FROM THE PRESIDENT

Through Odober 14 - A(Odemy Fourth Roor Gallery - uFritz Lang: Vienna-Berlin-Paris-HoIIywood." An ON STEPPING UP exhibition of the life and work of the visionary film director, including an audio·visual disploy of never·before·seen footage TO THE PRESIDENCY and interviews with long colleagues. Through October 14 - Academy Grand lobby Gallery T he Academy represents all that is the best in Hollywood, - "Shooting Stars: Photographs by Leo Fuchs." and its leadership is the highest honor the industry can Eighty photographs of celebritiestaken during the 1950s bestow. I feel deeply grateful to this Board of Governors for and '60s by Fuchs as a "special photographer" shooting trusting me with it, and I look to the future to continue the work photo essays from numerousf ilm sets. of my predecessor, Bob Rehme. He leaves the Academy in extraordinarily good shape. Friday, September 21 - 8 p.m., Samuel Goldwyn In his years of presidency .. . Theater. Academy Standards Screening, restored "All That Jan," with cast and crew appearances. • a new ABC contract insured the financial stability of the Academy through 2008, Friday, September 28 - 8 p.m., Samuel Goldwyn Theater. A with live piece • a new Documentary Branch was created, Fritz Lang silent film, 15 orchestra. • a new Oscar category was created for Best Animated Feature Film, Wednesdays, October 3 through October 24 - 7 p.m., Academy Unle Theate r: "Theatrical • a new home was purchased for the Academy Film Documentaries in the Digital Age," Archive and the Academy Players Directory, a seminar series featuring documentary filmmakers. • the Academy Film Scholars Program was created to seek out and honor the nation 's best cinema scholars, Friday, October 28 . 8 p.m., Samuel Goldwyn Theater. Academy Standards Screening, "Federico F'"s 8 1/2." • the Film Festival Fund was created to provide Academy support to innovative film festivals, Thursday, October 2S . 8 p.m., Samuel Goldwyn

Theater. U An Evening with AI Hirschfeld" featuring a • the Academy Forum program was created to conversation between the famed ca ricaturist and host provide an opportunity for intra-branch dialogue, Robert Osborne. • the Academy took over the production of the Academy Awards telecast, moved the show to October 26 - January 2002 - Grand lobby and Fourth Sunday and created an arrivals pre-show, Floor galleries · "Hirschfeld's Hollywood: The Film Art of AI Hirschfeld." • an Academy office was opened in New York City to better serve our members in that area, RCROfmv RfPOnT • the new Kodak Theatre was created to move the Published by the Academy Awards to Hollywood into a venue designed Academy of Motion Picture Arts and Sciences 8949 Wilshire Boulevard, Beverly Hills, California 90211-1972 and built to our special needs. (310) 247-3000· www.oscars.org President • Frank R. Pierson Bob leaves a strong foundation on which to build for the First VIce Pr.sldent • Roger L Mayer future, to meet the challenges of the technical and scientific VIce President • Donald C. Rogers changes that are revolutionizing our industry. I only hope, with VIce Presklttlt • Kathy Bat.s the help of this strong and active Board of Governors, to Treaswer • Alan aer,.. Secretary • SaIl Zaen!z follow his example. Executive DIrector • Bruu Davis - Frank Pierson Photos: unless otherwise identified, by Long Photography Design: Usa CortSSOl!, Eoler Corts_ Ink Osaw'", OK ... s', Acadetny Awards', Acadetny Aw ... d", On the (over: Photographer Leo Fuchs took this photo of Jock Lemmon in 1963 during A.M.P AS.", and asc... Ifoght', ... e tt.e tr"'*-lls, and tt.e asc... statuene is the registered design oak and copyrighted property .f tt.e shooting of "Irma La Douce." It is pori of a current exhibition in the Academy's Grand Lobby Acadetny .f Motion Pictlre Arts and Sciences. Gall ery. See story on page 9.

2 ACAOfmy nfPonT

FRANK PIERSON ELEOED ACADEMY PRESIDENT '6··".. ' \ . :C;t;t._- ' I Academy Award winner Frank R. Pierson, a governor .II,, .•v ..•.. "' ....'; " . representing the writers branch, is the new president of the Academy. ~/ Pierson, who begins his eighth year as a governor, served as a vice president of the Academy last year. He succeeds Robert Rehme, who had served the maximum four consecutive one­ year terms in the office. A past president of the Writers Guild, Pierson has been nominated three times for an Academy Award: for "Cat Ballou" (with Walter Newman) and "Cool Hand Luke" (with Donn Pearce) in the adapted screenplay category, and for his original screenplay of "Dog Day Afternoon," for which he took home the Oscar. Pierson has also directed a number of high-profile pictures, including the 1976 "A Star Is Born" and such well-regarded cable-tv projects as "Citizen Cohn," "Truman" and this year's "Conspiracy." Roger L. Mayer, an executives branch governor, was elected first vice president, sound branch governor Donald C. Rogers and actors branch governor Kathy Bates were elected vice presidents, music branch governor Alan Bergman was elected treasurer and producers branch governor Saul Zaentz was elected secretary. Rehme will automatically serve this year as Immediate Past President, an officer slot. Mayer and Zaentz have not previously served as officers of the Academy. Rogers has previously served two terms as vice president, one term as treasurer and eight terms as secretary. Bates has served one term each as secretary and vice president. Bergman has served four terms as the Academy's first vice president, three terms as vice president and once as the organization's secretary. "I accept the presidency with great humility," Pierson told the board. "Bob Rehme has left a great gift to us all with his four years of service, and I look forward to carrying on in his tradition. One thing I know for sure; he's left a very clean desk."

ACADEMY ElEGS 15 GOVERNORS; FOUR HAVE NEVER SERVED BEFORE MOCK IS FIRST GOVERNOR OF NEW DOCUMENTARY BRANCH F our new members have been elected by their branches to absence, Carl Bell, short films and feature ani mation. the Academy's Board of Governors, nine incumbent members Incumbent governors returning to the board in addition to have been returned and two govern ors who had previously Bates are M arvin M arch , art directors; Co nrad Hall, served on the Academy's board have been brought back for cinematographers; Robert Rehme, executives; Tom Rolf, film additional service. Terms began August 1. editors; Arthur Hamilton, music; Donald C. Rogers, sound; Fre ida Lee Mock was elected the first governor of the Jonathan Erland , visual effects; and Hal Kanter, writers. newly-created documentary branch . Governors whose positions were not up for re-election and Two governors were elected in the actors branch because who contin ue on the board are : actors branch, Ed Begley, Jr.; of the res ignation of Gregory Peck, who chose not to fi ll out the art di rectors, Jeannine Oppewa ll and Albert Wolsky; remaining yea r of his three-year term. That position, filled by cinematographers, John Bailey and John Toll; directors, John Tom Hanks, will be up for re-election next year. Incumbent Frankenheimer and Michael Mann; executives, Roger L. Mayer Kathy Bates was re turned to t he board for a second and Lew Wasserman; film editors, Dede Allen and Carol three-yea r term. Li ttleton; music, Alan Bergman and Charles Bernstein; In addition to Hanks and Mock, the other two newcomers producers, Samuel Gol dwyn Jr. and Saul Zaentz; public to the board are Curtis Hanson, directors branch ; and Mark relations, Cheryl Boone Isaacs and Marvin Levy; short films and Johnson, producers branch. feature animation, Jon Bloom and June Foray; sound, Douglas Returning to the boa rd after twelve years is past president Greenfield and Don Hall; writers, Fay Kanin and Frank Pierson; Richard Kah n, public relations bra nch; and, after a one-year and visual effects, Richa rd Edlund and Bill Taylor.

3 The new home of the A(ademy Film Ar(hive and the A(ademy Players Directory.

The Academy has purchased the former Don Lee-Mutual Broadcasting television studios at Vine Street and Fountain Avenue to be the future home of the Academy Film Archive.

The 118,000-square-foot building at 1313 North Vine Street in Hollywood also will house the Academy Players Directory and a 300-seat screening room. "The Academy is very pleased that this historic building, which is so ideally suited to the needs of our Academy Film Archive, is located in Hollywood and that we can further contribute to the community's revitalization," then Academy President Robert Rehme sa id at the announcement ceremony. The Academy announced three years ago that it will move its annual Awards presentations to the Kodak Theatre at Hollywood & Highland. The Academy expects to move in the Film Archive and Players Directory offices - and a portion of the archive's holdings - by year's end, with the balance of the work to be completed later in 2002. The building presently contains about 40,000 square feet of studio and soundstage space. "With their high ceilings, these spaces will provide the equivalent of nearly 85,000 square feet of conventional-height vault space using fixed shelving, and even more with compact shelving," said Academy Executive Director Bruce Davis. With their thick concrete walls, the studio spaces will be relatively easy to convert to air­ conditioned storage vaults, Davis said, which are generally kept below 50° Fahrenheit.

4 nCnOfmy nfPOnT MOVE TO HOLLYWOOD .

In addition to the studio/vault spaces, the building has almost 30,000 square feet of space which will be used for film archive staff offices and conference rooms, preservation and conservation work space, public access and research rooms, and the Academy Players Directory. "The lack of storage for our film archive and library collections isn't the only space problem we' re experiencing," said Davis. "The growth of our staff and programs over the last couple of decades has meant that we've run out of office space in our Beverly Hills headquarters building, too. Moving the Players Directory from that building to Hollywood The large studia spaces will become air-conditioned, dehumidified film vaults. will not only free up some space in Beverly Hills, but puts the Players Directory in a location more central and convenient to the industry and clientele they serve. " Renovation of the building will be designed and supervised by Fran Offenhauser, whose designs for the Academy's Center for Motion Picture Study in Beverly Hills, the present home of the Academy Film Archive and the Margaret Herrick Library, won national awards for adaptive reuse. The Film Archive has been housed in the Center for Motion Picture Study at La Cienega and Olympic boulevards since 1991 . " Almost immediately after we moved in, the Film Archive's collections began to expand at an accelerated rate and we were forced to rent additional storage space in 1994 and again in 2000," Davis sa id. The Academy Film Archive has more than 45,000 items in its collections. " We've had to be unusually careful about our acquisitions because of the space problem," said Film Archive Director Michael Pogorzelski. "But even so, we've added significantly to the collections in recent years and we look forward to an expanded program of acquisition, preservation and restoration." The Academy Players Directory also has been hampered by crowded conditions at the Academy's 8949 Wilshire Boulevard headquarters. Beverly Hills parking restrictions, especially, make it difficult for actors to get to the Directory's fourth-floor offices during the work week. "With more-than-adequate parking spaces on the Fountain and Vine property, it should be far more convenient for patrons to visit the Players Directory," Davis said. "We've redesigned our office space twice in recent years to accommodate the growth in listings in the Directory," said Players Directory Editor Keith Gonzales, "both the printed books and the on­ line versions. Expansion room will be a very welcome change. " The Players Directory will occupy about 5,000 square feet immediately off the lobby of the building. " It will be the most public use of space in the new facility," Davis said, "so we'll want it to be as convenient as possible for our patrons. " A 300-seat screening room will be used in evaluating films upon which preservation and restoration work is being done, and during Academy Awards season by the viewing committees that select Governors, staff, area business neighbors and Hollywood nominees in some of the special awards categories, such as Foreign offidals joined the press at the acquisition announcement in the studio that will be converted to a lOO-seat screening room. Language Film, Short Films and Documentaries.

5 "Buster Keaton Revisiting Keaton Revisited: Rare Photographs with John Bengtson: of a Comic Genius." "A Walk in Keaton's Footsteps. "

An exploration of bygone Hollywood as seen through two Buster Keaton silent films also was presented in conjunction with the Keaton exhibition. John Bengtson, author of "Silent Echoes: Discovering Early Hollywood through the Films of Buster Keaton," presented a

meticulously researched slide presentation chronicling the shooting locations for two of Keaton's finest short films, "The Goat" and "The Boat," both from 1921. The two films were screened as Buster Keaton, Thelma Todd and Jimmy Durante enjoy a game of cards during production of "Speak Easily" (1932). part of the program, courtesy of the Douris Corporation.

The 72 images in the exhibition were drawn from the holdings of the Academy's Margaret Herrick Library, where the largest and most comprehensive body of Keaton photographs known to exist is housed. Included were photos donated to the Academy by Keaton's widow, Eleanor, shortly before her death in 1998. "Buster Keaton Revisited" spanned the actor's entire life, including photographs from his infancy and childhood, his vaudeville days, his film career and the last years of his life. In conjunction with the exhibition, the Academy presented a special screening of "Go West." The version screened is considered closer to the original than any other version, with the print struck by the Academy Film Archive. The event featured live musical accompaniment by the Grand Pacific

Orchestra, conducted by Pat Pfiffner, with a score composed by John Bengtson's lecture proved so popular, and the stand-by line so long, Eric Beheim. that it was moved from the lobby into the Samuel Goldwyn Theater which allowed all to attend.

6 Gary (ooper on the set of HBaD of Fire," 1941.

"Gary Cooper: American Icon."

The early summer exhibition of Cooper memorabilia included some 80 photographs, as well as correspondence, posters, lobby cards, props, costume sketches, Cooper's saddle and chaps, one of his three Oscar statuettes and a variety of other materials. A tribute program in recognition of the centennial of Cooper's birth served as the opening night for the exhibition, as well as a kick-off for a month-long screening series of Cooper films at UCLA. Robert Osborne served as the evening's master of ceremonies, introducing clips from numerous films and moderating conversation with several of Cooper's co-stars: Joan Leslie, Karl Malden and Frances Dee as well as Maria Cooper Janis, Cooper's daughter; Paramount Studios executive A. C. Lyles; and Richard Schickel, film historian and producer of the documentary "Gary Cooper: An American Legend." For its New York-area members, the Academy reprised the Tribute to Cooper at the Museum of Modern Art where Peter Bogdanovich served as master of ceremonies. Also participating in ew York were Maria Cooper Janis, Patricia Neal, Fay Wray and Teresa Wright. Robert Osborne hosted a third event, also in New York, at the American Museum of

the Moving Image, with Janis, Cliff Robertson, Sheila MacRae and Maria (ooper Janis, right, at the New York reprise of the (ooper John Mulholland. Tribute, with Teresa Wright, who was herself the subject of an Academy tribute in New York last year.

7 "Fritz Lang: Vienna - Berlin - Paris - Hollywood"

The life and Fritz Lang was a success in both his native Germany and his adopted Hollywood home. His films were populated by criminals, misfits and victims. The visual means by which he brought them work of visionary and their worlds to life on the screen in such films as "Metropolis" (1927), "M" (1931), "Rancho Notorious" (1952) and "The Big Heat" (1953) made him a creative master in the history of cinema. film director Fritz Presented in association with the Goethe Institut - Los Angeles and the Los Angeles County Museum of Art Film Department, the comprehensive installation includes documents, scripts, Lang is the focus photographs, set deSigns, sketches, costume designs and original props, as well as an audio-visual of an exhibition in display of never-be fore-seen footage and interviews with Lang colleagues. Materials for the exhibition have come from the Berlin Film Museum, the Bibliotheque du Film the Academy's in Paris, the Academy's Margaret Herrick Library, the Museum of Modern Art, the MoviePoster Archive in New York and a number of private lenders. Fourth Floor In conjunction with the Academy's exhibition, the LACMA Film Department will screen several Lang films as part of two Lang film series. The Academy will screen a Lang silent film on September 28. Gallery, running Support for the exhibition has been provided by the Los Angeles Movie and Broadcasting Office through October 14. of the French Embassy; the Austrian Cultural Forum, ew York; the Austrian Consulate General, Los Angeles; the Berlin Senate; and Lufthansa Cargo. Hirschfeld's cover for the September, 1943, issue of MGM's studio publication, Lion's Roar.

"HIRSCHFELD'S HOLLYWOOD: · "SHOOTING STARS: THE FILM ART OF AL HIRSCHFELD" PHOTOGRAPHS BY LEO FuCHS" The distinctive and d ynamiC film-related artwork of Al Hirschfeld will comprise a new exhibition at the Academy beginning October 26 and continuing through January 20, 2002, which will showcase nine decades of Eighty photographs of celebrities taken during the film art, covering the transition from silent to sound, 1950s and '60s by Leo Fuchs are now on display in the from black-and-white to color, from the studio system to Academy's Grand Lobby Gallery. The exhibition will run an industry of independents. The Academy's exhibition will focus exclusively on through October 14. the artist's work related to motion pictures. Featured Fuchs spent over twenty years as a motion picture will be more than 150 drawings, paintings, collages, producer, beginning in 1966 with "Gambit", starring Shirley posters, sketchbooks and movie ephemera covering 81 MacLaine and Michael Caine. However, Fuchs' introduction years, from "The Cabinet of Dr. Caligari" to the to and education about movie making came during the nominees for the 73rd Academy Awards. previous twelve years, during which he worked as one of the As part of the exhibition's opening, Hirschfeld, now world's leading "special photographers" on movie sets in 98 years old, will participate in a program featuring film Europe and America. clips and discussion in the Academy's Samuel Goldwyn As a special photographer, Fuchs shot photo essays from Theater on October 25. Robert Osborne will moderate numerous film sets which were published in the U.S. and the discussion. Europe in magazines including Life, Pageant, Paris Match, Bunte "Hirschfeld's Hollywood" has been organized with and Look. curatorial assistance provided by David Leopold, Gallery viewing hours are Tuesdays through Fridays, archivist to Hirschfeld, and an exhibition catalog will be 10 a.m. to 5 p.m., and weekends, noon to 6 p.m. published by Harry N. Abrams Inc. THE OVERTURE CONNECTION

Some of you have noticed that the short pieces of

music that precede the film at membership

screenings are not random. For many it has become

a game - trying to figure out the connection

between the music and the movie about to be shown.

There usually is one, and most often the connection is rather, uh, playful. It's the work of Bruce Younger, of the Academy's film traffic department. And for those of you w ho haven 't noticed, he 's been doing it since about 1993. Sometimes the connections are easy: music from "Goldfinger" for the "GoldenEye" screening, from "The Day the Earth Stood Still " for "Independence Day," from "E. T.: The Extra-Terrestrial" for " A.I. : Artificial Intelligence." Sometimes they're more obscure. "The really tough movies are those that I know beg in w ith pop or rap songs. An orchestral piece leading into a rap song just doesn't work. I try to find things that are a Bruce Younger little rough or urban to make the match. "For 'Boogie Nights' I was really stumped. I had nothing orchestral that w ould sound li ke '70s music that I hadn't already played to death. As I was looking through my CDs I noticed the soundtrack for 'The Spi rit of '76,­ a movie set in the '70s. One of the pieces on it was Barry White's Love Unlimited Orchestra song 'Love's Theme .' It was orchestral, it was in a movie, so I used it. And the audience really seemed to enjoy it. "Another tough one was 'Showgirls.' Once again, no score to speak of. Racking my bra in, I remembered I had a promo of a dance piece w ritten by a group called La Tour that was used in 'Basic Instinct.' I w as going for the Verhoeven connection . There were no lyrics; it was just a driving piece of music written for the movie. So I used it and word got back to me that it w orked very well." Why not create the " overtures " from the music of the films being screened? It's usually not available - AMPAS screenings tend to occur before the score is on CDs. Mostly Younger tries to just have fun . "I used a Henry Mancini piece from a later 'Pink Panther' movie for 'Shaft.' Tw o w ords you don 't expect in the same sentence: Mancini and Shaft. Music from the first 'Planet of the Apes' seemed appropriate for 'Congo.' I chose a piece from 'Across 110th Street' for 'Jackie Brown.' So what song turns out to open the movie? 1 'Across 11 Oth Street. '" Younger uses music from his own collection and picks pieces under five minutes long . They are timed to end precisely at the pictures' starting time. "The selections have to be a complete piece of orchestral film music that doesn't end abruptly, get too quiet or change gears. It can't be a song and there can't be lyrics. Wordless, choral chanting or Latin lyrics are okay. But it has to be from a theatrical film and it has to be on CD ." Younger's interest in movie music is a hobby. "But I've loved orchestral music since I was a kid, and w hen I discovered you could actually buy film scores I began a descent into poverty and madness that continues to this day. I've tried Soundtracks Anonymous but they meet Thursday when I'm picking overtures."

10 RCRDfmy nfPOnT

FOUNDATION DISTRIBUTES $400,000 TO 32 CiNEMA PROGRAMS

Thirty-two college and community film programs across the United States have received financial grants totaling $400,000 this year from the Academy Foundation. As in the past, the Academy's Grants Committee, chaired by Janet MacLachlan, has chosen to support a number of programs, many of which focus on bringing together students and professional filmmakers. Following are the grants allocated for 2001-2002:

525,000 - American Film Institute - Directing Workshop for Women 524,000 - UCLA Film ond Television Archive - Encyclopedio of Moving Imoge Formots project 520,000 - Film Arts Foundotion (Son Froncisco) - 25th onniversory series of screenings with filmmokers in ottendonce 518,620 -Inner City Filmmokers (Los Angeles) - Support for summer filmmoking workshop for ot-risk youth 515,000 - Colifornio Institute of the Arts - internships 515,000 - Columbio University - internships 515,000 - New York University - internships 515,000 - University of Southern Colifornio School of Cinemo-Television - internships 515,000 - USC Professionol Writing Progrom- internships 515,000 - Colifornio Stote University Northridge - internships 515,000 - Austin (Texos) Film Society - internships 515,000 - North Corolino School of the Arts (Winston-Solem) - Visiting filmmokers Patrick Harrison has been appointed New 515,000 - Writers Guild Foundotion (Los Angeles) - Seminor series ond 0 visiting writer progrom York Events Director for the Academy by 515,000 - Film Aid Internotionol- Ascreening series for ond to be odministered by Executive Director Bruce Davis. refugees from Burundi, Congo, Rwondo ond Sudon For the past five years Harrison has been 512,800 - Friedmon Occupotionol Center (Los Angeles) - Oigitol link fo r onimotion troining progrom Manager of Awards and Special Events at 512,000 - Boston Film/Video Foundotion - Screening series with conversotions with filmmokers Miramax Films where he worked with 512,000 - College of Sonto Fe (New Mexico) - Summer odolescent girls film workshop pictures such as "Shakespeare in Love," 510,700 - Western Stotes Block Reseorch Center (Los Angeles) - Preservotion of its collection "The English Patient" and "Life Is Beautiful." He had previously worked for 510,000 - Brooklyn Acodemy of Music - "Screening Prejudice" progrom the Academy in Beverly Hills in the office of 510,000 - Cinestory (Chicogo) - Screenwriting seminors, workshops ond retreot Academy Executive Administrator Ric 510,000 - Clevelond High School (Los Angeles) - Summer filmmoking workshop for high school students Robertson. 510,000 - IFP;West (Los Angeles) - "Project: Involve,"0 mentoring ond troining progrom for ospiring minority filmmokers Harrison replaces Richard Wilson, who 510,000 - Pocific Film Archive (Berkeley) - Literocy workshops for high school students ond screenings for K-12 students opened the New York office and held the 510,000 - Streetlights (Los Angeles) - Production ossistonttroining ond plocement progrom for post for two years. Wilson has returned to economically ond sociolly disodvontoged men ond women the Academy's Beverly Hills headquarters 510,000 - Yole University Film Studies - internships and a position in Davis' office. 510,000 - Foundotion for Independent Video & Film (NY) - Moster Closs series feoturing New York-area events include prominent independent filmmokers membership screenings, voting screenings 58,000 - Squow Volley Community of Writers - Screenwriting workshop of each year's Documentary, Short Film 57,000 - Medio Artists Resource Center (St. Poul, MN) - Access gronts for femole filmmokers and Foreign Language nominees for 55,000 - Donno Reed Foundotion (Denison, IA) - Acting ond directing workshops members and an annual Oscar Nigh~ party, 55,000 - Film Institute of Northern Colifornio (Mill Volley) - An outreoch ond educationol film screening progrom held this year at Le Cirque. The Academy 55,000 ....: Film/Video Arts (New York) - Afilm screening series focusing on the work of emerging filmmokers has more than 600 members in the New 54,800 - University of Arizono - Visiting filmmokers York area, Davis said. Harrison will work closely with Arthur The Grants Committee has distributed more than $2.5 million since its inception Manson, the public relations branch in 1968. The Academy Foundation also distributes additional funds via other member who chairs the organization's New committees and programs. York Events Committee.

11 ACADEMY MEMBERS Go VISITING

embers from the directors Mbranch participated in two unique programs as part of the Academy's Visiting Artists Program. Charles Burnett appeared at the University of South Carolina's "Orphans of the Storm," a symposium concentrating on the preservation and archival challenges facing orphan films. ("Orphan films" are films such as newsreels, independent films, documen­ taries and avant-garde, ethnic and public domain material which have no studio or other entity with an economic motive to save them.) Burnett fielded questions following a screening of a newly-restored print of his first film, "Killer of Sheep." John Waters presented his one-man • show, "Shock Value: An Evening with John Waters" as the keynote address of the 15th Annual Local Heroes International Film Festival in Edmonton, Alberta, presented by the National Screen Institute of Canada. Actors branch member Joe Pantoliano • appeared at the 10th annual Florida • • Film Festival • Joe Pontoliono in Orlando, which showcases American independent and foreign films. Pantoliano participated in a Q & A session following a screening of "Bound," in which he appeared. Executives branch member Barbara Boyle led a graduate workshop at New York University, working with students in mock pitch sessions, helping them to hone their story ideas and presentation methods. Boyle also lectured on the various facets of filmmaking, from the independent feature to the studio project.

12 "TITANS" TEAM MEETS WITH STUDENTS

Meeting face-to-face with Los Angeles high school students as part of the Academy's Media Literacy Program were, left, Boaz Yakin, diredor of "Remember the Titans;" center, editor Michael Tronick and, right, odor Craig Kirkwood.

B oaz Yakin, director of "Remember cooperation with the Los Angeles true story about a newly-appointed the Titans," actor Craig Kirkwood and Educational Partnership. African-American coach and his high editor Michae l Tronick met with 11th Students from Belmont, Birmingham, school football team in their first season grade Los Angeles high school students in Chatsworth, Grant, Manual Arts, as a racially-integrated unit. the Samuel Goldwyn Theater in June to Narbonne and Van Nuys high schools met The program, now in its 7th year, is discuss the film and answer questions three times at the Academy, twice in May designed to help students develop " ... a from the audience. to discuss issues of stereotypes in films critical eye through which to consume Their visit was part of the ongoing and other media and once in June to view movies, television, radio, newspaper and Media Literacy Program, sponsored twice "Remember the Titans," which starred other media forms," said Academy a year by the Academy and presented in Denzel Washington.. and was based upon a Program Coordinator Randy Haberkamp. NICHOLL ENTRY RECORD DEMOLISHED

The Don and Gee Nicholl Fellowships in Screenwriting of the nominees for a writing Oscar, for the original screenplay received almost 5,500 entries this year, shattering the previous of "Erin Brockovich," was Susannah Grant, a 1992 Nicholl record of 4,446 set in 1998. Fellow. In addition, this year's Nicholl rules permitted "We didn' t just break the entry record," then collaborations for the first time. Academy President Robert Rehme said, "we Fellowships for the year 2001 will be announced in smashed it to smithereens." October and will be presented at ceremonies in November. The 5,489 entries came from 49 states, the Program Coordinator Greg Beal said that since the District of Columbia, Guam, Puerto Rico and 28 program's inception in 1986, a total of 68 fellowships countries, including first-time entries from have been presented. South Korea and the United Arab Emirates. All The nine films that were in release last year on submissions had to be in English. which Nicholl Fellows received some form of writing Entries had been holding steady at 4,000+ credit were Grant's "Erin Brockovich" and "28 Days;" for the previous five years. Rehme said he Raymond De Felitta's "Two Family House;" Ehren suspected there were multiple reasons for the Kruger's "Scream 3" and "Reindeer Games;" Randall surprising jump in the number of entries. Nicholl McCormick's "Titan A.E.;" Andrew Marlowe's "Hollow Fellows had nine pictures in release over the past Man;" Mike Rich's "Finding Forrester;" and "The Virgin year, giving the program a lot of extra publicity, and one Suicides;" based on a novel by Fellow Jeffrey Eugenides.

Greg Beal with some of the Nicholl Fellowship entry scripts.

13 Twelve film students from ten U.S.

universities were honored in June as winners in

the Academy's 28th Annual Student Academy

Awards competition. They participated in several

days of industry-

Presenter Kathy Bates with Documentary Category Gold Medal winners Laleh Soomekh, related activities and center, and Porter Gale.

social events prior to

the awards

presentation ceremony

Presenter Randy Quaid with Narrative IS Gold Medal winner David Kartch. at the Academy

Samuel Goldwyn Theater. A film student

from Mexico also was honored by the

Academy, receiving this year's Honorary

At the New York regional award presentation, from left, Region 3 Foreign Film Award. coordinator David Schwartz, the Academy's awards administration director Rich Miller, New York Events Committee chair Arthur Manson and regional Narrative Category winner Sabrina Dhawan.

14 Academy Award-winning Alternative Category actress and Academy Vice Gold Medal: "Warmth," Michael President Kathy Bates Schaerer, School of Visual Arts, ("Misery," 1990) presented the New York. awards in the alternative and documentary categories; Oscar­ (No Silver or Bronze medals nominated actor Randy Quaid were awarded in this category.) (" The Last Detail," 1973) served as presenter for the animation Animation Category and narrative categories. Then Gold Medal: "Boobie Girl," Academy President Robert Brooke Keesling, Rehme presented the Honorary California Institute of the Arts, Valencia . Foreign Film Award. Besides trophies, gold meda lists receive Silver Medal: "The Yellow Umbrella," $5,000, silver medalists are awarded $3,000 and Victor Robert and Rodney Hom, bronze medal recipients are presented with $2,000. Art Center College of Design, Pasadena. The Honorary Foreign Fi lm Award winner, Rodrigo Pia, was selected from an original pool of Bronze Medal: "That Special Monkey," 27 submissions from 23 countries. This is the Sean McBride, University of the Arts, Philadelphia . second time that a Mexican student film has w on this particular award. Javier Bourges, who attended Documentary Category the same school as Pia, was the 1993 recipient. Mira Sorvino and Domenica Scorsese at the New York Gold Medal : "XXXY, " regional award presentation. Porter Gale and Laleh Soomekh, Stanford University.

Governors Alan Silver Medal: "Green," Bergman, left, and Laura Dunn, University of Texas, Austin. Frank Pierson at the Governors Dinner Bronze Medal: "Undesirables," with Animation Gold Medal winner Marianna Yarovskaya, USC . Brooke Keesling. Narrative Category Gold Medal: "Zen and the Art of Landscaping," David Kartch , Columbia University, New York.

Si lver Medal: "The Confession," Carl Pfirman, UCLA.

Bronze Medal: "Lector," Greg Marcks, Florida State University, Tallahassee . Honorary Foreign Film Award Honorary Foreign Film winner Rodrigo Pia with "The Eye on the Nape," Rodrigo Pia, cinematographer Centro de Capacitacion Cinematografica, Woody Omens. Mexico City, Mexi co.

15 GOlDWYN THEATER HAS ANIP AND TUCK

It had been ten years since a complete renovation of the theater, and over that decade the industry's high­ tech sound had vibrated loose enough fastenings inside the walls to annoy the sound experts on the Theater Standards Committee. The look of the auditorium didn't change, although the auditorium was pretty well ripped up for the renovation. Fabric on the walls was replaced; the fabric support system replaced, reinforced and tightened; the rattles and buzzes taken care of and a new surround speaker system installed. The rattles and buzzes were noticeable at certain frequencies principally to the Academy's sound experts, said Theater Standards Committee Chair Douglas Greenfield, himself one of those experts, but nevertheless affected the viewing experience of the Theater Standards Comminee members, he Academy took advantage of an ex tra entire audience. "Experiencing a film in the Goldwyn from left, Gory Bell, Tmonth after the Nominations Screenings were should now be even more rewarding," he said. choir Doug Greenfield, John completed to tighten up some loose screws and other Theater Operations Coordinator Michael Angel Eargle and Kevin problems in the walls of the Samuel Goldwyn Theater. said a new screen also was installed in the theater. Collier with Tectonics Construction Project Manager Dove Mossey.

pads and constructs medians screening calendars or in the center of Wilshire check the Academy's Boulevard. website, www.oscars.org, "The effects may not be major, for current informatioA. but they will be disruptive," said Theater Construction will reportedly be com­ Operations Coordinator Michael Angel. pleted by next March. The city says that, at times, Wilshire So get ready for something we w ill be reduced by up to two traffic lanes. almost never see on Wilshire - congestion. They'll do most of the paving and Uh huh. Maybe we won't even notice.

16 HCHOfmv nfPonT Now THE ACADEMY HAS /lTWIN KONGS"

The poster at left is the rare From left, John landis, Deborah "three· sheet" from the 1933 Nadoolman, Robert Rehme, film, "King Kong," donated Margaret Herrick UItrary 1)Iredor by John landis and Deborah linda Mehr and KOIl9. Nadoolman. As was (ommon in the 1930s, there were two different designs for "Kong" three·sheets. An example of the other design, belaw, was donated to the A(ademy in 1999 by the (e(iI B. DeMille Foundation. Ea(h poster is believed to be one of only four in existence.

An extraordinary gift from husband-and-wife Academy significant contribution to the Academy's holdings," Rehme said, members John Landis and Deborah Nadoolman has helped the "they've made sure that this gorgeously preserved piece of art can Academy complete what appears to be the only matched set in be seen by the public for generations to come." existence of giant posters from the 1933 movie " King Kong ." The Academy is thought to be the only organization or Director Landis, a long-time classic film poster collector, and individual that holds both of the " King Kong " three-sheets, sa id costume designer Nadoolman presented then Academy Academy Executive Director Bruce President Robert Rehme in April a 61/2 foot x 31/2 foot " three­ Davis . The imposing pair of apes will sheet" poster from the original" Kong" release, one of only four be mounted in the Academy's copies of the poster thought to exist in the world. Margaret Herrick Library for the time "I used to collect movie posters in the '60s when I was a being, although Davis indicated that kid," Landis said . "And I used to pay 50 cents for any movie the public might eventually be able before 1960, 75 cents for any movie after. Posters I bought for to enjoy them in a different setting. 50 cents are now selling for $25,000. It's kind of bizarre." "We're getting closer to the day Landis said the Kong poster hung in his office for 20 years until that we help our industry reach its he moved offices at Universal. "I had this in the garage," he said. long-time goal of a truly magnificent Landis pulled it out of an auction at Christie's to donate it to movie museum," Davis said, "and I the Academy. "It was a very involved thing to get it out of that think these two big guys, hanging out auction, but I'm delighted to give it to the Academy. I'm thrilled in the lobby of that facility, will it's here. I'm thrilled it will be preserved." constitute a pretty impressive As was common in the 1930s, there were two different welcoming committee." designs for "Kong" three-sheets. An example of the other The Margaret Herrick Library design, also apparently one of a quartet still existing, was holds nearly 22,000 posters in its donated to the Academy in 1999 by the Cecil B. DeMille Foundation . Charles M. Powell Repository of "John and Deborah have not only made an extraordinarily Motion Picture Marketing Materials.

17 • • /I ApOCALYPSE Now REDUX" • SPIELBERG RETURNS BmE DAVIS' OSCAR TO ACADEMY

For the second time in five years, Steven Spielberg has purchased an Oscar statuette at auction and returned it to the Academy. This time it's Bette Davis' 1938 Best Actress Academy Award for "Jezebel." In 1996, Spielberg anonymously purchased Clark Gable's 1934 Oscar for "It Happened One ight" to protect it from further commercial exploitation, commenting that he could think of "no better sanctuary for Gable's only Oscar than the Motion Picture Academy." In July he similarly rescued Bette Davis' second Oscar. "For Steven to do this once was breathtaking," then Academy President Robert Rehme said, "but for him to do it again is unbelievable. It is a noble and extremely generous act." , "The Academy Award is a highly-respected honor within the film community," he added. "It is not just a trophy handed out on a televised show or another piece of movie memorabilia. It has a deep­ seated significance to those who win it, and those of us who make our living in the industry don't like to think of it as an item that might end up on the mantel Editor and sound "Apocalypse Now Redux," the newly­ designer Walter created director's cut of Francis Ford Coppola's of someone who hadn't earned it." Murch takes applause 1979 Vietnam War epic, screened in July, the Academy Executive Administrator Ric fram the said-aut audience at the film's first screening for the public in the Robertson said that the Academy does not expect to Academy screening of United States. be able to entirely prevent the commercial ., Apocalypse Now Featuring 49 minutes of previously unseen Redux." exploitation of early Oscar statuettes. "The first one footage and a new six-channel soundtrack, to be auctioned was in 1949 and in response we "Apocalypse Now Redux" was first presented instituted the 'Winners Agreement' that is now at the Cannes Film Festival in May. "Redux" standard," Robertson said. was produced by Kim Aubry, who introduced the film at the Academy, and Coppola, and In the agreement, which mus be signed by edited by Walter Murch. Oscar winners before their name will be engraved on The original "Apocalypse Now" won the statuette, winners agree "not to sell or otherwise Academy Awards for cinematography (Vittorio dispose of" the Oscar statuette without first offering Storaro) and sound (Walter Murch, Mark to sell it to the Academy for a dollar. Berger, Richard Beggs, Nat Boxer), and Robertson said the Academy will continue to received an additional six Oscar nominations. object to the sale of Oscar statuettes and will "throw The print was screened courtesy of legal impediments in the way at every opportunity." Miramax Films and American Zoetrope.

18 RCROfmv nfrOnT

G s

A newly-restored print of "The Lion in Winter," which received seven Academy A ward" nominations and won three Oscars", was shown to British members of the Academy in the spring at an invitation­ only screening at the Curzon Mayfair Theatre in London. Peter O'Toole, who was nominated for an Academy Award for Best Actor for his portrayal in the film of King Henry II, participated in a cast-and-crew discussion prior to the screening, as did producer Martin Poll, editor John Bloom and cast members Jane Merrow and Timothy Dalton. Cinematographer Douglas Slocombe and sound man Simon Kaye also attended. Trekking from the Beverly Hills headquarters of the Academy were then Academy President Robert Rehme, Executive Director Bruce Davis and Exhibitions Curator and Special Events Programmer Ellen M. Harrington. Steven Gaydos, executive editor / managing director of Variety, introduced the film and moderated the panel discussion. Rehme and Sandy Lieberson, chair of the London Screening Committee of the Academy, hosted a reception for the participants and guests prior to the film program at the Washington Mayfair Hotel. The print shown was restored by Sony Pictures Entertainment and MGM Studios in collaboration with the Academy Film Archive. From left, Steven Gaydos, Martin Poll, Peter O'Toole, Jane The London program received support from the Renaissance London Merrow, TImothy Dalton, John Bloom. Chancery Court Hotel and Sony Pictures Entertainment.

HABERKAMP NAMED ACADEMY PROGRAM COORDINATOR

Randy Haberkamp has been named Program Coordinator of "The Charlie Chaplin Centennial Celebration" in 1989 and three Educational and Special Projects for the Academy Foundation. Cinecon film festivals, in 1990, 1991 and 1995. He also produced He will be responsible for Academy Foundation laserdisc and syndication versions of "My Fair Lady, " lectures and seminars, the Visiting Artists Program and "Snoopy Come Home" and the films Charlie Chaplin various Academy Awards-related projects. made for Mutual Film Corp. Haberkamp was previously employed by CBS Haberkamp is the founder of The Silent Society, a as Director of Specials and Feature Films, w here he group devoted to screening silent films in the developed and coordinated primetime, live-action Hollywood Heritage Museum and preserving rare and animated network specials and acquired silents through the UCLA Film Archive. theatrically-released films for network primetime He has a master's degree in motion picture and telecasts from 1992 through 1997. Since then, he television production from UCLA and a bachelor's has worked as a talent agent for JS Represents. degree in communications from Bowling Green State In 1983, Haberkamp joined CBS, where he University in Ohio. worked up through the Program Coordination "Randy's knowledge of film history and his Department to become manager before being promoted practical experience with programming and Hollywood to Director of Feature Films in January of 1992. production give him a terrific background for this job," During that period, Haberkamp produced and directed a Executive Director Bruce Davis said . "We look forward to an documentary, "Small Town, American," as well as producing exciting slate of interesting new events."

19 The Big Bake-Off presented visual effects reels fram "The Thief of Bagdad," 1940, (with Sabu), and "Tron," 1982, (with David Warner).

Each year, reels highlighting the visual effects in • Visual Effects Reels from the Academy Film Archive" • • individual films are submitted to the Academy for • brought these reels and the work of visual effects creators • awards consideration. The reels are screened for and • to a new audience of film and visual effects admirers. • voted upon by Academy members at an annual event • Oscar winner Richard Edlund ("Star Wars," "The • nicknamed the "VisFx Bake-Off." • Empire Strikes Back," "Raiders of the Lost Ark") • • Until now, the public had not been able to view these • helped compile the selection of reels, which were • compilations, with their concentrated displays of mattes, • introduced and discussed by some of the great • miniatures, stop-motion, pyrotechnics, animatronics, • practitioners in the field, including Craig Barron, • • graphics and digital work generated by some of the • Harrison Ellenshaw, Dennis Muren and Bill Taylor. • greatest effects artists working in movies. • The Academy premiered this twO-night program in • In August, two evenings entitled "The Big Bake-Off: • February in San Rafael, California. •

20 S... I ...... i'-JO'-'.J ,, ' .,"~J )' . e:t':r:~' !·C;:;, C:::lif.