Original subtitles

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.