All language subtitles for And.The.Oscar.Goes.to.2014.1080p.WEBRip.x264-RARBG

Man: COMING UP
ON 3 1/2 MINUTES TO AIR.

3:30.

Man #2: LADIES AND GENTLEMEN,
PLEASE TAKE YOUR SEATS.

Man #3: LADIES AND GENTLEMEN,

ANTHONY HOPKINS
FOR "SILENCE OF THE LAMBS."

I'M HERE.
YEAH, EDDIE.

IT'S THE FIRST TIME
I'VE EVER BEEN BACKSTAGE

WITH ALL OF YOU DELIGHTFUL PRESS
AND NETWORK PEOPLE.

MY GOODNESS.
I'D LIKE TO WIN IT SOMETIMES.

Man: NO LESS THAN 2 MINUTES,
EVERYBODY, TO AIR.

Man: DIANNE?
YES.

YOU REALLY ACTED
SURPRISED.

YEAH, WELL,
IT WASN'T HARD!

IT WASN'T HARD.

THANK YOU VERY MUCH,
DEBBIE.

WELL, THANK YOU.
GOOD SEEING YOU AGAIN.

COULD YOU HEAR
THE ROUND OF APPLAUSE

THAT YOU GOT
FROM THAT --

Interpreter: SURE.

AND I FELT IT FROM MY HEART.

AND I CAN'T THINK FAST ENOUGH,
FOR GOODNESS' SAKE.

TALK TO ME TOMORROW.
TALK TO ME TOMORROW.

Man: WE ARE MAKING
A TRANSMISSION SWITCH

FROM PRE-SHOW TO MAIN SHOW.

Spielberg:
I WAS ALWAYS TAUGHT GROWING UP

THAT I SHOULD NEVER EXPECT
ANYTHING.

I'VE NEVER EXPECTED
THE NOMINATION.

I'VE NEVER EXPECTED TO WIN
AN ACADEMY AWARD.

I SORT OF DIDN'T THINK

ENGLISH PEOPLE COULD WIN OSCARS,
YOU KNOW.

I THOUGHT IT WAS
JUST FOR AMERICANS.

YOU HAVE TO UNDERSTAND.

I'M THE DAUGHTER OF A MAN WHO
DIDN'T BELIEVE IN COMPETITION.

Man: 30 SECONDS TO AIR.
REMOTE'S IN BLACK.

Voight: THIS IS
MY LOVELY DAUGHTER, ANGELINA.

ACTORS?

WELL, I DON'T KNOW.
YOU HAVE TO ASK THEM.

WHAT DO YOU THINK,
ANGE?

NOT REALLY.

MY FIRST ACADEMY AWARD?
I HAVEN'T WON ANYTHING.

MY GOD, YOU KNOW SOMETHING
I DON'T?

Man: STAND BY.
THIS COUNT'S TO AIR. 15...

Woman:
MR. CLOONEY, BACK HERE.

WHERE ARE YOU?
OH, HI.

DID YOU --
"MR. CLOONEY."

SEE, I WIN AN OSCAR,
IT'S "MR. CLOONEY."

IT'S THE VISION I HAD
OF WHAT HOLLYWOOD WAS LIKE

BEFORE I CAME TO HOLLYWOOD.

IT'S VERY INTIMIDATING.

IT'S ALWAYS LIKE, "OH MY GOD.
I'M A PART OF THIS."

IT'S A ROOM FULL OF EXCITEMENT.

IT'S A ROOM FULL OF SWEAT.

AND, YOU KNOW,
EVERYBODY'S REALLY EAGER.

Man: 9...8...7...6...

Goldberg: IT'S A HUGE DEAL.

AND NO MATTER HOW COOL
EVERYBODY SAYS THEY ARE,

IT'S THE OSCARS,
FOR CRYING OUT LOUD.

Man: 2...1...

Woman:
LADIES AND GENTLEMEN,

PLEASE WELCOME OUR HOST,
HER MAJESTY, WHOOPI GOLDBERG.

GOOD EVENING, LOYAL SUBJECTS.

I AM THE AFRICAN QUEEN.

THE FIRST IMAGES
OF THE OSCARS I HAD

WAS A BLACK-AND-WHITE
TELEVISION SET

IN LONG BEACH, LONG ISLAND,
IN THE '50s.

BOB HOPE WAS THE HOST.

THANK YOU VERY MUCH.

GOOD EVENING,
LADIES AND GENTLEMEN.

WELCOME
TO "CHANCE OF A LIFETIME."

Crystal:
I'D HAVE TO GO TO SLEEP

SOMEWHERE AROUND
SOUND EFFECTS EDITING.

SOME THINGS NEVER CHANGE.

AND I'D GET UP IN THE MORNING,

AND IN MY CEREAL BOWL BEFORE
SCHOOL WOULD BE A LIST.

MY MOM WOULD WRITE A LIST
OF WHO WON WHAT.

I WAS A KID,

AND HERE WAS THE PEOPLE
THAT HAD ALREADY BEEN

HUGE, BIG, MASSIVE STARS
FOR 20 OR 30 YEARS.

I MEAN, EVEN BOB HOPE
HAD BEEN BOB HOPE,

YOU KNOW, SINCE 1932.

I ACTUALLY THOUGHT HE WAS
ALWAYS GOING TO BE THE HOST.

IT NEVER OCCURRED TO ME
THAT THERE'D BE ANYBODY ELSE.

Robinson: I JUST THOUGHT

THAT WAS THE HEIGHT
OF SOPHISTICATED HUMOR,

WAS BOB HOPE AT THE OSCARS.

IT'S A GAY, HANDSOME CROWD
HERE TONIGHT,

BUT THERE'S AN UNDERCURRENT
OF NERVOUSNESS.

THE WHOLE THING
IS LIKE A BIG MATERNITY WARD.

EVERYBODY'S EXPECTING.

Huston: OSCAR TRADITIONS
DIDN'T INVENT THEMSELVES.

I SEE A LOT OF NEW FACES,
ESPECIALLY ON THE OLD FACES.

Huston:
THEY'RE CREATED AND CHANGED,

YEAR AFTER YEAR,
IN A PROCESS OF TRIAL AND ERROR.

WOW.

AT THE VERY FIRST
OSCARS CEREMONY,

NO ONE KNEW WHAT TO EXPECT.

IT WAS MAY 1929,

AND HOLLYWOOD'S FINEST

ARRIVED FOR A BANQUET
AT THE ROOSEVELT HOTEL.

"WINGS," A WORLD WAR I EPIC,
WON BEST PICTURE.

THERE WERE ONLY 12 AWARDS
THAT EVENING,

INCLUDING ONE
FOR BEST TITLE WRITING,

A SKILL ABOUT TO DISAPPEAR.

CHANGE WAS IN THE AIR.

THE FIRST SOUND FILM,
"THE JAZZ SINGER,"

WAS A HIT THAT YEAR,

BUT IT WAS INELIGIBLE TO QUALIFY
FOR BEST PICTURE.

* ...ARE ALWAYS HARD TO FIND

Huston: INSTEAD, IT WON
A TECHNICAL ACHIEVEMENT AWARD.

EVERYONE KNEW
IT MARKED A TURNING POINT.

FROM THE SECOND
AWARD CEREMONY ON,

ALL COMPETING FILMS
WOULD HAVE SOUND.

* SHE'S AN ANGEL OF JOY

FOR THE OUTSTANDING PERFORMANCE
BY AN ACTRESS...

Osborne: I TALKED
TO JANET GAYNOR ABOUT IT,

WHO WON THE BEST ACTRESS AWARD
THE VERY FIRST YEAR,

AND SHE SAID, "WELL, YEAH,
YOU KNOW,

IT WAS VERY EXCITING
TO GET AN AWARD,

BUT IT HAD NO TRADITION."

AND THEY ANNOUNCED THE WINNERS
IN ADVANCE,

SO THEY WENT TO THE BANK,
KNOWING WHO'D WON.

THE NEXT DAY, THEY KIND OF
FORGOT ABOUT IT AND MOVED ON.

GOOD MORNING.

I'M BOB REHME,
PRESIDENT OF THE ACADEMY.

WE'RE HERE
TO UNVEIL OUR NOMINEES

FOR THE 70th ANNUAL
ACADEMY AWARDS.

WHEN THE NOMINATIONS
ARE GOING TO BE ANNOUNCED,

IT'S EARLY IN THE MORNING
AND THE WHOLE CITY IS AWAKE,

TUNED IN TO THEIR TV
OR THEIR RADIO,

TO HEAR WHO'S NOMINATED.

I THOUGHT,
"HOW AM I GOING TO SLEEP

UNTIL 5:35 TOMORROW MORNING WHEN
THE ANNOUNCEMENTS ARE MADE?"

SO, I WENT OUT
WITH SOME FRIENDS.

WE WENT TO A SUSHI BAR,
AND WE DRANK A LOT OF SAKE.

AND I THOUGHT,
"THIS WILL HELP ME SLEEP."

AND I WENT HOME.
I WAS IN BED BY MIDNIGHT.

I WOKE UP AT 12:52, 1:37, 2:19,

2:42, 3:18, 3:25, 4:02.

4:30, I JUST GOT UP.

THIS IS RIDICULOUS.
I'M NOT SLEEPING.

TURNED ON THE TV
AND I WAS LISTENING,

AND, YOU KNOW, AND THEY SAID
MY NAME LIKE THREE TIMES.

-GEORGE CLOONEY.
-GEORGE CLOONEY.
-GEORGE CLOONEY.

I JUST SAT THERE IN FRONT OF THE
TV GOING, "I CAN'T BELIEVE IT."

I SAW MY FACE ON TV.

JASON REITMAN
FOR "JUNO."

THERE'S A PICTURE
OF ME DIRECTING,

AND I REALIZED IN THAT MOMENT

THAT I HAD BEEN NOMINATED
FOR AN ACADEMY AWARD.

I GREW UP
ON THE SOUTH SIDE OF CHICAGO,

ENGLEWOOD AREA,
AND WHERE I COME FROM...

JENNIFER HUDSON
IN "DREAMGIRLS."

...I DIDN'T EXPECT
TO HEAR MY NAME.

LIKE,
"DID THEY JUST SAY MY NAME?"

I WAS ON AN INDIAN RESERVATION,

A SHOSHONE RESERVATION,
I THINK, IN UTAH,

WHEN I GOT WORD
THAT I'D BEEN NOMINATED.

BENICIO DEL TORO
IN "TRAFFIC."

Del Toro:
YOU KNOW, YOU GET NOMINATED
AND YOU GO IN THAT CAROUSEL.

IT'S LIKE A DRUG.

IT'S LIKE --

IT'S LIKE -- SOME PAINKILLER.

WHEN IT HAPPENED,
THE WORLD EXPLODES.

YOU'RE EXCITED.
I MEAN, I CERTAINLY WAS.

I NEVER THOUGHT ANYTHING
LIKE THAT COULD EVER HAPPEN.

BUT THEN THE CRUSH
THAT COMES TO YOU

FROM EVERYBODY YOU KNOW
ALL AROUND THE WORLD.

IT'S YOUR BAR MITZVAH
TIMES A MILLION.

YOU KNOW?

I WENT TO THE BEACH FOR THE DAY.

AND THEN AT THE END OF THE DAY,

I CAME HOME AND I OPENED
THE DOOR TO MY APARTMENT,

AND THE WHOLE ROOM
WAS FILLED WITH FLOWERS.

SO I KNEW I'D BEEN NOMINATED.

Huston: FROM THE BEGINNING,

THE ACADEMY AWARDS WERE ABOUT
MORE THAN JUST WINNING AN OSCAR.

TWO OF THE FOUNDING MEMBERS,

ACTORS DOUGLAS FAIRBANKS
AND MARY PICKFORD,

WERE LOOKING TOWARD THE FUTURE.

THEY WANTED THE ACADEMY OF
MOTION PICTURE ARTS AND SCIENCES

TO PROMOTE
THE FINEST POSSIBLE MOVIES.

Davis: THEY WERE PEOPLE

WHO THOUGHT THEY WERE WORKING
ON A SERIOUS ART FORM,

AND THEIR MAIN MOTIVE WAS
TO GET THE WORD OUT

THAT IT HAS EARNED THE RIGHT

TO BE REGARDED
ALONG WITH THE OTHER ARTS

THAT HAVE BEEN STUDIED
FOR CENTURIES.

Huston:
NICKELODEON VIEWING ARCADES

GREW INTO MOVIE PALACES.

ACTORS BECAME MOVIE STARS,
A NEW KIND OF CELEBRITY.

AND THE PUBLIC
COULDN'T GET ENOUGH OF THEM.

EVERY DAY,
PEOPLE ARRIVED IN HOLLYWOOD

WITH BIG DREAMS
OF BEING IN THE MOVIES.

Del Toro: ALL THE HARD WORK
OF JUST SAYING,

"I'M GOING TO STAY
IN LOS ANGELES.

"I'M GOING TO DO
10 AUDITIONS TODAY.

"I'M GOING TO GET REJECTED
ON 9.7 OF THEM.

"I'M GOING TO DRIVE HOME.

"I'M GOING TO GET UP TOMORROW

"AND I'M GOING TO GO
TO ACTING CLASS,

"AND I'M JUST GOING TO DO
THIS LITTLE JOB HERE

SO I CAN GET
A LITTLE BIT OF MONEY."

AND THEN ONE DAY, BOOM,
YOU GET A LITTLE JOB.

THEN YOU GET ANOTHER LITTLE JOB,

AND SUDDENLY,
ANOTHER BIGGER JOB.

AND THEN SUDDENLY, YOU'RE LIKE,
"WE LIKE WHAT YOU DO."

NOMINATIONS FOR BEST ORIGINAL
DRAMATIC SCORE ARE...

Cher: ACTUALLY GETTING A JOB,

IT WAS YEARS.

AND IT WAS LIKE
NO ONE WANTED ME.

NO ONE WANTED TO TAKE A CHANCE.

I DIDN'T EVEN GET
THE OPPORTUNITY TO DO AUDITIONS.

AND MARVIN "HAMSCHMISH"
FOR "THE WAY WE WERE."

WHO? WHO?
"HAMMELSCHMISH."

HAMLISCH.

HAMLISCH.
SORRY ABOUT THAT, MARVIN.

PEOPLE HAD SAID THAT, YOU KNOW,
THAT I WASN'T A SERIOUS ACTRESS,

AND THAT I WAS A CRAZY DRESSER

AND I DATED YOUNGER MEN
AND I WASN'T --

AND I JUST WASN'T SERIOUS.

MIKE, THE DIRECTOR SAID,

"HOW WOULD YOU LIKE TO BE
IN A MOVIE WITH MERYL STREEP?"

I WENT, "SURE."

MADE ENOUGH NOISE THERE,
DOLLY?

YOU TWO AIN'T EXACTLY
A SILENT MOVIE YOURSELVES.

AND THEN HE WENT,
"I JUST WANT TO TELL YOU.

YOU PLAY A LESBIAN,
BUT SHE'S AN ADORABLE LESBIAN."

UH, Y'ALL, THIS HERE'S ANGELA.
SHE'S A BEAUTICIAN.

WELL, HI, THERE.

AND THEN HE KEPT GOING,
"CHER, GET IN THERE.

CHER, LAY ON THE COUCH.
CHER, BE IN THE KITCHEN."

AND FINALLY, I WAS JUST
KIND OF ALL THE WAY THROUGH IT.

YEAH, BUT, YOU KNOW,
A LOT OF PEOPLE CAN'T HANDLE ME.

Goldberg:
I GET A CALL SAYING,

"STEVEN SPIELBERG WOULD LIKE YOU
TO COME TO LOS ANGELES."

AND I THOUGHT, "OH, OKAY.
I'D LIKE TO MEET HIM."

YOU KNOW.

"I COULD BE IN 'RAIDERS
OF THE LOST ARK', SURE.

IT NEEDS SOME BLACK PEOPLE."

YOU KNOW,
THAT'S HOW I WOULD THINK.

HE SAID, "I'M GOING TO DO
'THE COLOR PURPLE.""

AND HE SAID,
"I WANT YOU TO PLAY CELIE,

AND I SAID,
"UM...I DON'T THINK SO."

"I THINK I WOULD BE BETTER
IN ANOTHER PART,

'CAUSE I'VE NEVER MADE A MOVIE."

HE SAID,
"WELL, LET ME THINK ABOUT IT,

BUT I'M PRETTY SURE THAT'S
THE PART I WANT YOU TO DO."

I WAS LIKE, "OKAY.

BUT IF IT'S REALLY BAD,
DON'T BE MAD AT ME."

OH, HELL, I'M A HUSTLER.
YOU DIDN'T KNOW THAT?

WELL, HOW AM I
SUPPOSED TO KNOW THAT?

I MEAN, YOU'VE GOT TO TELL
A PERSON THESE THINGS.

Voight: I ALMOST DIDN'T GET
"MIDNIGHT COWBOY."

INITIALLY,
THEY WENT WITH ANOTHER PERSON.

I WAS STRUCK.

I WAS WALKING AROUND
IN KIND OF A DAZE

UNTIL MY AGENT CALLED AND SAID,
"JON, IT MIGHT NOT BE OVER."

AND THEN HAD ME COME IN AGAIN,
AND THEY FINALLY GAVE IT TO ME.

IT WAS ALWAYS DANIEL DAY-LEWIS,
BUT DANIEL DIDN'T MAKE IT EASY.

I HAD ACTUALLY BEEN COMMITTED
TO PLAY MARGARET THATCHER...

...AND MERYL WAS STEVEN'S
FIRST CHOICE FOR LINCOLN.

Kennedy: NONE OF US HEARD
WHAT DANIEL'S VOICE SOUNDED LIKE

UNTIL THE FIRST DAY OF SHOOTING.

SO, THE MINUTE HE OPENED
HIS MOUTH IN THAT FIRST SCENE,

I MEAN, IT JUST
TOOK YOUR BREATH AWAY.

I AM THE PRESIDENT OF
THE UNITED STATES OF AMERICA,

CLOTHED IN IMMENSE POWER!

I THINK
WITH CERTAIN MOVIES --

AND IT'S HAPPENED, I THINK,
OVER THE COURSE OF TIME --

THAT CERTAIN MOVIES
DO COME INTO BEING

WHEN THE RIGHT PERSON IS THERE
TO PLAY A SIGNIFICANT PART.

WHY DO THEY BEG ME
FOR MY PHOTOGRAPHS? WHY?

BECAUSE THEY WANT TO SEE ME.
ME, NORMA DESMOND.

HI, THERE, BLANCHE.

WHEREVER THERE'S A FIGHT
SO HUNGRY PEOPLE CAN EAT,

I'LL BE THERE.

IT'S SUNDAY AFTERNOONS
I THINK OF MOST.

I FEEL ALL THE TIME LIKE
A CAT ON A HOT TIN ROOF.

FORGET IT, JAKE,
IT'S CHINATOWN.

HOW DID THINGS EVER GET SO FAR?

Announcer: JAKE LA MOTTA!

FASTEN YOUR SEATBELTS.

IT'S GOING TO BE A BUMPY NIGHT.

HERE COMES A CAR.

OKAY. NOW WATCH ME.
I'M GONNA USE NUMBER ONE.

KEEP YOUR EYE ON THIS THUMB,
BABY, AND SEE WHAT HAPPENS.

Huston:
CLARK GABLE DIDN'T WANT TO MAKE
"IT HAPPENED ONE NIGHT,"

BUT IN THE 1930s,

ACTORS TOOK THE ROLES
THEIR STUDIOS GAVE THEM.

HIS CO-STAR, CLAUDETTE COLBERT,

WASN'T THRILLED TO BE
IN THE MOVIE, EITHER.

THE ONLY PERSON
WHO WANTED TO MAKE THE MOVIE

WAS DIRECTOR FRANK CAPRA.

THAT WAS THE BACKDROP
FOR THE 7th ACADEMY AWARDS.

THE FILMMAKING COMMUNITY
SUSPECTED

THAT SOME DIRTY DEALING
WAS GOING ON,

BECAUSE BETTE DAVIS
DIDN'T SHOW UP

ON THE NOMINEES LIST
FOR BEST ACTRESS.

AND ONE OF THE PEOPLE
WHO WAS MOST CYNICAL

WAS CLAUDETTE COLBERT.

WHAT DIFFERENCE
DOES IT MAKE?

SHE DID NOT THINK
SHE WAS GOING TO WIN.

SO, WHILE THE CEREMONY
WAS GOING ON,

SHE WAS BOARDING A TRAIN
TO GO BACK TO NEW YORK.

BUT SHE DID WIN,

AND THEY HAD TO SEND SOMEBODY
TO GET HER OFF THE TRAIN.

SHE SHOWED UP ALL FLUTTERY
AND ACCEPTED HER OSCAR

AND WENT BACK TO THE TRAIN,
WHICH HAD BEEN HELD FOR HER.

Huston: "IT HAPPENED ONE NIGHT"

ENDED UP WINNING OSCARS
IN ALL THE TOP CATEGORIES --

BEST PICTURE, BEST SCREENPLAY,

BEST DIRECTOR, BEST ACTRESS,

AND CLARK GABLE FOR BEST ACTOR.

I DO WANT TO TAKE
THIS OPPORTUNITY

OF EXPRESSING MY THANKS
AND SINCERE GRATITUDE

TO MR. FRANK CAPRA, THE DIRECTOR
OF "IT HAPPENED ONE NIGHT,"

AND MISS CLAUDETTE COLBERT,

WHO WAS GRACIOUS ENOUGH
TO CO-STAR WITH ME

IN THAT SAME PICTURE.

THANK YOU.

Huston: FOR YEARS,
THE ACADEMY GAVE NEWSPAPERS

THE NAMES
OF OSCAR WINNERS EARLY.

1940 WAS A BANNER YEAR
FOR OSCAR.

ALL 10 NOMINATED FILMS
WOULD BECOME CLASSICS.

THE L.A. TIMES JUMPED THE GUN

AND PUBLISHED THE LIST
OF WINNERS PREMATURELY.

THE ACADEMY WAS FURIOUS.

AND FROM THEN ON,

PRICE WATERHOUSE
HAS DELIVERED OSCAR RESULTS

IN SEALED ENVELOPES,
TO BE OPENED ONLY ON STAGE.

THESE VOTES ARE ALL TABULATED
BY PRICE AND WATERHOUSE.

THEY'RE COUNTED
IN A SEALED ROOM.

THEN A SECRETARY TYPES THEM OUT.

THEN SHE IS TAKEN OUT AND SHOT,
AND HERE WE ARE.

I'D LIKE TO INTRODUCE YOU
TO MR. BILL MILLER

OF PRICE WATERHOUSE AND COMPANY,
THE GUARDIAN OF OSCAR SECRETS.

MR. BILL MILLER
OF PRICE WATERHOUSE.

MR. MILLER IS A REPRESENTATIVE
OF PRICE WATERHOUSE.

I'M BILL MILLER
OF PRICE WATERHOUSE.

NO!
YEAH.

I DIDN'T KNOW THAT,
BY GEORGE.

I HAVE THE ENVELOPE.

AND THE ENVELOPE, PLEASE.

MAY I HAVE THE ENVELOPE,
PLEASE?

THE ENVELOPE, PLEASE.

WHERE IS IT,
THE ENVELOPE?

OH, I HAVE THE ENVELOPE.
ALL RIGHT.

NEXT ARE THE PRESENTATIONS

TO OUTSTANDING
MOTION PICTURE WRITERS.

OF COURSE,
I'M NOT TOO FAMILIAR WITH THEM,

BECAUSE I AD-LIB
MOST OF MY STUFF.

REALLY, I NEVER --
AND I NEVER --

WHAT'S WRONG
WITH THE TELEPROMPTER?

THE FOLLOWING PICTURES

WERE NOMINATED
FOR THE BEST SCREENPLAY.

NOMINATED FOR THE BEST MOTION
PICTURE STORY ARE THE FOLLOWING.

THE NOMINEES
FOR THE BEST SCREENPLAY

BASED ON MATERIAL
FROM ANOTHER MEDIUM.

THE NOMINEES FOR BEST STORY
AND SCREENPLAY.

THE NOMINEES FOR THE BEST STORY
AND SCREENPLAY.

IF YOU WERE LUCKY ENOUGH

TO GET IN TO SOME
OF THE POSITIONS THAT I'M IN,

YOU'RE GOING TO BE HELD
RESPONSIBLE FOR THE FILM,

NOT FOR THE ROLE.

SO, YOU'RE NOT LOOKING FOR,

"OH, THIS IS
A GREAT PART FOR ME."

YOU'RE LOOKING FOR A SCREENPLAY

THAT YOU FEEL LIKE WORKS
ON EVERY LEVEL

AND A DIRECTOR
THAT KNOWS WHAT HE'S DOING.

AND THOSE ARE THE ELEMENTS --

FIRST AND FOREMOST,
IT'S THE SCREENPLAY.

IT HAS TO BE THE SCREENPLAY.

YOU CANNOT MAKE A GOOD FILM
OUT OF A BAD SCREENPLAY.

IT'S NEVER BEEN DONE.

Reitman:
"JUNO" STOPPED ME IN MY TRACKS.

I'D NEVER READ ANYTHING LIKE IT.

IT WAS SO INNOVATIVE
IN ITS LANGUAGE,

BUT ALSO
IN ITS STRUCTURAL DEVICES,

IN THE DECISIONS
THE CHARACTERS MADE,

IN ITS POINT OF VIEW
ON EVERY CHARACTER.

I'M PREGNANT.

OH, GOD.

I REMEMBER I ASKED DIABLO CODY,

"HOW DID YOU FIGURE OUT
HOW TO WRITE A SCREENPLAY?"

AND SHE SAID,

"I BOUGHT THE PUBLISHED SCRIPT
OF 'GHOST WORLD'

AND REALIZED THE CHARACTER AND
THE DIALOGUE GO IN THE MIDDLE

AND THE ACTION GOES ON THE LEFT.

WHO'S THE FATHER, JUNO?

UM...

IT'S --
IT'S PAULIE BLEEKER?

PAULIE BLEEKER?

WHAT?

I DIDN'T THINK
HE HAD IT IN HIM.

I KNOW, RIGHT?

AND SHE SAID, "I WROTE IT IN THE
McDONALD'S SECTION OF A TARGET

"ON MY 15-MINUTE BREAKS

FROM MY JOB
AT AN ADVERTISING AGENCY."

IF YOU BUILD IT,

THEY WILL COME.

Robinson:
THE KEY THING IN ADAPTING IT

WAS TREATING IT
AS IF IT WERE A MYSTERY.

IN THE BOOK,
REALLY ON PAGE TWO OR THREE,

WHEN SHOELESS JOE SHOWS UP

AND THE FARMER SAYS TO HIM,
"MY FATHER USED TO PLAY BALL.

COULD HE COME
AND PLAY WITH YOU GUYS?"

AND SHOELESS JOE SAYS,

"YES, FINISH BUILDING THE FIELD
AND HE CAN COME WITH US."

SO, TWO-THIRDS OF THE WAY
THROUGH THE BOOK,

THE FATHER SHOWS UP,

A SURPRISE TO NEITHER THE FARMER
NOR TO THE READER.

WHAT I DID WAS
MOVE THAT TO THE END

AND MADE IT A SURPRISE.

OH, MY GOD.

IT'S MY FATHER.

Clooney:
I LOVED THE SCREENPLAY.

I LOVED THE STORY,

AND I THOUGHT
THAT WAS AS GOOD A ROLE

AS I WAS GOING TO GET,
YOU KNOW, MAYBE EVER.

IT HAD SUCH DEEP DOWN ANGER...

DADDY'S LITTLE GIRL.

...AT ALL THE THINGS THAT WERE
WORKING AGAINST HIM UNFAIRLY.

AND, YOU KNOW,
YELLING AT A WOMAN IN A COMA,

I THINK, IS, YOU KNOW,

NOT SOMETHING YOU'RE GOING TO
GET TO DO VERY OFTEN IN A FILM.

TELL ME AGAIN

THAT I'M TOO OUT OF TOUCH
WITH MY FEELINGS

AND I NEED TO GO
TO THERAPY.

ISN'T THE IDEA OF MARRIAGE

TO MAKE YOUR PARTNER'S WAY
IN LIFE A LITTLE EASIER?

FOR ME, IT WAS ALWAYS
HARDER WITH YOU,

AND YOU'RE STILL
MAKING IT HARDER.

YOUR FATHER AND I WERE JUST
DISCUSSING HIS DAY AT WORK.

WHY DON'T YOU TELL OUR DAUGHTER
ABOUT IT, HONEY?

JANIE,
TODAY I QUIT MY JOB.

THEN I TOLD MY BOSS
TO GO FUCK HIMSELF.

Bening: I THOUGHT
THE SCREENPLAY WAS GREAT.

IT WAS VERY CLEAR TO ME
THAT THERE WAS SOMETHING TO PLAY

AND THAT IT WAS SOMETHING
THAT HAD A LOT OF TRUTH IN IT,

BUT IT ALSO WAS
ON A VERY ODD KNIFE EDGE

OF BEING VERY SERIOUS
AND VERY FUNNY.

EXCUSE ME, EXCUSE ME.
I MUST BE PSYCHOTIC, THEN.

IF YOU DON'T COMPLAIN,
WHAT IS THIS?

YEAH, LET'S BRING IN
THE LAUGH METER

AND SEE HOW LOUD IT GETS
ON THAT ONE.

YOU DON'T--

IT WAS JUST LIKE
AN INSTINCTIVE THING.

YOU READ IT AND YOU THINK,

"OH, NO.
THAT'S SOMETHING TO DO."

DON'T INTERRUPT ME,
HONEY.

Man: THE OSCAR GOES TO...

ALAN BALL FOR "AMERICAN BEAUTY."

Man #2: AND THE OSCAR GOES TO...

"THE KING'S SPEECH,"
DAVID SEIDLER.

I BELIEVE I AM THE OLDEST PERSON
TO WIN THIS PARTICULAR AWARD.

MY FATHER ALWAYS SAID TO ME
I WOULD BE A LATE BLOOMER.

WE'RE JUST REALLY TWO YOUNG GUYS
WHO WERE FORTUNATE ENOUGH

TO BE INVOLVED WITH
A LOT OF GREAT PEOPLE

WHOM IT'S INCUMBENT
UPON US TO --

THERE'S NO WAY WE'RE DOING THIS
IN LESS THAN 20 SECONDS.

UPON WHOM IT'S INCUMBENT
OF US TO THANK.

ROBIN WILLIAMS, WHO DELIVERED
SUCH GREAT LINES.

MINNIE DRIVER.

MY BROTHER CASEY,
WHO'S BRILLIANT IN THE MOVIE.

COLE HAUSER.
COLE HAUSER.
MY MOTHER.

AND MATT'S MOTHER,
THE MOST BEAUTIFUL WOMEN HERE.

MY DAD,
RIGHT OVER THERE.

WHO ELSE?
CHRIS MOORE,
WHO PRODUCED THE MOVIE.

CHRIS MOORE!
PATRICK WHITESELL,
THE BEST AGENT IN HOLLYWOOD.

YEAH,
PATRICK WHITESELL!

AND CUBA GOODING

FOR SHOWING US HOW TO GIVE
OUR ACCEPTANCE SPEECH!

AND, UH, UM...

ALL OUR FRIENDS AND FAMILY.
AND KATE!

AND EVERYBODY BACK IN BOSTON,
WATCHING US TONIGHT.

AND THANK YOU SO MUCH,
THE CITY OF BOSTON,

AND -- AND, GOD, I KNOW
WE'RE FORGETTING SOMEBODY.

WHOEVER WE FORGOT,
WE LOVE YOU AND WE THANK YOU.

THANK YOU.
THANK YOU SO MUCH.

Man: DIABLO CODY FOR "JUNO."

WHAT IS HAPPENING?

I WANT TO THANK JASON REITMAN,

WHO I CONSIDER
A MEMBER OF MY FAMILY.

AND I'M IN AWE OF HIS TALENT
AS A FILMMAKER.

AND MOST OF
ALL, I WANT TO THANK FOR FAMILY

FOR LOVING ME
EXACTLY THE WAY I AM.

THANK YOU.

I'M VERY PROUD
TO RECEIVE THIS OBJET D'ART

ON BEHALF
OF MR. PERELMAN,

WHO WRITES HE CANNOT BE HERE
FOR A VARIETY OF REASONS,

ALL OF THEM SPICY.

HE'S DUMBFOUNDED,
ABSOLUTELY FLUMMOXED.

HE NEVER EXPECTED
ANY RECOGNITION

FOR WRITING "AROUND THE WORLD
IN EIGHTY DAYS"

AND IN FACT, ONLY DID SO
ON THE EXPRESS UNDERSTANDING

THAT THE FILM
WOULD NEVER BE SHOWN.

Huston: DURING THE ACADEMY'S
EARLY YEARS,

ITS MOST POWERFUL MEMBERS
WERE THE STUDIO HEADS.

Osborne: THE ACADEMY
WAS NOT FOUNDED TO GIVE AWARDS.

IT WAS REALLY FOUNDED TO STEP IN

AND KEEP UNIONS
FROM COMING INTO HOLLYWOOD.

Huston: THE STUDIO EXECUTIVES
HATED UNIONS,

BUT AS THE GREAT DEPRESSION
WORE ON,

ACTORS, WRITERS, AND DIRECTORS
BEGAN ORGANIZING,

JUST AS
THE TECHNICAL WORKERS HAD,

AND THE ACADEMY GOT CAUGHT
IN THE MIDDLE.

GRADUALLY, YOU BEGAN TO GET
A HOSTILITY TOWARD THE ACADEMY

ON THE PART OF THE ACTORS

AND THE DIRECTORS
AND THE SCREENWRITERS.

THE ACADEMY ALMOST DIED

BECAUSE THE MEMBERSHIP
SHRUNK DRASTICALLY.

AND THEN IN 1935,

FRANK CAPRA BECAME
THE PRESIDENT OF THE ACADEMY

AND THE PRESIDENT
OF THE DIRECTORS' GUILD

AT THE SAME TIME.

AND THE CRUCIAL THING
THAT HE DID WAS

OVERSEE A REVISION
OF THE ACADEMY BYLAWS,

WHICH SAID
THAT FROM THAT POINT ON,

THE ACADEMY WOULD TAKE NO ROLE
IN LABOR ISSUES

OR POLITICAL ISSUES
OR RELIGIOUS ISSUES.

Huston:
INSTEAD, ITS FOCUS TURNED

TO AWARDING AND PRESERVING
GREAT MOVIES

AND RECOGNIZING
THE PEOPLE WHO MADE THEM.

AND THE WINNER...

"HAMLET."

THE WINNER,
"ALL THE KING'S MEN."

Woman: AND THE WINNER IS

BURT LANCASTER
IN "ELMER GANTRY."

HUMPHREY BOGART
IN "THE AFRICAN QUEEN."

STEVEN SPIELBERG WAS THE PERFECT
PERSON FOR ME TO START WITH,

BECAUSE I LOVE MOVIES
AND HE LOVES MOVIES.

AND SO HE WOULD SAY,

"WELL, YOU KNOW THAT FEELING
THAT YOU HAD

"JUST BEFORE SCOUT
SEES BOO RADLEY,

JUST AS THE DOOR OPENS."

"YEAH, YEAH, YEAH."
HE SAID, "THAT'S WHAT I WANT."

SO THAT I COULD DO.
I UNDERSTOOD IT.

Del Toro: ANY TIME I SEE
ACTORS THAT ARE NOMINATED,

I JUST THINK ABOUT THE WORK.

THE GLAMOUR AND ALL THAT IS FUN,
BUT...

I ALWAYS SAY THE REAL WORK
OF AN ACTOR IS IN INSIDE JOB,

BECAUSE WHAT YOU DO
IS ALL INSIDE.

Bening:
SOME PEOPLE THINK ABOUT ACTING

AS THOUGH
YOU ARE WEARING A MASK,

BUT ACTUALLY, MOST OF THE TIME,
YOU'RE TAKING AWAY A MASK.

THERE'S SOMETHING
THAT THE CAMERA SEES THAT,

NO MATTER WHAT YOU DO,
THE CAMERA FINDS.

Clooney: ACTORS THAT I LOVED
GROWING UP --

I LOVED SPENCER TRACY.

YOU ALWAYS KNEW WHERE HE STOOD
IN EVERYTHING.

BECAUSE IN THE FINAL ANALYSIS,

IT DOESN'T MATTER A DAMN
WHAT WE THINK.

YOU KNOW,
HE'D LOOK AT HIS MARK...

NOW...

Clooney:
...DOWN ON THE GROUND

WHERE YOU HAVE TO STAND
SO THAT YOU'RE IN FOCUS,

BUT IF THE LENS CATCHES YOU,

THEN EVERYONE WHO'S WATCHING YOU

REALIZES THAT YOU'RE LYING
TO THEM, YOU'RE CHEATING.

WELL, HE WOULD LOOK
RIGHT AT HIS MARK

AND HE WOULDN'T CHEAT.

HE WOULDN'T GO LIKE THAT.

HE WOULD LOOK AT HIS MARK
AND GO...

AND HE'D LITERALLY DO THIS,

AND HE'D WALK OVER TO IT
AND STAND THERE

AND THEN SIT UP LIKE THAT

AND LOOK YOU IN THE EYE
AND KEEP TALKING.

AND YOU NEVER FOR A MOMENT

THOUGHT HE WAS LOOKING
AT HIS MARK.

Huston: THE MOVIES CALLED
FOR A KIND OF ACTING

THAT HAD NEVER EXISTED BEFORE.

IF YOU DON'T HIT YOUR MARK,
YOU'RE OUT OF FOCUS.

THERE MAY
OR MAY NOT BE REHEARSALS.

STORIES AREN'T FILMED
IN SEQUENCE.

YOU'RE ACTING
FOR AN AUDIENCE OF ONE --

THE CAMERA.

I HAD NEVER ACTED BEFORE.

NEVER EVEN ENTERTAINED THE IDEA
OF ACTING.

NEVER THOUGHT ABOUT IT.

ALL OF THESE PEOPLE

AND ALL THESE CAMERAS
AND LIGHTS.

* NO, NO, THERE'S NO WAY

Hudson:
BILL CONDON, THE DIRECTOR,

TOOK EVERY INCH OF ME OUT OF ME.

* TELLIN' YOU

* I'M NOT GOIN'

I'M THINKING LIKE, "OH, MY GOD.
WHAT DO Y'ALL WANT FROM ME?

"WHAT ELSE CAN I GIVE YOU?

LIKE, I'VE GIVEN YOU
EVERYTHING."

AND THEY'RE LIKE,
"ALL RIGHT, CUT. NOW ACTION."

"ACTION AGAIN?
ARE YOU KIDDING ME?"

* AND YOU AND YOU AND YOU

* JUST WANT TO LOVE ME

ONE DAY, I SAW THIS MAN
GOING TO WORK.

WHEN I WRAPPED,
HE WAS GOING BACK TO WORK.

I'M LIKE, "THIS IS THE SAME MAN
GOING BACK TO WORK.

OH MY GOD."

THAT'S HOW LONG
I WAS ON THAT SET.

THE NOMINEES
FOR BEST PERFORMANCE

BY AN ACTRESS
IN A SUPPORTING ROLE ARE...

FAY BAINTER
IN "THE CHILDREN'S HOUR,"

RITA MORENO
IN "WEST SIDE STORY,"

JUDY GARLAND
IN "JUDGMENT AT NUREMBERG."

WHAT ELSE DO YOU ADMIT TO?
WHAT ELSE?

NOTHING.

THERE WAS NOTHING LIKE
YOU'RE TRYING TO MAKE IT SOUND.

WHAT ELSE?!

THERE WAS NOTHING.
NOTHING.

STOP IT!

MY MOM, SHE ONLY GAVE ME
ONE ACTING LESSON.

I SHOWED HER THE SCRIPT.

I SAID,
"CAN YOU HELP ME WITH THIS?

I DON'T THINK I'M VERY GOOD."

SO, WE SAT ON THE FLOOR
AND I SHOWED HER THE SCRIPT,

AND THEN SHE SAID,
"I'LL BE THE OTHER GIRL.

NOW YOU DO WHAT YOU DO."

AND I DID IT.

AND SHE SAID, "ALL RIGHT.
NOW, LET'S DO THAT AGAIN."

AND SHE GAVE ME ALL OF THESE
OTHER THOUGHTS AND LINES TO SAY.

THEN WE'D GO BACK AND SHE SAID,

"NOW THINK THAT,
AND THEN SAY THE LINE."

I'LL SEE YOU.

SHE SAID, "YEAH,
YOU'RE GONNA BE GOOD."

LIZA MINNELLI.

OH, I WAS VERY NERVOUS
ABOUT DOING "THE QUEEN."

I WATCHED QUITE A LOT OF FILM.

OBVIOUSLY, YOU READ HISTORY.

BUT I STARTED LOOKING
AT THE PORTRAITS OF ELIZABETH

AND THAT'S ALWAYS
VERY INTERESTING,

BECAUSE THERE'S AS MUCH
OF THE ARTIST IN THE PORTRAIT

AS THERE IS
OF THE PERSON THEMSELVES.

THAT SORT OF
SUDDENLY LIBERATED ME,

BECAUSE I THOUGHT,
"I DON'T HAVE TO BE THE QUEEN.

I HAVE TO BE MY PERCEPTION
OF THE QUEEN."

OH, YOU BEAUTY.

WHICH WAS SORT OF WHAT I DID.

WHEN I FIND
THAT KEY IN A CHARACTER,

IT'S VERY EMPOWERING.

JUST WHAT ARE YOU DOING
IN THIS CAR, COOLIE?

WHY, I-I HAVE A TICKET.

IN "GANDHI," THE MOMENT
THAT HE'S RACIALLY ABUSED

AND THROWN OFF A TRAIN.

I REALIZED THAT HE CONVERTED
A MOMENT OF SUPREME INDIGNATION,

POSSIBLY ANGER,
POSSIBLY EVEN RAGE,

INTO A PROCESS
OF PURE INTELLIGENCE

THAT FREED A WHOLE NATION.

WE MUST DEFY THE BRITISH.

Kingsley: INTERESTING
THAT THAT WAS THE KEY.

NOT BEING BENIGN UNCLE GANDHI,
BUT "DON'T EVER DO THAT AGAIN."

OH, ANGEL.

OH, MY ANGEL.

Fonda:
I'VE PLAYED THE PROSTITUTE.

BUT I SPENT TIME WITH A SERIES
OF PROSTITUTES AND MADAMS,

YOU KNOW, RIGHT DOWN TO --

I DIDN'T GO WITH THEM
WHEN THEY TURNED TRICKS,

BUT I WAS WITH THEM WHEN
THEY WERE CUTTING THEIR COCAINE

AND I WAS WITH THEM
IN THE AFTER-HOURS CLUB.

AND WHEN I WAS DONE, I WENT
TO ALAN PAKULA, THE DIRECTOR,

AND I SAID,
"I CAN'T DO IT, ALAN.

YOU SHOULD GET FAYE DUNAWAY."

AND HE BURST OUT LAUGHING
AND HE JUST SAID,

"THAT'S ABSOLUTELY RIDICULOUS"
AND SENT ME OUT OF THE ROOM.

YOU KNOW,
SO I HAD TO REALLY THINK,

"WELL, HOW DO I GET MYSELF
INTO THIS?"

BUT I WENT TO A POLICE STATION

AND I LOOKED --

Whew!

AND I LOOKED AT HUNDREDS
OF PHOTOGRAPHS

OF WOMEN WHO HAD BEEN BEATEN
AND KILLED.

BUT YET I DON'T CONSIDER MYSELF
A TERRIBLE MAN,

NO MORE THAN --
THAN OTHERS.

WELL, A FEW WEEKS LATER,
WE WERE SHOOTING THE LAST SCENE,

AND I DECIDED I WASN'T GOING TO
PLAN OR PREPARE OR ANYTHING.

I JUST WAS GOING TO SIT THERE.

Peter: OBVIOUSLY, I WOULD NOT BE
TELLING YOU THESE THINGS

IF MY INTENTIONS
WEREN'T HONORABLE.

Fonda:
IT SLOWLY DAWNED ON HER

THAT HE WAS THE ONE
THAT KILLED HER FRIEND.

SOMETHING TOTALLY UNEXPECTED
HAPPENED.

BE COMFORTABLE.
NOTHING'S GOING TO HAPPEN.

Fonda:
SHE CRIED FOR ALL THE WOMEN

THAT HAD BEEN VICTIMS
OF THAT KIND OF VIOLENCE,

AND I REALIZED
THAT IT WAS THE FIRST TIME

THAT FEMINISM MANIFESTED IN ME.

I...

...AM HERE TONIGHT TO EXPLAIN

WHY NO BLACK PEOPLE WILL EVER
BE NOMINATED FOR ANYTHING.

BLACK PEOPLE LOVE TO ACT.

WE CAN CRY AT THE DROP OF A HAT.

OR LAUGH.

HA HA.

THESE ARE SOME OF THE THINGS
BLACK PEOPLE CAN DO.

Mammy: YOU AIN'T GOT NO MORE
MANNERS THAN A FIELD HAND,

AFTER ME AND MISS ELLEN
DONE LABORED WITH YOU.

MISS SCARLETT,
COME ON IN THE HOUSE!

I DIDN'T SEE
"GONE WITH THE WIND" GROWING UP.

IT'S A SENSITIVE ISSUE
IN THE BLACK COMMUNITY,

NO QUESTION.

MY MOTHER WAS JUST ADAMANT.

SO, I DIDN'T SEE THE MOVIE
UNTIL I WAS IN MY 20s.

BUT I DIDN'T FETCH YOU HERE
ON MISS SCARLETT'S ACCOUNT.

WHAT THAT CHILD
GOT TO STAND,

THE GOOD LORD
GIVE US STRENGTH TO STAND.

IT'S MR. RHETT
I'M WORRIED ABOUT.

Isaacs:
HATTIE McDANIEL'S CHARACTER --

SHE WAS THE SMARTEST PERSON
IN THE ENTIRE MOVIE.

I THOUGHT SHE WAS SPECTACULAR.

AND THE IDEA THAT THE ACADEMY
RECOGNIZED THAT TALENT,

THAT WAS AMAZING.

Goldberg:
LISTEN, HATTIE McDANIEL, MAN --

SHE WAS THE FIRST.

THINK ABOUT THAT.
THAT'S WILD.

YOU KNOW, SHE ALMOST
DIDN'T GET EVEN INVITED.

THEY PUT HER WAY IN THE CORNER.

WAY IN THE CORNER,
IN THE BACK.

AND THEN SHE WON.

ACADEMY OF MOTION PICTURE
ARTS AND SCIENCE,

FELLOW MEMBERS OF
THE MOTION PICTURE INDUSTRY,

AND HONORED GUESTS,

THIS IS ONE OF THE HAPPIEST
MOMENTS OF MY LIFE.

AND I WANT TO THANK
EACH ONE OF YOU

WHO HAD A PART IN SELECTING ME
FOR ONE OF THE AWARDS.

I SINCERELY HOPE I SHALL ALWAYS
BE A CREDIT TO MY RACE

AND TO THE MOTION PICTURE
INDUSTRY.

MY HEART IS TOO FULL
TO TELL YOU JUST HOW I FEEL,

AND MAY I SAY THANK YOU
AND GOD BLESS YOU.

SHE WAS THE FIRST,
AND SIDNEY WAS THE SECOND.

THE WINNER IS SIDNEY POITIER
IN "LILIES OF THE FIELD."

SEEN A LOT OF WHITE PEOPLE
IN BETWEEN.

YOU KNOW WHAT I MEAN?
IT'S A LONG TIME.

IT IS A LONG JOURNEY
TO THIS MOMENT.

Man: THE FACT
THAT YOU ARE A NEGRO,

DID THAT MAKE THIS PARTICULARLY
SIGNIFICANT TONIGHT?

UH...

YOU'RE GOING TO HAVE TO LET ME
MULL THAT ONE FOR A WHILE.

IT'S A VERY INTERESTING
QUESTION,

AND I WOULD PREFER NOT TO
ANSWER IT IN MY PRESENT ANXIETY.

I'D RATHER BE
MUCH MORE COLLECTED

TO DEAL WITH
SUCH A DELICATE QUESTION.

AND THEN CAME LOU GOSSETT
AND THEN DENZEL

AND THEN ME.

WHOOPI GOLDBERG.

Goldberg: I COME FROM NEW YORK.

AS A LITTLE KID,
I LIVED IN THE PROJECTS,

AND YOU'RE THE PEOPLE I WATCHED.

YOU'RE THE PEOPLE
WHO MADE ME WANT TO BE AN ACTOR.

I'M SO PROUD TO BE HERE.
I'M PROUD TO BE AN ACTOR.

AND I'M GOING TO KEEP ON ACTING,
AND THANK YOU SO MUCH.

IT WAS A SHORT LIST.

Crowe:
AND THE OSCAR GOES TO...

...HALLE BERRY,
"MONSTER'S BALL."

Isaacs:
THE HANDING OUT OF OSCARS

AT THE OSCAR SHOW
THROUGH THE YEARS

HAS SHOWN SOCIAL CHANGE.

YOU KNOW, I KNOW FOR SOME
MAYBE NOT FAST ENOUGH,

BUT IT HAS STEADILY MOVED
IN THAT DIRECTION.

I AM LOVE.

I AM...

TOM HANKS IN "PHILADELPHIA."

Hanks: THERE WAS THING
THAT WAS TEARING US APART,

WHICH WAS THE AIDS CRISIS,

THE PANDEMIC THAT WAS AIDS.

IT WAS NOT JUST RIPPED
RIGHT OUT OF TODAY'S HEADLINES,

BUT IT WAS GETTING INTO
THIS MORE SPECIFIC QUESTION OF,

"HOW DO YOU RESPOND TO AIDS?"

I WOULD NOT BE STANDING HERE

IF IT WEREN'T FOR TWO VERY
IMPORTANT MEN IN MY LIFE, SO --

TWO THAT I HAVEN'T SPOKEN WITH
IN A WHILE,

BUT I HAD THE PLEASURE
OF JUST THE OTHER EVENING,

MR. RALEIGH FARNSWORTH,

WHO WAS MY
HIGH-SCHOOL DRAMA TEACHER,

WHO TAUGHT ME THAT,
"ACT WELL THE PART.

THERE ALL THE GLORY LIES."

AND ONE OF MY CLASSMATES
UNDER MR. FARNSWORTH,

MR. JOHN GILKERSON.

I MENTION THEIR NAMES

BECAUSE THEY ARE TWO
OF THE FINEST GAY AMERICANS,

TWO WONDERFUL MEN,

AND THERE LIES MY DILEMMA
HERE TONIGHT.

I KNOW THAT MY WORK,
IN THIS CASE,

IS MAGNIFIED BY THE FACT

THAT THE STREETS OF HEAVEN
ARE TOO CROWDED WITH ANGELS.

WE KNOW THEIR NAMES.

THEY NUMBER A THOUSAND

FOR EACH ONE OF THE RED RIBBONS
THAT WE WEAR HERE TONIGHT.

COMMUNISM IS BASED
UPON A DOCTRINE

INCONSISTENT
WITH AMERICAN LIBERTY.

Huston: FREEDOM OF SPEECH

WAS NOT ALWAYS WELCOME
IN THE MOVIE BUSINESS.

IN THE 1950s,

HOLLYWOOD JOINED
THE REST OF THE NATION

IN A HUNT FOR COMMUNISTS.

THE NAMES OF THOSE SUSPECTED

WERE ADDED TO SOMETHING CALLED
THE BLACKLIST.

THE MOTION PICTURE
INDUSTRY COUNCIL

REAFFIRMS ITS CONSISTENT
OPPOSITION TO COMMUNISM,

ITS WORKS, ITS MEMBERS,
ITS METHODS.

IT WAS A REAL LIST.

IT WASN'T JUST
SOME THEORETICAL THING.

THERE WERE LISTS OF DIRECTORS
AND WELL-KNOWN WRITERS.

THE BLACKLIST PERIOD

WAS ONE OF THE DARK CHAPTERS
IN AMERICAN HISTORY,

AND I'M SAD TO SAY
THAT THE ACADEMY

DIDN'T REALLY BEHAVE ANY BETTER
THAN ANYBODY ELSE DID.

I'VE NEVER READ KARL MARX,

AND I DON'T KNOW
THE BASIS OF COMMUNISM,

BEYOND WHAT I'VE PICKED UP
FROM HEARSAY.

FROM WHAT I'VE HEARD,
I DON'T LIKE IT.

Huston: IN 1955,
THE ACADEMY PASSED A BYLAW

THAT PROHIBITED
ANY BLACKLISTED WRITER

FROM BEING NOMINATED
FOR AN OSCAR.

WHEN "THE BRIDGE
ON THE RIVER KWAI"

WON BEST SCREENPLAY IN 1957,

THE ORIGINAL NOVELIST
COLLECTED THE OSCAR,

BUT HE DIDN'T WRITE THE SCRIPT.

Gable: FOR THE BEST WRITING
OF A MOTION PICTURE...

PIERRE BOULLE,
"THE BRIDGE ON THE RIVER KWAI."

Huston: THE TWO WRITERS WHO DID,
MICHAEL WILSON AND CARL FOREMAN,

WERE ON THE BLACKLIST,

SO FOR THE ACADEMY,
THEY DIDN'T EXIST.

SOME PEOPLE COMMITTED SUICIDE
WHEN THEY WERE ON THAT LIST.

THERE WERE PEOPLE THAT MOVED
TO EUROPE AND NEVER CAME BACK.

JULES DASSIN IS ONE OF THEM.

Huston: SOME BLACKLISTED WRITERS

CONTINUED WORKING
UNDER PSEUDONYMS.

THE NOMINATIONS FOR BEST MOTION
PICTURE STORY ARE...

ROBERT RICH FOR "THE BRAVE ONE."

Huston: BUT WHEN THEY WON OSCARS
FOR BEST SCREENPLAY,

AS DALTON TRUMBO DID...

"THE BRAVE ONE," ROBERT RICH.

Huston: ...THERE WAS NO ONE
TO WALK UP THE AISLE.

Kerr:
JESSE LASKY, JR., VICE PRESIDENT

OF THE SCREENWRITERS' BRANCH
OF THE WRITERS' GUILD

WILL ACCEPT THE AWARD
FOR MR. RICH.

Huston: AFTER FOUR YEARS,
THE ACADEMY REVERSED ITSELF.

MUCH LATER,

IT OFFICIALLY WELCOMED BACK
THOSE IT HAD SHUNNED.

I WAS, ONCE UPON A TIME,

A RESPECTABLE MEMBER
OF THIS COMMUNITY.

RESPECTABLE
DIDN'T NECESSARILY MEAN MORE

THAN I TOOK A DAILY BATH
WHEN I WAS SOBER

DIDN'T SPIT EXCEPT
WHEN I MEANT TO,

AND MISPRONOUNCED
A FEW WORDS OF FANCY FRENCH.

THEN SUDDENLY, EVEN BEFORE
SENATOR JOSEPH McCARTHY

REACHED FOR THAT RUSTY
AND POISONED AX,

I AND MANY OTHERS
WERE NO LONGER ACCEPTABLE

TO THE OWNERS OF THIS INDUSTRY.

POSSIBLY, THEY WERE MEN
WHO HAD BEEN TOO BUSY

TO DEFINE PERSONAL HONOR
OR NATIONAL HONOR.

POSSIBLY.

BUT CERTAINLY, THEY CONFRONTED
THE WILD CHARGES OF JOE McCARTHY

WITH THE FORCE AND COURAGE
OF A BOWL OF MASHED POTATOES.

I HAVE NO REGRETS
FOR THAT PERIOD.

MAYBE YOU NEVER DO
WHEN YOU SURVIVE,

BUT I HAVE
A MISCHIEVOUS PLEASURE

IN BEING RESTORED
TO RESPECTABILITY,

BECAUSE I NEVER THOUGHT
IT WOULD HAPPEN.

I HOPE THAT THE REST OF MY LIFE
WILL NOT BE TOO RESPECTABLE.

Hope: TO PRESENT
THE DOCUMENTARY AWARDS,

HERE ARE THE SCHOLARLY,
INSTRUCTIVE,

ILLUMINATING, AND DIGNIFIED

MISS MARTHA RAYE
AND MR. JAMES DURANTE.

MISS RAYE,
WOULD YOU DO ME A FAVOR?

WHY, CERTAINLY,
MR. DURANTE.

WHAT IS IT?

TELL ME,
WHAT DOES DOCUMENTARY MEAN?

JIMMY, YOU MEAN
YOU ACTUALLY DON'T KNOW

THE MEANING OF THE WORD
"DOCUMENTARY?"

THAT'S ONE OF THE FEW.

Huston: IF ANY OSCAR CATEGORY
REFLECTS CHANGING TIMES,

IT'S DOCUMENTARIES.

THE ACADEMY ESTABLISHED
THE CATEGORY

DURING WORLD WAR II.

EARLY OSCARS WENT TO
GOVERNMENT-SPONSORED FILMS

DESIGNED TO BRING THE WAR HOME.

BY THE 1970s, DOCUMENTARIES
WERE APPROACHING WAR

FROM A VERY DIFFERENT
POINT OF VIEW.

Moore: I REMEMBER
ACTUALLY WATCHING THE OSCARS

WHEN "HEARTS AND MINDS" WON,

AND THE PRODUCERS
CAME ON THE STAGE.

AND FOR THEIR SPEECH,
THEY DECIDED TO READ A TELEGRAM

THAT THEY'D RECEIVED THAT DAY
FROM THE WRONG SIDE OF VIETNAM.

IT SAYS, "PLEASE TRANSMIT
TO ALL OUR FRIENDS IN AMERICA

OUR RECOGNITION OF ALL THAT THEY
HAVE DONE ON BEHALF OF PEACE."

MOST OF MY BEING WAS INVOLVED

IN TRYING TO END
THE WAR IN VIETNAM,

AND IT WAS RAGING.

AND I FELT, HOW COULD I BE
IN FRONT OF ALL THESE PEOPLE

AND NOT SAY SOMETHING?

THE WINNER IS JANE FONDA
FOR "KLUTE."

THANK YOU.

THANK YOU VERY MUCH,
MEMBERS OF THE ACADEMY,

AND THANK ALL OF YOU
WHO APPLAUDED.

THERE'S A GREAT DEAL TO SAY,

AND I'M NOT GOING TO SAY IT
TONIGHT.

I WOULD JUST LIKE TO
REALLY THANK YOU VERY MUCH.

Man:
WHAT WERE YOU THINKING OF?

I WAS THINKING THAT
WHILE WE'RE ALL SITTING THERE,

GIVING OUT AWARDS,
WHICH ARE VERY IMPORTANT AWARDS,

THERE ARE MURDERS
BEING COMMITTED IN OUR NAME

IN INDOCHINA.

AND I THINK EVERYONE OUT THERE
IS AS AWARE OF IT AS I AM,

AND I THINK
THAT EVERYONE OUT THERE

WANTS IT TO END AS MUCH AS I DO,

AND I DIDN'T THINK
I NEEDED TO SAY IT.

I THINK WE'VE HAD IT.
I REALLY DO.

I THINK EVERYONE FEELS THAT WAY,

AND...I JUST DIDN'T THINK
IT NEEDED TO BE SAID.

MARLON BRANDO
IN "THE GODFATHER."

Littlefeather: I'M REPRESENTING
MARLON BRANDO THIS EVENING,

AND HE HAS ASKED ME TO TELL YOU

THAT HE VERY REGRETFULLY CANNOT
ACCEPT THIS VERY GENEROUS AWARD.

AND THE REASONS FOR THIS BEING,

ARE THE TREATMENT
OF AMERICAN INDIANS TODAY

BY THE FILM INDUSTRY --
EXCUSE ME.

I DO NOT THINK
THAT THIS ACADEMY AWARDS EVENING

WAS AN INAPPROPRIATE PLACE,

BUT, OF COURSE, I SPEAK
ONLY AS AN AMERICAN INDIAN.

I CANNOT ANSWER FOR
THE CONSCIENCE OF AMERICA.

NO, YOU'RE NOT GOING TO GET ME
TO SAY ANYTHING AGAINST THIS.

YOU KNOW,
THIS IS OUR ONLY CHANCE

TO CONTACT THE PUBLIC
AS AN INDUSTRY.

NOW, DON'T TRY TO GET ME
TO SAY SOMETHING AGAINST IT.

GO GET BRANDO.

AND THE OSCAR GOES TO...

..."BOWLING FOR COLUMBINE,"

MICHAEL MOORE
AND MICHAEL DONOVAN!

Moore: I REMEMBER
CLIMBING UP THE STAIRS

UP TO THE STAGE

AND IT WAS LIKE
I HAD GOLLUM IN MY HEAD,

YOU KNOW,
FROM "LORD OF THE RINGS."

YOU KNOW,
LIKE ONE VOICE IS GOING,

"PRECIOUS OSCAR, BE NICE.

"DON'T START ANY TROUBLE.

"JUST THANK YOUR AGENT
AND YOUR STYLIST

AND LEAVE THE STAGE."

AND THE OTHER VOICE IS GOING,

"NO, NO.
YOU HAVE A RESPONSIBILITY.

THERE'S A WAR GOING ON.
YOU MUST SAY SOMETHING."

I'VE INVITED
MY FELLOW DOCUMENTARY NOMINEES

ON THE STAGE

BECAUSE WE LIKE NONFICTION.

WE LIKE NONFICTION,
AND WE LIVE IN FICTITIOUS TIMES.

WE LIVE IN A TIME WHERE WE HAVE
FICTITIOUS ELECTION RESULTS

THAT ELECTS
A FICTITIOUS PRESIDENT.

WE -- WE LIVE IN A TIME
WHERE WE HAVE A MAN

SENDING US TO WAR
FOR FICTITIOUS REASONS,

WHETHER IT'S THE FICTITION
OF DUCT TAPE

OR THE FICTITIOUS
OF ORANGE ALERTS,

WE ARE AGAINST THIS WAR,
MR. BUSH.

SHAME ON YOU, MR. BUSH.
SHAME ON YOU.

AND ANY TIME

YOU'VE GOT THE POPE AND
THE DIXIE CHICKS AGAINST YOU,

YOUR TIME IS UP.

THANK YOU VERY MUCH.

AND WALK OFF THE STAGE.

AND ONE OF THE STAGEHANDS
COMES RIGHT UP IN MY EAR.

I THOUGHT
HE WAS GOING TO HIT ME.

HE COMES RIGHT UP IN MY EAR
AND HE SCREAMS, "ASSHOLE!"

OH, IT WAS SO SWEET BACKSTAGE.
YOU SHOULD SEE IT.

THE TEAMSTERS
ARE HELPING MICHAEL MOORE

INTO THE TRUNK OF HIS LIMO.

BEFORE WE BEING TONIGHT,
LADIES AND GENTLEMEN,

I WOULD LIKE TO SAY,
FOR THE RECORD,

THAT I AM IN FAVOR OF USING
MORE AMERICAN INDIANS

AND OTHER MINORITIES
IN MOTION PICTURES.

I AM AGAINST POLLUTING
THE OCEANS OF THE WORLD.

I AM FOR EVERY NATIONALITY
HAVING ITS OWN HOMELAND.

I'M AGAINST WHACKING
BABY SEALS ON THE HEAD,

AND I'M FOR SAVING THE WHALES.

THE HOST'S JOB IS TO BE
REALLY FUNNY IN THE BEGINNING

AND HOPE THAT SOMETHING HAPPENS
THAT YOU CAN CAPITALIZE ON.

YOU HAVE TO BE ON YOUR FEET.

YOU'VE GOT TO KNOW
WHAT YOU'RE DOING.

YOU'VE GOT TO BE ABLE
TO MOVE STUFF.

YOU HAVE TO BE VERY FLUID.

YOU HAVE TO BE ABLE
TO DEAL WITH LIVE TELEVISION,

AND IT'S NOT EASY.

THIS GIANT OF THE FILM BUSINESS
IS WITH US TONIGHT.

HE'S 100 YEARS OLD.

PLEASE, GIVE A WARM WELCOME
TO MR. HAL ROACH.

I INTRODUCED HIM.

HE WAS JUST SUPPOSED TO
GET UP AND WAVE.

INSTEAD, HE STARTED TALKING.

AND THERE WAS NO MIKE.

AND FROM THE STAGE, IT WAS LIKE,

"AND THEN REMEMBER

WE HAD SPANKY AND BUCKWHEAT
AND LITTLE PETE THE DOG."

AND I REMEMBER THE LINES
GOING THROUGH MY MIND.

AND THEN ONE HIT...

AND JUST STUCK, BOOM.

I THINK THAT'S FITTING,

BECAUSE MR. ROACH STARTED
IN SILENT FILMS.

YOU HAVE TO BE THAT GOOD
TO DO THIS JOB.

YOU HAVE TO BE THAT GOOD.

Announcer: FROM HOLLYWOOD,

RCA AND RCA VICTOR
PROUDLY PRESENT...

ISN'T IT EXCITING TO KNOW

THAT A LOT
OF THESE GLAMOROUS STARS

ARE GOING TO BE
IN YOUR HOMES TONIGHT?

ALL OVER AMERICA, HOUSEWIVES
ARE TURNING TO THEIR HUSBANDS

AND SAYING, "PUT ON YOUR SHIRT.
JOAN CRAWFORD IS COMING."

Huston:
FROM THE ACADEMY'S BEGINNING,

THE STUDIOS
HAD BEEN FOOTING THE BILL

FOR HOLLYWOOD'S
STAR-STUDDED AWARDS CEREMONY.

BUT IN THE 1950s,
A NEW FUNDING SOURCE APPEARED --

TELEVISION.

TELEVISION --

THAT'S WHERE MOVIES GO
WHEN THEY DIE.

Huston: IN 1953,

NBC OFFERED $100,000
FOR BROADCAST RIGHTS,

AND THE ACADEMY
NEVER LOOKED BACK.

BUT I WANT TO SAY THAT TONIGHT,
YOU REGULAR TELEVISION WATCHERS

WILL SEE MOVIE STARS
YOU'VE NEVER SEEN BEFORE.

IT'S THE ONE PLACE YOU COULD SEE
PEOPLE LIKE CLARK GABLE

AND DORIS DAY AND GREGORY PECK
AND RITA HAYWORTH

AND INGRID BERGMAN
ON TELEVISION.

SO WILL YOU READ THE NOMINEES,
MR. NEWMAN?

WITH PLEASURE,
MRS. NEWMAN.

FOR THE BEST ACHIEVEMENT

IN COSTUME DESIGN
OF A COLOR PRODUCTION...

FOR THE BEST ACHIEVEMENT
IN ART DIRECTION...

THOSE NOMINATED

FOR THE BEST ACHIEVEMENT
IN FILM EDITING ARE...

AND NOW FOR THE
BLACK AND WHITE CINEMATOGRAPHY,

THE BEST ACHIEVEMENT...

Osborne: SOME OF THE REASONS

THAT YOU LOVE
THE MOVIES YOU LOVE

ARE BECAUSE OF THOSE PEOPLE
THAT YOU DON'T KNOW

THAT HAVE PHOTOGRAPHED IT

OR THOSE PEOPLE THAT HAVE DONE
THE ART DIRECTION

OR THE PEOPLE THAT HAVE DONE
THE COSTUME DESIGNS

OR ALL THOSE OTHER
TECHNICAL THINGS, SOUND.

IF YOU DIDN'T HAVE THOSE THINGS,

YOU WOULDN'T HAVE
THE MOVIES THAT WE LOVE.

I'M STEVE MARTIN.

I'M HERE TO PRESENT THE AWARD
FOR SPECIAL VISUAL EFFECTS.

PART OF THE CRAFT
OF MAKING FILMS

IS TO COMMUNICATE IDEAS
VISUALLY.

IN "BENJAMIN BUTTON"
THERE WAS THIS TRAIN STATION,

AND DAVID FINCHER,
THE DIRECTOR, SAID,

"COULD WE PUT
SHARDS OF LIGHT IN IT?"

THE IDEA IS
TO CREATE AN ENVIRONMENT

THAT IS PART OF YOUR STORY.

FOR THE BEST ACHIEVEMENT
IN SOUND...

SOUND. SOUND.

AS YOU KNOW S...IN...OVIES...
OST...POR...ART...AKING...OVIE.

SOUND EFFECTS
CREATE THE ILLUSION OF PAIN.

UH-HUH-HUH-HUH.

AAH!

Burtt: THE TERM "SOUND DESIGN"

IS SOMETHING THAT CAME UP
IN THE ERA --

RIGHT DURING AND AFTER WHEN
"STAR WARS," IN 1977, CAME OUT.

FOR THE VOICE OF CHEWBACCA,
THEY FOUND A TRAINED BEAR.

THEY HAD NOT FED
THE BEAR THAT DAY,

SO IF WE TEASED
POOR LITTLE POOH --

THAT WAS THE NAME OF THE BEAR --
WITH TOAST AND MILK,

THE BEAR WOULD CRY OUT.

TAKE THE ONES THAT SOUNDED CUTE
AND SET THOSE ASIDE.

TAKE THE ONES THAT SOUNDED ANGRY
AND PUT THEM THIS WAY.

YOU COULD THEN CUT THEM TOGETHER

AND MAKE LITTLE SENTENCES
OUT OF THEM.

OF ALL THE TOOLS
AN ACTOR HAS

IN CREATING THE PERFECT LOOK
FOR A PART,

NONE IS MORE IMPORTANT
THAN THE SKILFUL USE OF MAKEUP.

MAKEUP ARTISTS ARE THE MAGICIANS
OF THE MOVIE INDUSTRY,

TRANSFORMING
ACTORS AND ACTRESSES

INTO GODS AND GODDESSES
OF PERFECT APPEARANCE.

THE MAKEUP ARTIST'S COMMITMENT
TO EXCELLENCE

IS ALL-CONSUMING,

AND WE WOULD NOT BE WHO WE ARE
WITHOUT THEM.

Neill: MY NEXT-DOOR NEIGHBOR
WAS A MAKEUP ARTIST.

EVERY HALLOWEEN,

I ALWAYS WANTED TO BE A WITCH OR
A GOBLIN OR SOME HORRIBLE THING.

AND EVERY YEAR,
HE WOULD MAKE ME UP,

AND I WOULD LOOK AT HIM AND SAY,
"OH, MR. LATIDO,

I WANT TO DO WHAT YOU DO
WHEN I GROW UP."

DANIEL, HI.

COULD YOU MAKE ME
A WOMAN?

HONEY, I'M SO HAPPY.

WHEN THEY GO ABOUT
CREATING THEIR CHARACTER,

IT'S VERY HELPFUL FOR US TO
GIVE THEM THE TOOLS TO DO THAT.

WHEN THEY LOOK IN THE MIRROR,

WE WANT THEM TO FEEL
THAT CHARACTER.

WE WERE ABSOLUTELY AMAZED

AT HOW WELL THIS MAKEUP
STOOD UP IN PERSON.

HAVE WE MET?

NO.

ROBIN AND I WERE STANDING
ON A STREET CORNER,

AND THIS YOUNG MAN
WALKS UP TO ME AND HE SAID,

"IS ROBIN WILLIAMS HERE TODAY?

IS HE SHOOTING TODAY?"

AND I SAID, "OH YEAH, HE IS."

AND HE SAYS,
"WELL, WHERE IS HE?"

AND I SAID, "OH GEE, UH...
I DON'T KNOW."

AND HE WAS STANDING
RIGHT NEXT TO ME.

YOU HAVE HIS EYES.

AND I THOUGHT,
"OKAY, THIS IS GOOD.

WE'VE DONE IT."

THE CATEGORY IS ART DIRECTION.

IS IT ART DIRECTION?
BECAUSE I MISSED A SPOT.

IS IT? THANK YOU VER--
I'M SORRY I WOKE YOU.

ART DIRECTION.
WHAT IS IT? WHO DOES IT?

WHY AND HOW MUCH
AND WHERE ARE THEY?

AND HERE WE ARE.
ART DIRECTION. I DON'T KNOW.

THE ART DIRECTOR MAKES A MOVIE
LOOK THE WAY IT DOES.

Thompson:
PICTURE, IF YOU WILL,

A PERFECTIONIST PROFESSOR
OF ART AND ARCHITECTURE

WITH THE IMAGINATION OF PICASSO,

THE INFINITE PRECISION
OF A BRAIN SURGEON,

AND THE CAPACITY TO CREATE

AN ENTIRELY BELIEVABLE
NEW WORLD.

IF YOU GIVE HIM
AN UNLIMITED BUDGET,

ROME CAN BE BUILT IN A DAY.

OR AT LEAST THE FRONT OF IT.

NOBODY EVER GOES
IN THE BACK OF A SET.

FREEZE. POLICE.

OH, JESUS.
COME ON.

IN A WAY, THE PRODUCTION
DESIGNER AND THE ART DIRECTOR

TAKE RESPONSIBILITY
FOR THE ACTING SPACE.

YOU NEED TO PROVIDE A PLACE
THAT MEANS SOMETHING,

COLORS THAT MEAN SOMETHING.

YOU NEED TO PROVIDE
AN ENVIRONMENT

THAT WILL INSPIRE THEM
TO DO THEIR BEST WORK.

* BE HAPPY

WITH A LITTLE HELP FROM
MY FRIENDS THE SOUL RASCALS,

I'M GOING TO PRESENT THE AWARD
FOR COSTUME DESIGN.

YOU KNOW, FOR ME TO HAND OUT
AN AWARD FOR CLOTHES...

I MEAN, DON'T GET ME WRONG.
I'M GOING TO DO IT.

BUT I'M NOT EXACTLY SURE THEY
CAME UP WITH THE RIGHT FELLA.

THERE WAS A TIME

WHEN EVERY WOMAN WANTED TO DRESS
LIKE GARBO OR LOMBARD.

CLARK GABLE TOOK HIS SHIRT OFF
IN "IT HAPPENED ONE NIGHT,"

AND IT TOOK 18 YEARS FOR BRANDO
TO BRING THE T-SHIRT BACK.

THE FIRST DAY OF REAL WORK,
WHEN I WAS GIVEN THE PART,

THEN THE FIRST THING WAS
TO COSTUME THIS GUY,

AND I MET ANN ROTH
DOWN AT WESTERN COSTUME.

SHE SAID,
"THIS IS A GOOD HAT FOR YOU.

YOU PUT THIS THING --
PUT IT BACK IN YOUR HEAD."

YEAH, DON'T WORRY.

"I HAD SOME BOOTS.
I THINK YOU'LL LIKE THE BOOTS."

SHE PUTS ON THIS JACKET
WITH ALL THE FRINGE, RIGHT?

AND THE THING
WAS JUST SPECTACULAR.

SHE WOULD GIVE ME THE CHARACTER,

YOU KNOW, GIVE ME IDEAS
TOWARD THE CHARACTER.

OH, PLEASE!

Kurland: THE ESSENCE
OF "ERIN BROCKOVICH" IS,

IN NO SMALL AMOUNT,
CENTERED AROUND HER BREASTS.

SO, WE DRESSED HER
IN VESTS AND THINGS,

WITH ZIPPERS
AND THINGS THAT OPENED

AND REVEALED
A GREAT DEAL OF CLEAVAGE

THAT JULIA COULD WORK WITH.

YOU KNOW,
IF SHE LEANED OVER A DESK,

THEY HAD TO BE THERE.

WE'RE TALKING ABOUT
A BUXOM WOMAN

WHO FREELY SHOWED
AND USED HER FEMININE WILES

TO GET WHERE SHE NEEDED TO GO.

HOW DID YOU DO THIS?

I JUST WENT UP THERE
AND PERFORMED SEXUAL FAVORS.

634 BLOW JOBS IN 5 DAYS.

I'M REALLY QUITE TIRED.

Baxter: YOU'RE GOING TO GET
MULTIPLE ANGLES,

SO IT ALLOWS YOU TO KIND OF MOVE
WITHIN THE SCENE,

SO YOU CAN SORT OF, YOU KNOW,
CARRY THE VIEWER THROUGH IT.

THE ANTAGONIZER COMES IN.

HE TAKES HIS GUN OUT

AND PLACES IT
ON TOP OF THE TV SET.

IT'S SUCH A GREAT SOUND

OF THAT GUN GOING
ONTO THE TOP OF THE TV SET.

I KNEW I WANTED
TO BE THERE THEN.

THEN HE MOVES OVER TO A CAMERA,

AND I KNEW THAT
I PROBABLY WANTED THEN GO

TO THE PERSPECTIVE OF BLOMKVIST
FROM THE VIEW OF THAT CAMERA.

IN BETWEEN,
I CAN THEN REALLY DISSECT

THE BEST PIECES OF PERFORMANCE
TO LIVE WITHIN THAT AREA.

THE NOMINEES...

FOR BEST ACHIEVEMENT
IN FILM EDITING...

IN FILM EDITING,
THEY ARE...

AAAAAH!

THE BEST EXAMPLE
THAT I CAN THINK OF

MUSIC RADICALLY SHIFTING A SCENE

IS THE OPENING
OF "THE SOCIAL NETWORK."

WE TRIED EVERYTHING FROM
METALLICA TO ELVIS COSTELLO,

AND IT FELT ALMOST LIKE
A JOHN HUGHES FILM.

YOU'RE AN ASSHOLE.

WHEN WE GOT
TRENT AND ATTICUS' MUSIC,

IT WAS NOT JUST
A DIFFERENT SCENE.

IT WAS A DIFFERENT MOVIE.

AS MUCH AS HE WAS
IN A BUSY PLACE

WITH LOADS OF PEOPLE AROUND HIM,
HE WAS ALONE.

IT BECAME
THE TEMPLATE OF THE MOVIE.

Jackman:
FOR BEST ORIGINAL SCORE...

Kidman:
TRENT REZNOR AND ATTICUS ROSS
FOR "SOCIAL NETWORK."

THE WINNER IS AARON COPLAND
FOR "THE HEIRESS."

ALFRED NEWMAN.

THE WINNER IS VICTOR YOUNG.

Woman: ELMER BERNSTEIN.

Man: DIMITRI TIOMKIN.

I'D LIKE TO THANK
JOHANNES BRAHMS,

JOHANN STRAUSS,
RICHARD STRAUSS,

BEETHOVEN, MOZART...

...GEORGE GERSHWIN, JEROME KERN,

WAGNER, TCHAIKOVSKY,
RIMSKY-KORSAKOV.

THANK YOU.

Carrey: IT'S THE CINEMATOGRAPHER

WHO BECOMES
THE PAINTER OF A FILM.

THEY TAKE PEOPLE
WHO LOOK LIKE THIS...

...AND THROUGH THE USE

OF PROPER FILTERS
AND SOFT LENSES...

TRY TO TURN THEM INTO THIS.

WE ACTORS LIKE TO SAY

THAT A GOOD CAMERAMAN
PHOTOGRAPHS OUR FACE;

A GREAT ONE, OUR SOULS.

Kaminski: IF YOU THINK
OF "SAVING PRIVATE RYAN,"

ALL THE GLOSSY,
TECHNICALLY PERFECT IMAGERY

WAS THROWN AWAY
FOR THE SAKE OF CREATING IMAGES

THAT WOULD MAKE
THE AUDIENCE FEEL

LIKE THEY ARE RIGHT THERE
ON THE BEACH OF NORMANDY.

Spielberg:
THERE WERE PICTURES TAKEN

BY THE PHOTOJOURNALIST
ROBERT CAPA.

HE LANDED WITH THE FIRST WAVE

AT 6:30 THE MORNING
ON OMAHA BEACH

AND HE TOOK HUNDREDS
OF PHOTOGRAPHS.

ONLY 10 OR 11 SHOTS SURVIVED.

THOSE STILL PHOTOGRAPHS
SAID MORE TO ME

ABOUT WHAT IT WAS LIKE
TO LAND ON THOSE BEACHES

THAN ANYTHING I HAD EVER SEEN.

SO, I WENT TO JANUSZ AND I SAID,
"I WANT THE WHOLE LANDING

TO LOOK LIKE
THESE 9 PHOTOGRAPHS."

Hanks: IT WASN'T LIKE
A SERIES OF SHOT LISTS.

I DON'T THINK STEVEN
DID STORYBOARDS ON IT.

THAT WAS A BRAND
OF DOCUMENTARY FILMMAKING

IN WHICH HE'S DOWN
IN THE THICK OF THIS THING,

AND HE AND JANUSZ KAMINSKI

ARE SCATTERING, YOU KNOW,
CAMERAS ALL OVER THE PLACE.

Kaminski:
WE HAD A GREAT OPERATOR.

HE WOULD CHASE THE SOLDIERS
OR HE WOULD FOLLOW THE SOLDIERS.

HE WOULD FALL DOWN
ON THE GROUND, GET UP,

GET SOME BLOOD ON THE LENS,
GET SOME DIRT ON THE LENS.

Hanks: MOVIES ARE VERY RARELY

UTTER AND COMPLETE TOTAL CHAOS
CAPTURED BY THE CAMERAMAN.

THAT LANDING, FOR ME,
WAS SHEER AND TOTAL CHAOS.

Woman: AND THE OSCAR GOES
TO JANUSZ KAMINSKI

FOR "SAVING PRIVATE RYAN."

Goldberg: IN RECOGNITION

OF THEIR STEADILY GROWING
IMPORTANCE

IN THE MOTION PICTURE ARTS,

THE ACADEMY HAS ADDED
A NEW CATEGORY THIS YEAR

HONORING ANIMATED FEATURE FILMS.

EH, WHAT'S UP, DOC?

WELL, BUGS,
WE'RE ANNOUNCING THE NOMINEES

FOR BEST ACHIEVEMENT
IN AN ANIMATED SHORT FILM.

I THOUGHT I WAS GOING TO PRESENT
THE AWARD FOR BEST ACTRESS.

NOW I HATE WHEN PEOPLE GO ON TV

AND TELL YOU HOW HARD IT IS
TO DO ANIMATION.

IT'S LIKE, "OH, JAY,
IT'S SUCH HARD WORK.

IT'S SO HARD DOING ANIMATION,
GETTING INTO CHARACTER."

NO, NO, NO.
UPS IS HARD WORK, OKAY?

STRIPPING WOOD IS HARD WORK.

I'VE DONE SOME ANIMATION,
AND HERE'S HOW EASY IT IS.

IT'S THE EASIEST JOB
IN THE WORLD.

I GO IN A BOOTH AND I GO,
"WHAT'S THE LINE?"

AND THE GUY GOES,
"IT'S TIME TO GO TO THE STORE."

AND THEN I GO,
"IT'S TIME TO GO TO THE STORE!"

"WELL, WHAT'S THE NEXT LINE?"

THE GUY GOES,
"IT'S GETTING DARK OUTSIDE."

"IT'S GETTING DARK OUTSIDE!"

AND THEN THEY GIVE ME
A MILLION DOLLARS.

NOW, THERE ARE
ALL KINDS OF DIRECTORS.

THERE ARE SPECTATOR DIRECTORS,
DICTATOR DIRECTORS,

DIRECTORS THAT ARE
KIND AND TOLERANT.

THEY'RE UNDERSTANDING.

THERE ARE ALSO DIRECTORS

THAT ARE MEAN AND PETTY
AND CONTEMPTIBLE.

SOME DIRECTORS ARE SHORT.

AND SOME ARE TALL.

SOME ARE OLD
AND SOME ARE YOUNG.

THERE ARE DIRECTORS WHO KNOW
EVERYTHING ABOUT HUMAN BEHAVIOR

AND NOTHING
ABOUT THE CAMERA.

THERE ARE DIRECTORS
WHO KNOW CAMERA ANGLES,

CAMERA LENSES, CAMERA SPROCKETS,
AND DEPTH OF FOCUS,

BUT WHO ARE TOTALLY IGNORANT
OF THE HUMAN CONDITION.

WE HAVE ALL OF THESE DIRECTORS
WITH US TONIGHT.

THE DIRECTOR
IS THE CAPTAIN OF THE SHIP.

A DIRECTOR'S A DICTATOR.

I PREFER IT
IF THEY'RE COMPETENT.

THAT'S ALWAYS NICE.

MOVE A LITTLE BIT THAT WAY.
OKAY, HERE WE GO.

ALL BECAUSE YOU'RE -- YEAH.

THERE'S THE ACTOR-DIRECTOR.
IT MUST BE VERY HARD.

IT MUST BE LIKE
MAKING LOVE TO SYBIL.

IT'S LIKE, "IT'S GOOD FOR ME."
"NOT FOR ME." "OKAY."

THERE IS THE WRITER-DIRECTOR,

WHERE IF HE GOES ON STRIKE,
WHO STAYS?

I DON'T KNOW.

IF HE FIRES HIM, DOES HE HAVE
TO FILE A GRIEVANCE?

"I CAN'T."
"OH, TOO LATE. OKAY."

IS THERE
THE WRITER-DIRECTOR-PRODUCER,

ONE OF THE FEW CREATURES
ON THE PLANET

WHO CAN BLOW SMOKE
UP HIS OWN ASS.

Reitman: AS A 6-YEAR-OLD,

I PROBABLY THOUGHT MY FATHER WAS
SOME SORT OF MAGICIAN.

I JUST KNEW THAT WHEN
I SHOWED UP AT HIS WORKPLACE,

INCREDIBLE THINGS HAPPENED.

MY FATHER IS IVAN REITMAN,
THE DIRECTOR OF "GHOSTBUSTERS."

HE'LL ALWAYS BE THE DIRECTOR
OF "GHOSTBUSTERS,"

AND I'LL ALWAYS BE THE SON

OF THE GUY WHO DIRECTED
"GHOSTBUSTERS."

MY FATHER SAID TO ME,
"YOU'RE MAKING A MOVIE
ABOUT AN IMPORTANT TIME.

"THERE'S THIS RECESSION,

"AND IT'S NOT GOING TO
BE THAT MANY MOVIES THAT
SPEAK TO IT ACCURATELY.

"YOU HAVE TO FIND WAYS
TO WORK THAT INTO YOUR FILM

AND IN AN HONEST WAY."

THIS WILL BE YOUR LAST WEEK
OF EMPLOYMENT AT THIS COMPANY.

WE PUT AN AD OUT
IN THE "HELP WANTED" SECTION,

SAYING "WE'RE MAKING
A DOCUMENTARY ABOUT JOB LOSS."

WE'D SAY, "ALL RIGHT, WE'D LIKE
TO TRY A LITTLE ROLE PLAY.

WE'RE GOING TO FIRE YOU."

WHY ME?

WHAT AM I SUPPOSED
TO DO NOW?

HOW'S YOUR FAMILY?
THEY SLEEPING WELL AT NIGHT?

THEY WOULD GET ANGRY.
THEY WOULD CRY.

THEY WOULD START SAYING
REAL THINGS.

GOING TO CHUCK E. CHEESE THIS
WEEKEND OR SOMETHING? NOT ME.

AND IT WAS
HEARTBREAKING.

NO, MY KIDS, WE'RE NOT
GOING TO DO ANYTHING.

THE FRENCH CALL THEM
RéALISATEURS.

ITALIANS CALL THEM
REGISTA.

IT TRANSLATES,
"THE REALIZER,"

THE ONE WHO REALIZES
THE DREAM.

HE TRIES TO GET AS CLOSE
TO THE VISION HE OR SHE HAS

WHEN THEY FIRST READ
THE MATERIAL.

THE BEST ONES
I'VE WORKED WITH --

THE COEN BROTHERS
AND SODERBERGH AND --

I MEAN, YOU GO DOWN THE LIST

OF THESE REALLY WONDERFUL
DIRECTORS I'VE WORKED WITH.

THEY SHOOT WITH VERY,
VERY SPECIFIC POINTS OF VIEW.

Man: AND HE WOBBLES
INTO THE ROPES AND GOES DOWN!

Robinson: "RAGING BULL"
HAS MAYBE 10 OR 12 SCENES

WITH BOXING MATCHES IN IT.

MARTY SCORSESE SHOT EACH
ONE OF THOSE SCENES DIFFERENTLY,

BASED UPON THE MEANING
OF THE SCENE.

Man:
THE CONTRAST IN THEIR STYLES --

THE SPEEDY RAY ROBINSON
UP ON HIS TOES...

Robinson:
THE SCENE IN WHICH LaMOTTA

IS SUPPOSED TO THROW THE FIGHT,

AND, IN FACT, IS TRYING TO LOSE
FOR A WHILE,

FOR THE FIRST TIME, MARTY PUTS
THE CAMERA OUTSIDE THE RING...

Man: AND LaMOTTA
IS LOSING THE TITLE

THAT HE WON FROM
THE GALLANT MARCEL CERDAN.

AFTER THE TRAGIC PLANE...

...BECAUSE, HE SAID,
JAKE'S HEART WASN'T IN THE RING.

AT THE MOMENT IN THE FIGHT
WHEN LaMOTTA SAYS,

"SCREW THIS,
I'M GOING TO BEAT THIS GUY,"

THE CAMERA FLIES
THROUGH THE ROPES INTO THE RING.

Man:
HE'S BEEN PLAYING POSSUM!

HE'S GOT DAUTHUILLE HURT!

A RIGHT HAND TO THE BODY...

EVERY ONE OF THOSE SCENES
IS SHOT DIFFERENTLY,

BASED UPON THE MEANING
OF THE SCENE TO THE STORY.

THOSE NOMINATED FOR BEST
ACHIEVEMENT IN DIRECTING ARE...

THE NOMINEES FOR ACHIEVEMENT
IN DIRECTING ARE...

THE NOMINEES FOR ACHIEVEMENT
IN DIRECTING ARE...

NOW THE NOMINEES FOR
ACHIEVEMENT IN DIRECTING ARE...

HERE ARE THE NOMINEES
FOR ACHIEVEMENT IN DIRECTING.

STEVEN SPIELBERG
FOR "CLOSE ENCOUNTERS."

Man: STEVEN SPIELBERG FOR
"RAIDERS OF THE LOST ARK."

Man: STEVEN SPIELBERG FOR
"E.T. THE EXTRA-TERRESTRIAL."

STEVEN SPIELBERG.

STEVEN SPIELBERG.

Man: STEVEN SPIELBERG.

Woman: THE WINNER IS...

WOODY ALLEN FOR "ANNIE HALL."

Lemmon:
...WARREN BEATTY FOR "REDS."

...RICHARD ATTENBOROUGH
FOR "GANDHI."

Spielberg: I WANTED
TO SHOOT BLACK-AND-WHITE

BECAUSE I DID NOT WANT
TO PRETTIFY

ANY OF THE IMAGES
OF THE HOLOCAUST.

AND I ABSOLUTELY WOULD NOT
HAVE MADE THE MOVIE

HAD THE STUDIO INSISTED --
AND IT DID FOR A WHILE --

THAT I SHOOT THE MOVIE IN COLOR.

THERE WERE A FEW MOMENTS
OF COLOR

I WANTED TO INTRODUCE
IN THE FILM.

THE SHABBAT CANDLE
IN THE OPENING SCENE,

BEFORE THE HOLOCAUST,
WAS FULL OF COLOR.

AND AS THE CANDLE BURNS DOWN,

EVERYTHING TURNS
INTO BLACK-AND-WHITE

EXCEPT THE CANDLE.

AND THEN I WANTED THE CANDLE
TO JUST BE

A LITTLE BIT OF RED IN THE WICK
JUST BEFORE IT GOES OUT,

AND THEN THE SMOKE WOULD RISE,

ALMOST LIKE THE SMOKE
FROM THE CREMATORIUM.

Eastwood: THE OSCAR GOES TO...

STEVEN SPIELBERG
FOR "SCHINDLER'S LIST."

WOW.

Bates:
AND THE OSCAR GOES TO...

ANTHONY HOPKINS
IN "THE SILENCE OF THE LAMBS."

THAT'S MY HUSBAND, TONY.

HI, THERE.
HOW ARE YOU?

MY GOD.
I KNEW IT.

HI, THERE. HOW ARE YOU?
NICE TO MEET YOU.

ALL RIGHT, GENTLEMEN,
FIRE AWAY.

IF THE ANSWER WOULD BE
"PETER FALK,"

WHAT WOULD BE
THE QUESTION?

UH -- UH --

UM -- UH --

WHAT IS THE THING
YOU LOVE MOST IN YOUR LIFE?

PRIVACY.

LA PRIVACIóN.
THAT HIT IT RIGHT ON THE NOSE.

WHAT'S THE THING YOU WISH
TO HAVE MOST IN YOUR LIFE?

PRIVACY.

YOU WANT TO HOLD MY OSCAR
FOR A MINUTE?

NOT PARTICULARLY.

YOU WANT TO SAY SOMETHING
IN SPANISH?
I DON'T SPEAK SPANISH.

Man: HOW DO YOU FEEL?

HOW DO I FEEL? FINE.
HOW ARE YOU?

I DON'T KNOW
WHAT I'M DOING HERE.

I DIDN'T WIN ANYTHING.

THE THING THAT I ALWAYS LOVE

IS THE STUFF
THAT JUST HAPPENS BACKSTAGE.

I REMEMBER
SITTING IN THE GREEN ROOM

WITH SOPHIA LOREN,
WHO IS QUITE FABULOUS.

NICOLAS CAGE AND JIM CARREY
CAME OVER.

I INTRODUCED THEM,
AND SHE WAS VERY CHARMING --

COULDN'T HAVE BEEN
MORE CHARMING.

AND THEY WERE JUST
STANDING THERE,

AND THEY JUST
HAD NOTHING MUCH TO SAY.

AND SO THEY SAID GOODBYE,

AND THEN THEY TURNED,
AND AS THEY WALKED AWAY,

JIM CARREY TURNED TO NIC
AND SAID,

"WELL, WE IMPRESSED THE HELL
OUT OF HER."

I'M WALKING BACKSTAGE TO GET
TO THE OTHER SIDE OF THE STAGE,

AND WHO DO I SEE
COMING TOWARD ME...

BUT FRED ASTAIRE?

AND HE SAYS, "JON, OH, ISN'T IT
WONDERFUL TO MEET YOU."

YOU KNOW, "SUCH GOOD WORK."

HE SAYS, "GOOD LUCK TONIGHT.
GOOD LUCK."

WALKS DOWN THERE.

AND I WATCH.

AND I'M LOOKING,
AND IT'S LIKE, "WOW.

FRED ASTAIRE."

WE WENT TO THE GOVERNOR'S BALL,

AND THERE WAS AN EXTREMELY FRAIL
BETTE DAVIS.

OH, REALLY?

MISS DAVIS HAD BEEN PUT
IN RITA'S SEAT.

THANK YOU. THANK YOU.

I LEANED OVER AND SAID,
OVER THE DIN OF THE PARTY,

"MISS DAVIS, YOU'RE SEATED
IN MY GIRLFRIEND'S CHAIR,

BUT I THINK IF ANYBODY
CAN TAKE THAT SEAT, YOU CAN."

AND SHE SAID, "WHAT?!"

AND SO, I SAID, "MISS DAVIS,

"YOU'RE SEATED
IN MY GIRLFRIEND'S CHAIR,

BUT IF ANYBODY CAN TAKE
THAT SEAT, YOU CAN."

AND SHE SAID, "I CAN'T HEAR
A WORD YOU'RE SAYING!"

NOW YOU GET ON.
THAT'S RIGHT.

THANK YOU, MY DEAR.
THAT'S RIGHT.

Man: THERE WE GO.
THAT'S IT, THAT'S IT.

OH, YES!
CAN I HAVE A PICTURE?

YOU HAD TO WAIT A LONG TIME
FOR THIS. DIDN'T YOU?

YOU HAD TO WAIT
A LONG TIME.

LONG TIME, YEAH.

IT'S BETTER
WHEN YOU'RE OLDER.

SORRY. YES, YES?

Woman: WHAT'S YOUR FEELING
ABOUT OSCARS

AND WHAT THEY MEAN
IN THIS COMMUNITY?

Woman #2:
NO, HE'LL GET HIS CHANCE.

YEAH.

IT'S EXHILARATING.
TELL THEM.

IT'S EXHILARATING.

IT REALLY IS.

IT'S GOOD TO BE RECOGNIZED
BY YOUR PEERS.

HAVE YOU HEARD THAT
BEFORE?

AS THE SHOW PROGRESSES,
THE ROOM FILLS UP WITH LOSERS.

FOR EVERYONE WHO WINS,
THERE ARE FOUR WHO DON'T,

AND THEY ARE BITTER,
AND THEY SIT THERE.

AND THEY'RE NOT INTERESTED
IN THE JOKES ANYMORE.

KEEP YOUR EYES
ON THE LOSERS TONIGHT

AS THEY APPLAUD THE WINNERS.

YOU'LL SEE GREAT UNDERSTANDING,

GREAT SPORTSMANSHIP,
GREAT ACTING.

THE THING THAT'S TERRIBLE

IS THAT ONE MINUTE,
YOU'RE A NOMINEE,

AND THE NEXT MINUTE,
YOU'RE A LOSER.

AND THE WINNER IS...

THE WINNER IS...

AND THE WINNER IS...

MAY I HAVE THE ENVELOPE?

Man: WAS THERE ANYTHING
MEMORABLE FROM THAT NIGHT?

LOSING.

AND THE WINNER IS...

"THE HURT LOCKER."

WE DUCKED OUT AND DIDN'T GO
TO THE GOVERNOR'S BALL,

AND WE WENT TO IN-N-OUT INSTEAD.

THIS LITTLE OLD LADY
WALKED UP TO ME AT IN-N-OUT.

SHE SAID,
"DIDN'T YOU JUST WIN AN OSCAR?"

AND I SAID, "NO."

THEN I BIT
INTO MY DOUBLE-DOUBLE.

AND THE OSCAR
GOES TO...

JUST THE FACT THAT I WAS SITTING
IN THAT ROOM WITH THOSE PEOPLE,

WEARING THAT GORGEOUS DRESS

THAT HAD BEEN SPECIALLY MADE
JUST FOR ME,

I FELT I'D WON.

I DIDN'T --
HONESTLY, I DIDN'T FEEL

I NEEDED ANY MORE THAN THAT.

PEOPLE GO, "OH, IT'S JUST ENOUGH
TO BE NOMINATED,"

WHICH IS ALL WELL AND GOOD
IN THE BEGINNING.

AND THE WINNER
IS LINDA HUNT.

THE NOMINEES.

KEN CHASE
FOR "THE COLOR PURPLE."

WHOOPI GOLDBERG
IN "THE COLOR PURPLE."

MARGARET AVERY
IN "THE COLOR PURPLE."

"THE COLOR PURPLE"
WAS GIVEN 11 NOMINATIONS.

Woman:
"THE COLOR PURPLE."

FOR "THE COLOR PURPLE."

FOR "THE COLOR PURPLE."

Kennedy: AND THEN EACH TIME
THE MOVIE WAS CALLED,

WE DIDN'T WIN.

SO THAT'S A TOUGH EVENING
TO SIT THROUGH.

BUT I COULD FEEL THIS HUNGER

AND GRASPING IN ME

THAT I DIDN'T LIKE.

GENA ROWLANDS WAS NOMINATED
THE SAME YEAR

AS "ALICE DOESN'T LIVE HERE
ANYMORE."

HEY, WHAT TIME IS IT,
PLEASE,

BECAUSE I'M WAITING
FOR MY KIDS IN SCHOOL,

AND I DON'T KNOW WHAT TIME
THE SCHOOL --

HEY, YOU.

HEY, YOU'RE GOT
A WATCH ON.

WILL YOU TELL ME
THE TIME?

Burstyn: THAT'S
AN ACADEMY AWARD-WINNING PART.

WELL, SHE SHOULD HAVE WON
AN AWARD FOR THAT --

NOT MY AWARD, BUT...

AND THE WINNER IS...

ELLEN BURSTYN IN "ALICE
DOESN'T LIVE HERE ANYMORE."

YOU'RE CAUGHT IN THIS SORT
OF TERRIBLE SQUISH

BETWEEN, YOU KNOW,
A REALLY HEAVY DOSE

OF VANITY AND PRIDE
AND ARROGANCE ON ONE SIDE,

AND THEN A REALLY HEAVY DOSE

OF HUMILITY AND INSECURITY
ON THE OTHER,

AND YOU'RE SORT OF SQUISHED
IN THE MIDDLE.

DUSTIN HOFFMAN
IN "KRAMER VS. KRAMER."

I'D LIKE TO THANK MY PARENTS

FOR NOT PRACTICING
BIRTH CONTROL.

I'M UP HERE
WITH MIXED FEELINGS.

I'M DEEPLY GRATEFUL
FOR THE OPPORTUNITY

TO BE ABLE TO WORK.

Del Toro: IT'S NOT A SPORT.

I'M GREATLY HONORED.

IN SPORTS, WHOEVER WINS, WINS.

THE OSCARS ARE NOT LIKE THAT.

I REFUSE TO BELIEVE
THAT I BEAT JACK LEMMON,

THAT I BEAT AL PACINO,
THAT I BEAT PETER SELLERS.

I REFUSE TO BELIEVE
THAT ROBERT DUVALL LOST.

YOU KNOW IN YOUR HEART
THIS IS KIND OF WRONG,

AND I KNOW
I SHOULDN'T BE SAYING THIS,

BECAUSE WE'RE TALKING
ABOUT THE OSCARS,

AND ON MANY LEVELS,
IT'S FANTASTIC.

THERE ARE PEOPLE WHO ARE GIVING

THAT ARTISTIC PART OF THEMSELF

THAT GOES BEYOND A PAYCHECK,

AND THEY ARE NEVER UP HERE,

AND MANY OF THEM ARE NOT MEMBERS
OF THE ACADEMY,

AND WE NEVER HEAR OF THEM.

IN THE END, WE ARE ARTISTS,

AND ART IS NOT ABOUT COMPETITION
OR PRIZES,

IT REALLY ISN'T.

AND TO THAT ARTISTIC FAMILY
THAT STRIVES FOR EXCELLENCE,

NONE OF YOU HAVE EVER LOST,

AND I AM PROUD TO SHARE THIS
WITH YOU, AND I THANK YOU.

Huston:
COMPETITION, BY ITS VERY NATURE,

CREATES WINNERS AND LOSERS.

* I'M SINGIN' IN THE RAIN

BUT SOME MOVIES
OVERLOOKED BY OSCAR

HAVE STOOD THE TEST OF TIME

AND ARE NOW REGARDED
AS CLASSICS.

* I'M HAPPY AGAIN

* I'M LAUGHIN' AT CLOUDS

IT'S VERY HARD TO SAY
ONE FILM IS BETTER THAN ANOTHER.

IS "THE GODFATHER" BETTER
THAN "2001: A SPACE ODYSSEY?"

I DON'T KNOW.

IS "ANNIE HALL"
BETTER THAN "GOODFELLAS?"

YOU'RE A FUNNY GUY.

I DON'T KNOW.

EVERY YEAR, THE ACADEMY
ANNOUNCES ITS NOMINEES,

AND IMMEDIATELY,
EVERYBODY'S SAYING,

"HOW COULD THEY NOMINATE
THIS ONE?"

I'LL TELL YOU HOW.
IT'S VERY EASY.

WE TOOK A VOTE. THAT'S HOW.

THIS IS NOT A TABLET
HANDED DOWN FROM GOD,

WRIT BY HIS FINGER, SAYING,

"OKAY, IF ANYBODY DISAGREES,
YOU'RE WRONG.

THIS IS THE OFFICIAL ANSWER."

THIS IS OUR OPINION.

SOME PEOPLE WHO SHOULD HAVE
GOTTEN OSCARS

NEVER GOT AN OSCAR.

Huston: FOR A LIFETIME OF WORK,

OR SOMETIMES FOR WORK
TOO LONG UNREWARDED,

THE ACADEMY OFFERS
THE HONORARY OSCAR.

ALWAYS A BRIDESMAID,
NEVER A BRIDE, MY FOOT.

OUR BOARD OF GOVERNORS
TONIGHT SALUTES

WITH A SPECIAL OSCAR...

Man: AKIRA KUROSAWA.

FEDERICO FELLINI.

Man: HAROLD LLOYD.

Man #2: GROUCHO MARX.

Man #3:
LILLIAN GISH.

Wayne: HOWARD HAWKS.

Woman: DEBORAH KERR.

Man: KIRK DOUGLAS.

Woman:
ROBERT ALTMAN.

Huston: LAUREN BACALL.

Man: BLAKE EDWARDS.

Man #2: D.A. PENNEBAKER.

Man #3: CHARLES CHAPLIN.

OH, YOU'RE WONDERFUL,
SWEET PEOPLE.

THANK YOU.

HELLO.

I GUESS YOU DIDN'T THINK
IT WAS POSSIBLE

FOR ANYONE TO OVERDRESS
FOR THIS AFFAIR.

THIS IS THE OSCARS.

WE HAVE TO BE DIGNIFIED, AS
DIGNIFIED AS HUMANLY POSSIBLE.

THAT IS WHY I'VE DECIDED
TO RISE TO THE OCCASION...

...AND, UH...

HOW DO YOU LIKE IT SO FAR,
KIDS?

MY HEART.

I FEEL SO HAPPY THAT I WANT
TO THANK

ALL THE MEMBERS OF THE ACADEMY
WHO DID NOT VOTE FOR ME.

HELLO, GORGEOUS.

I CAN'T TELL YOU HOW ENCOURAGING
A THING LIKE THIS IS.

IT'S MUCH HEAVIER
THAN I IMAGINED.

I, UH -- YES, I HAD
SOMETHING TO SAY,

AND I CAN'T REMEMBER WHAT I WAS
GOING TO SAY FOR THE LIFE OF ME.

BUT I DO REMEMBER FEELING
COMPLETELY OVERWHELMED

BY THE FACT THAT JACK LEMMON,
PETER O'TOOLE,

DUSTIN HOFFMAN, AND PAUL NEWMAN
WERE MY FELLOW NOMINEES.

FIVE OUTSTANDING PERFORMANCES,
AND THE WINNER IS...

I REMEMBER TURNING
TO MY EX-WIFE AND SAYING,

"ARE YOU READY TO APPLAUD PAUL?"

...BEN KINGSLEY IN "GANDHI."

Mirren: IT IS A BIT
LIKE BEING IN A CAR CRASH.

EVERYTHING SLOWS DOWN.

EVERYTHING GOES
INTO SLOW MOTION,

AND IT SORT OF GOES, YOU KNOW,

TICK...TICK...TICK...TICK.

THE...WINNER...IS...

HELEN MIRREN IN "THE QUEEN."

Mirren: MY SISTER'S A TEACHER,
AND SHE CAME WITH ME,

AND SHE'D SAID IN THE MORNING,
SHE SAID,

"ALL KIDS LOVE
TO GET GOLD STARS."

AND THIS IS THE BIGGEST
AND THE BEST GOLD STAR

THAT I HAVE EVER HAD IN MY LIFE.

AND I THOUGHT THAT WAS
A LOVELY IDEA,

THAT WE DO ALL LOVE A GOLD STAR,
YOU KNOW.

IT MAKES US FEEL PROUD AND THAT
WE'VE ACHIEVED SOMETHING.

Del Toro:
THERE'S A COUPLE FAMILY MEMBERS

THAT WERE KIND OF LIKE SKEPTICAL
WITH MY ACTING.

AND WHEN
THE NOMINATION HAPPENED --

I DON'T KNOW -- I ALMOST FELT

LIKE I HAD GOTTEN A DIPLOMA
OF SOMETHING.

BENICIO DEL TORO.

THANK YOU. THANK YOU.

THE FIVE NOMINEES
FOR BEST PERFORMANCE

BY AN ACTOR
IN A LEADING ROLE ARE...

MY FATHER HAD MADE
SOME OF THE GREATEST MOVIES,

AND HE'D NEVER WON.

IT DIDN'T SEEM RIGHT
OR POSSIBLE.

YOU KNOW WHAT THIS IS?

UNIVERSITY
OF PENNSYLVANIA,

DIVING FINALS, 1921,
SECOND PLACE.

I WAS NOMINATED
FOR BEST SUPPORTING ACTOR.

DAD WAS NOMINATED
FOR BEST ACTOR.

KATHARINE WAS NOMINATED
FOR BEST FEMALE ACTOR.

I DIDN'T WIN,
AND THE TWO OF THEM DID.

THE WINNER IS KATHARINE HEPBURN
IN "ON GOLDEN POND."

HENRY FONDA, "ON GOLDEN POND."

Fonda: HE WAS TOO SICK
TO GET HIS OSCAR,

SO HE ASKED ME, IF HE DID WIN,
TO GET IT FOR HIM.

OH, DAD, I'M SO HAPPY
AND PROUD FOR YOU.

THAT WAS ONE OF THE HAPPIEST
MOMENTS OF MY LIFE.

WE ALL WENT OVER TO HIS HOUSE
AND PRESENTED THE OSCAR TO HIM,

AND HIS FIRST WORDS WERE,
"I'M SO HAPPY FOR KATE."

THE NOMINEES
FOR BEST PERFORMANCE

BY AN ACTRESS
IN A LEADING ROLE ARE...

LAST NIGHT NEVER HAPPENED,
AND I'M GOING TO MARRY HIM,

AND YOU AND I ARE GOING
TO TAKE THIS TO OUR GRAVES.

I CAN'T DO THAT.
WHY NOT?

I'M IN LOVE WITH YOU.

SNAP OUT OF IT!

...CHER IN "MOONSTRUCK."

Cher: AS HE STARTED DOING THAT,
I WENT DEAF.

...HOLLY HUNTER
IN "BROADCAST NEWS"...

I WAS VERY FRIGHTENED
ABOUT HOLLY HUNTER.

WHEN I SAW THAT MOVIE,
I THOUGHT,

"OH, MY GOD,
SHE'S SO GREAT IN IT."

...AND GLENN CLOSE
IN "FATAL ATTRACTION."

Cher: AND THEN I THOUGHT,
"WELL, GLENN CLOSE TOO.

"IT'S DRAMATIC, AND, YOU KNOW,
SHE DID EVERYTHING BUT --

YOU KNOW,
SHE BOILED A RABBIT."

Newman: AND THE WINNER IS...

Cher: AND WHEN HE OPENED
THE ENVELOPE,

HE TOOK A BREATH,
AND I THOUGHT, "I'VE LOST,"

BECAUSE IT DOESN'T TAKE
A BREATH TO SAY "CHER."

THE WINNER IS CHER
IN "MOONSTRUCK."

Cher: AND WHEN HE SAID IT,
I WAS SO --

MY SENSES WERE SO STRANGE

THAT I HAD NO IDEA
THAT PEOPLE STOOD UP.

IT WAS JUST CRAZY.

I WAS -- I WAS REALLY KIND OF
NOT IN MY RIGHT MIND.

MY SENSES WERE FAILING ME.

WHEN I WAS LITTLE,
MY MOTHER SAID,

"I WANT YOU TO BE SOMETHING."

AND, UH...

AND I GUESS THIS REPRESENTS

23 OR 24 YEARS OF MY WORK,

AND I'VE NEVER WON ANYTHING
BEFORE FROM MY PEERS.

AND I ALSO WOULD LIKE TO THANK
MARY LOUISE STREEP,

WHO I FEEL SO UNBELIEVABLE THAT
I DID MY FIRST MOVIE WITH HER,

AND NOW I WAS NOMINATED
WITH HER,

AND I FEEL REALLY THANKFUL.

FOR BEST PICTURE OF THE YEAR...

FOR THE BEST PICTURE OF 1961...

FOR THE BEST PICTURE
OF THE YEAR...

MAY I HAVE THE ENVELOPE,
PLEASE?

ZOOBIE-DOOBIE-DOO.

OH, I'M SO GLAD.

THE WINNER...

"ON THE WATERFRONT."

"FROM HERE TO ETERNITY."

"AROUND THE WORLD IN 80 DAYS."

OH, HE'S SO BEAUTIFUL.
ISN'T HE BEAUTIFUL?

Man: BEST DOCUMENTARY FEATURE.

Man #2: "HARLAN COUNTY, USA."

Woman:
"THE TIMES OF HARVEY MILK."

Man: "VIOLIN."

Man: "THE DEPARTED."

"ORDINARY PEOPLE."

"CHICAGO."
"CHICAGO."

I LOVE THE WORLD.
I'M SO HAPPY. THANK YOU.

THANK YOU SO, SO MUCH.

I CAN'T BELIEVE IT.

WOW, THIS IS INCREDIBLE!

THIS IS PRETTY GOOD.
THIS IS ALL RIGHT, YOU KNOW.

"AMADEUS."

"SLUMDOG MILLIONAIRE."

Man: FOR THE BEST
FOREIGN LANGUAGE FILM...

Man #2: "FANNY AND ALEXANDER."

Woman: "RASHOMON."

Man: "LA STRADA."

Robinson: I MEAN, IT WAS AN
AMAZING NIGHT, AND I GOT HOME.

IT WAS PROBABLY 3:00 OR 4:00
IN THE MORNING.

I GOT UP AT 7:00,

THREW ON A PAIR OF JEANS
AND A T-SHIRT

A PAIR OF SNEAKERS,
WENT BACK TO WORK.

AND I'M SITTING ON THIS
DUSTY, DARK, OLD SOUND STAGE,

WITH STALE COFFEE
AND BAD DOUGHNUTS,

AND I THOUGHT,
"THIS IS HOLLYWOOD."

LAST NIGHT WASN'T HOLLYWOOD.

LAST NIGHT IS WHAT PEOPLE
OUTSIDE THE BUSINESS

THINK OF AS HOLLYWOOD.

BUT THAT'S THE ONE NIGHT
OF THE YEAR

THAT WE ALL GET DRESSED UP
AND PUT ON A SHOW.

THIS, THE SITTING
ON THIS DUSTY OLD STAGE,

DOING THE DRUDGERY
OF FILMMAKING, IS HOLLYWOOD.

IT'S A LOT OF PEOPLE
WORKING VERY HARD

ON VERY UNGLAMOROUS THINGS
FOR A LONG TIME

WITH A TREMENDOUS RISK
OF FAILURE.

AND THAT'S HOLLYWOOD.

Del Toro: THE GLAMOUR
AND ALL THAT IS FUN,

BUT I JUST THINK ABOUT THE WORK.

Man: WHERE DO YOU
KEEP YOUR OSCAR?

UH, RIGHT HERE.

Hope: FOR THE WINNERS,

THERE WILL BE
A GIANT VICTORY CELEBRATION

IN THE GRAND BALLROOM
OF THE HILTON HOTEL.

THE REST OF US WILL GATHER

IN THE MONOXIDE ROOM
OF THE PRICE WATERHOUSE GARAGE.

Mirren:
WHEN I WAS WAITING IN LONDON

TO GET MY LUGGAGE
IN THE LUGGAGE HALL,

SOMEONE RECOGNIZED ME
AND STARTED APPLAUDING.

AND THE WORD SORT OF WENT
AROUND THE LUGGAGE HALL,

AND THE WHOLE LUGGAGE HALL,

EVERYONE WAITING
FOR THEIR LUGGAGE

AND THE LUGGAGE HANDLERS
AND EVERYONE,

WERE ALL APPLAUDING ME.

SO I GOT THE OSCAR OUT
AND HELD IT UP.

IT WAS LOVELY.

BOY, AIN'T THAT PRETTY.

THE NOMINATIONS ARE...

DO I GET AN ENVELOPE?
OH, THANK YOU.

THE NOMINATIONS ARE...
RIGHT THERE.

OH. UH...OH.

SORRY, A BIT CLOSER?
IT'S MY EYES.

CHANGE GLASSES.

SOME MORE OF THE NOMINEES.
OH, WRONG GLASSES, SORRY.

STORY AND SCREENPLAY

BY ERIC -- I CAN'T --
ROMNA.

ROHMER.
ROHMER.

UH...
GO AHEAD.

BUT THE PROBLEM IS,
I FORGOT MY GLASSES, BUT...

OH. OKAY, OKAY.

AND THE WINNER IS...

INDIANA, 86-68.

BEFORE I CAME, I WENT TO VISIT

JANE AUSTEN'S GRAVE
IN WINCHESTER CATHEDRAL,

TO PAY MY RESPECTS, YOU KNOW,
AND TELL HER ABOUT THE GROSSES.

ROBERTO, YOU GETTING
MY JOKES, MAN?

YOU UNDERSTANDING MY JOKES?

YOU'RE NOT UNDERSTANDING NOT
A THING I'M SAYING, ARE YOU?

ALL RIGHT.

YOU THINK I'M FUNNY?
GRAZIE.

BEFORE MY MOM PASSED AWAY
ABOUT 18 MONTHS AGO,

SHE PREDICTED
THAT THIS WAS GOING TO HAPPEN

FOR ME ON THIS FILM.

SHE ALSO MADE THAT PREDICTION

ON EVERY MOVIE
THAT I'VE DIRECTED SINCE 1983.

I HAVE WONDERED FOR 26 YEARS

WHAT THIS WOULD FEEL LIKE.

THANK YOU SO MUCH
FOR TERMINATING THE SUSPENSE.

I SHOULD TELL YOU
THAT IF YOU ARE A WINNER

AND YOUR SPEECH GOES ON
TOO LONG,

FIRST YOU'LL SEE
FLASHING LIGHTS,

AND THEN THE BAND
WILL START TO PLAY,

AND THEN YOU'LL FEEL SOMETHING
STICK IN YOUR NECK.

AND I WOULD SUGGEST
THAT YOU WALK TOWARD THE LIGHT.

TURN THAT CLOCK OFF.
IT'S MAKING ME NERVOUS.

29 SECONDS.
27 SECONDS.

UM, THAT'S REALLY INTIMIDATING.

UM...

I CA--
LET'S GET OUT OF HERE.

YEAH, OKAY.
THANK YOU.

WE'RE EDITORS,
SO THANK YOU.

Man: LADIES AND GENTLEMEN,
THERE YOU'VE SEEN IT,

THE WORLD SERIES
OF THE BIG LEAGUES

OF THE ENTERTAINMENT WORLD,
HOLLYWOOD MOVIES.

GOOD NIGHT FROM HOLLYWOOD.

GOOD NIGHT, EVERYBODY.

GOOD NIGHT,
LADIES AND GENTLEMEN,

AND THANK YOU VERY MUCH.