FROM THE PRESIDENT

Academy of Mction Picture Arts and Scicnc:J5 Library. Bo"~rli' Hil!:;, Cs:if. Go to the Movies!

DON'T WAIT FOR THE DVDs TO ARRIVE. Do what we were "The audience all meant to do - see movies in theaters where they deserve to be seen. Have the big screen experience as you consider your choices for the 79th and the theater Academy Awards. environment are Yes, the DVD offerings from the studios will come pouring in pretty soon, and we'll all be able to catch up on the films we' ve missed, but home definitely part of viewing - even on the flat-screen TV in the den - is just not the same as what movies are ... being in a movie theater with other filmgoers giving in to the power of the big screenibig sound experience. It doesn' t matter if it' s "six-track 70mm when the technical, stereo" or "digitally mastered" or "Sen surround" - it's AT THE MOVIES emotional and - and that makes a difference. Do you remember the days when you couldn't wait to get to a theater social elements all to see -let's say - "Star Wars" or "Driving Miss Daisy" or "Fiddler on the Roof' or "Apocalypse Now"? Part of the joy of it was just being there align, it is indeed knowing that the rest of the crowd was as excited as you were! The the stuff dreams audience and the theater environment are defmitely part of what movies are. Yes, there are times when cell phones ring and people talk and the are made of." air conditioning doesn't work well- but when the technical, emotional and social elements all align, it is indeed the stuff dreams are made of. As three-time Oscar winner Walter Murch says in the book Behind the Seen, "So you get this beam being projected on a screen, not in an air vacuum, but in the vacuum of darkness. And people are sitting there in the dark, which is kind of strange when you think about it: that 343 - or a thousand - or six people would choose to pay money to go spend two hours with strangers in the dark. But they do it, and they do it willingly. Then this flickering image and some fluttering speaker cones play their relatively modest energies. But the power that film has over the audience is not its physical strength, but its coherence and the fact that 25,000 years of human history is coiled there in the dark, ready and anxious to make a leap. It's a powerful combination when it works." An elegant way to remind you that this is the way we should be looking at movies, first and foremost. To that end, remember please that our Academy theater in Beverly Hills shows new films on a weekly basis and our screening facilities in New York, San Francisco and London have regular screenings as well. And they're free! So as they say, consult your monthly program guide and ... Go TO THE MOVlES!

- SID GANIS

~~~. ' . ACADEMY REPORT ).. ..,4 , , ~ f : Published by the Academy of Motion Picture Arts and Sciences .... . 8949 Wilshire Boulevard. Beverly Hills. California 90211 ·1972 (310) 247·3000 www.oscars.org PRESIDENT ...... •...... •...... Sid Ganis ON THE COVER: FIRST VICE PRESIDENT ...... • ...... Robert Rehme The cutting-edge animation duo of twin brothers VICE PRES IDENT ...... •...... Donald C. Rogers Stephen and Timothy Quay delivered their first U.S. VICE PRESIDENT ... • ...... •• ...... •• •...... ••... Arthur Hamilton lecture as this quarter's TREASURER ...... • ...... • ...... •...... •...... •...... Tom Hanks 10th Marc Davis Celebration of Animation. SECRETARy ...... •...... •...... Kathy Bates See story on page 4. EXECUTIVE DIRECTOR ...... Bruce Davis Photo Credit: From "St reet of Crocodiles" Photos: unless otherwise identified, by Image Group LA; Design: Lisa Carlsson. Carlsson & Company. Inc. ©1986 Zeitgeist Films Oscar,Oscars', Academy Awards: Academy Award . A.M.PAS. and Oscar Night are the trademarks. and the Oscar statuette is the registered design mark and copyrighted property. of the Academy of Motion Picture Arts and Sciences.

Z AC A DE M Y REP ORT ' V OL UM E 18 Tribute to a Legend

LEGENDARY LEADING de Havilland was a remains a significant victory "I cannot help thinking of lady Olivia de Havilland trav­ pioneer in the struggle for for actors and fa vorably an April day in 1935 w hen I eled from her home in Paris to actors' rights. Under contract affected other studio contract sat dow n on a stage ramp - be honored by the Academy to Warner Bros., she rebelled employees of that era . aged 18 I was - with a hand­ with a career tribute in June at at the inferior quality of roles At the Academy tribute, some, magnetic 25-year-old the Samuel Go ld wyn Theater. being offered to her after de Havilland engaged in an Tasmanian, Errol Fl ynn . "Miss de Havilland has lived "Gone with the Wind" (made onstage conversation w ith "He asked me, 'What do in France for over five decades on loan-out to David O. program host Robert Osborne. you want out of life?' now," said Academy President Selznick), and she was placed Special guests included pro­ "And I said, 'Respect for Sid Ganis in his welcome. "So, on a six-month suspension. ducer Samuel Goldwyn Jr.; difficult work well done.' it's pretty safe to say that she is At the end of her seven-year David Ladd, her co-star in "Tonight you and the viewed as a national treas ure on co ntract, the studio attempted "The Proud Rebel "; and Roger Academy have made me feel two continents." to force her to stay on, claiming Mayer, who spoke about the that, perhaps, after all, I have Over her five-decade that her obligation extended to "de Havilland Decision." achieved that young dream ." career, de Havilland earned include the duration of the At the evening's conclusion, five Academy Award nomina­ suspension. She sued the de Havilland said, "When you The tribute was presented in associa­ tions and took home two st udio and won, and though find your 90th birthday tion with the Film Department of the Las Best Actress Oscars, for her she did not work in films approaching, you tend to look Angeles County Museum of Art Support for performances in "To Each during the intervening back to those early years and the program was provided by Air France and His Own" in 1946 and "The three years, the landmark the dreams and ambitions that the Las Angeles Fifm and Television Office of He iress" in 1949. "de Havilla nd Decision" you had then. the French Embassy

ACA DE MY REPORT · SECO N D Q U AR TE R 2006 3 The Brothers Quay Animate Davis Lecture

"WE FEEL A LITTLE BIT NAKED TONIGHT," The brothers subsequently got into anima­ the Brothers Quay sa id from the Samuel The sold-out tion when a friend suggested they try for a grant Go ldwyn Theater stage, where they were for an experimental film at the British Film presenting the 10th Marc Davis Celebration of evening at the Institute. They proposed a puppet film. Some Animation in April. It was the first speaking Samuel Goldwyn six months later, the friend called and said, "I 've engagement in the United States for the got you 9,000 pounds. Come back to make your animating duo. Theater included puppet film." "Normally in London if one of the colleges "We were so intimidated by working with the calls up and wants us to come in and lecture, the screening of puppet because all we had was one of those stupid we say 'never.'" Instead, the brothers invite the several of the ani­ little mannequins that you buy at an art shop. We students to the studio. "Everything's there, the decided that since we couldn't move the puppet (as camera, the lights, the puppets, the table where mated short films artfully as an experienced stop-motion animator), we animate everything. And so, we fee l a little from the Quay that we would make everything move around it and bit naked tonight." create a highly subjective universe around it." Identical twin brothers Stephen and Timothy brothers' universe. The sold-out evening at the Samuel Goldwyn Quay enjoy being confused one with the other Theater included the screening of several of the and actually prefer, Director of Educational animated short films from that universe, including Programs and Special Projects Randy Haberkamp said, "to be "Street of Crocodiles" (1986) and "The Comb" (1990). referred to simply as 'Quay.'" Born near Philadelphia, the Quays have remained in London The brothers trained as illustrators at the Philadelphia where, over the past two decades, they have produced numer­ Col lege of Art where, on their first day there, they recalled, "We ous animated and live action short films, television commercials saw an exhibition of Po lish posters which made a subliminal, but and music videos. In 1995 they released their first feature­ huge, impression on us." length film, "Institute Benjamenta."

4 ACADEMY REPORT ' VOLUME 18 Third Timers Another Charmer for "Great To Be Nominated"

THE ACADEMY LAUNCHED THE THIRD PART OF ITS successful screening series "Great To Be Nominated" as the second quarter began, and it ran for 19 weeks. The series at the Samuel Goldwyn Theater showcased the Best Pictu re nominees - this time from 1958 to 1976 - that accumulated the most Academy Award nominations in a partic­ ular year, but did not ultimately win the Oscar for Best Picture. A different film screened each Monday evening, plus one Tuesday night to keep patrons on their toes. "The Defiant Ones," a breakthrough film in Hollywood's portrayal of race relations, opened the series. The film was nominated for nine Academy Awards and took home Oscars for Black-and-White Cinematography (Sam Leavitt) and Writing­ Story and Screenplay written directly for the screen (Ned rick Young and Harold Jacob Smith). It also was honored with four nominations in the acting categories: Tony Curtis and Sidney Poitier, both for Lead Actor, and Theodore Bikel and Cara Williams for Supporting Actor and Actress, respectively. Stanley Kramer was nominated in the Directing category and Frederic Knudtson was nominated for Film Editing. The film was also nominated for Best Motion Picture (Kramer, producer). Curtis, Bikel and Williams participated in a panel discussion following the screening. The series continued through August 28, when Part Three concluded. -"Great To Be Nominated" will be on hiatus until Spring 2007, w hen Part Four w ill pick up where this insta ll ment of the series ended. Other elements from each year, such as short subjects, behind-the-scenes footage, trailers, music and special surprises that series coordinator Randy Haberkamp loves to spring, are incorporated into each evening's program.

ACADEMY REPORT ' SECOND QUARTER 2006 5 Rediscovered Pickford Films Bow at Pickford Center

"PICKFORD AT THE PICKFORD," quoted her explanation: "I left the screen ing a newly restored "Sparrows" trailer, a presented in June at the Academy's because I didn't want what happened to T echnicolor test of Pickford from the set Linwood Dunn Theater, featured screen­ Chaplin to happen to me, When he of "The Black Pirate" (1926), two rarely ings of two recently rediscovered and discarded the 'little tramp,' the 'little screened shorts, both from 1911 , "The restored si lent films starring Oscar-winning tramp' turned around and killed him. Mirror" and "When the Cat's Away and actress and founding member of the The 'little girl' made me, I wasn't waiting the only surviving reel from her 1914 Academy, Mary Pickford: "Sparrows" for the 'little girl' to kill mel" feature "A Good Little Devil" were also (1926) and "Beh ind the Scenes" (1914), "Behind the Scenes" screened for an screened, The screenings were part of the Academy's audience for the first time in many years, Haberkamp noted that while the "Lost and Found" fi lm series, designed to A restored print made from the only "Lost and Found " series provides rare showcase archival prints that have been known existing nitrate print of the film opportunities to access "lost" films, the recently rediscovered or restored, with original tints was shown, The Pickford films in particular are an excep­ "Spa rrows," restored by the Library nitrate print had been acquired for tional treat. "Mary Pickford was quite of Congress, was Pickford's final per­ $850 from a private collector in the content to remove her films from public formance in the role of a ch ild, She had 1970s by James Card, former curator of accessibility, as she felt they we re of their already begun working beh ind the scenes the motion picture collection at the time," he said, "Fortunately, her execu­ and retired from the screen in 1935, George Eastman House, tors have seen fit to restore and retain Program coord inator Randy Haberkamp Other rare Pickford treasures, includ- her film heritage,"

6 ACADEMY REPORT · VOLUME 18 Guthrie New Grants Coordinator; 8eal Goes Full-Time on Nicholl

SHAWN GUTHRIE, administrati ve assistant to Program Coordinator Greg Beal since 2001 , has been promoted to the position of Grants Coordinator, taking over grants duties from Beal. In his new role, Guthrie will oversee the Academy's pro­ grams that provide funding to institutions, fes tivals and film scholars annually. A Conversation with Paul Haggis

PAUL HAGGIS, THE TWO-TIME ACADEMY AWARD RECIPIENT WHO MADE OSCAR history by writing back-to-back Best Picture winners, appeared at "A Conversation with Paul Haggis" in May at the Samuel Goldwyn Theater, discussing his approach to writing, his influences, and his journeys through the development process. The program, wh ich included il lustrative cl ips, was moderated by Academy Governor Phil Robinson. "A Conversation with Pa ul Haggis" was presented under the banner of the Academy's Marvin Borowsky Lecture on Screenwriting. Haggis earned his first Academy Award nomination for Best Adapted Screenplay for "Million Dol lar Baby," 2004's Best Picture winner. His origi- nal screenplay for "Crash," 2005's Best Picture winner, writ­ Beal will now manage ten with Bobby Moresco, resu lted in Oscars for them both. on a full-time basis the "It just fl ew out of us in a couple of weeks," Haggis said . Nicholl Fellows hips in Usua ll y, he continued, a film takes a "grueling nine, ten Screen writing program, month s. But this just fl ew out and, rea ll y, I just fol lowed the which has grown exponen­ characters and tried to obey a couple of rules. One of them ti all y in both entries and was that as soon as I prove something with a character, I prestige over the 20 years of have to prove the antithesis, because that was me dea ling its existence. with the fact that we all contain these contradictions that Both will continue to make us human." work out of the Academy's Haggis's "overnight success" in feature films came after Pickford Center for Motion 25 years of writing for television shows such as "The Facts Picture Study in Hollywood. of Life," "thirtysomething," "Due South" an d "LA Law."

ACADEMY REPORT · SECOND QUARTER 2006 7 Academy Presents a Restored Renoir, a Classic Spoof and a Ford/Wayne Western

A RECENTLY RESTORED PRINT OF strip nitrate Technicolor camera negative anniversary screening at the Goldwyn. Jean Renoir's 1951 film, "The River," was was used for the restoration, along with It was Pippa Scott's first film. She had screened as the April Gold Standard soundtrack elements from two safety heard the stories about John Ford as "a Series presentation. prints. The restored print was premiered gruff, difficult, difficult man to work with. "Airplane I" landed in May and in at the Cannes Film Festival last year. This was not something I ever saw. He June "The Searchers" galloped in. Writer-directors Jim Abrahams, David was tender. He was sweet. He was kind Shot on location in India, "The River" Zucker and Jerry Zucker as well as cast to us. I remember one sequence where was Renoir's first fi lm in color and is con­ members Robert Hays, Peter Graves and we're looking to the horizon because our sidered the ultimate articulation of the Kareem Abdul-Jabbar were among the uncle is coming toward us, and I director's career-long fascination with participants in the Academy' s cast and scrunched up my nose, and Pappy said , the theme of water as a life force and a crew reunion and screening of "Airplane!" 'Keep that. Do that. Do that. Do that.' source of beauty. Photographed by the in May. Academy Governor and producer I thought, 'This is not the making of a director's nephew, Claude, the film's Hawk Koch, whose father, past Academy glamorous actress. But you want that, screenplay was written by Reno ir and President Howard W. Koch, was one of you get it.'" Rumer Godden, who wrote the novel the film's three producers, served as host The evening was hosted by film critic upon which the film is based. and moderator at the Samuel Goldwyn and commentator Pete Hammond and The print of "The River" that Theater event. Structured around the included the participation of actors Harry screened was from the new restoration fateful flight of a commercial airliner after Carey Jr., Lana Wood and Scott; John completed by the Academy Film Archive the crew becomes sick from eating bad Ford's grandson, Dan Ford; and director in association with the British Film fish, this spoof of 1970s disaster movies Peter Bogdanovich. Institute, Janus Films and The Film helped usher in a film genre that continues The digital version shown was Foundation. The restoration was funded to this day. completely remastered and restored by with support from the Hollywood Foreign Finally, in June, "The Searchers" rode Warner Bros. from the original Press Association. The original three- into the Academy for a special 50th VistaVision elements.

8 ACADEMY REPORT ' VOLUME 18

"A MIDSUMMER NIGHT'S DREAM" (1935) - Presented in conjunction with the Academy's June tribute to Olivia de Havilland and a retrospective of her films at the Los Angeles County Academy's Tech Council Museum of Art, this visually stunning film "THE RAINS CAME" Brings uMovie Magic" to the Screen earned the Academy A ward (1939) - Known for its for Cinematography for Hal spectacular monsoon and "APPLAUSE" (1929) - This early sound fIlm marked the Mohr. Cinematographer earthquake sequences, "The directorial debut of Russian-born Rouben Mamoulian. In the new era Ralph B. Woolsey Rains Came" won the first of the "talkie," it was the first film ever to be made in a two-channel introduced it. Academy Award given in the monophonic mix and is credited as a giant step forward in motion Special Effects category. picture sound technique. A restored print of the "The Gigolo Racket," A newly restored print was a Vitaphone short, also was screened. Scott MacQueen, director of introduced by Visual Effects restorative management for Pro-Tek Media Preservation Services, Branch Governor Craig introduced the films. Barron. "Like every other film "TRON" (1982) - This made in this period of time groundbreaking Disney in the studio system," Barron Studios feature forever said, "we don't actually go to changed the landscape for India. We create everything computer-generated imagery. here in Hollywood and The evening included a discus­ rely on the visual effects sion with Richard Taylor and departments to create these Steve Lisberger, the film's different locations." visual effects supervisor and director, respectively. Oscar nominee Bill Kroyer, a member of the Science and Technology Council, introduced the film and moderated the discussion. "Twenty-four years and people are still fascinated with 'Tron,' " Kroyer said. "There are so many great people that came out of this movie, people who really founded the computer graphics business that has changed fllm ."

10 ACADEMY REPORT · VOLUME 18 Creatures,ftftonsters and Things

ASLAN, YODA, MR. TINKLES, AUDREY II, MIGHTY JOE Young, and the Mystics, as well as a puppy, a Tyrannosaurus Rex and several aliens, were among the fantastical creatures, unearthly characters, hideous monsters and memorable icons that inhabited the Academy's Fourth Floor Gallery in the "It's Alive! Bringing Animatronic Characters to Life on Film," exhibition from mid-May through mid-September. The gallery section of the exhibtion showcased numerous models, both small and large, maquettes, and animatronic creatures and their mechanisms, accompanied by video clips of the final product. The Grand Lobby section of the exhibition focused on the extensive design process such characters undergo and presented concept drawings, storyboards and photographs from the workshops and sets where the characters were built and operated. With its roots in the early yea rs of fantasy films, anima­ tronics became widely used from the 1970s through the 1990s, making possible characters like Yoda of "The Empire Strikes Back," Harry, the giant ape of "Harry and the Hendersons" and, most recently, Asian, the lion of "The Chronicles of Narnia." Even though the advent of CGI has given filmmakers a different range of options, such recent films as "Herbie Fully Loaded" and "The Hitchhiker's Guide to the Galaxy" have elected to use animatronics to enable real-time performances. Lending to the exhibition were the Jim Henson Company and the Jim Henson Lega cy, Sony Pictures Archives & Collections, Universal Studios, the Walt Disney Company, Rick Baker, Lee Cohen, Dave Barclay, Howard Berger & Gregory Nicotero, Lyle Conway, Richard Edlund, John Fasano, Alec Gillis & Tom Woodruff, Ray Harryhausen, Chris Hayes, Robert Short and Phil Tippett. Student Academy Awards Like a good film, the 33rd Student Academy Awards ceremony was replete with triumph and tragedy.

WELL, MAYBE NOT TRAGEDY, the projection booth were But nothing spoiled the dropped to his knees and but certainly a test of charac­ heating up - a digital projec­ mood. Academy President Sid bowed his head to the stage in ter. Unbeknownst to the stu­ tor momentarily caught fire in Ganis hosted the evening, and respect and thanks for his dents, governors and guests the minutes leading up to the writer-director Kevin Smith parents' support. enjoying themselves at the ceremony. Fortunately, thanks and actress-writer Nia South Africa continued a evening's reception, things in to some expert evasi ve driving, Vardalos, who presented the landmark year, taking the another projector was awards, offered words of Honorary Foreign Film award, retrieved from the Linwood encouragement with the following its Oscar w in in the Dunn Theater (round trip: 14 certificates. Foreign Language Film award miles) in record time, and the The 13 winners' first "I'd category in March. Student show went on, only slightly like to thank the Academy"." Tristan Holmes of the South late. Then, just to make things speeches, though, were African School of Motion interesting, as the program poignant - emotions were Picture Medium and Live finally settled in, the gremlins expressed with triumphant Performance traveled over 30 of the Goldwyn decided it declarations, tears, cell phone hours to become the first would be a nifty time to have photos and a reverential full-on South African student to be the theater's house lights come bow when Animation Gold honored. up at random moments. Medal winner Chris Choy

12 ACADEMY REPORT · VOLUME 18 THE WINNERS: AIIIIrnatIve - Gold Medal: "Perspective." Travis Hatfield and Samuel Day. Ball State University. Indiana; Silver: "6 A.M .... Carmen Vidal Balanzat. City College of New York. (No bronze medal was awarded in this category.)

AnImation - Gold: "The Possum." Chris Choy. California Institute of the Arts; Silver: "The Dancing Thief." Meng Vue, Ringling School of Art and Design, Sarasota, Florida; Bronze: "Turtles," Thomas Leavitt, Brigham Young University.

Docu .....ry - Gold: "Reporter Zero." Carrie Lozano. University of California. Berkeley; Silver: ''The Women's Kingdom," Xiaoli Zhou, A SCREENING OF University of California. 2005 Best Picture winner Berkeley; Bronze: "Three "Crash" at the Academy in Beauties." Mak Hossain, Purdue May concluded the Spring University. 2006 Media Literacy Program. Urban Educati on Partnership worked with the Namrtive - Gold: "Christmas Academy to bri ng to the Wish List," Sean Overbeeke. Samuel Goldwyn Theater University of North Carolina; several hundred students Silver: "EI Viaje" (MOne Day from five Los Angeles Unified School District high Trip"). Cady Abarca-Benavides. schools. Listening to Columbia University; Bronze: comments from Academy "Pop Foul." Moon Molson and Director of Educational Jennifer Handorf. Columbia Programs and Special University. Projects Randy Haberkamp are, from left, actress Marina Sirtis, who played tIoIlOIW'FoNIp ..... A.... "Shereen"; Cathy - "Elalini." Tristan Holmes. Schulman, Oscar-winning 'the South AfriC3l School of producer of the film; Sarah Motion Picture Medium and Halley Finn and Randi Hiller, co-producers and casting directors; and cos­ tume designer Linda Bass.

ACADEMY REPORT ' SECOND QUARTER 2006 13 Academy Presents Centennial Salute to Janet Gaynor

JANET GAYNOR, THE Gaynor earned her break Award for Best Actress. Is Born" in 1937, and she first recipient of the Best w ith a small but crucial part Ga ynor and Farrell made retired from show business Actress Academy Award, in "The Johnstown Flood" 12 films together and crossed shortly thereafter. rece ived a centennia l salute (1926). A long-term con­ over successfully from silent The Academy's event at the Academy's Lin wood tract w ith Fox led to starring pictures to the sound era. launched a 16-title retrospec­ Dunn Theater in April, featur­ roles in several more studio The actress remained a top tive series of Gaynor's films ing a screening of a new print movies, which brought her to box-office draw well into the at UCLA, presented in of "Street Angel," in whi ch the attention of directors 1930s. Her career in ta lkies association with th e Louis B. Gaynor sta rs, foll owed by a F.W. Murnau and Frank peaked with an Oscar-nomi­ Mayer Foundation. discussion with Gaynor's son, Borzage. She made two films nated performance in "A Star Robin Adrian, and her w id­ with Murnau, including ower, producer Paul Gregory. "Sunrise" (1927), and three Gregory sa id that Gaynor w ith Borzage, who first Frank Borzage, who directed "Street Angel," was "j ust flabbergasted that paired Gaynor w ith lea ding she was acting at all." She man Charles Farrell in "7th won the first Directing Academy Award for his hadn't intended to be an Heave n." It was for her com­ work on another film that year, "7th Heaven." actress, he sa id, and had bined work in those films, been discovered only along w ith her performance His widow, Juanita, donated his Academy Award because she'd gone to the in the Borzage-directed statuette to the Academy the week before the studio w ith a sister who had "S tree t Angel," that Gaynor wanted to act. won the first Academy Gaynor salute, and it was on display in the lobby following the program.

14 ACADEMY REPORT · VOLUME 18 MIXING IT UP MEMBERS OF THE WRITERS AND ART DIRECTORS BRANCHES took some time to get to know their colleagues and view treasures from the Margaret Herrick Library during separate mixers held in April and June, respectively. Writers Branch members had the opportunity to peruse historical screenwriting materials, including a 1915 scenario by Marion Fairfax, Thornton Wilder's handwritten script pages for "Shadow of a Doubt," an annotated shooting script for "From Here to Eternity," the subpoena for writer Robert Lees to appear before the House Un-American Activities Committee, and correspondence from Tennessee Williams, James Jones, Ra y Bradbury and Arthur Miller. Art Directors Branch members were treated to an equally impressive display, pulled from the Library's graphic arts collection, featuring more than 30 production and costume design drawings from films such as "The Woman from Moscow," "Gone with the Wind," "Giant" and "The Postman Always Rings Twice." The display also included storyboards, correspondence, set plans, budgets, censorship files, and photographs spanning 1925-2000.

ACADEMY REPORT ' SECOND QUARTER 2006 15 Green. It's the New Gold

WE MAYBE BEST KNOWN FOR OUR Oscar gold, but the Academy is also now going green. Installation of a new solar power-generating system is almost complete on the roof of the Pickford Center in Holl ywood. And while the results will be worth the effort, make no mistake-a lot of effort was needed. It started back in 2002, when the Academy decided to purchase the fo rmer Don Lee-Mutual Broadcasting facility to house the Academy Film Archi ve and other departments. Board members Ed Begley Jr. and Jonathan Erland suggested that in converting the space to meet our needs, we should proceed in a manner as environmentally responsible as possible. And they specificall y pointed out that the building's large expanse of relati vely fl at roof area might be perfect for solar panels. Thus began a lengthy in vestigation process, which ultimately led to the Academy Monday Nights with Oscar submitting an application to the Los Angeles Department of Water and Power to parti cipate in what isn't on paper, is incredible." its Solar Incentive Program. With a goal of The May screening was "The 100,000 solar rooftops by 2010, the DWP's Defiant Ones," widely rega rded as program gives money back to the applicants it a brea kthrough film in approves to offset the cost of solar power-generating Hollywood's portrayal of race system installation. Though our applicati on re lations. Stanley Kramer's 1958 was submitted shortly after our purchase of the black-and-white drama won building, it wasn' t until August 2005 - a three­ Academy Awards for cinematog­ year peri od during whi ch Ed frequently needled raphy and writing. It received a the DWP on our behalf - that the Academy got the total of nine nominations, includ­ go-ahead from the DWP. ing Best Actor nominations for Solar Integrated Technologies then created a stars Sidney Poitier and Tony design for our proposed photovoltaic roofing Curtis, both career firsts. system. The City'S Department of Building and In Ju ne, four-time Academy Safety and the DWP approved that design, and we Award nominee and Pulitzer were finall y able to start the actual work in June of Pri ze-winning playwright Neil this year. Simon discussed "Barefoot in the OSCAR-WINNING ACTRESS Sixty-two solar panels totaling over 15,000 Park," which he adapted from his Patricia Neal was the special square feet of surface area are now stretched 1963 Broadway play of the same guest at the screening of "Hud," over five distinct secti ons of roof at the Pickford name. After wa tching clips from the quarter's first "Monday Center. When the system is fin ally hooked up and fo ur of his films, Simon quipped, Nights with Oscar" series presen­ online, the energy captured by the panels will be "I didn't realize they were so ta tion in April in New York City. transferred to an inverter, whi ch will then send the short, all fo ur moviesl" Hosted by fi lm historian and electrical current generated out into the DWP grid Directed by Gene Saks, Turn er Classic Movies host for distribution to other customers. A monitoring "Barefoot" was fi lmed in New Robert Osborn e, the evening meter will track the amount of current our system York City, at such loca les as featured a discussion with Nea l contributes and the Academy will receive credi t Washington Square, Greenwich foll owed by the screen ing of the against our own consumption bill. The system is Village and the now-closed Plaza Academy Fil m Archive's 2005 designed to produce approximately 62,000 Hotel on Central Park, and starred restored print of the Martin Ritt kilowatt-hours of electricity per year, enough to Jane Fonda and Robert Redford . film, w hich stars Paul Newman in power ten homes. Just as important, generating "Monday Nights with Oscar" his third Oscar-nominated per­ this electricity in this manner will avoid the is a monthly New York se ri es formance. Nea l's role in "Hud" is creati on of the approximately 75 ,000 pounds of showcasing high-qua li ty prints of not a large part, Osborne sa id, carbon dioxide that wo uld have resulted from Academy Award-nominated and "but it's one of the great perform­ burning fossil fuels. winning films. ances. What she does with it,

16 ACADEMY REPORT ' VOLUME 18 Oscar's Docs in Washington, DC

MICHELANGELO and Helen Keller were both in our nation's capital in May. Well, kind of. They, along with 12 other subjects, were featured in Oscar-winning documen­ taries that unspooled for Washington, DC, audiences at the National Archives. The Academy, along with the Foundation for the National Archives and the Charles Guggenheim Center for Documentary Film, screened short An Evening in London subject and feature docu­ mentaries that won the Academy A ward between with Harold Pinter 1947 and 1960 in the William G. McGowan HAROLD PINTER, THE WINNER OF THE 2005 NOBEL PRIZE IN LI TERATURE, Theater. Academy Award-nominated screenwriter, playwright, theater director, actor, political The retrospective series activist and Writers Branch member who has his own adjective - Pinteresque - in "The featured prints many of New Shorter Oxford English Dictionary," was the guest of honor at the Academy's presenta­ which were newly struck or tion of "An Evening with Harold Pinter" on June 1 at the Curzon Soho Cinema in London. Pinter's distinctive writing voice earned him the adjective. restored by the Academy Hosted by screenwriter and playwright David Hare, the program featured remarks by Film Archive. Academy President Sid Ganis, a conversation with Pinter, film excerpts from 14 films, and The doc screenings commentaries from collaborators, colleagues and friends including Edward Fox, James Fo x, ranged from the U.S. Sir Michael Gambon, Sir Peter Hall and Patricia Hodge. Navy's expedition to the Pinter earned Oscar nominations for his adapted screenplays for "The French Lieutenant's Woman" in 1981 and "Betrayal" two years later. He has written numerous Antarctica in "The Secret screenplays and appeared in several films under both his own name and his stage name, Land" (1948) to an in­ David Baron. depth look into African Pinter's filmography includes "The Birthday Party," the film version of one of the many wildlife conservation in critical successes of his early theatrical career, and provocative works such as "The Servant," "Serengeti Shall Not Die" "The Caretaker," "The Handmaid's Tale," "The Comfort of Strangers" and "The TriaL" (1959). Michelangelo and Keller were featured in "The Titan: Story of Michelangelo" (1950) and Directors Branch member Chuck "Helen Keller in Her Story" Workman lectured in April at CoIpte (1955), respectively. University in Hamilton, New York, Academy Visiting Artist. His was closing presentation of a six.. ",,, . lie series on alternative cinema.

ACADEMY REPORT · SECOND QUARTER 2006 17 Academy Invites 120 to Membership

THE ACADEMY IN JUNE extended membership invitations to 120 artists and executives who have distinguished themselves in the field of theatrical motion pic­ tures. The group will be the only new voting members invited to join the organization in 2006. "Two years ago the Academy decided to slow membership growth, and to become even more selective in choosing members," said Academy President Sid Ganis. "Instead of inviting every proposed person who has achieved the minimum qualifications for his or her branch, the membership committees are selecting the most exceptionally qualified names from those lists." Procedures instituted two years ago allow the organization to fill vacancies resulting from death and transitions to retired (non-voting) status, and to grow in addition by a maximum of 30 new members annually. Candidates for Academy membership are considered by committees made up of promi­ nent representatives of each of the 14 branches. Candidates can either be proposed by the com­ mittees or by two current mem­ bers of their branch. In addition, individuals nominated for Academy A wards, if not already members, are considered by the appropriate committees, though not necessarily invited to mem­ bership. This year, 39 of the invitees were 2005 nominees and 8 won Oscars. Though the great majority of Academy members are based in the U.S., membership is open to qualified filmmakers around the world. The Academy roster currently includes theatrical motion picture makers from 36 countries. New members were welcomed at an invitation-only reception in September at the Fairbanks Center for Motion Picture Study. The 2006 invitees are ...

ACTORS CINEMATOGRAPHERS FILM EDITORS PUBLIC RELATIONS Amy Adams Lance Acord Tom Finan Andre Caraco Eric Bana Paul Cameron Wayne Wahrman Mary Murphy Conlin Maria Bello Cesar Charlone Hughes Winborne Steve Elzer Dakota Fanning Denis Lenoir Barbara Glazer Jake Gyllenhaal Wally Pfister LIVE ACTION Rick Lynch Terrence Howard Roberto Schaefer SHORT FILMS Steven T. Miller Felicity Huffman Sandi Sissel Pia Clemente Keira Knightley Tom Stern Martin McDonagh SCIENTIFIC AND TECHNICAL Heath Ledger Salvatore Totino Rob Pearlstein James Beshears Hayley Mills Lanny Raimondo Barry Pepper COSTUME MAKEUP/HAIRSTYLISTS Kenneth S. Williams Joaquin Phoenix DESIGNERS Lance Anderson Jon Polito Jacqueline Durran Nick Dudman SET DECORATORS Ving Rhames Janty Yates Trisha Edwards Liev Schreiber MUSIC Victor Zolfo David Strathairn DIRECTORS Harry Gregson-Williams Rachel Weisz Werner Herzog Alberto IgleSias SOUND Nicole Holofcener Dario Marianelli Ulrika Akander ANIMATORS Gavin Hood Dolly Parton Anthony (Chic) Ciccolini III Wayne Allwine Bennett Miller Eugene Gearty Mark Andrews Mark Waters PRODUCERS Michael Semanick Steve Box Albert Berger Renee Tondelli John Canemaker DOCUMENTARY Bill Kong Will Finn Paola di Florio Tom Luddy VISUAL EFFECTS Rex Grignon Alex Gibney Gail Mutrux Jim Berney Andrew Jimenez Hubert Sauper Diane Nabatoff Pablo Helman Tim Johnson Cathy Schulman Jeffrey M. Kleiser Hayao Miyazaki EXECUTIVES Jennifer Todd Michael Meinardus Gail Berman Robert K. Weiss William F. "Bill" Shourt AT-LARGE Jeff Bewkes Ron Yerxa Dan Taylor Grover Crisp Colin Callender Bill Tondreau Louis D'Esposito Andrew E. Cripps PRODUCTION Bill Westenhofer Daniel Glickman Hal Gaba DESIGNERS/ Steve Papazian Elizabeth Gabler ART DIRECTORS WRITERS David Young Douglas Mankoff Mark Friedberg Noah Baumbach Michael Paseornek Sarah Greenwood Jeffrey Caine CASTING Paul Schaeffer Tom Reta Jean-Claude Carriere DIRECTORS Jonathan Sehring Melissa Stewart Dan Futterman Sarah Halley Finn Michael J. Werner Tom Wilkins Tony Kushner Randi Hiller Bobby Moresco Josh Olson

ACADEMY REPORT · SECOND QUARTER 2006 19 79th Oscar Rules Approved by Academy

THE GOVERNORS OF THE ACADEMY "That may sound like a profound approved the rules for the 79th Academy change," Academy Executive Director Bruce Awards at their June meeting, endorsing a Davis said, "but it actually addresses a series of changes that President Sid Ganis situation that has cropped up only once characterized as "constructive by not before in our history, and may not arise again earthshaking." this century. Last year the Italians wanted to The biggest change in fact was not techni­ submit a picture that was clearly made by cally a ru le change at all, but a procedural one, Italian artists, and which qualified for the cat­ instituting a two-stage process in determining egory in every other way except one: there the nominations in the Foreign Language Film was no Italian language in it. All the dialogue awa rd category The new approach will allow was in Middle Eastern languages. New York-based Academy members to "The rules clearly prohibited that but the participate for the first time in selecting the situation didn't seem fair to us. So if the nominations for the category. Taiwanese want to send us a picture with Foreign Language nominations for 2006 exclusively Portuguese dialogue this year, wi ll be arrived at in two phases overseen by we're ready for them." two essentially distinct screening committees. In other rules-related actions, the Board The Phase I committee will be the same increased the annual number of nominated several-hundred-member Los Angeles-based achievements in the Sound Editing category group that has viewed the roughly 60 annual from three to five, and approved the elimina­ submissions in past years and selected the tion of the 25-year tradition of the "bake-off" five nominees from the field. For the 2006 for the category. Sound Branch members will Awards though, the Phase I committee will now nominate five films in the category by arrive at a nine-country shortlist. preferential ballot, the system used in many The Phase II committee, made up of ten other categories. Other modifications of the random ly selected members of the original rules include normal date changes and minor committee, ten Los Angeles-based members "housekeeping" changes. not on the original committee, and ten New Rule changes in the Documentary and York-area members, will view the shortlisted Short Film categories were approved by the films in a three-day bicoastal marathon and Board earlier this year. In the Documentary select the nominees from that field. categories, the rules refined the respective In addition to allowing New York multi-city theatrical rollout requirements for members to participate, wh ich they have the two categories, adding a four-city rollout long expressed an interest in, Ganis said requirement for short documentary films and "the principal reason for the two-phase doubling the number of cities to eight for se lection process is to see if we can permit feature-length documentaries. In addition, busy working members to participate in the new rules change the voting system for process without them having to commit to feature documentaries from an averaged point severa l months' worth of screenings." system to a preferential system. In another change for the Foreign In the Short Film categories, the rules Language award, entries submitted in the no longer prohibit multiple entries from a category no longer must be in an official producer or producing team. language of the country submitting the film. Rules are reviewed annually by branch So long as the dominant language is not and category committees. The Awards Rules Eng lish, a picture from any country may be in Committee then reviews all proposed changes any language or combination of languages. before presenting its recommendations to the Academy's Board of Governors.

ACADEMY REPORT · SECOND QUARTER 2006 20