FRO M THE PRESIDENT

The Academy Awards telecast is probably the most-watched annual program in the world. That fact notwithstanding, the Board of Governors spent a lot of time during the second quarter of this year, trying to set policies that will help the downward-ticking ratings of our broadcast. It is, after all, our principal source of revenue and our most effective way of telling the world what we're about. The Awards Review Committee, chaired by Public Relations Branch Governor Marvin Levy, spent three long meetings discussing the show and how to shorten it; the Awards Rules Committee, chaired by Music Branch NARRATIVE GOLD MEDAL WINNER JESSICA SHARZER Governor Charles Bernstein, spent equally MAKES HER WAY TO HER SEAT IN THE GOLDWYN THEATER long hours pursuing the same goal, particu­ larly by reducing the number of special awards such as the Thalberg and Hersholt E leven film students from eight U.S. universities presented on recent shows. took home Saul Bass-designed Student Academy At the June meeting the Board accepted Awards at the 29th annual competition in June. three major changes that will, we hope, have Arriving in Los Angeles on a Wednesday, the win­ a salutary effect. ners spent the rest of the week meeting each other and First, the Board voted to require the pro­ Academy staff, chatting with cinematographers at the ducer of the show to bring it to a close ASC and directors at the DGA, and meeting Academy before midnight on the East Coast. That governors at a dinner at the Beverly Hills Hotel before would make it no more than a three-and-a­ settling down to business at the Sunday awards half-hour show. presentation ceremony at the Academy's Samuel Goldwyn Theater. Second, the Board accepted the Awards "I feel as though this week I've stood on the Rules Committee's proposal to change the shoulders of giants," said Documentary Bronze Medal voting procedure so that it will be extremely Winner Thomas Burns, 'and now I can see farther." difficult to vote more than one "testimonial" The 2002 winners: award each year. Alternative Category, Gold Medal : "For Our Man ," Third, the Board voted to move the date Kazuo Ohno, Columbia University, New York; Silver of the show earlier by three weeks, to February 29th in 2004, in the hope that mov­ ing the show closer to the awards year will IACADEMY Q UA RT E RLY REPORT\ make it fresher and more exciting to the audience. (That this change might also result Published by the Academy of Motion Picture Arts and Sciences 8949 Wilshire Boulevard, Beverly Hills, CalHornia 90211-1972 in less campaigning for Oscars didn't go (310) 247-3000 - www.oscars.org unnoticed, either.) With more and more things for an audi­ PRESIDENT ...... FrankllPierson FIRST VICE PRESIDENT ...... _ .. . Robert Rebme ence to watch, more and more channels to VICE PRESIDENT ...... RogerLMayer watch them on, and more and more oppor­ VICE PRESIDENT ...... Kathy Bates tunities for non-television recreation on any TREASURER ...... • ... . . CheryI Boone Isaacs given Sunday night, the battle to keep the SECRETARY ...... • . . . . • .. . DonaIdC.Rogers EXECUTIVE DIRECTOR ...... • ...... Bruce Davis Oscar telecast fresh and interesting will go on for many years. We won't fix everything Photos: unless otherwise identlIied, by Long Photography in a single year, but you need to know that Design: Lisa Carlsson, Edler Carlsson Ink

we're aware that things need to be done, and Oscar-, Oscars-, Academy AwardfI", Academy Awa.roa, A.M.P.A.S.-, we're resolved to find the best of them and and Oscar Night- are the trademarks, and the Oscar statuette is the then to do them. registered design mark and copyrighted property of the Academy of Motion PictuIe ArIs and Sciences. - FRANK PIERSON 2 ACADEMY QUARTERLY REPORT · VOL U ME 14 h. 29 th Group to Win Stud.nt A(ad.my Awards

Medal: "Island to Island," Soopum Sohn, New York University. (No Bronze Medal was awarded in this category.) Animation Category, Gold Medal: "Passing Moments," Don Phillips Jr., Ringling School of Art and Design, Sarasota, Florida; Silver Medal: "The Velvet Tigress," Jen Sachs, California Institute of the Arts, Valencia; Bronze Medal: "Shadowplay, " Dan Blank, NYU. PRESENTER ALEXANDER PAYNE, Documentary Category, Gold Medal : "Moving LEFT, WITH ALTERNATIVE CATEGORY Hou se ," Pin Pin Tan , Northwestern University, GOLD MEDAL WINNER KAZUO OHNO Evanston, Illinois; Silver Medal: "Family Values ," Eva Saks, NYU ; Bronze Medal: "Revolutions Per Minute, " THEN ACADEMY FIRST VICE PRESIDENT Thomas Burns, Stanford University, Palo Alto, ROGER MAYER, SECOND FROM LEFT, WITH California. PRESENTERS FREIDA LEE MOCK, MICHAEL McKEAN AND ALEXANDER PAYNE Narrative Category, Gold Medal: "The Wormhole ," Jessica Sharzer, NYU; Silver Medal: "Barrier Device," Grace Lee, UCLA; Bronze Medal: "Sophie," Helen Haeyoung Lee, University of Texas at Austin. Honorary Foreign Film : "Feeding Desire," Martin Strange-Hansen, National Film School of Denmark, Copenhagen. The U.S.-based students knew they would each receive an award, but the level of that award - gold, silver or bronze - was not revealed until the ceremony. "Since we started doing that a cou­ PRESENTER FREIDA LEE MOCK AND DOCUMENTARY GOLD MEDAL ple of years ago, the students bond a little more tightly while they're out here," said Awards WINNER PIN PIN TAN Administration Director Ri chard Miller. "When they knew who'd won what, they didn't seem to inter­ act as we ll as a group. It was a good change on our part." Besides trophies, Gold Medal winners receive $5 ,000; Silver Medal winners are awarded $3 ,000 and Bronze Medal winners take home $2,000. Academy Award-winning documentary filmmaker Freida Lee Mock presented the awards in the documentary category; Oscar-nominated screenwriter Alexander Payne presented the Honorary Foreign Film Award and the medals in the Alternative category, and actors branch mem­ ber Michael McKean served as presenter for the narrative and animation categories. The Honorary Foreign Film winner, who received a $1 ,000 cash grant, was selected from a pool of 33 entries from 23 countries , the third time a student from the National Film School of Denmark

has won this award. PRESENTER MICHAEL McKEAN AND "We live in a world of fantastic stories," said this year's winner, Martin Strange-Hanson. "Let's ANIMATION GOLD MEDAL WINNER keep te ll ing them." DON PHILLIPS JR

3 The Academy of Motion Picture Arts and Sciences launched its 75th Anniversary celebrations in May with a party during which its Center for Motion Picture Study was renamed in honor of one of the Academy's founders and its first president, . The Center for Motion Picture Study at La Cienega and Olympic boulevards, which houses the Margaret

A 75TH ANNIVERSARY CAKE, THE Herrick Library and its Roddy McDowall DESIGN OF WHICH REFLECTED A Photograph Archive, is now known as the SET FROM THE 1936 BEST Fairbanks Center for Motion Picture Study. PICTURE, "THE GREAT ZIEGFELD," ~\lRBANKS CEl\'TE~ SERVED AS DESSERT. FROM FOR MUTlOl\ New signage designating the PICfliRE Sri lOY LEFT, BEVERLY HILLS MAYOR Fairbanks Center name was unveiled during the party. MERALEE GOLDMAN, PAST PRESIDENTS GENE ALLEN AND During the event Academy Executive Director Bruce Davis and ARTHUR HILLER, PRESIDENT Vera Fairbanks, widow of Douglas Fairbanks Jr., announced that the FRANK PIERSON, PAST Library would be the new home of the senior Fairbanks' career papers. PRESIDENTS DAN TARADASH AND RICHARD KAHN, VICE THE CENTER'S NEW NAME AWAITED (See separate story on page 6.) PRESIDENTS DONALD C. ROGERS PARTY REVELERS AS THEY LEFT "The kick-off to our 75 th anniversary AND ALAN BERGMAN, PAST PRESIDENT FAY KANIN, VICE celebration seemed a most appropriate PRESIDENT KATHY BATES AND occasion to add Mr. Fairbanks' name to this TREASURER SAUL ZAENTZ bui lding ," Academy President Frank Pierson said. "He was not only the LED THE AUDIENCE IN THE BIRTHDAY SONG Academy's first president, but his civic leadership actually helped get this magnificent building erected back in 1927." Fairbanks, who was active in Beverly Hills civic affairs, was instrumental in the implementation and design of Water Plant No. 1, the structure that now houses the Fairbanks Center. Among the 800 persons invited to the party were past Academy presidents, members of the Board of Governors, members of the Academy's standing committees, major donors, senior staff and Beverly Hills civic officials. The Academy was founded on May 11 , 1927.

VERA FAIRBANKS AND ACADEMY PRESIDENT FRANK PIERSON TOAST THE ACADEMY'S 75TH ANNIVERSARY, THE NAMING OF THE FAIRBANKS CENTER AND THE ACQUISITION OF THE PAPERS OF DOUGLAS FAIRBANKS SR Diamond Annivfrsary S(rffninCJ Sfrifs Is a Runaway Hit

"We 're a bit taken aback by the popularity of this program," said Randy Haberkamp, the coordi­ nator of the Academy's 75th Anniversary screen­ ing series titled "Facets of the Diamond: 75 Years of OA.M.P.A.S.- Best Picture Winners." "We've had full or nearly full houses for the first "ALL QUIET ON THE WESTERN FRONT" The Academy's twelve films." The idea was a simple one. Screen each of the 75 films that have won an 75'· Anniversary logo Oscar as Best Picture. Getting it done was a little more complicated. blends the Academy's "That's 75 weeks of fIlm, with a Christmas and New Years holiday, and a internationally seven-week hiatus at Academy Awards time while the theater is being used for nominations and voting screenings," Haberkamp said. "Will people stay inter­ known Oscar symbol ested until the middle of December 2003? Time will tell, but so far, at least, with a stylized 75. interest in the series seems to be increasing each week." Incorporated into The flfst Best Picrure, "Wings," was in the middle of restoration when the GUESTS TOUR THE lapel pins which were screenings began "and we really wanted to show that one off; Haberkamp LIBRARY ON THE WAY TO said. The solution was to start with the second Best Picrure, "The Broadway sent in May to each Of THE PARTY TENT Melody," and save "Wings" for a special occasion in May 2003, complete with the Academy's 6, 441 orchestral accompaniment of the silent film. members, the logo The programs for the screenings consist of curtain music, newsreels, short fllms, cartoons, previews of the next week's attraction and "whatever special also is being used on things I can find" from the era. "These elements have proven almost as stationery, invitations, popular as the fllms themselves," Haberkamp said, "although seeing the very programs, pamphlets best available prints of these classic fllms in an ideal theater like the Goldwyn is not something to be taken for granted:' and other promotion- "The Broadway Melody" flfst night included a personal appearance by al materials. It also is Anita Page, one of the stars of the fUm. "I've tried to find somebody related seen in a 20-second to each fUm to introduce from the audience," Haberkamp said, "though that is obviously more difficult with the earlier films than it will be as we move bumper designed by into later years." Arnold Schwartzman "We try to make each Monday evening in our theater an enjoyable trip back for use with anniver- to the year of that night's fUm ," said Academy Executive Director Bruce Davis. sary-related film "And if audience reaction is any indication, this series is being thoroughly enjoyed." Those members and public attending the screenings also have the screenings. opportunity to enjoy a changing exhibit tracing Academy history; rarely seen The logo was photographs and unique documents from the Margaret Herrick Library are designed by Deaf displayed in the gallery cases outside the theater. Series passes that admit fllm buffs to all 75 screenings for only $75 sold Eye, a Santa Monica, FAIRBANKS SENIOR'S FAMILY, FROM LEFT, GREAT· out very quickly. "I'm surprised at the number of patrons trying to hit every California, design GRANDDAUGHTER CRYSTAL screening," Haberkamp said, "when their only reward is bragging rights ... well, firm. MORANT, COUSIN D. W. OWEN, that and seeing a lot of good movies." G REA~GRANDSONJOSEPH MORANT AND DAUGHTER·IN· LAW VERA FAIRBANKS

ACADEMY QUARTERLY REPORT · SECOND QUARTER 2002 5 DOUGLAS FAIRBANKS SR. The collection includes approximately 3,000 photographs and more than two hundred IN A PUBLICITY STILL FROM "HIS MAJESTY, original negatives chronicling Fairbanks' career, and is one of the most significant photo THE AMERICAN" collections ever to be added to the Academy's Library. "Of all the major silent film stars, the Library had the least amount of information on Fairbanks," said Library Director Linda Mehr, "which is somewhat ironic, given that he was the Academy's first president. This , however, changes all of that. " The announcement was made by Vera Fairbanks, widow of Douglas Fairbanks Jr., at the Academy's 75 th Anniversary kick-off gala held at the Library in May. Mrs . Fairbanks also has pledged a gift of $25,000 to help maintain the collection.

6 ACADEMY QUARTE Y REPORT . VOL U ME 1 4 The Academy an- contracts with David O. nounced that same evening Selznick Productions and that the Center for Motion Joseph Schenck Enterprises, Picture Study, the building are part of the collection. that has housed the Herrick Personal papers dating from Library for the past decade, 1917 until his death in 1939, has been renamed the including bank statements, Fairbanks Center for Motion income tax documents and Picture Study. property leases, make up the A large portion of the remainder of the materials. Fairbanks collection comes The showcase piece of from still books for five of the the paper portion of the 13 films Fairbanks did for collection is an elaborate Paramount Artcraft between scrapbook compiled after 1917 and 1919. The albums Fairbanks' death . The memorial each contain between 50 album contains hundreds of and 70 photos, and al th ough letters and telegrams received most are scene stills , there by Douglas Fairbanks Jr., as are some candid , off-camera well as news clippings regard­ shots included as well. ing the death of his father. Scene sti ll s from a "The correspondents were number of his later films such a virtual who's who in as "The Thief of Bagdad" Hollywood, as actors and

(1924), "The Black Pirate" LEGENDARY FILM STAR AND PRODUCER DOUGLAS FAIRBANKS SR. AND producers such as Laurence (1926) and "The Iron Mask" HIS WIFE, ACTRESS , HAVE A GOOD TIME PLANTING A Olivier, Cary Grant, Joan TREE ONTHE FRONT LAWN OFTHEIR BEVERLY HILLS ESTATE, PICKFAIR, (1929) also are contained in IN 1923. THIS IS ONE OF MANY PERSONAL PHOTOS THAT ARE PART OF Crawford, Noel Coward, David the collection. A large group THE FAIRBANKS PHOTOGRAPH AND PAPER COLLECTION O. Selznick and Howard of photos from "His Majesty, Hughes sent their condo­ the American, " the very first film re leased by , the lences following Douglas Sr. 's death," said Howard Prouty, the company Fairbanks formed in 1919 with Mary Pickford, Charlie Library's special collections archivist. Chaplin and OW. Griffith, is included as well. Although the materials have been in storage boxes since The extensive collection also features a few theatrical stills 1952, they arrived at the Library in good condition. "Everything from his early days as a Broadway actor and personal photos is in amazingly good shape for having been in storage for half a including his European honeymoon with Pickford in 1920. century, " said Robert Cushman, the Library's photograph Among the original 8-by-10 still negatives are portraits of curator. "There is a coating of very fine dust on many of the Fairbanks from the films "The Three Musketeers" (1921) and "Robin prints that can be readily removed by a simple cleaning Hood" (1922). Highlights of the photo collection include the origi­ process, and about 98 percent of the negatives are still viable nal negatives of group shots which feature Fairbanks posing with - only a few have deteriorated ." many award recipients at the very first Oscar ceremony in 1929. "We are so grateful to Mrs. Fairbanks for these The collection also includes a paper history of his life and wonderful items ," said Mehr. "They will help us to preserve the career. Business information from United Artists, including rich Fairbanks legacy."

ACADEMY QUARTERLY REPORT · SECOND QUARTER 2002 7 IF EVERYTHING GOES ACCORDING TO PLAN, THE 76TH ACADEMY

AWARDS TELECAST WILL BE ON SUNDAY, FEBRUARY 29, 2004

- THREE WEEKS EARLIER THAN USUAL.

The Board of Governors voted the change in June out of a concern that the large number of film-related awards shows that had crowded in ahead of the Oscars each year had begun to erode some of the traditional public excitement about the Academy Awards. The Board does not antici­ pate that the move will reduce the number of lookalike ceremonies, but suspects that a shorter march through the preliminaries may produce a larger, less-fatigued audience for the main event. "It's a major logistical change with a lot of ramifications," said Executive Director Bruce Davis. "We think we've anticipated most of them, but it's the ones that surprise you that make life interesting. The nice thing is that we've got a year and a half more planning time before we actually have to do this."

The Board of Governors has In other changes the Board: placed a cap on the number of annual non-competitive awards • deleted the requirement that devices and inventions that can be given each year, one must be employed in the motion picture industry during of several rule changes the awards year to be eligible for consideration for approved for the 2002 Awards. scientific and technical awards; The rule change affects the • simplified the category names for the writing awards. Irving G. Thalberg Memorial The "Screenplay Based on Material Previously Produced Award, the Jean Hersholt or Published" category will now be known as the Humanitarian Award and the "Adapted Screenplay" category. "Screenplay Written Honorary Award. Directly for the Screen" will now be called "Original To insure that these Screenplay;" "special" awards are genuinely special, the governors voted to • excluded from consideration in the short documentary restrict themselves to voting two category films that are re-edited versions of such awards in any year. Beyond feature-length documentaries; that, they made even the giving • buttressed the Academy's resolve to restrict Best Picture of a second award more difficult nominations and awards to producers who actually func­ than in the past, requiring that tioned as producers. If a nominated picture has more three-quarters of the Board than the permissible three credited producers, and they members present - rather than can't agree among themselves which three should be two-thirds as in the past - the nominees, the Producers Branch Executive endorse any proposed second Committee, which arbitrates in such cases, now has the honoree. Nominating and voting option of identifying fewer than three producers for all three awards will be con­ as nominees. ducted as a single procedure.

8 ACADEMY QUARTERL REP ORT · VO L UME 14 A full complement of 64 registrants wedged into the Academy Little Theater for four weeks in April and May to hear a roster of participants (who among them had garnered 25 Academy Award nominations) expound upon "The State of the Visual Effects Arts." Each session focused on a specific area of the visual effects field and was moderated

FROM LEFT, MODERATOR JAMIE PRICE, by visual effects supervisor Jamie Price. MATT SWEENEY, JOHN DYKSTRA "Someone still has to design the sets, whether they're real or virtual," Visual Effects Branch Governor Bill Taylor conunented during the session on "Traveling Mattes & Matte Paintings." "There is no 'Set' button on the computer that you press... and the set comes out. The set still has to be designed, whether it's built by computer technicians or guys pounding nails." Taylor was joined at the session by art director Henry Bumstead and matte artist Rocco Gioffre. "Motion Control & Miniatures" feattlred Visual Effects Branch Governor , effects specialist HoytYeatman and cinematographer Russell Carpenter. "I just pick the best tool for the present time," said Yeatman, adding that, "present time keeps marching ahead and each year you have to re-examine the tools and the techniques." Visual effects specialists John Dykstra and Matt Sweeney attempted to answer the session­ topic question, "Special Effects and Visual Effects, What's the Difference?" And the [mal panel took on the cyber age. Computers haven't simplified the job, effects specialist Habib Zargarpour pointed out during the session on "Computer-Generated Imagery & the Future." "I thought by now for sure 1 would be talking to the computer and that things would be much Simpler, and it's completely the opposite;' he said. "Things are frighteningly more complicated." The evening also featured Visual Effects Branch members and and computer graphics animator Eric Armstrong. Ralston thought digital projec­ tion had good news!bad news fea­ tures. "The best news is .. .they can screen it a thousand times and it's not covered in scratches and it's not ripped up and there aren't big splices in it." But what happens when some­ thing goes wrong, he wondered. "When it breaks you're going to have to have an army of rocket sci­ entists in there for a week to fix it. MODERATOR JAMIE PRICE INTRODUCES THE FOURTH Now you can have some guy with a PANEL, FROM LEFT, HABIB ZARGARPOUR, KEN screwdriver and a wrench fix a fIlm RALSTON, ROBERT LEGATO AND ERIC ARMSTRONG projector half the time."

ACADEMY QUARTERLY RE PORT . SECOND QUA RTE R 2002 9 The Academy's Festival Grants Committee has opened up the entry process for festivals to be considered for grants this year, in contrast to prior years in which selected festivals were invited to submit proposals. "If a U.S. festival was five years old in 2001 , it was eligible to submit an application this year for a grant from the Academy's Film Festival Fund," Conmtittee Chair Gale Anne Hurd said. "The grants will be made for festival programming during 2003." The application period lasted a month and a half, May 15 to July 1, and resulted in 76 applications, 50 more than last year. "For the first four sets of grants, we controlled the number of applications," said Program Coordinator Greg Beal. "That was partly to protect the new program from being inundated with requests. But the pro­ gram has matured, and the committee felt that if a significant increase in applications occurred, it could be handled by the review system we now have in place." Although festivals could ask for grants to be used for a particular element of the festival, the Academy remains especially interested in supporting programs that make festival events more accessible to the general public and those that bring the public into contact with ftIms and ftlmmakers, Beal said. The Festival Grants Program was established by the Academy in 1999 and to date has made grants to 38 ftIm festivals.

Standard Scr •• ninCJs: Nominat.d Shorts an ··Thf lIustlfrrr

LISA BLOUNT John Avildsen, the Academy Award-winning director of " Rocky," moderated the Academy's annual screening of films nominated in the Live Action and Animated Short Films categories for the 74'h Academy Awards. Held in the Samuel Goldwyn Theater, this annual screening is presented as part of the Academy Standards series. Avildsen held discussions with the three filmmakers who took home Oscar statuettes last March. Ralph Eggleston talked about the making of "For the Birds" and RAY McKINNON lisa Blount and Ray McKinnon discussed "the accountant." Shown first were the animated films " Fifty Percent Grey," "Give Up Yer Aul Sins," "Strange Invaders," "Stubble Trouble" and the Oscar winner, "For the Birds." Live action films screened were " Copy Shop," "Gregor's Greatest Invention," "A Man Thing," "Speed for Thespians" and the Oscar-winning "the accountant." In June, a print of "The Hustler," restored by 20th Century Fox in coopera­ tion with the Academy Film Archive, screened in the Samuel Goldwyn

Theater. The panel following featured Michael Constantine, who played RALPH EGGLESTON Big John, and the film's editor (and Academy governor) Dede Allen and was moderated by film editor (and former governor) Donn Cambern. The film, which earned nine Academy Award nominations and won two Oscar statuettes in 1961 , was the Academy Standards series presentation.

"THE HUSTLER" PANEL WAS MODERATED BY DONN CAM BERN

JOHN AVILDSEN Thf 60ldwyn Was a Cabarftr Ny ~rifnds

Those who paid attention and played their cards right STEVE during the second quarter of TYRELL AND this year spent some amazing LlLLlAS evenings cuddled into a seat in WHITE the Samuel Goldwyn Theater. Usually they were watching a film . often they were listening to the makers of that film talk JULIE ANDREWS AND RODGERS' about their experiences making DAUGHTER, MARY it. and occasionally the theater

TONY DANZA transformed into something else. AND One night in June it became a cabaret for the Richard Rodgers ANDREA Tribute. and the thousand and twelve people who managed to make it MARCOVICCI into the theater had the chance to watch Joel Grey, Andrea Marcovicci, Tony Danza, Steve Tyrell . Anne Runolfsson , Lillias White and Kathy Bates perform Richard Rodgers' film music live, as well as see nineteen clips from films to which Rodgers contributed songs or composed the entire musical score. Host Julie Andrews moved the Alan Bergman-produced, Buz Kohan-written program along smartly and conducted a short live inter­ STEVE view with Rodgers' daughter, Mary. TYRELL AND Academy governors Samuel Goldwyn Jr. and Arthur Hamilton were KATHY co-producers and Ian Fraser served as musical director. BATES It was a rousing . crowd-pleasing smash hit. The tribute to America's most successful composer of show music for both stage and screen was a celebration of the centennial of Rodgers' birth on June 28. 1902. the celebrity caricatures and portraits that were displayed at the restaurants. The reception featured the restaurants' sig­ nature Cobb Salad , as well as the pumpernickel cheese toast and the famous NO . 3 sandwich, a sliced breast of chicken, baked ham and cole slaw on Russian rye bread, and for dessert, grapefruit cake. In addition to many of the guests who had dined on all of that at the Derby THE WILSHIRE BOULEVARD restaurants, one of the men who had served it to DERBY'S SIGN, WHICH SAT ENJOYING A RE-CREATED BOOTH EXPERIENCE them in the '70s, waiter Oscar Balarezo, was in ATOP THE HAT, WAS DIS­ WERE JOAN LESLIE, JANE WITHERS PLAYED IN THE PAVILLION AND PATRICIA MORISON attendance. The Brown Derby legend began as the brainchild of Herb Somborn, Wilson Mizner and It took the reception caterers at least three Sid Grauman. Somborn asked Bob Cobb to tries to get the recipe right, but when the manage the new restaurant and , after Mizner taste satisfied Bob and Sally Cobb's daughter, and Somborn died in 1934, it was Cobb who Peggy, the Cobb Salad served at the took over the restaurants. Academy's opening reception for "Under the The first Brown Derby opened in 1926 on Hat: Hollywood's Legendary Brown Derby Wilshire Boulevard across from the Ambassador Restaurants," nearly brought tears to the eyes of Hotel. It was the only one of the four Derby the 418 reminiscing guests. restaurants built in the shape of the famous hat. One of the most famous dining destinations In 1931 the Beverly Hills Brown Derby opened TAB HUNTER ADDED SOME of Hollywood's Golden Age, the four Derby PUMPERNICKEL CHEESE at the corner of Wilshire Boulevard and Rodeo restaurants were the subject of an exhibition TOAST TO HIS PLATE Drive. The last of the Derbies opened in Los installed in both the Grand Lobby and Fourth Feliz in 1941. But it was the Hollywood Brown Floor Galleries. Derby on Vine Street, just south of Hollywood "Under the Hat" included hundreds of pho­ Boulevard , that was the most famous . Opened tographs of celebrities socializing at the various on Valentine 's Day 1929, it became the place Brown Derby restaurant locations from the late where movie stars, celebrities of all types, the 1920s through the '50s. rich and the powerful gathered. Other memorabilia and The exhibition was organized with the decor items - including a assistance of Bob and Sally Cobb's daugh­ recreation of an original ter, Peggy Cobb Walsh , president of booth (with its handy dial Hollywood Classic Cuisine Inc., and artist Mark Willems, co-author with sign from the first ANGIE DICKINSON Sally Cobb of The Brown Derby ENJOYED SEEING HER­ Derby restaurant - SELF IN A PHOTO TAKEN Restaurant: A Hollywood also were fea- AT A BROWN DERBY PRE- Legend. Materials were lent by OSCAR PARTY IN 1960 tured, as well as WITH JIMMY VAN HEUSEN the Bob Cobb Family Collection.

ELLIOTT GOULD GUESTS WHO PROBABLY ENJOYED THE DIDN'T REMEMBER THE COBB SALAD AND ORIGINAL COBB SALAD SANDWICH NO.3 DISCOVERED WHAT THEY'VE BEEN MISSING 12 ACADEMY Q U ARTERL $'-00,000 6rantfd by Acadfmy Foundation to 38 Institutions

THIRTY-EIGHT COLLEGE AND COMMUNITY FILM PROGRAMS ACROSS THE UNITED STATES RECEIVED FINANCIAL GRANTS TOTALING $400,000 THIS YEAR FROM THE ACADEMY FOUNDATION, THE ACADEMY'S EDUCATIONAL AND CULTURAL ARM. AS IN THE PAST, THE ACADEMY'S GRANTS COMMITTEE, CHAIRED BY ACTORS BRANCH MEMBER JANET MACLACHLAN, SELECTED PROGRAMS THAT IN LARGE PART FOCUS ON BRINGING TOGETHER STUDENTS AND PROFESSIONAL FILMMAKERS.

FOLLOWING ARE THE GRANTS ALLOCATED FOR 2002-2003:

For internship programs, $15,000 each to the California Institute of the Arts,valenda, California; Columbia University School of the Arts, New York; the University of North Carolina at Chapel Hill; the University of Southern California School of Cinema-Television and Yale University Film Studies Program and $10,000 to the Loyola Marymount University School of Film and Television.

American Film Institute, directing workshop for women, $25,000; Film Arts Foundation (San Frandsco), ftlm seminars, $20,000; Film Aid International (New York), screening program in a Kakuma, Kenya, refugee camp, $15,000; Inner City Filmmakers (Los Angeles), ftlmmaking work­ shop, $15,000; Streetlights (Hollywood), motion picture job development and transitional support services, $15,000; Friedman Occupational Center (Los Angeles), animation workshop, $12,880; College of Santa Fe (New Mexico), summer girls' ftlm school, $12,000; Western States Black Research Center (Los Angeles), preservation of film materials, $12,000; American Indian Film Institute (San Frandsco), tribal touring program, $10,000; American Museum of the Moving Image (New York), educational ftlm and discussion series, $10,000; Brooklyn Academy of Music, educational screening series, $10,000; Cinestory Odylwild, California), screenwriting seminars and retreat, $10,000; Cleveland Film Society (Ohio), production workshops, $10,000; Cleveland High School (Los Angeles), summer high school ftlmmaking workshop, $10,000; Cornell Cinema Othaca, New York), visiting f1lmmakers, $10,000; Film Forum (New York), discounted screening tick­ ets, $10,000; Henry Mancini Institute (Culver City, California), week-long ftlm music segment with­ in a summer musical training program, $10,000; Independent Feature Project - Midwest (Chicago), mentoring program directed at underprivileged youth and young adults, $10,000; Kids 'N' Film (Austin, Texas), seminars, workshops, cyberchats and screening opportunities for students, $10,000; Squaw Valley Community of Writers (California), student scholarships for screenwrit­ ing workshop, $10,000; Workforce IA (Los Angeles), development of animation program as an inter­ net education tool, $10,000; Young Filmmakers Academy (Los Angeles), student scholarships for production workshops, $10,000; Independent Feature Project North (Minneapolis, Minnesota), women filmmakers' access grants, $7,500; Donna Reed Foundation (Denison, Iowa), ftlm acting workshops, $5,000; Film Institute of Northern California, (Mill Valley, Califorrua), educational screenings and discussions, $5,000; Film/Video Arts (New York), screening-seminar series, $5,000; Hot Springs Documentary Film Institute (Arkansas), documentary film screening and educa­ tional outreach program, $5,000; New York Women in Film & Television, preservation of "Harlan County, USA," $5,000; University of Arizona (Thcson), visiting filmmakers, $5,000; Northwest Screenwriters Guild (Seattle, Washington), visiting filmmakers and screenwriting workshops, $4,000; Short Film Group (Toluca Lake, California), short ftlm workshop series, $4,000; Merrimack College (North Andover, Massachusetts), student production workshops, $2,620

ACADEMY QUARTERLY REPORT · SECOND QUARTER 2002 13 Acad. y S.ttl.s Oscar Infrin .m.nt Suit ACJainst Karol .st.rn (orp.

A copyright and trademark infringement lawsuit brought against Karol Western Corp . and its president Gary B. Zoss over use of the Academy's Oscar symbol and name was settled for $175,000 and the delivery to the Academy of two tons of infringing gimcrack. Karol Western Corp. operates a

wholesale business supplying HOllywood-themed items to retail stores that cater to tourists. A large LAUREN BACALL number of the items made unautho- rized use of two- or three- dimensional depictions of the Academy's Oscar statuette, including key tags, shot glasses, snowglobes, picture frames and knock-off statuettes themselves. ACADEMY ASSISTANT COUNSEL SCOTT MILLER The Academy had asked Karol Western to cease and desist from SUPERVISED THE its infringing activities in January, but the company had refused to do SHREDDING AND MASHING BY SAFESHRED, A so and the Academy then brought suit in U. S. District Court. TREAT WILLIAMS WITH DOCUMENT DESTRUCTION SIDNEY LUMET AT THE COMPANY, OF THE ITEMS In the settlement, in addition to the $175,000 cash payment, PRE-PARTY AT THAT HAD BEEN TURNED Karol Western agreed to stop importing or selling the Oscar-themed GABRIEL'S OVER TO THE ACADEMY IN RECENT WEEKS BY SEVERAL items and to refrain from using the Academy's intellectual properties WHOLESALERS, INCLUDING KAROL WESTERN in the future. The company also agreed to deliver any items current­ ly in stock to the Academy for destruction. "The Academy has copyrighted and trademarked its symbols and names arolmd the world ," said Academy Executive Administrator Ric Robertson, "in order to ensure that those symbols and names retain their exclusive association in the public's mind with the Academy and its awards for excellence in fllmmaking. It's important

to protest all instances of misuse."

1 4 ACADEMY QUARTERL REPORT · VOLUME 1 4 Lumet Feted by Academy in NY

Sidney Lumet's Academy friends, among them AI Pacino, Tony Walton, Lauren Bacall, Timothy Hutton, Treat Williams and Walter Bernstein, turned out in New York in June to honor the man who has helmed over 40 fea­ ture films over the past 35 years, along the way collecting four Oscar nominations for directing and one for writing. MODERATOR ROBERT OSBORNE WITH AL PACINO LUMET'S DAUGHTER, JENNY, RIGHT, GREETS TIM Lumet, a former actor him­ HUTTON AND HIS WIFE, AURORE self, was a master at handling actors on the set, Pacino said. "After the director yells 'cut,' everybody just goes about their business, and nobody talks to the actors. But Sidney would always come over and say 'Darling, that was great.'" The only problem, he added, was that the director would then follow up with "Now do it again. " The tribute was presented by the Academy's New York Events Committee with the participation of the Film Society of Lincoln Center. Clips from Lumet's films, including "12 Angry Men ," "Serpico," "Network, " "Murder on the Orient Express, " "Prince of the City" and "Dog Day Afternoon" were shown, interspersed with personal reminiscences from friends and collaborators. A buffet dinner preceded the event and a cocktail

reception followed in the Frieda KAREN ALLEN and Roy Furman Gallery adjacent to the Walter Reade Theater.

DIRECTOR MICHAEL MOORE

UARTERLY REPORT · SECOND QUARTE R 2002 15 NEARLY 400 There were almost as many people on stage at the April Media Literacy Program as in the STUDENTS FROM audience. Well , not really. But the turn out of cast and crew from the film "crazy/beautiful " was the SEVEN LOS largest in the history of the nine-year-old , twice-yearly program. Nearly 400 students from seven Los Angeles Unified School District high schools spent three days at the Academy discussing the social ANGELES HIGH role of the media, stereotypes in the media and the effect of media on behavior. A screening of SCHOOLS SPENT "crazy/beautiful" followed by a panel discussion with ten people from the film capped the third day. THREE DAYS AT On the panel were , from left in photo above, Academy Program Coordinator Randy Haberkamp, THE ACADEMY who acted as moderator; actor Bruce Davison, writer Phil Hay, actors Lucinda Jenney and Rolando Molina, director John Stockwell, casting directors Randi Hiller and Sarah Halley Finn , production designer Maia Javan and actors Soledad St. Hilaire and Tommy de La Cruz.

Directors Branch since 1947, Executives Governor John Franken­ Branch Governor Lew R. heimer died July 6 at the Wasserman died June 3 age of 72. He had been a at the age of 89. Highly regarded by his peers, member of the Academy Wasserman had been for the past 41 years. proposed by the Executives Particularly admired Branch for an Academy by other directors, governorship many times, Frankenheimer was first but had always declined while he was elected to the Board of Governors in involved in the day-to-day operation of 1996, and re-elected in 1999. His second MCA Universal. Wasserman finally agreed term would have ended July 31 . to serve in 1996, and was re-elected to a Frankenheimer served on the second three-year term in 1999. Directors Branch Executive Committee Wasserman was honored by the Academy of Motion for six years, and as its chair for the Picture Arts and Academy in 1973 with the Jean Hersholt past two. Sciences library. Humanitarian Award. Beverly Hills, Calif.

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