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Home , Albert Whitlock, Daniel Taradash, Gilbert Cates, Howard Smit, Jay Presson Allen, Larry Gelbart

Academy of Motion Picture Arts and Sciences and Academy Foundation

Ann u a Rep art 9 8 4 - 8 5 Committee Chairs Actors Branch Executive Committee Tom Bosley Art Directors Branch Executive Committee Gene Allen, Chairman Walter M. SCOII , Co-Chairman Awards Policy Committee on Rules Arthur Cinematographers Branch Executive Committee Leonard). South, Chairman Costume Design Award Rules Committee Elois jenJJen Administration Directors Branch Executive Committee Robert E. Wise, Chairman Executive Director Gilbert Cates, Co-Chairman james M. Roberts Documentary Awards Committee Administrator, Office of the Executive Director True Boardman, Chairman Mary Lou Finnin Arthur H. Nadel, Co-Chairman Assistant to the Executive Director Executives Branch Executive Committee Daniel B. ROJJ Robert Rehme, Chairman Controller Alan Ladd,jr., Co-Chairman 0110 C. Spoerri Editors Branch Executive Committee Program Administrator j ohn F. Burnell, Chairman Bruce Davis Walter A. Hannemann , Co-Chairman Program Coordinators Finance Committee Exhibieions and Reerospeccives Tex Rudloff Douglas Edwards Foreign Language Film Award Executive Scudenc Film Awards Committee Visieing Anises Program Robert M. W Vogel, Chairman Elaine Richard Rudi A . Fehr, Co-Chairman Annual Leceures Nina Foch , Co-Chairman Seminars General Membership and Review Committee Ric Robertson Charles M. Powell Margaret Herrick Library Administrator Subcommittee on Agents Linda Harris Mehr Lee G. Rosenberg Special Collections Make-Up Award Rules Committee Sam Gill Howard Smit, Chairman Photographic Services john Mansbridge , Co-Chairman Robert Cushman joseph Westhei mer, Co-Chairman Academy Historian Membership Screening Committee Patrick Stockstill Robert F. Blumofe, Chairman Bethlyn Hand, Co-Chairman National Film Information Service Valentin Almendarez Music Branch Executive Committee Arthur Hamilton Art Services and Publications Richard Miller Producers Branch Executive Committee Richard D. Zanuck Academy Players Directory Marjorie Blye, Editor Public Relations Branch Executive Committee Richard Kahn Annual Index to Motion Picture Credits Byerly Woodward, Editor Scholarship and Grants Committee Robert E. Wire, Chairman Film Department Coordinator Daniel Taradash, Co-Chairman D.). Ziegler Scientific or Technical Awards Committee Film Archivist joseph Westheimer, Chairman Daniel Woodruff j ohn A. Bonner, Co-Chairman Legal Counsel Short Branch Executive Committee Doggett & Van Zyl William C. Lilllejohn, Chairman Public Relations Counsel Bill SCOII , Co-Chairman Ruder Finn & Rotman Sound Branch Executive Committee Certified Public Accountants Tex Rudloff, Chairman Price Waterhouse john A. Bonner, Co-Chairman Sound Effects Editing Award Rules Committee Charles L. Campbell, Chairman Tex Rudloff, Co-Chairman Student Film Awards Executive Committee june Foray, Chairman Donn Cam bern, Co-Chairman Theater Sound Inspection Committee j ohn A. Bonner, Chairman Richard). Stumpf, Co-Chairman Visual Effects Award Rules Committee j oseph Westheimer, Chairman Albert). Whitlock, Co-Chairman Writers Branch Executive Committee Norman Corwin rom The President

This past year has seen enormous strides taken by our Academy and I feel a great sense ofpride and accomplishment at having had the privilege of being at the helm during these exciting days. The teamwork that typifies the Academy; the strength and dedication of its leaders, members and staff; all have come together to make this time of my life the most exciting and productive period imaginable. I thank you all for your cooperation, your professionalism, and your caring. As Bob Wise begins his presidency, the most important legacy I can pass on to him concerns our recently­ concluded negotiations with ABC. We now have a contract covering the next five Oscar shows, and future Annual Reports will reflect the fact that our revenues over that five-year period will be more than twice those ofthe previous five years. The challenge ofco-producing this past year's Awards Presentation was one ofthe more enjoyable experiences of my life. The creative unity that characterized the collaboration with , and Bob Wise was exhilarating and-I hope you'll agree-beneficial to the show. The past year has left me many other pleasurable memories. At the invitation ofthe Information Agency, I had the privilege of visiting China as the head ofa delegation representing the filmmakers ofAmerica. This second such cultural exchange in the past few years has already been effective in spreading appreciation in China for our nation's motion pictures and the enormously talented people who make them. And writing of the wonderful and gifted people in our ranks, I am reminded ofour superb tribute to -an event that was equally a tribute to our New York Academy members who felt, many for the first time, that we are truly a national Academy. I am also extremely proud of Salutes to Hitchcock, ASCAp, Robert Flaherty, John & Faith Hubley, Norman McLaren, Shirley Temple, and a Duck named Donald.' Our lecture series, our scholarships, our Student Film Awards-all have added up to fulfilling for me a dream come true: the opportunity to put back a small share ofall that this industry in general. and this Academy in particular, have meant to me.

Thank you.

Gene Allen rom The President

Gene Allen completed his two terms as The first representative from the Art Director's Academy President in dramatic fashion, with Branch ever to serve as Academy President, accomplishments that will provide lasting Allen has been a passionate champion ofthe benefits to the institution he has guided so ably institution in the outside world and an effective during his tenure. The contract extension he advocate for ever-higher standards within. He concluded with the American Broadcasting has planted seeds in a variety of cultural and gives the annual Awards Presentations preservational areas that will bear fruit for years a secure,familiar home through 1990, with to come. substantially increased income that will ensure . Gene Allen has earned the right to slacken the continued health ofthe Academy, the that pace somewhat, but he remains- as new Academy Foundation and the many non-awards president Robert E. Wise picks up the activities they sustain. institutional reins for 1985-'86- an Academy A less tangible accomplishment may have even officer and a vital, concerned, distinguished further-reaching effects. The artistic success resource for the organization to draw upon. ofthe 57th Awards show seemed a striking endorsement ofthe case Allen made in his second year for involving the Academy'S leadership more fully in the day-to-day planning and execution ofthe program. He and his co-producers Larry Gelbart, Gregory Peck and have set a strong precedent for careful Academy oversight of all future productions. Since the Annual Presentations provide our institutional lifeblood, and are the single most important influence on the world's perception of the Academy, Gene Allen has urged that we keep those facts in mind, and that we act to ensure a continuance ofsuch supervision over issues that affect the look, the length or the general quality of our ceremonies. Gene Allen's presidency was an impressively active one. Keenly interested even in relatively modest areas of the institution's work, he often put in days that started with breakfast meetings, continued through an active schedule at Academy headquarters and ended with his hosting an evening program for the Foundation. Few ofthe paid staffwould claim to have matched the hours he gave to an honorary, uncompensated office. Mar aret Herrick Library

The 1984-85 Acquisitions list is headed by the personal papers ofa pair of master direc­ tors, and . The Hitchcock Collection, which includes correspondence, scripts (including Thornton Wilder's handwritten draft of SHADOW OF A DOUBT), photographs, storyboards and other sketches, was donated to the Academy by Patricia Hitchcock O'Connell. The gift was presented at a December event which marked the formal reopening of the library, and which also included an exhibit oftreasures from the Daughter Patricia Hitchcock o'Connell presented a script representing collection. her father's papers to Gene Allen at the reception in honor of Alfred Hitchcock. Salvador oali's eye provided a spellbinding backdrop. The acquisition ofthe Zinnemann papers will be officially observed with a tribute to the director in January of 1986. Other important contributions to the library's Special Collections area in the 1984-85 year include Edward Stotsenberg's donation of a large body of documents relating to Mary Pickford's career, Mrs. Henry King's gift ofpapers , scripts and books of Henry King and a gift from Edwin Neal of more than 4,000 production and biography stills. Publicists Jack Hirshberg and Charles Schlaifer donated valuable career papers, and the library also acquired a group of and Tony PerkinS were among the more than forty alumni Alfred Santell photographs, as well as additions of Hitchcock pictures who attended the exhibit and program In honor to the and Edith Head collections. of the Hitchcock gift. The past year saw the conpletion of major inven­ tories for collections, including the Production Code Administration records, the Hollywood Museum Photograph Collection and the A. Arnold Gillespie (special effects photographs) Collection . These meticulous inventories by the Margaret Herrick 's staffare part of a continuing process of making archival holdings increasingly accessible to the facility's patrons.

Critic Kevin Thomas tried out the library's nickelodeon during a celebrity tour of the reopened facility. Gregory Peck. co-host with James Stewart of the Hitchcock evening. waited his turn. ilm Archives Publica t ions

The 1984-85 year saw the Academy's film Players Directory archive enriched by the donation offour The roster ofperformers listed in the Directory remarkable collections. In connection with the climbed above 15,000 this year; and the average June 17 tribute to Norman McLaren, the 70% of revised information in the year's three National Film Board of Canada presented the editions guaranteed editor Marjorie E. Blye Academy with all 67 films created by the and her staff a lively schedule. The complete renowned film theorist and animator. sell-out of 1984 's September edition vividly demonstrates the continued importance of the In addition, film historian David Shepard Directory as an industry tool. donated a group ofextremely rare silent films in nitrate prints. The collection includes little­ known performances by Harold Lloyd, Will Annual Index o/M otion Picture Credits Rogers, Ruth Roland, Pearl White and Clara Although the Index was originally designed to Kimball Young, as well as Billie Burke in her meet a need that was expected to exist only first film, PEGGY within the , the 10% increase in the The Alfred Hitchcock Collection encompassed, in subscription list for the 1984 edition was largely addition to the paper material in the library the result of the book's increasing presence in the archives, screen tests for Hitchcock films, rare collections ofcollege libraries. out-take footage, Hitchcockian home movies Edited by Byerly Woodward, researched in the and 35mm prints ofseveral ofthe director's facilities ofthe Margaret Herrick Library, the features. Another major figure in film history, Academy's Annual Index remains the only Mrs. Shirley Temple Black, donated her personal comprehensive yearly reference work on recent collection to the Academy. Among the extra­ motion picture credits. ordinary items in this gift were behind-the­ camera views of the Temple career; mint­ condition prints offilms from LITTLE MISS MARKER to FORT APACHE and original nitrate versions ofthe "Baby Burlesk" shorts that brought Temple to the attention of Fox executives and started her on the way to becoming the most popular film star in late­ thirties America. Filmmakers Stan Brakhage and Noel Black also made gifts oftheir work to the Archive. r am s

The year's glossiest event was the january Tribute to Myrna Loy at New York's Carnegie Hall. The legendary actress was honored for her 55-year career in a program written by and , hosted by Lauren Bacall and highlighted by the on-stage contributions of Lillian Gish, Lena Horne, , joseph L. Mankiewicz, , Maureen O'Sullivan, Tony Randall, , Sylvia Sidney, Maureen Stapleton and Theresa Wright. Bacall and Paramount Pictures Chairman Myrna Loy Frank G. Mancuso chaired the event, which included the screening of the "lost " 1932 Loy vehicle THE ANIMAL KINGDOM. East coast Academy members and others who attended capped the evening with an elegant dinner­ graced with the radiant presence of the evening's honored guest- in the Grand Ballroom ofthe Waldorf-Astoria. West coast members had a pair of Foundation galas to attend. August saw the premiere of ~ Giorgio Moroder's reconstructed version of Fritz ~ Lang's METROPOLIS. Moroder's techno-rock soundtrack-presented at the Goldwyn Theater '7krlOY in the first multi-track digital stereo sound format in motion picture history-was clearly a creation ofthe mid-eighties, but the film'S visuals represented a meticulous attempt to recreate the picture as it had existed in 1926. Academy Film Archivist Daniel Woodruff and other film curators around the world had helped Moroder assemble the most complete and most visually clean version of Lang's masterwork seen in the past half-century. In September the Academy paid tribute to the 118 members of the American Society of Douglass M. Stewart . Jr.. left. produced the ASCAP salute . Composers, Authors and Publishers who had with Bill Conti as musical conductor. The ambitious at that time won Academy Awards in music production required extensive modifications in the Goldwyn Theater 's stage and lighting facilities . categories. With Academy past-President Howard W Koch as Executive Producer, "Oscar Salutes ASCAP" featured hosting an evening offilm music and live performances that added up to one of the most rousing evenings ever presented in the Theater.

ASCAP legends Jay Livingston. Ray Evans. Sammy Cahn. Sammy Fain and Jule Styne collaborated on "The Songwriter 's Lament:' rograms

The past year's other highlights included the Hitchcock Tribute, and evenings in honor of the work of animators john and Faith Hubley and Norman McLaren. Robert Flaherty was honored on the centennial ofhis birth, Donald Duck on his half-centennial. Finally, one of the year's most entertaining and moving programs saw Shirley Temple Black's screen career reprised in an evening that ended with Gene Allen was one of many motion picture presenting the actress with a "grown up" celebrities with a personal Interest in the February­ Oscar to replace the miniature one awarded her March "Time Covers Hollywood " exhibit. in 1934. Most of the above programs were enhanced by extensive lobby displays mounted by Exhibitions Coordinator Douglas Edwards. Also drawing wide media and public attention during the 1984-'85 year was an exhibit of Time Magazine covers and art, spanning the years 1923-1985, on film-related subjects. Oscar-winner William Tuttle . center. was assisted by The Academy's Visiting Artists program, colleague Charles Schram during the five-session t! ndorsed this past year with a grant from the Academy Seminar on make-up . National Endowment for the Arts, continued as the institution's most effective means of providing direct contact with Academy members for the nation's colleges and media centers. 1984-'85 Visiting Artists included:john Addison, Dan Carlin, Allen Daviau, Andre DeToth, Richard Dreyfuss, Harrison Ellenshaw, julius]. Epstein, Louise Fletcher, William Fraker, Ernest Gold, Gregoryjein, Randal 's contributions were among the Make-up Seminar 's highlights. Kleiser, Shelley Levinson, Frank Mouris, Edmund Penney, Dean Pitchford, Walter Shenson, Madge Sinclair, Terry Southern,, David M . Walsh, Carl Weathers, Albert Whitlock, Patrick Williams and Robert E. Wise.

Arthur Hiller. moderator for the Academy Salute to Norman McLaren. spoke with Academy Executive Director James M. Roberts before the program.

Cinematographer David Walsh brought Academy Robert E. Wise wa s an Academy Visiting Artist expertise to the University of Saskatchewan. at Brigham Young University. nnual Lectures

The Marvin Borowsky Lecture on Screen writing The Borowsky Lecture, the longest-established ofthe annual lectures, was delivered on June 19 by writer-director Philip Dunne. A former Academy Governor with credits including HOW GREEN WAS MY VALLEY and TEN NORTH FREDERICK, Dunne presented an evening of wry, elegantly-wrought observations on the screenwriter's art. Past lecturers have been: Robert Anderson, 1974 , 1980 Eleanor Perry, 1976 , 1981 and I.A.L. Diamond, 1977 , 1982 , 1979 , 1984

TheJack Oakie Lecture on Comedy in Film The third Jack Oakie lecture was presented on November 5 by . The Oakie evenings have never been somber affairs, and Lewis continued the now-established tradition of mixing thoughtful analysis of comic strategies with exuberant illustrations of their proper use. The regular presence of established writers and performers in the audience for the Oakie Lectures is evidence ofhow quickly the series has given a significant forum for the exchange of ideas on screen comedy. Previous speakers have been: Larry Gelbart, 1982 Gene Wilder, 1983

The George Pal Lecture on Fantasy in Film The 1984 Pal Lecture brought to the Goldwyn Theater the most accomplished puppeteer-filmmaker since George Pal himself. Jim Henson, creator ofthe Muppets as well as the 1965 Academy Award­ nominated short TIME PIECE and the recent fantasy classic THE DARK CRYSTAL, presented an articulate defense ofthe importance of the fantastic in both childhood and adult life. Mr. Henson was joined in the question portion ofthe evening by actor­ singer-frog Kermit, a frequent collaborator with Henson. Previous lecturers have been: Carl Sagan, 1982 Ray Bradbury, 1981 Richard Matheson, 1983

The Lecture on Directing A quirk ofscheduling found two editions ofth e Stevens Lecture falling within the 1984-85 season. The first-only the second presentation ever ofthis youngest ofthe four annual lectures-was delivered by . An actor himself, Rydell focussed his remarks on the aspects of directing that have resulted in performers receiving eight acting nominations in the eight features he has directed.

Seven months later the third Stevens Lecture was given over to a screening of GEORGE STEVENS: A FILMMAKER'S JOURNEY, in honor ofthe extraordinary artist whose name the series honors. prefaced the film with an intelligent, admiring evaluation of Stevens as man and as filmmaker, and the film played to a rapt full house liberally sprinkled with Stevens' stars and other co-creators. It was one ofthe most sparkling nights of the Academy's year. The inaugural lecture in the George Stevens series was delivered by in 1982. tudent Film Awards

William G. Kopp , len , received the year 's Animation prize from Short Films Branch members June Foray and Bill Scott. Kopp, from the California Institute of the Arts , became only the second student In history to Win Student Film Awards in consecutive years.

Gene Allen and Program Coordinator Elaine Richard . center, with the 1985 winners .

Dialogue·looping specialist Norman Schwartz participated in the Sound workshop for the SFA visitors. ighlights

Former Chairman Leo Jaffe. AFI Director Jean up the American delegation in the second China Film Week cultural Firstenberg. SISSY Spacek. Gene Allen and director Franklin Schaffner at exchange. Be111n9'S Mlng Tombs. The five. led by Academy President Allen. made

New York Awards Screenings Foundation Tax Change Official Academy screenings in several venues In the final month of the 1984-85 fiscal year gave New York-area members an opportunity to Academy legal counsel Gyte Van Zyl reported vote in more Awards categories for the 1984 year preliminary I.R.S. approval ofa requested than ever before. A shipping problem caused change in the status ofthe Academy Foundation. inconveniences in the Foreign Language Film Since the Tax Reform Act of 1969, the category, but a contingent ofdetermined members Foundation has been classed as a Nonprivate rode them out and were able to cast ballots. Foundation under section 509(a)(2)-Broadly Eastern members were also able to vote in both Public Supported Organizations-of the I.R.S. the short and feature-length Documentary Code. categories, as well as for best animated and The Foundation w ill remain nonprivate, but live-action Short Films. will now fall under section 170(b)(1)(A)(vi) of China Visit the Code and be designated a Public Charity. Under the auspices ofthe U.S. Information The change in status will make it considerably Agency, a delegation ofAcademy members led by easier for the Foundation to accept endowments President Gene Allen visited the People's or other large gifts. Republic of China in April as part of a cultural exchange program in the area of motion pictures. Five films-COAL MINER'S DAUGHTER, KRAMER VS. KRAMER, ON GOLDEN POND, STAR WARS and THE TURNING POINT-were screened for large and appreciative audiences in seven Chinese cities. Later in the same month, the Academy hosted a reception for a delegation of Chinese filmmakers visiting several U.S. cities in the reciprocal phase of the exchange. th Annual Awards

February 6, 8:55 A.M. The moment when the assembled David Lean hosted the annual Foreign Language Film press and publicists were invited Into the Goldwyn Theater reception. Chairman Nina Foch provided the event with ItS for the Nominations Announcements was the start of a customary glitter and dash, and Gene Allen awarded month·and·a·half·long marathon of Awards·related events. nomination certificates.

The fourth annual Nominees Luncheon gave Academy 57th Awards Presentation producers Allen, Wise, Peck Governor Tony Bill a chance to get out of the kitchen and Gelbart.

Academy Vice President Richard Kahn welcomed 73 March 24th and counting. Director Marty Pasetta ran down nominees to the luncheon In recognition of their cues with Kathleen Turner. accomplishments.

Foreign Language Film Award Committee Chairman Robert M. W. Vogel oversaw the many actiVIties attending Weather and sports. Jim Roberts chatted at rehearsal with the Best Foreign Language Film award. A record 32 Price Waterhouse's Frank Johnson, one of the two men In countries submitted entries for 1984 the world who knew the results of the 1984 balloting

Academy Governor George Schaefer, center, moderated the Even in the generally hectic pace of rehearsal. there were year's Foreign Language Symposium and later 10lned moments for qUiet talk. Argentine director Marla LUisa Bemberg and Israel's Uri Barbash at the Director's Luncheon. th Annual Awards

Production Designer Rene Lagler and Art Director Jeremy Railton designed a series of fluid, striking sets that won a 1985 Emmy for Art Direction.

Best Supporting Actor Halng S. Ngor

Steven Spielberg

and Jeff Bridges. th Annual Awards

Cary Grant presented James Stewart with an Honorary Oscar. Kirk Douglas. Burt Lancaster

Sally Field

David Wolper. recIpient of the Humanitarian Award

Lord Olivier

Debbie Allen led a crackling dance rendition of Best Song nominee "Footloose."

Milos Forman. F. Murray Abraham. Saul Zaentz

Robert Benton Tara the Elephant and friends th Annual Awards

FOR ACHIEVEMENTS DURING 1984 OTHER AWARDS Best performance by an actor in a leading role: jean Hersholt Humanitarian Award: David L. E MURRAY ABRAHAM in "Amadells" Wolper Best performance by an actor in a supporting Gordon E. Sawyer Award: Linwood G. Dllnn role: HAING S. NGOR in "The Killing Fi elds" Special Achievement Award: Souttd Effects Best performance by an actress in a leadifzg role: Editing: Kay Rose ("The River") SALLY FIELD in "Places in the Heart" H ottorary Awards: j ames Stewart (For his f ifty years Best performance by an act ress in a supporting of memorable performa nces. For his high ideals both on role: PEGGY ASHCROFT in "A Passage to India " and off the screen. Wilh Ihe respecl and affection ofh is Best achievement in art directiOfz: AMADEUS colleaglles.) (Art Direction: Patrizia Von Brandenstein; Set National Endowment fo r the Arts (In recognition of ils Decoration: Karel Cerny) 20lh anniversary and ils dedicated commitmenllo Best achievement in cinematography: fostering artistic and crealive activily and excellence in THE KILLING FIELDS (Chris Menges, Director of every area of the arts.) Cinematography) SCIENTIFIC OR TECHNICAL AWARDS Best achievemetzt itz costume d esign: AMADEUS Scientific and Etzgitteering Award (Theodor Pistek, Costllme Designer) (Academy Plaque): Best achievement itz directing: AMADEUS To Donald A . Anderson and Diana Reiners of 3M (Milos Forman, Director) Company f or the developmenl of "Ci netrak" Magnetic Best achievement itz documentary films Film # 350/ 35 1 fo r motion pic/lire sOllnd recording . (Features): THE TIMES OF HARVEY MILK To Barry M. Slullz, Rllben Avila and Wes Kennedy of (Robert Epstein and Richard Schmiechen, Prodllcers) Film Processing Corporation f or the development of FPC (Short Subjects): THE STONE CARVERS 200 PB Fllllcoal Magnelic Film fo r mol ion pictll re sOllnd (Marjorie Hllnt and Palll Wagner, Producers) recording. Best achievement in film editing: To Barry M . SllIltz, Rllben Avila and Wes Kennedy of T HE KILLING FIELDS Uim Clark, Editor) Film Processing Corporation fo r the fo rmlliation and Best foreign language film: DANGEROUS MOVES application ofa n improved sOllnd track stripe fo r 70mm (An Arthur Cohn Prodllction, Switzerland) molion pic/lire f ilm, and to j ohn Mosely fo r Ihe Best achievement in make-up: AMADEUS engineering research involved therein. (Paul LeBlanc and Dick Smith, Make-up) To Kenneth Richter of Richter Cine Equipment fo r the Best original score: A PASSAGE TO INDIA design and enginee ring of the R-2 Allto-Collimalor fo r (Maurice jarre, Composer) examining image qllality at the focal plane of molion Best original song: IjUST CALLED TO SAY I LOVE pic/lire camera lenses. YOU from THE WOMAN IN RED (Stevie Wonder, To Giinther Schaidt and Rosco Laboratories, Incorporated, Music and Lyric) f or Ihe development of an improved, non-toxic flllid fo r Best original song score: PURPLE RAIN creatingfog and smoke fo r molion pic/lire production. (Prince, Song Score) Toj ohn Whitney,jr. and Gary Demos of Digital Best picture: AMADEUS (Saul Zaentz, Producer) Prodllctions, Incorporated, f or the praclical sirmd a/ion of motion piclure photography by means of compllter­ Best animated short film: CHARADE Uon Minnis, generated images. Producer) Best live action short film: UP (Mike Hoover, Techttical Achievemettt Award Producer) (Academy Certificate): Best achievement in sound: AMADEUS To Nal Tiffen ofTiffen Manllfacturing Company fo r the (Mark Berge r, Tom Scott, Todd Boekelheide, Chris prodllction ofhigh-qllality, durable, laminated color Newman, Mixers) f ilters for motion pictllre photography. Best achievement itt v isual effects: INDIANA To Donald Trllmbllll, j onathan Erland, Stephen Fog and JONES AND THE TEMPLE OF DOOM (Dennis Palll Bllrk of Apogee, Incorporaled,for Ihe design and Muren, Michael McAlister, , Geo rge Gibbs) development of Ihe "Bille Max " high-power, bille-flllx projector fo r traveling matte composile pholography. Best screetzplay writtetz directly for the screen: PLACES IN THE HEART (Robert Benton, Writer) Toj onalhan Erland and Robert Bealmear of Apogee, Incorporated ,for an innovalive design fo r fronl projection Best screenplay based on material from attother scree ns and an improved method for their construct ion. medium: AMADEUS (, Writer) To HowardJ. Preston of Preston Cinema Systems f or the design and development of a variable speed control device wilh alllomalic exposllre compensa/ion fo r motion pictllre cameras.

1984 SCientifiC or Technical Award Winners With (front row. from leftJ Gordon E. Sawyer Award,wlnner Linwood G. Dunn. Academy PreSident Gene Allen. Presenter Janet Leigh. Sci·Tech Awards Committee Charrman Joseph Westhelmer and Sound Effects Ediling Special Achievement Award· winner Kay Rose. oard of Governors 1984 1985

Actors: Music:

Ralph Bellamy Tom Bosley Karl Malden john Addison Ernest Gold Arthur Hamilton Art Directors: ,.... \.- Producers: (1. \, '.'''' "~. Gene Allen john Mansbridge Walter M. Scott Tony Bill Howard W Koch Richard D. Zanuck

Cinematographers: Public Relations:

William A. Fraker Leonard). South joseph Westheimer john C. Flinn Richard Kahn Charles M. Powell

Directors: Short Films:

Gilbert Cates George Schaefer Robert E. Wise Hal Elias Bill Scott William C. Littlejohn

Executives: Sound:

Alan Ladd, jr. Robert Rehme Frank E. Rosenfelt john A. Bonner Tex Rudloff Charles L. Campbell

Film Editors: Writers:

."...\

'# .... 4~:'~•. >'.>: ..

~,"ij john E Burnett Walt Hannemann Ralph Winters Norman Corwin Fay Kanin

Annual Report photos by Long Photography. Inc. unless otherwise credited . Academy 0/ Motion Picture Arts And Sciences And The Academy Foundation

eport of Independent Accountants

1880 Century Park East Century City West Los Angeles , CA 90067 Price Waterhouse • August 26, 1985

To the Board of Governors ofth e A cademy of Motion Picture Arts and Sciences and the Board of Trustees of the Academy Foundation

In our opinion, the accompanying combined balance sheet and the related combined statements of revenue and expenses and changes in equity and ofchanges in financial position present fairly the financial position of the Academy of Motion Picture Arts and Sciences and the Academy Foundation at june 30, 1985 and 1984, and the results of their operations and the changes in their financial position for the years then ended, in conformity with generally accepted accounting principles consistently applied. Our examinations of these statements were made in accordance with generally accepted auditing standards and accordingly included such tests of the accounting records and such other auditing procedures as we considered necessary in the circumstances.

ombined Balance Sheet

june 30, ASSETS 1985 1984 Current Assets: Cash, including savings and interest-bearing checking accounts $ 212,400 $1 ,009,500 Short-term investments, at cost 3,480,000 2,180,000 Accounts receivable, less allowance for doubtful accounts of $17,400 and $24,900 521,800 524,100 Prepaid expenses 80,600 81,500 4,294,800 3,795,100 Property and equipment, at cost less accumulated depreciation 3,594,200 3,709,500 Margaret Herrick Library collections, carried at no value $7,889,000 $7,504,600 LIABILIT IES AND EQUI T Y Current liabilities: Accounts payable and accrued expenses $ 797,500 $ 802, 100 Deferred income 8 76,400 795 ,500 1,673,900 1,597,600 Equity, per accompanying statement 6,215, 100 5,907,000 $7,889,000 $7,504,600 See accompanying notes to co mbined financia l statements. Academy Of Motion Picture Arts And Sciences And The Academy Foundation

ombined Statement of Revenue and nses and Ch

YearendedJune 30, 1985 1984 Awards program: Revenue $4,551,900 $4,267,200 Direct and indirect expenses 3,431,800 2,843,500 1,120,100 1,423,700 Operations other than the awards program: Revenue­ Membership dues 652,400 582,500 Players directory and other publications 805,000 764,500 Theater rentals 347,900 273,000 Interest income 331,700 262,000 Educational and cultural activities 436,800 606,200 Grant income and cash contributions 73,400 48,400 2,647,200 2,536,600 Direct and indirect expenses- Research library and other educational and cultural programs 1,949,600 1,948,200 Theater, players directory, membership and other operations 1,509,600 1,490,800 3,459,200 3,439,000 (812,000) (902,400) Excess of revenue over expenses 308,100 521,300 Equity: At beginning ofyear 5,907,000 5,385,700 At end ofyear $6,215,100 $5,907,000

ombined Statement of Changes in Financial Position

YearendedJune 30, 1985 1984 Cash was provided by: Excess of revenue over expenses $ 308, 100 $ 521,300 Add items not affecting cash­ Depreciation 244,300 240,200 (Increase) decrease in accounts receivable 2,300 (126,400) Decrease in prepaid expenses 900 47,500 Increase (decrease) in accounts payable and accrued expenses (4,600) 130,600 Increase in deferred income 80,900 127,800 Cash provided by operations 631,900 941,000 Cash was used for: Additions to property and equipment 129,000 302,000 Increase in cash balance 502,900 639,000 Cash and short-term investments balance: At beginning ofyear 3,189,500 2,550,500 At end ofyear $3,692,400 $3, 189,500

See accompanying notes to combined financial stat ement s. Academy Of Motion Picture Arts And Sciences And The Academy Foundation

otes to Combined Financial Statements

NOTE I-Summary of significant NOTE 2-Awards program: accounting policies: Revenue from the awards program consists principally offees paid by the American Broadcasting Company (ABC) for Reporting entity the exclusive worldwide broadcast rights. The Academy has granted the awards program broadcast rights to The accompanying combined financial statements ABC through 1990. include the accounts of the Academy of Motion NOTE 3-Property and equipment: Picture Arts and Sciences (the Academy) and the Property and equipment comprise the following: Academy Foundation (the Foundation). All June 30, significant intercompany transactions have been 1985 1984 eliminated. The Foundation,formed for the purpose ofpromoting and supporting educational and Land $ 644,800 $ 644,800 cultural activities related to the motion picture Building 3,539,400 3,446,800 industry, is related to the Academy in that the Theater fixtures and equipment 822,100 811,300 officers and trustees of the Foundation are also Office and library furniture and equipment 572,800 549,000 members of the Academy's Board of Governors. Construction-in-progress 3 ,500 72,000 Recognition of revenue and expenses 5,582,600 5 ,523,900 Revenue and expenses are recognized on the Less accumulated depreciation (1 ,988,400) (1 ,814,400) accrual basis. Grants received subject to restricted use are recognized as revenue to the extent that $3,594,200 $3, 709,500 expenses have been incurred for the purpose specified NOTE 4-D eferred income: by the grantor; the portion of such grants not Deferred income, representing payments received or awarded prior to the performance ofservices or the earning of recognized as revenue is included in deferred income. income, comprises the following: Property and equipment June 30, The building,furniture and equipment are 1985 1984 carried at cost less accumulated depreciation. Maintenance and repairs are expensed as inmrred. Membership dues $ 348,000 $ 284,500 Depreciation expense is computed using the Players directory 370,700 301,400 straight-line method over the useful lives of the Restricted grants 115,800 168,800 assets, thirty years for the building and ten years for Theater operations 41,900 40,800 the furniture and equipment. $ 876,400 $ 795 ,500 Margaret Herrick Library collections In accordance with accounting practices followed Included in restricted grants is $62,900 and $90, 700 at June 30, 1985 and 1984, respectively,from the National by similar nonprofit organizations, items donated to Endowment for the Humanities which was awarded to the Foundation in May 1984. The purpose of the grant is to enable the Margaret Herrick Library collections are carried the Foundation to microfilm historical library materials. Payments are made to the Foundation as expenses are incurred. at no value on the balance sheet. Of the grant income recognized during the years ended June 30, 1985 and 1984, approximately $50,900 and Indirect expenses $22,800, respectively, represented unrestricted cash grants received. For financial reporting purposes, indirect, or NOTE 5-Retirement plan: general and administrative expenses are allocated to The Academy maintains an insured noncontributory retirement plan covering all full-time employees over 24 years of the awards program and to operations other than the age. The cost of the plan, which has been funded currently, approximated $113, 700 and $94,100 for the years ended awards program based on their proportionate share of June 30, 1985 and 1984, respectively. Effective July 1, 1983, the Board of Governors approved changes to the existing total direct costs. Indirect expenses approximated retirement plan, which resulted in unfunded past service costs being amortized over twenty years and included revisions $1,799,400 and $1,623,600 for the years ended to certain benefit and vesting provisions, actuarial assumptions and the assumed rate of return used to determine the June 30, 1985 and 1984, respectively. actuarial value of accumulated benefits (adjusted from 2 . 75 % to 7.5 %). All contributions under the plan are made to an Income taxes insurance company which is the plan trustee. Net assets of the plan as of the most recent actuarial valuation date,July 1, The Academy and the Foundation are nonprofit 1984, totaled approximately $1 million. organizations determined by the Internal Revenue Service and the California Franchise Tax Board to be exempt from federal and state income taxes. DOLBY STEREO Hollywood

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