FROM THE PRESIDENT Through Aprn 8 - Academy galleries - r Photographing People: Hollywood Moments by Leigh Wiener," 110 portraits of Hollywood stars and ON THE LOOKOUT FOR personalities taken by photographer Leigh Wiener over a remarkable 50-year caree r. MORE SPACE The 18th Annual Contemporary Do(umentary Series, presented by the Academy, the Academy Foundation and the UCLA Film and Television Archive, wi ll I t sometimes seems that the Academy has been looking for (ontinue through March 14 at UCLA 's James Bridges more offi ce and storage space for its entire 73 years . Theater at 7:30 p.m. Included in the remaining series We moved fo r the first time within six months of our screenings are three Academy Award-nominated films . Filmmakers will be present whenever possible to discuss fou ndin g, then again within three years, once more in five their films and take questions from the audience. All years , and into our own building 11 years later. screenings in the series are free and open to the public. I'm sure that the day after we moved into our first owned Jcnay 23 - MyAMERKAN FATHER and PoP & ME. offi ces in th e Marquis Th eater on Melrose Avenue, somebody February 6 - UCO MMONFRIE NOS Of THE TWENTIETH CE NTURY said "Hey , we're out of space l " and TH ESOURCE . There are people working at the Academy who February 13 - KIN GGI MP(Academy Award winner), re member those offi ces, board meetings in the library room , LimE SECRET and ONTH ERoPES (Academy Award winner). collecti ons stored beh ind the screen - and the Players February 20 - MO NTEHEL lMAN: AMERICAN AUTEUR and Directory up the block across the street. AMERICAN MOVIE. But we stayed there for 20 years before building the March 6 - CROSSING TH EL INEand ONED AYIN SEPTEM BER current headquarters and moving in in 1975. The next day, of (Academy Award winner) . course , somebody probably said, "Hey .. .. " Mar(h 13 - FIVEWI VES, THREE SECRETARIESA NOME and It was only three or four years before a search for new WISCO NSI ND EAT HT RA P. space for the library began, although it was 1991 before we The James Bridges Theater is located in Westwood on the northeast corner of the UCLA campus, near the intersection moved into the abandoned Beverly Hills waterworks building of Sunset Boulevard and Hilgard Avenue. Parking is on La Cienega Bou levard. available in Lot 3, adjacent to the theater, for $5. For Sure enough, the next day .. .. more information, call 31O-206-FILM. It was the Academy Film Archive that ran out of space Saturday, Mar(h 24 - 10 a.m., Samuel Goldwyn fi rst, with th e Margaret Herri ck Library right behind, and then Theater: The annual seminar featuring the directors of the five films nominated for Best Foreign the 8949 buil din g itself. Language Film. So , for several years now, we've been looking for storage space for the Film Archive. Early this year we hope to move the Archive to leased, but sufficiently roomy quarters. The nCnO[ffiV R[PORT Li brary will smoothly fi ll in the space left behind. Published by the Academy of Motion Picture Arts and Sciences Also within the next few months, the Players Directory 8949 Wilshire Boulevard, Beverly Hills, Californ ia 90211-1972 (3 10) 247-3000 · www.oscars.org may move out of its fourth floor offices to new space. President • Robert Rehme And the next day, I'm going to walk around to each First Vice President • Alan Bergman Vice President • Sid Ganis of the buil di ngs, listeni ng for the inevitable, "Hey , we're out Vice President • Frank R. Pierson of space!" Treasurer • Donald <. Rogers Secretary • Kathy Bates - Robert Rehme Executive Director • Bruce Davis

Photos: unless otherw ise idenlified, by Long Photogrophy Design: Liso Carlsson, Edler Carlsso. Ink On the Cover: Screening and panel discussion highlighted 0 fall Aca demy tribute to Polis h OSla , Oscars·, Academy Awards·, Academy Awar , fil mw riter-director Krzysz tof Kies lowski. See stOlY on page 8. Photo (redit: Kieslowski portroit A.M.P .A.S.· , and Oscar Nigh , are the trademarks, and the Oscar statuette is the registered design mark and copyrighted property of the by Marla Ki eslowska. Academy of Motion P'Klure Arts and SdeMes.

2 RCROfffiV AfPOAT

M ichael Pogorzelski, who has held the position of Film Archivist and Preservation Officer at the Academy Film Archive since 1996, has been named director of the Academy Film Archive by Academy Executive Director Bruce Davis. Pogorzelski had been serving as Interim Director since the departure of Michael Friend in August. "We had an extraordinary pool of applicants," Davis reported , "and our executive administrator, Ric Robertson , and I made our decision very carefully. At the end we concluded that the guy we had inside gave us an irresistible combination of strengths: an excellent rapport with our existing staff, absolutely first-rate technical skills, innate diplomacy and an energetic approach to the job. We think Michael is going to insure that the Academy's archive will be a leader in the field for decades to come." A graduate of the University of Wisconsin, Pogorzelski has already served as restoration supervisor or co-supervisor on several prominent projects for the Academy, including How GREEN WAS My VALLEY, OLIVERI , ALL ABOUT EVE, ALL THE KING'S MEN, PRIMARY , THE HOODLUM and THE STORY OF G.!. JOE. He started his career as a volunteer archivist at the Wisconsin Center for Film and Th eater Research. Academy Film "I'm looking forward to maintaining and Archive Director further enhancing the world-class reputation Mike Pogorzelski. of the Academy Film Archive ," said Pogorzelski. "We have several exciti ng projects in the works now and I think our re lationships with the archival community will continue to evolve in ways that will bring us even greater distinction in the fields of preservation and restoration. " In addition to being actively engaged in preservation and restoration of motion pictures of all genres and from throughout the world , the Academy Film Archive now contains over 23,000 film and video titles dating from the earli est era of the cinema to the latest achievements in visual effects. The scope of the Archive's activity continues to expand, through partnerships with other archives, studios and laboratories, and through organizations including the International Federation of Film Archives (FI AF), the Association of Moving Image The new film archive director was honored at a reception at L'Ermitage. From left, Pogorzelski; Academy Governor Roger Moyer; UCLA Film Archive Archivists (AMIA) , the Film Foundation and the Sony Director Tim Kittleson. Preservation Committee.

Department of Corrections The Academy's summer exhibition of the production design work of Eugenio Zanetti failed to credit illustrators Greg Aronowitz, Mauro Borelli, Oscar Chichoni, George Jenson, Simon Murton and Joseph Musso, whose work was included in the show. The Academy regrets that it was not provided with information on their contributions in time to credit these artists at the time of the exhibition.

3 ACADEMY GALLERIES To FEATURE PORTRAITS By LEIGH WIENER

A lot of famil iar faces can be seen around the Academy through early April - 110 of them , in fact. They are portraits of Hollywood stars and personalities taken by photographer Leigh Wiener over a remarkable 50-year career. "Photographing People: Hollywood Moments by Leigh Wiener," will be featured in the Fourth Floor and Grand Lobby galleries until April 8. While working for numerous Jimmy Durante, July 1965 newspapers and magazines, including the Los Angeles Times, Life, Fortune, Sports Illustrated and Time , Wiener photographed politicians, sports figures, jazz legends, the homeless, international Warren Beatty, September 1961 subjects, playwrights, poets, writers, visual artists, captains of industry and heads of state . This new Academy exhibition focuses on the remarkable moments captured by Wiener's camera lens in Hollywood at occasions like the Academy Awards, Sam Goldwyn's 75th birthday party, fundraising dinners with Robert F. Kennedy and Liz Taylor, Frank Angie Dickinson, February 1962 Sinatra's performances with the "Rat Pack," Marion Davies embracing Hedda Hopper at the Brown Derby and Judy Garland reuniting with Mickey Rooney on a television sound stage in the early '60s. Groucho Marx, November 1966 Wiener died in 1993.

D irector Gregary Nava, left, speaks with students and teachers from Los Angeles high

schools following a screening of El N ORTE and a Q-ond-A with Nava at the Academy.

Students from Taft, Manual Arts, Lincoln and Fremont high schools participated in the

second of two three-day sessions that are part of a media literacy program conducted

annually by the Academy and the Los Angeles Education Partnership.

4 ACADfmy HfPOHT ACADEMY ESTABLISHES AWARD CATEGORY FOR BEST ANIMATED FEATURE ( 0 U L D B E G I V E N FOR F I L M S o F 200 1

n Academy Award ca tegory for feature-length animated minutes in length, "primarily animated," and meet the other A films, the first new award category since 1981, was created by general requirements for feature film eligibility as published the board of governors in September. It could be presented for the annually in the Academy first time at the 74th Annual A ward Rules. The overseeing Academy A ards in March 2002. committee is expected to Long a dream of develop criteria for the Hollywood's animators, the definition of "primarily animated" new award for Best Animated in the coming months. Feature will be triggered by Films could use cel the release of eight or more animation, computer eligible films in a calendar animation, stop motion or year. If eight to fifteen other recognized animation animated features are released, techniques. a maximum of three films may The Oscar for the new be nominated. If sixteen or category would be presented more are released, a maximum to "the key creative talent of five may be nominated. most clearly responsible for A recommendation on the overall achievement," whether or not to activate the normally a single individual, category in a given year will on behalf of the entire be made by the executive The Margaret Herrick Library has no stills from Disney'S FLOWERS AND production. In no case will committee of the short films TREES, which received the first Oscar awarded to an animated film in more than two statuettes be and feature animation branch, 1931/32 in the Short Subjects (Cartoon) category. THE THREE LiTTlE PIGS, presented. also from Disney, won the following year. which will review all of the The short films and feature feature animation films animation branch will have released in Los Angeles the right to resolve all County during the year to questions of eligibility, rules determine their eligibility. interpretation and the If eight or more are found designation of award to be eligible, the committee recipients. As with all may choose to recommend to awards, the board of the board of governors that governors will make the final there be an animated feature determination if an award is award given for that year. If to be presented in the category the governors accept the in any given year. committee's recommendation, Films submitted in the Best the nomination process will be Animated Feature category set in motion. may qualify for Academy For this award, that A wards in other areas, process will begin with the including Best Picture, provided recruiting of a screening they meet the rules criteria committee of 100+ members governing those categories. from among Los Angeles-area The only animated feature to be nominated for Best Picture was Disney's The last time new Academy BEAUTY AND THE BEAST in 1991, although MARY POPPINS and ANCHORS AWEIGH, members from all branches. Award categories were which were nominated for Best Picture, had animated sequences. That committee will determine established was in 1981, and the nominated films in the that year the Academy category, and then all governors voted two new Academy members worldwide will be eligible to vote to select categories: Makeup and a new honorary Oscar, the Gordon E. the fi lm that will receive the Oscar. Sawyer Award, given for a career of technological contributions To be eligible, an animated feature must be at least 70 that have brought credit to the industry.

5 EL BY SCOTT HUVER

As Broadway diva Margo Chamling, Bette Davis famously collaboration with Fox to refurbish 1941's Best Picture, How braced her theatrical circle for a bumpy night in ALL ABOtJf EVE, GREEN WAS My V ALLEY. "That collaboration was so successful we but the newly-restored version of the 1950 Best Picture decided to do another film," said Pogorzelski. "And because winner is virtually bump-free. The only thing that it was the 50th anniversary year, ALL ABOtJf EVE snaps and crackles now is writer-director seemed like a perfect choice." Joseph Mankiewicz's inspired dialogue. Unfortunately, revitalizing EVE before its half­ And the Academy Film Archive completed centennial expired looked daunting. The the exceptional restoration at a breakneck Academy had no EVE film elements in the pace without fastened seatbelts. library of nitrate films it acql1ired from Fox, Returning the sparkle to EVE, which save for a lesser-grade safety print. Fox had a shares a record 14 Academy Award nitrate print, but it had seen better days. The nominations with TlTANIC, was a joint effort only surviving principal of the original between the Academy Film Archive, 20th production was on-screen talent, best supporting Century Fox and an unexpected third player who actress nominee Celeste Holm. And any material entered the scene during the quest for quality prints. Mankiewicz saved from making the film was destroyed when Recently-appointed Archive Director Mike Pogorzelski said a moving truck carrying all his professional possessions caught the restoration followed on the heels of the Academy's debut fire en route to New York in 1951.

6 RCROfffiY RfPORI

The hunt ultimately unearthed an unexpected buried treasure: a fine grain master positive, made from the original camera negative in 1970 by New York's Museum of Modern Art as a tribute to former curator Stephen Harvey. Three decades later that fine-grain became the master template for the Academy's preservation effort. From there the restoration team - which included Pogorzelski, Fox preservationist Schawn Belston, Triage Restoration Services (labwork), DJ Audio (audio transfer) and Audio Mechanics (digital audio restoration) - pieced the film together jigsaw-puzzle-style, finessing imperfections but taking pains not to attempt to "improve" the film. "We try to restore a film to its original state, shortcomings and all," said Pogorzelski. "We don't go beyond what the original filmmakers were able to achieve." Already considered near-perfect, EVE offered no multiple edits, studio recuts or deleted scenes to confuse the issue. Disappointing for aficionados of DVD-style extras, but easier on the restorers. "EVE has always been the same cut since its first public screening," said Pogorzelski. "The continuity of the film was always the same." Serious challenges arose, however. The film's long scenes made it harder to tweak or disguise flaws. The team occasionally had to leave in what Pogorzelski called "the least objectionable" shots, but KEVIN SMITH DELIVERS the quality of the fine-grain limited lingering imperfections. They are almost imperceptible in the finished project. BOROWSKY lEGURE One sequence that might have proved maddening was a scene W riter-director Kevin Smith , known for his gritty dialogue, featuring Davis, George Sanders and Marilyn Monroe. The restorers would have wasted valuable time scratching their heads over why eccentric characters and keen cultural insight, delivered all of the remastered sound didn't quite synch up perfectly with the actors' it to an SRO audience at the Academy's Marvin Borowsky lips, if research hadn't revealed the scene was shot on location in a Lecture on Screenwriting in December. San Francisco theater and all the dialogue was later looped. Smith 's credits include CLERKS (1994), M ALLRATS 1995) Also, the soundtrack suffered greatly over the years. But the team was able to work from original Fox masters to re-establish the and CHASING AMY (1997). His fourth film , DOGMA, was dynamic range, removing pops and hisses but aVOiding the released in 1999 and early next year Smith will begin "squashed," unnuanced feel of lesser-grade soundtrack restorations. The result is especially effective during the film's impressive musical shooting the last of his self-described New Jersey film cycle, crescendo, an accomplishment Pogorzelski said is a particular point JAY AND SILENT BOB STRIKE BACK, featuring himself as Silent Bob of pride, given that EVE took home the Oscar for Best Sound Recording in 1950. and Jason Mewes as Jay. "Weare extremely In addition to his writing and directing credits, Smith co­ lucky and indebted to the executive produced the Academy Award-winning film G OOD Museum of Modern Art that they made that fine­ W ill HUNTING w ith Scott Mosier. An avid comic book fan, grain w hen they did," Smith is also the owner of Jay and Silent Bob's Secret Stash , said Pogorzelski. "The film just shines now." a comic book haven in Red Bank, New Jersey. Smith has Indeed, much like Margo written his own com ic titles, and is currently working on Channing herself, the Marvel Comics' Daredevil, as well as contributing to the tale of backstage backs tabbing transcends DC Comics hit Green Arrow. its age and dazzles the The Borowsky Lecture on Screenwriting provides an audience, and upstart ingenues can only envy opportunity for establis hed film writers to share their its masterful appeal. experiences and to discuss the challenges and delights of

writing for the screen . The lecture is named in memory of the Marilyn Monroe, in white, pays rapt attention. screenwriter, novelist and teacher.

Scott Huver is a Los Angeles-based freelance writer.

7 1----- 1 1 u F I L M POSTERS FRO M POLAND ALSO FEATURED

screening of two Krzysztof Kieslowski films - the short TRAM and feature CAM ERA BUFF - and a panel discussion highlighted a fall Academy tribute to the late Polish film writer-director and kicked off a two-week retrospective of the director's early works at the Los Angeles County Museum of Art. Attendees at the tribute were the first to see a new exhibition of

Agnieszka Holland cinema posters from Poland, which remained on display at the Academy through mid-December. During the '90s, Kieslowski burst onto the international film scene with THE DOUBLE LIFE OF VERON IQUE (1992) and the "Three Colors" trilogy: BLUE (1993), RED , which received three Academy Award nominations in 1994, and WHITE (1994). His DECALOGUE, based upon the Ten Commandments and originally shot as a 10-part series for Polish Television in 1988-89, was discovered by European and American audiences, transforming

Krzysztof Piesiewicz Kieslowski's already formidable reputation into the realm of legend. Kieslowski died in 1996 at the age of 54. At the time, he

was collaborating on another _:tr~ilo:9:y~~0~f ~~.f~t'i[j screenplays despite the fact that he had announced his retirement from directing following the completion of RED . The panel discussion, moderated by Annette Insdorf, Jacek Petrycki professor and Director of Undergraduate Film Studies at Columbia University, featured Krzysztof Piesiewicz, Kieslowki's long­ time coll aborator and screenwriting partner; director Agnieszka Holland and actress Julie Delpy. Cinematographer CABARET Jacek Petrycki also spoke. POSTIR ARlWORK CREATED 1973, Julie Delpy BY W'KTOR GORKA

8 RCRDfmy RfPORT

MIDNIGHT COWBOY POSTER IUIlWORK CREATEO 1973, BV WALDEMAR SWlERlV

THE CONFORMIST THE GODFATHER, PART II POSTER IUIlWORK CREATEO 1974, BV JAN MlOOOZENIEC POSTER ARlWORK CREATED 1976, BV MORZEJ KUMOWSKI POSTER ARlWORK CREATED 1984, BV WAlDEMAR SWIERlV

The exhibition, "International Cinema Posters from Poland," featured 60 Polish Prime Minister and the Polish posters from the 1940s to the present, concentrating on the surprising and Consulate of Los Angeles. creative posters created in Poland for international film releases. The tribute and the retrospective The tribute, film series and poster exhibition were organized with the were presented in association with collaboration and support of the Polish State Film Committee; the Museum the Camerimage International Film of Posters in Vilanov, Poland; LOT Polish Airlines and the patronage of the Festival. NEW N(HOll WINNERS READY TO MAKE MARK ON HOllYWOOD

Five new writers have been selected as the Don and Gee Nicholl Screenwriting Fellows for 2000: Doug Atchison, North Hollywood, Script: AKEELAH AND TH E BEE; Alfredo Botello, Berkeley, Script: THE CRASHER; Gabrielle Burton, Eggertsville, New York, Script: THE IMPERIAL WALTZ; Christine R. Downs, Los Angeles, Script: VICTORYROAD ; James M. Foley, Chicago, Script: POWDER RIVER BREAKDOWN. Each received the first installment of their $25,000 prize at a gala dinner in November in Beverly Hills. Susannah Grant, writer of ERr BROCKOVICH and 28 DAYs, delivered the keynote address at the dinner. A 1992 Nicholl Fellow, Grant is the first fellow to return to give the keynote. "The great thing about the Nicholl Fellowship is how pure it is," Grant said. "It's the only writing competition in town which doesn't own an option on your work, which is a remarkable thing. "In exchange for the generous checks, this Fellowship asks only one thing of you - that you keep doing what you love. "And it is the one place in town where your work isn't judged on the basis of your age, or your race, or the movie's budget or its cast-ability, or whom you know, or your heat. Your work is judged on its quality alone. Period. "And, believe me, that is extremely rare and unique and precious and it's probably the only place and time that that will happen for any of you in Hollywood." Final judging for the competition was conducted by the Nicholl Committee, chaired Academy governor Fay Kanin presented the by writer Fay Kanin and fellowship to Doug Atchison, whose script, comprised of writers John Gay, AKlElAH AND TME BIE, is about a national spelling Hal Kanter, Dan Petrie Jr., bee, Kanin was the New York State spelling Frank Pierson, Tom Rickman chomp at the age of 12, and she polished up her Chatting it up is what it's all about, Fellow Doug Atchison, left, talks with producer Gale trophy to show at the Nicholl din er, and Daniel Taradash, cinematographer John Bailey, Anne Hurd and agent Ron Mardigian, while in the background writer Dan Petrie Jr, and Fellow Alfredo Botello share a laugh, editor Mia Goldman, actor Eva Marie Saint, producers Gale Anne Hurd and Peter Samuelson, director Robert E. Wise and agent Ron Mardigian. This year's competition drew 4,250 entries from all 50 states, the District of Columbia, Puerto Rico and 29 countries. Since the program's inception, a total of 68 fellowships have been presented and many recipients have gone on to successful careers in screenwriting. During the past year Nicholl Fellows had eight movies in release and movies written by them were number one at the boxoffice for seven weekends. For the second year, Nicholl Committee members shared an informal lunch with the nine Nicholl finalists in the Academy board room.

10 ACAOfmv nfPOnT

Gregory Nava ON THE SET: DIREGORS ON DIREGING

For five weeks in mid-summer, 67 film lovers- Jon Turteltaub including some very successful filmmakers - sat in

the Academy Little Theater and got a detailed look at

Michael motion picture directing from five of the most Mann interesting directors working today.

The five contemporary directors - Kathryn

Kathryn Bigelow, Michael Mann, Gregory Nava, Steven Bigelow

Soderbergh and Jon Turteltaub - discussed the onset

of the digital revolution, the role of the writer-director,

Steven the nuances of directing genre films and the freedom, Soderbergh

frustrations and future of independent filmmaking.

JARMUSCH AND BERGER TREK TO TEXAS AS VISITING ARTISTS

Multi-hyphenate filmmaker Jim Jarmusch and Oscar-winning sound rerecording mixer Mark Berger were Academy Visiting Artists in Texas during the fall. Jarmusch spoke to students at the University of Texas, Austin, and Berger screened one of his films and discussed sound design at the Museum of Fine Arts in Houston. The trips were sponsored by the Academy's Visiting Artists Program. Jarmusch, a member of the directors branch, also curated a program of short films in the "Big Directors/Small Films" series at the Cinematexas Short Film + Video Festival, which took place while he was there. Sound branch member Berger sc reened AMADEUS and talked about the sound design of the film . He screened THE RIGHT STUFF and also spoke to students from local universities and high schools the following day.

11 ACADEMY PRESENTS GOLDEN ANNIVERSARY OF "ANNIE GET YOUR GUN. "

NNIE GET YOUR GUN, which earned four Academy AAward nominations in 1950 and won an Oscar statuette in the Music category, was screened in October. This 50th anniversary event was one of just a few public screenings of the film in the last 30 years, and a wild and woolly cast-and-crew reunion took place following the screening. Howard Keel, who portrays Frank Butler; George Sidney, who directed the film; and Sidney Sheldon, who wrote the screenplay, participated in the discussion following the screening. Author and film historian Robert Osborne introduced tl1e film and moderated the discussion. The program was presented with the support of Warner Home Video. The print screened was new, made largely from the original three-strip Technicolor elements, and provided courtesy of Warner Bros./Turner Entertainment Company. • • • • • • .. • AMERICAN FILM ARCHIVE TREASURES ELECTION FILMS

A program of unique ewly restored prints of the documentary PRIMARY and the "orphan films" preserved by NBest Picture of 1949, All THE KING'S MEN, were screened film archives from across the in December. country was presented in In cinema verite style, PRIMARY tells the story of John F. November. The Academy Kennedy's 1960 Democratic primary win in Wisconsin partnered with the National against Hubert Humphrey. The film was directed by Robert Drew, and the print screened was restored by the Academy Film Preservation Foundation Film Archive, the repository of the Robert Drew Collection. to host the event. Written, directed and produced by Robert Rossen, Best "Treasures of American Picture winner All THE KING'S MEN is the cynical Film Archives" included films tale of Willie Stark, an honest and reform-minded politician and film excerpts from ten American film archives. The who rises to the governor's mansion on a tide Academy event was the last of a series of public screenings of populist support, only to become as corrupt and presented by the U.S. archives and the NFPF in a cooperative entrenched as his political foes . Th e print screened was project to preserve and screen orphan films important to a newly restored, courtesy of the Academy Film Archive and variety of commwuties. Sony Pictures Entertainment.

12 t------RC ROm Y Rf P- RT : MUSICAL SHORTS

From left, Tom Shaw, Leonard Maltin, Robert Boyle, Quinty Jones, • Robert Blake, Conrad Hall and StOll Wilson. "IN (OLD BLOOD." The Nitholas Brothers A restored print of IN COLD BLOOD, the 1967 dramatization of the real-life murder ourteen restored Warner of the Clutter family in Kansas, was shown FBros. musical shorts were • in November. A reunion of cast and crew presented at a screening in • members followed the film, with stars • Robert Blake and Scott Wilson; August. Some of the shorts, • cinematographer Conrad Hall, who which dated from 1926 to 1945, • received an Academy Award nomination were shot in Technicolor and • for his work on the film; Quincy Jones, who • wrote the film's Academy Award-nominated several were originally made • original music score; art director Robert Boyle • using the early Vitaphone • and assistant director Tom Shaw participating. sound-on-rusc system. • The print was screened courtesy of • Sony Pictures Entertainment. Leonard Fayard Nicholas, the • • • • • • • • • • • • • • • • • • •• Maltin moderated the discussion. surviving member of the Nicholas Brothers, and Rose PRE-HISTORIC MOMENTS Marie, who were featured in two of the screened shorts, restored print of the 1925 classic THE LOST WORLD, which features one of attended and spoke to the Athe earliest examples of stop-motion animation created by special effects legend W illis O'Brien, screened in September as part of the "Academy audience. Standards" series. The silent film presentation included live musical Restoration work on the accompaniment by the six-piece Robert Israel O rchestra . shorts in the program was Through painstaking efforts, the fi lm archivists at the George Eastman House restored long~ost footage and created a version of the film that is close to that originally released in 1925 at the Astor Theater in New York. completed by Turner Entertainment Company and SILENT ITALIAN DIVAS ...... • Warner Bros. as part of their ongoing preservation wo classic silent Italian films, AsSUNTA SPINA and MALOMBRA, were presented in December with live musical accompaniment and live translation of the Toriginal Italian inter·titles. The progrom, "Dive e Divine: Silent Divas af the Italian Cinema," was presented in association with the Italian Cultural Institute program. The 1929 shorts and the Italian Heritage Cu lture Foundation. were restored by the The Italian divas of the teens and 1920s radiated on the screen, startling audiences with their glamorous and mysterious beouly paired with an unequivocal passion and strength. Direct descendants of theatrical and operatic prima donnas, the Italian divas of the screen represented a mixture of the UCLA Film and Television • femme fatale and the "new" woman of the modern age. • Archive, with the sound The two films were part of a larger series that screened at Lincoln Center and the Pacific Film Archive earlier this fall. The films in the series, including • the two the Academy screened, were recently restored by the Cineteca di Bologna, the Museo Nozionale del Cinema, the Cinemotheque Royale de • re-recorded from Belgique, the Netherlands Filmmuseum and the George Eastman House Film Department. : Vitaphone discs. • 13 Fourteen U. S. film festivals have been chosen to receive grants from the Academy Foundation. The grants, made for calendar year 2001 festival programming, total $250,000. The Sundance Film Festival and the Telluride Film Festival will receive $30,000 each; Cinequest in San Jose, and the Cleveland International Film Festival will receive $25,000 each; the Florida Film Festival in Maitland, the Los Angeles Independent Film Festival, the Nashville Independent Film Festival and the Taos Talking Pictures Festival will receive $20,000 each and six festivals will each receive $10,000: the Aspen Shortsfest; the Hot Springs (Arkansas) Documentary Film Festival; Mix: the New York Lesbian & Gay Film Festival; the Northwest Film and Video Festival in Portland, Oregon; the Pan African Film Festival in Los Angeles and the San Diego Jewish Film Festival.

14 RCROfffiV nfPOnT

• The grants were voted by the Academy's Festival • the population who might not normally be able to attend Grants Committee, chaired by producer Gale • and programs that give screening access to Anne Hurd. The festivals were selected minority and less visible filmmakers and that from among 26 which had been invited bring the public into contact with films to send proposals to the Academy. and filmmakers. "Funds can be used for general The program is administered by Greg festival support," Hurd said, "or for the Beal, the Academy Foundation's Grants sponsorship of a particular element of a Program Coordinator. festival." She said the Academy is especially • The Academy Foundation distributed $160,000 interested in supporting programs that make festival events • for 1999 festival programming and $245,000 for festival programs • • more accessible to the general public, especially to segments of • held this year.

15

, ~

------~- -- --~ . -~ - ~- - - GIL (ATES TO PRODUCE TENTH OSCAR TELECAST

ilbert Cates will return for a said. "This is probably the toughest producing gig in Gtenth assignment as producer town, and seems to get bigger and more difficult all of an Academy Awards telecast, the time. But with Gil at the helm, we can look forward ringmastering the 73rd Annual to a smooth, well-blended production that will be Academy Awards Presentation, creative and filled with surprises. And, most scheduled for Sunday evening, importantly to those of us at the Academy, we can March 25, 200l. concentrate on the Awards themselves, knowing that Cates has produced more the presentation of them is in the hands of the master." Cates' nine previous outings as producer have Gil Cates Oscar telecasts than anyone. He took the record from Howard W. Koch in 1998 with his garnered 68 nominations and 15 Emmy Awards for ninth show, broadcast from the Dorothy Chandler the show from the Academy of Television Arts and Pavilion of the Music Center of Los Angeles County. Sciences, more than any other producer. Cates won Koch produced eight shows over a 12-year period, the Emmy himself in 1991 for producing the 63rd although no more than two consecutively. Cates has Annual Academy Awards telecast. held the record for the most consecutive stints as "I'm going for lightness this year," Cates said. "I'm producer of the global telecast since 1995, having at hoping for a light-hearted, happy show that will leave that point helmed the show for six years in a row - you tapping your toes and smiling. I'm thrilled to be from the 62nd Awards in 1990. back and delighted that Bob has asked me once more." "Gil makes producing an Oscar telecast seem easy The 73rd Academy A wards will again be preceded - a tribute to his ability as an actor, along with by the official arrivals pre-show from 5 to 5:30. Cates also everything else," Academy President Robert Rehme will serve as executive producer of that show.

AND THE SHRINE Will HOST ITS 10TH SHOW

The Shrine Auditorium and Exposition Center near downtown Los Angeles will be the venue for the 73rd Annual Academy Awards Presentation. It will be the tenth, and possibly the last, time the Oscar telecast will originate from the Moroccan-motif Shrine. Final ballots mailed. Expectations are that the 74th Oscar Presentations will be held March 3, 2001: Scientific and Technical Awards Presentation, in the new theater at Hollywood 6 p.m. PST, Regent Beverly Wilshire Hotel. & Highland®now under construction in Hollywood. The first time the event was March 12, 200 1 Nominees Luncheon, Beverly Hilton Hotel. held at the Shrine Auditorium was in 1947, when 19th March 20, 2001: Final polls close 5 p.m. PST. Academy Awards Show Producer MervYn LeRoy staged March 25, 2001: 73rd Annual Academy Awards Presentation from the presentation there. The the Los Angeles Shrine Auditorium will be televised Awards were presented at the live by the ABC Television Network beginning Shrine again in 1948, but 40 years at 5:00 p.m. (PST), with a half-hour arrivals passed before the Academy came program preceding the presentation ceremony. • back to the Shrine in 1988. The • show has since originated from • the Shrine in 1989, 1991, 1995, 1997, 1998 and 2000.

16 nCnOfmy RfPORT • • STEVE MARTIN TO HOST 73RD AWARDS TELECAST • LEVY HEADS PUB • Steve M artin will host the 73rd Academy Awards. • • COMMITTEE FOR "He's everything!" Gil Cates, producer of the Academy Awards telecast, said . • "He's a movie star, he's fu nny, he's classy, he's literate - he'll be a wonderful host." • OSCAR TELECAST This will be Martin's eighth appearance on an Oscar telecast, his first • • • as host. M artin served as a presenter on si x shows and introduced a Best • Picture clip on the 69th telecast in 1997. He also participated in a gag film • • sequence for the 6 7th show in 1995. • • "If you can't w in 'em , join 'em," sa id Mortin, who has yet to be nominated for an • Oscar. M artin is currently experiencing great success with the publication of his first • • novella , "Shopgirl," w hich spent time on both the New York Tim es and Los Angeles Times best sel ler • • lists . This past summer, M artin completed fil mi ng the black comedy N OVOCAINE with Helena Bonham • Carter and La uro Dern . The film is scheduled for release by Artisan Entertainment in 2001 . • • • • • • • • • • • • • • PRCC Chair Marvin levy pitched in at • midnight last February I S to help collate • press materials for the next marning's • announcement of 72nd Academy Award • • nominations. • • arvin Levy, public • • M relations branch • • governor and a marketing • execu tive at DreamWorks • SKG, is serving his eighth • • term as chair of the Academy • • Awards Public Relations • • Coordinating Committee. • • He has headed the Members shield their eyes as David devices under consideration for • • committee since the 66th Pringle of L. P. Associates demonstrates Academy Awards were demonstrated • Awards Presentation in 1994. • one of the multi-thousand watt for the Academy's Scientific and • • The PRCC coordinates Softsun* lamps at the annual Scientific Technical Awards Committee and • the publicity and promotion and Technical Award demonstrations in several of its sub-committees in an • • efforts of the Academy, ABC, annual awards-selection ritual. • the Samuel Goldwyn Theater. Seven • the production team and the • • variety of vendors and • providers of services to the • telecast. The committee • Bv THE WAV ... • meets regularly with staff • There is still confusion among many members obout the video cassettes you • members from the Academy, • ABC and the production receive at Acodemy Awards time. • • office to explore ways to e) The Academy does not send those cassettes to you. • • maximize promotions and The individual distribution companies do. • • publiCity for the telecast, e) The Academy does not give the companies your name or address. • • from media opportunities The companies compile their own lists, often by advertising in the trades. • • • and the development of the So if you have questions about these "screeners," please call the appropriate • theatrical trailer to on-air distribution company, not the Academy. • • promos and special events.

17 • • RED liGHT, GREEN LIGHT • ACADEMY PLEDGES • ADDITIONAL $250,000 TO Of all the things an executive PRESERVATION FOUNDATION has to say, the one thing all

other filmmakers want to hear he Academy has made a second pledge of is "yes." T$250,000 to the National Film Preservation Foundation to help the nation's film archives Why they say "yes" was preserve "orphan films," bringing the total Academy gift to half a million dollars. the subject of a four-week fall The Academy first pledged $250,000 to seminar featuring executives the NFPF in October 1997, to help launch the then-fledgling organization. That pledge with the power to say the was paid off this year and the Academy's Board of Governors ok'd the additional magic word. But equally as donation, to be paid at $50,000 a year. interesting was why they more often "This remains the largest grant the Academy has ever given to a single have to say the word no outside group," Academy President Robert one wants to hear, "no." Rehme said. The NFPF was created by Congress in Executives giving the word at the 1996 to raise private funds to support the nation's film preservation activities. It is the so ld-out seminar were Bill Mechanic, charitable affiliate of the National Film former chairman and CEO of Fox Preservation Board, which annually adds to the National Film Registry at the Library of Filmed Entertainment; Chip Diggins, Congress titles which constitute a national senior vice president, production, roster of films that have contributed significantly to American culture and whose Motion Picture Group, Paramount preservation must be assured. "Orphan films" are films such as Pictures; Joe Roth and Tom Sherak, newsreels, independent films, documentaries Revolution Studios; Terry Press, head and avant-garde, ethnic and public domain material which have no studio or other entity of marketing for DreamWorks SKG; with an economic motive to save them. John Calley, chairman and CEO, "We hope our lead will make it more likely that the industry's major companies will Sony Pictures Entertainment; Tom line up behind us," Rehme said at the time of the first contribution. Bernard, co-president, Sony Pictures "What you hoped would happen, has Classics; and Barbara Boyle, happened," NFPF Chair Roger Mayer told the Academy's governors. "The Academy broke president, production, Valhalla the ice. From a standing star t, because of the Motion Pictures . Academy contribution, we have become the premiere promoter of national film Academy Vice President Sid preservation." The Academy Film Archive, in its own Ganis moderated the first right one of the nation's leading archives, three sessions, and John Pierson continues to receive its funding directly from the Academy. the last. RCROfmy nfPonT

BACHARDY PORTRAITS SHOWN AT ACADEMY

More than 70 portraits of film personalities by internationally­ renowned artist Don Bachardy were featured in the fall exhibition, "Stars in My Eyes: Portraits by Don Bachardy. " The portraits, begun in Don Bochardy the early 1960s and including Walter Hill Gus Van Sant work completed as recently as the month before the exhibition opened, featured actors and actresses, directors, producers, writers and designers. Each was created during a live sitting in the course of just a few hours, most often at Bachardy' s home studio which he shared with his longtime partner, Christopher Isherwood. Bachardy is a graduate of the Chouinard Art Institute in Los Angeles and the Slade School of Art in London. His work is in the collections of many museums, including the Metropolitan Museum of Art in New York, the M.H. deYoung in San Francisco, the Smithsonian in Washington and the National Portrait Gallery in London.

Gavin Lambert Gloria Stuart

Two FILM PROFESSORS NAMED ACADEMY SCHOLARS

F ilm professors from Notre Dame and the Scholars are at the top of the list of highly respected American University of Wisconsin, Madison are the film historians." •.... ~.. ~, ; Academy's inaugural Academy Film Scholars. The new Academy program was created by the Grants Tino Balio, professor of film in the Committee of the Academy Foundation to "stimulate and support the Department of Communication Arts at the creation of new, innovative and significant works of film scholarship ~ University of Wisconsin, Madison and Donald about aesthetic, cultural, educational, historical, theoretical or scientific Donald Crafton Crafton, professor of communication and theatre aspects of theatrical motion pictures." at the University of Notre Dame in South Bend, Indiana, were selected Members of the committee are: Maclachlan, an actors branch by the Grants Committee of the Academy Foundation and will each member; vice-chair Buffy Shutt, public relations; Robert DoQui and receive $25,000 from the Academy. Piper Laurie, actors; Ted Post and Robert Wise, directors; Donn The two Academy Film Scholars were selected on the basis of their Cambern, film editors; Arthur Hamilton, music; Daniel H. Blatt, Peter proposals for new scholarly works presented to the committee. Samuelson and David Valdes, producers; Mark Harris, short films and Balio will write a comprehensive institutional history of foreign films feature animation; and Daniel Taradash , writers. and their influence on American film culture entitled "A Radically Applicants were asked to propose a new work of film Different Cinema: Foreign Films in America, 1948 to the Present." scholarship encompassing some aspect of theatrical motion Crafton will undertake an analysis of animated cartoon shorts from picture art, science, commerce, history or theory. about 1928 to 1939 "to reveal the important social relevance The two Academy Film Scholars will present their underlying these superficially insignificant productions." It will be titled projects in lecture form at a public Academy event "Shadow of a Mouse: Animation and American Culture in the 1930s." sometime in the future . Only established scholars, writers, historians and researchers with The first half of the $25,000 grant was presented at a a significant record of achievement were considered for the grants, said luncheon in January at the Beverly Hills Hotel. The remaining Grants Committee Chair Janet Maclachlan. "Our two Academy Film half will be presented upon completion of the manuscripts. Tino Bolio

19 Top NOTCH SOUND TALENT AT TRIBUTE AND SYMPOSIUM

eorge Lu cas, GFrancis Ford Coppola and Saul Zaentz were parti­ cipants for the Academy's tribute to Oscar-winning sound designer and film editor Walter Murch George LtKas in October. Murch, who has received eight Academy Second evening seminar participants, from left, Dane Davis, Mary Jo Lang, John Roesch, Award nominations, moderator Don Hall, Steve Maslow, Avram Gold, Gene Cantamesa, J. Paul Huntsman, Douglas Greenfield. three for his sound work and five for film editing and has taken home three Oscar statuettes, also participated in the first of two Academy symposia examining various aspects of sound for film that followed the tribute on two Wednesday nights. Saullaenll The first symposium also featured Academy Award w inner Randy Thom ("The Right Stuff," 1983) in a program highlighting great sound moments from motion pictures, past and present. Murch and Thom discussed the significance of collaboration with other crafts in creating a film's sound . The second session led the audience through the process of creating a film soundtrack from pre-production through the post-production process. Academy Governor and sound ed itor Don Hall moderated a discussion with production sound mi xer Gene Cantamessa, supervising sound editors Dan Davis and 1. Paul Huntsman; ADR and dialogue editor Avram Gold, Academy Governor and sound engineer Douglas Greenfield, foley mixer Mary Jo Lang, sound re-recording mi xer Steve Maslow and foley artist John Roesch .

4TH INTERNATIONAL DOCUMENTARY CONGRESS SET FOR 2002

lec Lorimore, producer, MacGillivray Academy, and Schaffer, who represents IDA, the committee A Freeman Films, and producer Mary C. includes d irector Michael Apted; Jacoba Atlas, PBS; writer­ Schaffer have been named co-chairs of the director Bill Couturie; and Rick Trank, Moriah Films. fourth International Documentary Congress IDC' will be held at the Acad emy's Beverly Hills (IDC), which will be convened in 2002 by headquarters from Monday, August 19 through Wednesday, the Academy of Motion Picture Arts and August 21, 2002. Sciences and the International Documentary The m ost recent International Documentary Congress was Association . A planning committee of held in October, 1997; the first was held in 1992. All were Academy and IDA m embers has been extraordinarily successful, with the 1997 congress attracting appointed by the two organizations. In over 3,000 filmmakers, students and non-fic tion film enthusiasts addition to Lorimore, who represents the from 17 countries.

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