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Index to Academy Oral Histories Marvin J. Levy Marvin J. Levy (Publicist) Call number: OH167 60 MINUTES (television), 405, 625, 663 ABC (television network) see American Broadcasting Company (ABC) ABC Circle Films, 110, 151 ABC Pictures, 84 A.I. ARTIFICIAL INTELLIGENCE, 500-504, 615 Aardman (animation studio), 489, 495 AARP Movies for Grownups Film Festival, 475 Abagnale, Frank, 536-537 Abramowitz, Rachel, 273 Abrams, J. J., 629 ABSENCE OF MALICE, 227-228, 247 Academy Awards, 107, 185, 203-204, 230, 233, 236, 246, 292, 340, 353, 361, 387, 432, 396, 454, 471, 577, 606, 618 Nominees' luncheon, 348 Student Academy Awards, 360 Academy of Motion Pictures Arts and Sciences, 361-362, 411 Academy Board of Governors, 312, 342, 346-349, 357, 521 Academy Film Archive, 361, 388, 391, 468 Public Relations Branch, 342, 344, 348, 356 Visiting Artists Program, 614, 618 ACCESS HOLLYWOOD (television), 100, 365 Ackerman, Malin, 604 Activision, 544 Actors Studio, 139 Adams, Amy, 535 THE ADVENTURES OF HUCKLEBERRY FINN, 71, 458 THE ADVENTURES OF TINTIN, 126 Aghdashloo, Shohreh, 543 Aldiss, Brian, 502 Aldrich, Robert, 102, 107, 111 Alexander, Jane, 232, 237 Ali, Muhammad, 177 ALICE IN WONDERLAND (2010), 172, 396 ALIVE, 335 Allen, Debbie, 432 Allen, Herbert, 201, 205 Allen, Joan, 527-528 Allen, Karen, 318, 610 Allen, Paul, 403-404 Allen, Woody, 119, 522-523, 527 ALMOST FAMOUS, 525-526, 595 ALWAYS (1989), 32, 323, 326, 342, 549 Amateau, Rod, 133-134 Amazing Stories (comic book), 279 AMAZING STORIES (television), 278-281, 401 Amblimation, 327, 335-336, 338, 409-410 Amblin Entertainment, 244, 266, 277-278, 280, 291, 293-294, 304, 306-310, 314, 316-317, 325, 329, 333, 335, 341, 364, 376-377, 380, 382-384, 387, 400-401, 403-405, 414, 420, 431, 439, 470, 484, 506, 508, 620, 629 Amblin Television, 533, 588 Ambrose, Stephen, 456-458, 507, 510, 513 AMERICAN BEAUTY, 440, 444, 468-469, 476, 483-484, 491-494, 540 American Broadcasting Company (ABC), 9, 44, 84, 91, 104, 110-111, 114, 118-119, 122, 136, 150-151, 195, 203, 280, 313, 346-348, 353, 362, 368, 411, 433, 440, 569 American Film Institute (AFI), 178, 581, 651 American Library Association Conference, 2012, 257 AN AMERICAN TAIL, 299, 300, 316, 336-337 AN AMERICAN TAIL: FIEVEL GOES WEST, 335-337 AMISTAD, 179, 431-432, 434-435, 438, 444, 469 ANCHORMAN: THE LEGEND OF RON BURGUNDY, 558 ...AND JUSTICE FOR ALL, 211, 212, 227-228 Anderson, Bob (fencer), 452 Anderson, Jane, 573, 576 ANDY HARDY COMES HOME, 59 ANIMAL HOUSE, 246, 522 ANIMANIACS (television), 314 ANNIE (1982), 250, 253-255, 258-261, 366 ANNIE HALL, 203-204 Anti-Defamation League (ADL), 381, 568 Antonioni, Michelangelo, 146 Antonowsky, Marvin, 207, 220-222, 233, 246, 250-251, 253-254, 257 ANTZ, 491 Apatow, Judd, 558 Applegate, Christina, 558 ARACHNOPHOBIA, 329, 334 Archerd, Army, 54, 341, 446, 627, 628 ARMAGEDDON, 441, 450 AROUND THE WORLD IN 80 DAYS (1956), 14 Art direction, 344, 454, 457, 463, 548, 557, 592 Art Directors Guild, 557 THE ARTIST, 178, 216, 218, 551, 595, 653 Asimov, Issac, 612 Atkins, Chris, 238-239 Attenborough, Richard, 255, 372, 422 AVATAR, 172, 330, 443 THE AVENGERS, 102 Avery, Margaret, 295 BACK TO THE FUTURE, 197, 283, 286, 305, 312, 318, 325, 387, 519 BACK TO THE FUTURE PART II, 319, 576 BACK TO THE FUTURE PART III, 321, 576 Back to the Future Ride (Universal Studios), 286, 322-323 THE BAD SLEEP WELL, 93-94 Baker, Joe Don, 146, 149 Baker, Rick, 309 Balaban, Bob, 190, 247 Ball, Alan, 468-469, 475 BALTO, 326, 406, 408, 410 Bana, Eric, 579 BAND OF BROTHERS (television), 440, 453, 500, 506, 509-510, 588 THE BAND WAGON, 29 Banderas, Antonio, 451 Bario, Holly, 635 Barish, Keith, 263 Barrett, Rona, 203 Barrie, James M., 340 Barrymore, Drew, 45, 191, 270, 354 Bart, Peter, 176, 205, 341, 441, 445-446, 628 Barton, Sue, 214, 221 Basilone, John, 508, 510 Bass, Saul, 144, 416, 538 BATMAN (1989), 321, 334, 615 BATTERIES NOT INCLUDED, 310, 505 Bay, Michael, 546, 570, 595, 599-600 Beach, Adam, 589 Beallor, June, 385, 489 The Beatles, 150, 627 Beaton, Cecil, 54 Beatty, Warren, 160, 164 A BEAUTIFUL MIND, 444, 500-501, 511, 543 BEAUTY AND THE BEAST (1991), 300, 337-338 Bedelia, Bonnie, 124, 131 Begelman, David, 8, 159-160, 162, 167-169, 176, 187, 193-194, 201-202, 207 BEN, 14, 30, 59-62, 68, 92, 141, 143, 149, 174, 363 “Ben” (song), 141 THE BENCH WARMER, 16 Benchley, Peter, 183 BEN-HUR (1959), 14, 30, 59-62, 68, 92, 174, 363 Bening, Annette, 471-472, 475, 575 Benjamin, Richard, 73, 296-298 Benson, Michelle, 329 Bentley, Wes, 471 Benton, Robert, 232, 235 Bergman, Ingmar, 94, 96 Berman, Howard (photographer), 177 Berry, Halle, 395, 604 THE BEST YEARS OF OUR LIVES, 325, 588 Beutel, William, 91 Beverly Wilshire Hotel (Beverly Hills), 152, 164 Billings, Marion, 236 BILLY BUDD, 84 BILLY JACK, 147 Bin Laden, Osama, 193 Bing Crosby Productions (BCP), 110-111, 149, 152 THE BIRDS, 88, 310 Bisset, Jacqueline, 180, 182, 184 BLACK STALLION, 272 BLACKBOARD JUNGLE, 31, 108 blacklisting, 38, 113 THE BLAIR WITCH PROJECT, 622 Bloch, Robert (publicist), 10 Bloom, Claire, 107-108 Blowitz & Canton (Blowitz, Thomas & Canton), 60-61, 80, 83, 85, 88, 91-92, 97, 99, 101, 124-125, 151, 154 Blowitz, John, 154 Blowitz, William, 80, 98-99, 125, 154 THE BLUE LAGOON (1980), 230, 238-239, 397 Bluth, Don, 299, 301, 317, 337 Bogdanovich, Peter, 174, 276, 364, 365 Böhm, Karlheinz, 79 Bonham Carter, Helena, 606-607 Bonnie, Curtis, 464, 504, 513-514, 516, 575, 577 Boorman, John, 113-114 Bouzereau, Laurent, 284, 320, 463, 532, 538, 588, 610, 635 Boyd, Stephen, 60 Bradshaw, Joan, 365, 449, 532 Brando, Marlon, 9, 32, 48, 80, 112 Bret Adams Ltd. Artists' Agency, 158 BRIDESMAIDS, 441, 558 THE BRIDGES OF MADISON COUNTY, 406-407 Bridges, James, 210, 215 Bridges, Jeff, 527 Brimley, Wilford, 247 British Academy of Film and Television Arts (BAFTA), 481-482, 512 Brodsky, Jack, 58, 177, 180, 221 Brolin, Josh, 517, 603 Brooks, Albert, 244 Brooks, David, 202, 580 THE BROTHERS KARAMAZOV, 56-57 Brown, David, 449, 533-534 Brown, Tina, 190 Bryce, Ian, 453-464 Brynner, Yul, 57 THE BUDDY HOLLY STORY, 132-133, 208 Buena Vista Pictures Distribution, 21, 313 BULLY (2001), 290, 292, 383 Burger King (fast food company), 305, 377, 447, 551 Burnett, Carol, 259, 365 Burton, Tim, 333, 396, 606 Busey, Gary, 132-133, 208 Bush, Barbara, 128 Bush, Kelly (publicist), 605 BUTTERFIELD 8, 72 Buttons, Red, 124 CBS Films, 461, 572-573, 608 CGI see Computer-generated imagery (CGI) Camaro (automobile), 282, 596 CANDY, 109-112, 118, 130 Candy, John, 245, 488 Cannes Film Festival, 94, 96-97, 199, 268, 276, 333, 518, 609-611 Canton, Arthur, 61, 80 Canton, Mark, 484 Canton, Neil, 127, 283, 285 Canton, Shirley, 98, 285 Capa, Robert, 466 Capote, Truman, 171 Capshaw, Kate, 318 CAPTAIN BLOOD (1935), 13 Carell, Steve, 558-559 Carlisle, Kitty, 537 Caron, Leslie, 30, 55 Carter, Rick, 287, 423, 457 CASABLANCA, 325, 355-356 CASPER (1995), 406, 410 Cassavetes, John, 102, 241 CAST AWAY, 525, 529 Castellano, Richard, 131 CATCH ME IF YOU CAN, 428, 500, 535, 537-538 Cates, Gil, 264, 347 Catherine, Duchess of Cambridge, 224, 302-303 censorship, 77, 290, 412 Computer-generated imagery (CGI), 367, 646, 649 CHAMPION, 113 Champlin, Charles, 229-231 CHANCE OF A LIFETIME (radio), 19, 21, 24 Charisse, Cyd, 30, 36, 40, 51, 627 CHARLY, 106-107, 111, 118, 125-126, 150 Chasman, David, 226-227 Chastain, Jessica, 100, 638 Chevalier, Maurice, 55-56 CHICAGO (2002), 262, 591, 607 CHICAGO (play), 261 CHICKEN RUN, 492, 495 Children’s Defense Fund, 300, 336 THE CHINA SYNDROME, 209, 211-215, 235 CHOCOLAT, 526, 595 Chong, Tommy, 132 THE CHUMSCRUBBER, 574-575 Cieply, Michael, 196, 471 CinemaCon, 144, 198, 331, 443, 609, 648 cinematography, 185, 203, 230, 232, 316, 385, 435, 454, 481, 532 Cinerama (widescreen process), 78-79, 114, 151 Cinerama Dome (Los Angeles), 276 Cinerama Releasing Corp. (CRC), 67, 84, 103, 111, 117-118, 122, 125-126, 130, 133, 141, 150-153, 155, 363, 375, 410 Classification and Rating Administration (CARA), 289 Clein + Feldman Public Relations, 263-265 CLEOPATRA (1963), 58, 177 The Cleopatra Papers (book), 58, 177 Cliff Robertson, 105 Clift, Montgomery, 52-53 Clinton, Bill, 128, 392, 477, 500 Clinton, Hillary, 128, 193 Clio awards, 417-418, 631 Clooney, George, 399-400, 430-431 CLOSE ENCOUNTERS OF THE THIRD KIND, 160-161, 163, 166-168, 185-187, 190- 191, 193, 197, 199-201, 203-204, 224, 251, 267, 269, 393, 405, 666 CNN, 514, 569-570, 624 Coca-Cola Company, 162-163, 183, 251 Cochran, Jacqueline, 23-24 Cody, Diablo, 508-509 Cofsky, Gene, 141-142, 221 Cohen, Arthur, 138 Cohen, Bruce, 395, 407, 468, 470, 478-479 Cohen, Sacha Baron, 197, 292, 607, 653 COLLATERAL, 559-560 Collette, Toni, 508-509 Collins, Joan, 135-136, 478 THE COLOR PURPLE, 179, 293, 296, 309, 384, 435, 470, 662 Color Systems Technology, Inc., 156 Columbia Pictures, 58, 72, 149, 153-163, 167, 169, 175-177, 179-180, 182-183, 186-187, 192, 194, 197-198, 200-201, 203-205, 207, 209, 211, 213-220, 222-223, 225-226, 229, 232, 236-238, 242, 251-253, 255, 258, 260, 262, 274, 284, 306-307, 375, 427, 438, 449, 476, 516, 526, 533-534, 568, 578, 666 Columbus, Chris, 636 Comcast, 286-387, 391 The Comedy Store (Los Angeles), 128, 315 Condon, Bill, 590, 593 Connelly, Jennifer, 512, 543 Connery, Sean, 170, 318 CONTACT, 321 THE CONTENDER (2000), 527 Cooper, Robert (producer), 433, 439-440, 468 Corliss, Richard, 190, 630, 665 Cort, Robert, 157, 167, 206, 220-221, 223, 330 Costas, Bob, 582 Couric, Katie, 661 COWBOYS & ALIENS, 331-332, 347, 486, 566, 623, 631, 655 Craig, Daniel, 331, 532, 579, 632, 649, 655 Craven, Wes, 572 Crawford, Joan, 106, 126 Creative Artists Agency (CAA), 8, 533 Crichton,
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    RUTGERS, THE STATE UNIVERSITY OF NEW JERSEY NEW BRUNSWICK AN INTERVIEW WITH ARNOLD SPIELBERG FOR THE RUTGERS ORAL HISTORY ARCHIVES WORLD WAR II * KOREAN WAR * VIETNAM WAR * COLD WAR INTERVIEW CONDUCTED BY SANDRA STEWART HOLYOAK and SHAUN ILLINGWORTH NEW BRUNSWICK, NEW JERSEY MAY 12, 2006 TRANSCRIPT BY DOMINGO DUARTE Shaun Illingworth: This begins an interview with Mr. Arnold Spielberg on May 12, 2006, in New Brunswick, New Jersey, with Shaun Illingworth and … Sandra Stewart Holyoak: Sandra Stewart Holyoak. SI: Thank you very much for sitting for this interview today. Arnold Spielberg: My pleasure. SI: To begin, could you tell us where and when you were born? AS: I was born February 6, 1917, in Cincinnati, Ohio. SH: Could you tell us a little bit about your father and how his family came to settle in Cincinnati, Ohio? AS: Okay. My father was an orphan, born in the Ukraine, in a little town called Kamenets- Podolski, in the Ukraine. … His parents died, I don’t know of what, when he was about two years old and he was raised by his uncle. His uncle’s name was Avrahom and his father’s name was Meyer Pesach, and so, I became Meyer Pesach Avrahom. So, I was named after both his uncle and his father, okay, and my father came to this country after serving six years in the Russian Army as a conscript. That is usually what happens to people. … Also, when he was raised on his uncle’s farm, he rode horses and punched cattle. So, he was sort of a Russian cowboy.
  • The Green Sheet and Opposition to American Motion Picture Classification in the 1960S

    The Green Sheet and Opposition to American Motion Picture Classification in the 1960S

    The Green Sheet and Opposition to American Motion Picture Classification in the 1960s By Zachary Saltz University of Kansas, Copyright 2011 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. ________________________________ Chairperson Dr. John Tibbetts ________________________________ Dr. Michael Baskett ________________________________ Dr. Chuck Berg Date Defended: 19 April 2011 ii The Thesis Committee for Zachary Saltz certifies that this is the approved version of the following thesis: The Green Sheet and Opposition to American Motion Picture Classification in the 1960s ________________________________ Chairperson Dr. John Tibbetts Date approved: 19 April 2011 iii ABSTRACT The Green Sheet was a bulletin created by the Film Estimate Board of National Organizations, and featured the composite movie ratings of its ten member organizations, largely Protestant and represented by women. Between 1933 and 1969, the Green Sheet was offered as a service to civic, educational, and religious centers informing patrons which motion pictures contained potentially offensive and prurient content for younger viewers and families. When the Motion Picture Association of America began underwriting its costs of publication, the Green Sheet was used as a bartering device by the film industry to root out municipal censorship boards and legislative bills mandating state classification measures. The Green Sheet underscored tensions between film industry executives such as Eric Johnston and Jack Valenti, movie theater owners, politicians, and patrons demanding more integrity in monitoring changing film content in the rapidly progressive era of the 1960s. Using a system of symbolic advisory ratings, the Green Sheet set an early precedent for the age-based types of ratings the motion picture industry would adopt in its own rating system of 1968.