The Academy Awards

Season 56 Episode 1

The 56th Annual Academy Awards

Aired Sunday 8:30 PM Apr 09, 1984 on ABC



  • Trivia

  • Quotes

    • James L. Brooks: This community -- it took a long time to get the picture made and this community has been generous to this picture from long before it was made, when we were trying to get it done. I want to acknowledge my co-producers Penney Finkelman and Martin Jurow. My friends were unfailing through this thing cause it was the kind of experience where you wouldn't have made it without your friends. I want to tell you that Debra Winger worked on this picture in countless ways for about a year with as much as a person can give to a picture.

      There was a lot about, you know, every studio turning it down. I think it's much more significant that a Hollywood studio made it, and that Hollywood studio was flexible, and that the studio ended up happy that it made it -- I think that's significant, too, that there was an audience for this picture. I want to thank Barry Diller and Michael Eisner, Frank Mancuso, and Jeff Katzenberg, and Larry Marks. And this is an extraordinary evening for us. There is no way to express the gratitude. Thank you very much.

    • Shirley MacLaine: I'm gonna cry because this show has been as long as my career. I have wondered for twenty-six years what this would feel like. Thank you so much for terminating the suspense. Oh my, I am nervous.

      I'm not going to thank everybody I've ever met in my entire life -- although, with the way my mind has been going lately probably everybody I've ever met in my entire life and in the other life I might have had had something to do with this. You know, if "Terms of Endearment" had happened to me five years ago, I think I would have called it a thrilling, commercial, artistic accident. But I don't believe that anymore. I don't believe there's any such thing as accident. I think that we all manifest what we want and what we need. I don't think there's any difference really between what you feel you have to do in your heart and success. They're inseparable.

      Jim Brooks deeply wanted to make a film about the defects and imperfections and foibles of people in a humorous and loving way. And he had such passion. It was unbelievable to watch. He's being very modest with himself tonight. It was unbelievable. His sense of truth was so accurate that he overwhelmed his own insecurities, and Paramount's. I guess we all did the same thing.

      I have wanted to work with the comic chemistry of Jack Nicholson since his chicken salad sandwich scene in "Easy Pieces." And to have him in bed was such middle-aged joy. I wanted to work with the turbulent brilliance of Debra Winger. She literally inhabited the character so thoroughly that I thought for four months I had two daughters.

      But in the end just let me say one thing. Films and life are like clay waiting for us to mold it. And when you trust your own insides, and that becomes achievement, it's a kind of a principle that seems to me is at work with everyone. God bless that principle. God bless that potential that we all have for making anything possible if we think we deserve it. I deserve this. Thank you.

    • Robert Duvall: Thank you very much. I'm very excited, very happy, very moved, very everything tonight, to be up here, to be singled out from among all these very talented people. I sometimes come to the Academy Awards and watch them year after year, and I get caught up in the spectacle of it, in the event, in the very complex type of entertainment and I guess, I know I forget, that what we're really here for is to single out who we think is the best for that given year. And if that's what I am to be this year then I appreciate it. I accept it with an honor and I'm very moved because of that.

      I think we set out to make a film, a very truthful film, a very good film. I think Bruce Beresford, Horton Foote, the Hobels, EMI, should all be commended for a very wonderful job that they did in putting this film together. I think it's a valid film, valid enough that we have gotten very much applause of a certain kind from certain members of the country western community, such as my friend Johnny Cash, Willie Nelson, Waylon Jennings. And this is certainly a very high level of criticism coming from those people. And if I didn't have that on one hand, I would feel that this on the other hand was not complete. But the combination of both tonight makes this a very complete and exciting evening for me tonight. And I want to thank the Academy very much for this award. I'm very happy. Thank you.

    • James L. Brooks: I feel like I've been beaten up. It's strange. This was in the truest sense of the word, enormously collaborative film. Andrzej Bartkowiak's talent is on every frame. Richard Marks was a dream in the cutting room. A friend of mine named Dave Davis worked with me from beginning to end. Polly Platt made an extraordinary contribution. Kristi Zea's costumes meant a lot because to the picture -- I think the picture depended so much on detail. And I'm overwhelmed. I'm very grateful. Holly, you're great. Okay, thank you very much.

    • James L. Brooks: Thank you very much. I want to thank Larry McMurtry for a wonderful book; Jennifer Jones-Simon for all her help; Jeff Berg, who has a comfortable office and left it to work like a process server to try and get this picture made. I want to thank Paramount first and last, the only ones who would make the movie. And the cast had so much to do with this script. Finally it was all redefined. Finally it was an actor's picture. I'd really like to share it with them. And thank you very much.

      I'm sorry, I just want to, forgive me, I just want to thank three women. I want to thank my sister Diane. I want to thank my daughter Amy. And I want to thank my wife Holly. Thank you.

    • Horton Foote: I'm overcome and I'm very grateful to the Academy. I'd like to express my gratitude to the cast and crew of "Tender Mercies," and particularly to my old and dear friend Robert Duvall for his marvelous work which was the heart and soul of our film. To Australia, for my new friend, the very gifted director Bruce Beresford. For the producers, for their loyalty and courage, Mary-Ann and Philip Hobel. To John Cohn and Barry Spikings, for all of their tender administrations. To my agent and friend, Lucy Kroll. To my wife and children, for their kindness and their devotion and their steadfastness in good times and bad. Thank you all.

    • Linda Hunt: This is extraordinary. There was an Indonesian phrase in the film which translates into English as "water from the moon." And it means that which is unattainable, the impossible, that which one can never have or know. Making "The Year of Living Dangerously" for me was "water from the moon."

      I want to thank the members of the Academy so much for honoring me with this recognition and this encouragement at the beginning of my work in film, when I still have so much to learn about such a complex and a powerful medium. And I want to dedicate this to my parents and to Peter Weir, with much love. And to everyone I love who is out there watching tonight, here is the sign. Thank you.

    • Linda Hunt: This is extraordinary. There was an Indonesian phrase in the film which translates into English as "water from the moon." And it means that which is unattainable, the impossible, that which one can never have or know. Making "The Year of Living Dangerously" for me was "water from the moon."

      I want to thank the members of the Academy so much for honoring me with this recognition and this encouragement at the beginning of my work in film, when I still have so much to learn about such a complex and a powerful medium. And I want to dedicate this to my parents and to Peter Weir, with much love. And to everyone I love who is out there watching tonight, here is the sign. Thank you.

    • Marilyn Bergman: Thank you. Thank you very much. I am very grateful for this. I am very grateful too for the privilege of the experience of having worked on "Yentl" which was a, which is a story of a woman with a dream, a woman with a struggle. And life has a way of imitating art in very interesting ways. We worked in an atmosphere of creativity, of collaboration, of excitement, of energy, synergy, that allowed us to do our best work, I think. And for that I thank Barbra Streisand and my two very gifted collaborators. But most of all Barbra, wherever you are.
      Alan Bergman: My wife is far more eloquent than I am but it is a marvelous experience working with a woman, as I have all my creative life, and Barbra just made it that much better. She's just terrific. And so is this composer over here. It's just, I have to tell you experience of, the four of us really love each other a great deal and we love the project, and when you do something you love with people you love, something really nice happens. Thank you all very much.
      Michel Legrand: I just want to tell you that it was such a pleasure for me to work with Alan and Marilyn, to work with Barbra, to work with the people around us. We spent years of love and I'm ready to do it again anytime. Thank you very much.

    • Bill Conti: Thank you very much for this honor. I have to thank everyone that I should thank: my mother, my father, my wife, my daughters Nicola and Rachela that knew this was going to happen--I don't know how. Bob Chartoff, Irwin Winkler believed in me from the beginning. Al Bart, Stan Milander, Nathan Kaproff, Angela Morley, Dick Hazard, all the musicians that played, and the engineer that recorded it, Danny Wallin. Thank you all. Thank you very much.

    • Irene Cara: It's so wonderful to be receiving these, this most precious honor, from Jennifer Beals whose performance in the film made it that much more special for all of us. I hope I can read this. Our brilliant composer Giorgio Moroder is not with us today but I'm sure he's as overwhelmed as myself and Keith Forsey.

      I'd like to thank the members of the Academy, my terrifically talented co-lyricist Keith Forsey for making writing so imaginative much fun. For me personally there are so many people to thank. Just to be nominated with the likes of Alan and Marilyn Bergman and Michel Legrand is an honor enough. But let me begin with my parents, who are here tonight. If it weren't for them I would not be here tonight. I'd like to thank them. My manager and dearest friend, Selma Rubin, whose love and guidance, and her family, for fourteen years of supporting me, has helped so much. The producers and directors, Adrian Lyne, Paramount Pictures, Polygram, Happy Goday, Al Coury from Network Records. Oh, my teachers: Al Greiner*, Phil Black, Anne Countryman, JoJo Smith, Eve Collier. There aren't enough words to express my love and my gratitude. And last but not least, a very special gentlemen who I guess started it all for me many years ago. To Alan Parker, wherever you may be tonight, I thank him.
      Keith Forsey: What more can I say but thank you very much.

    • Anna Asp: Oh, thank you so much. I didn't prepare anything to say but I can say that I am very, very happy to be here and to got sic this one. Thank you.

    • Dennis Muren: I'd very much like to thank Bruce Nicholson, Mike McAlister, Mike Owens, Tom and Warren, my wife Zara, and everybody at Industrial Light & Magic.

      Richard Edlund: I'd like to also thank George Lucas for the opportunity to do what I could for the "Star Wars" trilogy. This is the end of that era for me; my good old days. I'd also like to thank Joe Westheimer, my mentor and friend, who gave me my start. And to Jim Nelson, for his honesty and help whenever I've asked. Finally, to the many talented crew members who did it all and for whom I serve as a figurehead. Thank you.
      Ken Ralston: Thank you, Academy. And I'd like to congratulate Joe Johnston, Tom Smith, Tom St. Amand, Stuart Ziff, Rose Duignan, and all my friends at ILM. And I'd like to especially thank my family and Julie for their support and their love.
      Phil Tippett: I'd like to thank Don Dow, Bill Kimberlin, and the 120 artists at Industrial Light & Magic who contributed to this film. And also to the force behind the Force, George Lucas.
      All: Thanks, George!

    • Emile Ardolino: Oh, yes. Thank you. It was harder to get up here than to make the film. What a feeling indeed. It's a very special moment and made more special by the fact that there are so many children here who were in the film to share it with me.

      I'd like to thank the members of the Academy, the superb co-producer Judy Kinberg, executive producers Edgar Scherick, Scott Rudin, Sue Pollock. And I have to thank Lucy Johnson who thought of the idea, NBC, brilliant film editors Tom Haneke and Charlotte Grossman, cameraman Francis Kenny, Don Lenzer, and most of all, an extraordinary man, Jacques d'Amboise. A man who really did take his passion and make it happen in his belief that the arts could transform people's lives and has obviously generated such positive energy and joy to thousands of people in New York City through the National Dance Institute. Thank you very, very much.

    • Cynthia Scott: Many fine artists contributed to this film but we would like to thank particularly Paul Cowan, Hans Oomes, Paul Demers, and the wonderful dancers from the National Ballet School of Canada. But most importantly I would like to thank the two great teachers of "Flamenco at 5:15," Susana and Antonio Robledo. It is their dignity, their discipline, and their commitment to life which were the inspiration for this film. Thank you.
      Adam Symansky: This film was produced by the National Film Board of Canada. We're funded by the Canadian public, and so on behalf of our twenty-five million investors, I'd like to thank the Academy very much. I'm very proud. Thank you.
      Cynthia Scott: is his birthday tomorrow. Happy birthday, Dylan.
      Adam Symansky: Leslie*, Ann*, Jennifer and Beth. Thanks, good night. Go to sleep.

    • Jorn Donner: Ladies and gentlemen. Thanks, the members of the Academy, for having very good taste. I think so. Secondly, I have in my pocket a book with 265 names which I am going to read to you, all the people I want to thank. But I will spare you that. Tonight, as says Sven Nykvist, my thoughts go to Ingmar in Munich but also really to the 250 or 500 people who have contributed to the success, the effort, by making "Fanny & Alexander" work as the crowning achievement of Ingmar Bergman's career. Thank you. Mrs. Bergman...
      Ingrid von Rosen: I just am going to hurry to Ingmar and tell him about the warm and wonderful reception you have given his film. Thank you very much.

    • Sven Nykvist: The time has come to thank, and I want to thank a man who I have had the fortune to work with for about twenty-five years on twenty-two pictures -- Ingmar Bergman. And I also want to thank the crew and the actors who have made my job so easy. And I want to make a special thank you to the American cinematographers who has been so nice to me and in accepting me and my work. Thank you very much indeed.

    • Mark Berger: To all the members of the Academy, thank you very much for listening. There were a lot of people involved; we're gonna name them all but we're gonna break the sound barrier doing it so it'll be all right. The producers Bob Chartoff, Irwin Winkler, all the people at The Ladd Company, Gareth Wigan, to Roy Segal at the Saul Zaentz Film Center in Berkeley where we mixed the film. On the home front, my wife Susan Wengraf, Anya and Matthew, my kids, for putting up with me when I wasn't there. And most of all to a guy who was always there pushing the outside of the envelope, giving us the time, the enthusiasm, and the strength to carry on to give a great soundtrack for his great picture, our director Phil Kaufman.
      Tom Scott: We also have to recognize Todd Boekelheide and Andy Wiskes. Wonderful talents. They were the fourth and fifth men on our crew. Steve Sutter, also the fellows at Warner Hollywood for all their help, Dolby Labs, Walter Murch, and Kadi Kiiss.
      Randy Thom: Ed, Barbara, C. J., Dennie, Diana, John, Karen, Pat, Tim, Twiggy, Vivien, Jay Boekelheide, to Walter Murch and Ben Burtt, my teachers, Stephanie Borris*, thank you.
      David MacMillan: And my guys: Steve Powell and Danny Vincent*.

    • Glenn Farr: We wish to extend our thanks to the members of the Academy. This is truly a beautiful, wonderful moment for each one of us. We acknowledge the tremendous, magnificent effort that went into the making of this film. We are privileged to have been a part of it and the experience will long live in our hearts. We must thank our marvelous, beautiful, we-love-you-Phil Kaufman director, for his leadership and dedication and for the vision that he gave to us. We thank The Ladd Company, Alan Ladd, Jr., especially Gareth Wigan for his gentlemanly guidance, concern, care, all through the project. And before I give the microphone to my colleagues, I would like to say that we do thank our assistant editors and apprentice editors for their marvelous, dedicated support all through the project, who kept their sense of humor and carried us through to the end.
      Lisa Fruchtman: "The Right Stuff" required a monumental effort on the part of a lot of people, not all of whom we can thank tonight, but I'd like to just add to those already mentioned our producers Robert Chartoff and Irwin Winkler, who were the first to see the possibilities for a terrific movie in Tom Wolfe's book. And again, our director Phil Kaufman, who transformed that book into a fantastic script and then into a fantastic movie from which we were able to work with terrific footage and whose vision carried us throughout the editing. For myself, I'd like to just thank my husband for his unwavering support during a difficult year and a half, and my colleagues Francis Coppola, Walter Murch and Bill Reynolds, without whose support and inspiration I wouldn't be here tonight. Thank you.
      Stephen A. Rotter: If I can just thank my wife Janet, my daughter Zoe, my good friend Dede Allen, and Phil and Rose. Thank you very much.
      Douglas Stewart: I just want to say thank you very much and God bless you all.
      Tom Rolf: I just want to say I'm deeply grateful. And if I could ever do anything for anyone here...let me know.

    • Janice L. Platt: Along with my partners in Atlantis Films, Michael MacMillan and Seaton McLean, we'd like to thank the Academy. This means a lot to us. "Boys and Girls" was a labor of love and we'd like to thank the director Don McBrearty for putting that love on the screen. Also to Alice Munro, writer of the original short story; Joe Wiesenfeld, for the script; Alar Kivilo, cinematographer; Louis Natale, composer of the music; a fantastic cast led by Megan Follows and Ian Heath. For their continuing support and participation, the Canadian Broadcasting Corporation and in particular Roman Melnick and Nada Harcourt. To Telefilm Canada, thank you. To Magic Lantern. To...this is for Rose and Cindy and for our family and friends who are watching across Canada. Thank you very much. Thank you, Academy.

    • Jon Minnis: I find myself in a wonderful position. This is the second acceptance speech I've given in the last week and that's unbelievable. I'll try not repeat the first speech I made with the exception of thanking Anne Sandoe for her support during, not only during the making of this film, but for her support during my "career change," so it was.

      When I was a lad in Birmingham, England, my mother used to deliberately take me out of school to go and see a picture with her on a Wednesday afternoon. And I think it was more for company than foresight, but I'd like to say hello to my mother back in England and my sister Mary. And briefly, I'd like to say thanks to Telefilm, Michael Mills for getting the film down here, and the Academy. Thank you.

    • Jay Boekelheide: I'm really nervous. I'd like to thank my wife Beth and my daughter Julia for putting up with this business. I would like to thank the Academy for voting this to me. I'd like to thank Phil Kaufman for having the vision to make "The Right Stuff" the way it is. I'd like to thank Bob Chartoff and Irwin Winkler and Gareth Wigan for giving him the support he needed to make it. I'd like to thank the forty or so people who worked with me on the sound of "The Right Stuff." I'd like actually quickly to go through a couple of them if you don't mind: Tim Holland, Pat Jackson, Karen Wilson, John Benson, the editors, the assistants. I'd like finally to thank a few people who brought me into the business: Jerry Greenberg, Les Hodgson, Walter Murch, Francis Coppola. Thank you all. Good evening.

    • Jack Nicholson: Well, thanks to the members of the Academy for this wonderful honor. Congratulations to John and Sam and Charles and Rip for your wonderful jobs. It's nice when you...the producer and the director and the writers are all one man -- Jim Brooks. He did everything for us on "Terms of Endearment," including writing eleven versions of this speech. I was gonna say a lot about how much Shirley and Debra inspired me, but I understand they're planning an interpretive dance number later, right after the Best Actress award, explain everything about life. And I want to thank Mr. Diller. Hi to Shorty and Lorraine, my agent Sandy Bresler. All you rock people down at the Roxy and up in the Rockies, rock on. Thanks. I'm real proud.

  • Notes

  • Allusions