Newsgroup: it.arti.cinema
Titolo: Academy Awards Winners

On Tue, 25 Mar 1997 09:39:30 GMT, 
oh...@ares.omninet.it
 (Guglielmo)
wrote:
Allora signori, non e' che io non mi fidi di voi, e anche se in
passato gli oscar sono stati dati anche a casaccio (8  via col vento,
7 balla coi lupi,  5 il silenzio degli innocenti), 9 oscar al TEP sono
veramente tanti. Io non ho ancora visto il film, ma o e' bellissimo, e
tutte le critiche lette nel NG nei giorni precedenti sono state
scritte da incompetenti arterosclerotici, o facevano veramente schifo
gli altri, quindi nel 1996 sono stati buttati al vento diversi
miliardi per produrre delle cagate.
Sebbene propenda per questa seconda ipotesi, andro' (prima o poi) a
vedere TEP, ma chiedo a tutti di rimeditare le proprie critiche al
film (andatelo a rivedere se e' il caso). Se al termine di questa
operazione zen il film dovesse risultare sempre una cagata per la
maggior parte degli IACers, vorra' dire che alcuni di noi hanno perso
inutilmente alcune ore di sonno davanti alla TV.

the Imax Systems Corporation in 1985.
Premio intelligente. Non sto scherzando!
Ciao
Nicola
"I NEVER joke about my work, 007!"

..And the winners are:			
			Academy Award Winners (1997)
				(Complete)
PICTURE:
	THE ENGLISH PATIENT (Producer: Saul Zaentz) 
ACTOR:
	Geoffrey Rush (SHINE)
ACTRESS:
	Frances McDormand (FARGO)
SUPPORTING ACTOR:
	Cuba Gooding, Jr. (JERRY MAGUIRE)
SUPPORTING ACTRESS:
	Juliette Binoche (THE ENGLISH PATIENT)
DIRECTOR:
	Anthony Minghella (THE ENGLISH PATIENT)
ORIGINAL SCREENPLAY:
	Joel Coen and Ethan Coen (FARGO)
ADAPTED SCREENPLAY:
	Billy Bob Thornton (SLING BLADE)
FOREIGN-LANGUAGE FILM:
	KOLYA (Czech Republic)
ART DIRECTION:
	THE ENGLISH PATIENT (Stuart Craig; Stephenie McMillan)
CINEMATOGRAPHY:
	THE ENGLISH PATIENT (John Seale)
COSTUME DESIGN:
	THE ENGLISH PATIENT (Ann Roth)
DOCUMENTARY FEATURE:
	WHEN WE WERE KINGS (Leon Gast, David Sonenberg)
DOCUMENTARY SHORT SUBJECT:
	"Breathing Lessons: The Life and Work of Mark O'Brien" (Jessica Yu)
	("You know you've entered new territory when your outfit costs
	more than your film."0
FILM EDITING:
	THE ENGLISH PATIENT (Walter Murch)
MAKEUP:
	THE NUTTY PROFESSOR (Rick Baker, David LeRoy Anderson)
MUSIC - ORIGINAL MUSICAL OR COMEDY SCORE:
	Rachel Portman (EMMA)
	(Portman is the first woman to win for film score)
MUSIC - ORIGINAL DRAMATIC SCORE:
	Gabriel Yared (THE ENGLISH PATIENT)
MUSIC - ORIGINAL SONG:
	"You Must Love Me," EVITA (Music: Andrew Lloyd Webber;
		Lyrics: Tim Rice)
	(Webber's acceptance speech beginning: "Well, thank heavens
	there wasn't a song in THE ENGLISH PATIENT.")
ANIMATED SHORT FILM:
	"Quest" (Tyron Montgomery, Thomas Stellmach)
LIVE ACTION SHORT FILM:
	"Dear Diary" (David Frankel, Barry Jossen)
SOUND:
	THE ENGLISH PATIENT (Walter Murch, Mark Berger, David Parker,
		Chris Newman)
SOUND EFFECTS EDITING:	
	THE GHOST AND THE DARKNESS (Bruce Stambler)
VISUAL EFFECTS:
	INDEPENDENCE DAY (Volker Engel, Douglas Smith, Clay Pinney,
		Joseph Viskocil)
Special Oscar:
	Michael Kidd
Irving G. Thalberg Award:
	Saul Zaentz
TECHNICAL ACHIEVEMENT AWARDS (Oscar Statuette):
The Imax Corporation for the method of filming and exhibiting
high-fidelity, large-format, wide-angle motion pictures. It is an
upgrade of a Scientific and Engineering Award originally presented to
the Imax Systems Corporation in 1985.
TECHNICAL ACHIEVEMENT AWARDS (Academy Certificates):
   * To Perry Kivolowitz, for the primary design, and Dr. Garth Dickie for
     the development of the algorithms, for the shape-driven warping and
     morphing subsystem of the Elastic Reality Special Effects System.
     These components form the core of an efficient and easy-to-use system
     that greatly simplifies the creation of shape-changing visual effects
     in motion pictures.
   * To Ken Perlin for the development of Perlin Noise, a technique used to
     produce natural appearing textures on computer generated surfaces for
     motion picture visual effects.
     The development of Perlin Noise has allowed computer graphics artists
     to better represent the complexity of natural phenomena in visual
     effects for the motion picture industry.
   * To Nestor Burtnyk and Marceli Wein of the National Research Council of
     Canada for their pioneering work in the development of software
     techniques for Computer Assisted Key Framing for Character Animation.
     The pioneering work of Burtnyk and Wein demonstrated the first
     significant use of the computer in two dimensional key-frame character
     animation and influenced many subsequent developments in computer
     animation techniques.
   * To Grant Loucks for the concept and specifications of the Mark V
     Director's Viewfinder.
     The Mark V has simplified the operation and extended the range of a
     valuable tool used for previewing scenes covering a wide range of lens
     focal lengths and film formats.
   * To Brian Knep, Craig Hayes, Rick Sayre and Thomas Williams for the
     creation and development of the Direct Input Device.
     The Direct Input Device is an encoded armature that allows stop-motion
     animators to bring their skills and artistry directly into computer
     animation.
   * To James Kajiya and Timothy Kay for their pioneering work in producing
     computer generated fur and hair in motion pictures.
     This pioneering work inspired the development of the
     computer-generated fur and hair systems that are in use today.
   * To Jeffrey Yost, Christian Rouet, David Benson and Florian Kainz for
     the development of a system to create and control computer generated
     fur and hair in motion pictures.
     This system represents a significant advancement for controlling
     computer generated short fur and long hair in a motion picture
     production environment.
   * To Richard A. Prey and William N. Masten for the design and
     development of the Nite Sun II lighting crane and camera platform.
     The Nite Sun II is a mobile crane system for location lighting and
     camera use. This unique, self-contained system with its platform, has
     the ability to lift 1,200 pounds of personnel, lighting and camera
     equipment up to 124 feet above the ground.
SCIENTIFIC AND ENGINEERING AWARDS (Academy Plaques):
   * To John Schlag, Brian Knep, Zoran Kacic-Alesic and Thomas Williams for
     the development of the Viewpaint 3D Paint System for film production
     work.
     Viewpaint is an interactive 3D paint system that allows artists to
     apply color and texture details to computer generated effects.
   * To William Reeves for the original concept and the development of
     particle systems used to create computer generated visual effects in
     motion pictures.
     The concept of particle systems inspired and continues to influence
     further developments in the area of computer generated tornadoes,
     flames, sparks, snow, clouds and other visual effects.
   * To Jim Hourihan for the concept and design of the Dynamation software
     system for motion picture visual effects.
     Dynamation is used to create a wide variety of computer generated
     effects such as tornadoes, flames, sparks, snow and clouds in motion
     pictures.
   * To Jonathan Erland and Kay Beving Erland for the development of the
     Digital Series Traveling Matte Backing System used for composite
     photography in motion pictures.
     This system reduces both the time and expense of shooting and posting
     composite photography. The spectral reflectance of the backing
     material, paint formulation, and the spectral transmission of the
     flourescent lamps match the peak sensitivity of the recommended camera
     film.
ACADEMY AWARD OF MERIT (Oscar statuette)
   * To Imax Systems Corporation for the method of filming and exhibiting
     high-fidelity, large-format, wide-angle motion pictures.
     (Originally awarded a Scientific and Engineering Award [plaque] in
     1985, this is an "upgrade" award.)
     Integral to the process for presenting cinema programs in the Imax or
     Omnimax format is the rolling loop projector, developed from a film
     transport mechanism originally invented by P. R. W. Jones.
     Improvements made on the patent by the Imax Systems Corporation, and
     the development of other peripheral equipment, made possible the
     high-speed, horizontal projection of 70mm pictures, fifteen
     perforations per frame, onto screens of unusually large proportions in
     theaters designed to specifications for optimum viewing of those
     motion pictures. An exceptional sense of participation is experienced
     by audiences when pictures, photographed to the requirements of the
     process, are shown in Imax or Omnimax theaters.
Ciao,
Guglielmo Pizzinelli,
Italy.                             "You are the wrong guy, in the wrong place, at the wrong time!!!"
                                   "The story of my life..."
                                   (Die Hard 2-Die Harder)

 inutilmente alcune ore di sonno davanti alla TV.
Inutilmente? Direi di no, la Wynona era bellissima. ;-)
-- 
                .Renzo Olivieri.
 
                   .Milan, Italy. 
 
Inutile Thread Uinona Fans Cleb
E-Mail address  >>   
inutil...@geocities.com

vederlo almeno una.
Potrebbe essere una forma di penitenza...  ;)