|The 78th Annual Academy Award Oscars® were awarded March 5, 2006.
Number of Oscars® by film:
*Crash - 3
*Brokeback Mountain - 3
*Memoirs of a Geisha - 3
*King Kong - 3
*Capote - 1
*Walk The Line - 1
*Syriana - 1
*The Constant Gardener - 1
*The Chronicles of Narnia: The Lion, the Witch and the Wardrobe - 1
*Hustle & Flow - 1
*March of the Penguins - 1
*A Note of Triumph: The Golden Age of Norman Corwin - 1
*Six Shooter - 1
*Wallace & Gromit in the Curse of the Were-Rabbit - 1
*The Moon and the Son: An Imagined Conversation - 1
*Tsotsi - 1
This year's winners are highlighted under their repective categories:
Best motion picture:
*Crash (Lions Gate), A Bob Yari/DEJ/Blackfriars Bridge/ Harris Company/ApolloProscreen GmbH & Co./Bulls Eye Entertainment Production, Paul Haggis and Cathy Schulman, Producers
*Brokeback Mountain (Focus Features), A River Road Entertainment Production, Diana Ossana and James Schamus, Producers
*Capote (UA/Sony Pictures Classics), An A-Line Pictures/Coopers Town/ Infinity Media Production, Caroline Baron, William Vince and Michael Ohoven, Producers
*Good Night, and Good Luck. (Warner Independent Pictures), A Good Night Good Luck LLC Production, Grant Heslov, Producer
*Munich (Universal and DreamWorks), A Universal Pictures/DreamWorks Pictures Production, Kathleen Kennedy, Steven Spielberg and Barry Mendel, Producers
*Ang Lee, Brokeback Mountain (Focus Features)
*Bennett Miller, Capote (UA/Sony Pictures Classics)
*Paul Haggis, Crash (Lions Gate)
*George Clooney, Good Night, and Good Luck. (Warner Independent Pictures)
*Steven Spielberg, Munich (Universal and DreamWorks)
Best actor in a leading role:
*Philip Seymour Hoffman in Capote (UA/Sony Pictures Classics)
*Terrence Howard in Hustle & Flow (Paramount Classics, MTV Films and New Deal Entertainment)
*Heath Ledger in Brokeback Mountain (Focus Features)
*Joaquin Phoenix in Walk the Line (20th Century Fox)
*David Strathairn in Good Night, and Good Luck. (Warner Independent Pictures)
Best actress in a leading role:
*Reese Witherspoon in Walk the Line (20th Century Fox)
*Judi Dench in Mrs. Henderson Presents (The Weinstein Company)
*Felicity Huffman in Transamerica (The Weinstein Company and IFC Films)
*Keira Knightley in Pride & Prejudice (Focus Features)
*Charlize Theron in North Country (Warner Bros.)
Best actor in a supporting role:
*George Clooney in Syriana (Warner Bros.)
*Matt Dillon in Crash (Lions Gate)
*Paul Giamatti in Cinderella Man (Universal and Miramax)
*Jake Gyllenhaal in Brokeback Mountain (Focus Features)
*William Hurt in A History of Violence (New Line)
Best actress in a supporting role:
*Rachel Weisz in The Constant Gardener (Focus Features)
*Amy Adams in Junebug (Sony Pictures Classics)
*Catherine Keener in Capote (UA/Sony Pictures Classics)
*Frances McDormand in North Country (Warner Bros.)
*Michelle Williams in Brokeback Mountain (Focus Features)
Best original screenplay:
*Crash (Lions Gate), Screenplay by Paul Haggis & Bobby Moresco, Story by Paul Haggis
*Good Night, and Good Luck. (Warner Independent Pictures), Screenplay by George Clooney & Grant Heslov
*Match Point (DreamWorks), Written by Woody Allen
*The Squid and the Whale (Samuel Goldwyn Films and Sony Pictures Releasing), Written by Noah Baumbach
*Syriana (Warner Bros.), Written by Stephen Gaghan
Best adapted screenplay:
*Brokeback Mountain (Focus Features), Screenplay by Larry McMurtry & Diana Ossana
*Capote (UA/Sony Pictures Classics), Screenplay by Dan Futterman
*The Constant Gardener (Focus Features), Screenplay by Jeffrey Caine
*A History of Violence (New Line), Screenplay by Josh Olson
*Munich (Universal and DreamWorks), Screenplay by Tony Kushner and Eric Roth
*Memoirs of a Geisha (Sony Pictures Releasing), Dion Beebe
*Batman Begins (Warner Bros.), Wally Pfister
*Brokeback Mountain (Focus Features), Rodrigo Prieto
*Good Night, and Good Luck. (Warner Independent Pictures), Robert Elswit
*The New World (New Line), Emmanuel Lubezki
Best film editing:
*Crash (Lions Gate), Hughes Winborne
*Cinderella Man (Universal and Miramax), Mike Hill and Dan Hanley
*The Constant Gardener (Focus Features), Claire Simpson
*Munich (Universal and DreamWorks), Michael Kahn
*Walk the Line (20th Century Fox), Michael McCusker
Best art direction and set decoration:
*Memoirs of a Geisha (Sony Pictures Releasing), Art Direction: John Myhre, Set Decoration: Gretchen Rau
*Good Night, and Good Luck. (Warner Independent Pictures), Art Direction: Jim Bissell, Set Decoration: Jan Pascale
*Harry Potter and the Goblet of Fire (Warner Bros.), Art Direction: Stuart Craig, Set Decoration: Stephenie McMillan
*King Kong (Universal), Art Direction: Grant Major, Set Decoration: Dan Hennah and Simon Bright
*Pride & Prejudice (Focus Features), Art Direction: Sarah Greenwood, Set Decoration: Katie Spencer
Best costume design:
*Memoirs of a Geisha (Sony Pictures Releasing), Colleen Atwood
*Charlie and the Chocolate Factory (Warner Bros.), Gabriella Pescucci
*Mrs. Henderson Presents (The Weinstein Company), Sandy Powell
*Pride & Prejudice (Focus Features), Jacqueline Durran
*Walk the Line (20th Century Fox), Arianne Phillips
*The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (Buena Vista), Howard Berger and Tami Lane
*Cinderella Man (Universal and Miramax), David Leroy Anderson and Lance Anderson
*Star Wars: Episode III Revenge of the Sith (20th Century Fox), Dave Elsey and Annette Miles
Best original score:
*Brokeback Mountain (Focus Features) Gustavo Santaolalla
*The Constant Gardener (Focus Features) Alberto Iglesias
*Memoirs of a Geisha (Sony Pictures Releasing) John Williams
*Munich (Universal and DreamWorks) John Williams
*Pride & Prejudice (Focus Features) Dario Marianelli
Best original song:
*Its Hard Out Here for a Pimp fromHustle & Flow (Paramount Classics, MTV Films and New Deal Entertainment), Music and Lyric by Jordan Houston, Cedric Coleman and Paul Beauregard
*In the Deep from Crash (Lions Gate), Music by Kathleen Bird York and Michael Becker, Lyric by Kathleen Bird York
*Travelin Thru from Transamerica (The Weinstein Company and IFC Films), Music and Lyric by Dolly Parton
Best sound editing:
*King Kong (Universal) Mike Hopkins and Ethan Van der Ryn
*Memoirs of a Geisha (Sony Pictures Releasing) Wylie Stateman
*War of the Worlds (Paramount and DreamWorks) Richard King
Best sound mixing:
*King Kong (Universal), Christopher Boyes, Michael Semanick, Michael Hedges and Hammond Peek
*The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (Buena Vista), Terry Porter, Dean A. Zupancic and Tony Johnson
*Memoirs of a Geisha (Sony Pictures Releasing), Kevin OConnell, Greg P. Russell, Rick Kline and John Pritchett
*Walk the Line (20th Century Fox), Paul Massey, D.M. Hemphill and Peter F. Kurland
*War of the Worlds (Paramount and DreamWorks), Andy Nelson, Anna Behlmer and Ronald Judkins
Best visual effects:
*King Kong (Universal), Joe Letteri, Brian Vant Hul, Christian Rivers and Richard Taylor
*The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (Buena Vista), Dean Wright, Bill Westenhofer, Jim Berney and Scott Farrar
*War of the Worlds (Paramount and DreamWorks), Dennis Muren, Pablo Helman, Randy Dutra and Daniel Sudick
Best documentary feature film:
*March of the Penguins (Warner Independent Pictures), A Bonne Pioche Production Luc Jacquet and Yves Darondeau
*Darwins Nightmare (International Film Circuit), A Mille et Une Production Hubert Sauper
*Enron: The Smartest Guys in the Room (Magnolia Pictures), An HDNet Films Production Alex Gibney and Jason Kliot
*Murderball (THINKFilm), An Eat Films Production Henry-Alex Rubin and Dana Adam Shapiro
*Street Fight, A Marshall Curry Production Marshall Curry
Best documentary short subject:
*A Note of Triumph: The Golden Age of Norman Corwin, A NomaFilms Production Corinne Marrinan and Eric Simonson
*The Death of Kevin Carter: Casualty of the Bang Bang Club, A Dan Krauss Production Dan Krauss
*God Sleeps in Rwanda, An Acquaro/Sherman Production Kimberlee Acquaro and Stacy Sherman
*The Mushroom Club, A Farallon Films Production Steven Okazaki
Best live action short film:
*Six Shooter (Sundance Film Channel), A Missing in Action Films and Funny Farm Films Production, Martin McDonagh
*Ausreisser (The Runaway), A Hamburg Media School, Filmwerkstatt Production, Ulrike Grote
*Cashback (The British Film Institute), A Left Turn Films Production, Sean Ellis and Lene Bausager
*The Last Farm, A Zik Zak Filmworks Production, Rúnar Rúnarsson and Thor S. Sigurjónsson
*Our Time Is Up, A Station B Production, Rob Pearlstein and Pia Clemente
Best animated feature film:
*Wallace & Gromit in the Curse of the Were-Rabbit (DreamWorks Animation SKG), Nick Park and Steve Box
*Howls Moving Castle (Buena Vista), Hayao Miyazaki
*Tim Burtons Corpse Bride (Warner Bros.), Tim Burton and Mike Johnson
Best animated short film:
*The Moon and the Son: An Imagined Conversation, A John Canemaker Production, John Canemaker and Peggy Stern
*Badgered, A National Film and Television School Production, Sharon Colman
*The Mysterious Geographic Explorations of Jasper Morello (Monster Distributes), A 3D Films Production, Anthony Lucas
*9, A Shane Acker Production, Shane Acker
*One Man Band, A Pixar Animation Studios Production, Andrew Jimenez and Mark Andrews
Best foreign language film:
*Tsotsi, A Moviworld Production, South Africa
*Dont Tell, A Cattleya/Rai Cinema Production, Italy
*Joyeux Noël, A Nord-Ouest Production, France
*Paradise Now, An Augustus Film Production, Palestine
*Sophie Scholl - The Final Days, A Goldkind Filmproduktion and Broth Film Production, Germany
Scientific and Technical Academy Awards
Scientific and Technical Awards are given for devices, methods, formulas, discoveries or inventions of special and outstanding value to the arts and sciences of motion pictures that also have a proven history of use in the motion picture industry.
Awards may be granted in any of three classifications: Academy Award of Merit (Oscar statuette), for basic achievements that have a definite influence upon the advancement of the industry; Scientific and Engineering Award (Academy plaque), for those achievements that exhibit a high level of engineering and are important to the progress of the industry; and Technical Achievement Award (Academy certificate), for those accomplishments that contribute to the progress of the industry.
Gordon E. Sawyer Award for Lifetime Achiement (Oscar statuette):
Scientific and Engineering Awards (Academy Plaques):
David Grober for the concept and mechanical design and Scott Lewallen for the electronic and software design of the Perfect Horizon camera stabilization head.
To David Grober for the concept and mechanical design and Scott Lewallen for the electronic and software design of the Perfect Horizon camera stabilization head.
Perfect Horizon effectively neutralizes the extraneous motion encountered in boats, camera cars, snowmobiles or other vehicles, leaving the pan/tilt head and camera stable and level with the horizon.
Anatoliy Kokush, Yuriy Popovsky and Oleksiy Zolotarov for the concept and development of the Russian Arm gyro-stabilized camera crane and the Flight Head.
The Russian Arm and Flight Head opened new possibilities for filmmakers. With the ability to be mounted on the roof of almost any car, this remotely-operated crane and camera head can move smoothly in a 360&Mac251; circle around the car, even while it is being driven at high speeds by actors, creating heretofore impossible perspectives.
Anatoliy Kokush for the concept and development of the Cascade series of motion picture cranes.
The lightweight structure of the Cascade and Traveling Cascade Cranes enables the filmmaker to achieve heights of up to 70 feet, allowing for the placement of the camera in otherwise impossible locations.
Garrett Brown for the original concept of the Skycam flying camera system the first use of 3D volumetric cable technology for motion picture cinematography.
In creating the first remote controlled, cable supported flying camera system, Garrett Browns pioneering efforts have influenced all subsequent development in this area of technology.
David Baraff, Michael Kass and Andrew Witkin for their pioneering work in physically-based computer-generated techniques used to simulate realistic cloth in motion pictures.
Their 1998 paper titled Large Steps in Cloth Simulation was a seminal work, providing the key in demonstrating to the industry that the calculations necessary to simulate realistic, complex cloth could be achieved efficiently and robustly. Their work provided the conceptual foundation for many cloth simulation systems in use today.
Laurie Frost, Peter Hannan and Richard Loncraine for the development of the remote camera head known as the Hot-Head.
In use for over a quarter of a century, the Hot-Head has brought the possibility of safe, remotely-operated shots to every filmmaker.
Technical Achievement Awards (Academy Certificates):
Gary Thieltges for the design and development of the remotely-operated, lightweight camera head known as the Sparrow Head.
This well-integrated remote system enables filmmakers to remotely pan and tilt their camera from virtually any moving vehicle, giving the opportunity for unprecedented dynamic camera angles.
Frank Fletcher and Dave Sherwin for the introduction and continuing development of the Power Pod modular camera head system.
The Power Pod system enables filmmakers to configure a remote controlled head to meet their own unique requirements.
Alvah Miller, Michael Sorensen and J. Walt Adamczyk for the design and development of the Aerohead motion control camera head and the J-Viz Pre-Visualization system.
This remote head not only serves the needs of the live-action filmmaker, but also provides the functionality of a motion-controlled head, allowing for sophisticated tiling and pre-visualization techniques.
Scott Leva for the design and development of the Precision Stunt Airbag for motion picture stunt falls.
The Precision Stunt Airbag is designed to envelope the stunt jumper, even on off-center hits. This feature serves to enhance the safety of stunt performers in falls from up to 200 feet.
Lev Yevstratov, George Peters and Vasiliy Orlov for the development of the Ultimate Arm Camera Crane System for specialized vehicle photography.
Representing a significant evolutionary improvement in camera car technology, this remotely-controlled, gyro-stabilized and flexible camera crane offers a highly stable platform for high-speed, rough terrain action shots. Its ingenious applications of sophisticated technology solve many of the problems inherent in chase vehicle filming.
James Rodnunsky, Alex MacDonald and Mark Chapman for the development of the Cablecam 3-D volumetric suspended cable camera technologies.
The evolution of the Cablecam technology has made it possible to move a camera safely and accurately anywhere through a three-dimensional space.
Tim Drnec, Ben Britten Smith and Matt Davis for the development of the Spydercam 3-D volumetric suspended cable camera technologies.
The evolution of the Spydercam technology has made it possible to move a camera safely and accurately anywhere through a three-dimensional space.
John Platt and Demetri Terzopoulos for their pioneering work in physically-based computer-generated techniques used to simulate realistic cloth in motion pictures.
Their 1987 paper, Elastically Deformable Models, was a milestone in computer graphics, introducing the concept of physically-based techniques to simulate moving, deforming objects.
Ed Catmull, for the original concept, and Tony DeRose and Jos Stam for their scientific and practical implementation of subdivision surfaces as a modeling technique in motion picture production.
Subdivision surfaces has become a preferred modeling primitive for many types of motion picture computer graphics.
Harold Rattray, Terry Claborn, Steve Garlick, Bill Hogue and Tim Reynolds for the design, engineering and implementation of the Technicolor Real Time Answer Print System.
This system provides a method by which filmmakers can preview real-time color corrections using actual film prints, reducing both the turn-around time and the number of reprints required.
Udo Schauss and Hildegard Ebbesmeier for the optical design and Nicole Wemken and Michael Anderer for the mechanical design of the Cinelux Premiere Cinema Projection Lenses.
The Cinelux Premiere Lenses incorporate an iris and aspheric elements which provide a more uniform modulation transfer function and better light transmission to the sides and corners of the theater projection screen. This reduces the traditional problems of softness in the corners, hot-spotting and varying brightness between film format.