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Home , Andrzej Wajda, Charlie Chaplin, Dan Jinks, Gale Anne Hurd, Janek Sirrs, John Gaeta

ACADEMY OFFICERS

1999-2000

President Robert Rehme First Vice President Alan Bergman Vice President Sid Ganis Vice President Kathy Bates Treasurer Donn Cam bern Secretary Donald C. Rogers Executive Director Bruce Davis

Oscar<', Oscars Academy Awards". Academy AWQrd A.M.PAS.«> and OeW!" ~'91 t are the trademarks and the Oscar statuet/e IS Ihe regiStered design marK and copyrighled propArty of the Academy of Motion Picture Arts and Sciences. Dear Academy Member

Some years are more susceptible than others to characterization with a glib phrase.

For some, for example, this will be "The Year the Oscars were Stolen." Those of us who were involved, of course, will always remember that week, and we'll probably even refer to the year that way. But the 12 months were too filled with expanded programs, new programs and planned programs for that one event to characterize it.

It truly was a transitional year. The switch from the 1900s to the 2000s, which fell midway in our fiscal accounting, is an excellent metaphor for this Academy year, firmly grounded in a tradition of excellence but looking forward to a blossoming future.

We began to see the effects of our improved financial position. We tripled the funding of our grants program, announced the creation of an Academy Scholars competition and launched the first of what will be an ongoing series of membership forums.

Membership committees worked diligently throughout the year on questions of awards categori es and branch makeup, while the staff searched for physical space into which some of the expanded and new programs can move.

It is an exciting time to be a part of the Academy and we are looking forward to a Wild, but fun, ride ahead.

Robert Rehme

President Rehme looks alone in the auditorium at Parker Center, but the news conference has ended, the press has left, a police photographer is on stage recording each serial number for eVidence purposes and the president IS wailing patiently to retum the recovered Oscar statuettes to the Academy.

It probably would have been more fun for new telecast producers Richard and Lili Fini Zanuck if the 72nd process had continued as smoothly and efficiently as it started out. By the end of 1999 the Zanucks had come up with a number of innovative ideas, were pushing the technological envelope with a dynamite set design, had blocked out most of the show and had signed up Billy Crystal.

The new year stayed calm and progressed through the necessary pre-telecast steps as smoothly as ever in memory - right up to the Saturday night of the Scientific and Technical Awards Presentation when the subtext among the members in the room was, "I didn't get and his wife, presenter Nicole Kidman, wrth my final ballot yet. Did you get yours?" ABC pre-show host Chris Connelly.

The universal answer was "No. " And with three weeks to go before the show it was clear that nobody on the west coast had received ballots.

That kicked off what progressed into the strangest pre-Awards countdown in the three-decade memory of some partiCipants.

The ba llots were searched for and finally found - after replacements had been mailed - in the U. S. Postal Service's bulk mail sorting center in Bell , California.

A breath of relief.

Not for long. By Monday of the next week it became clear that the Oscar statuettes themselves were missing. Not just missing, it turned out, but stolen, from a shipping dock in, yes, Bell. Opposite left: Best Actress Hilary Swank. Over the following weekend they were found outside a dumpster in Koreatown, and two men were in LAPD custody. Fifty-two of them were released from police custody on Monday and on Wednesday, with OppOSite right: four days to go, 55 newly-minted statuettes arrived from Chicago. Best Actor Kevin Spacey. Another deep sigh of relief.

Until Leading Actress nominee Annette Bening 's doctor suggested she might be just a tad too pregnant to present an Oscar and, by the way, is there some quick way out of the auditorium? Warren came by to check it out and the Zanucks and director Louis J. Horvitz began to formulate Plans B, C and D, including the possibility of a television camera in her hospital room.

Then on Friday morning the Wall Street Journal announced who Sunday's winners would be, based upon their "exit poll" of over 300 members.

As Executive Director Bruce Davis said in a hastily called news conference that morning, "There's always one geek who wants to tell you the end of the movie." (The Journal did pretty well , hitting on five of its six predictions and presumably proving an object lesson for loofje-lipped AMPAS members.)

Irving G. Thalberg Memorial The rest of the week was pretty quiet. Award winner with his wife, Best Actress The show itself was widely acknowledged to be one of the nominee Annette Bening at brightest and cleverest in memory. Yes, it was long: again the Governors Ball. over four hours. But the fact that it didn't seem long is what mattered mostly.

As for the Zanucks, Dick called it "an incredible experience that didn't turn out to be scary at all. It was the most memorable experience of our careers."

Performer Isaac Hayes was lost to 7 2 N D ANN U A L A CAD E M Y AWARDS

The Gordon E Sawyer Award wa~ presrmted at the ScientifIC find Techni(''<'11 Awards dinner to Dr. Rodenck T. RYdll by actres!, Salina Hayek.

, SUpporting Actor I nor Inee Haley uO€: C"r>lcnt &.:t ,II tim "J()j nlll leS LI'C'leor Wltr O;(ar Wlllne' nnd past Telecast producers , Ac Jdl my pre ~ld::1t Karl Malden. Richard D. Zanuck and Uli Fini Zanuck / at the Nominees Luncheon. /

/ £'lest Picture producers / Bruce Co~en, left / and D III Jinks.

character of K",,, GIMP, painter Telecasi director Dan Keplinger. Louis J. Horvitz at a production r'1eeting.

Awards Coordinatol Patrick Stockstill oversaw statuette distribution / backstage / JI "'1 rv r , I, 't WI)') I," tr.e SC;rf€nIJlay re "HI tl j fl 'T r n'lVE' ~~E C lP ~. r I-iL 'md Alar Ball w('In 'or 'll) )lcan:..I .... c c.."erplny of All' >N BI AL

Honorary Award recIpient Andrze) Bert lM S::ua.c.'8EJ Wajda. upon receiving the Oscar from presenter . accepted SPlllfs F''lei, J Almodovar. d'rector of " ... IlllS great honor not as a personal My M01~ tF. wr.c h wor the tnbute but as a tnbute Ot.' Ir for S. <1 F Jr8:il'1 I <'f'qu.lge to all of Polish F(n. L.rrOL.r led ty pre'>s at tre cinema." Ac ]dl I' Y c· "'1IJe'] • orE'lgr L lflQL. ..lgl ;'UrI' AW'lrd 4 dir .1or '. sy:nPIX.lum Banners along Wilshire Boulevard in West Los Angeles were created by Arnold Schwartzman 10 Incorporate his design for Costume Design winner for the 72nd Awards poster. Topsy-TuRW, Undy Hemming.

Performer Queen Latifah and presenter Lucy Uu do a fashion twirl on the red carpet. Governors Ball Chair Sid Ganis, right, with vice-chair Alan Bergman.

PERFORMANCE BY AN ACTOR ACHIEVEMENT IN ACHIEVEMENT IN SOUND IN A LEADING ROLE for EFFECTS EDITING Kevin Spacey in AM ERICAN BEAU1Y Dane A. Davis for THE MATRIX BEST FOREIGN LANGUAGE FILM PERFORMANCE BY AN ACTOR ALL ABOUT My MOTHER (Spain) ACHIEVEMENT IN VISUAL EFFECTS IN A SUPPORTING ROLE , , Steve in TH E CiDER HOUSE RU LES ACHIEVEMENT IN MAKEUP Courtley and Jon Thum for THE MATRIX Christine Blundell and Trefor Proud PERFORMANCE BY AN ACTRESS for Topsy-TuRW ACHIEVEMENT IN WRITING: SCREEN­ IN A LEADING ROLE PLAY BASED ON MATERIAL PREVIOUSLY Hilary Swank in Boys DON'T CRY ACHIEVEMENT IN MUSIC PRODUCED OR PUBLISHED (ORIGINAL SCORE) John Irving for THE CiDER HOUSE RULES PERFORMANCE BY AN ACTRESS for THE RED V,OLIN IN A SUPPORTING ROLE ACHIEVEMENT IN WRITING: in GIRL, INTERRUPTED ACHIEVEMENT IN MUSIC SCREENPLAY WRITIEN DIRECTLY (ORIGINAL SONG) FOR THE SCREEN ACHIEVEMENT IN ART DIRECTION Phil Collins for the music and lyric of Alan Ball for AM ERICAN BEAU1Y Rick Heinrichs for SLEEPY HOLLOW "You'll Be in My Heart" from TARZAN Set Decoration: Peter Young HONORARY AWARD (OSCAR STATUETTE) BEST PICTURE To in recognition of five ACHIEVEMENT IN AMERICAN BEAUTY ( decades of extraordinary film direction. Conrad L. Hall for AM ERICAN BEAUTY and Dan Jinks) IRVING G. THALBERG ACHIEVEMENT IN COSTUME DESIGN BEST ANIMATED MEMORIAL AWARD Lindy Hemming for Topsy-TuRW THE OLD MAN AND THE SEA To Warren Beatty in recognition of (Alexander Petrov) hi s consistently high quality of motion ACHIEVEMENT IN DI RECTING picture production. for AMERICAN BEAU1Y BEST LIVE ACTION SHORT FILM My MOTHER DREAMS THE SATAN'S GORDON E. SAWYER AWARD BEST FEATURE DOCUMENTARY FILM DISCIPLES IN NEW YORK (O SCAR STATUETTE) ONE DAY IN SEPTEMBER (Arthur Cohn (Barbara Schock and Tammy Tiehel) To Roderick T. Ryan whose and Kevin Macdonald) technological contributions have ACHIEVEMENT IN SOUND brought credit to the industry. BEST SHORT SUBJECT John Reitz, Gregg Rudloff, DOCUMENTARY FILM David Campbell and David Lee KING GIMP (Susan Hannah Hadary for THE MATRIX and William A. Whiteford) 5 SCIENTIFIC AND To James Moultrie for the mechanical ENGINEERING AWARDS design, and to Mike Salter and (ACADEMY PLAQUE) Mark Craig Gerchman for the optical design, of the Cooke S4 Range of Fixed Focal Length Lenses for 35mm To Nick Phillips for the design and motion picture photography. development of the three-axis Libra III remote control camera head. To Marlowe A. Pichel for development of the process for manufacturing On 24-hours notice, Faith Hill To Fritz Gabriel Bauer for the concept, Electro-formed Metal Reflectors which, stepped In to belt out "Over design and engineering of the Moviecam when combined with the DC Short Arc the Rainbow," part of a Superlight 35mm Motion Picture Camera. Xenon Lamp, became the worldwide medley created by Music standard for motion picture projection Directors (at To lain Neil for the optical design, systems. piano) and Don Was. Robert Rick Gelbard for the mechanical Keene's multi-screen set was design, and Panavision, Inc. for the To L. Ron Schmidt for the concept, the most technologically development of the Millennium Camera design and engineering of the Linear advanced evel used on System viewfinder. Loop Film Projectors. the show. To Huw Gwilym, Karl Lynch and To Nat Tiffen of Tiffen Manufacturing Mark V. Crabtree for the design and Corporation for the production of development of the AMS Neve-Logic high-quality, durable, laminated color Digital Fil m Console for motion picture filters for motion picture photography. sound mixing.

N D ANN U A L A CAD E M Y

TECHNICAL ACHIEVEMENT To Hoyt H. Yeatman, Jr. of Dream AWARDS (ACADEMY Quest Images and John C. Brewer CERTIFICATE) of the Eastman Company for the identification and diagnosis leading To Vivienne Dyer and Chris Woolf to the elimination of the "red fringe" for the design and development of artifact in traveling matte composite the Rycote Microphone Windshield photography. Governors Ball amidst the millennlal change. Modular System. JOHN A. BONNER MEDAL To Leslie Drever for the design OF COMMENDATION AWARD OF COMMENDATION and development of the Light Wave (MEDALLION) (PLAQUE) microphone windscreens and isolation mounts from Light Wave Systems. To Edmund M. Di Giulio To FPC, Incorporated, under the leadership of Barry M. Stultz and To Richard C. Sehlin for the concept, To Takuo Miyagishima Milton Jan Friedman and Dr. Mitchell J. Bogdanowicz and Mary L. Schmoeger of the Eastman In appreciation for outstanding service For the development and implementa­ Kodak Company for the design and and dedication in upholding the high tion of an environmentally responsible development of the Eastman standards of the Academy of Motion program to recycle or destroy discarded Lamphouse Modification Filters. Picture Arts and Sciences. motion picture prints.

Membership Activities

The newest Academy membership activity actually harkens back to the earliest of the 1927 proposed purposes of the fledgling Academy - "to provide a forum and common meeting ground for the various branches and crafts. "

Such meetings were held in the early years of the Academy's existence, but for reasons unknown they dwindled, then stopped.

Cinematographers branch governor Haskell Wexler thought they were still a good idea and called together then-fellow governors Allen Daviau and Frank Pierson and the three of them met off and on for over a year to kick around ideas for the program.

Their plans culminated in the first Academy Forum of the modern era on a November Saturday morning when 100 members from every branch, invited by their governors, gathered in the Academy headquarters Grand Lobby to discuss the ramifications of current technological developments on the individual artists and on the community of filmmakers.

The session was moderated by Allen Daviau and featured a panel of production designer Rick Carter, editor Anne V. Coates, producer Kathleen Kennedy, visual effects supervisor Micheal McAlister, sound designer Gary Rydstrom and writer-director­ producer Steven Soderbergh.

This Forum was taped for inclusion in the Margaret Herrick Library's archives, but Forum discussions are not open to the press or public.

Cinematographer Allen Daviau, left, moderated the first Saturday morning intra-branch Academy Forum.

To make way for an additional night of membership screenings in the Theater, the Academy in December abandoned the Saturday night Studio Screenings which had unspooled for more than 30 years.

Since April, membership screenings have been offered for Los Angeles-area members on Saturday and Sunday afternoons and evenings, and on occasional mid-week evenings.

Sunday membership screenings were moved to 2 p.m. and 7 p.m. to enable more members who have to work the next morning to attend. Public Programs

Despite a short season (April through January) and parking restrictions that make most daytime events impossible, the Academy still managed to squeeze in nearly 60 educational and cultural programs that were open to the public this year.

They were tributes and salutes, exhibitions, special screenings, seminars and lectures.

Tributes this year included anniversary celebrations of the National Film Board of Canada, the American Society of Cinematographers and the University of Southern California's School of Cinema and Television and two special evenings honoring two legends - and .

Cast and crew reunions highlighted the screenings of NASHVILLE and EAsy RIDER and a star-studded celebration of 's centennial featured a screening of WHAT PRICE HOLLYWOOD? The Academy Standards screening series continued its eclectic monthly unspoolings with a variety of such as restorations of REBECCA and How GREEN WAS My VALLEY, the 1999 nominated short films and two films celebrating Cedric Gibbons' art direction. The Academy/UCLA Contemporary Documentary Series showed 31 films in its 18th year.

Exhibitions filling the Academy's two galleries, on the fourth floor and the Grand Lobby of the 8949 Wilshire building, included portraits of cinematographers by , costume sketches from the Leonard Stanley Archive, images from members of the Society of Motion Picture Still Photographers, paintings and sketches from production designer Eugenio Zanetti and his collaborators and materials from the library's Alfred Hitchcock collection.

Easy rider .

Robert Altman.

USC Alum and program host Tim Allen.

g

Costume design seminar lecturer/moderator Deborah Nadoolman.

Two seminars and four lectures were presented during the year. The seminars were "Conversations with Cinematographers" and "The Art of Costume Design." Three of the lectures were in the more traditional format of Academy lectures, featuring writer Ron Bass delivering the Marvin Borowsky Lecture on Screenwriting; author Stephen M. Silverman talking about "The Funny Ladies of Hollywood" at the Lecture on in Film, and Dr. Lynn Spigel of the University of South em California describing "Mad Science Make-Overs" at the Lecture on Fantasy in Film. The fourth, the Marc Davis Lecture on Animation , was more a loving homage to the event's namesake, Disney animator Marc Davis, who had died a few months earlier.

Opposite page: And rounding out the year's public programming was the annual panel discussion by the directors of the five films (Left) Dress designed by Jean LoUIs nominated for Best Foreign Language Fil m, thi s year in a more for Joan Crawford In QUeEN BEE. audience-friendly format, in the Goldwyn Theater the Saturday before the Oscar telecast. (Middle) Fanny Brice, one of the funny ladles of Hollywood featured III the Jack Oakle Lecture.

(Rl9ht) George Cukor and on the set of CAMIU,V . EVEREST was shown in the documentary senes.

Margaret Herrick Ubraty Nicholl dinner. Harold Ramis presented Master of Ceremonies the Student Academy Hal Kanter punched a joke Award Alternative by drinking from the top Category silver medal of a wine glass. award to Michael Mullan and Jessica Lakis from the UniverSity of the Ms, Philadelphia.

Marc Nomnan, \ Nicholl keynoter.

Alfre Woodard presented the Honorary Foreign Film award to Florian Gallenberger from Munich's Hochschule fOr Fernsehen und Film at the Student Academy Award \ presentations.

Student Academy Awards, Nicholl Fellowships

Twelve fi lm students from eight U.S. universities were winners in the 27th annual Student Academy Awards competition this year.

The students knew they were winners, but didn't know the level of their award - gold, silver or bronze - until the ceremony, which added quite a bit of nervous excitement to the week of industry­ related activities and social events, including a welcome dinner at Yamashiro and the Governors' Dinner at .

Writer-director-actor Harold Ramis, Academy Award-nominated actress Alfre Woodard, Cinematographer John Bailey and voice-over actress June Foray served as presenters for the event.

The Honorary Foreign Film winne r, Florian Gallenberger, of the Hochschule fur Fernsehen und Film in Munich, Germany, was the sixth German film student to win the award, and the fourth in a row!

1999 Nicholl Fellows, from left, T. J. Lynch, Jaime David Silverman, Rebecca A. Sonnenshlne, Annmarie E. Morais, Chris E. Balibrera, and, behind them, their presenters, from left, Nicholl committee members Mia Goldman, Tom Rickman, , Ronald Five new writers were selected to receive the Academy's 1999 Mardigian and Eva Marie Saint. Don and Gee Nicholl Screenwriting Fellowships, but for the first time, the ten finalists were invited to join in the lunches and dinners that preceded the presentation of fellowships at the Regent Beverly Wilshire Hotel. Marc Norman, who co-wrote the Academy Award-winning screenplay of SHAKESPEARE IN LOVE, was the event's keynote speaker.

This year's Nicholl Fellows are: Chris E. Balibrera, Venice, California, Script: HARVEST; Thomas J, Lynch, Tujunga, California, THE BEGINNING OF WISDOM; Annmarie E. Morais, Toronto, Ontario, BLEEDING; Jaime David Silverman, Los Angeles, LAST MEALS; Rebecca A. Sonnenshine, Los Angeles, MERMAID DREAMS. u5lfcations, Weosite

The Academy had no new books to sell this year, but made a lot of Oscar Show fans happy by deciding to make the annual promotional poster, designed again this year by Arnold Schwartzman, available for purchase. The posters were available only until April 14, and, even though 4,764 of them were sold, they're likely to become collectors items within a few years.

More than half of those poster sales were made over the Internet at the Academy's organizational website, oscars.org. Also available on-line is the Best Picture Poster and the Annual Index to Motion Picture Credits.

Oscars.org continues to grow in importance as a tool of information dissemination. Despite the 168 press releases to over 2,000 press outlets and uncountable responses to press queries the Communications Department handled this year, oscars.org is the hands-down champ at imparting information about the Academy and its events to an extremely interested audience. Academy website pages were popping up on someone's computer screen nearly half a million times a week by the end of our fiscal year in June, double the rate of a year ago.

The site was completely redesigned early in 2000 and a search feature was added. It will continue to expand and become an even more effective bridge between the Academy, its members and the film-loving public. Credits coordinator Torene Svitil with the Annual Index to Motion Picture Credits.

The Academy Players Directory went video this year.

The Players Directory's on-line casting system, called The Link, began offering the nearly 30,000 actors who are registered on-line the option of enticing agents and casting directors not only with photos, resumes and lists of special attributes and skills, but also full video.

An Internet service for players, agents and casting people, The Link combines the resources of the Players Directory with film player requirements listed by Breakdown Services. The Academy and Breakdown Services have contracted with Star Caster Network to provide the video clip service on The Link. Typical pages from oscars.org. _._---­ -- ~~~M·~-.-.-~-__.... _l 80 AT 80 c.o The Origins ofScree " St>' : Eighty Portraits of Cinematographers Hollywood CoslUme Skelche by Oougltl. Kirtland the Leonard Slantey Archiv

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13 Charlie In THE FIREMAN, 1916.

Top: The Ubrary of Congress showcased the Cowardly Uon's wig from THE WIZARD OF OZ at its centenary celebration exhibition of the Oz books.

14 The Margaret Herrick Library's holdings were greatly enriched by additions of stunning posters, rare photographs, original artwork, scripts and historic manuscript material. Among the treasures acquired was the 1932 poster for GRAND HOTEL, bringing the Academy only one shy of a complete set of posters for all Academy Award Best Picture winners. Other special posters include those for THE JAZZ SINGER, an extremely early (THE ROUNDERS), SPELLBOUND, DON'T BOTHER TO KNOCK and WAR OF THE WORLDS. Rare original foreign posters were also acquired for such films as JULES AND JIM, BREATHLESS, WI LD STRAWBERRIES, GRAND ILLUSION, 8'/' , My UNCLE and THE GARDEN OF THE FINZI CONTINIS.

Numerous vintage photographs were acquired, including Vitagraph photographs from 1908, the earliest in the collection, and the library has been given access to original, and often rarely seen, photographs and negatives from three great silent stars - Charlie Chaplin, , and - enabling the photograph department to generate archival file prints, which have also been made from the Paramount nitrate negatives recently donated to the library by Universal Studios.

ROMEO AND JUUET, Vitagraph, 1908

Gary Cooper in THE TEXAN, 1930, from a Paramount nitrate negative.

Artist Dong Kingman donated production and title artwork for such films as FLOWER DRUM SONG and 55 DAYS AT PEKING, along with numerous sketches of behind-the-scenes production activities, made on the sets and locations of various films. Of special note was the addition to library script holdings of the set of Nunnally Johnson's own bound screenplays for 61 films, including those for THE GRAPES OF WRATH, HOLY MATRIMONY, THE GUNFIGHTER, and THE DIRTY DOZEN . The Charles Guggenheim Collection includes production files of the documentary film producer-director, whose films have received four Academy Awards (twelve nominations since 1956). Academy Award-winning actress Eva Marie Saint donated her collection, which includes scripts, clippings and other documents. The Hobart Bosworth Collection documents the work of this cinema pioneer, who appeared in the first film produced entirely in Los Angeles. Prints from the members of the Society of Motion Picture Still Photographers exhibition were donated to the library,

Preservation of the library's unique holdings remains a high priority, and intensive and specialized conservation work was performed on posters, photographs, clipping files and manuscript material.

To encourage greater awareness and appreciation of special materials, the library makes items from its collections available for exhibitions at the Academy and other institutions. Material from the Hitchcock Collection was featured at the Museum of . Items from the

Edith Head Collection are on display until 2002 at the Women's All materials from Margaret Herrick Ubraty collections. Museum in Dallas. 15

The search for additional space to house the Academy Fil m Archive's burgeoning collections continued through the 1999-2000 fiscal year. Nearly 20 promising sites were explored, and while most ultimately proved unsuitable for the archive's needs, a handful were still in the running at year end.

In the meantime, the collection keeps expanding.

Nitrate film elements of THE STORY OF G. I. JOE from North American copyright-holder Larry Stern were put on deposit as were the nitrate holdings from the Fox storage vaults in Ogdensburg, New Jersey, and materials from directors John Landis and Nina Menkes. Eighty-four films were added to the IDNAcademy Documentary Collection.

The Archive worked on the preservation and restoration of several historically significant films, including ALL THE KING'S MEN, THE liON IN WINTER, A MATTER OF LIFE AND DEATH (AKA STAIRWAY TO HEAVEN), THE BIG HEAT and TH E LADY FROM SHANGHAI.

Academy Award-winning and -nominated documentaries also were given attention by the Archive this year, with work on HEARTS AND MiNDS, DYLAN THOMAS and THE OLYMPICS IN MEXICO as well as a large-scale restoration effort on the Oskar Fischinger Collection which was donated to the Academy Film Archive this year.

The preservation of the films of and the process of making more accessible the Archive's approximately 500 reels of home movies, many of them from Hollywood notables such as Gilbert Roland, , and Richard Brooks, also continued. The STORY OF G. !. JOE. Finding and utilizing cataloging tools that can accommodate traffic management, bar-coding, cataloging information and digitized media has been an on-going challenge for the Archive staff. The cataloging system currently being used by the , and which is designed for film archives, looks like it has the inside track.

STAIRWAY TO HEAVEN was featured as an Academy Standards screening. Educational Encouragement

AMIA administrative coordinator Janice Simpson and her Academy-provided office, which she likes to cali AMIA's "International center."

A new annual program of the Academy was established by the Grants Committee to award $25,000 each to two star-calibre film scholars. The two Academy Film Scholars will be selected each December. Only established scholars, writers, historians and researchers with a significant record of achievement wi ll be considered for the grants, and they must propose a new work of film scholarship encompassing some aspect of theatrical motion picture art, science, commerce, history or theory.

A record $362,500 in financial grants from the Academy Foundation went to 32 college and community film programs across the , and a quarter-million went to 11 U. S. film festivals. A Festival Grants Committee, chaired in its inaugural year by producer Gale Anne Hurd, was formed to select the festivals receiving funds from the Academy.

The Academy continued its support of the Association of Moving Image Archivists with a cash grant of $50,000 and office space in the 8949 Wilshire building. It was the fourth year of Academy support of the organization.

For its sixth outing the Media Literacy Program, a joint effort of the Academy and the Los Angeles Unified School District, focused for one of its sessions on an , BELLYFRUIT, and its subject of teen pregnancy that hit home with the attending high school students. Cast and crew from the fi lm spoke to the students. The second of the two sessions examined stereotypes in films and other media. 's Do THE RIGHT THING was shown, followed by a panel of filmmakers to discuss it with the teens.

Academy member Visiting Artists Barbara Trent, John Landis and Carl Franklin lectured at, respectively, Metropolitan State College of Denver, the North Carolina School of the Arts in Winston-Salem and the Black Film Center/Archive at Indiana University, Bloomington.

Black Film Center/Archive

Department of Afro-American Studies

NORTH CAROLINA

ScHOOL OF THE ARTs Board and Committees

BOARD OF GOVERNORS 1999-2000

Seated in front of the Center for Motion Picture Study, from left: Donald C. Rogers, Donn Cambern, Kathy Bates, Robert Rehme, Alan Bergman, Sid Ganis; first row, standing, from left: Roger L. Mayer, Charles Rosen, Paul Mazursky, Fay Kanin, , Richard D. Zanuck, June Foray, Lew R. Wassenman, Karl Malden; second row: William C. ~tt l ejohn, Conrad Hall, Marvin March, , John Bailey, Charles Bernstein, Don Hall, Albert Wolsky; top row: , Carl Bell, Frank R. Pierson, , Douglas Greenfield, Samuel Goldwyn Jr., Jonathan Erland, Hal Kanter. Not shown: Arthur Hami~ o n, Carol Uttleton, Tom Rolf, Buffy Shutt, Bill Taylor, Haskell Wexler, Robert E. W ise and .

COMMITTEES

A CTORS B RANCH ExECUTIVE CoMMITTEE FOREIGN lANGUAGE F ILM A WARD ExECUTIVE CoMMITTEE N EW Y ORK EVENTS CoMMITTEE Kathy Bates, Chair Mark Johnson, Chair Arthur Manson, Chair

ART D IRECTORS B RANCH ExECUTIVE CcMMITIEE G ENERAL M EMBERSHIP CoMMITTEE N ICHOlL FELLOWSHIP CoMMITTEE Marvin March, Chair Alan Bergman, Chair Fay Kanin, Chair

A WARDS R EVIEW CcMMITTEE S UBCOMMITTEE ON A GENTS P ROOUCERS B RANCH ExECUTIVE CoMMITTEE Marvin Levy, Chair Martha Luttrell, Chair Richard D. Zanuck, Chair

A WARDS R ULES C OMMITTEE S UBCOMMITTEE ON C ASllNG A GENTS P UBLIC R ELAllONS B RANCH ExECUTIVE CoMMITTEE Charles Bernstein, Chair Jennifer Shull, Chair Sid Ganis, Chair

C ENTER FOR M DllON P ICTURE S TUDY S UBCOMMITTEE ON S TUNT CcORDlNATORS ScIENTlFIC AND T ECHNICAL A WARDS CoMMITTEE

OvERSIGHT C OMMITTEE David Ellis, Chair Richard Edlund, Chair Roger L. Mayer, Chair G OVERNORS B ALl CcMMITTEE 72ND A WARDS P UBUC R ELAllONS CcORDINAllNG

C INEMATOGRAPHERS B RANCH ExECUTIVE CcMMITTEE Sid Ganis, Chair CoMMITTEE Haskell Wexler, Chair Marvin Levy, Chair G RANTS CoMMITTEE

CcSTUME D ESIGN A WARD R ULES CcMMITTEE Delbert Mann, Chair S HORT F ILMS AND FEATURE AAIMAllON B RANCH Albert Wolsky, Chair ExECUTIVE CcMMITTEE H OLLYWOOD & H IGHLAND C OMMITIEE Carl Bell, Chair

D IRECTORS B RANCH ExECUTIVE CoMMITTEE Alan Bergman, Chair John Frankenheimer, Chair SouND B RANCH ExECUTIVE CoMMITTEE INVESTMENT CcMMITTEE Donald C. Rogers, Chair

DocUMENTARY A WARDS ExECUTIVE CcMMITTEE Roger L. Mayer, Chair Arnold Schwartzman, Chair SouND EFFECTS EorrING A WARD R ULES CoMMITTEE L ONDON ScREENING C OMMITIEE Don Hall , Chair

ExECUTIVES B RANCH ExECUTIVE C OMMITIEE Charles Schneer, Chair Roger L. Mayer, Chair S TUDENT A CADEMY A WARDS CoMMITTEE MAKEUP A WARD R ULES CcMMITTEE June Foray, Chair

FESllVAL G RANTS C OMMITTEE Leonard Engelman, Chair Gale Anne Hurd, Chair T HEAllER S TANDARDS CoMMITTEE M EMBERSHIP S CREENING C OMMITTEE Douglas Greenfield, Chair

FILM EDITORS BRANCH ExECUTIVE CcMMITTEE David Chasman, Chair Donn Cam bern, Chair VISUAl EFFECTS B RANCH ExECUTIVE CoMMITTEE M USIC BRANCH ExECUTIVE CcMMITTEE Richard Edlund, Chair

FINANCE C OMMITTEE Alan Bergman, Chair Donn Cambern, Chair W RITERS B RANCH ExECUTIVE CoMMITTEE Fay Kanin, Chair 18 Facilities

Hollywood & Highland, the and shopping mega-complex that will contain the Kodak Theatre, from which the Academy expects to broadcast the 74th Annual Academy Awards, was a gigantic hole in the ground last year. By June 2000 though, its steel skeleton had risen to its full height and it had begun to dominate that part of Hollywood.

Slowed, but not abandoned during the three-month Academy Awards "season," the meetings between Academy and TrizecHahn representatives picked up steam in May and the Academy and the developer worked to insure that the theater will be an elegant and efficient venue for the world's grandest single-night televised event.

In the 8949 Wilshire building, space for the security staff has been built to the immediate right of the main entrance. The switchboard function has moved from the 7th floor to the main entrance desk and expanded into a reception function. The first Academy voice on the telephone is now Sue Cochran's (photo) who also is the first person to greet you at the Academy. In the background at his new position is security officer Ron Tisdale.

In the Academy Uttle Theater booth, Chief Projectionist Carl Belfor, left, and Theater Sound Committee chair (and governor) Douglas Greenfield, check out the two Kinoton electronic film projectors that have replaced the stalwart, but aging, Simplex machines that had been in operation Academy Assistant Counsel Scott Miller watches as Academy Steward Norman Thompson cuts up Oscar-like props confiscated from a party planning company.

The crasher being arrested in 1997. Legal, Copyright

Al l charges by a would-be 1997 Oscar show gate crasher against the Academy, its vendors and employees have been resolved in the Academy's favor.

That 's right, charges against the Academy.

The trespasser, author of a book on how to sneak into events of various kinds, had announced in a press release prior to the 1997 Academy Awards that he intended to gate-crash the event. When he was caught and arrested he sued the Academy and a number of its representatives, charging that the organization had, among other things, humiliated him .

Two and a half years and a lot of legal fees later, the courts ruled that the Academy's actions were thoroughly within its ri ghts. The Academy subsequently fil ed a malicious prosecution lawsuit in response, which IS still pending.

One of the two men arrested by Los Angeles police in the stolen Oscars caper also filed suit against the Academy, and much of the rest of Los Angeles, after he was released without being charged. He was later indicted and rearrested, and the outcome of his suit now hangs on the outcome of his trial in 2001. The other arrestee in the case pleaded no contest. Finance and Business

REPORT OF INDEPENDENT ACCOUNTANTS

To the Board of Governors of the Academy of Motion Picture Arts and Sciences and the Board of Trustees of the Academy Foundation

In our opinion, the accompanying combined statement of financial position and the related combined statements of activities and of cash flows present fairly, in all material respects, the combined financial position of the Academy of Motion Picture Arts and Sciences (the Academy) and the Academy Foundation (the Foundation) at June 30, 2000 and 1999, and the combined changes in net assets and their cash flows for the years then ended in conformity with accounting principles generally accepted in the United States. These financial statements are the responsibility of the Academy's management; our responsibility is to express an opinion on these financial statements based on our audits. We conducted our audits of these statements in accordance with auditing standards generally accepted in the United States which require that we plan and perform the audit to obtain reasonable assurance about whether the financial statements are free of material misstatement. An audit includes examining, on a test basis, evidence supporting the amounts and disclosures in the financial statements, assessing the accounting principles used and significant estimates made by management, and evaluating the overall financial statement presentation. We believe that our audits provide a reasonable basis for the opinion expressed above.

6'Mu~'"1iiA_ ~ u...,o

September 13, 2000

Nine of the PncewaterhouseCoopers partners who have carried the secret envelopes bearing the names of the Oscar winners reunited this year for a once-In-a-lifetlme photo at the Samuel Goldwyn Theater. They are, from left, (with Oscar years In parenthesIs): Bill Miller (1953-69). Bob Ford (1969-76), Frank Johnson (1977-1997), Stephen W. Bills (1979-80), Steven P Kaplan (1981 -85), Dan Lyle (1986-95). Laura W. Hobart (1995), Greg Garrison (1996-present) and Lisa Pierozzi (1998-present). o Mathew Photographic Services

COMBINED STATEMENT OF FINANCIAL POSITION COMBINED STATEMENT OF ACTIVITIES

June 30, Year ended June 30, 2000 1999 2000 1999

Changes in unrestricted net assets:

Current assets: Revenues: Cash $ 2,461 ,100 $ 1,825,000 Academy Awards and related activities $ 45,955,900 $41 ,019,900 Short-term investments, at market 578,500 578,800 Players Directory and other publications 1,693,100 1,616,800 Accounts receivable, net 1,616,300 1,224,800 Membership dues 1,224,100 1,206,200 Prepaids and other assets 2,551,800 2,098,400 Research library and other educational CMPS Endowment - and cultural activities 495,000 644,800 Cash 48,500 50,600 Theater rentals 383,800 450,500 Accounts receivable 16,400 Investment and other income, net 1,234,100 1,687,800 Pledges receivable, net 703,300 866,700 Satisfaction of pr09ram restrictions 332,700 325,300 Total current assets 7,975,900 6,644,300 51,318,700 46,950,900 Expenses: Academy Awards and related activities 20,720,300 15,103,800 Long-term investments, at market 46,994,500 36,840,200 Players Directory, membership, theater, CMPS Endowment long-term and other operations 3,504,900 3,235,900 investments, at market 34 ,942,200 31 ,149,900 CMPS operations 4,320,200 3,762,900 Deferred rent expense, less Educational and cultural programs 1,152,800 1,087,400 accumulated amortization 611 ,700 643,400 General and administrative expenses 7,338,200 6,812,600 Property, equipment and building improvements, Contribution to CMPS Endowment 3,000,000 3,000,000 less accumulated depreciation 13,110,800 13,844,800 40,036,400 33,002,400 Mar9aret Herrick Library and Academy Film Archive collections, Increase in unrestricted net assets 11 ,282,300 13,948,500 carried at no value (Note 1) Other assets 574 ,500 535,800 Changes in temporarily restricted net assets: Contributions and program entry fees 278,900 229,400 Total assets $104,209,800 $89,658,200 Investment and other income, net 12,400 2,700 Net assets released from restrictions (332,700) (325,300)

L AB I LIT ES A ND N E T A SSE T S (Decrease) increase in temporarily restricted net assets (41,400) (93,200) Liabilities: Accounts payable and accrued expenses $ 1,035,200 $ 1,351,400 Changes in permanently restricted net assets: Deferred income 1,630,500 1,645,700 CMPS Endowment contributions 3,132,500 3,042,700 Total liabilities 2,665,700 2,997,100 Investment and other income, net 509,400 1.796,100 Increase in permanently Net assets: restricted net assets 3,64 1,900 4,838,800 Unrestricted 65,537,900 54,255,600 Temporarily restricted 246,800 268,200 Total increase in net assets 14,882,800 18,694,100 Permanently restricted 35,759,200 32, 11 7,300 Net assets at beginnin9 of year 86,661, 100 67 ,967,000 Total net assets 101,543,900 86,661,100 Net assets at end of year $101 ,543,900 $86,661,100 Total liabili ties and net assets $104 ,209,600 $89,658,200

The accompanying notes are an integral part of these The accompanyin9 notes are an integral part of these combined financial statements. combined financial statements. 21 COMBINED STATEMENT OF CASH FLOWS NOTES TO COMBINED FINAN C IAL STATEMENTS

Year ended June 30, 1 . S U M MARY OF SIGN I FICANT A CCOUNTING POLICIES 2000 1999 Reporting entity Cash flows from operating activities: Increase in net assets $ 14,882,800 $18,694,100 The accompanying combined financial statements include the accounts of the Adjustments to reconcile change in Academy of Motion Picture Arts and Sciences (the Academy) and the Academy net assets to net cash provided Foundation (the Foundation). All significant intercompany transactions have been by operating activities eliminated. The Foundation, formed for the purpose of promoting and supporting Depreciation and amortization 1,098,200 1,048,800 educational and cultural activities related to the motion picture industry, is related Provision for bad debt 46,800 218,100 to the Academy in that the officers and trustees of the Foundation are alsc mem­ Present value adjustment to bers of the Academy's Board of Governors. pledges receivable (18 ,500) (126,500) Unrealized loss on investments 2,196,500 653,900 Recognition of revenues and expenses Increase in accounts receivable (407,900) (191,400) Decrease in pledges receivable 135,100 138,200 Revenues and expenses are recognized on the accrual basis. Domestic rev­ Increase in prepaids and enues and a minimum guarantee of foreign revenues from the annual awards other current assets (453,400) (588,900) program are recognized upon broadcast and consist principally of license fees Increase in other assets (38,700) (195,300) paid by American Broadcasting Company, Inc. (ABC) for the exclusive worldwide (Decrease) increase in accounts television broadcast rights. Additional revenues from foreign exhibition are recog­ payable and accrued expenses (316,200) 629,700 nized based on gross receipts received from licensees and reported to the (Decrease) increase in deferred income (15,200) 339,100 Academy by ABC, net of distribution fees and expenses. The Academy has Contributions restricted for granted the awards program broadcast rights to ABC through 2008. In the CMPS Endowment (3,000,000) (3,204,500) accompanying combined financial statements, revenues and expenses catego­ rized as "Academy Awards and related activities" include the Awards programs, Net cash provided by Governors' Ball, nominations screenings and luncheon, and copyright/trademark operating activities 14,109,500 17,415,300 protection. Cash flows from investing activities: Membership dues are paid on a calendar year basis and are recognized as Sales of investments 49,283,500 23,669,600 income proportionately during the year; the portion of dues not yet recognized at Purchases of investments (65,426,300) (44,005,400) June 30 is included in deferred income. Income from the sale of Players Directory Additions to property, equipment listings is recognized when the respective issue is published. Amounts collected and building improvements (332,700) (555,100) in advance of publishing are recorded as deferred income. Net cash used in investing activities (16,475,500) (20,890,900) Grants received are recognized as revenue in the period in which they are received in accordance with Statement of Financial Accounting Standards (SFAS) Cash flows from financing activities: No. 116. Expenditures made for the purpose specified by the grantor are paid Proceeds from CMPS from unrestricted funds when incurred. Transfers from temporarily restricted net Endowment contributions 3,000,000 3,204,500 assets to unrestricted net assets, in amounts equal to such expenditures, have been reported in the accompanying statement of activity as "net assets released Net increase (decrease) increase in cash 634,000 (271,100) from restriction" and "satisfaction of program restrictions, " respectively.

Cash: Cash and cash equivalents At beginning of year 1,875,600 2, 146,700 The Company considers all highly liquid investments purchased with a maturity At end of year $ 2,509,600 $1,875,600 of three months or less to be cash equivalents. The carrying value of these instruments approximate market value because of their short maturity.

Investments

In accordance with SFAS No. 124, "Accounting for Certain Investments Held by Not-for-Profit Organizations," investments are carried at market value based on quoted market prices. Changes in market value are reported as gains and losses in the statement of activities. Prior year accounts have been restated to reflect the correction of an error in recording dividend income, which was not consid­ ered material to the results previously reported.

Property, equipment and building improvements

Buildings, building improvements, furniture and equipment are carried at cost less accumulated depreciation. Maintenance and repairs are expensed as incurred. DepreCiation expense is computed using the straight-line method over the useful lives of the assets, thirty years for the building and building improve­ ments, and three to ten years for furniture and equipment. Deferred rent expense, representing amounts which were contractually obligated to be paid in advance of the Center for Motion Picture Study (CMPS or the Center) lease term, is being amortized over thirty years. Improvements to the property which houses the Center have been classified as building improvements.

Margaret Herrick Library and Academy Film Archive

The holdings of the Margaret Herrick library and Academy Film Archive include documents, photographs and motion pictures that are made available to stu­ dents and scholars for motion pictu re industry and art form research. These col­ lections are donated to, preserved and maintained by the Foundation, and are carried at no value on the statement of financial position.

Use of Estimates in the Preparation of Financial Statements

The preparation of financial statements in conformity with generally accepted accounting principles requires management to make estimates and assumptions that affect the reported amounts of assets and liabilities at the date of the finan­ cial statements and the reported amounts of revenues and expenses during the reporting period. Actual results could differ from those estimates.

The accompanying notes are an integral part of these combined financial statements. Income taxes 4 DEfERRED INC ME

The Academy and the Foundation are nonprofit organizations determined by the Deferred income, representing payments received or accrued prior to the perform­ Internal Revenue Service and the California Franchise Tax Board to be exempt ance of services or the earning of income, comprise the following at June 30: from federal and state income taxes. 2000 1999 Financial Statement Presentation Players Directory $783,300 $772,900 In accordance with SFAS No. 117, "Financial Statements of Not-for-Profit Membership dues 599,700 574,000 Organizations: the Academy and the Foundation present unrestricted, tempcrarily Film preservation 216,300 216,300 restricted and permanenlly restricted net assets and changes in net assets in the Other 31,200 82,500 accompanying combined financial statemen ts. The amounts in each category are determined based on the source of the assets and donor imposed restrictions. $1,630,500 $1,645,700 The Foundation classifies contributions for educational and cultural activities not yet used to fund program expenses as temporarily restricted. All CMPS Endowment fund oontributions and investment income are classified as permanently restricted 5 CENTER FOR MOTION P,CTURE STUDY (see Note 5). As CMPS cash and short-term investments are permanently restricted, EN WMEN FUND they have been segregated in the accompanying statement of financial pcsition. Contributions received and income earned on CMPS Endowment contributions Reclassifications are to remain in the Endowment in perpetuity. Cumulative interest, along with any future contributions, Will become a permanent part of the corpus until such time Certain reclassifications have been made to 1999 amounts to conform to the as annual interest income is needed to help fund the operations of the Center. 2000 presentation format. In the years ended June 30, 2000 and 1999, the Academy contributed $3,000,000 to the Endowment. Through June 3D, 2000, the Foundation received permanently restricted cash contributions to the Endowment of $26,316,000 and interest of $8,909,300. The Foundation has pledge commitments for future contributions approximating $703,300 and $866,700 at June 30, 2000 and 1999, respectively, 2 INVE TMENTo net of discount and an estimate for uncollectible amounts. Pledge commitments, including bequests and assignments of life insurance benefits, have been discount­ Investments comprise the following at June 30: ed assuming an 80/0 discount rate and the following schedule of collections:

2000 1999 2000 1999

Cost Market Cost Market Less than 1 year $ 191,500 $ 275,500 >1 to 5 years 482,700 610,800 FIXed income >5 years or more 1,025,000 1,015,000 mutual funds $62,348,100 $59,944,500 $54,066,800 $52,716,000 Equity mutual funds 22,202,200 21,936,600 14,353,800 15,246,400 Pledges receivable 1,699,200 1,901,300 Less discount of $826,000 and $844,500, Other investments 639,300 634.100 626,200 606,500 respectively, and allowance of $169,900 Total investments $85,189,600 $82,515,200 $69,046,800 $68,568,900 and $1 90,1 00, respectively 995,900 1,034,600 $ 703,300 $ 866,700

Year Ended June 30, Investment income consists of: 2000 1999 6 RL T REMENT PLAN Interest and dividend income $ 4,915,600 $4,031,700 Net loss on investments The Academy adopted SFAS No. 132, "Employers' Disclosures about Pensions repcrted at fair market value (3, 188,800) (563,800) and Other Postretirement Benefits" in 1999. SFAS No. 132 revises employers' disclosures for pensions and other pcstretirement benefit plans. It does not change Total investment income $ 1,726,800 $3,467,900 measurement or recognition of those plans.

The Academy maintains an insured noncontributory defined benefit plan covering all full-time employees over 21 years of age who have completed one year of 3 p, frr-., EOI fMEN- AND Bu LING IMPRCVEMENTS service. Pension benefits under the plan are based on years of credited service and salary levels. The Academy annually contributes amounts to an insurance Property, equipment and building improvements comprise the following at June 30: company that is the plan trustee. Such amounts are actuarially determined to provide the plan with sufficient assets to meet future benefit payment requirements. 2000 1999 Plan assets are comprised primarily of fixed income and money market funds.

Land $ 644,800 $ 644,800 The following provides a listing of benefit obligations, plan assets and funded Building 3,761,300 3,761,300 status of the plan as of June 30: Building improvements - 2000 1999 Center for Motion Picture Study 6,777,200 6,777,200 Samuel Goldwyn Theater and Benefit obligation $6,531 ,900 $8,723,300 Academy lillie Theater 4,967,800 4,967,800 Fair value of plan assets 8,351,400 7,206,900 Academy headquarters remodeling 2,424,900 2,380,700 Furniture, fixtures and equipment 5,708,000 5,345,200 Funded status $1,819,500 $483,600 Work in progress 4,200 78,500 Prepaid benefit cost recognized in the statement 24,288,200 23,955,500 of activities $1,928,000 $1,595,000 Less accumulated depreciation 11,177,400 10,110,900 $13,110,800 $13,844,600 Weighted-average assumptions as of June 30:

Discount rate 8.250/0 7.250/0 Expected return on plan assets 7.000/0 7.00% Rate of compensation increase 5.500/0 6.000/0

Benefit cost $ 483,000 $ 412,900 Employer contributions 824,900 746,700 Benefits paid 164,800 191,900

23 Administration

1999-2000 ADMINISTRATION EXECUTIVE DIRECTOR Bruce Davis ADMINISTRATORS, OFFICE OF THE EXECUTIVE DIRECTOR Cheryl Behnke, Tina McKenzie

EXECUTIVE ADMINISTRATOR Ric Robertson

ASSOCIATE EXECUTIVE ADMINISTRATOR Mikel Kaufman

CONTROLLER Otto Spoerri Bruce Davis

DIRECTOR OF COMMUNICATIONS John M. Pavlik

PUBLICITY COORDINATOR Leslie Unger

ACADEMY WEBSITE Paul Carroll, Editor

AWARDS ADMINISTRATION DIRECTOR ACADEMY PLAYERS DIRECTORY Richard Miller Keith Gonzales, Editor Arlene Grate, Associate Editor AWARDS COORDINATOR and ACADEMY HISTORIAN FILM DEPARTMENT COORDINATOR Patrick E. Stockstill D. J. Ziegler

CREDITS COORDINATOR ASSISTANT COUNSEL Torene Svitil Scott Miller

PROGRAM COORDINATOR: GRANTS and LEGAL COUNSEL NICHOLL FELLOWSHIPS Quinn Emanuel Urquhart Oliver & Hedges LLP Greg Beal CERTIFIED PUBLIC ACCOUNTANTS PROGRAM COORDINATOR: EDUCATIONAL PricewaterhouseCoopers LLP and SPECIAL PROJECTS Alison Trope

PROGRAM COORDINATOR: SPECIAL EVENTS and EXHIBITIONS Ellen M. Harrington

NEW YORK PROGRAM COORDINATOR HEADQUARTERS ANNUAL REPORT: Richard Wilson 8949 Wilshire Boulevard Beverly Hills, Ca 90211 Design THEATER OPERATIONS COORDINATOR Hamagami/Carroll Michael Angel & Associates (3 10) 247-3000 MARGARET HERRICK LIBRARY FAX (3 10) 859-9619 Copywriting Linda Harris Mehr, Director e-mail: [email protected] AMPAS World Wide Web: www.oscars.org SPECIAL COLLECTIONS Academy Awards Web site: www.oscar.com Film & Printing Val Almendarez, Barbara Hall, Howard Prouty, Southern California Archivists Graphics CENTER FOR MOTION PICTURE STUDY PHOTOGRAPHIC SERVICES 333 South La Cienega Boulevard Photography Robert Cushman, Curator Beverly Hills, CA 9021 1 Long Photography, Inc. (unless otherwise noted) ACADEMY FILM ARCHIVE Michael Friend, Director DOLBY THE WORLD' S

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