Lucille Ball's last television appearance. She died three weeks later.
At 81, Jessica Tandy is the oldest Oscar winner for her work in Driving Miss Daisy.
This is the first time the presenters said "And the Oscar goes to..." rather than "And the winner is...." This was done to avoid offending the losers.
Producer Allan Carr wanted Jessica Rabbit and Roger Rabbit to be the presenters of the Short Film awards but Disney's price tag for the rights was too high, especially in light of what he was spending on the opening number. Instead, Carrie Fisher and Martin Short presented the awards.
Mark Johnson: I've been told for the past five weeks that maybe I should prepare for this, and I can't be prepared for this moment. There are so many people. "Rain Man" belongs to a lot of people. Let me start with Ron Bass and Barry Morrow, who wrote a wonderful script. Peter Guber and Jon Peters, for being exactly what executive producers should be in supporting us all the way. To Gail Mutrux, for supporting me. I'd like to thank—boy, Michael Ovitz and Rosalie Swedlin for standing by this for weeks and years. I'd like to thank Dustin and Tom. And a wonderful studio that really doesn't exist anymore: Lee Rich, Tony Thomopoulos and Roger Birnbaum who were United Artists, and really exactly what anybody could want out of a studio. And the producer [of the Awards telecast] says that we're not allowed to, we shouldn't really thank our families. We're supposed to wait until we go backstage and use the pay phone. But he doesn't know my family. I'd like to thank my wife Lezlie, who really stood by me. Our two foster children, Jack and Rebecca. And, boy, if I didn't mention my mother I'd be a dead man: Dorothy King in Great Barrington. Thank you.
Jodie Foster: This is such a big deal and my life is so simple. There are very few things: there's love and work and family. And this movie is so special to us because it was all three of those things. And I'd like to thank all of my families, the tribes that I come from. The wonderful crew on "The Accused," Jonathan Kaplan, Kelly McGillis, Tom Topor. Paramount, the Academy, my schools—thank my schools. And my family. All my brothers and sisters and mothers and fathers out there. And most importantly my mother Brandy, who taught me that all of my finger paintings were Picassos, and that I didn't have to be afraid. And mostly that cruelty might be very human, and it might be very cultural, but it's not acceptable. Which is what this movie's about. Thank you so much.
Barry Levinson: Thank you. This is really about two actors: Tom Cruise and Dustin Hoffman. If they don't deliver, and the performances that they gave, I wouldn't be up here this evening. I have to tell you, I'm so—I'm so shook up. I'm so taken by the response to "Rain Man" and that we've had such a positive effect on the audiences that have seen the movie. I'm really appreciative. I thank all you people from the Academy. We have a wonderful staff that did a lot of work on autism. We tried to be as faithful as we could and in the same time try to be entertaining. I have to thank Michael Ovitz who worked to keep this movie alive when we were, a lot of times when it may not have ever happened. And I have to thank my wife Diana who, when I walked into the bedroom, when I said, "I can do 'Rain Man,'" and she was seven months pregnant. I said, "What do you want to do?" And she said, "Let's go on the road and do the movie and have the baby wherever we're traveling to." We had a little baby boy and I thank her for that. And I thank you for this.
Christopher Hampton: Well, this is great but anyone would fly across the Atlantic to get a kiss from Michelle Pfeiffer. I want to thank Norma Heyman and Hank Moonjean and my fellow producers for showing a beginner the ropes. I want to thank Norma for putting me in touch with Bernie Brillstein. Peter Chernin and Ileen Maisel, without whose courage I think the film wouldn't exist, and faith in it. And finally I want to thank the two co-recipients of this: Choderlos de Laclos, who's having about as good a year as is possible to have if you're a dead writer, and of course Stephen Frears, who created the atmosphere for everyone to be able to do their best work. So thank you, Stephen. Thank you, Michelle, John and Glenn. Thank you, France. Thank you, America. Thank you.
Barry Morrow: Thank you, Academy members, and thank you, United Artists and the Guber-Peters Company. In particular I'd like to thank Tony Thomopoulos and Roger Birnbaum and Stan Brooks. And to Dustin and Tom and Barry and Mark, my heartfelt gratitude for making the movie and for breathing life into these characters and into this script. And to Gary Loder and Mark Tingloth* and Mike Adler*. And to Bev and Clay and Zoey, my love for your forbearance. And to Kim, and finally to Marna*, for her courage. I thank you so very much.
[Music begins to play.]
Ronald Bass: I'm just going to say good night to Jennifer and Sasha and leave it at that.
Arthur Schmidt: Well, this is really incredible. I'd like to thank a terrific team of incredibly talented collaborators who made an enormous contribution to this. I'd especially like to thank Bob Zemeckis for his brilliant direction. It was his vision, his patience and his huge talent that made "Roger" happen. And he made this happen. Thank you very much. Thank you, Bob.
Dustin Hoffman: hank you. Thank you very much. Uh...I'm supposed to be jaded by this point. I'm very honored and I thank the Academy for your support. And I also thank Tom Hanks and Max von Sydow and James Olmos and my good friend Gene Hackman for their wonderful work, even if they didn't vote for me. [Laughs] I didn't vote for you guys, either. It's a pleasure to be here with such good work.
I thank my agent Mike Ovitz and Tony Thomopoulos for making this project stick with glue when it was falling apart. I thank all the producers. I thank the wonderful cast and the crew of this film who were so emotionally connected with us. I thank the writers, Barry Morrow and Ron Bass. And I just want to thank all the people I talked to that were autistic, and their families, and the doctors and all their help. And our associate producer, Gail Mutrux, got a hold of us, got a hold of for me to meet particularly, Kim Peek, who was the first inspiration of the film, Joe Sullivan and his mother, and my special thanks to Peter and Kevin Guthrie.
My father so wanted to be here tonight. Ironically, a few weeks ago he joined the family of the disabled. And I understand that the hospital where he's at tonight, that a lot of people that I've met recently are gathered with him with tuxedos and champagne cups and formals. And they're all watching this show right now on a big TV that they rented. So to the.... It was just a few weeks ago that he was at the Golden Globes and he says, "Let's find Gene Hackman." Because he knows we're old roommates. "C'mon, let's find Gene." Anyway, to the wonderful doctors and nurses and rehabilitation people, and to the families that I've met recently, and to my father and to his new friends: Here's looking at you. Thank you.
Steven Wright: Umm, this was to the short film category and we're really glad that we cut out the other sixty minutes. We'd like to thank David Picker, Paula Mazur. Mike Armstrong, co-writer. Paul Jackson. And I'd like to personally thank Peter LaSally and Johnny Carson.
Dean Parisot: We'd also like to thank HBO, Alive Films, the Academy, and Sally, my wife.
Steven Wright: Thank you.
Dean Parisot: Thank you.
John Lasseter: Oh this is great. Joey, we did it. We'd like to thank the Academy for this great honor because this is the first time this award has gone to a computer-animated film. We'd like to share this with the computer graphics community the world around. But the computers didn't create the films, people did. And we'd like to thank those people at Pixar.
William Reeves: Firstly, Eben Ostby, who should be on stage with us tonight.
John Lasseter: Great job, Eben.
William Reeves: Ralph Guggenheim, Craig Good, Deirdre Warin, Susan Anderson, just everybody else, the management—
John Lasseter: Steve Jobs! Thank you.
William Reeves: Steve Jobs. Thank you very much. Thank you.
Peter Biziou: Ladies and gentlemen of the Academy, thank you very much indeed. It's a great honor to be here. It's a great thrill. Thank you very much.
Richard Williams: Wow. Thank you very much, members of the Academy and Carl Bell. I have to thank, first, Steven Spielberg for having the enormous prestige to mid-wife the whole thing and get all those different, competing cartoons in the same movie. Then to Jeffrey Katzenberg, who kept his cool under tremendous duress, and thank God or I wouldn't be here tonight. Also, when I met Bob Zemeckis first, in the first ten, fifteen minutes I said, "Boy, you know exactly, you know exactly what you want. I'll be your pencil." And so Bob should have...Anyway, there's an awful lot of Bob in these [holding up his two Oscars]. And we had some marvelous animators on the film, and I have to single out one who I used as pillars. He held up bits of that film like a bunch of pillars. And that is Andreas Deja. Thank you. Thanks. The best is yet to come.
Marcel Ophuls: I want to thank the Academy. And there's a lot of people I have to thank because it's a very long film. There are whole countries to thank. The ones I belong to, the ones I love: France and America. And I want to thank the...It took a very long time to do the film, therefore I want to thank the people who had all the patience, and let me go over budget, and raised funds and helped get it out of the cutting room: John Friedman, Peter Kovler, Hamilton Fish. And thank you, Ernst, and thank you, Sam. Je voudrais aussi remercier le montage de Billancourt: Catherine Zins, Albert Jurgenson and Sophie Brunet. Thank you.
William Guttentag: We'd like to thank the Gaes family whom the film was about. Our crew: Greg Andracke, Eoin McCann, Nancy Frazen, John Canemaker, our animator. At HBO, Sheila Nevins, Cis Wilson, everyone there who helped. Beth Howland, Jennifer Warren, who had the idea in the first place. And of course, our family.
Malcolm Clarke: He speaks a lot faster than me. I'm gonna go a little slower. I just want to thank the Academy for continuing to recognize the significance, the uniqueness of documentary film. It's very good to know that the documentary tradition is alive and well and appreciated by the members of this Academy. Thank you very much.
Ken Ralston: Thank you very much. This is very special. I'd like to thank the Academy. This award really represents the work of hundreds of people in England and in America to put this show together, brilliantly directed by Bob Zemeckis. And I'd also like to thank some of the artists at Industrial Light & Magic: Scott Farrar, Steve Gawley, Steve Starkey, Wes Takahashi, Brad Jerrell, and Bill Kimberlin, and my wife Robin. And this award also, for all of us I believe, is special because it also should be in honor of all the animators and directors, like Tex Avery, from the golden age of animation who inspired "Roger Rabbit." Thank you.
Kevin Kline: There's a lot of Brits here tonight. It's scary. But I have to thank a few of them. This is astonishing. A thank you to Michael Shamberg, the producer of "A Fish Called Wanda," who got me together, oh, six or seven years ago with John Cleese, and he said, "I want to write a movie where you get run over by a steamroller and eat of a lot of Michael Palin's tropical fish." I said, "Great, sounds good. I'm in. Let's do it." And then he actually wrote it.
I'd like to thank the Academy for naming me in this group of most distinguished actors, the five nominees. I share this with you. I would like to thank John Cleese for writing this brilliant script, for his generosity, for his friendship. To my fellow actors, Michael Palin, Jamie Lee Curtis. To Jonathan Benson. To Charlie Crichton, who at seventy-seven proves that even with twenty or twenty-five years off there's no such thing as growing old when you've got a dream. He's the best. Thank you very much for this. And I'd like to thank my wife Phoebe. Thanks.
Bille August: Oh, it's so, so exciting, so—I'm very nervous. I made a film about very poor immigrants coming to Denmark and here I'm standing in my tuxedo and this shiny thing. Thank you very much. And thank you to everybody who has been involved in this picture. Thank you.
Carly Simon: Thank you so much. Thank you. This is really for you, Mike. You are the guardian angel tonight. Thank you so much. And thank you to my husband, Jim Hart, for writing the best lines in the song. Thank you, sweetheart. And to Twentieth Century Fox and to Clive Davis and everyone at Arista. And to Rob Mounsey, who made the song sound good. And my children, if you found a television set on that island where you are, your mama's really proud.
James Acheson: Thank you, Academy. I'd like to firstly thank my assistant, Frank Gardiner, and the wonderful team of people that actually cut and sewed these costumes. I'd also like to thank the wonderful group of actresses that withstood the rigors of eighteenth century corsetry with such patience and good humor. I'd like to thank Norma Heyman and Hank Moonjean and Stephen Frears, the director. And I'd also like to thank Christopher Hampton who wrote the play and who wrote this wonderful screenplay that inspired us all. Thank you very much.
Stuart Craig: I'd just like to acknowledge some terrific work from my fellow nominees. I'm very honored to receive this. Thank you very much.
Ve Neill: We'd like to thank the members of the Academy, our producer Richard Hashimoto, our director Tim Burton, Michael Keaton for bringing that wild and wacky character of "Beetlejuice" to life.
Steve La Porte: Our hairstylist Yolanda Toussieng and a cast of many other makeup artists: Ed Henriques, Margaret Bessera, Mike Mills, Frank Carrisosa, and many others.
Robert Short: And thank you to the Academy for the great honor that we're receiving as well as to Alan Munro and especially to Barbara Slifka for holding this all together. Thank you very much.
Charles L. Campbell: What a lovely beginning to the evening. Ladies and gentleman of the Academy, we thank you from the bottom of our hearts. My friend Louis would like to say a word.
Louis L. Edemann: I remember the first time Chuck and I screened "Who Framed Roger Rabbit." It was a maze of pencil tests, actors acting with no one, sometimes on empty stages. After the screening Bob Zemeckis turned to us and said, "Guys, trust us. We think we know what we're doing." Obviously he did. On behalf of myself, my partner Chuck, and the sound editing crew, I would like to thank Bob Zemeckis, Amblin, Walt Disney Studios for this great opportunity. To my wife Pat and kids: Clear the mantel.
Willie D. Burton: Good afternoon. I thank you. I thank you. I'm so happy. This is my fourth nomination and I don't know what to say other than I am so delighted. These wonderful people with me here, Les Fresholtz and Vern Poore and Dick Alexander, thank you for everything. I'd like to thank David Valdes, also Clint Eastwood. And also my boom man, Marvin Lewis, and Robert Harris. Thank you. Thank you for everything.
Geena Davis: Thank you. Wow, I sort of can't believe I have to go first. I'm very thrilled. I think first of all I should thank Anne Tyler for writing such a wonderful book. And after that pretty much everything else, I think, goes to my dear friends Larry Kasdan and Bill Hurt. And let's see, I'd also like to thank Ruth Myers, our wonderful costume designer. David Eidenberg and Susan Geller. My wonderful acting coach, Roy London. And my other wonderful acting coach and darling husband, Jeff Goldblum. Thank you to all the members of the Academy.
It was discovered later that this was the second time that Eileen Bowman had played Snow White. She had previously played her in a bawdy musical revue in Vegas a few years earlier. The producers of the Academy Awards did not know this when the cast her.
None of the five Best Director nominees were Americans. Italy's Bernardo Bertolucci was nominated for The Last Emperor. British directors John Boorman and Adrian Lynn were nominated for Hope and Glory and Fatal Attraction respectively. Sweden's Lass Hallstrom was nominated for My Life As a Dog. And Canadian-born Norman Jewison was nominated for Moonstruck
Only 19 songs were eligible to be considered for the year's Best Original Song category. Thus the final ballot only contained three nominees.
Eileen Bowman who played Snow White during the opening number openly admitted that, prior to being hired for the show, she had never actually seen The Academy Awards.
This show would go down in history as one of the low points in Oscar history. Broadway producer Allan Carr was asked by the academy to put together the opening number because he had built a reputation for his lavish and overproduced production numbers. In what he described as "The antithesis of tacky", Carr hatched the idea of a production number that would be a visual timeline of the history of motion pictures that would include past Oscar winners. It led up to the now infamous duet of Rob Lowe and Snow White (actress Eileen Bowman) singing "Proud Mary". Carr and the Academy of Motion Picture Arts and Sciences became a laughing stock. Furthermore, Walt Disney Studios sued for copyright infringement for the unauthorized use of the Snow White character. The Academy would recover but Carr's reputation would not, by the time of his death in 1999, he had left Hollywood and was doing clerical work.