabian Knights (United Artists) with William Boyd and Mary Astor (right). For the first 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.

Osborne_01_r3.r.indd 21

8/6/08 3:13:46 PM

1968–1977 The Academy’s Fifth Decade

he Academy’s fifth decade saw the fulfillment of that dream which had been in the making for almost fifty years: a new, specially designed headquar- ters for the organization, and for the first time all of the Academy’s 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 Academy’s activities were initially organized into the seven floors as follows: Ground floor: grand lobby, patio, building foyer, theater manager’s office, caterers’ workroom; Second floor: Samuel Goldwyn Theater (1,111 seats), lobby display of one-sheet posters of past Academy Award–winning films; Third floor: special screening room (80 seats), projection booth, editing room, film storage area; Fourth floor: Margaret Herrick Research Library; Fifth floor: library storage area; Sixth floor: Academy membership office, Academy Players Directory office, Scientific and Techni- cal Awards office, theater operations office, administrative office; Seventh floor: executive offices for the Academy president, executive director, Board of Gover- nors’ conference room.

Groundbreaking for the site took place on September 18, 1973, and the official 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 first 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 1927–28 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 encom- passes stills, scripts and press material from more than 2,200 Paramount releases, dat- ing to the earliest silent film days. The opening of the new Academy building provided the space for the proper filing 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 How- ard 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

“I’m very grateful to the Academy’s 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 remem- bering the quiet patience of the directors who were so kind to me, who were kind enough to put up with me more than once—some 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 didn’t know. I realize it’s conventional and usual to praise one’s 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 one’s appreciation and admiration and

Osborne_05_r3.r.indd 194

affection for all those who contribute so much to each of our welfare? You know, I’ve never been a joiner or a member of any—oh, particular—social set, but I’ve been privi- leged to be a part of Hollywood’s most glorious era. And yet, tonight, thinking of all the empty screens that are waiting to be filled with marvelous images, ideologies, points of view—whatever—and 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 there’s 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

8/6/08 3:33:19 PM

John Wayne, Barbra Streisand (42nd Awards)

Cary Grant (42nd Awards)

195 JOHN WAYN E

“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 wouldn’t 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, ‘Don’t let anybody tell you this isn’t terrific.’ ”

Joel Grey Best Supporting Actor, 1972 M A RT H A R AY E

“One of the proudest moments of my life was receiving the Oscar for the Jean Hersholt Humanitarian Award. Ever grateful.”

Martha Raye Jean Hersholt Humanitarian Award, 1968

Osborne_05_r3.r.indd 195

O N N A W H I TE

“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 Honorary Award, 1968 A L A N A N D MARILYN BERGMAN

“About winning the Oscar? It’s all been said—and 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 dazzling—a thrill—but, 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

8/6/08 3:33:27 PM

The Dorothy Chandler Pavilion of the Los Angeles Music Center

the Academy’s first 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 film 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, filling 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 comprehen- sive book, Introduction to the Photoplay, was published in 1978 as a limited edition by the National Film Society, with the Academy’s involvement and cooperation. The book

is based on previously unpublished works compiled from fifteen lectures delivered back in 1929 at the University of Southern California by leading film 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 flourish 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 Os- car. 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 sentimental- ity 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 Best Actress, 1944; 1956 Best Supporting Actress, 1974

Osborne_05_r3.r.indd 196

JOEL HIRSCHHORN

“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 Best Supporting Actress, 1975

G E N E H AC 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 first 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 films I take a certain pride in having worked on. I’ve 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 Coppola’s The Conversa- tion made. It’s hard for me to believe that the power of the scripts and the talent-value of the creators involved wouldn’t have made the films inevitable. But Holly wood is filled with that kind of contradiction. If my Oscar was put into the realization of two worthwhile films, chalk another two up for Oscar.”

Gene Hackman Best Actor, 1971 Best Supporting Actor, 1992

8/6/08 3:33:33 PM

Roger Moore, Liv Ullmann, “Sacheen Littlefeather” (45th Awards)

Lillian Gish, Melvyn Douglas (43rd Awards)

Charlie Chaplin comes home, April 10, 1972

197 CL ORIS LEAC H 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 wasn’t necessary at that point in my career but I certainly felt loved, and it was terrific!”

Cloris Leachman Best Supporting Actress, 1971

Osborne_05_r3.r.indd 197

C L I F F RO B E RT S O 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 G O L D I E H AW N

“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 didn’t 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 Best Supporting Actress, 1969

TAT 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 called—I was lifted up into another world, leaving many childish things behind, but happily. I love my profession. It is important and noble.”

Tatum O’Neal Best Supporting Actress, 1973 V E R N A F I E LDS

“Winning the Oscar is for anyone in our industry the ultimate accolade from one’s 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

8/6/08 3:33:36 PM

excess of ten thousand individual players. More than fifteen hundred copies per issue were now being distributed. The Bulletin had become equally indispensable, as the only regularly published reference book compil- ing current individual screen credits. The Student Film Awards program was in- augurated in 1973 as a program of the Acad- emy and the Academy Foundation, and later co-sponsored by the American Telephone and Telegraph company, to recognize and encourage excellence in college filmmak- ing. 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 films judged in four specific categories: dramatic, animated, documentary and experimental films. Hon- orary awards were now also given to films of exceptional merit not otherwise recognized in the competition. The Marvin Borowsky Lectureship on Screenwriting was established in 1974 by Mr. Borowsky’s 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 film 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 filmmakers, 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 administer- ing the program. One of the projects of the Academy Foundation (established in 1944) has been

the annual disbursement of grants, fellow- ships and internships to individuals and/or organizations, to support and encourage a wide spectrum of film-related projects. The Academy Internship Program, administered by the American Film Institute, allows film 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 film sciences, selected with the cooperation of the Society of Motion Picture and Television Engineers, and financial assistance

198 SIR JOHN MIL L S

“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. Best Supporting Actor, 1970 GEORGE ROY H I L L

“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

Osborne_05_r3.r.indd 198

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 one’s name called, one doesn’t care about himself, but is concerned that his wife, children and friends are proud of him—to 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! I’m 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

BEN JOHNSON

“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 couldn’t have happened to a nicer feller!’ ”

Ben Johnson Best Supporting Actor, 1971 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

8/6/08 3:33:38 PM

Charlton Heston, Susan Hayward (46th Awards)

199 JOHN SC HLE S I NG E R

“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 our- selves 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.

Osborne_05_r3.r.indd 199

In many ways it was the best way to hear the news. There was not much work done on the set that day—too 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 one’s colleagues and peers.”

John Schlesinger Best Director, 1969 B E AT R I C E ST R A 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 life—full 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 Best Supporting Actress, 1976

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 Best Supporting Actress, 1972 C A R M I N E C OPPOL 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

8/6/08 3:33:40 PM

David Niven and friend (46th Awards)

to several scholarly projects involving such fields as animation and set design. But the decade wasn’t all confined to scholarly endeavors. On May 11, 1977, fifty 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 Oscar’s Fiftieth Anniversary officially began in the same room, filled with a towering birthday cake, attended by Academy leaders, film industry executives, civic officials and friends, and emceed by Bob Hope.

Lawrence Weingarten, 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 Rep- resentatives, and President Jimmy Carter. Life memberships were presented to sixteen film professionals who were admitted to the Academy during its first year, and a twentytwo-minute film called Oscar’s First Fifty Years, hosted by Jack Lemmon, was shown. It marked the first time the Academy had described its own broad range of activities on film, 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 inter- est in Oscar’s golden anniversary. While the Academy itself began a ret- rospective 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 “Oscar’s Best Music” (telecast November 25, 1975), “Oscar’s Best Movies”

william G O L D M A N

Personally, I don’t believe that movies are ‘good’ or ‘bad’ when they are released. They either ‘work’ or ‘don’t work.’ I think the former terms are something only to be used when time has had a chance to oper- ate. But the awards, as they should be, are about movies that work or don’t 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 ELLEN BURST Y N

“When I was awarded my Oscar, I couldn’t 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, ‘Let’s put it this way, Ellen. When you die, the newspapers will say, “The Academy Award–winning actress Ellen Burstyn died today.” ’ ‘Oh,’ said the Academy Award–winning actress, and finished her coffee, silent and informed.”

Ellen Burstyn Best Actress, 1974

Osborne_05_r3.r.indd 200

“I understand the voting is secret, the specific results never announced; and that is as it should be. But why couldn’t we have a listing of the order of the five candidates? Or, if you feel that would be embarrass- ing, 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 know—those of us who work in the movie business—that it is an industry award. And only occasionally do we sense the mood of the industry clearly. Example: I don’t think there’s any doubt in most people’s 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

8/6/08 3:33:42 PM

Art Carney (47th Awards)

201 RIC HARD D R E Y F U S 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. We’ve 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

Osborne_05_r3.r.indd 201

‘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 I’m 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 I’m here and I’m me and I can enjoy it and it’s all wonderful.”

Richard Dreyfuss Best Actor, 1977

FAY E D U N AWAY

“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 pin- nacle. That kind of elation lasts only for a few hours, but it’s something I’ll always remember. In this business you go on to the next film, or play, or whatever, and it’s almost like starting from scratch every time. Winning an Oscar doesn’t mean you can rest on your laurels, and it certainly shouldn’t become a bench mark for measuring subsequent performances because you have to approach each new role as a totally separate entity if you’re going to maintain your integrity as an artist. If you dwell too long in past achievements, you’re 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

8/6/08 3:33:44 PM

(February 13, 1977), “Oscar Presents the War Movies and John Wayne” (November 22, 1977), and “Oscar’s 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 fifth 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 note worthy times were still to come. academy presidents t h e fi f t h d e c a d e June 1967–May 1968 . . . . . . . . . . . . . . . . . Gregory Peck June 1968–May 1969 . . . . . . . . . . . . . . . . Gregory Peck June 1969–May 1970 . . . . . . . . . . . . . . . . Gregory Peck June 1970–May 1971 . . . . . . . . . . . . . . Daniel Taradash June 1971–May 1972 . . . . . . . . . . . . . . Daniel Taradash June 1972–May 1973 . . . . . . . . . . . . . . Daniel Taradash June 1973–May 1974 . . . . . . . . . . . . . . . Walter Mirisch June 1974–May 1975 . . . . . . . . . . . . . . . Walter Mirisch June 1975–May 1976 . . . . . . . . . . . . . . . Walter Mirisch June 1976–May 1977 . . . . . . . . . . . . . . . Walter Mirisch June 1977–May 1978 . . . . . . . . . . . . . . Howard W. Koch

Ingrid Bergman (47th Awards)

202 BURT BAC HA R AC H

“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 (Original Score), 1969 Music (Song), 1969; 1981 AL KASHA

“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 can’t be happening to Al Kasha!’ ”

M I L O S FO R M A N

“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 hadn’t seen them in five years. We were strangers to each other that evening. They didn’t 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 didn’t 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. ‘I’ll 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 Best Director, 1975; 1984

Al Kasha Music (Song), 1972; 1974

Osborne_05_r3.r.indd 202

8/6/08 3:33:50 PM

Janet Gaynor, Diane Keaton, Walter Matthau (50th Awards)

Louise Fletcher (48th Awards)

203 DON ALD W. M acD O U GA L L

“ ‘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 JOHN BARRY

“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

Osborne_05_r3.r.indd 203

RO B E RT B L A L AC 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 didn’t 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 RG E B URNS

“I was thrilled when I was nominated, but it was very, very exciting to win an Oscar. Imagine, winning an Oscar when you’re eighty years old. I’ve been in show business all my life, and I’ve always played myself, George Burns. Here I make one movie, The Sunshine Boys, where for the first time I didn’t play myself. I played a character, ‘Al Lewis,’ and won an Oscar. I guess that could mean I’ve been doing the wrong thing for the last eighty years. It’s a good thing I found out before it’s too late.”

George Burns Best Supporting Actor, 1975

8/6/08 3:33:52 PM

1968 The Forty-First Year

t almost required a certified public ac- countant to keep tabs on the records set during the 1968 Oscar awards, held April 14, 1969. Katharine Hepburn became the first person to win three Academy Awards in either the best actor or best actress categories (Walter Brennan had earlier won three in the “supporting” classification), 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 1931–32, when Fredric March and Wal- lace Beery were announced as co-winners as best actor, a tie was officially 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 March’s 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 Academy’s 3,030 voting members. Streisand was present to receive her Oscar; Hepburn was not. For the first 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 “Oscar’s Best Friends,” including Ingrid Bergman, Rosa- lind Russell, Frank Sinatra, Burt Lancaster, Sidney Poitier, Walter Matthau, Jane Fonda, Natalie Wood, Diahann Carroll and Tony Curtis. Oliver! received five awards including best picture and best director (Carol Reed), the biggest total of the evening. Cliff Robert- son in Charly was named best actor, Jack Albertson in The Subject Was Roses was best supporting actor, and Ruth Gordon in Rosemary’s Baby was best supporting actress. The U.S.S.R.’s mammoth War and Peace was chosen best foreign language film. 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 first woman so honored. For the first 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 fifty-six minute capsule version, bringing Oscar and the awards to an estimated international audience of somewhere between two hundred fifty million and six hundred million people.

204 b e s t p i c t u r e : Oliver! (Columbia; produced by John Woolf) and b e s t d i r e c to r: C aro l Reed for Oliver! Charles Dickens’s 130-year-old story Oliver Twist, following the adventures of a nine-year-old runaway orphan in 19th-century London, had been filmed 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, 1949’s The Fallen Idol and 1950’s The Third Man. The lively Oliver! cast included Ron Moody, Oliver Reed, Shani Wallis, Hugh Griffith, Jack Wild, and (at right, carrying empty bowl) Mark Lester. The picture won five awards, plus a special award to Onna White for her choreography.

Osborne_05_r3.r.indd 204

8/6/08 3:33:59 PM

best actor: Cliff Robert s on 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 briefly becomes a man of supe-Â rior 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. b e s t a c t r e s s : Katharine Hepburn as Eleanor of Aquitaine (above, left) in The Lion in Winter (Avco Embassy; directed by Anthony Harvey) and b e s t a c tr ess: Barbra S treisand as Fanny Brice (above, right) in Funny Girl (Columbia; directed by William Wyler). For Miss Hepburn, it was her 36th film 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 first film, a re-creation and extension of her 1964 Broadway success as Ziegfeldâ&#x20AC;&#x2122;s great musical comedienne.

Osborne_05_r3.r.indd 205

8/6/08 3:34:02 PM

Nominations 1968

b e s t fo r e i g n l a n g u a ge fi l m : War and Peace from Union of Soviet Socialist Republics. It was a truly monumental undertaking, an adaptation of Leo Tolstoy’s epic novel, directed by Sergei Bondarchuk, which took five years to film 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 film before, War and Peace set a new standard for the grandiose film, and became the first Russian-made film honored by the Academy in its foreign language film award category. Sergei Bondarchuk directed and co-starred (as Pierre), with Ludmila Savelyeva (as Natasha) and Vyacheslav Tihonov (as Andrei).

best PICTURE

FUNNY GIRL, Rastar, Columbia. Produced by Ray Stark. THE LION IN WINTER, Haworth, Avco Embassy.

Produced by Martin Poll. * OLIVER! , Romulus, Columbia. Produced by John Woolf. RAC HEL, RAC HEL, Kayos, Warner Bros.-Seven Arts. Produced by Paul Newman. RO MEO AND JULIET, B.H.E.-Verona-De Laurentiis, Paramount. Produced by Anthony Havelock-Allan and John Brabourne.

ACT OR

ALAN ARKIN in The Heart Is a Lonely Hunter, Warner

Bros.-Seven Arts. ALAN BATES in The Fixer, Frankenheimer-Lewis, M-G-M. RO N M O ODY in Oliver!, Romulus, Columbia. PETER O ’TO OLE in The Lion in Winter, Haworth, Avco Embassy. * CLIFF ROBERTSO N in Charly, ABC-Selmur, Cinerama.

ACTRESS

* K ATHARINE HEPBURN in The Lion in Winter, Haworth, Avco Embassy. PATRIC IA NEAL in The Subject Was Roses, M-G-M. VANESSA REDGRAVE in Isadora, Hakim-Universal, Universal. * BARBRA STREISAND in Funny Girl, Rastar, Columbia. JOANNE WO ODWARD in Rachel, Rachel, Kayos, Warner Bros.-Seven Arts.

SUPPORTING ACT OR

* JAC K ALBERTSON in The Subject Was Roses, M-G-M. SEY M OUR C ASSEL in Faces, Cassavetes, Walter ReadeContinental. DANIEL MASSEY in Star!, Wise, 20th Century-Fox. JAC K WILD in Oliver! Romulus, Columbia. GENE WILDER in The Producers, Glazier, Avco Embassy.

SUPPORTING ACTRESS

LY NN C ARLIN in Faces, Cassavetes, Walter Reade-

Continental.

206

* RUTH G ORDON in Rosemary’s Baby, Castle, Paramount. SO NDRA LO C KE in The Heart Is a Lonely Hunter, Warner Bros.-Seven Arts. K AY MEDF ORD in Funny Girl, Rastar, Columbia. ESTELLE PARSONS in Rachel, Rachel, Kayos, Warner Bros.-Seven Arts.

DIRECTING

THE BATTLE OF ALGIERS, Igor-Casbah, Allied Artists

(Italian). Gillo Pontecorvo.

THE LI ON IN WINTER, Haworth, Avco Embassy.

Anthony Harvey. * OLIVER! , Romulus, Columbia. Carol Reed. RO ME O AND JULIET, B.H.E.-Verona-De Laurentiis, Paramount. Franco Zeffirelli. 2001 : A SPACE ODYSSEY, Polaris, M-G-M. Stanley Kubrick.

(story and scr een play—wr itt en dir ectly for t he scr een)

THE BATTLE OF ALG IERS , Igor-Casbah, Allied Artists

(Italian). Franco Solinas and Gillo Pontecorvo.

FACES, Cassavetes, Walter Reade-Continental. John

Cassavetes.

HOT MILLIONS, Alberg, M-G-M. Ira Wallach and Peter

Ustinov. * THE PRO DUC ERS, Glazier, Avco Embassy. Mel Brooks. 2001 : A SPACE ODYSSE Y, Polaris, M-G-M. Stanley Kubrick and Arthur C. Clarke.

CINEMAT OGRAPHY

FUNNY GIRL, Rastar, Columbia. Harry Stradling. I CE STATION ZEBRA , Filmways, M-G-M. Daniel L.

Fapp.

OLIVER! Romulus, Columbia. Oswald Morris. * RO ME O AND JULIET, B.H.E.-Verona-De Laurentiis,

Paramount. Pasqualino De Santis.

STAR! , Wise, 20th Century-Fox. Ernest Laszlo.

ART DIRECTION— ET DEC ORATION S

* OLIVER! Romulus, Columbia. John Box and Terence Marsh; Vernon Dixon and Ken Muggleston. THE SHOES OF THE FISHER M AN , Englund, M-G-M. George W. Davis and Edward Carfagno. STAR! , Wise, 20th Century-Fox. Boris Leven; Walter M. Scott and Howard Bristol. 2001 : A SPACE ODYSSEY, Polaris, M-G-M. Tony Masters, Harry Lange and Ernie Archer. WAR AND PEACE , Mosfilm, Walter Reade-Continental (Russian). Mikhail Bogdanov and Gennady Myasnikov; G. Koshelev and V. Uvarov.

C OSTUME DESIGN

THE LIO N IN WINTER , Haworth, Avco Embassy.

Margaret Furse.

OLIVER! , Romulus, Columbia. Phyllis Dalton. PLANET OF THE APES, Apjac, 20th Century-Fox.

Morton Haack. * RO ME O AND JULIET, B.H.E.-Verona-De Laurentiis, Paramount. Danilo Donati. STAR! , Wise, 20th Century-Fox. Donald Brooks.

SOUND

BULLITT, Solar, Warner Bros.-Seven Arts. Warner Bros.-

Seven Arts Studio Sound Dept.

FINIAN’ S RAINBOW, Warner Bros.-Seven Arts.

Warner Bros.-Seven Arts Studio Sound Dept.

FUNNY GIRL, Rastar, Columbia. Columbia Studio

Sound Dept. * OLIVER, Romulus, Columbia. Shepperton Studio Sound Dept. STAR! , Wise, 20th Century-Fox. 20th Century-Fox Studio Sound Dept.

FILM EDITING

* BULLITT, Solar, Warner Bros.-Seven Arts. Frank P. Keller. FUNNY GIRL, Rastar, Columbia. Robert Swink, Maury Winetrobe and William Sands. WRITING THE ODD COUPLE, Koch, Paramount. Frank Bracht. (screenplay—based on material from another medium) OLIVER! , Romulus, Columbia. Ralph Kemplen. * THE LI ON IN WINTER, Haworth, Avco Embassy. James W ILD IN THE STREETS, American International Goldman. Pictures. Fred Feitshans and Eve Newman. THE ODD COUPLE, Koch, Paramount. Neil Simon. SPECIAL visual EFFECT S OLIVER! , Romulus, Columbia. Vernon Harris. I CE STATION ZEBRA , Filmways, M-G-M. Hal Millar RAC HEL, RAC HEL, Kayos, Warner Bros.-Seven Arts. and J. McMillan Johnson. Stewart Stern. * 2001 : A SPACE ODYSSE Y, Polaris, M-G-M. Stanley RO SEM ARY ’ S BABY, Castle, Paramount. Roman Kubrick. Polanski.

Osborne_05_r3.r.indd 206

8/6/08 3:34:03 PM

MUSIC ( s o n g — o r i g i n a l fo r t h e p i c t u r e )

C HITT Y C HITT Y BANG BANG (Chitty Chitty Bang

Bang, Warfield, UA); Music and Lyrics by Richard M. Sherman and Robert B. Sherman. F O R LOVE O F IVY (For Love of Ivy, ABC-Palomar, Cinerama); Music by Quincy Jones. Lyrics by Bob Russell. FUNN Y G IRL (Funny Girl, Rastar, Columbia); Music by Jule Styne. Lyrics by Bob Merrill. STAR ! (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. ( o r i g i n a l s c o r e — fo r a m ot i o n p i c t u r e [ n ot a m u s i c a l ] )

THE F OX, Stross-Motion Pictures International,

Claridge Pictures. Lalo Schifrin. * THE LIO N IN W INTER , Haworth, Avco Embassy. John Barry. PLANET O F THE APES, Apjac, 20th Century-Fox. Jerry Goldsmith. THE SH OES O F THE FISHER M AN , Englund, M-G-M. Alex North. THE TH OM AS C ROWN AFFAIR , Mirisch-SimkoeSolar, UA. Michel Legrand. (score of a musical picture—original or a d a p ta t i o n )

best supporting actr ess: Ruth G ord on as Minnie Castevet (above, with Mia Farrow) in Rosemary’s Baby (Para- mount; directed by Roman Polanski). Gordon was no stranger to the Academy’s honor rolls when she won her Oscar as a mysterious neighbor (and witch) in Ira Levin’s chiller story about dark powers in modern day Manhattan. Earlier nominated as a per-

former for 1965’s Inside Daisy Clover, she also had been nominated three times for her screenwriting: for 1947’s A Double Life, 1950’s Adam’s Rib, and 1952’s Pat and Mike. Receiving her first Oscar at age seventy-two, she smiled and said, “I can’t tell ya’ how encouragin’ a thing like this is. . . .”

best supporting actor: Jack Albert s on 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 Prize–winning 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.

FOREIGN L ANGUAGE film

cl a s s i i (plaque) D ONALD W. NO RWO OD for the design and

FINIAN ’S RAINBOW, Warner Bros.-Seven Arts.

Adaptation score by Ray Heindorf.

FUNN Y G IRL , Rastar, Columbia. Adaptation score by

Walter Scharf. * O LIVER !, Romulus, Columbia. Adaptation score by John Green. STAR !, Wise, 20th Century-Fox. Adaptation score by Lennie Hayton. THE YO UNG G IRLS O F ROC HEF O RT, Mag BodardGilbert de Goldschmidt-Parc Film-Madeleine Films, Warner Bros.-Seven Arts (French). Music and adaptation score by Michel Legrand. Lyrics by Jacques Demy.

S H O RT S UB J E C T S ( c a rto o n s )

THE HO USE THAT JAC K BUILT, National Film Board

of Canada, Columbia. Wolf Koenig and Jim MacKay, producers. THE MAGIC PEAR TREE , Murakami-Wolf Films, Bing Crosby Prods. Jimmy Murakami, producer. W INDY DAY, Hubley Studios, Paramount. John and Faith Hubley, producers. * WINNIE THE P O OH AND THE BLUSTERY DAY, Disney, Buena Vista. Walt Disney, producer. (live action)

THE D OVE , Coe-Davis, Schoenfeld Films. George Coe,

Sidney Davis and Anthony Lover, producers.

DU O, National Film Board of Canada, Columbia. PRELUDE , Prelude Company, Excelsior Dist. John

Astin, producer. * RO BERT K ENNEDY RE ME MBERED , Guggenheim Prods., National General. Charles Guggenheim, producer.

D O C U M E N TA RY ( s h o rt s u b j e c t s )

THE HO USE THAT ANANDA BUILT, Films Division,

Government of India. Fali Bilimoria, producer.

THE REVO LVING DOOR, Vision Associates for

American Foundation Institute of Corrections. Lee R. Bobker, producer. A SPAC E TO G ROW, Office of Economic Opportunity for Project Upward Bound. Thomas P. Kelly, Jr., producer. A WAY O UT O F THE W ILDERNESS , John Sutherland Prods. Dan E. Weisburd, producer. * WH Y M AN C REATES , Saul Bass & Associates. Saul Bass, producer. (features)

A FE W NOTES O N O UR F OOD PROBLE M, U.S.

Information Agency. James Blue, producer. * JO URNE Y INTO SELF, Western Behavioral Sciences Institute. Bill McGaw, producer. THE LE GENDARY C HA MPI O NS, Turn of the Century Fights. William Cayton, producer. OTHER VOI CES, DHS Films. David H. Sawyer, producer. YO UNG A MERI C ANS, The Young Americans Prod. Robert Cohn and Alex Grasshoff, producers. (n ot e : yo u n g amer icans was originally voted the award but later on [May 7, 1969] was declared ineli- gible after it was learned picture was first shown in a theater in October 1967 and therefore not eligible for a 1968 Award. jour ne y into self , first runnerup, was announced as the official winner on May 8, 1969.)

Osborne_05_r3.r.indd 207

THE BOYS OF PAUL STREET (Hungary). THE FIREM EN’ S BALL (Czechoslovakia). THE GIRL WITH THE PISTO L (Italy). STOLEN KISSES (France). * WAR AND PEACE (U.S.S.R.).

HONORARY AND OTHER AWARDS TO J OHN C HAM BERS for his outstanding makeup

achievement for Planet of the Apes. (statuette) TO ONNA WHITE for her outstanding choreography achievement for Oliver! (statuette)

1968 IRVING G. THALBERG MEMORIAL AWARD None given this year.

1968 JEAN HERSHOLT HUMANITARIAN AWARD TO MARTHA RAY E

SCIENTIFIC OR TEC HNIC AL cl a s s i (statuett e) PHILIP V. PALM Q UIST of Minnesota Mining and Manufacturing Co., to DR. HERBERT MEY ER of the

Motion Picture and Television Research Center, and to C HARLES D . STAFFELL of the Rank Organization for the development of a successful embodiment of the reflex background projection system for composite cinematography. EASTM AN KODA K CO MPANY for the development and introduction of a color reversal intermediate film for motion pictures.

development of the Norwood Photographic Exposure Meters. EASTM AN KODA K CO M PANY and PRO DUC ERS SERVIC E CO MPANY for the development of a new high-speed step-optical reduction printer. EDM UND M . DI GIULI O , NIELS G . PETERSEN and NO RMAN S . HUG HES of the Cinema Product

207

Development Company for the design and application of a conversion which makes available the reflex viewing system for motion picture cameras. OPTI C AL COATING LABORATO RIES, INC . , for the development of an improved anti-reflection coating for photographic and projection lens systems. EASTM AN KODA K CO M PANY for the introduction of a new high-speed motion picture color negative film. PANAVISIO N INCO RP ORATED for the conception, design and introduction of a 65mm hand-held motion picture camera. TODD-AO CO MPANY and the MITC HELL C A M ERA CO MPANY for the design and engineering of the Todd-AO hand-held motion picture camera. cl a s s i i i (citation) 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.

* INDIC ATES WINNER

8/6/08 3:34:05 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 evening’s 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 film’s 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 Cana- dian film The Barbarian Invasions, the winner in the best foreign language film division, to say with relief, “We’re so thankful that Lord of the Rings did not qualify in this category.” The tall total for this third episode in the Rings film trilogy made it one of the three most-awarded motion pictures in the Academy’s history, the others being 1959’s Ben-Hur and 1997’s Titanic, which also won eleven Academy Awards each. No other single film 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 York’s World Trade Center less than six months before; the following year’s 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 show’s 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 five nominees for best director and a producer of one of the five best picture nominees, Mystic River, and additionally saw a pair of his Mystic actors win two of the night’s most prized awards: Sean Penn was named the year’s 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 I’m learning to enjoy.” The best actress award went to Charlize Theron, whose role in Monster was one of the year’s most de- manding; Renée 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 O’Toole, all of whom were contenders in the best original song category and, with the exception of McKean and O’Toole, sang their nominated songs on the telecast. “A Kiss at the End of the Rainbow,” Mr. and

362 b e s t a c to r: Sean Penn as Jimmy Markum and b e s t s u p p o rt i n g a c to r: Tim Robbin s 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 year’s 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 Penn’s fourth time as an Academy Award nominee for acting, his first being for 1995’s Dead Man Walking, directed by that same Mr. Robbins (Penn’s other nominations were for 1999’s Sweet and Lowdown and 2001’s I Am Sam). Robbins’s only previous Academy Award attention had been for directing that earlier collaboration with Penn.

Osborne_08a_r6.z.indd 362

8/14/08 1:43:35 PM

Mrs. McKean’s song from A Mighty Wind, was performed by Catherine O’Hara and Eugene Levy, who had sung it in the film. Sofia Coppola became the third woman, and the first American one, to be nominated for directing, the others being Italy’s Lina Wertmüller in 1976 and New Zealand’s 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 film’s nomination in the best picture category. Pixar and Disney’s Finding Nemo was named the year’s best animated feature, competing against another Disney film, Brother Bear, and Sylvain Chomet’s The Trip- lets 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 films as Breakfast at Tiffany’s, Days of Wine and Roses and Victor/Victoria, his award specifically “in recognition of his writing, directing and producing an extraordinary body of work for the screen.” Ed- wards 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.

best pictur e: The Lord of the Rings: The Ret urn of t he King (New Line; produced by Barrie M. Osborne, Peter Jackson and Fran Walsh) and best dir ecting: Peter Jac ks on for The Lord of the Rings: The Return of the King. The third time was definitely the charm for Jackson’s gargantuan trilogy, which began with 2001’s The Lord of the Rings: The Fellowship of the Ring and continued with 2002’s The Lord of the Rings: The Two Towers, both of which received best picture nominations from Oscar voters but failed to capture the final prize. Not so chapter three, a lavish interpretation of the final 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 film in Oscar’s history to win the Academy’s best picture prize without a single one of its actors receiving a nomination, something that first happened during the Academy’s inaugural year, when the winning film was Wings but no one in its cast found a welcoming slot on the nominations list.

Osborne_08a_r6.z.indd 363

best actr ess: C harlize Theron as Aileen Wuornos in Monster (Newmarket Films; directed by Patty Jenkins). In one of the more amazing physical transformations performed for a film, 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 Wuornos’s troubled life when she became emotionally involved with a woman (played by Christina Ricci) and, unable to find legitimate employ- ment, worked as a highway prostitute. The murder of several driv- ers eventually led her to Florida’s death row. Although aided by the various outward manifestations, it was Theron’s stunning depiction of inner bitterness, frustration and psychological damage that made her work resonate so strongly with Academy voters.

363

8/14/08 1:43:42 PM

Nominations 2003

b e s t a n i m a t e d f e a tu r e : Finding Nemo (Buena Vista; directed by Andrew Stanton). Moviegoers hadn’t 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 clownfish on an oceanic search for his son Nemo, who is missing after initially being captured in Australia’s Great Barrier Reef by a scuba diver, then put in a fish tank in an Aussie dentist’s office. 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 e st P I CT U RE

* THE LO RD OF T HE R ING S: T HE RE TU RN OF T HE K ING, Wingnut Films Production, New Line. Barrie M. Osborne, Peter Jackson and Fran Walsh, Producers. LOS T IN TR AN SL AT ION, American Zoetrope/ Elemental Films Production, Focus Features. Ross Katz and Sofia Coppola, Producers. MA S TER AND COMMANDE R: T HE FAR SIDE OF THE WO RL D, 20th Century Fox and Universal

Pictures and Miramax Films Production, 20th Century Fox. Samuel Goldwyn, Jr., Peter Weir and Duncan Henderson, Producers. M YS TIC R IVE R, Warner Bros. Pictures Production, Warner Bros. Robert Lorenz, Judie G. Hoyt and Clint Eastwood, Producers. SEABI SCUI T, Universal Pictures, DreamWorks Pictures, Spyglass Entertainment Production, Universal/ DreamWorks/Spyglass. Kathleen Kennedy, Frank Marshall and Gary Ross, Producers.

ACT O R

J OHNN Y DE PP in Pirates of the Caribbean: The Curse

of the Black Pearl, Walt Disney Pictures Production, Buena Vista. BEN K ING SLEY in House of Sand and Fog, Michael London Production, DreamWorks in association with Cobalt Media Group. J UDE L AW in Cold Mountain, Mirage Enterprises/Bona Fide Production, Miramax Films. BI LL MURR AY in Lost in Translation, American Zoetrope/Elemental Films Production, Focus Features. * S EAN P ENN in Mystic River, Warner Bros. Pictures Production, Warner Bros.

ACT R ESS

KEIS HA CA S TL E-HUGHE S in Whale Rider, South

Pacific Pictures Production, Newmarket Films.

DIANE KEATON in Something’s Gotta Give, Columbia

364

Pictures and Warner Bros. Pictures Production, Sony Pictures Releasing. SAMAN THA MO RTON in In America, Hell’s Kitchen Production, Fox Searchlight/20th Century Fox. * CHA RL IZE T HE RON in Monster, MDP Film Productions and Zodiac Production, Newmarket Films. NAOMI WATT S in 21 Grams, This is That, Y Productions Production, Focus Features.

S U P P O RT I NG ACT O R

ALEC BALDWIN in The Cooler, Cooler LLC Production,

Lions Gate Films.

BENICIO DE L TORO in 21 Grams, This is That, Y

Productions Production, Focus Features. DJIMON HOUN S OU in In America, Hell’s Kitchen Production, Fox Searchlight/20th Century Fox. * TIM ROBBIN S in Mystic River, Warner Bros. Pictures Production, Warner Bros. KEN WATANABE in The Last Samurai, Samurai Pictures, LLC Production, Warner Bros.

S U P P O RT I NG ACTR ESS

SHOH R EH AGHDA SH LOO in House of Sand and

Fog, Michael London Production, DreamWorks in association with Cobalt Media Group. PATR ICIA C L ARK S ON in Pieces of April, IFC Productions through United Artists Films Inc. Production, United Artists through MGM. MA RCIA GAY HAR DEN in Mystic River, Warner Bros. Pictures Production, Warner Bros.

Osborne_08a_r6.z.indd 364

HOL LY HUNTER in Thirteen, Michael London

Productions, Working Title Films, Antidote Films Production, Fox Searchlight/20th Century Fox. * RENÉE ZEL LWEGER in Cold Mountain, Mirage Enterprises/Bona Fide Production, Miramax Films.

DIR E CTING

CIT 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 THE RINGS : THE RET U RN OF THE K ING, Wingnut Films Production, New Line. Peter Jackson. LO S T IN T RANS L ATION, American Zoetrope/ Elemental Films Production, Focus Features. Sofia Coppola. MAS TER AND COMMANDER : THE FAR SIDE OF T HE WOR LD , 20th Century Fox and Universal

Pictures and Miramax Films Production, 20th Century Fox. Peter Weir. M YS TIC RI VER , Warner Bros. Pictures Production, Warner Bros. Clint Eastwood.

WRI TING (adap t ed scr een play)

AMERICAN S P LENDOR , Good Machine Production,

HBO Films in association with Fine Line Features. Robert Pulcini and Shari Springer Berman. CIT Y OF GOD, O2 Filmes and VideoFilmes Production, Co-Production Globo Filmes, Lumière, StudioCanal and Wild Bunch, Miramax Films. Braulio Mantovani. * T HE LORD OF THE RINGS : THE RET U RN OF THE K ING, Wingnut Films Production, New Line. Fran Walsh, Philippa Boyens and Peter Jackson. M YS TIC RI VER , Warner Bros. Pictures Production, Warner Bros. Brian Helgeland. SEABISCUI T, Universal Pictures, DreamWorks Pictures, Spyglass Entertainment Production, Universal/ DreamWorks/Spyglass. Gary Ross. (or iginal scr een play)

T HE BARBARIAN INVASIONS , Cinémaginaire Inc.

Production, Miramax Films. Denys Arcand. DI RT Y P RET T Y THINGS , Celador Films Production, Miramax and BBC Films. Steven Knight. FINDING NEMO, Pixar Animation Studios Production, Buena Vista. Andrew Stanton, Bob Peterson and David Reynolds. IN AMER ICA , Hell’s Kitchen Production, Fox Searchlight/20th Century Fox. Jim Sheridan, Naomi Sheridan and Kirsten Sheridan. * LO S T IN T RANS L ATION, American Zoetrope/ Elemental Films Production, Focus Features. Sofia Coppola.

ART DIR E C TION— SET D E C ORATION

GIR L WI T H A PEAR L EAR RING, Archer Street Ltd.

2003 Production, Lions Gate Films. Ben Van Os; Cecile Heideman. T HE L A S T SAMUR AI, Samurai Pictures, LLC Production, Warner Bros. Lilly Kilvert; Gretchen Rau. * T HE LORD OF THE RINGS : THE RET U RN OF THE K ING, Wingnut Films Production, New Line. Grant Major; Dan Hennah and Alan Lee.

MAS TER AND COMMANDER : T HE FA R SIDE OF T HE WO R LD , 20th Century Fox and Universal

Pictures and Miramax Films Production, 20th Century Fox. William Sandell; Robert Gould. SEABISCUIT, Universal Pictures, DreamWorks Pictures, Spyglass Entertainment Production, Universal/ DreamWorks/Spyglass. Jeannine Oppewall; Leslie Pope.

CIN E MAT OGRAPHY

CIT Y OF GOD, O2 Filmes and VideoFilmes Production,

Co-Production Globo Filmes, Lumiere, StudioCanal and Wild Bunch, Miramax Films. Cesar Charlone. COL D MOUNTAIN, Mirage Enterprises/Bona Fide Production, Miramax Films. John Seale. GIR L WI T H A PEAR L EA R R ING , Archer Street Ltd. 2003 Production, Lions Gate Films. Eduardo Serra.

* MAS TER AND COMMANDER : T HE FA R S IDE OF THE WOR LD, 20th Century Fox and Universal Pictures and Miramax Films Production, 20th Century Fox. Russell Boyd. SEABIS CUIT, Universal Pictures, DreamWorks Pictures, Spyglass Entertainment Production, Universal/ DreamWorks/Spyglass. John Schwartzman.

C O STUM E DESIGN

GIR L WI T H A PEAR L EA R R ING , Archer Street Ltd.

2003 Production, Lions Gate Films. Dien van Straalen.

T HE L A S T SAMURAI, Samurai Pictures, LLC

Production, Warner Bros. Ngila Dickson. * T HE LORD OF THE R ING S : T HE R E T U R N OF T HE K ING, Wingnut Films Production, New Line. Ngila Dickson and Richard Taylor. MAS TER AND COMMANDER : T HE FA R SIDE OF T HE WO R LD , 20th Century Fox and Universal

Pictures and Miramax Films Production, 20th Century Fox. Wendy Stites. SEABIS CUIT, Universal Pictures, DreamWorks Pictures, Spyglass Entertainment Production, Universal/ DreamWorks/Spyglass. Judianna Makovsky.

FILM E DI TING

CIT Y OF GOD, O2 Filmes and VideoFilmes Production,

Co-Production Globo Filmes, Lumiere, StudioCanal and Wild Bunch, Miramax Films. Daniel Rezende. COL D MOUNTAIN, Mirage Enterprises/Bona Fide Production, Miramax Films. Walter Murch.

* T HE LORD OF THE R ING S : T HE R E T U R N OF T HE K ING, Wingnut Films Production, New Line. Jamie Selkirk. MAS TER AND COMMANDER : T HE FA R SIDE OF T HE WO R LD , 20th Century Fox and Universal

Pictures and Miramax Films Production, 20th Century Fox. Lee Smith. SEABIS CUIT, Universal Pictures, DreamWorks Pictures, Spyglass Entertainment Production, Universal/ DreamWorks/Spyglass. William Goldenberg.

MAK EUP

* T HE LORD OF THE R ING S : T HE R E T U R N OF T HE K ING, Wingnut Films Production, New Line. Richard Taylor and Peter King. MAS TER AND COMMANDER : T HE FA R SIDE OF T HE WO R LD , 20th Century Fox and Universal

Pictures and Miramax Films Production, 20th Century Fox. Edouard Henriques III and Yolanda Toussieng.

P I RAT ES OF THE CA R IBBEAN: T HE CU R S E OF T HE BL AC K PEAR L , Walt Disney Pictures Production,

Buena Vista. Ve Neill and Martin Samuel.

8/14/08 1:43:47 PM

best supporting actr ess: Renée Zellweger as Ruby Thewes in Cold Mountain (Miramax; directed by Anthony Minghella). Zellweger, who’d been nominated for leading performances in 2001’s Bridget Jones’s Diary and 2002’s 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 woman’s sweetheart, a wounded Confederate soldier (Jude Law), struggles to find his way home through the devastated and chaotic South. Adding con- siderable humor and feistiness to otherwise very serious doings, Zellweger’s Ruby was the film’s highlight.

FOR E IGN L ANGUAGE FILM

* T HE BARBARIAN INVA S ION S (Canada). EV I L (Sweden). T HE T WI LIGHT SAMU R AI (Japan). T W IN SI S TE R S (The Netherlands). ˇ EL A RY (Czech Republic). Z

M US I C (original score)

BIG FIS H , Columbia Pictures Production, Sony Pictures

Releasing. Danny Elfman. COLD MOUN TAIN , Mirage Enterprises/Bona Fide Production, Miramax Films. Gabriel Yared. FINDING NEMO , Pixar Animation Studios Production, Buena Vista. Thomas Newman. HOU SE OF SAND AND FOG, Michael London Production, DreamWorks in association with Cobalt Media Group. James Horner. * THE LO RD OF T HE R ING S: T HE RE TU RN OF T HE K ING, Wingnut Films Production, New Line. Howard Shore. (original song)

BELL E VILL E RENDEZ -VOUS (The Triplets of Belleville,

Les Armateurs Production, Sony Pictures Classics). Music by Benoît Charest; Lyric by Sylvain Chomet. * IN TO T HE W ES 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 K ISS AT T HE END OF THE RAINBOW (A Mighty Wind, Castle Rock Entertainment Production, Warner Bros.). Music and Lyric by Michael McKean and Annette O’Toole. S CARL ET T IDE (Cold Mountain, Mirage Enterprises/ Bona Fide Production, Miramax Films). Music and Lyric by T Bone Burnett and Elvis Costello. YOU W I LL BE M Y AIN TRUE LOV E (Cold Mountain, Mirage Enterprises/Bona Fide Production, Miramax Films). Music and Lyric by Sting.

S O U N D ED I T I NG

FINDING NEMO , Pixar Animation Studios Production,

Buena Vista. Gary Rydstrom and Michael Silvers. * MA S T ER AND COMMANDE R: T HE FAR SIDE OF THE WORL D , 20th Century Fox and Universal Pictures and Miramax Films Production, 20th Century Fox. Richard King.

VIS UAL E FF E C TS

* T HE LORD OF THE RINGS : THE RET U RN OF THE K ING, Wingnut Films Production, New Line. Jim Rygiel, Joe Letteri, Randall William Cook and Alex Funke. MAS TER AND COMMANDER : THE FA R SIDE OF T HE WO R LD , 20th Century Fox and Universal

Pictures and Miramax Films Production, 20th Century Fox. Dan Sudick, Stefen Fangmeier, Nathan McGuinness and Robert Stromberg.

P IR ATE S OF T HE CAR IBBEAN : T HE CURSE OF THE BL AC K P EA RL, Walt Disney Pictures Production,

Buena Vista. Christopher Boyes, David Parker, David Campbell and Lee Orloff. S EABI S CUI T, Universal Pictures, DreamWorks Pictures, Spyglass Entertainment Production, Universal/ DreamWorks/Spyglass. Andy Nelson, Anna Behlmer and Tod A. Maitland.

Osborne_08a_r6.z.indd 365

directing and producing an extraordinary body of work for the screen. TO DOUGL A S GR EENFIE L D 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)

2003 IRVING G. T HAL BERG ME MORIAL AWARD

S HORT FILM S

2003 J E AN H ER SHOLT HUMANI TARIAN AWARD

Buena Vista. John Knoll, Hal Hickel, Charles Gibson and Terry Frazee.

(animat ed)

BOUNDIN’, Pixar Animation Studios Production. Bud

Luckey.

DES TINO, Walt Disney Pictures Production, Buena

Vista. Dominique Monfery and Roy Edward Disney. GONE NUT T Y, Blue Sky Studios Production, 20th Century Fox. Carlos Saldanha and John C. Donkin. * HARVIE K RUMP ET, Melodrama Pictures Production. Adam Elliot. NIBBLES , Acme Filmworks Production. Chris Hinton. (liv e action)

DIE ROTE JAC K E ( THE RED JAC KET ) , Hamburger

Filmwerkstatt Production. Florian Baxmeyer.

MO S T ( THE B RIDGE) , Eastwind Films Production.

Bobby Garabedian and William Zabka.

S QUA SH, Tetramedia Production. Lionel Bailliu. ( A) TORZI JA [ (A) TO R SION] , Studio Arkadena

Production. Stefan Arsenijevic. * T WO SOLDIER S , Shoe Clerk Picture Company Production. Aaron Schneider and Andrew J. Sacks.

DOCUM E N TARY (featur es)

BAL SERO S , Bausan Films S.L. Production, Seventh Art.

Carlos Bosch and Josep Maria Domenech. CAP TU RING THE FR IEDMANS , Hit The Ground Buena Vista. Christopher Boyes and George Watters II. Running Production, Magnolia Pictures. Andrew Jarecki and Marc Smerling. S O U N D M I X I NG * T HE FOG OF WAR , Globe Department Store THE L AS T SAMU R AI, Samurai Pictures, LLC Production, Sony Pictures Classics. Errol Morris and Production, Warner Bros. Andy Nelson, Anna Behlmer Michael Williams. and Jeff Wexler. M Y ARCHIT ECT, Louis Kahn Project, Inc. Production, * THE LO RD OF T HE R ING S: T HE RE TU RN OF New Yorker Films. Nathaniel Kahn and Susan R. Behr. THE K ING, Wingnut Films Production, New Line. T HE WEAT HER UNDERGROUND, 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.

TO BL AKE EDWA R DS in recognition of his writing,

P I RAT ES OF THE CAR IBBEAN: THE CU R SE OF THE BL AC K PEAR L , Walt Disney Pictures Production,

P IR ATE S OF T HE CAR IBBEAN : T HE CURSE OF THE BL AC K P EA RL, Walt Disney Pictures Production,

MA S T ER AND COMMANDE R: T HE FAR SIDE OF THE WO RL D, 20th Century Fox and Universal

HONORARY and other AWARDS

(short subjects)

AS Y LUM, Constant Communication & Make-do

Production. Sandy McLeod and Gini Reticker. * CHERNOBY L HEART, Downtown TV Documentaries Production. Maryann DeLeo. FE R RY TALES , Penelope Pictures Production. Katja Esson.

ANIMATE D F EATURE FILM

BROT HER BEAR , Walt Disney Pictures Production,

Buena Vista. Aaron Blaise and Robert Walker. * FINDING NEMO, Pixar Animation Studios Production, Buena Vista. Andrew Stanton. T HE T RI P LET S OF BEL LEVI L LE, Les Armateurs Production, Sony Pictures Classics. Sylvain Chomet.

None given this year.

2003 GORDON E. SAWYER AWARD TO PET ER D. PAR K S

S CI E NTIFIC AND TEC HNIC AL AWARD S academ y awar d of mer it (statuett e)

DIGIDESIGN for the design, development and

implementation of the Pro Tools digital audio workstation. BIL L TONDREAU of Kuper Controls for his significant advancements in the field of motion control technology for motion picture visual effects. scientific and engineering award (academy plaque)

K INOTON G m bh for the engineering and development

of the Kinoton FP 30/38 EC II Studio Projector.

K ENNET H L . TING L E R , CHA R L E S C . ANDER S ON , DIANE E. KES TNE R and B R IAN A . SCHE L L of

the Eastman Kodak Company for the successful development of a process-surviving antistatic layer technology for motion picture film.

CH RI S TOP HER AL F R ED , ANDR E W J . CANNON , MICHAEL C. CAR LO S , MAR K C R ABT R EE , CHUC K G RINDS TAFF and J OHN ME L ANSON for their

365

significant contributions to the evolution of digital audio editing for motion picture post production. S TEP HEN REGELOU 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.

technical achievement award (academy certificate) K I SH SADHVANI for the concept and optical design, PAU L DUCLO S for the practical realization and production engineering and CA R L P E R NICONE

for the mechanical design and engineering of the portable cine viewfinder system known as the Ultimate Director’s Finder (UDF).

HENRI K WANN JENS EN , S T E PHEN R . MA R S CHNE R and PAT HANRAHAN 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.” CH RI S TOP HE HERY, K EN M c GAUGH and J OE LET TER I for their groundbreaking implementations of practical methods for rendering skin and other translucent materials using subsurface scattering techniques. * INDICATE S WINNER

8/14/08 1:43:52 PM

2004 The Seventy-Seventh Year

nce again it was Clint’s year. The low-key, high-octane Clint East- wood, with a pair of Oscars on his mantel for directing and producing 1992’s best picture Unforgiven, delivered the same one-two punch an even dozen years later at the 77th Academy Awards held at Holly wood’s Kodak Theatre on February 27, 2005. This time it was Eastwood’s dark and dramatic prize-fight 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 Unfor- given, only one performer, Gene Hackman, made the Academy’s honor roll.) Hilary Swank, who played Eastwood’s 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 first 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 Col- lateral as a taxi driver with an off-balance Tom Cruise as a nightmarish fare. Foxx won for the first-named and became the third African American (following Sidney Poitier and Denzel Washington) to win in that leading actor division. With Freeman’s 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 film of the year was Martin Scorsese’s The Aviator, with eleven nominations, followed by Million Dollar Baby and Finding Neverland, each with seven, and Ray pulling six. In the final tally, The Aviator still led, with five trophies, followed by Baby with four, then Ray and The Incredibles with two each. No other film this year received more than one award. The highest-profile win for the Scorsese film was Cate Blanchett’s as the year’s best supporting actress, making hers the latest performance on a lengthening list to win an Academy Award for a Scorsese-directed film, 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 five directing nominations on Scorsese’s own credit sheet at this point—but no wins—he became one of only five 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 films 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 I’ve 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 film preservation.

366 b e s t a c t r e s s : Hil a ry S wank as Maggie Fitzgerald and b e s t s u p p o rt i n g a c to r: Mo rgan 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 relent- less 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 Eastwood’s dingy gym who helps convince his boss to take on the new challenge of training a potential “million dollar baby.” Free- man, with his soothing, magnificent voice, also narrates the film. This was Swank’s second Oscar as best actress (after 1999’s Boys Don’t Cry), making her only the fifth 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. Freeman’s win was his first, after three previous nominations. He’d also been directed by Eastwood in the 1992 Oscar winner Unforgiven.

Osborne_08a_r6.z.indd 366

8/14/08 1:43:58 PM

The Incredibles was named the best animated feature, the third film released by Disney to win in the four years the category had been in existence. Spain’s The Sea Inside with Javier Bardem was named best foreign language film, and among the year’s higher profile 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 night’s 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 Law’s multiple appearances in the year’s films. (In 2004, the actor was seen in five 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 Drexler’s 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 L ado Del Río” from The Motorcycle Diaries (Focus Features and Film Four), music and lyric by Jorge Drexler. It was the first time since the Academy began honoring movie songs in its seventh year (1934) that a song from a foreign-language film 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.

best pictur e: Million Doll ar Baby (Warner Bros.; produced by Clint Eastwood, Albert S. Ruddy and Tom Rosen- berg) and best dir ecting: Clint Eastwood for Million Dollar Baby. By 2004, it was eminently clear: Clint Eastwood (left) was indeed now one of the film industry’s long-distance runners. He began acting in films in 1955, then added “director” to his résumé in 1971, although he wasn’t thought of in Oscar terms for the first 37 years of that career. But, he hit the jackpot triumphantly with 1992’s 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 fight trainer with a mysterious past help- ing 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 films 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: 1976’s Rocky and this Eastwood knockout. Eastwood, for the record, also wrote the film’s 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 awak- ened his political activism. Gael García Bernal (above) played the future Che; the film was also nominated for José Rivera’s adapted screenplay.

best documentary featur e: 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 city’s notorious Sonagachi district; many of those youngsters doomed to spend their entire lives inside the walls of Calcutta’s red-light area.

b e s t a c to r: Jamie F oxx 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 2004’s 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 filming 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 recreate 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.

Osborne_08a_r6.z.indd 367

8/14/08 1:44:12 PM

Nominations 2004 JAMIE FOXX in Collateral, Parkes/MacDonald/

Darabont/Fried/Russell Production, DreamWorks and Paramount. * MORGAN F REEMAN in Million Dollar Baby, Warner Bros. Pictures Production, Warner Bros. CL I VE OWEN in Closer, Columbia Pictures Production, Sony Pictures Releasing.

S UPPORTING AC TRESS

* CAT E BL ANCHET T in The Aviator, Forward Pass/Appian Way/IMF Production, Miramax, Initial Entertainment Group and Warner Bros. L AU RA LINNEY in Kinsey, Qwerty Films Production, Fox Searchlight/20th Century Fox. VI RGINIA MADSEN in Sideways, Sideways Productions, Inc. Production, Fox Searchlight/20th Century Fox. S O P HIE O KONEDO in Hotel Rwanda, Miracle Pictures/Seamus Production, United Artists in association with Lions Gate Entertainment through MGM Distribution Co. NATAL IE PO RTMAN in Closer, Columbia Pictures Production, Sony Pictures Releasing.

DIR E CTING

T HE AVIATO R , Forward Pass/Appian Way/IMF

b e s t s u p p o rt i n g a c t r e s s : C ate Bl anc hett as Katha- rine Hepburn in The Aviator (Miramax, Initial Entertainment Group & Warner Bros.; directed by Martin Scorsese). It was the first 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 film mogul and full-time aviation fanatic. Leonardo DiCaprio played Hughes in this Scorsese interpretation; the film itself was the second one in which Hughes appeared as a character to win the Academy’s best supporting actress prize, Mary Steen- burgen having won for 1980’s Melvin and Howard, a speculative tale in which Jason Robards played an elderly version of the eccen- tric Howard Hughes.

best PIC TUR E

T HE AV IATOR , Forward Pass/Appian Way/IMF

Production, Miramax, Initial Entertainment Group and Warner Bros. Michael Mann and Graham King, Producers. FINDING NEVER L AND, FilmColony Production, Miramax Films. Richard N. Gladstein and Nellie Bellflower, Producers. * MI L LION DO L L A R BABY, Warner Bros. Pictures Production, Warner Bros. Clint Eastwood, Albert S. Ruddy and Tom Rosenberg, Producers. R AY, Universal Pictures/Bristol Bay Production, Universal. Taylor Hackford, Stuart Benjamin and Howard Baldwin, Producers. S IDEWAYS , Sideways Productions, Inc. Production, Fox Searchlight/20th Century Fox. Michael London, Producer.

AC T OR

DON CHEAD L E in Hotel Rwanda, Miracle Pictures/

Seamus Production, United Artists in association with Lions Gate Entertainment through MGM Distribution Co. J OHNNY DEP P in Finding Neverland, FilmColony Production, Miramax Films. L EONARDO D i CAP RIO in The Aviator, Forward Pass/Appian Way/IMF Production, Miramax, Initial Entertainment Group and Warner Bros. CL INT EAS T WOOD in Million Dollar Baby, Warner Bros. Pictures Production, Warner Bros. * JAMIE FOXX in Ray, Universal Pictures/Bristol Bay Production, Universal.

368

h o n o r a ry awa r d : S idney Lumet, long one of Hollywood’s most respected directors, had received an Oscar nomination for his very first theatrical outing, 1957’s 12 Angry Men, then went on to accumulate more Academy Award attention during the succeed- ing years, guiding films as diverse as The Pawnbroker, Murder on the Orient Express, Dog Day Afternoon, Network and The Wiz. It wasn’t until Oscar night in 2005 that a golden statuette was finally 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 he’d been thinking about an Academy Award speech ever since he’d made that film 48 years earlier about the angry men, ended his thank you by saying, “I’d like to thank ‘the movies.’ I’ve got the best job in the best profession in the world.”

Osborne_08a_r6.z.indd 368

Production, Miramax, Initial Entertainment Group and Warner Bros. Martin Scorsese. * MI L LION DO L L A R BABY, Warner Bros. Pictures Production, Warner Bros. Clint Eastwood. RAY, Universal Pictures/Bristol Bay Production, Universal. Taylor Hackford. SIDEWAYS , Sideways Productions, Inc. Production, Fox Searchlight/20th Century Fox. Alexander Payne. VE RA 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.

WRI TING (adap t ed scr een play)

BEFORE SUNSE T, Castle Rock Entertainment/Detour

Film Production, Warner Independent Pictures. Richard Linklater, Julie Delpy, Ethan Hawke and Kim Krizan. FINDING NEVE R L AND, FilmColony Production, Miramax Films. David Magee. MI L LION DOL L AR BABY, Warner Bros. Pictures Production, Warner Bros. Paul Haggis. T HE MOTORCYCL E DIAR IE S , South Fork Pictures in association with Tu Vas Voir Production, Focus Features and Film Four. José Rivera. * SIDEWAYS , Sideways Productions, Inc. Production, Fox Searchlight/20th Century Fox. Alexander Payne and Jim Taylor. (or iginal scr een play)

T HE AVIATO R , Forward Pass/Appian Way/IMF

Production, Miramax, Initial Entertainment Group and Warner Bros. John Logan.

* ET ERNAL SUNS HINE OF T HE S P OT L E S S MIND , Anonymous Content/This is That Production, Focus Features. Charlie Kaufman, Michel Gondry and Pierre Bismuth. HOTE L RWANDA , Miracle Pictures/Seamus Production, United Artists in association with Lions Gate Entertainment through MGM Distribution Co. Keir Pearson and Terry George. T HE INCREDIBLES , Pixar Animation Studios AC TR ESS Production, Buena Vista. Brad Bird. ANNET TE BENING in Being Julia, 2024846 Ontario VE RA 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 CATA LINA SANDINO MO RENO in Maria Full of Films. Mike Leigh. Grace, Journeyman Pictures in association with Tucan Producciones/Cinematograficas/Altercine Production, ART DIR E C TION— HBO Films in association with Fine Line Features. SET DE C ORAT ION IMELDA S TAUNTON in Vera Drake, Simon Channing* T HE AVIATOR , Forward Pass/Appian Way/IMF Williams/Thin Man Films Production, Fine Line Production, Miramax, Initial Entertainment Group Features, Alain Sarde and UK Film Council in and Warner Bros. Dante Ferretti; Francesca Lo association with Inside Track Films. Schiavo. * HIL ARY S WANK in Million Dollar Baby, Warner Bros. FINDING NEVE R L AND, FilmColony Production, Pictures Production, Warner Bros. Miramax Films. Gemma Jackson; Trisha Edwards. K AT E WINS LET in Eternal Sunshine of the Spotless Mind, LEMONY SNIC K ET ’ S A S E R IES OF UNFORT UNAT E Anonymous Content/This is That Production, Focus EV ENT S , Parkes/MacDonald/Nickelodeon Movies Features. Production, Paramount and DreamWorks. Rick Heinrichs; Cheryl Carasik. S UPPORTING AC T OR T HE PHANTOM OF THE OP E R A , The Really Useful AL AN ALDA 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 ENGAGEMEN T, 2003 Productions/ T HOMAS HADEN CHURCH in Sideways, Sideways Warner Bros. France/Tapioca Films/TF1 Films Productions, Inc. Production, Fox Searchlight/20th Production, Warner Independent Pictures. Aline Century Fox. Bonetto.

8/14/08 1:44:15 PM

C I NEM AT O G R A P H Y

* THE AVIATO R, Forward Pass/Appian Way/IMF Production, Miramax, Initial Entertainment Group and Warner Bros. Robert Richardson. HOU SE OF F LY ING DAGGERS, Elite Group (2003) Enterprises Inc. Production, Sony Pictures Classics. Zhao Xiaoding. THE PA SS ION OF THE CH RIS T, Icon Production, Icon and Newmarket. Caleb Deschanel. THE P HAN TOM OF THE OPE RA , The Really Useful Group Production, Warner Bros. John Mathieson. A V E RY LONG ENGAGEMEN T, 2003 Productions/ Warner Bros. France/Tapioca Films/TF1 Films Production, Warner Independent Pictures. Bruno Delbonnel.

C OST U M E DES I G N

* THE AVIATO R, Forward Pass/Appian Way/IMF Production, Miramax, Initial Entertainment Group and Warner Bros. Sandy Powell. FINDING NE VE RL AND , FilmColony Production, Miramax Films. Alexandra Byrne. LEMON Y S NIC K E T’S A SE RIES OF UNFORTUNAT E E VEN T S, Parkes/MacDonald/Nickelodeon Movies

Production, Paramount and DreamWorks. Colleen Atwood. R AY, Universal Pictures/Bristol Bay Production, Universal. Sharen Davis. TROY, Warner Bros. Pictures/Radiant/Plan B/Helena Production, Warner Bros. Bob Ringwood.

F I L M ED I T I NG

* THE AVIATO R, Forward Pass/Appian Way/IMF Production, Miramax, Initial Entertainment Group and Warner Bros. Thelma Schoonmaker. COLL ATER A L, Parkes/MacDonald/Darabont/Fried/ Russell Production, DreamWorks and Paramount. Jim Miller and Paul Rubell. FINDING NE VE RL AND , FilmColony Production, Miramax Films. Matt Chesse. MI LL ION DO LL A R BABY, Warner Bros. Pictures Production, Warner Bros. Joel Cox. R AY, Universal Pictures/Bristol Bay Production, Universal. Paul Hirsch.

M A KEU P

* L EMON Y S NIC KE T’S A SE RIES OF UNFORT UNAT E E VEN T S, Parkes/MacDonald/Nickelodeon Movies Production, Paramount and DreamWorks. Valli O’Reilly and Bill Corso. THE PA SS ION OF THE CH RIS T, Icon Production, Icon and Newmarket. Keith Vanderlaan and Christien Tinsley. THE S EA INS IDE , Sogecine and Himenóptero Production, Fine Line Features and Sogepaq. Jo Allen and Manuel García.

MUSIC (original score)

* FINDING NEV E RL AND , FilmColony Production, Miramax Films. Jan A.P. Kaczmarek. HA RRY P OTT ER AND T HE PRISONER OF AZ K ABAN , Warner Bros. Productions Ltd./Heyday

Films/1492 Pictures/P of A Production, Warner Bros. John Williams.

LEMON Y S NIC K E T’S A SE RIES OF UNFORTUNAT E E VEN T S, Parkes/MacDonald/Nickelodeon Movies

Production, Paramount and DreamWorks. Thomas Newman. THE PA SS ION OF THE CH RIS T, Icon Production, Icon and Newmarket. John Debney. THE V ILL AGE , Touchstone Pictures Production, Buena Vista. James Newton Howard. (original song)

ACCIDEN TA LLY IN LOVE (Shrek 2, PDI/DreamWorks

S OUND E DI TING

* T HE INCREDIBL ES , Pixar Animation Studios Production, Buena Vista. Michael Silvers and Randy Thom. THE POL AR EXPRESS, Castle Rock Pictures Production, Warner Bros. Randy Thom and Dennis Leonard. S PIDER-MAN 2 , Columbia Pictures Production, Sony Pictures Releasing. Paul N. J. Ottosson.

S OUND MIXING

T HE AVIATO R , Forward Pass/Appian Way/IMF

Production, Miramax, Initial Entertainment Group and Warner Bros. Tom Fleischman and Petur Hliddal. T HE INCREDIBLES , Pixar Animation Studios Production, Buena Vista. Randy Thom, Gary A. Rizzo and Doc Kane. T HE PO L AR EX P RES S , Castle Rock Pictures Production, Warner Bros. Randy Thom, Tom Johnson, Dennis Sands and William B. Kaplan. * RAY, Universal Pictures/Bristol Bay Production, Universal. Scott Millan, Greg Orloff, Bob Beemer and Steve Cantamessa. S PIDER-MAN 2 , Columbia Pictures Production, Sony Pictures Releasing. Kevin O’Connell, Greg P. Russell, Jeffrey J. Haboush and Joseph Geisinger.

VIS UAL E FF E C TS

HAR RY POT TER AND THE P RI SONER OF AZKABAN, Warner Bros. Productions Ltd./Heyday

Films/1492 Pictures/P of A Production, Warner Bros. Roger Guyett, Tim Burke, John Richardson and Bill George. I , ROBOT, 20th Century Fox Production, 20th Century Fox. John Nelson, Andrew R. Jones, Erik Nash and Joe Letteri. * S PIDER-MAN 2 , Columbia Pictures Production, Sony Pictures Releasing. John Dykstra, Scott Stokdyk, Anthony LaMolinara and John Frazier.

S HORT FILM S (animat ed)

BIRT HDAY BOY, Australian Film, TV and Radio School

Production. Sejong Park and Andrew Gregory. GO PHER BROK E, Blur Studio Production. Jeff Fowler and Tim Miller. GUAR D DOG, Bill Plympton Production. Bill Plympton. LO RENZO, Walt Disney Pictures Production. Mike Gabriel and Baker Bloodworth. * RYAN, Copper Heart Entertainment & National Film Board of Canada Production. Chris Landreth.

AS I T I S IN HEAVEN (Sweden). T HE CHORU S ( LE S CHO R IS T E S ) (France). DOW NFAL L (Germany). * T HE SEA INS IDE (Spain). Y ES TER DAY (South Africa).

HONORARY and other AWARDS TO SIDNEY LUME T in recognition of his brilliant

services to screenwriters, performers and the art of the motion picture. TO ART HUR WIDMER for his lifetime of achievement in the science and technology of image compositing for motion pictures as exemplified by his significant contributions to the development of the Ultra Violet and the “bluescreen” compositing processes. (Award of Commendation)

200 4 IRVING G. THAL BERG M E MORIAL AWARD None given this year.

200 4 J E AN H ERSHOLT HUMANI TARIAN AWARD TO ROGER MAY E R

2004 GORDON E. SAWYER AWARD TO TA KUO MIYAGISHIMA

S CI E NTIFIC AND TEC HNIC AL AWARD S academ y awar d of mer it (statuett e)

HO R S T BURBU L L A for the invention and continuing

development of the Technocrane telescoping camera crane. J EAN-MARIE L AVA LOU, A L AIN MA S S E RON and DAVID SAMUEL SON for the engineering and development of the Louma Camera Crane and remote system for motion picture production. scientific and engineering award (academy plaque) GY U L A MES TER (electronic systems design) and K EIT H EDWARDS (mechanical engineering) for

their significant contributions to and continuing development of the Technocrane telescoping camera crane.

LINDSAY AR NOLD, GU Y G R IFFIT H S , DAV ID HODS ON, CHAR L IE L AW R ENCE and DAV ID MANN for their development of the Cineon Digital

Film Workstation.

(liv e action)

technical achievement award (academy certificate)

LLC Production. Gary McKendry. LI T T LE TER RO RI S T, Alipur Films Production. Ashvin Kumar.

development of their special modified silicone material for makeup appliances used in motion pictures. J ER RY COT T S for the original concept and design and ANT HONY S EAMAN for the engineering of the Satellight-X HMI Softlight. S TEVEN E. BOZE for the design and implementation of the DNF 001 multi-band digital audio noise suppressor. D R . CHRI S TOP HER HIC K S and DAV E BE T T S for the design and implementation of the Cedar DNS 1000 multi-band digital noise suppressor. NEL SON T Y LER for the development of the Tyler Gyroplatform boat mount stabilizing device for motion picture photography.

EV ERY T HING IN THIS COUNT RY MUS T, Six Mile

7:35 IN THE MORNING (7:35 DE L A MAÑANA) ,

Ibarretxe & Co. Production. Nacho Vigalondo.

T WO CAR S , ONE NIGHT, Defender Films Limited

Production. Taika Waititi and Ainsley Gardiner. * WA S P, Cowboy Films Production. Andrea Arnold.

DOCUM E N TARY (featur es)

* BORN INTO BROTHEL S , Red Light Films, Inc. Production, THINKFilm. Ross Kauffman and Zana Briski. T HE S TO RY OF THE WEEP ING CAMEL , Hochschule für Fernsehen und Film München Production, THINKFilm. Luigi Falorni and Byambasuren Davaa. SU P E R SIZE ME, Kathbur Productions/The Con Production, Roadside Attractions/Samuel Goldwyn Films. Morgan Spurlock. T U PAC: RES U R REC TION, MTV-Amaru Entertainment, Inc. Production, Paramount. Lauren Lazin and Karolyn Ali. T W I S T OF FAITH, Chain Camera Pictures Production. Kirby Dick and Eddie Schmidt.

Production, DreamWorks). Music by Adam Duritz, Charles Gillingham, Jim Bogios, David Immergluck, Matthew Malley and David Bryson; Lyric by Adam (short subjects) Duritz and Daniel Vickrey. AUTI S M I S A WOR LD , State of the Art Production. * A L OTRO L ADO DE L R ÍO (The Motorcycle Diaries, Gerardine Wurzburg. South Fork Pictures in association with Tu Vas Voir T HE CHILD REN OF LENINGRAD S K Y, Hanna Polak Production, Focus Features and Film Four). Music and Production. Hanna Polak and Andrzej Celinski. Lyric by Jorge Drexler. HARDWOOD, Hardwood Pictures and National Film BE LIE 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. LEA RN TO BE LONELY (The Phantom of the Opera, The * MIGHT Y TIMES : THE CHIL D REN’ S MARCH , 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 S TE R RO SE’ S PAS SION, New Jersey Studios LOO K TO YOUR PAT H (VOI S SUR TON CHEMIN ) Production. Oren Jacoby and Steve Kalafer. (The Chorus [Les Choristes], Galatée Films/Pathé Renn/France 2 Cinema/Novo Arturo Films/Vega Film ANIMATE D F EATURE FILM AG Production, Miramax Films). Music by Bruno * T HE INCREDIBL ES , Pixar Animation Studios Coulais; Lyric by Christophe Barratier. Production, Buena Vista. Brad Bird. SHAR K TAL E, DreamWorks Animation LLC Production, DreamWorks. Bill Damaschke. SH REK 2 , PDI/DreamWorks Production, DreamWorks. Andrew Adamson.

Osborne_08a_r6.z.indd 369

FOR E IGN L ANGUAGE FILM

GREG CANNOM and W E S L E Y WOFFOR D for the

D R . JU LIAN MO R R I S , MICHAEL BIRCH , DR . PAUL S MY T H and PAU L TAT E for the development of the

Vicon motion capture technology.

D R . JOHN O. B. G R EAV E S , NED P HIP P S , ANTONIE J . va n d e n BOGE RT and W IL L IAM HAY ES for the development of the Motion Analysis

motion capture technology.

369

D R . NEL S MADSEN , VAUGHN CATO , MAT T HE W MADDEN and BI L L LORTON for the development of

the Giant Studios motion capture technology.

AL AN KAP LER for the design and development of

“Storm,” a software toolkit for artistic control of volumetric effects.

* INDICATE S WINNER

8/14/08 1:44:16 PM

2005 The Seventy-Eighth Year

t was one of the biggest surprise endings in many Academy Award years. The film the press regarded as most likely to score a triumph in the top spot at Oscar’s 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 Produc- ers Guild, BAFTA and numerous other prize-giving organizations. It was Brokeback Mountain, a poignant tale by director Ang Lee about the angst-filled romantic relation- ship of two cowboys. But Jack Nicholson’s 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 film 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 films 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 year’s best foreign language film, 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 significant one for writer-director Paul Haggis. Not only did he take home prizes as a producer of the year’s best film and for cowriting the screenplay of Crash, it marked the second year in a row that the film that won the Academy’s best picture prize had a screenplay by Haggis. All four winners in the acting categories were first-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 didn’t make it to the Kodak to accept her statuette, as she had been down the entire week with the stomach flu. George Clooney in Syriana and a very pregnant Rachel Weisz in The Constant Gardener were named the year’s best supporting actor and actress. For the first time the show, again telecast by ABC, was hosted by Jon Stewart, the witty and envelope-pushing commentatorcomedian who’d become a popular fixture 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 they’d recently worked on the film A Prairie Home Companion. The biggest controversy among the morning-after quarterbacks focused on the

370 b e s t p i c t u r e : Cr ash (Lions Gate Films; Paul Haggis and Cathy Schulman, producers; directed by Paul Haggis) initially had one of the lowest-key journeys of any film on its way to capturing Oscar’s biggest prize. Released in theaters in May 2005, the film received a mixed batch of reviews but generated enthusi- astic word of mouth, then disappeared. However, at year’s 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 Peña and Tony Danza. It was a particular triumph for Haggis, who not only directed and produced the film but also penned the original story and cowrote the screenplay, earning three nominations and two Oscars in the process. The film, 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.

Osborne_08a_r6.z.indd 370

8/14/08 1:44:23 PM

winner in the best song category and its presentation on the telecast. The song was “It’s Hard Out Here for a Pimp” from Hustle & Flow, music and lyric by members of the rap group Three 6 Mafia—Jordan Houston, Cedric Coleman and Paul Beauregard; it was sung live on the show by the writers. Reactions were widely mixed, some observ- ers 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 Mafia: 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 Wil- liams, 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. best supporting actr ess: Rac hel Weisz as Tessa Quayle in The Constant Gardener (Focus Features; directed by Fernando Meirelles). In this film version of a 2001 John le Carré 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 find out why his wife has died under suspicious circum- stances. Le Carré based his book on the life and death of Yvette Pierpaoli, an activist and charity worker killed in 1999; in his novel’s afterword, he states, “By comparison with the reality, my story is as tame as a holiday postcard.”

best dir ecting: Ang Lee, Brokeback Mountain (Focus Features). Lee’s adaptation of an award-winning New Yorker short story by Annie Proulx quickly became one of the year’s most-discussed and best-reviewed films. 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 first meet as sheep wranglers in Wyoming in 1963 and fall in love, followed by periodic trysts between the two over the next 20 years while separately going through disastrous marriages, apprehen- sion, 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 2000’s Crouching Tiger, Hidden Dragon, had also directed three films nominated in the Academy’s best foreign language film category, 1993’s The Wedding Banquet, 1994’s Eat Drink Man Woman and 2000’s 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

best actor: Phi li p Seymou r Hoffman as Truman Capote in Capote (UA/Sony Pictures Classics; directed by Bennett Miller). Some say it was acting, others say it was chan- neling, but whichever, Hoffman’s portrayal of the cunning and controversial Truman Capote was brilliantly done, with the nearly six-foot, bearlike and rough-edged Hoffman (left) amaz- ingly morphing himself into a convincing physical replica of the effete, diminutive writer. The film 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 film released on September 30, 2005, coinciding with Capote’s own 81st birthday (he had died in 1984); it was followed the next year by the release of another film on the same subject, Infamous, directed by Douglas Mc- Grath, in which Toby Jones plays Capote.

Osborne_08a_r6.z.indd 371

8/14/08 1:44:37 PM

best PIC TUR E

T HE CONS TANT GA R DENER , Potboiler Production,

T ER RENCE HOWARD in Hustle & Flow, Crunk

ART DIR E C TION— SET DE C ORAT ION

Focus Features. Jeffrey Caine. A HI S TORY OF VIO L ENCE , Benderspink Production, Production, Focus Features. Diana Ossana and James New Line. Josh Olson. Schamus, Producers. MUNICH, Universal Pictures/DreamWorks Pictures CAP OT E, A-Line Pictures/Cooper’s Town/Infinity Production, Universal and DreamWorks. Tony Media Production, UA/Sony Pictures Classics. Kushner and Eric Roth. Caroline Baron, William Vince and Michael Ohoven, Producers. (or iginal scr een play) * CR ASH , Bob Yari/DEJ/BlackFriar’s Bridge/Harris * CR ASH , Bob Yari/DEJ/BlackFriar’s Bridge/Harris Company/ApolloProscreen GmbH & Co./Bull’s Eye Company/ApolloProscreen GmbH & Co./Bull’s Eye Entertainment Production, Lions Gate Films. Paul Entertainment Production, Lions Gate Films. Paul Haggis and Cathy Schulman, Producers. Haggis and Bobby Moresco. GOOD NIGHT, AND GOOD LUC K . , Good Night GOOD NIGHT, AND GOOD LUC K . , Good Night Good Luck LLC Production, Warner Independent Good Luck LLC Production, Warner Independent Pictures. Grant Heslov, Producer. Pictures. George Clooney and Grant Heslov. MUNICH, Universal Pictures/DreamWorks Pictures MATCH P OINT, 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 S QUID AND THE W HA L E , Squid and Whale, Inc. Production, Samuel Goldwyn Films and Sony Pictures AC T OR Releasing. Noah Baumbach. * P HIL I P SEY MOUR HOFFMAN in Capote, A-Line S Y RIANA , Warner Bros. Pictures Production, Warner Pictures/Cooper’s Town/Infinity Media Production, Bros. Stephen Gaghan. UA/Sony Pictures Classics. B ROK EBAC K MOUNTAIN, River Road Entertainment

Nominations 2005

b e s t s u p p o rt i n g a c to 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 first 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 film, he was very much an ensemble player in this political thriller about the global influence of the oil industry. Loosely based on Robert Baer’s 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 trafficking. Others in the varied locales included Matt Damon, Jeffrey Wright, William Hurt, Christopher Plummer, Amanda Peet and Chris Cooper. Clooney’s acceptance speech—warm, funny and thoughtful—began, “All right, so I’m not winning director,” and then continued, commending the film 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

b e s t a c t r e s s : Reese Wi therspoon 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 didn’t become an Oscar trend until 1980, when Sissy Spacek played country singing legend Loretta Lynn in Coal Miner’s Daughter—Spacek did her own singing in the star’s 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 2004’s 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 Carter’s husband Johnny Cash.) This was Witherspoon’s first time as an Academy Award nominee; although she’d never before been known as a singer, she had none- theless been a professional actress since the age of fourteen and had first attracted serious attention in 1999’s Cruel Intentions and Election, and then became a bona fide star with a spunky, charming performance in 2001’s Legally Blonde.

Osborne_08a_r6.z.indd 372

Pictures/Homegrown Pictures Production, Paramount Classics, MTV Films and New Deal Entertainment. HEAT H LEDGER in Brokeback Mountain, River Road Entertainment Production, Focus Features. JOAQ UIN PHOENIX in Walk the Line, Fox 2000 Pictures Production, 20th Century Fox. DAVID S T RATHAIRN in Good Night, and Good Luck., Good Night Good Luck LLC Production, Warner Independent Pictures.

GOOD NIGHT, AND GOOD LUC K . , Good Night

Good Luck LLC Production, Warner Independent Pictures. Jim Bissell; Jan Pascale. HAR RY POT T ER AND T HE GOB L E T OF FIR E , Warner Bros. Productions Ltd. Production, Warner Bros. Stuart Craig; Stephenie McMillan. K ING KONG, Universal Pictures Production, Universal. Grant Major; Dan Hennah and Simon Bright. * MEMOIR S OF A GEISHA , Columbia Pictures/ AC TR ESS DreamWorks Pictures/Spyglass Entertainment JUDI DENCH in Mrs. Henderson Presents, Heyman Production, Sony Pictures Releasing. John Myhre; Hoskins Production, The Weinstein Company. Gretchen Rau. FELICIT Y HUFFMAN in Transamerica, Belladonna P RIDE & P REJ UDICE , Working Title/Scion Films Production, The Weinstein Company and IFC Films. Production, Focus Features. Sarah Greenwood; Katie K EIRA KNIGHT LE Y in Pride & Prejudice, Working Title/ Spencer. Scion Films Production, Focus Features. CHAR LIZE THERON in North Country, Warner Bros. CIN E MAT OGRAPHY Pictures Production, Warner Bros. BAT MAN BEGINS , Warner Bros. Pictures Production, * REESE WI T HER S POON in Walk the Line, Fox 2000 Warner Bros. Wally Pfister. Pictures Production, 20th Century Fox. BROK EBAC K MOUNTAIN , River Road Entertainment Production, Focus Features. Rodrigo Prieto. S UPPORTING AC T OR GOOD NIGHT, AND GOOD LUC K . , Good Night * GEORGE CLOONEY in Syriana, Warner Bros. Pictures Good Luck LLC Production, Warner Independent Production, Warner Bros. Pictures. Robert Elswit. MAT T DIL LON in Crash, Bob Yari/DEJ/BlackFriar’s * MEMOIR S OF A GEISHA , Columbia Pictures/ Bridge/Harris Company/ApolloProscreen GmbH & DreamWorks Pictures/Spyglass Entertainment Co./Bull’s Eye Entertainment Production, Lions Gate Production, Sony Pictures Releasing. Dion Beebe. Films. T HE NEW WO R LD , Virginia Company, LLC Production, PAUL GIAMAT TI in Cinderella Man, Universal Pictures New Line. Emmanuel Lubezki. and Imagine Entertainment Production, Universal and Miramax. C O STUM E D ESIGN JAKE GY L LENHAAL in Brokeback Mountain, River Road CHAR LIE AND THE CHOCOL AT E FAC TO RY, Warner Entertainment Production, Focus Features. Bros. Productions Ltd. Production, Warner Bros. W I L LIAM HURT in A History of Violence, Benderspink Gabriella Pescucci. Production, New Line. * MEMOIR S OF A GEISHA , Columbia Pictures/ DreamWorks Pictures/Spyglass Entertainment S UPPORTING AC TRESS Production, Sony Pictures Releasing. Colleen Atwood. AMY ADAMS in Junebug, Epoch Films Production, Sony M R S . HENDER SON P RE S EN T S , Heyman Hoskins Pictures Classics. Production, The Weinstein Company. Sandy Powell. CAT HER INE KEENER in Capote, A-Line Pictures/ P RIDE & P REJ UDICE , Working Title/Scion Films Cooper’s Town/Infinity Media Production, UA/Sony Production, Focus Features. Jacqueline Durran. Pictures Classics. WA L K THE LINE, Fox 2000 Pictures Production, 20th FR ANCES M cDO RMAND in North Country, Warner Century Fox. Arianne Phillips. Bros. Pictures Production, Warner Bros. * RACHEL WEI SZ in The Constant Gardener, Potboiler FILM E DI TING Production, Focus Features. CINDER EL L A MAN, Universal Pictures and Imagine MICHEL LE WI L LIAMS in Brokeback Mountain, River Entertainment Production, Universal and Miramax. Road Entertainment Production, Focus Features. Mike Hill and Dan Hanley. T HE CONS TANT GAR DENE R , Potboiler Production, DIR E CTING Focus Features. Claire Simpson. * BROK EBAC K MOUNTAIN, River Road Entertainment * CR ASH , Bob Yari/DEJ/BlackFriar’s Bridge/Harris Production, Focus Features. Ang Lee. Company/ApolloProscreen GmbH & Co./Bull’s Eye CAP OTE , A-Line Pictures/Cooper’s Town/Infinity Entertainment Production, Lions Gate Films. Hughes Media Production, UA/Sony Pictures Classics. Bennett Winborne. Miller. MUNICH, Universal Pictures/DreamWorks Pictures CR ASH , Bob Yari/DEJ/BlackFriar’s Bridge/Harris Production, Universal and DreamWorks. Michael Company/ApolloProscreen GmbH & Co./Bull’s Eye Kahn. Entertainment Production, Lions Gate Films. Paul WA L K THE LINE, Fox 2000 Pictures Production, 20th Haggis. Century Fox. Michael McCusker. GOOD NIGHT, AND GOOD LUC K . , Good Night Good Luck LLC Production, Warner Independent MAK EUP Pictures. George Clooney. * T HE CHRONICLE S OF NA R NIA: T HE L ION, T HE MUNICH, Universal Pictures/DreamWorks Pictures W I TCH AND THE WA R DROBE , Walt Disney Production, Universal and DreamWorks. Steven Pictures/Walden Media Production, Buena Vista. Spielberg. Howard Berger and Tami Lane. CINDER EL L A MAN, Universal Pictures and Imagine WRI TING Entertainment Production, Universal and Miramax. (adap t ed scr een play) David Leroy Anderson and Lance Anderson. * BROK EBAC K MOUNTAIN, River Road Entertainment S TAR WAR S : EP I SODE III R E VENGE OF T HE S IT H, Production, Focus Features. Larry McMurtry and Lucasfilm Ltd. Production, 20th Century Fox. Dave Diana Ossana. Elsey and Nikki Gooley. CAP OTE , A-Line Pictures/Cooper’s Town/Infinity Media Production, UA/Sony Pictures Classics. Dan Futterman.

8/14/08 1:44:42 PM

S OUND E DI TING

* K ING KONG, Universal Pictures Production, Universal. Mike Hopkins and Ethan Van der Ryn. MEMOIR S OF A GEIS HA , Columbia Pictures/ DreamWorks Pictures/Spyglass Entertainment Production, Sony Pictures Releasing. Wylie Stateman. WA R OF THE WOR LD S , Amblin Entertainment/C|W Production, Paramount and DreamWorks. Richard King.

S OUND MIXING

T HE CH RONICL ES OF NARNIA: THE LION, THE W I TCH AND THE WARD ROBE, Walt Disney

Pictures/Walden Media Production, Buena Vista. Terry Porter, Dean A. Zupancic and Tony Johnson. * K ING KONG, Universal Pictures Production, Universal. Christopher Boyes, Michael Semanick, Michael Hedges and Hammond Peek. MEMOIR S OF A GEIS HA , Columbia Pictures/ DreamWorks Pictures/Spyglass Entertainment Production, Sony Pictures Releasing. Kevin O’Connell, Greg P. Russell, Rick Kline and John Pritchett. WA L K THE LINE, Fox 2000 Pictures Production, 20th Century Fox. Paul Massey, D.M. Hemphill and Peter F. Kurland. WA R OF THE WOR LD S , Amblin Entertainment/ C|W Production, Paramount and DreamWorks. Andy Nelson, Anna Behlmer and Ronald Judkins. h o n o r a ry awa r d : Robert Altman . As with director Sidney Lumet, who was saluted with an Honorary Award the preceding year, the Academy’s Board of Governors sought to recognize another veteran director who’d made a string of extraordinary, nonconforming cinema treats without ever having personally won an Oscar. The Honorary Award to Altman was specifically “in recognition of a career that has repeatedly reinvented the art form and inspired filmmakers and audiences alike.” It came none too soon. Just seven months later, with his 36th and final film, A Prairie Home Companion, only recently released in theaters, Altman died at the age of 81.

VIS UAL E FF E C TS

T HE CH RONICL ES OF NARNIA: THE LION, THE W I TCH AND THE WARD ROBE, Walt Disney

Pictures/Walden Media Production, Buena Vista. Dean Wright, Bill Westenhofer, Jim Berney and Scott Farrar. * K ING KONG, Universal Pictures Production, Universal. Joe Letteri, Brian Van’t Hul, Christian Rivers and Richard Taylor. WA R OF THE WOR LD S , Amblin Entertainment/ C|W Production, Paramount and DreamWorks. Dennis Muren, Pablo Helman, Randal M. Dutra and Daniel Sudick.

S HORT FILM S (animat ed)

BADGERED, National Film and Television School

Production. Sharon Colman. * T HE MOON AND THE SON: AN IMAGINED CONVE R SATION, John Canemaker Production. John Canemaker and Peggy Stern. T HE M YS TER IOUS GEOGRA P HIC EX P LO RATIONS OF JA S PER MO REL LO, 3D Films Production,

Monster Distributes. Anthony Lucas.

9 , Shane Acker Production. Shane Acker.

ONE MAN BAND, Pixar Animation Studios Production.

Andrew Jimenez and Mark Andrews.

best documentary featur e: Marc h of the Penguins (liv e action) (Warner Independent Pictures). It began as a French movie AU S REI S SER ( THE RUNAWAY ) , Hamburg Media called La Marche de l’empereur (The Emperor’s Journey), School, Filmwerkstatt Production. Ulrike Grote. covering the yearly journey, fraught with hazards, of the emperor CASHBAC K , 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 L A S T FARM, Zik Zak Filmworks Production. Rúnar After ritualistic courtships, breeding, and births, they must Rúnarsson and Thor S. Sigurjónsson. endure an equally treacherous journey back to the sea. Initially OUR TIME 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 * SIX SHOOT ER , Missing in Action Films and Funny Farm Films Production, Sundance Film Channel. the deep, melodic voice of Morgan Freeman doing the straight Martin McDonagh. forward narration.

DOCUM E N TARY MUSIC

(featur es)

DA RWIN’ S NIGHT MARE, Mille et Une Production,

International Film Circuit. Hubert Sauper. ENRON: THE SMARTES T GUYS IN THE ROOM, * BRO KEBAC K MOUNTAIN , River Road Entertainment HDNet Films Production, Magnolia Pictures. Alex Production, Focus Features. Gustavo Santaolalla. Gibney and Jason Kliot. THE CON S TAN T GA RDENE R, Potboiler Production, Focus Features. Alberto Iglesias. * MARCH OF THE PENGUINS , Bonne Pioche Production, Warner Independent Pictures. Luc Jacquet MEMOI RS OF A GEISHA , Columbia Pictures/ and Yves Darondeau. DreamWorks Pictures/Spyglass Entertainment MU RDERBAL L , Eat Films Production, THINKFilm. Production, Sony Pictures Releasing. John Williams. Henry-Alex Rubin and Dana Adam Shapiro. MUNICH , Universal Pictures/DreamWorks Pictures S T REET FIGHT, Marshall Curry Production. Marshall Production, Universal and DreamWorks. John Curry. Williams. PR IDE & PR EJUDICE , Working Title/Scion Films (short subjects) Production, Focus Features. Dario Marianelli. (original score)

(original song)

T HE DEAT H OF KEVIN CART ER : CASUA LT Y OF THE BANG BANG C LUB , Dan Krauss Production. Dan

Krauss. GOD S LEEP S IN RWANDA , Acquaro/Sherman Bridge/Harris Company/ApolloProscreen GmbH & Production. Kimberlee Acquaro and Stacy Sherman. Co./Bull’s Eye Entertainment Production, Lions Gate T HE MUSH ROOM CLUB, Farallon Films Production. Films). Music by Kathleen “Bird” York and Michael Steven Okazaki. Becker; Lyric by Kathleen “Bird” York. * A NOTE OF T RIUMP H : THE GOLDEN AGE OF * IT’S HAR D OUT HE RE FOR A PIMP (Hustle & Flow, NORMAN CORW IN, 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, ANIMATE D F E ATUR E FILM Cedric Coleman and Paul Beauregard. HOW L’ S MOVING CAS T LE, Studio Ghibli Production, TR AVEL IN ’ T HRU (Transamerica, Belladonna Buena Vista. Hayao Miyazaki. Production, The Weinstein Company and IFC Films). T IM BU RTON ’ S COR P SE B RIDE, Warner Bros. Music and Lyric by Dolly Parton. Productions Ltd. Production, Warner Bros. Mike Johnson and Tim Burton. IN THE DEE P (Crash, Bob Yari/DEJ/BlackFriar’s

Osborne_08a_r6.z.indd 373

* WA L L ACE & GROMI T IN T HE CUR S E OF T HE W ERE - RABBIT, Aardman Animations Limited Production, DreamWorks Animation SKG. Nick Park and Steve Box.

FOR E IGN L ANGUAGE FILM

DON’ T TEL L (Italy). J OY EUX NOË L (France). PARADISE NOW (The Palestinian Territories). SO P HIE S CHOL L — T HE FINA L DAYS (Germany). * T SOT SI (South Africa).

HONORARY and other AWARDS TO ROBERT ALTMAN in recognition of a career that

has repeatedly reinvented the art form and inspired filmmakers and audiences alike. TO DON HAL L 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)

2005 IRVING G. T HAL BERG ME MORIAL AWARD None given this year.

2005 J E AN H ER SHOLT HUMANI TARIAN AWARD None given this year.

2005 GORDON E. SAWYER AWARD TO GARY DEMOS

S CI E NTIFIC AND TEC HNIC AL AWARD S scientific and engineering award (academy plaque) DAVID GROBER for the concept and mechanical design and SCOT T L E WA L L EN for the electronic

and software design of the Perfect Horizon camera stabilization head. ANATOLI Y KO KU S H , Y UR IY PO POVS K Y and OL EK SI Y ZOLOTA ROV for the concept and development of the Russian Arm gyro-stabilized camera crane and the Flight Head. ANATOLI Y KO KU S H for the concept and development of the Cascade series of motion picture cranes. GAR RE T T BROW N for the original concept of the Skycam flying camera system—the first use of 3-D volumetric cable technology for motion picture cinematography. DAVID BARAFF, MICHAEL K A S S and AND R E W W IT KIN for their pioneering work in physically-based computer-generated techniques used to simulate realistic cloth in motion pictures. L AU RIE FRO S T, PE T E R HANNAN and R ICHA R D LONCR AINE for the development of the remote camera head known as the Hot-Head. technical achievement award (academy certificate) GARY THIELTGES for the design and development

of the remotely-operated, lightweight camera head known as the Sparrow Head. FR ANK FLE TCHER and DAV E S HE RW IN for the introduction and continuing development of the Power Pod modular camera head system. ALVAH MI L LER , MICHAEL S O R EN S EN and J . WA LT ADAMCZY K for the design and development of the Aerohead motion control camera head and the J-Viz Pre-Visualization system. SCOT T LE VA for the design and development of the Precision Stunt Airbag for motion picture stunt falls. LE V YEVS T RATOV, GEO RGE P E T E R S and VA S IL I Y OR LOV for the development of the Ultimate Arm Camera Crane System for specialized vehicle photography. JAMES RODNUNS K Y, A L EX M ac DONAL D and MAR K CHAP MAN for the development of the Cablecam 3-D volumetric suspended cable camera technologies. T IM D RNEC, BEN B R IT T EN S MIT H and MAT T DAV IS for the development of the Spydercam 3-D volumetric suspended cable camera technologies. J OHN P L AT T and DEME T R I T E R ZOP OU LO S for their pioneering work in physically-based computergenerated techniques used to simulate realistic cloth in motion pictures. ED CAT MU L L , for the original concept, and TON Y De ROSE and J O S S TAM for their scientific and practical implementation of subdivision surfaces as a modeling technique in motion picture production.

373

HAROLD RAT T RAY, T E R RY CL ABO R N , S T E VE GAR LIC K , BIL L HOGUE and T IM R E Y NO L D S for

the design, engineering and implementation of the Technicolor Real Time Answer Print System. UDO SCHAUS S and HI L DEGA R D EBBE S MEIER for the optical design and NICOL E W EM K EN and MICHAEL ANDER E R for the mechanical design of the Cinelux Premiere Cinema Projection Lenses.

* INDICATE S WINNER

8/14/08 1:44:45 PM

2006 The Seventy-Ninth Year

he Academy’s 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, five of them for directing. He had no wins on his credit sheet, although he had guided several actors into their own place in Oscar’s winner’s 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 2006’s 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, first on the red carpet with wife Tipper, then later on stage when a documentary he had appeared in, An Inconvenient Truth, was named the year’s 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, where- upon Gore turned to the audience, saying,

“My fellow Americans . . .” Then, by pre‑ arrangement, the orchestra began playing and drowned out his words. From the evening’s start it looked as though Scorsese had a good chance to finally win that heretofore elusive Oscar, but things were much less definite for which of the five nominated films would be the ultimate Best Picture. No single film seemed a sure thing. However, when the final tally was in, it was Scorsese’s muscular tale of crime and punishment in blue-collar South Boston that was named the year’s best; it was also the year’s most honored film with four awards, still fewer than many charttoppers in the Academy’s past. The Departed received no awards for its actors but was acknowledged for its film editing by Thelma Schoonmaker and its adapted screenplay by William Monahan. The Spanish-language fantasy Pan’s 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 year’s foreign language film nominees, losing in that category to the German-made The Lives of Others. Three films earned two Oscars each: Dreamgirls, including Jen- nifer Hudson as the year’s best supporting actress; Little Miss Sunshine, for which Alan Arkin won as the year’s best supporting actor; and An Inconvenient Truth, which, in addition to its documentary award, became the first documentary to also win in the best song category (“I Need to Wake Up,” music and lyric by Melissa Etheridge). Etheridge

374 b e s t p i c t u r e : The Departed (Warner Bros.; produced by Graham King) and b e s t d i r e c t i n g : 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 bull’s-eye but also his first Academy Award as a director after more than 30 years as one of the screen’s premier filmmakers. Working with many of his longtime film compan- ions, including ace film editor Thelma Schoonmaker (who was also recognized for The Departed, the third time she’d won for her work on a Scorsese film), his outstanding cast included Leonardo DiCaprio (right), in his third film for the director, Alec Baldwin in his second Scorsese outing, and many Scorsese first-timers, among them Matt Damon (at left), Jack Nicholson, Mark Wahlberg and Martin Sheen.

Osborne_08a_r6.z.indd 374

8/14/08 1:44:49 PM

also sang her song on the telecast, which was carried on ABC-TV and hosted for the first 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 first win for both of them, as it was for their fellow acting winners Arkin and Hudson. Happy Feet was named the year’s 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 Para- mount 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 Streep’s competing in the best actress category for The Devil Wears Prada marked her 14th nomination, the most attained by any performer in the Academy’s history; the closest runners-up at this point were Jack Nicholson and the late Katharine Hepburn, each with 12 nominations to their credit. Peter O’Toole, 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. O’Toole had, however, received an Honorary Award in 2002 for his body of work.

best supporting actr ess: Jennifer Hudson as Effie White in Dreamgirls (DreamWorks and Paramount; directed by Bill Condon). Having been axed as a contestant on TV’s American Idol show not long before, Hudson (above) became the year’s great success story, making her motion picture debut in a high-profile 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 à clef based on the formation of the singing group The Supremes and a later traumatic reorganization of its three original vocalists that pushed the group’s best singer out the door to virtual oblivion. In this vivid, colorful, and ambitious film version, Hudson is the belter who has the supreme voice among the trio (which includes Beyoncé Knowles and Anika Noni Rose) but, in the view of the group’s manager (Jamie Foxx), doesn’t possess the cosmetic qual- ifications 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 filming started.

375 best actor: F orest Whitaker as Idi Amin in The Last King of Scotland (Fox Searchlight; directed by Kevin Macdon- ald). 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 Morgan–Jeremy Brock screenplay beautifully depicted Amin’s terrifying persona, but it was Whitaker’s performance that brought it so vibrantly to life as the dictator as seen through the eyes of a naïve young doctor (James McAvoy), who is initially captivated by Amin but soon realizes that behind the dictator’s often smiling, buoyant and compelling demeanor there lives a madman.

Osborne_08a_r6.z.indd 375

8/14/08 1:44:57 PM

best PIC TUR E

(or iginal scr een play)

BABEL , Anonymous Content/Zeta Film/Central Films Production, Paramount and Paramount Vantage. Production, Paramount and Paramount Vantage. Guillermo Arriaga. Alejandro González Iñárritu, Jon Kilik and Steve LET T ER S FROM I WO J IMA , DreamWorks Pictures/ Golin, Producers. Warner Bros. Pictures Production, Warner Bros. Iris * T HE DEPARTED, Warner Bros. Pictures Production, Yamashita and Paul Haggis. Warner Bros. Graham King, Producer. * LI T T LE MI S S SUNS HINE , Big Beach/Bona Fide L ET TER S FROM I WO J IMA , DreamWorks Pictures/ Production, Fox Searchlight. Michael Arndt. Warner Bros. Pictures Production, Warner Bros. PAN’ S L ABY RIN TH, Tequila Gang/Esperanto Filmoj/ Clint Eastwood, Steven Spielberg and Robert Lorenz, Estudios Picasso Production, Picturehouse. Guillermo Producers. del Toro. L I T T LE MI S S SUNSHINE, Big Beach/Bona Fide T HE QUEEN, Granada Production, Miramax, Pathé and Production, Fox Searchlight. David T. Friendly, Peter Granada. Peter Morgan. Saraf and Marc Turtletaub, Producers. T HE QUEEN, Granada Production, Miramax, Pathé and ART DIR E C TION— Granada. Andy Harries, Christine Langan and Tracey SET DE C ORAT ION Seaward, Producers. D REAMGIR L S , Laurence Mark Production, AC T OR DreamWorks and Paramount. John Myhre; Nancy L EONARDO D i CAP RIO in Blood Diamond, Liberty Haigh. Pictures, Inc. Production, Warner Bros. T HE GOOD SHEP HER D , Morgan Creek Production, RYAN GOS LING in Half Nelson, Hunting Lane Films Universal. Jeannine Oppewall; Gretchen Rau and Production, THINKFilm. Leslie E. Rollins. PE TE R O’ TOOL E in Venus, Free Range Film Production, * PAN’ S L ABY RINT H , Tequila Gang/Esperanto Filmoj/ Miramax, FilmFour and UK Film Council. Estudios Picasso Production, Picturehouse. Eugenio W I L L SMIT H in The Pursuit of Happyness, Columbia Caballero; Pilar Revuelta. Pictures Production, Sony Pictures Releasing. P I RAT ES OF THE CA R IBBEAN: DEAD MAN’ S CHES T, Walt Disney Pictures/Jerry Bruckheimer * FOR ES T WHI TAK ER in The Last King of Scotland, Cowboy Films/Slate Films Production, Fox Searchlight. Films Production, Buena Vista. Rick Heinrichs; Cheryl Carasik. AC TR ESS T HE P RE S TIGE, Touchstone Pictures/Warner Bros. P ENÉ LOP E C RUZ in Volver, El Deseo D.A., S.L.U. Pictures Production, Buena Vista. Nathan Crowley; Production, Sony Pictures Classics. Julie Ochipinti. JUDI DENCH in Notes on a Scandal, Scott Rudin/Robert Fox Production, Fox Searchlight. CIN E MAT OGRAPHY T HE B L AC K DAHL IA , Millennium Films Production, * HELEN MI R REN in The Queen, Granada Production, Miramax, Pathé and Granada. Universal. Vilmos Zsigmond. MERY L S T REEP in The Devil Wears Prada, Fox 2000 CHILD REN OF MEN, Universal Pictures/Strike Pictures Production, 20th Century Fox. Entertainment Production, Universal. Emmanuel K AT E WINS LET in Little Children, Bona Fide/Standard Lubezki. Film Company Production, New Line. T HE I L LU S IONIS T, Yari Film Group Production, Yari Film Group. Dick Pope. S UPPORTING AC T OR * PAN’ S L ABY RINT H , Tequila Gang/Esperanto Filmoj/ * AL AN AR KIN in Little Miss Sunshine, Big Beach/Bona Estudios Picasso Production, Picturehouse. Guillermo Fide Production, Fox Searchlight. Navarro. JAC K IE EAR LE HALEY in Little Children, Bona Fide/ T HE P RE S TIGE, Touchstone Pictures/Warner Bros. Standard Film Company Production, New Line. Pictures Production, Buena Vista. Wally Pfister. DJ IMON HOUNS OU in Blood Diamond, Liberty Pictures, Inc. Production, Warner Bros. C O STUM E D ESIGN EDDIE MUR PHY in Dreamgirls, Laurence Mark CUR SE OF THE GOL DEN F LOW E R , Film Partner Production, DreamWorks and Paramount. International Inc. Production, Sony Pictures Classics. MAR K WAHLBE RG in The Departed, Warner Bros. Yee Chung Man. Pictures Production, Warner Bros. T HE DEVI L WEAR S P RADA , Fox 2000 Pictures Production, 20th Century Fox. Patricia Field. S UPPORTING AC TRESS D REAMGIR L S , Laurence Mark Production, ADRIANA BAR RAZA in Babel, Anonymous Content/ DreamWorks and Paramount. Sharen Davis. Zeta Film/Central Films Production, Paramount and * MARIE ANTOINET T E , I Want Candy, LLC Production, Paramount Vantage. Sony Pictures Releasing. Milena Canonero. CAT E B L ANCHET T in Notes on a Scandal, Scott Rudin/ T HE QUEEN, Granada Production, Miramax, Pathé and Robert Fox Production, Fox Searchlight. Granada. Consolata Boyle. ABIGAIL BRES LIN in Little Miss Sunshine, Big Beach/ Bona Fide Production, Fox Searchlight. FILM E DI TING BABEL , Anonymous Content/Zeta Film/Central Films * JENNIFER HUDS ON in Dreamgirls, Laurence Mark Production, DreamWorks and Paramount. Production, Paramount and Paramount Vantage. RINKO KI KUCHI in Babel, Anonymous Content/Zeta Stephen Mirrione and Douglas Crise. Film/Central Films Production, Paramount and BLOOD DIAMOND, Liberty Pictures, Inc. Production, Paramount Vantage. Warner Bros. Steven Rosenblum. CHILD REN OF MEN, Universal Pictures/Strike DIR E CTING Entertainment Production, Universal. Alex Rodríguez BABEL , Anonymous Content/Zeta Film/Central Films and Alfonso Cuarón. Production, Paramount and Paramount Vantage. * T HE DEPARTED, Warner Bros. Pictures Production, Alejandro González Iñárritu. Warner Bros. Thelma Schoonmaker. * T HE DEPARTED, Warner Bros. Pictures Production, UNIT ED 93 , Universal Pictures/StudioCanal/Working Warner Bros. Martin Scorsese. Title Films Production, Universal and StudioCanal. LE T TER S F ROM IWO JIMA , DreamWorks Pictures/ Clare Douglas, Christopher Rouse and Richard Warner Bros. Pictures Production, Warner Bros. Clint Pearson. Eastwood. T HE QUEEN, Granada Production, Miramax, Pathé and MAK EUP Granada. Stephen Frears. AP OCALY P TO, Icon Distribution, Inc. Production, UNIT ED 93 , Universal Pictures/StudioCanal/Working Buena Vista. Aldo Signoretti and Vittorio Sodano. Title Films Production, Universal and StudioCanal. CL IC K , Columbia Pictures/Revolution Studios Paul Greengrass. Production, Sony Pictures Releasing. Kazuhiro Tsuji and Bill Corso. WRI TING * PAN’ S L ABY RINT H , Tequila Gang/Esperanto Filmoj/ Estudios Picasso Production, Picturehouse. David (adap t ed scr een play) Martí and Montse Ribé. BORAT CULTU RAL LEARNINGS OF AMER ICA BABEL , Anonymous Content/Zeta Film/Central Films

Nominations 2006

b e s t s u p p o rt i n g a c to r: Al an Arkin as Grandpa in Little Miss Sunshine (Fox Searchlight; directed by Jonathan Dayton and Valerie Faris). The film 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 year’s must-see films. Arkin plays a gruff grandfather in a family of misfits 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 MAK E BENEFIT GLORIOU S NAT ION OF K AZAK H S TAN, 20th Century Fox Production, 20th

Century Fox. Sacha Baron Cohen, Anthony Hines, Peter Baynham, Dan Mazer and Todd Phillips. CHILD REN OF MEN, Universal Pictures/Strike Entertainment Production, Universal. Alfonso Cuarón, Timothy J. Sexton, David Arata, Mark Fergus and Hawk Ostby. * T HE DEPARTED, Warner Bros. Pictures Production, Warner Bros. William Monahan. LI T T LE CHILD REN, Bona Fide/Standard Film Company Production, New Line. Todd Field and Tom Perrotta. NOTES ON A SCANDAL , Scott Rudin/Robert Fox Production, Fox Searchlight. Patrick Marber.

Osborne_08a_r6.z.indd 376

MU SIC (or iginal scor e)

* BABEL , Anonymous Content/Zeta Film/Central Films Production, Paramount and Paramount Vantage. Gustavo Santaolalla. T HE GOOD GER MAN, Warner Bros. Pictures Production, Warner Bros. Thomas Newman. NOTES ON A SCANDAL , Scott Rudin/Robert Fox Production, Fox Searchlight. Philip Glass. PAN’ S L ABY RIN TH, Tequila Gang/Esperanto Filmoj/ Estudios Picasso Production, Picturehouse. Javier Navarrete. T HE QUEEN, Granada Production, Miramax, Pathé and Granada. Alexandre Desplat.

8/14/08 1:45:00 PM

best actr ess: Helen Mirren as Queen Elizabeth II in The Queen (Miramax, Pathé and Granada; directed by Stephen Frears). Few actresses have had as many prizes and plaques bestowed on them as Mirren did for her magnificent work in this film, but then, few actresses have deserved those honors as much. In 2005, she had also been conspicuous as England’s first 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 carica- tured 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 queen’s subjects want her to behave as their stiff-upper-lip monarch or as the victim’s 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.

TO IOAN A L LEN, J . WAYNE ANDER S ON , MARY ANN ANDER SON , T ED COS TA S , PAU L R . GOLDBERG, SHAWN JONE S , T HOMAS K UHN , DR . AL AN MAS S ON , COL IN MO S S MAN, MART IN RICHA R DS , FR ANK R ICOT TA and RICHARD C . SEH L IN for their contributions to the

(original song)

* I NEED TO WA KE UP (An Inconvenient Truth, Lawrence Bender/Laurie David Production, Paramount Classics and Participant Productions). Music and Lyric by Melissa Etheridge. LIS T EN (Dreamgirls, Laurence Mark Production, DreamWorks and Paramount). Music by Henry Krieger and Scott Cutler; Lyric by Anne Preven. LOVE YOU I DO (Dreamgirls, Laurence Mark Production, DreamWorks and Paramount). Music by Henry Krieger; Lyric by Siedah Garrett. OUR TOW N (Cars, Pixar Animation Studios Production, Buena Vista). Music and Lyric by Randy Newman. PAT IENCE (Dreamgirls, Laurence Mark Production, DreamWorks and Paramount). Music by Henry Krieger; Lyric by Willie Reale.

S O U N D E D I T I NG

A P OCA LYPTO, Icon Distribution, Inc. Production,

Buena Vista. Sean McCormack and Kami Asgar. BLOOD DIAMOND , Liberty Pictures, Inc. Production, Warner Bros. Lon Bender. F L AG S OF OU R FATHE RS, Malpaso/Amblin Entertainment Production, DreamWorks and Warner Bros., Distributed by Paramount. Alan Robert Murray and Bub Asman. * L ETTE RS F ROM IWO J IMA , DreamWorks Pictures/ Warner Bros. Pictures Production, Warner Bros. Alan Robert Murray and Bub Asman. P IR AT ES OF THE CAR IBBEAN : DEAD MAN ’S CHE S T, Walt Disney Pictures/Jerry Bruckheimer

Films Production, Buena Vista. Christopher Boyes and George Watters II.

S O U N D M I X I NG

A P OCA LYPTO, Icon Distribution, Inc. Production,

Buena Vista. Kevin O’Connell, Greg P. Russell and Fernando Cámara. BLOOD DIAMOND , Liberty Pictures, Inc. Production, Warner Bros. Andy Nelson, Anna Behlmer and Ivan Sharrock. * D R EAMGI RL S, Laurence Mark Production, DreamWorks and Paramount. Michael Minkler, Bob Beemer and Willie Burton. F L AG S OF OU R FATHE RS, Malpaso/Amblin Entertainment Production, DreamWorks and Warner Bros., Distributed by Paramount. John Reitz, Dave Campbell, Gregg Rudloff and Walt Martin.

LIFTED, Pixar Animation Studios Production, Buena

Vista. Gary Rydstrom.

T HE LI T T LE MATCHGIR L , Walt Disney Pictures

Production, Buena Vista. Roger Allers and Don Hahn.

MAES T RO , Kedd Production, SzimplaFilm. Géza M.

Tóth.

NO TIME FO R NUT S , Blue Sky Studios Production,

20th Century Fox. Chris Renaud and Michael Thurmeier.

(liv e action) BINTA AND THE GREAT IDEA (BINTA Y L A GRAN IDEA) , Peliculas Pendelton and Tus Ojos Production.

Javier Fesser and Luis Manso.

É RAMOS POCOS (ONE TOO MANY ) , Altube Filmeak

Production, Kimuak. Borja Cobeaga. HELMER & SON , Nordisk Film Production. Søren Pilmark and Kim Magnusson. T HE SAVIOUR , Australian Film Television and Radio School Production, Australian Film Television and Radio School. Peter Templeman and Stuart Parkyn. * W ES T BANK S TO RY, Ari Sandel, Pascal Vaguelsy, Amy Kim, Ravi Malhotra and Ashley Jordan Production. Ari Sandel.

DOCUM E N TARY (featur es)

DELI V ER U S FROM E VI L , Disarming Films Production,

Lionsgate. Amy Berg and Frank Donner.

* AN INCONVENIENT T RU T H, Lawrence Bender/Laurie

David Production, Paramount Classics and Participant Productions. Davis Guggenheim. I RAQ IN FR AGMENT S , Typecast Pictures/Daylight Factory Production, Typecast Releasing in association with HBO Documentary Films. James Longley and John Sinno. J ES U S CAMP, Loki Films Production, Magnolia Pictures. Heidi Ewing and Rachel Grady. M Y COUNT RY, M Y COUNT RY, Praxis Films Production, Zeitgeist Films. Laura Poitras and Jocelyn Glatzer. (short subjects)

* T HE B LOOD OF YINGZHOU DI S T RIC T, Thomas Lennon Films Production. Ruby Yang and Thomas Lennon. REC YCLED LIFE, Iwerks/Glad Production. Leslie Iwerks and Mike Glad. REHEAR SING A DR EAM, Simon & Goodman Picture Company Production. Karen Goodman and Kirk P IR AT ES OF THE CAR IBBEAN : DEAD MAN ’S Simon. CHE S T, Walt Disney Pictures/Jerry Bruckheimer Films T WO HANDS , Crazy Boat Pictures Production. Production, Buena Vista. Paul Massey, Christopher Nathaniel Kahn and Susan Rose Behr. Boyes and Lee Orloff.

V IS UA L EF F EC TS

ANIMATE D F EATURE FILM

CAR S , Pixar Animation Studios Production, Buena * P IR ATE S OF T HE CA RIBBEAN : DEAD MAN’S Vista. John Lasseter. CHE S T, 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. MONS TER HOUS E, Columbia Pictures Production, P OS EIDON , Warner Bros. Pictures Production, Warner Sony Pictures Releasing. Gil Kenan. Bros. Boyd Shermis, Kim Libreri, Chas Jarrett and John Frazier. FOR E IGN L ANGUAG E FILM S UP E RMAN R ETURNS, Outback Pictures Inc. AFTER THE WEDDING (Denmark). Production, Warner Bros. Mark Stetson, Neil DAYS OF GLO RY (INDIGÈNES ) (Algeria). Corbould, Richard R. Hoover and Jon Thum. * T HE LI VES OF OT HER S (Germany). PAN’ S L ABY RIN TH (Mexico). S H O RT F I L MS WAT ER (Canada).

(animated)

* THE DANI S H P OE T, Mikrofilm and National Film Board of Canada Production, National Film Board of Canada. Torill Kove.

Osborne_08a_r6.z.indd 377

HONORARY and other AWARDS TO ENNIO MO R RICONE in recognition of his

magnificent and multifaceted contributions to the art of film music.

environmentally responsible industry conversion from silver-based to cyan dye analog soundtracks. (Award of Commendation) TO RICHAR D EDLUND 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)

2006 IRVING G. T HAL BERG ME MORIAL AWARD None given this year.

2006 J E AN H ER SHOLT HUMANI TARIAN AWARD TO SHER RY L ANS ING

2006 GORDON E. SAWYER AWARD TO RAY FEENEY

S CI E NTIFIC AND TEC HNIC AL AWARD S scientific and engineering award (academy plaque) P HIL LI P J . FEINER , JIM HOU S TON , DENIS LECONTE and CH R I S BU S HMAN of Pacific Title

and Art Studio for the design and development of the Rosetta process for creating digital YCM archival masters for digital film restoration.

S TEVE SU L LI VAN, CO L IN DAV IDS ON , MAX CHEN and FR ANCESCO CA L L A R I for the design and

development of the ILM Image-based Modeling System.

D R . BIL L COL LI S , SIMON ROBINSON , BEN K ENT and D R . ANIL KOK A R AM 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. HOWAR D P RES TON and MIR KO KOVACE V IC for the design and engineering of the Preston Cinema Systems FI+Z wireless remote system. technical achievement award (academy certificate) J OS HUA P INES and CH R I S KU TC 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 L LIAM FEIGHT NE R and CH R I S EDWA R D S of E-Film for the design and development of the E-Film process for creating archival separations from digital image data.

377

ALBE RT RIDIL L A , PA P KEN S HAHBAZIAN, RONA L D BEL KNAP and JAY M cGA R R IG L E for the design

and development of the Hollywood Film Company Brumagic MPST Densitometer.

K LEMENS KEHR ER , JO SEF HAND L E R , T HOMAS SMIDEK and MA RC S HIP MAN MUE L L E R for the

design and development of the Arriflex 235 Camera System. FLORIAN KAINZ for the design and engineering of OpenEXR, a software package implementing 16-bit, floating-point, high dynamic range image files. WA LTER T RAUNINGE R and E R N S T T S CHIDA for the design and engineering of the Arri WRC wireless remote lens control system. CH RI S TIAN T SCHIDA and MART IN WAI T Z of cmotion for the design and engineering of the cmotion Wireless Remote System. P ET ER LI T WINOWICZ and PIE R R E JA SMIN for the design and development of the RE:Vision Effects family of software tools for optical flow-based image manipulation. * INDICATE S WINNER

8/14/08 1:45:04 PM

2007 The Eightieth Year

he days leading up to Oscar LXXX were part Hitchcock thriller and part old-time melodrama, but, in the final analysis, there was also a last-minute happy ending in the tradition of a Minnelli musical. For weeks it wasn’t 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 flaring over several issues, including new media compensation. As weeks passed and the clock ticked toward the February 24, 2008, date scheduled for Oscar’s 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 film 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 Indepen- dent’s 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 his- toric film clips and a simple announcement

of the names of some of the Oscar winners should a strike agreement not be reached. At the last minute—actually, twelve days before either Plan A or B would have been put in place—the 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, Har- rison Ford, John Travolta, Jennifer Garner, Hilary Swank, Denzel Washington, Mickey Rooney, Faye Dunaway, Colin Farrell, Jane Russell, Patrick Dempsey, Steve Carell, Penélope Cruz, Miley Cyrus, and the previous year’s winners in five major categories, Forest Whitaker, Helen Mirren, Alan Arkin, Jennifer Hudson, and Martin Scorsese. In a year when many of the nominated films had darker and more violent themes than any Oscar year in the past, No Country for Old Men was the evening’s big winner, receiving four Academy awards. Three of those went to brothers Ethan and Joel Coen as producers (with Scott Rudin) of the film chosen as the year’s best, and two others for their codirection of the film and for cowriting its adapted screenplay. It was only the second time in Oscar’s 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 b e s t a c to r: daniel day-lewis as Daniel Plainview in There Will Be Blood (Paramount Vantage and Miramax). The film, based on the Upton Sinclair novel Oil—initially published in 1927, the same year Oscar was born—takes a stark look at the greed and corruption that prevailed among prospectors lusting for black gold in California’s past. That avarice was embodied in this Paul Thomas Anderson–directed film by the evil but endlessly fascinating character played by Day-Lewis in a towering performance. A previous best actor winner for 1989’s My Left Foot, Day-Lewis earned his fourth Academy Award nomination during the previous nineteen years, a remarkable number considering he had appeared in only eight films during that time.

Osborne_08a_r6.z.indd 378

8/14/08 1:45:11 PM

For the first time since 1964, all of the acting winners were non-Americans: England’s 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 Spain’s Javier Bardem was named best supporting actor for No Country for Old Men. Cotillard’s victory made her the third performer in a foreign language film to win one of the Academy’s acting prizes, following Sophia Loren in 1961’s Italian-made Two Women and Roberto Benigni in 1998’s Life Is Beautiful, also from Italy. (Although The Godfather Part II was predominantly in English, Robert De Niro’s 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 evening’s music director. During the show, veteran production designer Robert Boyle, at age 98, was presented the night’s Honorary Award, “in recognition of one of cinema’s great careers in art direction,” and received a prolonged standing ovation. The year’s winner as best foreign language film was Austria’s The Counterfeiters, the first film from that country to win in the category. best pictur e: no coun try f or old men (Miramax and Paramount Vantage; produced by Scott Rudin, Ethan Coen and Joel Coen), best dir ector s: joel coen and ethan coen, and best supporting actor: javier bardem as Anton Chigurh. Reflecting 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 capital- ize 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

best actr ess: marion cotill ard 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 France’s much-beloved singing legend Edith Piaf, as she lived out a very intense and very public private life. Cotillard’s was the first performance in French to win one of the Academy’s acting prizes, and, in fact, the only Academy Award–winning 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.)

Osborne_08a_r6.z.indd 379

8/14/08 1:45:24 PM

ATONEMENT, Working Title Production, Focus Features. Sarah Greenwood; Katie Spencer. of Fleet Street, Parkes/MacDonald and Zanuck Company Production, DreamWorks and Warner Bros., T HE GOLDEN COMPA S S , Scholastic/Depth of Field Production, New Line in association with Ingenious Distributed by DreamWorks/Paramount. Film Partners. Dennis Gassner; Anna Pinnock. TOMMY LEE JONES in In the Valley of Elah, Nala Films Production, Warner Independent Pictures. * S WEENEY TODD THE DEMON BA R BE R OF F L EET S T REET, Parkes/MacDonald and Zanuck Company V IGGO MO RTENS EN in Eastern Promises, Kudos Production, DreamWorks and Warner Bros., Pictures/Serendipity Point Films Production, Focus Distributed by DreamWorks/Paramount. Dante Features. Ferretti; Francesca Lo Schiavo. AC TR ESS T HERE WI L L BE BLOOD, JoAnne Sellar/Ghoulardi CATE BL ANCHET T in Elizabeth: The Golden Age, Film Company Production, Paramount Vantage and Working Title Production, Universal. Miramax. Jack Fisk; Jim Erickson. J U LIE CH RI S TIE in Away from Her, Film Farm and CIN E MAT OGRAPHY Foundry Films in association with Capri Releasing, T HE A S SAS SINAT ION OF J E S S E JAME S BY T HE Hanway Films and Echo Lake Production, Lionsgate. COWARD ROBERT FOR D, J J Pictures, Inc. * MARION COTI L L ARD in La Vie en Rose, Legende Production, Warner Bros. Roger Deakins. Production, Picturehouse. ATONEMENT, Working Title Production, Focus L AUR A LINNEY in The Savages, Savage and Lone Star Features. Seamus McGarvey. Films Production, Fox Searchlight. T HE DI VING BEL L AND T HE BU T T E R F LY, Kennedy/ E L LEN PAGE in Juno, Mandate Pictures/Mr. Mudd Marshall Company and Jon Kilik Production, Production, Fox Searchlight. Miramax/Pathé Renn. Janusz Kaminski. SUPPORT ING AC T OR NO COUNT RY FOR OL D MEN, Scott Rudin/Mike CASE Y AFFLEC K 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 WI L L BE BLOOD, JoAnne Sellar/Ghoulardi * JAVIER BARDEM in No Country for Old Men, Film Company Production, Paramount Vantage and Scott Rudin/Mike Zoss Production, Miramax and Miramax. Robert Elswit. Paramount Vantage. C O STUM E D ESIGN PHI LI P SEY MOUR HOFFMAN in Charlie Wilson’s War, ACRO S S THE UNIVE R S E , Revolution Studios Universal Pictures Production, Universal. Production, Sony Pictures Releasing. Albert Wolsky. HAL HO LB ROOK in Into the Wild, Square One C.I.H./ ATONEMENT, Working Title Production, Focus Linson Film Production, Paramount Vantage and River Features. Jacqueline Durran. Road Entertainment. TOM WI L KINSON in Michael Clayton, Clayton * EL IZABET H: THE GOL DEN AGE , Working Title Production, Universal. Alexandra Byrne. Productions, LLC Production, Warner Bros. L A VIE EN ROS E, Legende Production, Picturehouse. SUPPORT ING AC TRESS Marit Allen. CATE BL ANCHET T in I’m Not There, Endgame S W EENEY TODD THE DEMON BA R BE R OF F L EE T Entertainment/Killer Films/John Wells and John S T REET, Parkes/MacDonald and Zanuck Company Goldwyn Production, The Weinstein Company. Production, DreamWorks and Warner Bros., RUBY DEE in American Gangster, Universal Pictures and Distributed by DreamWorks/Paramount. Colleen Imagine Entertainment Production, Universal. Atwood. SAOI R SE RONAN in Atonement, Working Title FILM E DI TING Production, Focus Features. AMY RYAN in Gone Baby Gone, Ladd Company * T HE BOURNE U LTIMAT UM , Universal Pictures Production, Universal. Christopher Rouse. Production, Miramax Films. T HE DI VING BEL L AND T HE BU T T E R F LY, Kennedy/ * T I LDA S WIN TON in Michael Clayton, Clayton Marshall Company and Jon Kilik Production, Productions, LLC Production, Warner Bros. Miramax/Pathé Renn. Juliette Welfling. DIR E C TING INTO THE WI L D, Square One C.I.H./Linson Film T HE DIV ING BEL L AND THE BUT TERF LY, Kennedy/ Production, Paramount Vantage and River Road Marshall Company and Jon Kilik Production, Entertainment. Jay Cassidy. Miramax/Pathé Renn. Julian Schnabel. NO COUNT RY FOR OL D MEN, Scott Rudin/Mike J UNO, Mandate Pictures/Mr. Mudd Production, Fox Zoss Production, Miramax and Paramount Vantage. Searchlight. Jason Reitman. Roderick Jaynes. MICHAEL CL AY TON, Clayton Productions, LLC T HERE WI L L BE BLOOD, JoAnne Sellar/Ghoulardi Production, Warner Bros. Tony Gilroy. Film Company Production, Paramount Vantage and * NO COUNT RY FOR OLD MEN, Scott Rudin/Mike Miramax. Dylan Tichenor. Zoss Production, Miramax and Paramount Vantage. MAK EUP Joel Coen and Ethan Coen. T HERE WI L L BE B LOOD, JoAnne Sellar/Ghoulardi * L A VIE EN ROS E, Legende Production, Picturehouse. Didier Lavergne and Jan Archibald. Film Company Production, Paramount Vantage and NORBIT, John Davis Production, DreamWorks, Miramax. Paul Thomas Anderson. Distributed by Paramount. Rick Baker and Kazuhiro WRI TING Tsuji. J OHNNY DEP P in Sweeney Todd The Demon Barber

Nominations 2007

b e s t s u p p o rt i n g a c t r e s 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 first time in con- tention, she thanked the film’s 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 first place, adding, “I’m giving this to you.” Later in the pressroom she restated, “I’m giving it to Brian . . . he deserves it. I wouldn’t be here if it weren’t for him.” She also said she hoped it might calm him down “when I’m on the speakerphone telling him I’m going to do another art film in Europe.”

(Universal) turned each of its three nominations into Academy Awards for film editing, sound editing and sound mixing, making it the second most honored picture of 2007. Directed by Paul Greengrass, the nonstop chase film 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 Ludlum’s Bourne books, The Bourne Ultimatum bested its predecessors by becoming the first to win notice from Academy voters. The Bourne Ult imatum

380 BEST P I CT U R E

ATONEMEN T, Working Title Production, Focus

Features. Tim Bevan, Eric Fellner and Paul Webster, Producers. JUNO, Mandate Pictures/Mr. Mudd Production, Fox Searchlight. Lianne Halfon, Mason Novick and Russell Smith, Producers. MICHAE L C L AY TON, Clayton Productions, LLC Production, Warner Bros. Sydney Pollack, Jennifer Fox and Kerry Orent, Producers. * NO COUN TRY FO R OL D MEN , Scott Rudin/Mike Zoss Production, Miramax and Paramount Vantage. Scott Rudin, Ethan Coen and Joel Coen, Producers. THE RE WI LL BE BLOOD, JoAnne Sellar/Ghoulardi Film Company Production, Paramount Vantage and Miramax. JoAnne Sellar, Paul Thomas Anderson and Daniel Lupi, Producers.

AC T O R

GEO RGE CLOONE Y in Michael Clayton, Clayton

Productions, LLC Production, Warner Bros. * DANIE L DAY-L EWI S in There Will Be Blood, JoAnne Sellar/Ghoulardi Film Company Production, Paramount Vantage and Miramax.

Osborne_08a_r6.z.indd 380

(adap t ed scr een play)

ATONEMENT, Working Title Production, Focus

Features. Christopher Hampton. AWAY F ROM HER , Film Farm and Foundry Films in association with Capri Releasing, Hanway Films and Echo Lake Production, Lionsgate. Sarah Polley. T HE DIV ING BEL L AND THE BUT TERF LY, Kennedy/ Marshall Company and Jon Kilik Production, Miramax/Pathé Renn. Ronald Harwood. * NO COUNT RY FOR OLD MEN, Scott Rudin/Mike Zoss Production, Miramax and Paramount Vantage. Joel Coen and Ethan Coen. T HERE WI L L BE B LOOD, JoAnne Sellar/Ghoulardi Film Company Production, Paramount Vantage and Miramax. Paul Thomas Anderson. (or iginal scr een play)

* J UNO, Mandate Pictures/Mr. Mudd Production, Fox Searchlight. Diablo Cody. L AR S AND THE REAL GIR L , Sidney Kimmel Entertainment Production, MGM Distribution Co. Nancy Oliver. MICHAEL CL AY TON, Clayton Productions, LLC Production, Warner Bros. Tony Gilroy. R ATATOUI L LE, Pixar Production, Walt Disney. Brad Bird, Jan Pinkava and Jim Capobianco. T HE SAVAGES , Savage and Lone Star Films Production, Fox Searchlight. Tamara Jenkins.

ART DIR E C TION— SET DE C ORATION

AMER ICAN GANGS TER , Universal Pictures and

Imagine Entertainment Production, Universal. Arthur Max; Beth A. Rubino.

P I RAT ES OF THE CA R IBBEAN: AT WO R L D’ S END ,

Walt Disney Pictures/Jerry Bruckheimer Films Production, Walt Disney. Ve Neill and Martin Samuel.

MU SIC (or iginal scor e)

* ATONEMENT, Working Title Production, Focus Features. Dario Marianelli. T HE KI T E RUNNER , Sidney Kimmel Entertainment and Parkes/MacDonald Production, DreamWorks, Sidney Kimmel Entertainment and Participant Productions, Distributed by Paramount Classics. Alberto Iglesias. MICHAEL C L AY TON , Clayton Productions, LLC Production, Warner Bros. James Newton Howard. RATATOUIL LE , Pixar Production, Walt Disney. Michael Giacchino. 3:10 TO YUMA , Relativity Media & Tree Line Film Production, Lionsgate. Marco Beltrami. (or iginal song)

* FAL LING S LOW LY (Once, Samson Films Production, Fox Searchlight). Music and Lyric by Glen Hansard and Marketa Irglova. HAP P Y WO R KING S ONG (Enchanted, Walt Disney Pictures Production, Walt Disney). Music by Alan Menken; Lyric by Stephen Schwartz. RAIS E 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 YOU KNOW (Enchanted, Walt Disney Pictures Production, Walt Disney). Music by Alan Menken; Lyric by Stephen Schwartz.

8/14/08 1:45:28 PM

S O U N D E D I T I NG

* THE BOU R NE ULTIMATUM , Universal Pictures Production, Universal. Karen Baker Landers and Per Hallberg. NO COUN TRY FOR OLD MEN , Scott Rudin/Mike Zoss Production, Miramax and Paramount Vantage. Skip Lievsay. R ATATOUI LL E, Pixar Production, Walt Disney. Randy Thom and Michael Silvers. THE RE WI LL BE BLOOD, JoAnne Sellar/Ghoulardi Film Company Production, Paramount Vantage and Miramax. Christopher Scarabosio and Matthew Wood. TR AN SFO R ME RS, Don Murphy/Tom DeSanto and Di Bonaventura Pictures Production, DreamWorks and Paramount in association with Hasbro. Ethan Van der Ryn and Mike Hopkins.

S O U N D M I X I NG

* THE BOU R NE ULTIMATUM , Universal Pictures Production, Universal. Scott Millan, David Parker and Kirk Francis. NO COUN TRY FOR OLD MEN , Scott Rudin/Mike M ÊME LES PIGEONS VONT AU PARADIS (EVEN Zoss Production, Miramax and Paramount Vantage. P IGEONS GO TO HEAVEN) , BUF Compagnie Skip Lievsay, Craig Berkey, Greg Orloff and Peter Production, Premium Films. Samuel Tourneux and Kurland. Simon Vanesse. R ATATOUI LL E, Pixar Production, Walt Disney. Randy M Y LOV E (MOYA LYUBOV ) , 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 & THE WOL F, BreakThru Films/Se-ma-for and Jim Stuebe. Studios Production, BreakThru Films. Suzie Templeton TR AN SFO R ME RS, Don Murphy/Tom DeSanto and and Hugh Welchman. Di Bonaventura Pictures Production, DreamWorks (liv e action) and Paramount in association with Hasbro. Kevin AT NIGHT, Zentropa Entertainments 10 Production. O’Connell, Greg P. Russell and Peter J. Devlin. Christian E. Christiansen and Louise Vesth. V IS UA L EF F EC TS I L SU P P LENT E ( THE SUB S TI TU T E ) , Frame by Frame THE GO LDEN COMPA SS, Scholastic/Depth of Field Italia Production, Sky Cinema Italia. Andrea Jublin. * Production, New Line in association with Ingenious * LE MOZART DES PIC K POC K ET S ( THE MOZART OF Film Partners. Michael Fink, Bill Westenhofer, Ben P IC K POC K ET S ) , Karé Production, Premium Films. Morris and Trevor Wood. Philippe Pollet-Villard. P IR AT ES OF THE CAR IBBEAN : AT WO RLD ’S END , TANGHI ARGENT INI, 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 TONTO WOMAN, Knucklehead, Little Mo and TR AN SFO R ME RS, 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, DOCUM E N TARY Scott Benza, Russell Earl and John Frazier.

S H O RT F I L MS (animated)

I ME T T HE WA LRUS, Kids & Explosions Production.

Josh Raskin.

MADAME TU TLI-PUTL I, National Film Board of

Canada Production, National Film Board of Canada. Chris Lavis and Maciek Szczerbowski.

(featur es)

NO END IN SIGHT, Representational Pictures

Production, Magnolia Pictures. Charles Ferguson and Audrey Marrs.

OP E RATION HOMECOMING: W RIT ING THE WA RTIME EXP E RIENCE, The Documentary Group

Production, The Documentary Group. Richard E. Robbins. SIC KO, Dog Eat Dog Films Production, Lionsgate and The Weinstein Company. Michael Moore and Meghan O’Hara. * TAXI TO THE DA R K SIDE, X-Ray Production, THINKFilm. Alex Gibney and Eva Orner. WA R /DANCE, Shine Global and Fine Films Production, THINKFilm. Andrea Nix Fine and Sean Fine. (short subjects)

* FR EEHELD, Lieutenant Films Production. Cynthia Wade and Vanessa Roth. L A CORONA ( THE C ROWN ) , Runaway Films and Vega Films Production. Amanda Micheli and Isabel Vega. SALIM BABA , Ropa Vieja Films and Paradox Smoke Production. Tim Sternberg and Francisco Bello. SARI ’ S MOTHER , Daylight Factory Production, Cinema Guild. James Longley.

ANIMATE D F EATURE FILM

P ER SEP OL IS , 2.4.7. Films Production, Sony Pictures

Classics. Marjane Satrapi and Vincent Paronnaud. * RATATOUIL LE, Pixar Production, Walt Disney. Brad Bird. SU R F’ S U P, Sony Pictures Animation Production, Sony Pictures Releasing. Ash Brannon and Chris Buck.

FOR E IGN L ANGUAG E FILM

BEAUFORT (Israel). * T HE COUNTE RFEIT ER S (Austria). ´ (Poland). K AT Y N MONGOL (Kazakhstan). best song: “falling slowly” from Once (Fox Searchlight). 12 (Russia). For the first time since 1934, when the Academy began honor-

ing movie songs, the writers of the winning song were also the principal actors in the film 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 film Enchanted, the first 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 film, Disney’s The Lion King, winning for one of the trio, “Can You Feel the Love Tonight.”

Osborne_08a_r6.z.indd 381

HONORARY and other AWARDS TO ROBERT BOY LE in recognition of one of cinema’s

great careers in art direction.

TO JONATHAN ER L AND in recognition of his

leadership and efforts toward identifying and solving the problem of High-Speed Emulsion Stress Syndrome in motion picture film stock. (Award of Commendation) TO DAVID INGL I 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 animat ed featur e: 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 gour- met chef and gets the chance when he finds himself in a famous Parisian restaurant after becoming separated from his family during an escape through the sewers. When his secret improvements to the restaurant’s food are mistakenly attributed to Linguini, the garbage boy, the two team up to form an unlikely culinary partner- ship that will benefit them both. Other talent lending their voices to the movie were Peter O’Toole, Brian Dennehy, Brad Garrett, Janeane Garofalo, John Ratzenberger and Ian Holm. The film’s writer-director Brad Bird took home his second Oscar, the first having been for 2004’s animated feature The Incredibles.

2007 IRVING G. THAL BE RG M E MORIAL AWARD None given this year.

2007 J E AN H ERSHOLT HUMANI TARIAN AWARD None given this year.

2007 GORDON E. S AWY ER AWARD TO DAVID A . G RAF TON

S CI E NTIFIC AND TEC HNIC AL AWARD S academ y awar d of mer it (statuett e)

EAS TMAN KODAK COM PAN Y for the development

of photographic emulsion technologies incorporated into the Kodak Vision2 family of color negative films.

scientific and engineering award (academy plaque) D R . DOUG ROBL E , NAFEE S BIN ZAFAR and RYO SAKAGUCHI for the development of the fluid

simulation system at Digital Domain.

NIC K RASMU S SEN, RON FEDK IW and F R AN K LO SAS S O PET TE R SON for the development of the

Industrial Light & Magic fluid simulation system.

technical achievement award (academy certificate)

381

CH RI S TIEN TINS LE Y for the creation of the transfer

techniques for creating and applying 2-D and 3-D makeup known as “Tinsley Transfers.” J Ö RG P ÖH LER and RÜ DIGER K L EIN K E of OTTEC Technology GmbH for the design and development of the battery-operated series of fog machines known as “Tiny Foggers.” SEBAS TIAN CRAME R for the invention and general design, and ANDR EA S DAS S E R , head of development at P&S Technik GmbH, for the mechanical design, of the Skater Dolly and its family of products. VIC TO R GONZAL EZ , IGNACIO VA RGA S and ANGEL TENA for the creation of the RealFlow software application. J ONAT HAN M . COHEN , DR . JE R RY T E S SENDOR F, DR . JEROEN MO L EMA KE R and MICHAE L KOWAL S KI for the development of the system of fluid

dynamics tools at Rhythm & Hues.

DUNCAN BRINS MEAD, JO S S TAM, J U L IA PAK ALNS and MA RT IN W E R NE R for the design and

implementation of the Maya Fluid Effects system.

S TEP HAN T ROJANS K Y, THOMAS GAN SHO R N and OL I VER PIL A R S K I for the development of the

Flowline fluid effects system.

* INDICATE S WINNER

8/14/08 1:45:33 PM

Awards Ceremonies The First Eighty Years 8th Awards: March 5, 1936 Thursday, 8:00 PM The Biltmore Bowl of the Biltmore Hotel, Los Angeles (banquet) Host—Frank Capra, Academy President 9th Awards: March 4, 1937 Thursday, 8:00 PM The Biltmore Bowl of the Biltmore Hotel, Los Angeles (banquet) MC—George Jessel 10th Awards: March 10, 1938 Thursday, 8:15 PM (postponed from March 3rd) The Biltmore Bowl of the Biltmore Hotel, Los Angeles (banquet) MC—Bob Burns

Frank Borzage

1st Awards: May 16, 1929 Thursday, 8:00 PM Blossom Room of the Hollywood Roosevelt Hotel (banquet) Hosts—Douglas 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) Host—William C. de Mille, Academy President 3rd Awards: November 5, 1930 Wednesday, 8:00 PM Fiesta Room of the Ambassador Hotel, Los Angeles (banquet) Host—Conrad Nagel 382

4th Awards: November 10, 1931 Tuesday, 8:00 PM Sala D’Oro of the Biltmore Hotel, Los Angeles (banquet) MC—Lawrence Grant 5th Awards: November 18, 1932 Friday, 8:00 PM Fiesta Room of the Ambassador Hotel, Los Angeles (banquet) Host—Conrad Nagel, Academy President 6th Awards: March 16, 1934 Friday, 8:00 PM Fiesta Room of the Ambassador Hotel, Los Angeles (banquet) MC—Will Rogers 7th Awards: February 27, 1935 Wednesday, 8:00 PM The Biltmore Bowl of the Biltmore Hotel, Los Angeles (banquet) MC—Irvin S. Cobb

Osborne_bm_r3.z.indd 382

11th Awards: February 23, 1939 Thursday, 8:30 PM The Biltmore Bowl of the Biltmore Hotel, Los Angeles (banquet) Host—Frank Capra, Academy President 12th Awards: February 29, 1940 Thursday, 8:30 PM The Cocoanut Grove of the Ambassador Hotel, Los Angeles (banquet) MC—Bob Hope 13th Awards: February 27, 1941 Thursday, 8:45 PM The Biltmore Bowl of the Biltmore Hotel, Los Angeles (banquet) Banquet addressed by President Franklin D. Roosevelt via direct-line radio from Washington, D.C. Host—Walter Wanger, Academy President 14th Awards: February 26, 1942 Thursday, 7:45 PM The Biltmore Bowl of the Biltmore Hotel, Los Angeles (banquet) Wendell Willkie, principal speaker MC—Bob Hope 15th Awards: March 4, 1943 Thursday, 8:30 PM The Cocoanut Grove of the Ambassador Hotel, Los Angeles (banquet) MC—Bob Hope 16th Awards: March 2, 1944 Thursday, 8:00 PM Grauman’s Chinese Theatre, Hollywood MC—Jack Benny (for overseas broadcast) 17th Awards: March 15, 1945 Thursday, 8:00 PM Grauman’s Chinese Theatre, Hollywood MCs—John Cromwell (for first half), Bob Hope (for last half) Program Director—Charles Brackett General Stage Director—Mervyn LeRoy Musical Director—Franz Waxman

8/14/08 1:47:09 PM

First Awards Banquet, May 16, 1929

18th Awards: March 7, 1946 Thursday, 8:00 PM Grauman’s Chinese Theatre, Hollywood MCs—Bob Hope, James Stewart Produced and Staged by—Dore Schary Musical Director—Johnny Green 19th Awards: March 13, 1947 Thursday, 8:45 PM Shrine Civic Auditorium, Los Angeles MC—Jack Benny Produced and Staged by—Mervyn LeRoy Musical Direction—Leo Forbstein 20th Awards: March 20, 1948 Saturday, 8:15 PM Shrine Civic Auditorium, Los Angeles Produced and Directed by—Delmer Daves Musical Direction—Ray Heindorf 21st Awards: March 24, 1949 Thursday, 8:00 PM Academy Award Theater, Hollywood MC—Robert Montgomery General Director—William Dozier Musical Director—Johnny Green

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 MC—Paul Douglas General Director—Johnny Green Musical Director—Robert Emmett Dolan

24th Awards: March 20, 1952 Thursday, 8:00 PM RKO Pantages Theatre, Hollywood MC—Danny Kaye General Director—Arthur Freed Musical Director—Johnny Green Script—Sylvia Fine, Richard Breen

23rd Awards: March 29, 1951 Thursday, 8:00 PM RKO Pantages Theatre, Hollywood MC—Fred Astaire General Director—Richard Breen Musical Director—Alfred Newman

25th Awards: March 19, 1953 Thursday, 7:30 PM (first telecast) RKO Pantages Theatre, Hollywood MC—Bob Hope Produced and Directed by—Johnny Green Musical Director—Adolph Deutsch Script—Richard Breen NBC-TV Director—William A. Bennington NBC International Theatre, New York City MC—Conrad Nagel Presentations—Fredric March

Osborne_bm_r3.z.indd 383

26th Awards: March 25, 1954 Thursday, 8:00 PM RKO Pantages Theatre, Hollywood MC—Donald O’Connor General Director—Mitchell Leisen Musical Director—André Previn Script—Hal Kanter NBC-TV Director—William A. Bennington NBC Century Theatre, New York City MC—Fredric March Presentations—Jean Hersholt NBC-TV Director—Gray Lockwood

383

8/14/08 1:47:11 PM

Academy Facts and Records (Through the First Eighty 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)

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 Who’s 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

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, 14 nominations KATHARINE HEPBURN, 12 nominations BETTE DAVIS, 10 nominations

Most nominated actors:

JACK NICHOLSON, 12 nominations LAURENCE OLIVIER, 10 nominations for acting

(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.)

396

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

Osborne_bm_r3.z.indd 396

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 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 APARTMENT (1960)

[Schindler’s List (1993) had some color elements.]

the only sequels to win oscars as best picture: The Godfather Part II (1974) the lord of the rings: the return of 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

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), financed and filmed in England.

The first foreign-language performance to win an Academy Award:

Sophia Loren, named 1961’s Best Actress for her

work in the Italian film 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 lord of the rings: the return of the king (2003)

Films in which the entire cast was nominated for Oscars:

The only motion pictures to win Awards for Best Picture, Direction, Actress, Actor, and Screenplay: It Happened One Night (1934) One Flew Over the Cuckoo’s 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 film 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 Cuckoo’s 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 O’Malley in 1944’s Going My

Way* and in 1945’s The Bells of St. Mary’s

Paul Newman as Fast Eddie Felson in 1961’s The

Hustler and in 1986’s The Color of Money*

Peter O’Toole as King Henry II in 1964’s Becket and

in 1968’s The Lion in Winter

Al Pacino as Michael Corleone in 1972’s The

Godfather and in 1974’s The Godfather Part II

cate blanchett as Elizabeth I in 1998’s Elizabeth and

in 2007’s 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.

Sleuth (1972) Give ’Em Hell, Harry (1975)

8/14/08 1:48:23 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 o’Toole, 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

Performers who’ve won two Oscars for acting:

MARLON BRANDO, michael caine, GARY COOPER, BETTE DAVIS, daniel day-lewis, 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, ANTHONY QUINN, LUISE RAINER, JASON ROBARDS, MAGGIE SMITH, Kevin spacey, MERYL STREEP, Hilary swank, ELIZABETH TAYLOR, SPENCER TRACY, PETER USTINOV, denzel washington, DIAnNE WIEST, SHELLEY WINTERS.

The only women nominated as Best Director: LINA WERTMüLLER, 1976 JANE CAMPION, 1993 sofia coppola, 2003

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)

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: 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:

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 Coppola’s first win was for Original Screenplay in 1970; granddaughter Sofia 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 and 2005

The only twins to win Oscars:

Julius J. Epstein and Philip G. Epstein, 1943.

(With Howard Koch, they scripted that year’s winning screenplay, Casablanca.) paul sylbert and richard sylbert. (Both art directors, Paul won in 1978 for Heaven Can Wait; Richard won in 1966 for Who’s Afraid of Virginia Woolf? and in 1990 for Dick Tracy.) Christoph Lauenstein and Wolfgang Lauenstein, 1989. (They produced the winning animated short film, 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 first 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 1957’s 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 only Oscar given for work done 20 years earlier:

The 1972 award for Best Music Score for Charles Chaplin’s Limelight, made in 1952. The film 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 Night’s Dream. (He won without having been a nominee, a feat not possible under today’s Academy rules.)

The youngest performer to be nominated for an Academy Award: Justin Henry, 1979, for Kramer vs. Kramer.

(8 years old)

The youngest performer to receive an Academy Award:

Shirley Temple, Special Award winner in 1934.

(6 years, 10 months)

The youngest performer to win a competitive Academy Award: Tatum O’Neal, 1973, for Paper Moon.

(10 years old)

The youngest winner as Best Actor: adrien brody, 2002, for The Pianist.

(29 years old)

The youngest winner as Best Actress:

Marlee Matlin, 1986, for Children of a Lesser God.

(21 years old)

The youngest Supporting Actor winner: Timothy Hutton, 1980, for Ordinary People.

(20 years old)

The oldest Supporting Actor winner: George Burns, 1975, for The Sunshine Boys.

(80 years, 69 days)

The oldest winner as Best Actor: Henry Fonda, 1981, for On Golden Pond.

(76 years, 317 days)

The oldest performer to receive an Academy Award: myrna loy, Honorary Award recipient in 1990.

(85 years old)

The oldest performer to win a competitive Academy Award: Jessica Tandy, 1989, for Driving Miss Daisy.

(80 years, 292 days)

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

397

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 1991’s Beauty and the Beast, he won Oscars for Original Score and Original Song; the next year, for 1992’s Aladdin, he again won Academy Awards in those same two categories.)

Leo McCarey, 1944, for Going My Way.

Osborne_bm_r3.z.indd 397

8/14/08 1:48:24 PM

1057-2 JKT 4/c YELO MAG CYAN BLACK

(continued from front flap)

Years of the Oscar

O f F I ci a l H i st o ry

a.m.p.a.s.®

of the

Ac a d e m y Awa r d s

Ab b e v i l l e P r e s s

137 Varick Street New York, NY 10013 1-800-Artbook (in U.S. only) Available wherever fine books are sold Visit us at www.abbeville.com

robert osborne

Printed in China

“Unique . . . by virtue of the number and quality of its hundreds of illustrations.” —Los Angeles Times Book Review

the

Reel Art Great Posters from the Golden Age of the Silver Screen By Stephen Rebello and Richard Allen i sb n 978-0-89659-869-0 $75.00

p rai s e f or p re vi ou s e d i ti on s

Osca r ©

robert osborne

of the

Al s o ava i l a b l e f ro m A b b ev ille P r e s s

Years of the Oscar

Years

fi lm

a.m.p.a.s.®