I

THE MEMBERS OF THE ACADEMY OF MOTION PICTURE ARTS AND SCIENCES ACADEMY OF MOTION PICTURE ARTS AND SCIENCES 1949-1950

OFFICERS

President CHARLES BRACKETT

Vice-Presidents GEORGE MURPHY DORE SCHARY

Treasurer FRED l. METZLER

Assistant Treasurer G . CARLETON HUNT

Counsel LOYD WRIGHT

Secretary EMMET LA VERY

Assistant Secretary JOHNNY GREEN

Executive Secretary MARGARET HERRICK

BOARD OF GOVERNORS

HENRY BLANKE PERRY LIEBER

JOHN W . BOYlE FRED l. METZlER

CHARLES BRACKETT ROBERT MONTGOMERY

FRANK CAPRA GEORGE MURPHY

CHARLES G . ClARKE FREDERICK C. QUIMBY

JOHNNY GREEN GORDON SAWYER

ROBERT M. HAAS DORE SCHARY

WILLIAM W . HORNBECK RUDOlPH STERNAD

G. CARLETON HUNT GEORGE STEVENS

KENNETH B. LAMBERT WALTER WANGER

WALTER LANTZ HARRY WARREN

EMMET LAVERY GABE YORKE Foreword

To be President of the Academy of Motion Picture Arts and Sciences for a year means, even to one who has been closely connected with it before, to see it in a new light. It means understanding completely why Academy Awards main­ tain their importance, despite the countless awards given by other groups. Suddenly one knows the stupendous, back-breaking effort that goes into those Awards. I don't mean into the presentations-that's another story, and Johnny Green was its hero this year. I mean into the long, scrupulous endeavor to make the nominations representative, and to insure every Academy member a chance to see every nominated picture-thus getting a vote which reflects the considered opinion of our members. It means learning, as no superficial observation can teach, the long, steady effort of the Academy to act as a cultural liaison between our industry and the men and women everywhere who are deeply interested in motion pictures as an art. It means knowing the stresses and strains the problems of the Academy put on its Board of Governors, and-in my instance-how ably the Board met them last year. It means feeling deeply, if inade­ quately, grateful to every member of that great Board. It means knowing the value of Executive Director Margaret Her­ rick and her staff-something to be computed on that well known scale above rubies. It means appreciation of the contribution of Wright, Wright, Green and Wright, Academy legal counsel-of the services of Price, Water­ house and Company, certified public accountants-and of Howard G. Mayer and Associates, Academy Public Relations representatives. They have all performed their complicated functions magnificently. In conclusion, may I express my deep confidence in the future of the Academy, my satisfaction in the express wish of every branch that Academy membership shall not be given lightly, but only to those members of our industry who have a sense of the high importance of good picture making. CHARLES BRACKETT

~por~ of the 'Presiden~ For the Year Ending April 30, 1950 8()

A report on a year in the life of an organization as vigorous and as varied in its interests as the Academy of Motion Picture Arts and Sciences must necessarily be somewhat impressionistic. It must reveal the quiet, unremitting activities which are the everyday life of the Academy, and set forth the special events which highlight every month. From the balance of the two perhaps we can get a factual picture. Let's begin at 9038 Melrose Avenue, with our library. It is now the largest in the world devoted to the history of motion pictures. It is used daily by studios, Academy members, college students, and the general public. A complete production file of feature films released since 1925 containing cast, credits, critics' reviews and key stills on each picture is an invaluable reference source for the whole industry. The bound volumes of film publications since 1906, the foreign books and trade journals and the special subject files enable us to an­ swer hundreds of inquiries which come to us each week by mail and telephone. This year, in addition to our routine acquisitions, we received some notable gifts. From Mrs. J. Searle Dawley: still photographs, books, peri­ odicals and letters collected by the pioneer director, J. Searle Dawley. From Robert G. Vignola: 100 stills relating to the film career of Sidney Olcott and Mr. Vignola. From Mrs. Thomas H. Ince: 95 bound albums of stills fully indexed, ftom the productions of Thomas H. Ince. From various other sources we acquired 19,000 stills illustrating production techniques. Save for portraits needed for our biograph­ ical files, we accept only production stills which have permanent value in the Library . .

-3- A few library statistics: Books and bound periodicals ...... 3,350 Scripts...... 592 Current periodical subscriptions...... 42 Research questions answered this year ...... 5,300 Now let's consider the Film Archives. There are now 939 films in the Academy vaults. 819 of these are 35mm release prints. The balance are 16mm. We also have 80 28mm films and a 28mm projector. We will eventually make 35mm prints of the 28mm footage which in­ cludes "Battle at Elderbush Gulch", "Judith of Bethulia", and early Chaplin and Pickford films. All prints in the Academy collection are available for screening to Academy members, studios and students. Important contributions to the film collection were made this year. From G. Carleton Hunt: "lola's Promise" Biograph, 1912; from Earl Theisen: 12 reels of early American footage covering the period 1892- 1912; and from Mrs. Leon Schlesinger: 15,000 ft. of early Georges Melies films, made in France, 1902-1908. There are thirty complete Melies subjects, and this is the largest known collection of his work. In addition, the Academy, through the courtesy of the Library of Congress, retains the paper negatives of American motion pictures 1896-1912, loaned to us for conversion to celluloid. This project is progressing slowly, but as funds become available we are restoring to the screen films which trace the development of our industry and are pictorial Americana of inestimable value. Another preoccupation which runs throughout the year is our Acrulemy Museum. It's beginning to emerge as a reality. Believing that some day the Academy must have a museum, we have collected in recent years a quantity of early motion picture equipment and memorabilia. This year we placed exhibit cases in our theatre lobby and displayed for our members some of the items. Interest stimulated by the exhibits has brought us many additional gifts and promises of more to come. Now let us take up our Publications. The Academy Players Direc­ tory, as a cooperative service for actors and studios, has become, during its twelve years of publication, an indispensable working tool for studio casting and executive personnel. The Directory was formerly issued quarterly, but at the request of the Screen Actors Guild, we revised the format of the book this year to give greater coverage in each num­ ber and reduced the cost to players and studios. We now issue three books a year. Three Credits Bulletins: the Writers' Bulletin, the Directors' Bulle-

-4- tin, and the Production List-are now in their sixteenth years of publi­ cation. An annual cumulated volume is issued; monthly supplements keep the records up-to-date. The Awards Bulletin of Scientific or Technical Achievement is issued annually and is in effect a historical record of scientific and technical advancement in our industry since 1931. Now let us examine a routine activity of particular interest to our general membership- the Academy Theatre. When we moved into our own building four years ago, Sunday evening was set aside as regular membership night in the theatre. We established a policy of screening in sequence, all Academy-Award winning pictures and short subjects. The regular schedule of old films has been varied with the screening of foreign films and special events for the membership. We concluded the year with the Award-winning pictures of 1940, and the current series includes Award Winners of 1941. During the week the theatre is rented to the studios for press pre­ VIews. Another line of steady activity can best be described as our Educa­ tional Services. The widespread and growing interest of educators and students in motion pictures is reflected in the variety of services re­ quested from the Academy by schools, colleges and universities in the United States and abroad. Local colleges work closely with the Academy. Guest lecturers have been supplied for the past two years for the gradu­ ate seminar in motion pictures at the University of Southern California. The Motion Picture Section of the Theatre Arts Department at the University of California at Los Angeles was set up with the cooperation of an Academy committee, and many of the teachers for the new de­ partment have been Academy members. Requests for bibliographies, scripts, music scores, lists of films for special curriculum use, general information on all phases of the indus­ try, and personal assistance in arranging interviews or special screen­ ings at studios are a part of our daily routine. An inquiry to our office is often the first direct contact with the motion picture industry. Wheth­ er the inquiry comes from a college dean or from an enthusiast in the fifth grade, we try to give the service needed, but it isn't always easy. This letter is from a current file: "My class and I think movies are very interesting. We would like to know more about it except what is in books. Will you please send all information about modern movies. Please send us pictures of your machinery and the man who invented the movie. Please rush it here if at all possible. We would great­ ly appreciate it if you would. Thank you. Johnny Jones."

-5- Johnny didn't get "all information about modern movies," but he did get pictures of Thomas Edison, cameras, and projectors, and refer­ ences to some simply written, well illustrated articles on movie-making suitable to his age group. And he got it "rush"-by air mail. Our Executive Director, Mrs. Margaret Herrick, has served on the Advisory Board of Stephens College for the the past four years. A con­ ference of thirty colleges held at Stephens each year has widened the Academy's contacts with people in universities who are deeply interest­ ed in entertainment films as an aid to teaching. Perhaps an even more important educational service is the Text Book on Motion Picture Techniques. This is being prepared under the joint sponsorship of the Academy and the University of California at Los Angeles, by l\liss Muriel DeLisa, for use in colleges and universi­ ties. The completed work will list as technical editors and contributors, Academy members who have furnished factual material pertaining to their crafts. An outstanding project of last year was Academy participation in the series of Industry Documentary Short Subjects. They were pro­ duced with the cooperation of the Hollywood Guilds, Unions, and the Producers Association. The films were sponsored by the Academy and released in theatres throughout the United States. Each subject is an exposition of the work of an industry craft. Only four films, "Moments in Music", "The Cinematographer", and "The Costume Designer" and "The Screen Writer" are still unreleased. Beginning in September, 1950, the series will be distributed on 16mm to schools, libraries and universities through Teaching Film Custodians, Inc. We now come to the Occasions-those moments which, to the un­ thinking public, are the whole life of the Academy. There were many of them- proud ones, gay ones, a profitable one, a sad one. In June, Notre Dame gave Irene Dunne the Laetare Medal as the outstanding Catholic layman of the year. I, as President of the Academy, attended the ceremony at South Bend, to express the industry's pride in the event. In July, the Board gave a luncheon for our fellow townsman, Dr. Ralph Bunche, when he returned from his brilliant negotiations in Palestine. In August the Academy presented a broadcast, heard nationwide, in honor of the 70th birthday of Ethel Barrymore. Participating was a complete Who's Who of the stage and screen-aided by President Tru­ man, ex-President Hoover, Mrs. Franklin Delano Roosevelt, Bernard Baruch and Somerset Maugham.

-6- In November the Academy signed a contract with the Bulova Watch Company, licensing them to use the name Academy Award and our own Oscar symbol in the exploitation of a series of "Academy Award Watches." The Board of Directors felt a reluctance to commer­ cialize our name and symbol, but name and symbol had been pirated many times in the past. It was a demonstrable fact that the best way to protect it from future piracies was to make the four-year contract with the Bulova Company. At its expiration, our title to the name and symbol will belong to us alone, and be completely protected and estab­ lished. May I confess that our reluctance was softened by the fact that Bulova is to pay us $120,000, which will enable us to cancel the indebt­ edness on our Academy Building. We have long felt the need for a printed list of Academy Award winners from 1927 to date, and in response to a request by the Bulova Company we prepared a booklet which includes a chart of all Awards given by the Academy and a listing by year of our winners. It also contains an explanation of the basis on which Awards selections are voted and a brief resume of our balloting routine. The booklet is available for sale to the public. This year the 1948 Hollywood Still Photograph Show toured the British Isles and South Africa. The exhibition was extensively publi­ cized in London, Glasgow, Edinburgh, Liverpool, and other cities. The Motion Picture Association requested permission through their London office to ship the exhibit to the continent in December of 1949, and it will be seen during 1950 in the capital cities of Europe. The Costume Designers, as a part of our Art Directors Branch, held the first exhibition of their work in the lobby of the Columbia Broadcasting System, November 3 to 6, 1949. The exhibit created so much interest, that at the request of CBS it was held over for three extra days to accommodate the crowds. More than 12,000 people visited the display. It is now being prepared for what we hope will be as suc­ cessful a road-show tour as the still photography prints have had. The 22nd Awards Presentation was a demonstration of top show­ manship under Johnny Green as General Director. An estimated inter­ national radio audience of one hundred million heard the announcement of product and talent voted the best of 1949 by Hollywood craftsmen. In an average year the Awards routine gets more space in newspapers everywhere and more radio time than any other event except a presiden­ tial election. The Awards ceremonies were carefully planned for stage as well as radio presentation. Weare particularly indebted to Paul Douglas

-7- for an outstanding performance as Master of Ceremonies, and to Robert Emmett Dolan as Musical Director for the evening. Special mention should be made of the pertinent commentary by Ronald Reagan, Eve Arden, and Ken Carpenter, which gave the radio audience an eye­ witness account of the affair. The success of the evening reflected the countless hours of preparation by our hard-working committees. The Academy is grateful to every individual whose cooperation made the Twenty-Second Awards Presentation a memorable event. The sad occasion of which I spoke occurred in April. It was a Me­ morial Service for Walter Huston, a Fellow of our Academy, whose performances had been nominated many times and whose brilliant act­ ing in "The Treasure of Sierra Madre" won an Award only last year. In April, at the request of the State Department, I recorded a seven­ minute interview on the Academy and its functions, broadcasting out­ side the United States for The Voice of America. That same month, Mr. Fred Metzler, our Treasurer, represented us in New Orleans at the Annual Convention of the Variety Clubs. As a program speaker he emphasized the prestige value of the Academy and outlined our many important, but less publicized services on behalf of the industry. A review of the record for 1949-50 shows that there was a notable increase in member interest and participation in Academy affairs this year. Academy committees held 158 meetings-an average of over 3 each week. In general, we have taken a long-range view in selecting projects to be developed and have stressed activities which served the dual pur­ pose of benefitting the industry as a whole and our members individu­ ally and collectively.

RECOMMENDATIONS FOR 1950-1951 MEETINGS OF THE GENERAL MEMBERSHIP In our effort to maintain autonomy in each of our twelve craft branches, we have overlooked the need for meetings of the membership as a whole, and I recommend that at least one, and perhaps two, gen­ eral meetings be held in the Academy Theatre during the coming year. Many of our people have only a hazy idea about how the Academy op­ erates, of its purposes and obligations as a part of the industry, or the significance of our activi~ies in relation to individual members. General meetings of this type would be good public relations within our own

-8- group and would emphasize the interdependence of all of us who work in picture production.

INFORMATION BULLETIN From 1946 to May, 1949, we published a monthly membership bulletin with information about our work, meeting dates, and special branch activities. The bulletin was discontinued as an economy meas­ ure, but I feel it was valuable in maintaining member interest and I urge that it be re-established as a quarterly publication.

THEME CONTENT INDEX OF CURRENT FILMS The Academy has received many requests for lists of pictures which deal with topics of social and educational importance. The United Na­ tions, the U.S. State Department, and educators have indicated the need for an index of this type, and I recommend that the Academy explore the possibility of adding a Motion Picture Subject Index to the list of Academy publications.

SCRIPT COLLECTION We have approximately 600 screenplays in the Academy Library. To date, because of legal complications, we have been unable to secure a general studio agreement for routine additions to the collection. Studio story departments have received an increasing number of requests from colleges with advanced courses in creative writing. If our studio legal departments could work out with the Academy a plan for depositing scripts in our Library to be loaned to educational institutions from this central collection, we could perform another service beneficial to the industry as a whole. I recommend that this problem be placed on our agenda for 1951 .

ACADEMY MUSEUM A museum for Hollywood is a perennial topic of local conversa­ tion; there is a general opinion that "the Academy should do something about it". All Hollywood knows the need for a museum which will show not only the historical background and development of motion pictures, but would provide tourists with a reasonable facsimile of the studio tours open to so few of them. I urge that the Academy emphasize a continuing policy of gathering exhibition material for the museum.

Respect fu__ ll,",","­

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-9- ACADEMY COMMITTEES • 1949-1950

ACADEMY FINANCE COMMITTEE FRED L. METZLER, Chairman CHARLES BRACKETT G . CARLETON HUNT PERRY LIEBER

FOREIGN LANGUAGE FILM AWARD COMMITTEE PERRY LIEBER, Chairman WILLIAM BISHOP HAROLD MELNICKER WILLIAM GORDON CARL SCHAFER ELY LEVY ROBERT VOGEL LUIGI LURASCHI

ACADEMY BUILDING CORPORATION JEAN HERSHOLT, President CHARLES BRACKETT, 1st Vice President GEORGE MURPHY, 2nd Vice President CHARLES SKOURAS, 3rd Vice President JACK L. WARNER, Secretary-Treasurer FRED L. METZLER MARGARET HERRICK, Executive Secretary

ART DIRECTORS BRANCH EXECUTIVE COMMITTEE ROBERT M . HAAS, Chairman SAMUEL M. COMER GLADYS PERCEY RUSSELL A . GAUSMAN MAURICE RANSFORD EDITH HEAD RUDOLPH STERNAD

CINEMATOGRAPHERS BRANCH EXECUTIVE COMMITTEE JOHN W. BOYLE, Chairman CHARLES G . CLARKE NICHOLAS MUSURACA JOSEPH W. LASHELLE JOHN F. SEITZ

FILM EDITORS BRANCH EXECUTIVE COMMITTEE G. CARLETON HUNT, Chairman WILLIAM W . HORNBECK L. C. MILLBROOK WARREN Low ERNEST J. NIMMS

MUSIC BRANCH EXECUTIVE COMMITTEE JOHNNY GREEN, Chairman DANIELE AMFITHEATROF EDWARD B. POWELL SAMMY CAHN DAVID RAKSIN ROBERT EMMETT DOLAN HARRY WARREN FRANK LOESSER

PUBLIC RELATIONS COMMITTEE PERRY LIEBER, Chairman EMMET LAVERY GABE YORKE

SHORT SUBJECTS BRANCH EXECUTIVE COMMITTEE FRED QUIMBY, Chairman GEORGE BILSON WALTER LANTZ GORDON HOLLINGSHEAD JULES WHITE

-10- SOUND BRANCH EXECUTIVE COMMITTEE KENNETH B. LAMBERT, Chairman PHILIP E. BRIGANDI THOMAS T. MOULTON JOHN PAUL LIVADARY GORDON E. SAWYER LOUIS H. MESENKOP

WRITERS BRANCH MEMBERSHIP STANDARDS COMMITTEE • VALENTINE DAVIES, Chairman CHARLES BRACKETT EMMET LAVERY F. HUGH HERBERT GEORGE SEATON

22ND ANNUAL ACADEMY AWARDS PRESENTATION

JOHNNY GREEN, General Director NICK CASTLE, Stage Direction ROBERT EMMETT DOLAN, Musical Director PAUL DOUGLAS, Master of Ceremonies EVE ARDEN, RONALD REAGAN, KEN CARPENTER, Special Radio Commentators WIARD B. I HNEN, Stage Setting and Design IRVING AARONSON, Executive Assistant to Mr. Green C . KENNETH DELAND, Business Manager JACK BAKER, Stage Manager MARILYN CHRISTINE AND CASS JAEGER, Stage Assistants

22ND AWARDS PLANNING COMMITTEE EMMET LAVERY, Chairman HENRY BLANKE PERRY LIEBER CHARLES BRACKETT FRED L. METZLER FRANK CAPRA GEORGE MURPHY JOHNNY GREEN GORDON SAWYER ROBERT M. HAAS GABE YORKE

22ND AWARDS PRESENTATION COMMITTEE JOHNNY GREEN, Chairman IRVING AARONSON EDITH HEAD EUGENE MURPHY JACK BAKER W . P. WHITEY HENDREY ROBERT NATHAN TOM BAXTER MARGARET HERRICK ROBERT O'BRIEN CHARLES BRACKETT G. CARLETON HUNT GEORGE OPPENHEIMER RICHARD L. BREEN WIARD B. IHNEN ARCH REEVE SAM E. BROWN EMMET LAVERY CMDR. B. A. ROBBINS, JR. VALENTINE DAVIES PERRY LIEBER SIDNEY SHELDON C. KENNETH DELAND HOWARD G. MAYER JOSEPH SISTROM JOHN 1. EDWARDS MARY C. MCCALL, JR. DUKE WALES KEN ENGLUND FRED L. METZLER LEW WASSERMAN SID GOODWIN GABE YORKE

MUSIC COMMITTEE ROBERT EMMETT DOLAN, Chairman MURRAY GERSON NATHAN VAN CLEAVE ALBERT SENDREY ALBERT WOODBURY ROBERT S. HELFER

-11- PUBLICITY COMMITTEE PERRY LIEBER, Chairman HARRY BRAND MORT GooDMAN HOWARD STRICKLING CECIL COAN DAVID LIPTON AL VAUGHAN ALEX EVELOVE NORMAN SIEGEL GABE YORKE Lou SMITH

TRAFFIC COMMITTEE W. P. WHITEY HENDREY, Chairman CAPT. ROGER E. MURDOCK

SPECIAL COMMITTEE ON DOCUMENTARY AWARDS WILLIAM CAMERON MENZIES, Chairman ART ARTHUR LUIGI LURASCHI VALENTINE DAVIES JANE MURFIN CEDRIC FRANCIS HARRIET PARSONS WIARD B. IHNEN SIDNEY P. SOLOW LEONARD LEVINSON

SPECIAL SCIENTIFIC OR TECHNICAL AWARDS COMMITTEE G. CARLETON HUNT, Chairman JOHN AAI.BERG KARL FREUND GORDON SAWYER JOHN W. BOYLE SOL HALPRIN SIDNEY P. SOLOW RALPH DAWSON BENJAMIN HAYNE PAUL VOGEL FARCIOT EDOUART STANLEY HORSLEY BYRON VREELAND FERDINAND EICH URIE McCLEARY WALLACE V. WOLFE JOHN ROCHE

SPECIAL EFFECTS AWARD COMMITTEE GORDON SAWYER, Chairman LAWRENCE BUTLER BERNARD HERZBRUN LoUIS MESENKOP LINWOOD DUNN STANLEY HORSLEY FRED SERSEN FARCIOT EDOUART TERRY KELLUM HAL SHAW WILLIAM FERRARI KENNETH LAMBERT CLARENCE SLIFER JOHN FULTON HARRY LEONARD ELLIS THACKERY A. ARNOLD GILLESPIE WILLIAM McGANN S. J. TWINING JACK GLASS WALDON O . WATSON

SHORT SUBJECTS AWARDS EXECUTIVE COMMITTEE FRED QUIMBY, Chairman GEORGE BILSON WALTER LANTZ GORDON HOLLINGSHEAD JULES WHITE

AWARDS ADVERTISING CODE COMMITTEE G. CARLETON HUNT FRED L. METZLER PERRY LIEBER GABE YORKE

22ND AWARDS WRITERS COMMITTEE EMMET LAVERY, Chairman RICHARD BREEN ROBERT NATHAN VALENTINE DAVIES ROBERT O'BRIEN KEN ENGLUND GEORGE OPPENHEIMER MARY C. MCCALL, JR. SIDNEY SHELDON JOSEPH SISTROM

-12- The Academy is an honorary organization of industry craftsmen. Its purposes are to advance the arts and sciences of motion pictures and to foster cooperation among the creative leadership of all branches of the industry for cultural, educational and technological progress. In the years of its development the Academy has become the most widely known organization in Hollywood. Its idealistic principles, se­ lective basis of membership and established prestige contribute to the maintenance of a dignified social and educational forum and meeting place of the creative personnel of motion pictures, a function which is not duplicated by any other organization and which compares with the literary and professional Academies, Institutes and Societies in other fields. The Academy is entirely freed of all labor relations responsibilities and has no concern with economic or political matters.

GENERAL OFFICES: 9038 Melrose Ave. Hollywood 46, California. Telephone CRestview 5-1146

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