FROM THE PRESIDENT Yes, but what about the next generation of Oscar winners?

DEAR ACADEMY MEMBERS,

We all know that the honoring and encouraging of excellence in filmmaking is at the heart of the Academy's mission. In pursuit of that goal, each year we seek out our art form 's finest achievements from around the world and recognize them with nominations and 0 cars. But we're also thinking ahead. The recognition and encouragement of developing film artists over the last several decades has grown into one of the Academy's more important activities. The recognition The annual Student Academy A wards competition is perhaps the most obvious and well-known example of the Academy's encouragement toward new filmmakers at the collegiate level. This June and encouragement marked the 35th year of the Student , and a wonderfully diverse group of talented of developing film young men and women joined the roster of winners that over the years has included , Spike artists over the Lee, , Ken Kwapis, and many others now working at the highest levels in film and television. last several But there is much more. Our highly prestigious Nicholl Fellowships in Screen writing have decades has channeled dozens of new writers into the fIlm profession, and they have written several of the movies widely released in recent years. This year's competition is the 23rd, and 5,224 entries - representing all grown into one 50 states and 35 other countries - are now vying for one of five prizes of $30,000 each. Yes, the money of the Academy's is important, but ask any of the past winners or even finalists in this competition and they will tell you more important that it was the recognition - the encouragement - that meant the most to them as they worked to enter the industry. activities. In another area, the Academy has authored and distributed a teacher's guide series. Each of the nine editions has focused on different aspects of filmmaking as represented by our branches. In addition to inspiring high school students to become the next group of documentarians, or animators, or film editors, the information and activities enhance the understanding and appreciation of what goes into the making of the movies they see. Many of the financial grants presented through the Institutional Grants and Film Festival Grants committees are directed toward programs that specifically target young people, whether by providing fund s for internships or allowing school-age children the opportunity to attend fi lm screenings and events, which again might inspire a career path or simply a new passion. The Academy is actively nurturing the next generation of movie artists, craftspeople, and movie lovers. We should be proud of our commitment to the future.

- SmGANlS

ACADEMY REPORT APRIL - JUNE 2008

Published by the Academy of Motion Picture Arts and Sciences 8949 Wilshire Boulevard, Beverly Hills, 90211 -1972 (310) 247-3000 www.oscars.org

PRESIDENT ...... • .....•. . ...• . ....•.... . •...... Sid Ganis

ON THE COVER: FIRST VICE PRESIDENT . . .. . • . ....•... . . • . .. . .• .... .•...... Robert Rehme The Gold Medal in the Alternative category of VICE PRESIDENT ...... Tom Hanks the 35th Annual Student Academy Awards went VICE PRESIDENT ...... •...... • ...... Charles Bernstein to Shih-Ting Hung ofthe TREASURER ...... •. . ... • . . . . .•. . .. . •...... Hawk Koch University of Southern California for VIOLA: SECRETARy ...... •. . . . •• • .. . .•.. . .••.... .• . . . .•• . . . Jon Bloom THE TRAVELING ROOMS OF A LITTLE GIANT. EXECUTIVE DIRECTOR . . .. . •.....• .. ...• . ... . • ...... Bruce Davis For more about this year's talented student Photos: unless otherwise identified. by Image Group LA; Design: Lisa Carlsson, Carlsson & Company, Inc. winners, see page 18. Oscar, Oscars', Academy Awards , Academy Award', AM.PAS. and Oscar Night are the trademarks, and the Oscar statuette is the registered design mark and copyrighted property, of the Academy of Motion Picture Arts and Sciences.

Z ACADEMY REPORT· VOLUME 21 19,500 high schools. 93,600 teachers. 2,398,500 students. What do these numbers represent? A significant portion of the Academy's outreach to America's teenagers.

SINCE 2000, THE ACADEMY, WITH their crafts, their inspirations and their career paths. curriculum specialists Young Minds Inspired, has This year's DVD includes highlights from produced a series of teacher's guides that explore HARRY POTTER AND THE SORCERER'S STONE, the art and science of motion pictures. Each guide WALK THE LINE, DREAMGIRLS and MARIE focuses on a specific aspect of fi lmmaking, such as ANTOINETTE for costume design, and AN animation, art direction, cinematography, documen­ AMERICAN WEREWOLF IN LONDON, DICK taries, , screenwriting, sound and music, TRACY, BRAM STOKER'S DRACULA and PAN'S and visual effects. The guides are targeted toward LABYRINTH for makeup. students in English, language arts, visual arts, In Julian Weber's journalism class at Kenmore science, and communication classes. West Senior High School in Buffalo, New York, the High schools throughout the U.S. - from guides are used to teach film analysis and to Portland, Oregon, to Portland, Maine, and from examine the relationship between journalism and Missoula, Montana, to Mobile, Alabama - utilize the documentary filmmaking. guides as teaching tools to help students discover In Lanore Pearlman's senior English class at and experience the moviemaking process. Glen A. Wilson High School in Hacienda Heights, In February the Academy made its latest guide California, students are asked to analyze a film from available: "Costumes and Makeup: Character by a year prior to when they were born. The assign­ Design." Each of the participating high schools ment requires an examination of the movie-making received a 20-page study guide, activity worksheets in process, not just plotline summaries. The gu ides are English and Spanish, resource lists and take-home a primary resource. activities. It also included a DVD supplement (a For Melissa McMiliian-Cunningham's theater component added to the kits starting three years ago arts class at Central Heights High School in with assistance from Acme Filmworks). It features Nacogdoches, Texas, the filmmakers' comments on movie clips, production footage and interviews with the DVD help create a connection between student Academy Award nominees and winners talking about and filmmaker.

continued on page 4

ACADEMY REPORT ' SECOND QUARTER 2008 3 STUDENT OUTREACH

continued from page 3

For example, Oscar-winning makeup artist Matthew "The guides are such an eye-opener for students," says Mungle (BRAM STOKER'S DRACULA) describes an McMillian-Cunningham. inspiration he had early on. Students discover how a film editor "Being ra ised in Atoka, Oklahoma, affects a cinematographer's work; how a population 4,000, I remember production designer he lps create the going to the theater and seeing 7 "look" of a movie; and how dialogue in an FACES OF DR. LAO." His first animated feature might be recorded thought? "How did they crea te before any characters have been draw n. the makeup on Tony Ra ndal l?" "They begin to realize that movies The video is personal and are not just about directors and actors, direct. "For students to hear 'when but a process that involves hundreds of I was a kid living in a sma ll town' people working as a team," adds Rand y brings the story home for some­ Haberkamp, the Academy' s director of one growing up in a small town," educational programs. says McMillia n-Cunningham. "The kids discuss the sets, cos­ "Kids begin to rea lize, 'I can real ly tumes, makeup, music and scripts used do this.'" in the movie," says Pearlman, "which A lso on t he DVD: six-time leads to wonderful class discussions." Oscar-winning makeup artist Those discussions include exploring why Rick Baker (THE NUTTY PRO­ the cinematographer chose to shoot a FESSOR, M EN IN BLACK) ta lks scene on a dimly lit set; why a costume about the first plaster mask he designer chose a particular textured made for a junior high science fabric; and whether or not the visual fair; he came in fifth. And Oscar­ tone of the movie is appropriate. nominated costume designer Haberkamp notes that the guides Judianna Makovsky ( HARRY are not primarily designed to turn POTTER AND THE SORC ERER'S students into filmmakers, but rather to STONE) describes her fear of help students understand filmmaking. disappointing every child in the "They're intended to encourage critical world if she didn't achieve the right look when designing for thinking, expand know ledge of filmmaking, and increase Dumbledore, Hagrid and McGonagal1. overall interest in film and its cultural influence."

4 ACADEMY REPORT ' VOLUME 2 Of course, in the case of some students, career inspiration question-and-answer session with several of the filmmakers, results, too. including Oscar-winning screenwriter Diablo Cody, Oscar­ As part of another outreach effort, each year the Academy nominated director Jason Reitman, nominated producer Russell invites more than 800 Unified School District high Smith, and actors Jason Bateman and Allison Janney. They school students to attend a tackled the controversial story­ three-day sem inar, the Media line and discussed choices made Literacy Program, at its Beverly by the writer, director, producers Hills headquarters. and, ultimately, the actors. Students - like adu lts - To make this kind of media encounter thousands and literacy experience available to thousands of messages high schools across the country,

through movies, television and DEAR EDUCATOR: the Academy is developing the the Internet on a daily basis. c=::.=:::,v~~~~~ program into what will be its proudlD~dIII_~toour~duudy pde$tNlb:u$on~~oldle~ "'dill These can present conflicting, pde..studenGwllMam;about~""'andrnlbo.op. The tenth teacher's guide, available Iuthubeen~for.lUd«!tsIrt~schooIEnpstt...... misleading and stereotypical owu,mual.-u.andconwnunkat:ioolcbues. Asfonner~ . in earl y 2009. _ know chat dIeM crItIc:II tHtt6cIn& actMQes. ~ on students I'llIn.nIm-1n ~Nnw andl:hl~t information about issues pnerated II)- the upcomoncAachmyAwvds· on ~14 . Whether it's as specific as

important to teens, in clud ing ,-TM Aademy. 0f"pIbed in I f27 , Is I pro(HsioMI honorary discussing how a costume OI"pniDDon c:ornpcMd of rncww dian &.000 _ pkv. cnIumen and _ . fa putpOMJ ~ad¥ancIne hi anane! sex, drugs, race and religion. w..c.d_~promodnc~ ___ visually contributes to the story creuWe '-*' for~eduacJon.and ~ Developed in 1995, the prosress:~ouolJndinc~_""'" ! or as broad as using films to ~.aMUa~"pn:I#euoonII~WId ~ v.cpWk.AadlrrlyI'l'ltmben_dw.f*'PIe~~_ ~ Media Literacy Program helps - theuam dthe IncIuw(I kt.Of1..wnaton.~1IIrn illustrate racism throughout ed/cDr$,~~"""'~~ students navigate the media ~:and "IUlI4tas~ ...... ,.and OIherCOflOibutort. history, the teacher's guides and PhaH.lIuA thIS rN.tlrial wIttt odMr tduaton. AI~ the rmteriali'~YOUlmlYmagulTWl)'photoc.opIts .. minefield by increasing their nec~to_rourn.dl. the Media Literacy Program help To enwre ~ you.-.c ...... future ~ rnatnk.pluK awareness of messages be ing III out:and raum thor endoMd....".anl. students discover the behind­ delivered and how they the-scenes collaborative work of process those messages. filmmaking, learn about potential This May, after two days career options, and offer new of analyzing film clips and ways to interpret and better learning how to interact w ith understand a part of culture that and examine the media, wields tremendous influence. students from Chatsworth, Lincoln and Garfield high To learn more about the schools watched JUNO, the TEACHER'S RESOURCE GUIDE Academy's teacher's guides and 2007 Best Picture nominee the Media Literacy Program, visit about a teenager's pregnancy. Each teaching kit includes guides, activity worksheets in English www.oscors.org. and Spanish, resource lists, a DVD with appropriate clips and interviews, and Following the screening, an Academy Awards commemorative poster. students took part in a

ACADE'., E, OR, • SEC D" ARTER 2008 5 TREASURES AT THE HERRICK Noteworthy Sound Acauemyatth~

The library has a number of Sound Scriber discs, several of Library which were used by to record her telephone conversations with . The translucent soft vinyl discs were part of a home recording system. In one conversation, Pickford and Chaplin discuss a landmark legal case impacting their studio, United Artists.

Among the library's 1,700 commercially re leased soundtracks is MADAME SOVARY (1949), the first original American feature film dramatic score that was transferred to record from studio tracks and made available to the public for purchase.

SOUND RECORDINGS ARE PROBABLY NOT THE FIRST used collections is a set of interviews by Donald Spoto for his things that come to mind when contemplating what treasures 2001 biography of Marilyn Monroe. The tapes have provided lie in a cinema li brary. But, in fact, the 10,000+ recorded valuable background material for many magazine feature sound holdings at the Margaret Herrick Library represent an writers, biographers and documentarians. exceptional body of audio interviews, soundtracks, scores and Often, sound materials come to the Academy as part of a radio broadcasts. The recordings include many rare or unique 's collection. The papers include items and serve as an important resource for documentary some 25 hours of raw audio of writer and filmmaker Fran~ois filmmakers, production companies, researchers and journalists. Truffaut interviewing Hitchcock in 1962, with simultaneous The library's Hal Ashby papers, for example, include a rare translation in French. recording of a piano instrumental version of a Cat Stevens song The Herrick also has interviews with such acclaimed com­ written for Ashby' s 1971 film . When the posers as Miklos Rozsa, Franz Waxman and Alfred Newman as movie's complete soundtrack was assembled - more than 30 well as composers' copies of their music. The years after the film 's initial release - by director Cameron Crowe, collection has more than 400 such recordings, including the he included the instrumental on the limited-edition vinyl recording, original London session recordings for 2001: A SPACE which was manufactured to replicate a vintage gatefold album. ODYSSEY. (Stanley Kubrick commissioned North to do the Spoken-word recordings also have great research value. score for 2001, but North's music was not used in the movie.) According to Special Co ll ections Database Archivist and Music A Polish -born scholar recently visited the library to listen Specialist Warren Sherk, the holdings are a useful resource for to a brief interview with composer Bronislau Kaper. It was the filmmakers seeking audio for documentary films. An first time she had heard the voice of Kaper, who is believed to Australian company recently used excerpts from a circa 1958 have been the first Polish Oscar winner (for LI LI, 1953). interview with Errol Fl ynn for a film biography about the There are hundreds of recordings of MGM studio rehearsal swashbuckling actor. Companies preparing DVDs of older numbers from 1945 to 1957, many from the collection of Stanley films in home-entertainment formats also contact the library in Donen, and more than 400 transcription discs for "The Beulah search of recorded interviews, music and other materials for Show," a 1948-1951 radio broadcast starring Hattie McDaniel. use as "extras." And, of course, there are commercially released soundtracks, as The holdings include hundreds of interviews conducted by well as radio broadcasts and air checks (often related to films or film historians, journalists and others. One of the most heavily film personalities), open-ended interviews generated by studio

6 ACADEMY REPORT ' VOLUME 21 publicity departments, and personal include analog disc and magnetic tape recordings. recordings as well as digital CDs and Other treasures include rare discs of DATs. The disc recordings are made radio programs. "Lu x Rad io Theatre" from a wide range of materials: acetate, was an hour-long dramatic program that shellac, plastic, metal, and even glass. used stars from screen and stage in Glass-based discs were common on ly radio adaptations of popular films and during WWII when metal was scarce. plays. The show's producer, J. Walter There are also rare paper-based open­ Thompson, retained and later donated to reel tapes such as a 1948 interview with the library an original set of 16-inch tran­ Vitagraph motion picture production scription discs that had been broadcast company co-founder A lbert E. Smi th, from Los Angeles. These 1,750 discs conducted by Academy archivist contain more than 750 of the 844 Howard Walls. shows, beginning with the first The Academy makes preservation

"Th e Star Spa ngled Ba nn er" and ends Holl ywood broadcast in 1936 and about 12 minutes later with muffled voices copies of fragile recordings, usua ll y on continuing through 1955. They include ("If you don't go, I'll carry you out...") ree l-to-reel magnetic tapes. Digitized CASABLANCA, with A lan Ladd as Rick followed by shuffling sounds. The tapes are mastered using archival audio and Hedy Lamarr as lisa; GENTLEMAN'S Electro-Vox recording, which was struck standards and gold CD to ensure the AG REEMENT, with Gregory Peck repris­ on a Voxite disc - touted as a "newly longest possible pl ayback life. The origi­ ing his role in the film; and SHADOW pe rfected cellulose-coated disc" - nals as well as the prese rva ti on copies OF A DOUBT, with Will iam Powe ll in the sounds like it was recorded yesterday, are kept in cli mate-controll ed va ults. For Joseph Cotten role and Teresa Wright says Sherk. listening purposes, copies are made on reprising her role from the film. Of Early recordings include Vitaphone cassette tape or CD to be played in the special interest are the reco rdings from discs for ALL QUI ET ON THE WESTERN library's Special Col lections rea ding! January to May 1951, whi ch include FRON T (Universal, 1930) and four listening room. Appointments are show rehearsa ls. The Academy's set of electrical transcript ion discs from required to listen to the materia ls. discs is one of only two sets known to "Hollywood on t he Air," a Los Angeles More informa tion about the exist; the other is in the J. Walter radio program that aired the day before Margaret Herrick Library's holdings is Thompson Collection at . t he Academy Awards banquet in available at www.oscars.org/mhl. One of the more unusual holdings is November 1932. A mong the voices an unauthorized broadcast of the 11th heard are those of Mary Pickford, direc­ Academy Awards ceremony in 1939. tor Frank Capra, producer B.P. Schulberg, Based on modern accounts of the inci­ scenarist Howard Green, and Academy dent, Los Angeles radio personality President . The discs George Fisher attended the ceremony include one of the earliest extant radio with a microphone ca pable of pick ing up air checks (several sources cite the the proceedings, which can be heard in oldest known air check as occurring just the background while Fisher provides one year earlier, in September 1931). live commentary for stat ion KHJ. The The discs are aluminum and require record ing begins with Best Supporting special fiber need les for playback. Actress nominee M iliza Korjus singing The library's audio recordings

Charles Clarke, who made several donatIons to the library, gave the Academy a Celebrities Recording CO. ISC ACADEMY REPORT · SECOND QUARTER 2008 7 from the 1920s that features Rudolph Valentono singing in English and Spanish. INTERNATIONAL OUTREACH Academy Members Return to Vietnam

IN MAY OF LAST YEAR, Participants examine and learn to assemble as the first initiative of the sound recording equipment commonly used in the U.S. As Don Hall notes, "the hands-on instruction newly formed International and equipment demonstrations have removed the Filmmakers Outreach mystery of recording production sound." Committee, a group of seven Academy members traveled to "In our very first workshop, Vietnam for the first-ever it was crucial to explain to these "American Film Week." The filmmakers why it is important visit featured several film to implement good sound record ­ screenings and a variety of ing and how to use it as a information exchanges with story-telling tool," says Hall. filmmakers and film students in Basic sound theory Hanoi and Ho Ch i Minh City. principles and the use of various During that visit, it was microphone types were covered discovered that Vietnamese during the sessions, as was the film professionals lack the importance of establishing and training and equipment to maintaining standards in the record synchronous sound, and setting up and actual recording that this deficiency is one that ," of tracks. The participants were seriously hinders the success i introduced to equipment of the local filmmaking industry, a commonly used in the U.S., and '0 particularly in marketing its • the 27 "students," broken into films outside of Vietnam. "~ three crews, had the opportunity So, as a follow-up to the ~ to make recordings both in street 2007 trip, Academy Sound situations and on a studio sound Branch members Clay Davis, stage. These were then played Don Hall and Don Rogers, along w ith Robert Kennedy, a sound back for the group and critiqued. technician from Coffey Sound, recently traveled to Hanoi, The equipment for the workshops - wired and wireless where they spent two weeks educating filmmakers from microphones, recorders and mixers - was brought to Vietnam both Hanoi and HCM City about various sound recording by Kennedy. techniques and practices commonly utilized in American "I t was also important to provide the students with a productions. The trainings were specifica ll y timed (in late mental picture of the signal flow from start to end, not just May - early June) so that the sound crews for several what the knobs on the front of the equipment do," says Davis. upcoming feature films that will shoot in Vietnam in the In addition to the lack of training, production sound second half of 2008 could participate. recording in Vietnam has been hindered by a particular on-set The results of this relatively small-scale outreach effort are practice: talking. already ev id ent in movies just shot, now shooting, or scheduled "Right now, it's common for Vietnamese directors to talk and for production in the very near future. In fact, the Vietnam give instructions to the actors during actual takes," notes Rogers. Cinema Department (part of the Ministry of Culture, Sports "The actors don't really rehearse in advance, so the directors and Tourism) has indicated that all films be ing produced in the speak right through the on-camera performances." This was country should now capture production sound. Such a procla­ addressed during a frank discussion between Rogers and Lai Van mation cou ld not have been taken se ri ously prior to the Sinh, Director General of the Vietnam Cinema Department. Academy-presented workshops, which focused on the overall And so, almost immediately followi ng the group's return to role of sound in movies as well as the nuts and bolts of how to the U.s., change has begun in Vietnam, an outcome that far actually capture sound during production. exceeded the committee's wildest hopes and expectations.

8 ACADEMY REPORT ' VOLUME 21 CARL BELFOR (1952- 2008)

"This is thrilling to me," sa id International THE ACADEMY LOST ONE OF ITS KEY Filmmakers Outreach Committee chair Phil employees earlier this year. Carl Belfor, Chief Robinson. "An id ea hatched in this room [the Projectionist, died April 23 after suffering a brain Academy's Board room] - that we as fil mmakers aneurysm in February. He was 55. might go somewhere else in the world for a bit Be lfor earned a bachelor's degree in motion of persona l diplomacy and to try to aid another pictures from the UCLA School of Theater, Film country's industry - resu lted in this trip, and and Television in 1974, and joined the staff of the has rea ll y brought about change. It's actua ll y Academy in 1991. He became the organization's Ch ief Projection ist in 1999. As such, Belfor over- saw the flawless presentation of thousands of fi lms at the Samuel Gold wyn Th ea ter and the Linwood Du nn Theater in Hol lywood. These presentations encompassed motion picture premieres, Academy Award nominations screenings, membership screenings and retrospectives. He also executed, with great expertise, numero us complicated clip shows presented by the Academy each yea r. In 2007 Belfor accompanied a delegation of Academy members to Vietnam, w here, with the permission of the Vietnam National Cinema Department, he served as the projectionist for 16 public screenings over a period of 10 days, often running two booths simultaneously, in the first-ever "American Film Week" in that country. On the spot, he built continuous­ reel prints from the archival-quality multi-reel prints so films could be screened using the platter projection systems in place in the Vietnamese theaters. He also helped educate local projectionists, who were hampered "Students" practice making production sound recordings in noisy exterior settings in Hanoi. by limited knowledge of the tools and techniques of the trade and even more limited resources. His efforts resulted in a significant increase in startling and qu ite humbling." the professional standards of the Vietnamese projectionists at several The workshops were followed by a screening governmental and commercial cinemas. series in which six Oscar-nominated films from Belfor was also business agent for IATSE Local 150, and had previously 2007 were presented in both Hanoi and HC M served as its president. City THE DIV IN G BELL AND THE BUTTERFLY, Outside his work and union commitments, Belfor was an avid oil JUNO, MICHAEL CLAYTON, ONCE, THE painter who, with his wife, Lynn - an accomplished painter herself - was a SAV AGES and 3:10 TO YUMA were selected member of the Plein Air Painters of by the Academy to represent a ra nge of film­ America and the California Art Club. making styles and genres and for their potential His work has been exhibited at the to educate and inspire Vietnamese fi lmmakers. Pasadena Museum of California Art The films do not otherwise have theatri ca l and at galleries in California and South distribution in Vietnam. Carolina. Billed in Vietnam as the second "American Belfor is survived by Lynn, his Film Week," the workshops and screen ings brother Howard, his sister Fran, were organ ized and presented in association nephew Max and niece Lindsay. with the Ford Foundation Hanoi office. Th e Vietnam Enterprise Group also assisted with planning and provided logistica l sup port. Given the lack of tra ini ng and proper equ ipment, and the somewhat guarded attitude of some of the partici pants when the workshops first got underway, the lasting sign ifica nce of this visit is one that has inspired the International Filmmakers Ou treach Com mittee to co nt inue its efforts both w ith add itional follow-up activity in Vietnam and by investigating an d selecting another country or region where t he experti se of our members might have a positive impact on t he loca l movie ind ustry.

The training sessions in Hanoi were videotaped, and viewable copies will be available soon, free of charge, at the Academy Film Archive.

ACADEMY REPORT ' SECOND QUARTER 2008 9 THE 2008 MEMBERSHIP INVITEES

DOCUMENTARY Sacha Baron Cohen Nanette Burstein Stephanie Allen Josh Brolin Heidi Ewing Suzanne Fritz Marion Cotillard Liz Garbus Kevin Goetz Ruby Dee Michele Ohayon Stephanie Kluft Allison Janney Deborah Shaffer Tim Palen Jet Li Marc Weinstock Ray Winstone EXECUTIVES Alan Bergman Dana Goldberg Larry Dias David Bowers Sidney Kimmel Katie Spencer Ash Brannon Chris S. LeRoy Sandy Reynolds Wasco Doug Cooper Andrew Rona Jeremy Lasky Jeff Skoll Caroline Leaf Craig Berkey David Schaub FILM EDITORS Fernando Camara David Silverman Barry Alexander Brown David Giammarco Suzie Templeton John Carnochan Mike Hopkins John Gilroy Robert J. Kizer Mark Livolsi Alyson Dee Moore Jim Dylan Tichenor Mark Onks Neil Machlis Juliette Welfling Jon Taylor Sheila Nevins LIVE ACTION SHORT FILMS ST ORS Philippe Pollet-Villard Melissa R. Stubbs Ronna Kress MAKEUP/HAIRSTYLISTS Jan Archibald Nick Davis Kate Biscoe Jonathan W. Brown Brian Gernand Didier Lavergne Clark Mathis Dan Glass Christien Tinsley Kramer Morgenthau Bryan Grill J. Michael Muro MUSIC Edward T. Hirsh Tim Orr Glen Ballard Helena Packer Tom Richmond J. J. George Kelly Port Michael Giacchino Ted Rae ERS Doug Roble Isis Mussenden PRODUCERS Carey Villegas Armyan Bernstein Jennifer Fox Sergei Bodrov Lianne Halfon Judd Apatow James Gray Hal Lieberman David Benioff Michael Haneke Andrew Macdonald Jean-Claude Carriere Doug Liman Karen Murphy Diablo Cody Kimberly Peirce Peter R. Newman Tamara Jenkins Peyton Reed JoAnne Sellar Jeff Nathanson Jason Reitman Nancy Oliver Walter Salles PRODUCTION DESIGNERS Gore Verbinski Jack Fisk Clayton R. Hartley

10 ACADEMY REPORT ' VOLUME 21 Board Elections THE 2008-2009 BOARD of Governors includes one new first-time governor - Annette Bening, representing the Actors Branch - along with five individuals who returned to the Board after a hiatus and eight incumbents reelected for another term. All will serve three-year terms. They join 29 governors who are continuing their service on the Board. Returning to the Board after a hiatus are Jeffrey Kurland, Art Directors; Martha Coolidge, Directors; Arthur Hamilton, Music; Don Hall, Sound; and Phil Robinson, Writers. Hall's return to the Board fills a seat left vacant when J. Paul Huntsman died earlier this year. The incumbent governors ree lected to another term are , Cinematographers; Michael Apted, Documentary; Robert Rehme, Executives; Donn Cambern, Film Editors; Kathleen Kennedy, Producers; Sid Ganis, Public Relations; John Lasseter, Short Films and Feature Animation; and Craig Barron, Visual Effects. The governors who were not up for reelection and who continue on the Board are Ed Begley, Jr. and Henry Winkler, Actors Branch; Rosemary Brandenburg and Jeannine Oppewall, Art Directors; and Vilmos Zsigmond, Cinematographers; Curtis Hanson and Paul Mazursky, Directors; Rob Epstein and Richard Pearce, Documentary; Jim Gianopulos and Tom Sherak, Executives; Dede Allen and Mark Goldblatt, Film Editors; Leonard Engelman, Makeup; Bruce Broughton and Charles Fox, Music; Mark Johnson and Hawk Koch, Producers; Cheryl Boone Isaacs and Marvin Levy, Public Relations; Carl Bell and Jon Bloom, Short Films and Feature Animation; Curt Behlmer and Kevin O'Connell, Sound; Richard Edlund and Bill Taylor, Visual Effects; and James L. Brooks and Frank Pierson, Writers.

EMY REPORT ' SECOND QUARTER 200 11 Film Festival Grows, Post­ Katrina, with Academy's Help

JUST two YEARS AFTER THE DEVASTATION OF Series would Hurricane Katrina, the 2007 New Orleans Film Festival (NOFF) not have been enjoyed its most successful run yet, with more films and possible w ith­ filmmakers, more attendees and more media coverage than ever out the support before. A good part of that success was due to $20,000 in of the support from the Academy's Film Festiva l Grants Committee, Academy's chaired by producer Gale Anne Hurd. The committee learned of grant, nor the grant's impact at its June meeting, when reports from the 31 would the festivals that rece ived finan cia l support for 2007 were reviewed. organization "The Grants Committee was looking for a way to support have been in a New Orleans after Hurricane Katrina, and the film festival was position to give the best and most logical way we could help," says Academy away tickets or Grants Coordinator Shawn Guthrie. pay filmmakers The 18th Annual New Orleans Film Festival, which is a small honorarium for their work in the schools. presented by the New Orleans Film Society (NOFS), was held The Academy's funding for the 2007 New Orleans Film October 11-18,2007. The Academy's grant funds were used Festival has had an ongoing impact as the relationship specifically to increase and expand outreach to the underserved between NOFS and The Porch has strengthened and communities of New Orleans and to encourage filmmakers in developed. The Porch screenings continue on a monthly reaching new and untapped audiences. basis, drawing great and diverse audiences. NOFS intends The grant was used primarily to fund a new program that to use the same model for further ou trea ch to other under­ will serve the co mmunity yea r-round. NOFF collaborated with served communities of New Orleans. The Porch, a community arts organization in the 7th Ward "NOFF was very grateful to receive the funding from the section, where many economically disadvantaged African­ Academy Foundation for the important Porch outreach pro­ American families reside. gram, in a neighborhood that suffered much from the storm of The Porch program involved screen ing films free of charge to 2005, " says Ali Duffey, NOFS Executive Director. "It was a the community, with a gu ided discussion by the filmmaker privilege for us to be able to reach out and draw these families fo ll owing each movie. The hope was to engage young African­ into our festival community, and see them engaged and inspired American audiences, and to develop an appreciation for film as an through the power of film." art form and a tool for communication. In 7999 the Academy of Motion Picture Arts and Sciences and the These screenings began in August 2007, and films covered Academy Foundation instituted the Festival Grants Program. Since its such topics as rac ism at Mardi Gras, the Aboriginal "stolen founding, the Festival Grants Program has distributed 774 grants totaling generation" of Australia, and race issues in inner-city America. over $3 million in funding to film festiva ls based in the United States. NOFF then programmed several fi lms on similar themes at While the grants are awarded for many different purposes, film festivals the festival, and continued outreach efforts in the 7th Ward by are encouraged to submit proposals that make festival events more inviting filmmakers to speak at schools and colleges prior to the accessible to the general public, especially to underserved communities; festival and offering free tickets to several relevant films. that give screening access to minority and less visible filmmakers; and that The New Orleans Fi lm Society/Porch Community Film bring the public into contact with films and filmmakers.

12 ACADEMY REPORT · VOLUME 21 ACADEMV REPORT · SECOND QUARTER 2008 13 14 ACADEMY REPORT · VOLUME 21 ACADEMY REPORT · SECOND QUARTER 2008 15 LOS ANGELES EVENTS

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16 ACADEMY REPORT · VOLUME 21 l' ; ======~ ~

LONDON EVENTS

A HARD DAY'S NIGHT (1964) STUDENT ACADEMY AWARDS Academy Honors Student Filmmakers

SIMULACRA by Tatchapon Lertwirojkul

ON THE LINE (AUF DER STRECKE) by Reto Cafti

FOLLOWING A WEEK OF ENTERTAINMENT members and industry meetings and events, 12 talented young film­ dined with makers were honored at the 35th Student Academy the Board of Awards. The ceremony, hosted by Academy President Governors. Sid Ganis, featured trophy presentations by Academy About the Award nominees Jason Reitman and Caleb Deschanel, dinner's unique as well as former Student table-hopping Academy Award winner and format, in which Emml winner Todd Holland. the students Each of the winners gave moved to different seats after each course, their first ''I'd like to thank the Rajeev Dassani, Narrative Gold Medal winner, Academy" speech, and clips noted, "It's like speed dating, only everyone from each of the winning films else is an Oscar winner." were screened for the sizable "I actually had thought the dinner was audience in the Samuel Goldwyn with the government officials and wondered Theater. why that was," quipped Z. Eric Yang, Narrative Tatchapon Lertwirojkul, Silver Medal winner, "but then when I Animation Silver Medal winner, realized that I was going to talk to some of remarked on the ceremony, the filmmakers whose films I had seen and "The stage, the journalists, studied many times, I was just thrilled. It really photographers, the ce lebrities took quite a while for me to realize it was and directors made me feel rea lly actually happening." excited and nervous! It is the greatest honor in my life, giving a Honorary Foreign Film winner Reto Caffi of Germany speech on that stage to a thousand people." commented, "To be able to meet some of those people whose "My most memorable moment was saying 'thanks to the work I've seen and admired for years and to realize that there Academy.' I never thought in a million years that I would be was not a huge gap of experience between us, but, in contrary, saying that line," proclaimed Documentary Bronze Medal winner a common passion for cinema and storytelling which united Brian Davis. He also noted that receiving notification that he'd the whole room [was] a truly encouraging moment, which been selected as a winner was great, because it was the first could have lasted longer on each and every table!" time his parents really understood what he'd won. The student filmmakers had the opportunity to sit During the week, the students met with Academy dow n with several members of the American Society of

18 ACADEMY REPORT , VOLUME 21 Cinematographers for a roundtable discussion and also visited the Directors Guild of America, where they met direc­ tors Jake Kasdan (WALK HARD: THE DEWEY COX STORY) and Billy Ray (BREACH, SHATTERED GLASS). "I loved what Billy Ray said," commented Laura Waters Hinson, Documentary Gold Medal winner. "He said, 'You know, everybody feels this way. Everybody feels like they're going to be unmasked as a charlatan who doesn't know what the heck they're doing.' And he said, 'You just have to push through that.'" The 2008 winners join an excep­ tional group of Student Academy Award alumni - a group that has earned 35 Oscar nominations, six Academy Awards, one Special Achievement Academy Award and numerous Emmys.

ACA E y REPO • SECO 0 Q ARTER 2008 19 Cf) An Academy Salute to A three-month ce lebration of master filmmaker Akira Kurosa wa kicks off w ith the September 18 premiere of the Academy Film Archive's digital restoration of (1951 Honorary Foreign Language Film Award winner) and the z: opening of the new exhibition "Akira Kurosawa: Film Artist" in the Academy' s Grand Lobby and Fou rth Floor galleries. Five more Kurosawa fi lms will be screened between September 19 and October 4. The exhibition will be open through December 14.

o September 18: RASHOMON Oscar's Docs, Part Four

The Academy's comprehensive screening series of every short subject and feature to win the Oscar for documentary filmmaking resumes in September, celebrating the Awards years 1988-1997. First up, on Saturday, September 20, is a rare screening of HOTEL TERMINUS: THE LIFE AND TIMES OF KLAUS BARBIE (1988). The rest of the series takes place on Monday evenings. Many of the screenings will be followed by panel discussions w ith the filmmakers. November 17: WHEN W E WERE KINGS

Contemporary Documentaries Series

The 27th annual "Contemporary Documentaries" series begins September 24 with TAXI TO THE DARK SIDE and NO END IN SIGHT. The Wednesday night series, which continues through December 3, showcases feature-length and short documentaries drawn from the 2007 Academy Award nominees and winners, as well as other importa nt and innovative films considered by the Academy that year. November 19: December 3: MUMMIES: SECRETS Admission is free. LA CORONA (THE CROWN) OFTHEPHARAOHS

An Academy Salute to Leslie Caron

On October 10, the Academy will present a special salu te to French actress and dancer Leslie Caron. The two-time Academy Award nominee will travel from her home in Paris to attend. The evening wil l include a 50th anniversary screening of GIG I with the theatrical premiere of a new digital restoration by Warner Bros. GIGI won Academy Awards in all nine categories in which it was nominated, including Best Picture. z: Generous support for this event is being provided by Air France.

Leslie Caron in GIGI (1958) NOW OPEN Frederic Back: A Life 's Drawings

This exhibition in the foyer of the Linwood Dunn Theater showcases drawings Back pro­ duced for his animated films as well as sketches, illustrations, landscapes, photographs, correspondence and travel diaries. Exhibition hours are Saturdays from noon to 6 p.m. o and whenever Academy public events are hosted at the Dunn, through November 1. FOR MORE INFORMATION ABOUT ACADEMY EVENTS, THE MAN WHO VISIT WWW.OSCARS.ORG/EVENTS. PLANTED TREES (1987)

The Academy's monthly "Events and Membership Screenings" booklet describes all upcoming programming. The booklet is mailed to all membe rs. To receive an electronic version, send a request bye-mail to me,mb le;s llip IF9i&~;;;';:w~;:-1 . ~ ======t====~~~~~~~==9F~ ~ 20 ACADEMY REPORT ' VOLUME 21