academy awards - oscars
TRANSCRIPT
R FROM THE PRESIDENT
Many of you probably have wondered when you'd be approached for a contribution to the Endowment Fund campaign for the new Center jor Motion Picture Study. Don't worry. We haven 'tfor gotten you. You 're on our list. And you'll be hearing from us several times over the next few months.
We're working on the final $5 million of the campaign goal now. We passed the $10 million mark injanuary. We 'll be approaching each of you by branch, and our approach will be slightly different for each branch. Some of the branches are "adopting " Center programs or collections, and will be trying to create special endowments for those adopted programs. The Directors Branch has adopted the Special Collections Archive, the Public Relations Branch has adopted the Poster Collection and the Music Branch has adopted the Film Music Collection.
Some branches are concentrating on generat ing "deferred" gifts from among the branch membership. A deferred gift is one that won 't be paid until the death of the donor, and it could be a bequest, a life insurance policy or a charitable remainder trust. Deferred gifts often allow a potential donor to make a much more Significant gift than the donor could afford to make in cash. An estate planning seminar to describe some of these techniques was spon sored thefirst week o/june by the Sound Branch.
I hope all of our members will think of this campaign as an opportunity to make a "life time " gift to the Foundation. We 've never asked our members for contributions before and we don 't expect to ask you again. So this is your chance to make a personal commitment to film history and preservation, to show your pride in an art form that 's been financially rewarding for most of us.
The Center is preserving our work, our contri butions to motion pictures. It 's our job to pass that work on to posterity. Think big . Think stupendous. Think Hollywood! 1
The Pure
o R T
Four happy actors backstage at the Awards: Mercedes Ruehl, Anthony Hopkins, jodie Foster and jack Palance.
In the printed program for the 64th Academy Awards, show producer Gilbert Cates explained, "Motion pictures proVide us with laughter, romance, adventure and a deeper understanding of ourselves. With all the extraordinary events that are taking place today it's wonderful that we can still get away to see a flim. That's what we're celebrating this year at the Oscars: The pure joy of the movies." And celebrate we did.
Television viewers around the globe helped us celebrate, as movie fans in 90 countries tuned in to see what Cates, his team and
During the Awards telecast on March 30, the crew of the space shuttle Atlantis beamed their congratulations to Thalberg recipient George Lucas while an Oscar floated weightlessly nearby. On May 27 that Oscar was returned to the
the Academy voters had in store for them. The production team - ably captained by host Billy Crystal for the third year - also included director Jeff Margolis, writers Hal Kanter and Buz Kohan (with special mate rial by David Steinberg, Bruce Vilanch, Robert Wuhl and Crystal), production de signer Roy Christopher, music director Bill Conti, choreographer Debbie Allen and costume designer Ray Aghayan.
Each viewer will retain his or her own memories of the event: For some, it will be the flim clip tributes to comedy and docu mentaries, painstakingly researched and
(continued on page 4)
Academy in a brief ceremony. Pictured (left to right): Show producer Gilbert Cates, Atlantis Commander Charles Bolden, NASA Administrator Daniel Goldin, Karl Malden, Mission Specialist David Leestma and Atlantis Pilot Brian Duffy.
I'.\(.E .2 .\( .\DD1Y RIJ'ORT
Branches Adive in Endowment Fund Activity As the Endowment Campaign for the Center for Motion Picture Study heads into its final year, it has passed the two-thirds mark on its way to a $15 million goal, Campaign Chair Robert Rehme reported.
"The recession caught up with us in the first quarter of this year and pledges and gifts slowed up somewhat," Rehme said, "but
Other special branch campaign goals include a $1 million goal set by the Directors Branch to endow the Library's Special Col lections Archive and $500,000 goals set by both the Music Branch, to endow the Library's Film Music Collection, and the Writers Branch, to endow the Scripts Collection.
they've begun to pick up again and the mood on the part of prospective donors seems up
The Music Branch campaign was kicked off at a luncheon at the Center which generated a $50,000 bequest pledge from
Academy Foundation President Robert Rehme (left) and Karl Malden present a ceramic replica of the Center for Motion Picture Study to Price Waterhouse's Frankjohnson in honor of the accounting firm 's gift to the Center's Endowment Fund. beat once more. We now have
$10,374,000 given or pledged, and we already have $5.2 million of that in the bank earning interest."
Henry Mancini and a cash dona tion of $10,000 made by Georges Delerue shortly before his death.
A campaign spearheaded by Past Presi dent Richard Kahn and Endowment Cam paign Committee member Simon Kornblit, Executive Vice President of Worldwide Marketing for Universal Pictures, to en courage contributions from advertising
agencies and other marketing service sup ply firms has received $175,000 in pledges: $100,000 from Western International Media, $50,000 from DDB Needham and $25,000 from Ogilvy & Mather. These contributions will be credited to the Public Relations Branch of the Academy, which has set itself a goal of $500,000 to establish a special endowment to preserve the Mar garet Herrick Library's poster collection.
Movie History Goes Downtown If you find yourself in the vicinity of 400 South Hope Street in downtown Los Angeles during the next few weeks you might peek into the building at that address. A portion of the lobby is dedicated to an ambitious exhibition sched ule, and until June 25 you'll find Movie Milestones: The First Century, a display of
The lion roars. Afilm crew captures Leo in a speaking part in 1929. From the exhibition Movie Milestones: The First CenRlry on display at 400 SOUlh Hope Street through june 25.
items from the holdings of the Margaret Herrick Library, including photographs, letters, memos, publications and other artifacts reflecting the 100-year evolution of movies as an artistic, techno logical and cultural phenomenon.
ACADEMY R E p o R T
Published by the Academy of Motion Picture Arts and Sciences
8949 Wilshire Boulevard, Beverly Hills, California 90211-1972
(310) 247-3000
Co-Editors ..
Karl Malden Robert Rehme Donn Cambern Arthur Hamilton Fay Kanin Alan Bergman Bruce Davis
Mikel Kaufman Linda Wayne
This newsletter has been printed on recycled paper.
Why 400 South Hope? The exhibition provides an occasion for the Academy to reach the downtown business community with information about film history and the importance of the work being done at the Center for Motion Picture Study. It also is a chance to recognize the Academy's long term relationship with one of the distin guished residents at that address, the most famous accountants in the world, Price Waterhouse. i
The Sound Branch is concentrating on the development of deferred gifts from among its members, such as bequests and chari table remainder trusts. Branch members attended an evening reception and tour of the Center in early May to hear about the
(continued on page 4)
Spokane rlelds Photo Treasure Academy photograph curator Robert Cushman didn't know exactly what to expect when he got off the plane in Spokane, Washington, to box and ship the collection offered to the Academy by Frank and Shirley Gibson. On the phone, the Gibsons had sin1ply referred to the "doz ens of file cabinets" given to them by close friend Martha Smoots.
Mrs . Smoots ' late husband George, an oil company credit manager, had a love for movies and collected the photos from the mid-20s un til he passed Bette Davis in OF HUMAN away in 1951. BONDAGE (934). From the Years after Gibson Family Gift.
George died, Martha Smoots, already in her nineties and with no children of her own, gave "George's pictures" to her friends, the Gibsons. The Gibsons toyed with the idea of selling the photos at auction, but decided to donate the collection in toto because they felt that the Smoots would have wanted it that way.
(continued on page 4)
.\( \J)nn HI POf{ I I' \(.1 ~
Animation, Comedy Highlight Foundation Calendar Players Directory The conclusion of the Awards season means the resumption of the Academy Foundation's active calendar of retrospec tive and educational activities. In April the Wilshire building lobby was host to The History of Swiss Cinema - A Film Poster Exhibition. Comprising twenty-nine origi nal contemporaty graphics inspired by and in tribute to landmark Swiss films, the show included posters saluting such pic tures as CHARLES MORT OU VIF (directed by Alain Tanner), HEUTE ACHT ODER NIE (directed by Daniel Schmid) and L'INVITA TION (directed by Claude Goretta). Graphic artist Paul Bruehwiler of Zurich designed the posters which feature still photographic images from each film along with textual material identifying the direc tor and the film's plot.
AMP AS screened selected examples from three periods of Swiss animation. The programs were curated by Adrienne Mancia of the Museum of Modem Art and Swiss filmmaker Heinz Schmid.
Legendary animator Marc Davis, one of the group of Disney pioneers affectionately dubbed the "Nine Old Men," was honored in the Samuel Goldwyn Theater on May 27. Moderated by Charles Solomon, the pro gram encompassed conversations with Davis and noted animation artists Andreas Deja, Joe Grant and Bob Kurtz. Clips from films including SNOW WHITE AND THE SEVEN DWARFS (937), BAMBI (942), VIC TORY THROUGH AIR POWER (943), SONG OFTHE SOUTH (946), CINDERELLA (950), ALICE IN WONDERLAND (951), PETER PAN (953), SLEEPING BEAUTY (1959) and 101 DALMATIANS (961) illustrated the special touchl:hat Davis brougl:1t to his animated characters.
June offers two more Foundation pro grams. On the 15th, the Jack Oakie Lecture on Film Comedy will provide Leonard Maltin an opportunity to discuss comedy teams. Film clips from such comic combi nations as Abbott and Costello, Laurel and Hardy, Clark and MCCullough, Wheeler and Woolsey, the Marx Brothers, the Ritz Brothers, the Wiere Brothers and the Three Stooges will complement Maltin's talk.
A six-week-Iong Film Editing Seminar will take place in the Academy's Little Theater beginning June 17. Hosted by Academy Vice President Donn Cambern, editor of such films as EASY RIDER, ROMANCING THE STONE and GHOSTBUSTERS II, each evening will feature a prominent film edi-
tor in a discussion of the craft. Participants include Oscar-winners Paul Hirsch and Neil Travis as well as Dede Allen, Mia Goldman, Richard Harris and Sheldon Kahn. Seating is limited. For further infor mation call 310-247-3000 ext. 111. 1
Animator
In a couple of weeks the Academy Players Directory will be moving from its current location on the 6th floor of the Academy's Wilshire Boulevard headquarters to the 4th floor of the same building. The new space, occupied by the staff of the Margaret Herrick Library before their move to the Center for Motion Picture Study, will allow the Directory staff a little more elbow room as they prepare and publish the industry's casting bible three times a year.
Marc Davis with Katherine Beaumont, the voice of Alice in ALICE I WO DERLAND and Wendy in PETER PAN. DaviS was honored in a retrospective at the Academy on May 27.
Issue #181 of the Directory is now avail able. Those seeking copies of this latest edition can either come in or call, 310-247-3058 to order. 1
19th Annual StUdent Academy Awards Winners in the nation's largest student filmmaking competition were announced on May 26. Competing films were voted on by Academy members in screenings held last month.
ANIMATION Gold Medal Silver Medal
Bronze Medal
DOCUMENTARY Gold
EXPERIMENTAL Gold
FOREIGN AWARD
NEXT DOOR by Peter H. Docter (Cal Arts) FIVE FEMALE PERSUASIONS by Peter Hixson (The American University) FUR AND FEATHERS by Celia Kendrick (Rhode Island School of Design)
BEYOND IMAGINING: MARGARET ANDERSON AND THE LITTLE REVIEW by Wendy Weinberg (Temple University) DOLPHl S: MI DS IN THE WATER by Christopher C. Carson (Loyola Marymount) IN AND OUT OF TIME by Elizabeth Finlayson (Stanford University)
THE LADY IN WAITING by Christian M. Taylor (New York University) EAGLE AGAINST THE SUN by John Akahoshi and Steve Foonberg (USC) GOLD MOUNfAIN by RaChel Saltz and Kryssa Schemmerllng (Columbia University)
I THE AQUARIUM by Robert Beebe (U.c.L.A.)
THIS BOY'S STORY by John Roberts and Michele Camarda (National Film and Television School, England)
NUMBER OF ENTRIES: Animation 34 Documentary 30 Dramatic 239 Experimental 50
Total 353
Plus foreign entries from 32 schools in 23 countries around the world.
CEREMONIES The awards will be handed out this Sunday, June 14 at 6:30 pm in the Academy's Samuel Goldwyn Theater. The presentation will conclude with the complete screening of the Gold Medal winners. To inquire about ticket availability call 310-247-3000. 1
1'\(.1 • \( \HI\!) HII'OHI
New York Events Oscar had an even larger proftle than usual in New York this year as the occasion of the 64th Academy Awards was marked by two gala parties. The first, hosted by Mayor David Dinkins on March 22, At the Russian Tea Room (left to right): Dane Clark, Arlene Dahl, Jane was held at Le Pactole Powell, Ruth Warrick, Claire Trevor, Tina Louise and Sylvia Miles.
on the Hudson River. Invitees included New York-based nominees as well as representatives of the 500-plus East Coast Academy membership.
A week later - and for the third consecu tive year - a cross section of that member-
ship celebrated Oscar night at New York City's famed Russian Tea Room, where monitors were placed throughout the res taurant and guests were invited for cock tails and dinner to watch the festivities originating from the Dorothy Chandler Pavilion in Los Angeles. 1
Academy, IDA to Host Documentary Congress Members of the international documentary community will converge on the Academy next fall for the first International Docu mentary Congress, co-hosted by the Inter national Documentary Association and the Academy.
From October 21 - 24, the Congress will be attended by filmmakers, distributors, pro grammers, scholars and critics with an active interest in documentaries. The event's sessions and seminars will address such
Photo Treasure (continued from page 2) What Cushman found would become the largest one-time donation of photographs ever made by a private party to the Library: over 171,000 photos. Included in the col lection are items documenting the careers of virtually every film actor of the period both stars and characters - with many major performers represented by hun dreds of photos including studio portraits, on-location candids and scene stills. After
Endowment (continued from page 2) branch campaign. A seminar on estate planni·ng was held for branch members in early June. Similar campaigns are expected to be conducted by other branches.
Two other unusual contributions have been credited to the Endowment Fund.
A "residual" check for $41,250 from HOL LYWOOD, THE GIFT OF LAUGHTER, a com pilation television film, was received through the Motion Picture Association of America. The Academy's participation in the profits from this film was promoted by then-President Fay Kanin almost ten years ago. That film has generated $209,239 for the Academy Foundation, although only
issues as the role of documentaries in social change, ethical standards, freedom of expression and censorship, preserva tion of film and videotape, new technolo gies and aesthetics, and survival strategies for documentary ftlmmakers.
The Congress marks two key dates in the history of the documentary film: the 50th anniversary of the documentary Oscar, and the 10th anniversary of the founding of the IDA. 1 four days in Spokane, Cushman packed the photographs into more than one hun dred boxes. So extensive is the collection that just the production of a preliminary inventory took five photo archivists eight weeks of counting and cataloging. Final processing of the material will be ongoing for several years. The Library's Photo graphic Stills Archive - the largest collec tion of its kind in the world - now holds approximately 6 million photos. 1
the most recent payment is being added to the Endowment Fund.
The Academy Foundation also shared -equally with four other industry charities in a distribution of the remaining funds of the Council of Motion Picture Organizations, which was created for the purpose of representing the motion picture industry in connection with a World War II federal theatrical admission tax proposal.
COMPO disbanded itself last year, and the money left in the treasury was distributed to several industry charities. The Academy Foundation received $4,450, which has been placed in the Endowment FU!ld. 1
In his grand entrance, Billy Crystal paid tribute to Hannibal (the Cannibal) Lector.
Academy Awards (continued from page 1) assembled by Chuck Workman and Rich ard Schickel, respectively. For others, their memories will center on the honoring of two very different pioneers in film history: Ray Harryhausen and Satyajit Ray, the latter all the more poignant in light of the great Indian ftlmmaker's death less than a month later.
But none will forget the opening award of the night, when in mid-speech Supporting Actor winner Jack Palance dropped to the floor for a set of one-armed pushups, thereby marching into Academy history as one of the more energetic winners ever to pick up an Oscar, while at the same time proViding Crystal with a wellspring of material for the remainder of the program. SILENCE OF THE-LAMBS also made history: by earning Oscars for Best Picture, Actor, Actress, Director and Adapted Screenplay, the film joined IT HAPPENED ONE NIGHT (1934) and ONE FLEW OVER THE CUCKOO'S NEST (1975) as the only pictures to sweep those five awards. 1
Academy President Karl Malden sits amid some of the 3,500 feature screenplays submitted to the 1992 Nicholl Fellowships in Screen writing program by new screenwriters from across the United States and from thirteen foreign countries.
June 1992-1
June 1992-2
June 1992-3
June 1992-4
Many of you probably have wondered when you'd be approached for a contribution to the Endowment Fund campaign for the new Center jor Motion Picture Study. Don't worry. We haven 'tfor gotten you. You 're on our list. And you'll be hearing from us several times over the next few months.
We're working on the final $5 million of the campaign goal now. We passed the $10 million mark injanuary. We 'll be approaching each of you by branch, and our approach will be slightly different for each branch. Some of the branches are "adopting " Center programs or collections, and will be trying to create special endowments for those adopted programs. The Directors Branch has adopted the Special Collections Archive, the Public Relations Branch has adopted the Poster Collection and the Music Branch has adopted the Film Music Collection.
Some branches are concentrating on generat ing "deferred" gifts from among the branch membership. A deferred gift is one that won 't be paid until the death of the donor, and it could be a bequest, a life insurance policy or a charitable remainder trust. Deferred gifts often allow a potential donor to make a much more Significant gift than the donor could afford to make in cash. An estate planning seminar to describe some of these techniques was spon sored thefirst week o/june by the Sound Branch.
I hope all of our members will think of this campaign as an opportunity to make a "life time " gift to the Foundation. We 've never asked our members for contributions before and we don 't expect to ask you again. So this is your chance to make a personal commitment to film history and preservation, to show your pride in an art form that 's been financially rewarding for most of us.
The Center is preserving our work, our contri butions to motion pictures. It 's our job to pass that work on to posterity. Think big . Think stupendous. Think Hollywood! 1
The Pure
o R T
Four happy actors backstage at the Awards: Mercedes Ruehl, Anthony Hopkins, jodie Foster and jack Palance.
In the printed program for the 64th Academy Awards, show producer Gilbert Cates explained, "Motion pictures proVide us with laughter, romance, adventure and a deeper understanding of ourselves. With all the extraordinary events that are taking place today it's wonderful that we can still get away to see a flim. That's what we're celebrating this year at the Oscars: The pure joy of the movies." And celebrate we did.
Television viewers around the globe helped us celebrate, as movie fans in 90 countries tuned in to see what Cates, his team and
During the Awards telecast on March 30, the crew of the space shuttle Atlantis beamed their congratulations to Thalberg recipient George Lucas while an Oscar floated weightlessly nearby. On May 27 that Oscar was returned to the
the Academy voters had in store for them. The production team - ably captained by host Billy Crystal for the third year - also included director Jeff Margolis, writers Hal Kanter and Buz Kohan (with special mate rial by David Steinberg, Bruce Vilanch, Robert Wuhl and Crystal), production de signer Roy Christopher, music director Bill Conti, choreographer Debbie Allen and costume designer Ray Aghayan.
Each viewer will retain his or her own memories of the event: For some, it will be the flim clip tributes to comedy and docu mentaries, painstakingly researched and
(continued on page 4)
Academy in a brief ceremony. Pictured (left to right): Show producer Gilbert Cates, Atlantis Commander Charles Bolden, NASA Administrator Daniel Goldin, Karl Malden, Mission Specialist David Leestma and Atlantis Pilot Brian Duffy.
I'.\(.E .2 .\( .\DD1Y RIJ'ORT
Branches Adive in Endowment Fund Activity As the Endowment Campaign for the Center for Motion Picture Study heads into its final year, it has passed the two-thirds mark on its way to a $15 million goal, Campaign Chair Robert Rehme reported.
"The recession caught up with us in the first quarter of this year and pledges and gifts slowed up somewhat," Rehme said, "but
Other special branch campaign goals include a $1 million goal set by the Directors Branch to endow the Library's Special Col lections Archive and $500,000 goals set by both the Music Branch, to endow the Library's Film Music Collection, and the Writers Branch, to endow the Scripts Collection.
they've begun to pick up again and the mood on the part of prospective donors seems up
The Music Branch campaign was kicked off at a luncheon at the Center which generated a $50,000 bequest pledge from
Academy Foundation President Robert Rehme (left) and Karl Malden present a ceramic replica of the Center for Motion Picture Study to Price Waterhouse's Frankjohnson in honor of the accounting firm 's gift to the Center's Endowment Fund. beat once more. We now have
$10,374,000 given or pledged, and we already have $5.2 million of that in the bank earning interest."
Henry Mancini and a cash dona tion of $10,000 made by Georges Delerue shortly before his death.
A campaign spearheaded by Past Presi dent Richard Kahn and Endowment Cam paign Committee member Simon Kornblit, Executive Vice President of Worldwide Marketing for Universal Pictures, to en courage contributions from advertising
agencies and other marketing service sup ply firms has received $175,000 in pledges: $100,000 from Western International Media, $50,000 from DDB Needham and $25,000 from Ogilvy & Mather. These contributions will be credited to the Public Relations Branch of the Academy, which has set itself a goal of $500,000 to establish a special endowment to preserve the Mar garet Herrick Library's poster collection.
Movie History Goes Downtown If you find yourself in the vicinity of 400 South Hope Street in downtown Los Angeles during the next few weeks you might peek into the building at that address. A portion of the lobby is dedicated to an ambitious exhibition sched ule, and until June 25 you'll find Movie Milestones: The First Century, a display of
The lion roars. Afilm crew captures Leo in a speaking part in 1929. From the exhibition Movie Milestones: The First CenRlry on display at 400 SOUlh Hope Street through june 25.
items from the holdings of the Margaret Herrick Library, including photographs, letters, memos, publications and other artifacts reflecting the 100-year evolution of movies as an artistic, techno logical and cultural phenomenon.
ACADEMY R E p o R T
Published by the Academy of Motion Picture Arts and Sciences
8949 Wilshire Boulevard, Beverly Hills, California 90211-1972
(310) 247-3000
Co-Editors ..
Karl Malden Robert Rehme Donn Cambern Arthur Hamilton Fay Kanin Alan Bergman Bruce Davis
Mikel Kaufman Linda Wayne
This newsletter has been printed on recycled paper.
Why 400 South Hope? The exhibition provides an occasion for the Academy to reach the downtown business community with information about film history and the importance of the work being done at the Center for Motion Picture Study. It also is a chance to recognize the Academy's long term relationship with one of the distin guished residents at that address, the most famous accountants in the world, Price Waterhouse. i
The Sound Branch is concentrating on the development of deferred gifts from among its members, such as bequests and chari table remainder trusts. Branch members attended an evening reception and tour of the Center in early May to hear about the
(continued on page 4)
Spokane rlelds Photo Treasure Academy photograph curator Robert Cushman didn't know exactly what to expect when he got off the plane in Spokane, Washington, to box and ship the collection offered to the Academy by Frank and Shirley Gibson. On the phone, the Gibsons had sin1ply referred to the "doz ens of file cabinets" given to them by close friend Martha Smoots.
Mrs . Smoots ' late husband George, an oil company credit manager, had a love for movies and collected the photos from the mid-20s un til he passed Bette Davis in OF HUMAN away in 1951. BONDAGE (934). From the Years after Gibson Family Gift.
George died, Martha Smoots, already in her nineties and with no children of her own, gave "George's pictures" to her friends, the Gibsons. The Gibsons toyed with the idea of selling the photos at auction, but decided to donate the collection in toto because they felt that the Smoots would have wanted it that way.
(continued on page 4)
.\( \J)nn HI POf{ I I' \(.1 ~
Animation, Comedy Highlight Foundation Calendar Players Directory The conclusion of the Awards season means the resumption of the Academy Foundation's active calendar of retrospec tive and educational activities. In April the Wilshire building lobby was host to The History of Swiss Cinema - A Film Poster Exhibition. Comprising twenty-nine origi nal contemporaty graphics inspired by and in tribute to landmark Swiss films, the show included posters saluting such pic tures as CHARLES MORT OU VIF (directed by Alain Tanner), HEUTE ACHT ODER NIE (directed by Daniel Schmid) and L'INVITA TION (directed by Claude Goretta). Graphic artist Paul Bruehwiler of Zurich designed the posters which feature still photographic images from each film along with textual material identifying the direc tor and the film's plot.
AMP AS screened selected examples from three periods of Swiss animation. The programs were curated by Adrienne Mancia of the Museum of Modem Art and Swiss filmmaker Heinz Schmid.
Legendary animator Marc Davis, one of the group of Disney pioneers affectionately dubbed the "Nine Old Men," was honored in the Samuel Goldwyn Theater on May 27. Moderated by Charles Solomon, the pro gram encompassed conversations with Davis and noted animation artists Andreas Deja, Joe Grant and Bob Kurtz. Clips from films including SNOW WHITE AND THE SEVEN DWARFS (937), BAMBI (942), VIC TORY THROUGH AIR POWER (943), SONG OFTHE SOUTH (946), CINDERELLA (950), ALICE IN WONDERLAND (951), PETER PAN (953), SLEEPING BEAUTY (1959) and 101 DALMATIANS (961) illustrated the special touchl:hat Davis brougl:1t to his animated characters.
June offers two more Foundation pro grams. On the 15th, the Jack Oakie Lecture on Film Comedy will provide Leonard Maltin an opportunity to discuss comedy teams. Film clips from such comic combi nations as Abbott and Costello, Laurel and Hardy, Clark and MCCullough, Wheeler and Woolsey, the Marx Brothers, the Ritz Brothers, the Wiere Brothers and the Three Stooges will complement Maltin's talk.
A six-week-Iong Film Editing Seminar will take place in the Academy's Little Theater beginning June 17. Hosted by Academy Vice President Donn Cambern, editor of such films as EASY RIDER, ROMANCING THE STONE and GHOSTBUSTERS II, each evening will feature a prominent film edi-
tor in a discussion of the craft. Participants include Oscar-winners Paul Hirsch and Neil Travis as well as Dede Allen, Mia Goldman, Richard Harris and Sheldon Kahn. Seating is limited. For further infor mation call 310-247-3000 ext. 111. 1
Animator
In a couple of weeks the Academy Players Directory will be moving from its current location on the 6th floor of the Academy's Wilshire Boulevard headquarters to the 4th floor of the same building. The new space, occupied by the staff of the Margaret Herrick Library before their move to the Center for Motion Picture Study, will allow the Directory staff a little more elbow room as they prepare and publish the industry's casting bible three times a year.
Marc Davis with Katherine Beaumont, the voice of Alice in ALICE I WO DERLAND and Wendy in PETER PAN. DaviS was honored in a retrospective at the Academy on May 27.
Issue #181 of the Directory is now avail able. Those seeking copies of this latest edition can either come in or call, 310-247-3058 to order. 1
19th Annual StUdent Academy Awards Winners in the nation's largest student filmmaking competition were announced on May 26. Competing films were voted on by Academy members in screenings held last month.
ANIMATION Gold Medal Silver Medal
Bronze Medal
DOCUMENTARY Gold
EXPERIMENTAL Gold
FOREIGN AWARD
NEXT DOOR by Peter H. Docter (Cal Arts) FIVE FEMALE PERSUASIONS by Peter Hixson (The American University) FUR AND FEATHERS by Celia Kendrick (Rhode Island School of Design)
BEYOND IMAGINING: MARGARET ANDERSON AND THE LITTLE REVIEW by Wendy Weinberg (Temple University) DOLPHl S: MI DS IN THE WATER by Christopher C. Carson (Loyola Marymount) IN AND OUT OF TIME by Elizabeth Finlayson (Stanford University)
THE LADY IN WAITING by Christian M. Taylor (New York University) EAGLE AGAINST THE SUN by John Akahoshi and Steve Foonberg (USC) GOLD MOUNfAIN by RaChel Saltz and Kryssa Schemmerllng (Columbia University)
I THE AQUARIUM by Robert Beebe (U.c.L.A.)
THIS BOY'S STORY by John Roberts and Michele Camarda (National Film and Television School, England)
NUMBER OF ENTRIES: Animation 34 Documentary 30 Dramatic 239 Experimental 50
Total 353
Plus foreign entries from 32 schools in 23 countries around the world.
CEREMONIES The awards will be handed out this Sunday, June 14 at 6:30 pm in the Academy's Samuel Goldwyn Theater. The presentation will conclude with the complete screening of the Gold Medal winners. To inquire about ticket availability call 310-247-3000. 1
1'\(.1 • \( \HI\!) HII'OHI
New York Events Oscar had an even larger proftle than usual in New York this year as the occasion of the 64th Academy Awards was marked by two gala parties. The first, hosted by Mayor David Dinkins on March 22, At the Russian Tea Room (left to right): Dane Clark, Arlene Dahl, Jane was held at Le Pactole Powell, Ruth Warrick, Claire Trevor, Tina Louise and Sylvia Miles.
on the Hudson River. Invitees included New York-based nominees as well as representatives of the 500-plus East Coast Academy membership.
A week later - and for the third consecu tive year - a cross section of that member-
ship celebrated Oscar night at New York City's famed Russian Tea Room, where monitors were placed throughout the res taurant and guests were invited for cock tails and dinner to watch the festivities originating from the Dorothy Chandler Pavilion in Los Angeles. 1
Academy, IDA to Host Documentary Congress Members of the international documentary community will converge on the Academy next fall for the first International Docu mentary Congress, co-hosted by the Inter national Documentary Association and the Academy.
From October 21 - 24, the Congress will be attended by filmmakers, distributors, pro grammers, scholars and critics with an active interest in documentaries. The event's sessions and seminars will address such
Photo Treasure (continued from page 2) What Cushman found would become the largest one-time donation of photographs ever made by a private party to the Library: over 171,000 photos. Included in the col lection are items documenting the careers of virtually every film actor of the period both stars and characters - with many major performers represented by hun dreds of photos including studio portraits, on-location candids and scene stills. After
Endowment (continued from page 2) branch campaign. A seminar on estate planni·ng was held for branch members in early June. Similar campaigns are expected to be conducted by other branches.
Two other unusual contributions have been credited to the Endowment Fund.
A "residual" check for $41,250 from HOL LYWOOD, THE GIFT OF LAUGHTER, a com pilation television film, was received through the Motion Picture Association of America. The Academy's participation in the profits from this film was promoted by then-President Fay Kanin almost ten years ago. That film has generated $209,239 for the Academy Foundation, although only
issues as the role of documentaries in social change, ethical standards, freedom of expression and censorship, preserva tion of film and videotape, new technolo gies and aesthetics, and survival strategies for documentary ftlmmakers.
The Congress marks two key dates in the history of the documentary film: the 50th anniversary of the documentary Oscar, and the 10th anniversary of the founding of the IDA. 1 four days in Spokane, Cushman packed the photographs into more than one hun dred boxes. So extensive is the collection that just the production of a preliminary inventory took five photo archivists eight weeks of counting and cataloging. Final processing of the material will be ongoing for several years. The Library's Photo graphic Stills Archive - the largest collec tion of its kind in the world - now holds approximately 6 million photos. 1
the most recent payment is being added to the Endowment Fund.
The Academy Foundation also shared -equally with four other industry charities in a distribution of the remaining funds of the Council of Motion Picture Organizations, which was created for the purpose of representing the motion picture industry in connection with a World War II federal theatrical admission tax proposal.
COMPO disbanded itself last year, and the money left in the treasury was distributed to several industry charities. The Academy Foundation received $4,450, which has been placed in the Endowment FU!ld. 1
In his grand entrance, Billy Crystal paid tribute to Hannibal (the Cannibal) Lector.
Academy Awards (continued from page 1) assembled by Chuck Workman and Rich ard Schickel, respectively. For others, their memories will center on the honoring of two very different pioneers in film history: Ray Harryhausen and Satyajit Ray, the latter all the more poignant in light of the great Indian ftlmmaker's death less than a month later.
But none will forget the opening award of the night, when in mid-speech Supporting Actor winner Jack Palance dropped to the floor for a set of one-armed pushups, thereby marching into Academy history as one of the more energetic winners ever to pick up an Oscar, while at the same time proViding Crystal with a wellspring of material for the remainder of the program. SILENCE OF THE-LAMBS also made history: by earning Oscars for Best Picture, Actor, Actress, Director and Adapted Screenplay, the film joined IT HAPPENED ONE NIGHT (1934) and ONE FLEW OVER THE CUCKOO'S NEST (1975) as the only pictures to sweep those five awards. 1
Academy President Karl Malden sits amid some of the 3,500 feature screenplays submitted to the 1992 Nicholl Fellowships in Screen writing program by new screenwriters from across the United States and from thirteen foreign countries.
June 1992-1
June 1992-2
June 1992-3
June 1992-4