MBN The Monte Bubbles Network: 79th Academy Awards Winners®

Feb 25 2007

And the winners are

The Happy Feet Penguins opened the Red Red Carpet part of the show show with Cars and Little Miss Sunshine and Borat.

Show opened with the nominee's poking fun at themselves. Then all on stage, a record 177 gathered.

Ellen DeGeneres hosts the show in red tux suit joking about winning and losing and a gospel group comes out singing celebration of you.

Daniel Craig and Nicole Kidman present the first award. Art Direction

PAN’S LABYRINTH

CATEGORY: ACHIEVEMENT IN ART DIRECTION
AWARD RECIPIENTS: EUGENIO CABALLERO AND PILAR REVUELTA
FILM: PAN'S LABYRINTH

Thank you. We want to thank, first of all to the Academy for this dream
come true. It's an honor for us. Thank you to our crew, they made a
wonderful job. To Picturehouse, to all of our producers, they've been
tremendously supportive. To Guillermo Navarro for his beautiful light. To
Guillermo Del Toro for guiding us through this labyrinth. I want to
thank my wife and my family for their support. And I want to dedicate this
to the memory of my mother and all the filmmakers of my country.

CATEGORY: ACHIEVEMENT IN ART DIRECTION
INTERVIEW WITH: EUGENIO CABALLERO AND PILAR REVUELTA
FILM: "PAN'S LABYRINTH"

Q. Eugenio -- (Spanish)?
A. (Spanish).

Q. Eugenio?
A. Spanish.

Q. I don't know if you speak English.
A. Yes.

Q. To get all the other as well. Please, not only what it means, but
what it means for this movie in particular. It was a little movie and
so far two awards. How do you see -- I mean, are we going to get six of
them? How do you see from a little movie to what has begun?
A. I don't know what is going to happen, but I'm very happy about
what's happening with this movie. It's -- I think it's important because in
this movie, there -- there is -- in this cruel world right now, there's
a good chance for -- it's important to give a chance to fantasy, and
that fantasy find some hope, and I think this is a movie about hope, and
that's -- that's why I think it's -- it's been a lucky, lucky year for
us. This movie have a very, like, bright stars in the very beginning,
and the star had been guiding us through this labyrinth. All right.
A. Yes, as more movie, but I think it's good that, you know, this is
co-production that we made is Spanish people and Mexican people that, you
know, we can for -- at least for my country, they see that there's
technician that they can work everywhere, and you know, there's no limit of
the small or big movies.

Q. (Spanish)?
A. (Spanish).

Q. (Spanish)?
A. (Spanish).

Q. (Spanish)?
A. (Spanish).

Q. (Spanish)?
A. Art directors guild -- (Spanish).

Q. (Spanish)?
A. (Spanish).

Q. (Spanish)?
A. (Spanish).

Q. (Spanish)?
A. (Spanish).

Q. (Spanish)?
A. (Spanish).

Maggie Gyllenhaal

Tech awards speech

Will Ferrell sings with Jack Black and John C. Reilly about comedians and the Oscar coming home with them.Then they present

Make-up winners

PAN’S LABYRINTH

CATEGORY: ACHIEVEMENT IN MAKEUP
AWARD RECIPIENT: MARTÍ AND MONTSE RIBÉ
FILM: “PAN’S LABYRINTH”

Montse Ribé: It's very heavy. Thank you very much to the Academy.
Thank you. Thank you very much to Guillermo Del Toro. You're a very special
person and very talented. Thank you very much to Picturehouse and
Picasso and Tequila Gang.

David Martí: OK. Where are you Guillermo? Thank you very much,
Guillermo. This is for you. Thank you very much for this.

CATEGORY: ACHIEVEMENT IN MAKEUP
INTERVIEW WITH: DAVID MARTÍ & MONTSE RIBÉ
FILM: "PAN'S LABYRINTH"

Q. (In Spanish)?
A. (In Spanish).

Q. (In Spanish)?
A. (In Spanish).

Q. This movie has been so embraced by audiences and the industry, I'm
wondering when you began to know that you were working on something
special and what told you that?
A. Well, I think it was always with Guillermo, everything was on the
restaurant, and when he told us the story about Pan's Labyrinth, we were
thinking this is an amazing story. We want to be on that movie for
sure. And that's the beginning. On the restaurant, always Guillermo on
the restaurant and a good idea is something to think of.

Q. What kind of restaurant?
A. It was -- actually, it was a Japanese restaurant.

Q. (In Spanish)?
A. (In Spanish).
A. (In Spanish).

Q. (In Spanish)?
A. (In Spanish).
A. (In Spanish).

Q. (In Spanish)?
A. (In Spanish).
A. (In Spanish).

Q. (In Spanish)?
A. (In Spanish).

Q. Thank you very much and congratulations.
A. Thank you.

Ellen DeGeneres backstage fooling around.

Then David Smith and Abigail Breslin Present Animated Short and short film live action.

The Danish Poet

CATEGORY: BEST ANIMATED SHORT FILM
AWARD RECIPIENT: TORILL KOVE
FILM: THE DANISH POET

Thank you. First I have to apologize to Tom Hanks because I did bring a
list just in case. But I want to thank the Academy for this wonderful
award, it's such an honor and also for continuing to support this
animated short category. That really means a lot to us.

I want to thank the National Film Board of Canada and all the funders
and supporters in Norway for helping us make this film. My producers
Marcy Page and Lise Fearnley of Mikrofilm in Norway. I want to thank Liv
Ullmann for just her beautiful narration. It was really amazing of her
to participate in this. And for everyone else who helped make me this
film, I just want to say thank you, thank you, thank you. You know who
you are, I know who you are and I know that without you I wouldn't be
standing here with this little guy. Thank you very much.

CATEGORY: BEST ANIMATED SHORT FILM
INTERVIEW WITH: TORILL KOVE
FILM: "THE DANISH POET"

Q. Torill Kove here. Congratulations on your win.
A. Thank you very much.

Q. You've been traditionally involved in 2-D animation for a long time.
After your experience this past week seeing all the studios, any
features you're intending in which to work on or maybe connecting with
studios and even changing the mediums you'd like to work in?
A. I think mostly my experience this week in L.A. is that I've met a
lot of really, really great animators so I've gotten to know all the
other nominees fairly well, we spent the better part of a week together,
and that has been really inspiring. And as far as medium is concerned
and length of film, I'm still quite attached to the short film format.
And I like to draw, you know, so I'll probably keep doing that for a
while longer.

Q. Bruce Kirlkland from the Toronto Sun?
A. Hi.

Q. Congratulations.
A. Thank you.

Q. I wonder if you can expand on what you said about thanking the
Academy specifically because we know that animation and all short films were
an endangered species at one point.
A. Uh-huh.

Q. And obviously it's been saved at least for the time being so could
you expand on the need for the recognition of these kinds of films in
this kind of format?
A. Well, I don't actually think that any animated shorts are an
endangered species, I think they're doing really, really well at the moment,
but I think what the Oscars do and what the Academy is doing for
animators is they're bringing the animated short forum out to -- I mean, I
hate to call it the mainstream because that sounds maybe a bit
condescending, that isn't what I mean but I think the animated short community,
it's a wonderful eclectic, inclusive community, but it is a little bit
insular and I think to have the Academy recognize this film. forum every
year by having a category included in the awards, it's really really
wonderful, and I think -- I mean, all the films are now available and
i-Tunes some -- and I don't know about the other films but mine has been
shown all across the states and all across Canada in movie theaters
which is unheard of these days so I think it's tremendously important. And
like I said, I think what the Academy is doing for us is really
important and we're really grateful for it.

Q. Congratulations.
A. On my left, okay.

Q. Hi, how are you?
A. Hi.

Q. They often say that making a short can be a liberating experience.
What is a liberating experience for you and what did you learn and what
can you apply to the next one?
A. Liberating, I don't know, I felt pretty liberated before actually so
I don't know about that, but it's a really rewarding experience, and I
say you could say in terms of sort of creative urges and desires, it is
liberating to be able to do what I do and I really just -- I just
really want to do it again, I'm completely hooked on it, it's wonderful.

Q. Thank you and congratulations?
A. Thank you very much.

WEST BANK STORY

CATEGORY: BEST LIVE ACTION SHORT FILM
AWARD RECIPIENT: ARI SANDEL
FILM: “WEST BANK STORY”

And on another note, I know a lot of people in America are probably
watching and asking, "What are the short films?" Well, a lot of them are
made by directors who are trying to get noticed and I think in a lot of
ways we represent the little guy because we don't have big studios
behind us or big name actors or a lot of times the budgets we need and it
relies on perseverance and stick-to-it-iveness and hustle and dedication
and loyalty from a cast and crew who are doing it for pennies if not
for nothing, so I'd be remiss if I were to take this award and not thank
my co-writer Kim Ray, my producers Pascal Vaguelsy, Amy Kim, Ashley
Jordan, Ravi Malhotra and my composer Yuval Ron.

And last but not least, the two people who never doubted me even when I
doubted myself, my mother who's here in the audience, Kathy and my
father Dan, who's watching. I love you. Thank you.

CATEGORY: BEST LIVE ACTION SHORT FILM
INTERVIEW WITH: ARI SANDEL
FILM: "WEST BANK STORY"

Q. How you doing, congratulations.
A. I am good. Who is talking to me?

Q. From Variety.
A. Please.

Q. Hi, so you have a film here which sort of takes a light-hearted
approach to what is a serious subject. I'm wondering what are your
thoughts and whether treating something like this with some laughs can
actually make a difference in the world?
A. You know, I think when I initially intended to make the movie wanted
to make it evenhanded and to be a movie that was hopeful and pro-peace.
And whether it's going to make a difference, I don't know.

The intention was I wanted to make a movie that Israeli and Jews would
watch and finds themselves liking the Arab characters at that Arabs
would watch and liking the Israeli characters and to feel, equally, fairly
represented. And I think in doing so, the response from Jews and
Arabs, Palestinians, Israelis specifically, has been really overwhelmingly
positive. So, I think in that sense it was a success. If it's going to
change the world or do anything else, probably not. But, you know, if
you can change a few minds, I get letters and e-mails from people all
over the world, Israeli soldiers, professors from the University of
Qatar, Palestinians who ask for DVD and talk about how much the movie means
to them. That there is somebody making something that's hopeful
because there's just a sea of negativity out there.

Q. John Young from USC Daily Trojan. Just wondering, being a graduate,
what steps can did you take from going from graduating film school to
now ultimately holding an Oscar in your hand?
A. I don't have the slightest damn idea. You know, the film was a
student film I made for my masters thesis and really my goal was to take it
to Sundance, and we did that. That was really a dream come true. I
never in my wildest dreams thought to even say my goal is the Oscars.
That's absurd. So, the fact that it happened was a surprise. That fact
that I was nominated is unbelievable. The fact that I'm sitting in the
room and watching Ellen Degeneres and even hearing my name called is
phenomenal. The rest is all gravy. You know.

Q. Thank you?
A. 94. Hold on. I'm going to milk it. Go ahead.

Q. I'm from the home town of your star Ben Newmark, and I just wanted
to get a shout to out to him. I thought your cast was really great. Can
you tell us what's next for you?
A. I have a movie with Vince Vaughn coming out -- the Vince Vaughn Wild
West Comedy Show. It is a feature-length documentary that premiered at
the Toronto Film Festival in September. And it's supposed to have wide
release, in, I think, in September. Stars Vince Vaughn and four
comics. They travel the country, and it's a documentary about being a comic
and traveling America. Anyone else? Thank you very much.

Q. (Inaudible)
A. I would like to say one more thing. I know because of the nature of
the topic of this film, I got a lot of phone calls from people in the
Arabic world and lots from Israeli people in the government and various
peace organizations who really wanted know say something on-stage that
talked about certain people on both sides who want peace and I was
going to do it any ways, but I hope that because I think this is the first
time for me to get an Oscar, to get an Oscar, to deal with this subject
matter, I hope that you guys will put it in the paper and talk about
the fact that there are people making hopeful movies and want people who
want peace. Thanks a lot.

First Best Picture shown LETTERS FROM IWO JIMA

Ellen DeGeneres salutes sound and cinema with the Hollywood sounds effects choir.

Steve Corell Sound Editing

LETTERS FROM IWO JIMA

CATEGORY: ACHIEVEMENT IN SOUND EDITING
AWARD RECIPIENTS: ALAN ROBERT MURRAY AND BUB ASMAN
FILM: "LETTERS FROM IWO JIMA"

Alan Robert Murray: Well, first of all I'd like to thank the Academy,
our distinguished director Clint Eastwood, producer Steven Spielberg,
Paul Haggis and Rob Lorenz, the incredible support from everyone in the
Malpaso family, Warner Bros. and Dreamworks, support from the United
States Marine Corps, to our wives and children for their continued support
and understanding, our exceptional picture and sound editors on Letters
and the mix team of Gregg Rudloff, John Reitz and Dave Campbell.

And finally, thank you to my father and all the brave, honorable men
and women in uniform, who in a time of crisis have all made that decision
to defend their personal freedom and liberty no matter what the
sacrifice.

CATEGORY: ACHIEVEMENT IN SOUND EDITING
INTERVIEW WITH: ALAN ROBERT VURRAY & BUB ASMAN
FILM: "LETTERS FROM IWO JIMA"

Q. (INAUDIBLE.)

A. Letters was more claustrophobic and pounding and inside the caves
and always a threat on the outside but never seeing the war. So, yeah.
I think we are different.

A. We were pretty much finished with Flags before we even saw Letters.
So we deliberately wanted to make them be different. It was a
different war from both sides, and we tried like crazy to make it feel, like,
it was pretty scary for everybody there and pretty scary for us.

Q. Any other questions? Thank you very much, and congratulations.
A. Thank you.

Jessica Biel and James McAvoy Sound Mixing

DREAMGIRLS

CATEGORY: ACHIEVEMENT IN SOUND MIXING
AWARD RECIPIENTS: MICHAEL MINKLER, BOB BEEMER AND WILLIE BURTON
FILM: "DREAMGIRLS"

Michael Minkler: There's no way I'm going to be able to do this by
memory, so first of all, we congratulate Bill Condon, thank you so much.
You crafted a film that was filled with dazzling performances,
unforgettable songs from Henry Krieger, stylish effects from Richard Yawn,
electrifying editing from Virginia Katz and some smokin' sound.

In the end, you thanked us for helping you make your dream; it's really
the other way around. Bob, Willie and I are so honored by this award
and we thank all of those who collaborated with us on the mix, and we
extend our love and appreciation to those in our family who bring us
harmony in our lives.

Willie Burton: I'd like to thank our producing team, our cast and crew,
also my loving wife Jackie for her support, and mom, thank you. God
bless you all.

Bob Beemer: I'd like to thank Cindy, Jessie, Amy, L.G. and the guys in
the backroom.

CATEGORY: ACHIEVEMENT IN SOUND MIXING
INTERVIEW WITH: MICHAEL MINKLER, BOB BEEMER, WILLIE BURTON
FILM: "DREAMGIRLS"

Q. Hi, guys. David Cohen from Variety. I understand that with a
project like this you're working with just an enormous number of tracks and
an enormous complexity putting the music and everything else together,
so I'm wondering at what point do you start to say to yourself, when
are we just going to get this done? Were you ever wondering, is this
going to be too much?
A. No. The studio provided us the correct amount of time. We had a
very patient director and it was a dream experience, no pun intended. It
was just the best.

Q. Mr. Barton, right here, Stephanie Fredrick with the Los Angeles
Sentinel. We spoke earlier this week.
A. Hi, Stephanie.

Q. You're now holding your Oscar. You sounded like you wanted to say
more on stage as well, so I wanted to give you an opportunity to finish.
A. Right, on stage. I didn't get the chance to thank Bill Condon our
director who hired me, who believed in me, and also Laurence Mark our
producers and Patty Whitcher, our producer and Leann Stonebreaker; I
mean, they were fighting for me to get the job, and I really appreciate all
the effort that they put into for me to be hired. And also my
production crew that I never forget, Marvin Lewis, my boom man, Gary Theard, my
boom man, and my go-to guy Mark Agostino. What a wonderful team I
have. And we're able to do a great job for Mike Minkler, and Bob Beemer
for post production to make the sound all perfect, and that's why we have
the Oscar.

Q. You're holding that right now?
A. Right. This is Oscar right here.

Q. Your feelings about holding Oscar?
A. Oh, my feelings are great, I mean, this is my second Oscar. I feel
a little bit better about it than my first Oscar. I almost passed out,
I think. But this one I feel much better and also they're not going to
take it back. My first Oscar, I thought they would take back my Oscar
once I came into the media. And now I have this one and I feel that
it's for me.

Q. Martina Christen, Jet magazine. Hi, congratulations. Could you
first identify yourselves, and also I wanted to find out, 25 years after
the original Broadway production, you guys were able to bring something
to the silver screen in a fantastic way. The music was wonderful.
What are your thoughts about that?
A. Well, we didn't have a lot to do with bringing the music to the
screen, there were Randy Spendlove and Matt Sullivan who were the
supervisors, the music supervisors on the show, who hired their production,
music production people and the arrangers and the composers and Paul
Rabjohns, they spent almost two years or something putting this thing
together. We are just the recipients of their brilliance. We get all these
cases and we try to make something out of it, but it was really their
task in doing this. And with the direction of Bill Condon, Bill watched
and listened to every note and every frame, and everything in this
movie is Bill Condon.

Q. I'm sorry, could you also identify yourselves?
A. I'm Mike Minkler.

Q. Can each of you say your names, please?
A. Yeah, I'm Willie Burton. The most important thing with our job is
to make it sound great, and that's why this team here,
that's what we do, we made it sound great.
A. I'm Bob Beemer. Another part of the illusion is it's not all
singing you hear, it's lip synched, post-done, prerecorded, everything, and a
big part of what our illusion is to pull off the natural performance of
the throat, just match every single little nuance. I thought that came
out very well, because in the beginning we weren't sure how well we
were going to do and in the end, Bill had the patience and the
perseverence to make sure we could have the time to make it right and it came out
well.

Q. Each one of you has won an Oscar before tonight. One of your other
nominees, Kevin O'Connell, has never won in 19 tries now. Do you have
anything to say to him?
A. I kind of figured this question was going to come up, so they said
if it does come up, go ahead and say something. I think Kevin should
just like maybe just go away with 19 wins and just call it a record and
that would be the end of it. We work really, really hard at what we do,
all of us do in our craft. And if we, you know, stumble upon an award
like this, somebody is willing to honor us with something like this, we
are so grateful. And I just wonder what Kevin's trying to do out there
by trying to get an award by using sympathy. And Kevin's an okay mixer
but enough's enough about Kevin.

Q. You think he should take his name out of consideration?
A. No, no, I just think that he should take up another line of work.
A. I would say for Kevin is that, you know, that's like the Susan Lucci
nomination. But Kevin, I would just say hang in there, your time is
coming. I think Kevin just needs to relax and his time will come and he
will get his chance just like we did tonight. One thing I'd like to
add is on the other hand, what he's accomplished is almost mind-boggling,
it's hard to even fathom the amount of recognition and just the
perseverence over the years, what we do is so hard and time consuming mentally
and it's an amazing accomplishment to be nominated that many times, it
must be terrifically frustrating for him. Like Willie said, eventually
his day needs to come up, six times by now already but that's a tough
karmic thing he has right now.

Q. Thank you and congratulations.

Rachel Weisz Best Supporting Actor

Allan Arkin

CATEGORY: PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE
AWARD RECIPIENT: ALAN ARKIN
FILM: "LITTLE MISS SUNSHINE"

I know you're not supposed to read but I'd be totally incoherent if I
didn't. It's handwritten, it's short. More than anything, I am deeply
moved by the open-hearted appreciation our small film has received. Which
in these fragmented times speak so openly speak of the possibility of
innocence, growth and connection.

Acting for me has always been and always will be a team sport. I cannot
work at all unless I feel a spirit of unity around me. So my main sense
of gratitude goes to the entire cast and crew and production team of
Little Miss Sunshine for creating the same sense of joy and trust and
community that the film speaks about. I'd like to thank the Academy, Fox
Searchlight, my wife Suzanne, my sons Adam, Matthew and Tony for their
endless support. My representation Estelle, Lee, Frank and Melody, and
for the great teachers I've had throughout my life, both in and out of
the profession. Thank you very much.

CATEGORY: PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE
INTERVIEW WITH: ALAN ARKIN
FILM: "LITTLE MISS SUNSHINE"

======BEGIN TRANSCRIPTION======

A. Good evening. What? Are we auctioning something? I'm not an
auctioneer. I have a thing. What? What am I supposed to do here?

Q. Mr. Arkin, over here. Mr. Arkin, when you saw the billboards for
Norbid around town, did you think your Oscar shot was going up?
A. Look. I don't keep score. It's not about furlongs. I feel in a
sense like a hypocrite because I don't believe in competitions between
art activities. I think it's insane. This is a fun kind of insanity but
who is to say who is better? I mean, who has the authority to say who
is better? Just -- I felt for a long time that if 100 people say one
person is a better actor and 50 people say somebody else is a better
actor, why do the 100 people have the vote? The 50 people may have been more
deeply moved by another performance. What's the criteria? The criteria
is very shadowy. I don't keep score. I mean, I'm happy to have this.
It's very nice, but I don't keep score, yeah.

Q. Mr. Arkin, hello. Over here on your right. Chris Stanley with KNX
Radio. At the time that you won the award at the SAG ensemble, you made
a very moving and persuasive speech about ensemble acting, and you
talked about it as a ball and keeps rolling and no part should stick out.
So whether you like it or not, you stuck out on this ensemble. And one
wonders, are you willing to revise your thinking about that?
A. Not at all. I think it's because of my age. Everyone thinks I'm
going to keel over in a year or two, give me a little bonus.

Q. Why do you think the Academy gave you this award then?
A. I haven't got a clue. I have no idea. Anything I say would be
conjecture. This is no way of knowing. I don't really know.

Q. Haven't you given it any thought at all?
A. None.

Q. Are you going to now?
A. No.

Q. Mr. Arkin.
A. Hi.

Q. You had a very tender relationship with the little girl. I wanted
to find out what it was like working with her and also how often you had
to practice to get -- jump into the van when it was moving?
A. How long do I practice?

Q. Yeah. How did you do that?
A. It was a little harry. We started at a very, very slow speed and
kept increasing it till we reached the point when we knew that was it.
If we went any faster, we'd have to have a stunt man or a whole bunch of
stunt people, and we couldn't afford that. They couldn't afford to
lose us. That was the criteria. And working with Abigail was a sheer
delight. She is a lovely, delightful, charming child. And her parents are
with her all the time. It was like working with a -- with a woman of
40 year's experience. We were locked in the van for hours and it was 95
degrees out, no air conditioning. And she was just one of the group.
She demanded no special attention. She busied herself with her music
and writing things and was talking to us. I'm crazy about her.

Q. Hi, Alan Arkin. Congratulations.
A. Thank you.

Q. From what I understand, you have now tied Helen Hayes record in
Academy Awards history, 38 years between your last nomination and this,
this win.
A. Sure.

Q. What was it like 38 years ago at your last nomination and did you
ever think it would come around again?
A. In God's truth, I don't spend a lot of time thinking about it. I do
my work. My main concern is being in projects where I can be excited
about something. I don't -- most of the actors I know don't spend a lot
of time projecting into the Awards, blah, blah, blah. Most of the
actors are doing it because they want to work in something they feel is
substantial, something they can have fun with, something they can be
excited about for one reason or another.

Q. Was having a nomination back in, what was it, 1969?
A. I'm sorry. Say that again.

Q. Was the nomination back then were the Academy Awards a whole
different beast than they are now?
A. I think so. I don't remember. I'm 72. I don't remember anything
anymore, and I'm proud of it, both.

Q. Hello. I have seen you in so many wonderful independent films these
past several years, just wonderful. How do you choose the films that
you do and is that a priority to you to do smaller ensemble films?

A. Yes. My preference is to do small films where I make absolutely no
money whatsoever. It's mostly of concern to me what -- what the Anthony
is going to be like. The part is very important to me, but I also want
to know what the film is about, who the other actors are going to be,
whether they are going to be a joy to work with, who the director is. I
care about the entity. That's my deepest concern. I consider myself
very much a team player and I want to be with something that has some
kind of integrity as a group effort. That's the real joy I get out of my
work.

Q. I think back to some of the portions that move me, and I remember
very clearly wait until dark and climbing into my parent's bed every
night for two weeks after that. Here we are all the years later and
another bag of heroin undoes you again? You talk about the ensemble. You
really were a believable family. I think everyone of us sat around
Thanksgiving fought with our relatives relate to this. Talk about creating
that chemistry, the bonding created in this picture.
A. Well, I think it mainly had to do with Jonathan and Valerie's
brilliant casting. They casted very carefully, and I think either
unconscious or subliminally on that part they had a sense the people they were
casting were going to be team players, number one. And, number two, we
had a week beforehand getting together riding around in the van having
lunch together, playing tag. We played all kinds of games for days and
days. We went bowling. I won. I did very well. And that, I think,
did something to create some of the atmosphere. And I think it was
mainly the fact that they hired a bunch of actors who were team players that
weren't elbowing each other out of the way. And that's it. Thank you.

Q. Thank you very much and congratulations.

Ellen DeGeneres out in the audience talking to people.

Departed Best Picture shown next.

“Our Town” – CARS with James Taylor and Randy Newman

Melissa Etheridge “I Need to Wake Up”– AN INCONVENIENT TRUTH

Al Gore and Leonardo DiCaprio announce show has gone green.Music off for Gore

Ellen DeGeneres recycles jokes to salute green.

Cameron Diaz Best Animated Feature

HAPPY FEET

CATEGORY: BEST ANIMATED FEATURE FILM OF THE YEAR
AWARD RECIPIENT: GEORGE MILLER
FILM: "HAPPY FEET"

Oh, gosh. I asked my kids, "What should I say?" They said, "Thank all
the men for wearing penguin suits." They gave me a lucky coin, a lucky
penguin, but my real good luck was to work with hundreds and hundreds of
amazing people, that wonderful cast, great artists, computer wizards,
studios that were passionate, people who cut trailers, dubbed the movie,
got it into the theaters. And on their behalf, I thank the Academy for
this. Thank you.

CATEGORY: BEST ANIMATED FEATURE FILM OF THE YEAR

FILM: "HAPPY FEET"

INTERVIEW WITH: GEORGE MILLER

For Happy Feet, I understand you started this way before March

of the Penguins?

A long time before. But Happy Feet did arise From

documentary, specifically, Life in the Freezer done by the BBC

and National Geographic, similar to March of the Penguins, but

it started long before.

And where did you go after Penguins?

I am going back to live action actors for a while, but I'm

hooked on animation, and it's going to be in whatever movies

get to make. So, I guess we will keep doing --we will keep

doing animation. This new digital age is so significant,

think we will keep --we will keep working in it, and it's

fantastic. I'm so lucky to be working in film at the time when

it's available.

George, four nominations, and you finally landed one of those

little guys. What are your emotions, and did you feel at all

the underdog? And do you feel in any way vindicated?

Well, you know, my whole life --I started off making action

movies and doing live action. I never thought that I would be

holding an Oscar for an animation. I honestly --I honestly,

this is true --I can say I didn't expect to win; sitting next

to John Lasseter, who I thought would win and has won Oscars

before, and it's really nice. And it got given to me by

Cameron Diaz, who is someone I got a photograph with. Except

when I'm standing next to George Clooney, I've never felt the

intensity of those cameras, with those flashing cameras. So,

feel pretty good.

Another year, another win for Australia, congratulations.

Yeah.

What do you think this says about the talent that's coming out

of Australia right now?

Well, when --it's not the talent coming out of Australia, it's

coming out of Mexico right now. I mean, I'm just blown away

with what's happening out there. I mean, a few years ago,

maybe decade or so ago, there was that talent coming out of

Australia. We're a pretty new country. Cinema is as old as

the country, so there's always a lot of talent. We are not

making enough movies, but it's amazing, amazing people,

particularly the actors. I think what it is, is that they have

to --Australian actors and cinematographers, and so on, have

to work across the board. They are very, very well trained.

Two smaller countries that do just one thing, number one. And

number two, I think they are pretty relaxed, have a relaxed way

of working, and everyone likes working with them.

Congratulations.

Thank you.

You approached Happy Feet as a live action film, and I assume

when you go into the next one, you will do the same. But talk

a little bit about what you learned about animation and that

you'll be able to improve and make easier for yourself the next

time around.

I mean, having had some experience with the big movies, I did

sort of understand a little bit what was happening, but I had

no idea what kind of tsunami of learning I had when I got into

animation. The basic principles of story telling are very,

very similar, but you can deconstruct everything. You can work

a great deal on everything. I learned to be very painstaking.

I'm worried when I get to a live action set that I won't have

virtual camera or I can change a performance by asking an

animator to just, you know, hold a blink an extra frame or two.

But I look so much about if I am making because it didn't just

come from the gut (sic). I mean, I think there's also

convergence between animation and what we call basic, regular

film making. I think we are starting to see that in all the

visual effects movies, and once we start to conquer the visual

effects, it will be just normal for every kind of movie you get

into. I --you know, when you look at something like Gollum

from Lord of the Rings, he was essentially animated performance

captured. That's in most of the movies now. It's an

interesting new age we are working in. I'm very happy to be

part of it.

You've gotten incredible performances out of animated animals.

And you will be working in animation again. How do you feel

about animated movies that you --that are portraying people?

And secondly, what would you recommend to other live-action

directors should they make a move towards animation?

Well, great questions. We didn't have the courage to do people

in Happy Feet. As you know, the humans that appear at the end

of the movie are live-action humans. I think that's --that's

in generations to come. There's something about the subtlety

of the human being which you really can't capture unless they

stylize them in the way that it was done, say, in The

Incredibles or so on. That's not to say that Disney didn't do

great work in Pinnochio and all of those sorts of things.

think every single director, live-action director, now has to

take into account animation. I think, as I said, there's

convergence between them. And you talk to most of those kind

of big kind of film makers, the Jim Camerons, and the

Spielbergs, and the Jacksons and whatever. They are are doing

that. They are all into it because it's part of our language

now, it's part of our repertoire, so I think it's --we have

all got to learn it and it's a great way to play. And everyone

is so young, it's such a great opportunity, everyone is so

young. The average age on this film was 26. And I'm an old

fart, and working with them was fantastic. Thank you.

Ben Affleck looks at Screen writing on the screen

Helen Mirren and Tom Hanks present adapted screenplay

THE DEPARTED

CATEGORY: ADAPTED SCREENPLAY
AWARD RECIPIENT: WILLIAM MONAHAN
FILM: "THE DEPARTED"

There's no place to put this down, huh? Valium does work. Anyway, I was
going to cut off the beginning of this speech and make it brief, but
I'm gonna leave it back in and say, you know, the movie that made me
wanna be a screenwriter was Robert Bolt's Lawrence of Arabia. And I don't
know what could've happened in the universe to end up with the same
Oscars as Peter O'Toole, you know, so it's crazy. He's here, I've seen him.

So anyway, thanks to the Academy, to Warner Bros., everybody at Warner
Bros., Alan Mak and Felix Chong who wrote Infernal Affairs, the
producers present and not present, the agents, everybody who made The Departed
such a success. Thanks to Marty and Leo for reading the script and
calling each other and saying, "Let's make it." And Thelma.

You know, everyone who worked on The Departed was, you know, it's easy
to say was at the top of their game before they started, and under
Marty's direction it only got higher after that. Thank you very much

CATEGORY: ADAPTED SCREENPLAY
INTERVIEW WITH: WILLIAM MONAHAN
FILM: "THE DEPARTED"

Q. Congratulations on your Oscar.
A. Thank you very much.

Q. How important was getting to Boston to transform this Hong Kong
story?
A. Well --

Q. And because Scorsese is so famous for improvising, how much of your
script actually stayed in the movie?
A. I was on set and on location through the entire showing and, I don't
imagine they would be paying me if there was going to be a whole lot of
improv.

Q. Hi. Jeannie Wolf. How much did the actors transform what you
thought this movie would be and make you make changes on the set even if it
was an improv?
A. Well, actually, Jack, you know, I had written Jack's character
originally, as a sort of standard issue, 68 year-old Boston Irish Catholic
murderer. And, you know, 68 year-old Irish Catholics in my experience
are not so much for sexual prosthesis and cocaine, but Jack wanted to
sexualize his character and he did a great, great job.

Q. And the other actors and their characters?
A. Just about the same.

Q. Can you be specific?
A. Well, it was a written script. Okay. Thanks.

Q. Hi. Right here.
A. Okay. I don't have my glasses on. I don't know what's going
on.

Q. Down to your right.
A. Hi.

Q. How are you?
A. Fairly well, thank you.

Q. Better than me right now, I hope.
A. Doing all right.

Q. How did you manage to capture the character of Boston so well
because that's why I think the movie was so successful,especially in
Boston?A. Well, I'm from there and you know we have never really been well
represented, you know, and I remember when I was a kid watching television,
you know, you'd see people supposed to be from Boston and they would be
out there talking like with the Kennedy's, and the Pepperidge Farm man.
We are another country. You know, we are another little civilization
and very northern, very dark, sometimes very self denying and you know,
that's kind of what I wanted to get into after having spent so much
time trying to get out of it.

Q. Congratulations. We have a whole Boston contingent here. I was a
reporter there back in the days when Whitey Bulger, and all of those
others guys were doing their thing?
A. Congratulations on surviving.

Q. You are so right about that; people look at this movie and oh this
is very real. But thinking about that, there was a lot of realism in
this story. Did you think about some of those days, the Whitey Bulger
days?
A. Very much so. When I started thinking about adapting the Chinese
story, it slid into Boston very well because of the existence of that
known, you know, that known Whitey Bulger, the corruption, you know. So
it just -- the stuff in the Chinese story was actually far less gothic
than what was going on in Boston at the time, as you know.

Q. Question, leading out of the Whitey Bulger, do you think he's
watching the Oscars somewhere and rooting for the film in some sort of
perverted way?
A. I wouldn't wanted to call it perverted if he's watching. No. I
don't know. Nobody knows where he is. As a matter of fact, you know, the
character wasn't really based on him. It was just the fact that
somebody like him existed, you know.

Q. And the follow-up question to that is how important was it to you to
truly Americanize and root this film in the Boston milieu, given that
it is, you know, a Hong Kong story.
A. Well, I mean, almost every story can happen anywhere, you know. It's
just you know you flip it around a little bit and, you know, The
Departed is pretty steeped in a very particular society. Internal affairs
had a lot to do with Buddhism and that sort of thing and we had a lot to
do, you know, with The Departed.

Q. Thank you very much and congratulations?
A. Thank you very much. I'm sorry I couldn't see anybody.

Oscar Cam backstage breakdown of winners.

Ellen DeGeneres comes out with a device to hold a Oscar

Emily Blunt and Ann Hathaway present best Costume design

MARIE ANTOINETTE

CATEGORY: ACHIEVEMENT IN COSTUME DESIGN
AWARD RECIPIENT: MILENA CANONERO
FILM: "MARIE ANTOINETTE"

Well, I'm very happy to be here but it's also very frightening to be
here, so in one way I wanted to get this doll [pats the Oscar] and
another I was frightened. But thank you so, thank you very, very much. I want
to thank Frances, first of all, for introducing me to Sofia when we
were doing Cotton Club. And she was this [motions to her height as a
girl], and now she's my director. I think she did a wonderful movie. The
movie is like a poem and she inspired me. I haven't prepared this speech
so I have to hurry up because Marshall my husband said I have to get out
of here quickly. So I want to thank everybody who had anything to do
with this movie. Without them I wouldn't be here. It's a communal effort,
therefore I thank everybody very, very much. I want to dedicate this
award first of all to momma, then Hugh Hudson and Stanley Kubrick, my
great master. Without them, I wouldn't be here.

CATEGORY: ACHIEVEMENT IN COSTUME DESIGN
INTERVIEW WITH: MILENA CANONERO
FILM: "MARIE ANTOINETTE"

Q. (In Italian)
A. (In Italian)

Q. Hello. Congratulations. I'm Andrea from E Channel. The costumes
in Marie Antoinette were beautiful and detailed. And I'd love to know,
what was the process like for you? Was it overwhelming at times? Was
it fun?
A. Overwhelming most of the time because we were running against time
and quantity and quality, and therefore -- and budget. Therefore, it was
at times stressful. Sophia was always available, though, and extremely
nice about everything, and frankly, she gave me a lot of input with our
vision. The vision was very poetic, and that's what helped me to go in
a certain direction.

Q. (In Italian)
A. (In Italian)

Q. (In Italian)
A. Stanley Kubrick.

Q. Hi, Justin from Daily Variety. You dedicated your award to Stanley
Kubrick. Of course, you won your first award for Barry Lyndon. What
lesson did he teach you that stayed with you the longest, and how did
you apply that to Marie Antoinette in particular?
A. Well, Stanley Kubrick was a lesson not about costume, it was a
lesson about film making and what we can give to each movie that is not
academic or repetitive, but also to have his support and to have had this
opportunity to work with a master like him. It's a great -- you know,
it's a great gift, and he put me there. I was nobody. But people here
are English, are Americans, so I speak English, and let's leave it at
that. I like to speak with the audience in English.

Q. Fashion and cinema are more and more near, not always for your work
but for the profession, fashion, or something different. Can you tell
us something about that?
A. Well, throughout history, fashion has been influenced by cinema.
But nowadays fashion is very -- is very much there. So fashion sometimes
influences cinema as well, so it's an exchange, a continuous exchange.
And as Stanley used to say, "You get your experience from all sorts of
sources, and fashion can be one of those, even if you do a period
movie, in a way." But you must never remember you're doing a period movie,
it should be believable.

In Marie Antoinette, our director, Sophia Coppola, didn't want to make
it academic and didn't want to make it, on the other hand,
unbelievable. So we went in a certain direction which was what -- you know, the
art you see. So every time you could do the same period, you can do it in
so many different ways. The director's vision is the most important
thing in a movie.

Q. I was wondering what -- it was very interesting to see Al Gore and
Leonardo DiCaprio talk about an Oscar that can make a difference. And
I'm wondering, what are your feelings about the involvement of all of
the -- including the entertainment community, to go towards environmental
causes?
A. Well, a long time ago, when I got my first Oscar for Barry Lyndon
with Soderlund, I had no idea what the Oscars were about. In fact, I was
in India. Nowadays Oscars are a big thing. It's all over the world,
it's televised, so it's a big thing. So especially for actors and
producers and directors, I think Oscars are very important.

For us, people who are behind the scenes, they are a very flattering
"thank you" kind of acknowledgement of our work. But sometimes it
doesn't make any difference from a professional point of view. For some of
the other people in the industry it can make a big difference, and
therefore, they really care a lot to get an Oscar. But there are many
people who are very, very talented who never had an Oscar. Stanley Kubrick
never had an Oscar. And so, you know, what does it all mean in a way?
But I think it's fantastic and I'm really, really happy. I didn't
think I was going to win tonight, I thought other people had a better
chance because I really had this luck, and therfore, maybe I thought China,
you know, I thought of all sorts of things. And instead it went to me.
And, of course, I'm very grateful, very, very happy.

Q. Thank you very much, and congratulations Ms. Canonero.

Tom Cruise presents Jean Hersholt award

Sherry Lansing

CATEGORY: JEAN HERSHOLT HUMANITARIAN AWARD
AWARD RECIPIENT: SHERRY LANSING

I am deeply honored and very grateful to receive this award, but I also
must admit that it feels a little strange to be singled out. So many of
you have causes that you are equally passionate about. That is really
what is so wonderful about the movie industry -- not only do we get to
make films that matter, but we also work in a culture where we are
encouraged to speak out. We may not always agree, but we do always care.

Through my work, I have met scientists who struggle every day to find
cures for diseases. They do so quietly -- without glamour or attention,
but always with passion and conviction. I have met school teachers who
are battling against insurmountable odds, and yet they never stop
trying to reach our children. To me, they are the real heroes, and tonight I
share this honor with all of them.

On a personal note, I want to thank my husband Billy and our two boys
Cedric and Jack, whose unconditional love gives me the courage to fight
every day for what I believe in. And a special thank you to the members
of the Academy for this extraordinary honor. I promise to spend the
rest of my life trying to live up to it.

CATEGORY: JEAN HERSHOLT -HUMANITARIAN AWARD

INTERVIEW WITH: SHERRY LANSING

Congratulations. Hi, Sherry.

Hi. Nice to see you.

Thank you.

You were presented with your award by Tom Cruise, who did many,

many movies during your career at Paramount. What did he

whisper in your ear? Was it words of wisdom addressing the

crowd?

First of all, it was a secret. So I kept asking who was going

to be giving me this award and Laura Ziskin kept saying, I'm

not going to tell you. It's a surprise. So I had no idea who

was going to be giving me the award. And I didn't see Tom

through, you know, all the pre-events. So I was sure it wasn't

him. And, as a matter of fact, I had seen him at an Oscar

party a few days before and he was sort of cold to me and

went, God, you know. And so he whispered in my ear, this is an

honor, I really wanted to do this. You know how much I love

you and when I saw you at the party I couldn't say anything to

you. So I didn't know until I walked out and it was extremely

emotional for me because I've known Tom since he was 19 years

old. I know his mom and his dad and I almost started to cry,

because it just brought back a flood of memories going back to

"Taps" at 20th Century Fox and continuing through our

friendship today. So it's a long answer but it's the truth.

ABC, in Chicago. Your Midwestern roots do you think that

really led you to where you are today and especially your

humanitarian efforts?

Yes. Chicago is one of the greatest cities in the world to be

from and to live in. It's just spectacular. And when you grow

up in the Midwest you learn a sense of values and you learn to

give back. And I have to say I learned that from being in

Chicago but I learned it from my mother. My mother never

turned away from anybody that was in need and she raised me to

never turn away. And even if she didn't have a lot of money,

she always tried to help. She always tried to --to offer

somebody things. So I think part of midwestern values is

giving back, not being pretentious, learning that there's more

important things in the world than yourself and my mother

exemplified that. And I was also not able to see the film.

This whole thing was a surprise. I know that's hard to believe

but that's our Laura Ziskin planned it. And so when I saw the

picture of my mother as I was standing outside, I also started

to cry, so I was sort of a wreck when I was standing out there.

There's a lot of things changing in the studios, especially

with Paramount after your departure, which is your opinion

about the future of the studios and the cinema producer, the

private studios?

Well, first of all, I left the business two and a half years

ago and it changes fast and I can tell you probably more about

stem cell research than I could today about the movie industry,

because that's really where my heart is. I still go to movies

all the time and root my friends on. I think that what is

really about to change is the distribution of film. As we all

know as we watch our children, they are watching them on cell

phones and they are watching films on their iPod and they're

watching them on their computers, but the distribution will

change. People will still go to the theatres but they will

also want movies any way, any time at their convenience that

they can get them. But the good news is the one thing that

will not change is the content. So anybody that can make

movie is really lucky, because they are going to continue to

want them to make them.

Hi, Sherry, congratulations. Ted, from E.

Thanks.

What would be your career tips to Tom Cruise at this point and

what did you think of Sumner Redstone's chastising comments to

Tom?

First of all, I don't think Tom Cruise needs any career tips.

I think Tom Cruise is one of the singularly most talented

actors I have worked with in my entire life and one of the

singularly best producers I have ever worked with in my entire

life and he doesn't need any career tips. He will continue to

do great movies. He now has a studio, United Artists with his

partner, Paula Wagner, and he will be here winning an Oscar,

not just for acting but I believe some day for producing and

directing within the next five years. It's very hard for me to

comment. I'm very, very close friends with Sumner Redstone and

this all happened, what, two and a half years after I left, so

I have no idea what went on, other than what I read in the

paper.

Hi, Andrea. Congratulations. With all the wonderful work you

have done and you are holding your little gold man in your

hand?

I'm holding this.

Yes. How does it make you feel when you look back at your

career now with this wonderful award?

Well, I feel very blessed and very lucky to have had the career

that I have. I loved every moment of it. Obviously there are

days that were harder than others. I look back at my time in

the movie business with nothing but positive energy, but,

I guess maybe it's strange to say this today, but there's

season for everything, and as I turn 60, my desire to give back

became stronger than my desire to make movies. The highs

weren't as high. The lows weren't as low and I wanted to start

this foundation that I have. So I think the best way to put it

is that there is a season for everything and I have been doing

this now for two years. I'm 62. And I say this is the

happiest time of my life.

You look fabulous.

Thank you. But someone said to me when I was running the

studio you said that was the happiest time of your life and it

was then. Now this is the happiest time and the work that the

foundation is doing and I'm sure at the Academy Awards that's

not what you want to hear about, but it is extremely exciting

and there's a season for everything. I guess that's the best

way to put it.

Hi Sherry, Tanya Hart. Good to see you. Congratulations in

all your work.

Thank you.

This year everybody has been talking about diversity in films.

I would like to hear your comment on that. You certainly

brought diversity, and Dawn Steel many many years ago if you

can comment on that, please?

Well, I think that our industry is certainly becoming gender

blocked. That's for sure. Because when I left, I believe, you

can check this, there were more woman running studios than men.

That's not true today but that's just cyclical, you know. The

diversity in our acting pool, directing pool, what is it five

African-American actors were nominated, Latino directors.

mean, we really are finally becoming gender, racial, national

blind, because we are becoming a global industry and if you

become a global industry, then you appeal to everybody. And

talent knows no gender or race. And, to me, I always felt that

way. People would say to me, well, yes and I would say

pickup a screenplay. I don't know who wrote it until after

it's over. Do you know, we were hiring woman directors to do

action movies and I think it's not a perfect world and I do not

mean to say that it is, but what encourages me the most is our

kids are truly color blind. They really are. So the movie

industry I think is --who just won? Who just won?

UNIDENTIFIED SPEAKER: Al Gore. Al Gore.

Okay. I will get to hear it on tape. But anyway, I'm sorry

they cut him off. But, at any rate, I just want to say that

think it's not a perfect world, but we are getting there.

Thank you and congratulations.

A. Thank you. It's nice to talk to all of you.

Ellen DeGeneres with Clint Eastwood has Steven Spielberg shoot it.

Gyniss Paltrow presents cinematography award

PAN’S LABYRINTH

CATEGORY: ACHIEVEMENT IN CINEMATOGRAPHY
AWARD RECIPIENT: GUILLERMO NAVARRO
FILM: "PAN’S LABYRINTH"

Thank you, thank you so much to the Academy. This is a great honor. I
want to congratulate my fellow nominees. It's a great honor to be among
you.

This award is a recognition for the collective effort to support the
vision of the genius of Guillermo Del Toro.

Pan's Labyrinth is the result of this narrative that add up to finding
the look of the movie, and the narrative to continue into this
incredible story that unfolds. The creative freedom that was needed to tell the
story, to preserve the integrity of the story and the point of view is
what was more important for us in this movie.

To my children, to my wife for giving me wings. Thank you very much.

CATEGORY: ACHIEVEMENT IN CINEMATOGRAPHY
INTERVIEW WITH: GUILLERMO NAVARRO
FILM: "PAN'S LABYRINTH"

Q. Spanish?
A. Spanish.

Q. Spanish?
A. Spanish.

Q. Spanish?
A. Spanish.

Q. Spanish?
A. Spanish.

Q. Spanish?
A. Spanish.

Q. Spanish?
A. Spanish.

Q. Spanish?
A. Spanish.

Q. Spanish?
A. Spanish.

Q. What did it feel like to be standing off the stage and to see Pan's
Labyrinth not win Best Foreign Language film?
A. It was hard because the foreign language film that really represents
-- that it's the work of all of us. It's the adding of all these
pieces, and it's where -- where everybody is represented there. And we feel
that we did a very, very powerful movie, and we are mega-proud of it.
So I was hoping for that. I was really, really hoping for that. I
agree that the German movie is a very good movie. Don't get me wrong.

Q. Spanish?
A. Spanish.

Q. Spanish?
A. Spanish.

Q. Spanish?
A. Spanish.

Q. Spanish?
A. Spanish.

Q. Thank you. Congratulations.

Robert Downey Jr. and Namoi Watts present visual effects.

PIRATES OF THE CARIBBEAN:DEAD MAN’S CHEST

CATEGORY: ACHIEVEMENT IN VISUAL EFFECTS
AWARD RECIPIENTS: JOHN KNOLL, HAL HICKEL, CHARLES GIBSON AND ALLEN HALL
FILM: "PIRATES OF THE CARIBBEAN: DEAD MAN’S CHEST"

John Knoll: You know the naysayers said that four blind kids from the
Bronx couldn't make it in visual effects, but here we are. First, I got
to thank Jerry Bruckheimer for entrusting us with this great, big
project. Thanks to Gore Verbinski, your vast imagination, your humor, your
tireless work ethic, and that's why we're up here. Thank you.

Bill Nighy, thanks for being such a wonderful partner in creating this
character. Sorry about the deeply embarrassing computer pajamas, but we
think it was worth it. And thanks to the crew.

Hal Hickel: My son Lex Addison. The pinkie promise worked. OK, bud.
Thanks very much. I love you.

CATEGORY: ACHIEVEMENT IN VISUAL EFFECTS
AWARD RECIPIENTS: JOHN KNOLL, HAL HICKEL, CHARLES GIBSON, ALLEN HALL
FILM: “PIRATES OF THE CARIBBEAN”

Q.Hi guys, David Cohen from Daily Variety.
A.Hi.

Q.So you just won the Oscar for this and you've got to be in the middle
of doing it all over again. How are you going to top it for the next
picture?
A.You're correct. We have a meeting with the director early tomorrow
morning to go over a lot of work we're doing on Pirates 3. How are we
topping it? Pirates 2, where we ended up on Pirates 2 is sort of the
starting point of where we're going in 3. Big battle scene we're working
on right now.

I'm Charles Gibson. The third movie is very, very different than the
second movie and to the writer's credit, we're not really doing more of
the same things. It's a lot of new invention, mostly in John's camp.
That I think will be pretty compelling.

Q.Hi guys, over here. Congratulations, John.
A.Thank you.

Q.Al, Bill Wesser with Effects World. Given that it is different and
you'll be working on some other things, what sort of new breakthroughs
can we look forward to that are making your life easier?
A.Well, probably the thing we're working on right now is just making
our life difficult and miserable. It's a lot of very tough
computer-generated water. It was hard. It was hard for the Poseidon guys, it was
hard for Superman, it's hard for us too, and we're doing some work
that's very demanding in that area.

I'm Charlie Gibson. Also, just the amount of work in the film is
pretty staggering. We're pretty close to 2,000 shots, which is pretty -- is
really about as many shots as were in the first two films combined with
a dramatically shortened schedule.

Q.Andrea Reels Channel, congratulations. Now, the visual effects in
Pirates of the Caribbean really bring all the characters to life. Was it
like kids in a candy store for you guys working on this film?
Hal Hickel, animation supervisor. Yeah, I mean, the characters were
really exciting to work on from Davey Jones to Wagner, the old character
crusted into the side of the ship. We just had a really cool cast of
characters, designer Crash McCreary and our own art director, Aaron
McBride has a really cool and weird, extremely weird imagination and so it
was a real pleasure to work on this film and bring the characters to
life with the tentacles and walking tidepools is what they were. This
was really fun. Thank you very much and congratulations.

Catherine Deneuve and Ken Watanabe talk about foreign films.

Clive Owens and Cate Blanchett best foreighn Language film.

The Lives of Others

CATEGORY: BEST FOREIGN LANGUAGE FILM OF THE YEAR
AWARD RECIPIENT: GERMANY
FILM: "THE LIVES OF OTHERS"

I thank you Academy members from the bottom of my heart for this honor.
And I thank Michael and Tom from Sony Classics for choosing The Lives
of Others and bringing it to you. I thank Germany and Bavaria for making
this film possible. My great department heads for making this film with
me.

Schwarzenegger for teaching me that the words "I can't" should be
stricken from my vocabulary. And my entire crew. I thank my producers,
commissioning editors, distributors, financiers. I thank my brother
Sebastian for helping with this script and for "Baumba" for believing in me.
But most of all I thank my actors, especially Ulrich and Sebastian,
you're the greatest artists and don't let anyone tell you otherwise.

Finally, my wife Christiane. No, I have to say that one more thing.
Just that one more thing: Christiane, I love you.

CATEGORY: BEST FOREIGN LANGUAGE FILM OF THE YEAR
INTERVIEW WITH: FLORIAN HENCHEL von DONNERSMARCK
FILM: "THE LIVES OF OTHERS" - GERMANY

Q. (German)?
A. (German)

Q. (German)?
A. (German)

Q. (German)?
A. (German)

Q. Hello?
A. Hi.

Q. Just wanted to know what did it feel -- answer in German, please.
What did it feel like up on stage receiving your award and what does
this mean for your career in the German film industry?
A. (German).

A. Any English language questions?

Q. Can you see me?
A. I can see you very well.

Q. Congratulations. I loved the film.
A. Thank you.

Q. I would like to know -- we have witness, and we know the history
repeats itself. Do you think the techniques used by the Secret Service in
East Germany, in the former East Germany are being used now by the
Cheney-Bush Homeland Security? Need to create paranoia and hatred in the
world and in the U.S.?
A. Well, you know, the thing is, I can see where you are heading, and I
sometimes marvel: What could the Stasi have done with the kind of
equipment that's around today. But if we were really in something like
1984 East Berlin, and you had asked this question here and now, I would be
trying to call you tomorrow, and somehow no one would know where you
were. And see, the thing is as long as we have freedom of speech, as
long as you guys can do the job the way you are doing it, I don't think we
have that much to worry about. That's the most important thing. There
will always be injustice as long as there are people. There will
always be abuse of power as long as there is power. As long as we have the
rightto speak up against it and fight against it, I am okay with that.

Q. Hello?
A. Hello.

Q. (German)?
A. (German)

Q. (German)?
A. (German)

Q. Straight ahead of you.
A. I see you.

Q. I told you last week when we had lunch you were going to win
tonight.
A. You are a prophet.

Q. Were you, personally, surprised? And in a larger sense, do you
think this speaks well for the quality of international films? Can you talk
about a little bit about what a good year it was for international
films?
A. Oh, yes; oh, yes. The thing is, you know, Guillermo, I think he
deserved every single one of those awards. And I agree with the things
that people say in there. He is -- he is a genius. And you know, I think
people often see him as this kind of monster guy. I see him as someone
who has so much "amor" in him. And so, I must say -- we said to each
other before then -- I said, look, if you win, I'm happy with it. And
he said, you know, same to you. And so, I, of course, you know, it
feels great to have people there who are just so -- who you respect so
much, you know. Then it just feels even better winning, so, in a way I'm
sad for Guillermo, but not that sad.

Q. I think you might have answered this question in German, but can you
tell us a little bit about your relationship with Arnold
Schwarzenegger, our beloved governor, and why you mentioned him tonight?
A. I just mentioned it because he just seems to me like the ultimate
embodiment of the fact you can just achieve anything that you dream of.
I mean, you dream different things than him but I still hope I have
that same power. He really inspired me as a child, I remember the first
time that I saw a picture of "Conan the Barbarian," and it was a
drawing, like a painted cover of a -- in a video store. And I thought, oh my
God, isn't that terrible that people can only look like that in
paintings. And I went into that video store. We didn't have a video player
and I looked at the back of it and there was a real picture in the
photograph and he looked even more amazing than that painting, and I
thought, I've always been fascinated with him, and it's just more the whole
thing that the sheer determination, the fact that you can just achieve
anything you want.
That's what I see embodied in him, almost more than anyone else.
That's what it meant. I hope you understood that the right way and not as
an endorsement of the death penalty or something.

Q. Question in English?
A. Yes, go ahead.

Q. After your film came out and released in Germany was there an
increase in interest in former East Germans to see if they had a Stasi file?
A. That's a have good question. Actually, yes. I was told by my young
(inaudible) -- the lady who heads that office that the numbers had
actually doubled because as an explanation, maybe, to those of you who
don't know so much, in Germany you have the right to see the files, see
what the Stasi researched on you during those years of abuse of power.
And it's a really incredible empowerment of the individual that you can
go there and find out everything the secret service has on you. Fewer
than 10 percent of those files have been claimed and read. People are
hesitant to want to see their own past and I'm glad my film made them go
for that a little bit more.

Q. (German)?
A. (German)

Q. (German)?
A. (German).

Q. (German)?
A. (German).

Q. Hello again. Even I understand Superman and kryptonite. So you
have to tell us what you said about that. And how much did American films
influence you?
A. American films influenced me quite a lot. I think someone like Elia
Kazan is incredibly important to me as a director. Robert Zemeckis, I
think someone you critics don't treat well enough. I think he's a
major, major genius. And I was in Chicago and one journalist told me he was
from Chicago and I said, well look, you guys should build a monument to
him. This is the guy who gave us some of the deepest moments in film.
And just because it's presented in this perfect way people think that
must come easy. He's certainly been a great influence on me. And you
know, many of the directors who have Coppola, of course is someone I
greatly admire, but also some of the directors who are from Europe or from
other continents and have come to the U.S. I mean, the Hitchcock films
are mostly American, they have influenced me greatly. As have the
films of Peter Weir, for example, those I think are -- would be like my
main influences. Sydney Pollack is also someone I really love.

Q. Superman, kryptonite: What did you mean?
A. I just said that it's almost like this is almost like some kind of
-- I was told that if you have an Oscar, you can just get into any party
as if the people shrink away like from the -- the bodyguards at the
door shrink away from the Oscar like Superman does from kryptonite. That
was it.

Q. What did you say before about Schwarzenegger?
A. Yeah. But I said that in English, right, didn't I? I said it in
German? No, I just said, to me he's just the embodiment of somehow,
willpower, you know, and that is something which I just admire. You can
achieve, you can achieve anything.

Q. Thank you so much. And congratulations.
A. Thank you very much.

Ellen DeGeneres playing with shadow box then back onstage.

George Clooney presents best supporting actor

Jennifer Hudson

CATEGORY: PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE
AWARD RECIPIENT: JENNIFER HUDSON
FILM: "DREAMGIRLS"

Oh my God. I have to just take this moment in. I cannot believe this.
Look what God can do. If my grandmother& I didn't think I was going to
win but, wow, if my grandmother was here to see me now. She was my
biggest inspiration for everything because she was a singer and she had the
passion for it but she never had the chance. And that was the thing
that pushed me forward to continue. But I'm so grateful to have my mother
here celebrating with me. My boyfriend, my sisters and my brothers back
home, and then I've got two of them here. Thank you all for being here,
and supporting me. I'd also like to thank Bill Condon, our director,
who's a genius. Wow. Oh my God. Unbelievable cast. I'd like to thank the
Academy. Definitely have to thank God again. I can't believe this. Wow,
I don't know what to say but I thank you all for helping me keep the
faith even when I didn't believe. Thank you and God bless you all.
Jennifer Holliday, too.

CATEGORY: PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE

INTERVIEW WITH: JENNIFER HUDSON

FILM: "DREAMGIRLS"

Jennifer, Joel Ryan for E Online. Jennifer, you've been

considered the front runner in this race for a long time. When

you were sitting there tonight, Eddie Murphy did not win, were

you starting to think things were shifting in another way?

I mean, you can never be too sure, you never know. It was just

like, I didn't know, it could go either way.

Hi, Jennifer straight here, Steven Shafer, Boston Herald,

congratulations.

Thank you.

So to have this incredible kind of Cinderalla story, you seem

so overwhelmed and you thanked God to start. How did it feel?

What was going through your head when you heard your name?

I couldn't believe it. I'm still in shock, like, did I really

just win? Like I say, you never know, you can never be too

sure, and it's a surprise and it still is. It's going to take

awhile to get used to this.

Hi, Jennifer, congratulations.

Thank you.

Liz from Us Weekly. What do you think about the rumors of

tension on the set with you and the other cast members like

Beyoncé?

Well, it's not true, so it's not much to think about it. How

about that?

Jennifer, Janet Davies from Chicago.

How are you?

How are you doing?

I'm good.

Congratulations, we are so proud of you in Chicago.

Thank you.

Tell me, how are you going to stay that same sweet girl who

sang in the Chicago church choir?

I always go back home and still sing in that church choir in

Chicago. That's my reality and that's what keeps my grounded.

Jennifer, Bill also from Chicago from Chicago Sun Times and

CBS. Hi, over here.

Hey.

Congratulations.

Thank you.

We've watched your whole journey. What is it --you've often

talked about your faith, you've also talked about your Chicago

roots. What is it about that you think you brought to the

role?

You know, the emotion, you know, being able to be connected and

making it real because that's what I started doing. Where

learned of the emotion is in church and singing from the heart,

and thank God I had that because I was able to draw from it and

use it with this character.

Hi, Jennifer.

Hello.

Congratulations. I'm sure it's been a very magical night for

you. Other than the winning the Oscar, what will you remember

most from tonight?

Oh, my God, performing at the Oscars. I mean, this is my first

one, and to be here for one and then to be nominated and then

to win and then to perform.

Hi, Jennifer.

Hi.

You look very gorgeous. You mentioned about --I'm from Voice

of America from Indonesian Service. And you mentioned about

your grandma as your inspiration. Tell me more about her.

Well, she's led over a hundred solos in our church choir, and

come from a singing background. And she never wanted to go

professional, and she said, because you have to sing and work

when you don't want to, and she just wanted to sing in church

for the Lord. And my theory is I have her voice, and had she

went professional, I wouldn't exist. So my duty and my goal

and my dream is to be able to do this for her because I felt

like I had a voice that should have been heard by the world.

Hi, Jennifer. Jean from Jet magazine. We love you.

I see you. I love you too.

I wanted to find out from you, in addition to receiving some

advice from Felicia P. Fields, did you have an acting coach?

And then also, I noticed that you gave a shout out to Jennifer

Holliday.

Yes.

Fantastic.

Yes. Well, first off, Ms. Holliday. Her and the other Dreams,

the original Dreamgirls, they paved the way for us to be here

today to make the film. Had they not done that unbelievable

job, there would not have been the Dreamgirls made, so how can

you not thank them for that? As far as the acting coach, yes,

I did talk to Felicia Fields, but I did have an acting coach,

Richard Lyons, who coached me through Dreamgirls.

Right here by the camera, Jennifer. Stephanie Fredricks, Los

Angeles Sentinel. How will you celebrate tonight?

Well, I'm going to go to the Vanity Fair party and the

Governors' Ball.

What else?

What else? That'll be it; I'm not a partier, but I'll just

have to sit down and enjoy it with myself, you know, and just

have my own private party.

Jennifer, right here, congratulations.

Thank you.

Greg Hanes, Daily News. Sat with you at the Oscar lunch.

All right.

We shared the sushi. After Hattie McDaniel and Whoopi

Goldberg, you're only the third African American actress to win

an Oscar. What are your thoughts on that?

It's a little odd, I think, because I keep being the third of

everything. Let's see, I was the third to be on the cover of

Vogue, I believe, and now I'm the third at what, supporting

actress, I don't know exactly what it is. But it's an honor,

and I'm just glad to be able to hold the statue in my hand.

Do you think it's overdue?

What was that?

Do you think it's overdue, that there was only three out of 80

years or so of Oscars?

I mean, I'm sure there were other unbelievable performances,

but, you know, there's a step and there's a process to

everything, and this represents change and a difference.

Scott with hollywood.com. Now, is winning this Oscar, does

that in some way give you even more to prove to Hollywood to

remind them that yes, even though I got it out of the gate,

deserve it?

God, it definitely adds pressure, I know that much. But what

look at it as is the only --I cannot express in words how much

this award means to me, but all I can do is show it in my work

to come and continue to make the Academy proud, not because

got nominated tonight, but just because I have to constantly

represent them in the best way possible.

Hi Jennifer, back in the back here.

Hey.

I told you you was going to win, girl.

Thank you.

I told you you was going to win. What are you going to do with

that trophy? What is next for you?

Well, I just bought my new place back home in Chicago, so I'm

going to put it in my house along with my Golden Globe and my

SAG award and everything else, near my bathtub. And next is my

album that I'll start recording, and possibly another film.

TV Guide Channel. So to start out on American Idol in TV, on

reality show, and to get an Oscar in your first film right out

of the gate, I mean, what does that say about that show and

what it did for your career?

Well, it says that American Idol is a great platform. Thank

God there is such a thing as Idol. There's many other talents

that came before that didn't have a platform to sing but they

allowed us that platform and for that we can say thank you.

Hi Jennifer. Congratulations.

Thank you.

I'm excited for you.

Thank you.

I know you said before you see yourself as a singer first and

actor second, but now that you have an Oscar in your hand.

Thank you. Thank you again. I don't ever want to have to

choose between the two, and I want to be able to continue to do

them both and just do them justice. And I don't want to ever

have to choose, so hopefully I don't have to put them first or

second.

Hollywood has been full of extensively trained actors and

actresses that have honed their craft film after film. What do

you think your film says about the true difficulty of acting?

Can you rephrase that? What do I think -

You don't have the training that a lot of actors have. Do you

think that that says it's really not as difficult as some

people say?

I don't know. It's different strokes for different folks, you

know, and it comes a different way, but I think it's all about

your passion for what you do and what your craft is, more so

than anything.

I've got to ask about this outfit and who designed it. And is

it a coincidence it's golden like the Oscar?

Actually, I don't think it's a coincidence. It just turned out

to be a fabulous distress and a Roberto Cavalli.

First of all, everybody thought you were the front runner to

win. Obviously, I'm sure you heard that. Were you scared that

Eddie Murphy didn't win, because he was also a front runner,

and how did you feel when he didn't win?

I was definitely shocked and of course it makes you a little

more nervous, but I was already nervous. But once again, you

can never be too sure, it can go any way, because I've been

through pretty much every award event this year. And at first

every face became familiar, I remember them, I remember them,

but there's so many faces and I don't know them, so it shows

the change. And once again, it's unpredictable.

Jennifer, along those same lines, with Eddie not winning

tonight, he's got a strong background in comedy and been very

successful in that area. Do you think that that affected

thoughts in voters' minds that he's a funny guy, and funny guys

don't win Oscars?

I don't know. I just know that he did an unbelievable job, and

I feel like at this point, just being a nominee, we're all

winners.

Hi. Jeff Cornell with MTV. I want to talk music, talk about

what people can expect from your album. When are you going to

record it? Give us all the information you have, please.

I'm about to find out now that this is over. I'll get started

next month in March, and maybe this time next month I'll be

able to answer that question. But I will have the album out by

fall of this year, that's the only thing I can tell you for

sure right now.

Congratulations.

Thank you.

Great. You know, you've learned a lot during this process.

What have you learned about what it takes to really be the

best? You've had to concentrate on the way you look, you've

had to concentrate on speeches, you've had to --is it a bigger

responsibility than you expected?

It's definitely the biggest responsibility I have ever had in

my life. Just giving it your all, you know, in anything that

you do, and that to me was the truth of it, or it is, and just

completely dedicating yourself. I have never dedicated myself

to anything the way I did with this, so I think it's

dedication.

Everybody said this is absolutely must be an amazing

experience. I'm sure it is. You've been in a relationship for

eight years, and suddenly this fame must be overwhelming. Have

you talked and sat down and said, no matter what, because you

know Hollywood sometimes can be cruel on relationships.

We haven't really talked about it because he's not really -

he's not in Hollywood, you know, he's a regular guy, and

think I'm a regular girl. At least I was. So it balances out,

you know. So we really don't talk about it or think of it that

way.

And starting out in music and having success already, and now

in films, are you going to try and balance both, or are you

just going to concentrate on one?

Well, I want to balance them both, but while I'm doing one

want to focus on just that one. Like when I filmed Dreamgirls,

I didn't perform, I didn't sing, I just focused on that.

That's what I mean by dedication and complete focus. And when

I'm doing the album, I want to just focus on that. Because

want to be able to give it every bit of my all to whatever I'm

doing because they both deserve that and I love them and

respect them just the same.

Hey, Jennifer, Ted. Congratulations.

Thank you.

Why is it so often called with men, on and off camera,

competitiveness, but with women it's called cat-fighting, but

also as a great survivor, as a singer in the spotlight, what do

you think Britney Spears should do right now?

Okay, wait a minute. Let me get the first half of the question

together. What was it, the first half?

Men are called competitive, women are called cat-fighters.

Why is that?

Yeah, so often?

I don't know, I guess half the time because we're cat-fighting,

huh? No, it's just, I guess, part of our nature, but it's not

always like that, you know, and it doesn't always have to be

said like that. But I think by men it's looked at like that

and that's where it comes from. And Britney..

She needs your help.

All I can do is pray for her, that's the best I can do.

don't know what's going on and it ain't my business.

Congratulations.

Babel shown next.

Eva Green presents Best Documentary Short subject

THE BLOOD OF YINGZHOU DISTRICT

CATEGORY: BEST DOCUMENTARY SHORT SUBJECT
AWARD RECIPIENT: RUBY YANG AND THOMAS LENNON
FILM: "THE BLOOD OF YINGZHOU DISTRICT"

Thank you, everyone. A treacherous profession -- documentary film --
one part of our hearts with remote villages in Anhui, China, the other
part burning to get here, Beverly Hills. Complicated. Quite complicated. Our thanks to and Jing Jun and Lee Shi Wan, Joan Ganz Cooney, our Chinese-American supporters, the Star Foundation, Sheila Nevins at HBO, Ju Good, Chung Ma, the whole Chinese crew. And most importantly, Jian Ying who let us film her work.

CATEGORY: BEST DOCUMENTARY SHORT SUBJECT
INTERVIEW WITH: RUBY YANG & THOMAS LENNON
FILM: "BLOOD OF YINGZHOU DISTRICT"

Q. Thomas, over here. Congratulations.
A. Thank you.

Q. You know, tell me, does winning the Oscar make any difference in
fighting AIDS in China, and how?
A. It is because the film is being recognized and it will help send the
message out about stigma, discrimination against children affected by
AIDS and it will help our other works, our other PSA work in China.
A. And we hope also that it will -- the attention given to the film may
help sustain the number of very brave and significant organizations
that are working hard now to support orphans in China affected by AIDS.

Q. My question is, what's the most difficult thing when you made the
movie, and another question is, what's your next project?
A. There are a couple of things that are difficult because it's a very
emotional journey for me and for Tom. And, also, in China's culture,
it's very difficult to open one's self to talk about their inner
feelings. So that was a very difficult during filming. And, also, in the
editing room, we have a very hard time, you know, editing because it was
so many sad parts. And Tom and I have many shouting matches about, you
know, what to let go and what to put in. And the next project, Tom.
A. We have been doing a lot of public service announcement work in
China. We have been working with the Ministry of Health and getting public
service, anti-stigma messages out to viewers within China, and we want
to push forward and do more of that kind of work and I think this Oscar
might help us do that. And we also are looking to take on other public
health messages in China. We hope we will get the support of the
Ministry of Health to do that, including tobacco.

Q. Hi, David Cohen from Daily Variety. The Chinese government has been
so sensitive in the past about such public health issues. I wonder what
kind of response you have for them and what they would say about you
winning the Oscar?
A. I think it's very important to note that the atmosphere in China, in
relationship to AIDS, has changed absolutely enormously over the last
four years and the Chinese government has been much more active, much
more open, much more transparent, and we have been working with the
Chinese Ministry of Health, and we certainly hope and expect that that will
continue. Thank you.

Q. Thank you very much, and congratulations.

Jerry Seinfield presents best documentary film to Al Gore

AN INCONVENIENT TRUTH

CATEGORY: BEST DOCUMENTARY FEATURE
AWARD RECIPIENTS: DAVIS GUGGENHEIM AND AL GORE
FILM: "AN INCONVENIENT TRUTH"

Davis Guggenheim: Wow. I made this movie for my children, and my father
taught me to make great movies. My beautiful wife [points to her in
audience]. All of us who made this film, Laurie, Lawrence, Scott and
Lesley. We did so because we were moved to act by this man [gestures to Al
Gore]. Jeff Skoll funded it. John Lesher released it so beautifully, but
all of us were inspired by his fight for 30 years to tell this Truth to
all of us. Thank you, Al. We are so inspired. We share this with you.

Al Gore: Thank you. I want to thank Tipper and my family, thank the
Academy and everyone on this amazing team. My fellow Americans, people all
over the world, we need to solve the climate crisis. It's not a
political issue, it's a moral issue. We have everything we need to get
started, with the possible exception of the will to act, that's a renewable
resource. Let's renew it.

CATEGORY: BEST DOCUMENTARY FEATURE

FILM: "AN INCONVENIENT TRUTH"

INTERVIEW WITH: AL GORE, DAVIS GUGGENHEIM, LAWRENCE BENDER,

LAURIE DAVID

Everybody, congratulations. Mr. President? Mr. President?

I'm so sorry.

I was president of the Senate, so it's not improper.

For you and, of course, anybody who would like to.

(Inaudible.) Now that people will perhaps be more willing to go

see it, if they were assuming earlier that you may have done it

for any other reason, I think by this time they think, they are

sincere and why you care so much. What would you say to the

people who would now give this film a try and just before they

would be looking at it?

Thank you. Thank you. This is not a --it's not a political

issue, it's not a political movie. Some of the solutions will

have to be worked out within the political sphere, but it

really should be bipartisan, and it should be seen as a moral

issue where we all have the same stake. It is the overriding

moral challenge of our time and we have to find a way to

rebuild a bipartisan and nonpartisan way of talking to one

another about how to solve the climate crisis. And I really

hope the decision by the Academy to honor the work of Davis

Guggenheim and these fantastic producers and the team that have

supported them will convince people who did not go to see it

before. And the many that did, we're grateful to them, but

hope that this honor will convince many others to go see the

movie and learn about the climate crisis and then become a part

of the solution to it.

Mr. Vice President, I'm wondering --well, first of all, there

was some music that came up and we couldn't hear the end of -

You mean the first time I was on stage? Grazi.

Are you concerned at all that the issue, as important as it is,

may generate some fatigue as it becomes used politically,

perhaps, or just because people feel it is in fashion or it

must be done?

I don't think it's suffering from overuse politically. Most

candidates have not used it or talked about it. I hope that it

will become a focus of competition among leaders in all

political parties who compete to offer genuinely meaningful

solutions. In places like the United Kingdom, that is already

the case. Thirty years ago the environment was a bipartisan

issue here in the United States. I hope it can become so

again. I think it will become so again because so much is at

stake. I want to invite my colleagues here who really made the

movie to join in responding to any of this.

Hi, Mr. President. I'm sorry, right here in front of you, in

the back, right in front of you.

I'm sorry, thank you. The lights. Go ahead.

Yes. This year many of the nominees used hybrids instead of

regular limousines, ate organic food, and many other changes

that apparently you have a lot to do with them. The first

question is, what else do you think Hollywood can do to help in

this fight? And second, still no chance of you running?

Thank you for both questions. The Academy has gone green this

year, and this industry has been among the real leaders in

American society in stepping up to the responsibility to

confront this crisis. And, you know, Laurie David and Lawrence

Bender and Scott Burns and Leslie Chilcott and Davis Guggenheim

and I are really proud to have worked with an industry that is

stepping up to their responsibility, and these individuals here

I will single out for doing that.

And on your second question, I do not have plans to become

a candidate for office again. I am involved in a different

kind of campaign that I will continue to try to persuade people

all over the world, and especially here in my own country, to

successfully solve the climate crisis.

Everyone, first of all, congratulations, I'm Scott Rosenberg

with Monsters and Critics out of London. Vice President Gore,

Davis, I am based in a part of the world in Asia where there's

still not enough awareness of the issue of green gases, banned

emissions, whatever. I'm nervous, more nervous than you all

were up on the stage. My question is, the first week in

October we are having a film festival on the island of Phuket,

which, of course, was devastated by the tsunami about two and

half years ago. The movie --and it can be only in truth shown

in two theaters in Bangkok. We are showing it at the film

festival. Would you be able to come?

Davis?

The first week in October.

We'll try to find a way to come, thank you.

Mr. Gore, hi, (inaudible) Times of India. My question is sort

of related to that, coming from the Indian press. And India

and other countries in the developing world are really seen as

contributing to the climate crisis. How has the film been

received in India?

We've gotten good reactions, and it is crucial that India and

China and other powerhouses in the emerging markets of the

world join the world's efforts to solve the climate crisis and

India, for example, the Ganges River, the Indris River, the

Brahmaputra, are all being affected by the melting of the ice

on the Tibetan Plateau due to the climate crisis in China. The

Yangtse River and the Yellow River similarly are being

dramatically affected. It is true that the United States must

go first and join the world community's efforts. That is going

to happen, I hope sooner rather than later, but as we move in

that direction, it's very important for India and China to also

join. And I hope that the Academy's decision again to honor

the work of these movie makers will lead to a bigger audience

in India and in China and elsewhere in the world for An

Inconvenient Truth.

Documentaries are more and more important from movies

(inaudible) went all around the world. What do you think about

the future of the documentaries? Do you think that more and

more of the documentaries will be political or attached to

reality?

I'm Davis Guggenheim. I think it's the most exciting time for

documentaries because documentaries now are filling a hole.

For instance, in global warming, I think some parts of the

media were slow to respond to what was real about global

warming, and a film like our film sort of jumped the divide.

And I think that's true. The two films tonight nominated about

the Iraqi war and documentary films are becoming more dramatic,

they're becoming more engaging, and so I can't imagine a better

time for documentaries.

Hi, this is for Mrs. David. It's Andy Fix with Bloomberg News

way in the back waving the sign. I was wondering, there's been

a lot of talk recently and a lot written about the competition

between Hillary Clinton, and I'm just wondering if there's been

a lot of talk about the fundraising. Are you raising money for

anybody? Are you supporting the candidate for president at

this point?

Right now I'm really focusing, I have all my attention on

global warming. And also, I personally think it's very early

in the race, and I'm going to hang around a little bit to see

who else might enter. You never know.

The competition for the money, though, is that a bad effect?

What kind of effect is that having on the campaign?

Well, I mean, they have to raise money. I mean, that's, you

know, a reality, so maybe something should change about that.

I think maybe Davis should take that on for a documentary film;

maybe we can change that too.

Mr. Gore, you were in all this week presenting community truth.

How do you think the movie and the issue was received in

Quebec? I know you were hailed as a rock star, that's what the

Global Mail said anyway. How did you feel about the reception,

the Canadian and Quebec reception?

William Hung was a rock star; I just have a slide show, but

thank you. Merci beaucoup.

William Hung.

I loved the reception that I had both in Montreal and in

Toronto. And, of course, elections have just been called in

Quebec, and Quebec is in some ways, given the political

configuration in Canada, the pivot for Canada's future

direction. And the people of Canada care a lot about the

climate crisis, the people of Quebec even more so. So in this

particular point in time it is especially important for the

people of Quebec to express their views loudly and clearly, and

I hope the movie has played a role in helping to galvanize

public opinion so that Canada will come back onto the path that

people around the world come to expect a candidate to take,

path of moral leadership.

Davis, over here in the center, your father was an

Oscar-winning documentary film making in his own right from

St. Louis, our hometown. Can you tell us what you learned from

that great socially conscious filmmaker?

I'm so happy you asked that question. My father taught me

pretty much everything, and I had, before I left my house

tonight, I got one of his --he passed away --one of his

Academy Awards from 1968 on Robert Kennedy. You think about

his leadership at that time. But the thing that struck me when

we started this project in terms of how do you turn a film into

a slide show, all this data and all this very complicated

stuff. I went back to, my father always said, always, always,

always, "Every movie is personal; every single movie is

personal no matter what it is." And I went back and said, how

do I make this film personal? And we figured out that, you

know, Al's story. You know, his story, learning about global

warming as a young man and fighting for 30 years to tell this

story, and his courage to speak out when it was not politically

advantageous, and his fight to continuing doing so, that's

pretty great story. And by personalizing it, I was stealing

right from my dad's handbook or playbook. So thank you. Thank

you for asking that.

Question for both Mr. Gore and Mr. Guggenheim. It's Bruce

Kirkland from the Toronto Sun. When I talked to each of you

gentlemen, Mr. Gore, a year ago, Mr. Guggenheim more recently,

one of the questions on the table was, can a film change

anything, change the world? And in fact, you were dubious, but

now it's remarkable that a film can make real change. So what

else could be done with film on this subject involving the two

of you or any of the other people in this particular august

group that can carry on this kind of campaign through the

medium of film?

Well, thank you for giving so much credit to the movie. The

credit belongs to these film makers. We have had a big ally:

reality. And people throughout the world are asking for more

information about this climate crisis now. Mother Nature has

spoken very loudly. And if this movie has been able to help

people connect the dots more quickly, then that makes me very

happy and even prouder of Davis and these producers for doing

such a spectacular job. As for other projects in the future,

it took me 30 years in order to get my slide show to a point

where anybody said, let's make a movie about it, and maybe 30

years from now or maybe sooner, we can get to something else.

Davis?

I'm committed to making a film about every 30 years. First of

all, you know when you make a documentary, you dream of

something like this happening, and this has far surpassed that.

It's been a miracle. I'm starting to believe in miracles. But

a company like Participant, Jeff Skoll founded, they made

Syriana; Good Night, and Good Luck; North Country; all films

that are about something serious and about making change. And

I feel very optimistic that there will be more films like that,

and I want to stay on that train. So thank you for asking that

question. Thank you all very much.

Clint Eastwood presents honorary award to Ennio Morricone.

Céline Dion sings I know I love you.

CATEGORY: HONORARY AWARD
AWARD RECIPIENT: ENNIO MORRICONE

Thank you. Thank you. Thank you very much.

[He then speaks in Italian. Clint Eastwood translates.]

Yes. I will tell you what he's saying. Ennio wants to thank the Academy
and all the people who really truly wanted him to have this great
honor.

His deep gratitude goes to all the directors who had faith in him.
Without them he says he wouldn't be here today.

His thoughts go out to the artists who have never received this honor.
And even though they work with enormous commitment and talent, to all
of them he wishes that their work would be recognized as his is tonight.

He says this Oscar is not a point of arrival but a starting point to
continue writing with the same passion and dedication he's had since the
very beginning on the screen.

He dedicates this Oscar to his wife Maria who has always been there
with him all these years with enormous commitment and love, which he feels
the same for her. Maria.

CATEGORY: HONORARY AWARD
INTERVIEW WITH: ENNIO MORRICONE

Q. (Italian).
A. (Italian).

Q. I just would like to hear the translated answer, because I think my
question is similar.
A. The Italian journalist asked Mr. Morricone how he felt when he was
going on the stage, and Maestro Morricone replied that after he was very
moved and so therefore, the initial moments when he was on the stage
were very full of emotion for him.

Q. Thank you.

Q. Maestro Morricone, why was it important for you to ask Celine to
sing and pay respect?
A. (Italian). Translation: We really actually I didn't ask Celine
Dion to sing, but she is in this particular moment on a record which has
just come out world-wide, which is kind of like they have made it a
tribute to me, and she on this record is singing the theme from Once Upon a
Time in America. So, I think the Academy asked her if she would come
and perform this song tonight. And of course, it gave me incredible
enormous pleasure. And before when she -- just before she came to sing, I
-- she came over to me and she said, "I don't know if I'm going to be
capable because I'm feeling very moved myself, and I've also seen the
Maestro." So, that's really how it came about.

Q. Mr. Morricone, I would like to ask you, out of the hundreds and
hundreds of films that you've scored -- out of the hundreds of films that
you scored, are there any in particular that stand out that you are
particularly proud of?
A. (Italian). Translation: Well, you know it's almost like asking a
father if he has a favorite child. So, I never answer that question.
But if I had to answer that, I would say it's music from a very good --
from a very good film. I can't remember the name. And so, I'm just
going pretend that they are all my favorites.

Q. (Italian).
A. (Italian).

Q. Congratulations on your award. I wanted to ask you if you are aware
that you've influenced some rock bands -- over here -- that you've
influenced some rock bands, mainly a band name Field of the Netherland that
were popular back in the nineties; you are aware your compositions have
influenced bands out there?
A. (Italian). Translation: INTERPRETER: Sorry. I didn't hear the
name of the band.

Q. Field of the Netherland from England. INTERPRETER: Sorry?

Q. Field of the Nefferland.
A. (Italian). Translation: Well, actually, yes, I was aware some of
these bands used to come and see me in Rome, and they used to play the
things for me and ask me my permission if they could record some of my
music. And of course, I was very delighted, and I kind of realized my
music was capable of being transferred to electric guitars with no
problem whatsoever. So that was a good thing maybe, and that's probably why
all these rock groups, you know, are being influenced by all my music
and playing it, too. Thank you very much.

Q. Thank you, congratulations.

Hugh Jackman and Penolope Cruz best musical score

BABEL

CATEGORY: ACHIEVEMENT IN MUSIC WRITTEN FOR MOTION PICTURES (ORIGINAL
SCORE)
AWARD RECIPIENT: GUSTAVO SANTAOLALLA
FILM: "BABEL"

Thank you so much, members of the Academy. In our soul rests, I think,
our own true identity, beyond languages, countries, races and
religions. I'm so proud to work in Babel, a film that helped us understand
better who we are and why and what are we here for. A few thanks: I want to
thank John Lesher, Brad Grey, Jon Kilik, Steve Golin, Robert Messinger,
Lynn Fainchtein, Anibal Kerpel, my wife Alejandra, my kids Anna, Luna,
Don Juan, my mother; the man, my mentor, director and friend, mi amigo,
Alejandro González Iñárritu. And last but not least, I want to
dedicate this to my dad, para el Viejo, para Argentina, and once again, para
todos Latinos. Gracias.

CATEGORY: ACHIEVEMENT IN MUSIC WRITTEN FOR MOTION PICTURES (ORIGINAL
SCORE)
INTERVIEW WITH: GUSTAVO SANTAOLALLA
FILM: "BABEL"

Q. (In Spanish)?
A. (In Spanish). That's part of the secret, relating to great
projects, associating myself with great directors and great stories.

Q. (In Spanish)?
A. (In Spanish). Working with Alejandro is a great experience because
I always learned working with him. I have done three films with
Alejandro, and I feel blessed that I have the opportunity to keep on working
with him. We have a code, sort of, a way of approaching things in
music that I think is, I don't know. It works, you know.

Q. Congratulations on your second consecutive Oscar.
A. Thank you so much.

Q. This movie is very complicated.
A. Uh-huh.

Q. And the music also has, like, four different -- it seems like it
would be four different composers. How did you manage to do it?
A. Well, you know, I think the challenge and the music of this film is
that we wanted to make it global, and, you know, scored, but at the
same time we didn't want it to sound like a National Geographic magazine
documentary. So we had to have something was common to everywhere but,
at the same time, you know, that it wouldn't be, like, a postcard from
a particular place, you know, so that was the challenge. And I work
with lots of different instruments, but there was one instrument that
really became like my friend in the scored and that was the oude and I use
that quite a bit in this SCORE.

Q. Gustavo. Can you repeat the instrument?
A. Yes. The instrument is the oude, it's an instrument of Arabic
origin, but it's actually the ancestor of the lute, therefore the guitar, so
I found the connection between the Moroccan story and the Mexican story
and also the way I play the instrument because I play myself in this
SCORE, I play in a kind of unconventional way, (inaudible) I play with my
fingers. I also heard some echoes of the koto, which is a Japanese
instrument, so that was really my companion in this SCORE, you know, the
oude.

Q. My question is second Oscar for you but second year in the row that
you are competing with Spaniard; that they are the two of you together
but also second time in a row that you beat the Spaniard?
A. It's not about beating anybody. It's about having the opportunity
to connect with people. I love Javier Navarette's SCORE and I love
Alberto Iglesias' bulk of work which I'm familiar with. I think that all
of the composers that were nominated are as good or even better than I
am. I think you know it's just a matter of connecting with the music
and the right movie and I had that chance and I'm very grateful for it.

Q. Last time you told us you were happy to win as Argentine and also
what is it like to win as an Argentine and Latin American?
A. You talk about your block or your house or your neighborhood or, you
know, I think, you know, Argentina, it's part of the neighborhood, you
know. That's where I was born and where I was raised, but I am and I
come from that generation of the sixties. I did the music for
Motorcycle Diaries, you know, with that trip of that great man Ernesto Guevarra
and I feel like a Latin-American all my life. I felt like that since I
was a kid. So for me being Argentinian and Latin-American issomehow
the same thing, you know.

Q. (In Spanish) now that you are a two-time Oscar winner, will you be
working with any more rock en Español bands?
A. I'm about to start the next Juanes record, and the next Cafe Tecuba
record so I'm doing that, too, you know.

Q. Thank you very much.
A. And somebody there?

Q. We have to move on. Sorry. Thank you so much. Congratulations.
A. Thank you. Thank you so much.

Ellen DeGeneres & Sidney Ganis in one minute

Kristen Dunst and Tobey Maguire present best screenplay

LITTLE MISS SUNSHINE

CATEGORY: ORIGINAL SCREENPLAY
AWARD RECIPIENT: MICHAEL ARNDT
FILM: "LITTLE MISS SUNSHINE"

Thank you very much. You'll have to forgive me, my voice is really
shot. A writer is only as good as the people that he works with, so I have
to share this will Bill Weinstein and Tom Strickler who read this
script when no one else wanted to read it. My producers, Albert, Ron, Marc,
David, Peter and Jeb, who made this movie when no one else wanted to
make it. With Greg Kinnear, Toni Collette, Steve Carell, Paul Dano, Alan
Arkin and Abigail Breslin, who collectively saved my life. And
especially with Jonathan Dayton and Valerie Faris the true authors of this
movie, who took words on a page and turned them into a work of art. And
finally, when I was a kid, my family drove 600 miles in a VW bus with a
broken clutch. So, it ended up being the funnest things we did together,
so to my brothers, Chan, Dave and Chris, to my mom who's here tonight,
and to my dad who's with us in the spirit. This is for you. Thank you.

CATEGORY: ORIGINAL SCREENPLAY

INTERVIEW WITH: MICHAEL ARNDT

FILM: LITTLE MISS SUNSHINE

Hi, Michael, Sam River. How are you?

Quite well.

Congratulations to you.

Thank you very much.

You made reference to the fact that the directors in the making

of this movie saved your life. What do you mean by that?

No. Actually, I was referring to the actors, not the directors

but the actors. What I said, I think, is completely true, that

the writer's work is only as good as the people that he

collaborates with. In this case, I wrote a bunch of very,

think, demanding roles, and I needed to have incredibly

talented people to fill those roles. And if we hadn't had, you

know, this amazing cast, Greg Kinnear, Toni Collette, Steve

Carrell, Alan Arkin and Abigail Breslin, the whole movie

wouldn't have worked. And, you know, I was unemployed when

wrote this script and I didn't have an agent and I hadn't

produced anything else, so I feel like this is my first big

shot. And the fact that they did such an amazing job in

bringing these characters to life and making them

three-dimensional people really, you know, saved my life.

Hi Michael, congratulations.

Thank you.

From Visual Effects. I understand you're writing the script

for Toy Story 3?

Yes.

How did you get that and what is that process like, working in

animation?

I was hired by Pixar, I started meeting with Pixar in the

summer of 2005 when Little Miss Sunshine was being filmed, and

they had read the script, really liked it, but they didn't even

really know it was being made. But they liked it enough that

they flew me up, and I had a couple interviews. And they hired

me to work on another project, I was at the studio, but after

the merger took place between Disney and Pixar, they decided

they were going to ramp up Toy Story 3, and I sort of got

sidelined into that job. And it's been an incredibly great

experience for me to work at Pixar. When I was starting out

just wrote alone, you know, in my apartment, and it gets to be

very sort of boring and depressing, you know, to just be in

your apartment all day long. And Pixar is an incredibly great,

creative place, collaborative, and also they're all such

incredibly smart guys, and I really decided that one of the

great pleasures in life is being in a room full of really smart

people, and I've had the good fortune to do that at Pixar for

year and a half now.

Mike, I'd like to get your reaction to the fact that this small

picture, relatively small picture, the reception it's been

getting from the Oscars and from the public compared to all the

big blockbusters.

Well, it hasn't actually been getting that huge a success.

It's had a very high profile. In terms of the box office we

made --you know, we were just domestically poking up around 60

million, and that's the opening number for a lot of big

blockbusters. But in terms of the film having staying power,

it stayed around for weeks and weeks, and I think Fox

Searchlight just told me that it had run longer than any other

film in the company's history. And I think that's because

there's an emotional connection there, that people connected

emotionally to the characters.

But I also wanted to get your reaction to the fact that here is

a small picture winning an Oscar too. What's your reaction to

winning the Oscar?

Well, the Academy actually has been extremely supportive of

lower budget or independent films in the category of best

original screenplay, so you go back to Sideways or Eternal

Sunshine of the Spotless Mind, all those great movies were not

huge budgets, and I'm very, very grateful to the Academy for

recognizing comedy and recognizing lower budget work in the

category of Best Original Screenplay.

Hi, Sarah from CBS.

Hi.

Hello. I'm wondering how you took such a traditional structure

of a family road trip and made it so kooky and delightful.

What was that like?

I think the main thing was that I wasn't writing the movie

basing it on other movies, you know, that it was going to be

another reiteration of the road movie genre. It was really

based on sort of the experiences growing up in a family and we

had a VW bus in our family, and everything that happened in the

movie to the VW bus happened to our bus. So yeah, I think that

if you base something sort of on real life rather than just

recycling other movies, I mean, you know, obviously the road

trip is a genre. Obviously, there's certain set pieces within

a specific genre, but I think that I really put all of myself

into this movie and these characters. I mean, each character

is really a part of me. So I think that that's --you know,

and I did in a sense to myself also having Duane being this

Nietzsche reading, my old silence guy, you know, or Frank being

the Proust scholar. I mean, those are things that are kind of

wild, but they amuse me, and I guess they amuse other people as

well.

Hi, Michael. David Cohen from Variety. Congratulations, go

ahead. Good to see you again.

Good to see you.

So you won an Oscar and you're working up in Pixar and tonight

they didn't. So I'm wondering will there be any teasing in the

office when you get back up there?

There's always teasing in the office up at Pixar. They're

pretty merciless bunch when it comes to teasing. Actually

was joking with my family that working at Pixar, after I got

nominated --it's sort of the one place in the world where you

can get an Oscar nomination and you're coming to work and

people are like hey, great, you got one, all right. Nobody is

all that impressed because they've won so many Oscars up there

already. So all the people up there in the office that I work

in, you know, have a bunch of Oscars. I work right across the

hall from Gary Rydstrom who has won seven Oscars and been

nominated 14 times. So I'm sure I will get a lot of ribbing

when I get back up to Pixar.

Andrea, Reel Channel. Congratulations?

Thank you.

Now, you mentioned that you wrote this sitting in your

apartment. The next time you're sitting in your apartment

about to start writing, is there going to be added pressure

with the gold statue sitting next to you or is it going to be

enthusiasm with the gold statue sitting next to you?

A little bit of both, clearly. But I think that I was very

determined, you know, with Little Miss Sunshine to write the

best screenplay that I could, and I think that even if you're

just starting out, you know, you want to make your script

absolutely 100 percent as good as it can be, because if it is

good, you know, and I think the story of Little Miss Sunshine

proves this.

You know, even if you're pretty much an outsider, if you don't

have any contacts, if you get your script at the right desk at

the right time, it'll just go right up through the bureaucracy

and end up getting made. So I think that --excuse me, my

voice is all shot. And if you --I just I want to hold myself

to a very, very high standard. And I think that in the end you

have to please yourself before you please anybody else, so

I'm --I was very happy to make Little Miss Sunshine and I'm

not going to send any other new script unless I'm very happy

with it. So thank you.

Q. Thank you very much and congratulations.

The Thank You Cam

Jennifer Lopez intoduces song with DreamGirl cast.

John Trovolta and Queen Latifah present best song

“I Need to Wake Up”– AN INCONVENIENT TRUTH

CATEGORY: ACHIEVEMENT IN MUSIC WRITTEN FOR MOTION PICTURES (ORIGINAL
SONG)
AWARD RECIPIENT: “I NEED TO WAKE UP” - MUSIC AND LYRIC BY MELISSA
ETHERIDGE
FILM: "AN INCONVENIENT TRUTH"

Wow, that feels as good as you think it does. I have to thank my
incredible wife Tammy and our four children, Beckett and Bailey and Johnnie
Rose and Miller. And everyone I've ever worked with. Just thank you, I
love you, you know. And all the incredible people that worked on this
film and gave so much. But mostly, I have to thank Al Gore for inspiring
us, inspiring me, showing that caring about the Earth is not Republican
or Democrat. It's not red or blue, we are all green. This is our job.
Now we can become the greatest generation, the generation that changed,
the generation that woke up and did something and changed. I love you
all. Thank you Academy, this is great. Thank you.

CATEGORY: ACHIEVEMENT IN MUSIC -ORIGINAL SONG

FILM: "I NEED TO WAKE UP"

from "AN INCONVENIENT TRUTH"

INTERVIEW WITH: MELISSA ETHERIDGE

Ted from E. Congratulations. Forgive me for making this

first, but I must ask you if you were to write a song for

Isaiah Washington, what would it be called?

You are a bad man. No, that's not what it would have been

called. It would be called... it would be... you know what,

it's like... I don't know. I just blanked, blanked

completely. So, next.

Hi --from WBX in Boston. I'm testing your memory. I have

couple for you. First of all, your reaction to Ellen Degeneres

hosting, how this compares to all the other awards in musical

success, and I don't know if you are going to the governors

ball, but if you will be playing with Dave Koz --a little

impromptu song?

That would be interesting. No plans to do that. I am so proud

for Ellen. This truly is something she is wanted to do all her

life. And being old friends with Ellen, you know, old,

whatever, but being friends with her for so long it's great to

see her do this. And it's fun to be involved in this when she

is hosting it. And I forgot your other question.

Your reaction to this award compared to others?

Oh, this. There's no comparison. Awards are --awards are

sweet. What's so nice about this, is that it's for being

involved with this project with An Inconvenient Truth. It's

just --it goes beyond sort of the award place, and I love that

we are able to draw attention to the matter at hand. And I am

just, you know, grateful for that.

So I just have a fashion question. Who are you wearing and

what made you go with this?

Domenico Bacca [sic], who is an Italian designer. I have

great stylist. It was her idea, Penny Lovell who, of course,

looked at her and I have said I don't think I'm going to wear

gown, and she said well then let's go for a nice dark blue

tuxedo and I went with that.

Secondly, how did it feel to be able to thank your wife and,

with Ellen hosting tonight, what do you think this says for

America?

Well, I think the Oscars are like, it's like a gay holiday.

So, so it's ... No, really. So, it was really, really

meaningful that it doesn't --that Ellen or myself or that

there's no token gay here. It's kind of we're a part of this

whole mix. It's a real mix of lots of different diversities

here tonight. And I'm grateful to be part of that, and I know

maybe someone at home is going to say, "Did she say wife?

But, you know, it's part of the world, and so that's where I'm

at.

I think even more significant than you thanking Tammy Lynn as

your wife was that you kissed her on screen on the show just

very special and, you know, I think still, uhm, you know it's

happened in previous Oscar telecasts, but I think it's still

kind of raises eyebrows a little bit. If, as out as you are,

as much of a gay icon as you are, is it still something you

have to think about for a moment, am I going do this?

We talked about it beforehand. I have not been one to kiss my

partner in public just for sensationalism. I don't think

ever have, but she was so important to me; especially, with

this project. She was the one who said, just write what you

feel. When I was going: well, how do you write about global

warming? What am I going to write about global warming? She

said, "Just write what you feel." And she meant so much to me,

and she saved my life. I was kissing her because that's what

you do. You kiss your loved one when you win an Oscar.

Al Gore --we were back here when Al Gore finished walking off

the dais, and he stopped to watch you on the monitor, winning,

he let out a big hoot. And what is it like to share

friendship with someone like that?

With an individual who is a hero, who is a leader, who changes

the world, I'm --I'm so honored that he called me just you

know I have to start there. And then for the man for his

friendship is just above and beyond, and it's something I'm

very, very proud of.

Dreamgirls received three nominations and you walked away with

the honor. Were you surprised?

Yeah. Yes. Dreamgirls is what music and movies is about.

It's a musical. It's what I grew up loving. And you know had

there not been three songs, there might have been one, you

might be talking to a different person here, but that's the way

it goes, I guess. I was --you know, afterward you think about

the people that you want to thank, and I wanted to say how -

how honored I was to be in the same category with such great

song writers Randy Newman and the whole Dreamgirls people, and

I just loved that they were involved and there was three

nominations for them and I got this. Whatever.

Congratulations to you.

Thank you.

On a lighter note, where is this going to go in the house? And

do the kids have a chance maybe to play with it?

First of all, this is the only naked man that will ever be in

my bedroom. But I made Ted laugh. And second, you know,

think this is going to stay out of the way of the kids for

while. You know, just put it up in a special place and look at

it for a while before anyone gets to play with it.

Do the older kids have any idea how big this is?

You know, my kids, I don't, expose them to a lot of media, and

they really didn't know and I said, oh I'm up for this award.

And they are like again? No, no, this is very, very special.

And I tried to explain it was the Super Bowl of award shows and

they kind of got it.

Congratulations.

Thank you so much.

Congratulations.

Thank you.

We say Oscar's becoming green now, you know, a lot of people

are celebrities are trying to be aware of this. Did you come

in a hybrid?

I came in a vehicle that had flex fuel, but at home, I drive

huge SUV, a big Ford Excursion, and it's diesel, and I run it

on bio-diesel. Any diesel engine can run on bio-diesel.

What about, you know, celebrities, you know, driving electric

cars and using a private jet they're waiting for an hour or

two?

The minute there's a bio-diesel private jet, I'm on that. And

I hope that those companies who do fly us around, which I love

me some private jets, yes, we know there's a problem there.

Absolutely. And I try to do my best in every part I can. And

I urge the jet industry to look for alternative ways of fueling

their jets.

Thank you very much. Congratulations.

Little Miss Sunshine best picture shown

Ellen DeGeneres introduces Will Smith gives look at America trheru movies.

Kate Winslet best film editing

THE DEPARTED

CATEGORY: ACHIEVEMENT IN FILM EDITING
AWARD RECIPIENT: THELMA SCHOONMAKER
FILM: “THE DEPARTED”

Thank you. Thank you so much. This is the third film you've given the
Oscar to that was made by Martin Scorsese, and believe me I know I
wouldn't be standing here if it wasn't for him. You can understand what it
was like to be given a film directed the way he directed this movie with
a wonderful script by Bill Monahan, the fantastic panoply of actors who
were just so magnificent. Working with Marty is quite something. It's
tumultuous, passionate, funny and it's like being in the best film
school in the world. I'm so grateful to you and to my two pillars in the
editing room, Scott Brock, Joel Hirsch and Rob Legato and Ron Ames for
putting their arms around us and doing the visual effects and supporting
us throughout. And to you, members of the Academy. I feel very honored.
Thank you so much.

CATEGORY: ACHIEVEMENT IN FILM EDITING

FILM "THE DEPARTED"

INTERVIEW WITH: THELMA SCHOONMAKER

Hello. You mentioned that you went to school with Marty and

Martin Scorsese. What are the things they taught you about

films, loving films?

Really, everything. It's a little hard to pin it down: to be

truthful; to be brave; to never give up fighting for what you

believe in; and just so much about style and humanity in his

movies.

Thelma, congratulations.

Thank you. Thank you.

What did you learn on this one, because this one is

particular challenge with a lot of plotting as well as

characterization.

Yes. Because it was a thriller, a remake of a thriller, we had

to keep in mind that in spite of all the wonderful characters,

humor, dialogue that we had that we had to still keep it

thriller. So it was very hard, actually, and it took a long

time to work out the right mix. And we restructured a lot and

moved things around and, actually, reshot a few scenes, but it

was the first time I had ever done a thriller. Cape Fear was

thriller but in a different way. So it was really just

struggle to keep all that fantastic new stuff, to keep it into

the movie and still keep it a thriller.

Great. Thank you. Congratulations.

Thank you.

Jodie Foster honors those lost last year.

Ellen DeGeneres making fun about show running long

Phillip Seymoor Hoffman presents best actress.

Helen Mirren

CATEGORY: PERFORMANCE BY AN ACTRESS IN A LEADING ROLE
AWARD RECIPIENT: HELEN MIRREN
FILM: "THE QUEEN"

I've got my purse in one hand, my earring in the other. Thank you,
Academy. Thank you so much. Huge honor. You know, my sister told me that
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. I want to share my gold star
with my fellow nominees, those brilliant, brilliant actresses who gave
such amazing performances this year. I also share my gold star with the
filmmakers, with Stephen Frears, with Peter Morgan, with Andy Harries
and all the producers and all the filmmakers and the cast. Thank you.

Now you know for 50 years and more, Elizabeth Windsor has maintained
her dignity, her sense of duty, and her hairstyle. She's had her feet
planted firmly on the ground, her hat on her head, her handbag on her arm
and she's weathered many, many storms, and I salute her courage and her
consistency. And I thank her because if it wasn't for her, I most, most
certainly would not be here. Ladies and gentlemen, I give you The
Queen. Thank you. Thank you very much.

CATEGORY: PERFORMANCE BY AN ACTRESS IN A LEADING ROLE

INTERVIEW WITH: HELEN MIRREN

FILM: "THE QUEEN"

Lovely as always.

Hi.

Listen, forgive me. You did a couple of Elizabeths. One of

them ended up on public television.

No, HBO.

HBO. Prime Suspect is very much public television. Tell me,

if you will, about the importance of doing roles outside of

film that then get you things, something like The Queen, if you

will.

Well, that was a great year's work, but I have to say that

think the roles that really bring you to this point for me are

probably the theater work that I do. But I had an amazing year

where I did Elizabeth I, I had two weeks off and then I did

Elizabeth II and had about a month off and then I did Prime

Suspect. So that was really an incredible year, and I have to

say I'm reaping the rewards right now. It's fantastic.

First we want to know what's in the drink.

Vodka. Rose's Lime, you know, very British.

And secondly, can you tell me just about the dress and why you

picked this one for tonight?

I'm wearing a dress by Christian Lacroix and it was made for me

and built for me, and I have to say it's the most comfortable

thing I've ever worn. It's as beautiful on the inside as it is

on the outside, and I really do feel like a queen or fairy

princess or fairy godmother, really. I love it.

How are you going to celebrate?

I'm going to be with my husband --all my family. I've got

big posse with me; all my nephews and their wives and my sister

and, of course, my beloved, beloved husband who has made it all

possible for me, honestly.

Way in the back here, Helen. Way to your right.

I don't know my right from my left. My right. See you,

darling, thank you.

Clear Channel, congratulations. And which is more difficult in

terms of a role, a fictional one that you create or a real-life

person upon whom you might be compared?

Well, you know, they each have their challenges, that's for

sure. I mean, playing a real-life person that everybody is so

familiar with and yet doesn't know at all was very

intimidating. I was very, very nervous before I started

filming. Once I started filming I was fine, but the idea of it

was very intimidating. I mean, there are other real-life

people I've played that people know but don't quite know. But

Elizabeth, Queen of England, is such a familiar person to the

world, so identifiable, it was a very intimidating prospect.

But so well done.

Thank you.

Hi. For weeks people have been saying that it's pretty much

shoo-in you were going to win tonight. What were you feeling

going in tonight?

I felt quite calm. I mean, I felt quite calm because it's not

to say I didn't care, I cared very much, but I did --

honestly felt so deeply honored to be nominated in a year where

there were great performances from women. And that's not

always the case, not in the sense that they're not great

actresses out there, but they're very often not the great roles

for the great actresses to play, and therefore, it's quite

difficult to find a leading actress nomination. This year,

though, there were wonderful performances in beautifully

written roles. So to be nominated amongst those was a huge

honor and I just --just to be here, honestly, was everything

for me. To win, it's --win, it's just such a silly word, you

know. We're not athletes. It is great, but the best thing is

just to be here.

But did you think you were going to win?

I didn't allow that thought, no. I didn't go there. I didn't

go there.

Congratulations. (In French)

(In French)

Dame Mirren, congratulations to you.

Where are you, darling?

How do you do? After so many fantastic British nominations and

previous best actress for BAFTA, how are you feeling being

really big winner?

I don't think I'm our only big winner. I think we won big time

this year, the British talent, but --in their recognition.

For all of us to be here is amazing; it is amazing. And who

walks away with this, you know, it's wonderful, but it's not

the most important thing. What is incredibly important, and

think very generous of the American Film Academy --of the

Academy and of the American people is recognizing us,

recognizing the Spanish and the Mexican film makers tonight.

The recognition of film is getting more global, and I think

that's an amazing thing.

Hi.

Hi there.

Congratulations.

Yeah, isn't it great?

That's right.

Do you like the dress?

Hey, it's pretty good. Tell me this. It's a great triumph for

you personally and for the film. Are you expecting a call from

Her Majesty from Buckingham Palace? And also, tell me how

you're going to celebrate and what your tipple of choice is.

My tipple of choice is the one I've got right here, a vodka

gimlet. And no, I'm not expecting a call from Her Majesty and

not ever, and I wouldn't expect it, I wouldn't desire it.

think it's wonderful that I live in a country that allows us to

make a film like this, and there's many countries in the world

that one would not be allowed to make this film. And I think

it's generous of the royal family and Her Majesty the Queen to

sit back and not interfere, and I think it's very gracious and

very noble of her. And I do believe she is a noble person in

the best possible sense of the word, which is nothing to do

with class but is all to do with spirit.

The Thank You Cam

Ellen DeGeneres cleaning the floor.

Reece Witherspoon presents best actor

Forest Whitaker

CATEGORY: PERFORMANCE BY AN ACTOR IN A LEADING ROLE
AWARD RECIPIENT: FOREST WHITAKER
FILM: THE LAST KING OF SCOTLAND

Thank you. Thank you. Just a second, just a second. OK. Take it. OK. I
wrote something down, because I thought if it would happen that I would
be a little overwhelmed and I am. So, OK. When I was a kid, the only
way that I saw movies was from the backseat of my family's car. At the
drive-in. And, it wasn't my reality to think I would be acting in movies,
so receiving this honor tonight tells me that it's possible. It is
possible for a kid from east Texas, raised in South Central L.A. in Carson,
who believes in his dreams, commits himself to them with his heart, to
touch them, and to have them happen.

Because when I first started acting, it was because of my desire to
connect to everyone. To that thing inside each of us. That light that I
believe exists in all of us. Because acting for me is about believing in
that connection and it's a connection so strong, it's a connection so
deep, that we feel it. And through our combined belief, we can create a
new reality. So I want to thank my fellow believers in The Last King of
Scotland. I want to thank Peter, Jeremy, Andrea, Lisa, Charles, Kevin,
James McAvoy, Kerry, Stephen, Fox, DNA, Channel Four. I want to thank
the people of Uganda, who helped this film have a spirit. And finally, I
want to thank my mom and my dad. I want to thank my wife Keisha, my
children, my ancestors, who continue to guide my steps. And God, God who
believes in us all. And who's given me this moment, in this lifetime,
that I will hopefully carry to the end of my lifetime into the next
lifetime. Thank you.

CATEGORY: PERFORMANCE BY AN ACTOR IN A LEADING ROLE

INTERVIEW WITH: FOREST WHITAKER

FILM: "THE LAST KING OF SCOTLAND"

Hi, Forest, congratulations.

Thank you.

So this is a magical night, we all heard your wonderful,

wonderful acceptance speech. Can you tell me that there's

anything fun that happened while you were at the show that we

didn't get to see?

Wow. I don't know. It was mostly just sitting and being

excited with the show. Nothing really crazy happened. I think

Will started dancing a little bit when they were playing one of

their songs; it was kind of low high. That was the most

exciting moment.

Forest, hi. Good to see you.

Good to see you.

Listen, you told me when I interviewed you about this, you

needed to find a core of humanity about him and you spent

great deal of time thinking about that. You were playing

dictator, a ruthless dictator, a killer of many people. Talk

about how you went to find a person inside of all of that?

Well, I went back to the source and I went to talk to his

brothers and sisters, and I tried to understand what happened

when he was a kid. He was working on the sugar cane

plantation. His dad left him. We just started figuring out

all these different moments in his life. And you start

covering them up with the darker things, sure, but you start

off, like, with this little child who, like, you are trying to

figure out and you are making choices and you are going along,

and slowly, slowly it gets covered up with all the monstrous

things that people think about him, but in the beginning, he

was just a little kid running around at the plantation trying

to pick sugar cane. So.

Hi Forest. Right here, right here.

Hi.

Congratulations.

Thank you.

I wanted to find out you are a humble, soft-spoken man, but you

were so good at being bad. Did portraying this hauntingly

brutal character haunt you in any way, in bringing him to life?

You know, it wasn't like the character that was driving me

crazy or anything like that. I was staying with him all the

time, but sometimes when you play characters that are, like,

played like drug addicts before and like Bird and different

things like that and waking up with that energy everyday,

that's kind of tough because there are characters I played that

didn't want to live, and Idi Amin did want to live, so, it was

it was different in that way. Those were tougher. Those

characters were tough to live with and wake up in the morning,

and you think I don't feel like doing this. You know what

mean? But this was so much intensity it was some ways at times

did...

Congratulations. You were just in Africa premiering the film

in Uganda. Would you talk about that experience and what the

response to it was there?

I was there about three days ago, four days ago. We showed it

to the cast and crew, and we showed it to the president and

president of Tanzania and to many of his generals and different

people. And the people really, really, accepted the movie and

were really behind it. In fact, President Mosembi (???) said

that from now on, he would point to this movie when they asked

him about that period, to talk about what happened, at least

the spirit of what happened during that time. So it was

extremely well received. They talked about it was one of the

biggest events that had happened in Uganda in a long time.

You've made the point frequently to thank your ancestors in

your speeches, and I would just like to elaborate on what that

means to you to consider them and acknowledge them whenever you

have a triumph like tonight.

I wasn't sure it was going to happen tonight, but I thought

something magic was going to happen because I could feel the

breath on my neck, the tingling in my body. For me, that's my

ancestors speaking to me. We are with you. We are walking

with you. And it's something that helps me in all my work.

It's not something --I'm not going into alone. I'm standing

up with shoulders before me. I stand up on people's shoulders

that guided me to that position, and at times, I'm trying to

figure it out. I'm directing and acting and stuff. I stand

still and I listen and I just hope that one of them is going to

whisper in my year. So because they always inspire me, I feel

it's important to acknowledge them too.

Congratulations.

Thank you.

I want to ask where you are going to store your Oscar?

Well, just, like, shelf as you go down the stairs, you will see

to the living area. And that's where I will put it. And so,

when we go down, the kids can see it and stuff like that.

Yeah.

Hi, Forest. Congratulations?

Thank you.

Now, two questions. First, when you think back in your first

film, Fast Times at Ridgemont High all the way to The Last King

of Scotland, now you are holding your own Oscar, how does this

all, your whole career, how do you feel right now?

This is great night. This is amazing. I mean, this --it's

like a magical, magical moment. You can never like, you know,

really, I don't think I never really imagined completely until

it actually happened. So, I don't know. I mean, from then

until now, at that point when I was really young, it was so

idealistic. I really wasn't even sure if I should continue

acting. I would like try and figure out if I could be good

enough to do it. It was like 10 or 12 years into my career

before I felt like maybe I can do it. It was such a different

time than now.

This is definitely a high note. We know you're a operatic

tenor. Is there a note that represents how you feel right now

that you can give us?

Can you say that again? No, thank you. No. It's a high C,

guess.

Can we hear it?

No, I can't do it anymore, when you get out of practice, you

lose it. You got to keep working on it, keep working on it.

The other day, I was working in New York. I was doing SNL, and

they asked me to sing, and I didn't realize I could sing at

all. It's kind of cool and now I'll start working on it and

get it back.

Brother you've worked a long, long time for that piece of metal

in your hands right there. Talk about what it's been like for

you, the journey to this date now when you first got into

acting?

Immediately, in the beginning, it's a lot of a lot of doubts

and worries, you know, wondering. I think sometimes I was

working before I was ready to work. I mean, I started working

when I was in college right away. And then, I wasn't sure if

was good enough. And then later, I --I --it was like trying

to make a part out of something that wasn't there. You would

look on the page and try to create something, hopefully

special. So it's really great when you get to play a character

that's like on the page, when I was in Bird, it was on the

page. And you know, it was you on the page. So, I get to

elevate that. So that's the movement to move even better and

better material because I got to work with some amazing

directors so far, amazing, amazing people. But I think it's

just that opportunity to really to do my work.

Congratulations. I wanted to know what your thoughts were

about this year's diversity representative at the Academy

Awards?

It's an amazing statement I hope what's going on. I think we

have to be connected as a planet. When you see this year, you

see people from all over the world, and you know, from Spain,

from Germany, from Mexico, you know, artists from Japan, you

know what I mean. Stories that are like you know, reflecting

the diversity of humanity, and I think right now, we need that,

because we need to understand that this over here is connected

to this over here. And it's so that's what --that's what this

has done for me. And that's why it's happening because we have

to pay attention. We have to pay attention and understand that

I affect you and you affect me.

First of all; congratulations, that was an amazing speech. It

was probably the best speech of the night. How long did you

work on it and were you --do you feel confident that it was

the best? Did it come out right like you wanted it to?

I don't really know because when you are caught up in the

moment, you don't really --you can't assess it, you know.

started --I was really working on it like last night. Before,

I was kind of coming up with ideas. I was talking about those,

and then last night, I just started like trying to figure it

out. And then I was hoping it wasn't going get too self

indulgent and boring. Trying my best. Or presumptuous because

you really don't know. I really didn't. Whatever everybody

says.

First of all, congratulations. Second, what will winning, what

will it mean to Uganda for you who have won this Oscar tonight.

And the second question is what will you tell your children

when you get home tomorrow about this night?

I'm going to talk to my kids right now. They have been calling

already. And I can't wait to get to a phone. My wife told me

they called. Uganda, they already told me when I was in

Uganda, that the movie was really important to them because

it's starting to make people think about the place they saw,

how beautiful the place was, and bringing attention to a space

that people have been avoiding. And so, hopefully, you know,

when people understand that the beauty of that place is, it

will bring more people there, bring more attention what it is,

bring more attention to what occurs when people are stepping

into those places and forcing is things to happen. So many

different things, but I know for a fact because they told me

over and over and over again, that this movie was very

important to them as a people to tell this part of history.

Thank you so much. I appreciate it.

George Lucas,Francis Ford Coppola , Steven Spielberg present best director award

Martin Scorsese

CATEGORY: ACHIEVEMENT IN DIRECTING
AWARD RECIPIENT: MARTIN SCORSESE
FILM: "THE DEPARTED"

Thank you. Thank you. Thank you. Thank you. Thank you. Rick. Thank you.
Thank you. Thank you. Thank you. Thank you. Please, please. Thank you.
Thank you. Could you double-check the envelope, please? I mean, I'm
overwhelmed with this honor from the Academy and also the honor of being
presented by my old, old friends. We go back 37 years. I'm so moved, so
moved.

I've got thank Warner Bros.' Alan Horn and Dan and Jeff and I've got to
thank our producers Brad Grey and Graham King and Mac Brown and my old
friend Joe Reidy, we're working for 20 years. And Rick Yorn and John
Lesher and Chris Donnelly and Ari Emanuel. And that crazy script by Bill
Monahan that got me in all this trouble in the first place. And Andrew
Lau's original film from Hong Kong, the wonderful Asian cinema. And
Michael Ballhaus on camera. And Howard Shore's wonderful score. And my
old, good friend Thelma Schoonmaker. Ellen Lewis for her casting.

And so much of this belongs to the cast, I can't tell you. Jack
Nicholson for his courage and his inspiration. Leo DiCaprio, six-and-a-half
year's work we've done together. I hope another 12, another 15. Mark
Wahlberg, Matt Damon, Alec Baldwin, Ray Winstone and Vera Farmiga and Marty
Sheen.

I just want to say too that so many people over the years have been
wishing this for me. Strangers. You know, I went walking in the street,
people say something to me. I go in a doctor's office, I go in a
whatever. Elevators, people saying, "You should win one, you should win one." I
go for an X-Ray, "you should win one." I'm saying, "thank you." Friends
of mine over the years and friends who are here tonight are wishing
this for me and my family, I thank you. This is for you.

And I also want to thank my daughter Cathy, who is here tonight, who
worked on the film. And Domenica, my wife Helen, and our little
Francesca, who's seven years old who's watching right now. Francesca, stay up
for another 10 minutes but then jump up and down and make a lot of noise
at the hotel. Okay. I'll see you in the morning. Thank you

CATEGORY: ACHIEVEMENT IN DIRECTING

FILM: "THE DEPARTED"

INTERVIEW WITH: MARTIN SCORSESE

There were a lot of people pulling for you when your name was

called out and here, there was an eruption of applause. What

is your reaction to finally getting it and did you feel like

this was your year and also being from Boston, there was a big

response in our city. What does that mean to you?

I, I mean, it was overwhelming, overwhelming, overwhelming

moment for me. I must say I didn't know when people say, it's

your year, your year, thank God we have been able to make so

many films over the past 36 years without winning awards, but

we have been able to get the pictures made. So this comes as

an --I'm so glad to have --this comes as an extraordinary

surprise and quite honestly surprised for best picture, too.

Bigger surprise. I was very surprised when I won the Directors

Guild of America, and you know, I've been used to not winning

it. So, just make the movies, guys. That's what it's about.

Making the films, right. It's not about winning the stuff.

But in the meantime, you win something, that means they

appreciate it, and I have to be grateful for it. You know, and

I'm really thankful for the people in Boston who really did

great job, that great group, the Dropkick Murphys, who did

Shipping Out to Boston, which Robbie Robertson gave me to put

in the opening credits of the picture.

I was going to ask you the same question if in the bottom of

your heart you thought this was your year, and also, what did

it feel like to have your friends -

That was on extraordinary moment when the three of them came

out and give me a look. Francis Coppola and George Lucas and

Steven Spielberg. We go back, Steven and I go back to '68,

'69. Francis Coppola, 1970. George, 1970. So we have --

just went up to San Francisco to see Francis and his new film

which is quite wonderful at George's new theatre on Thursday.

So they have influenced me. Francis has been like a big

brother in my life. Spielberg and George Lucas and I have -

particularly in that first 10 or 12 years in the '70s, early

'80s, worked together, really worked together, and helped each

other with each other's films and really --their main --it's

almost like a private little film school. And to see the three

of them walk out and give me a look before they opened the

envelope, I was very, I was very surprised. Very surprised.

We all in this room know you are a fantastic director. What

most of us may not know is that you are also a great proponent

of film preservation and film archiving. I come from a part of

the world in Asia where there's an emphasis on new technology,

on going to digital and moving away from film.

Yeah.

Can you say something here tonight before the press of the

world?

That's a very good pint. I'm going to try to continue with the

Film Foundation, of which Steven and George and Francis are

members, to continue to try to --and we do every year -

restore older films, classic films, and maybe not-so-classic

films but we restore them on celluloid. It's very important.

We don't know what new technology is coming down the line.

Digital also fades. We have to be very careful. I mean, it

gets to a point where there's so much film and you have to make

a choice and there's certain points, and you have to make

choice with two or three titles. Already that's a problem

because 10 years from now, those titles might not be as

important as the other ones, but the other titles that are

around or newsreels, if the only thing you can do is transfer

them to digital, you may have to do that, you see, just to hold

them out for the new technology. But it's so important to try

and restore these films on celluloid. For example, the

Hollywood Foreign Press has given us money every year for

certain films. This year, they gave us money for The Red

Shoes, Michael Powell and Emeric Pressberger's film, to restore

the actual three-strip negative, you know, and that's going to

be very important. You have to go back to the original.

How, though, do you justify this? In an economy where I come

from, in Asia, where their concentration is on saving money for

their film or their budgets are very small and also a rush to

the new technology, the digital, which is a lot cheaper to film

on than film itself?

That's going to be a serious problem. There are so many Asian

countries --I'm beginning to learn now, and many people are,

Korea, South Korea, the real, real, film history --and

actually, and we hope --we may announce it in Cannes, but we

are hoping to pull together a group that might begin to help

films from places like South Korea, Ethiopia, et cetera, to do

some archival work whereas they might not be able to get to do

it in any other way. But it's important, I mean, at a certain

point, even if it has to go digital, it has to be, I'm afraid.

How can we contact you about what you are going to do in Asia?

Well, myself, my --my public relations person. Leslee Dart

right here.

Congratulations again.

Thank you.

You are known from having such an encyclopedic knowledge of

film history and I know in The Departed, you reference Howard

Hawks of all of the shots of the (inaudible)

Yes. That's for fun, though. That's for reference. For those

who know, know. That's it.

Was there anyone else or any references you are drawing off of

when you want to make this film?

I think the overall, the pervading mood of the picture, written

in Bill's script, the ending of the picture. Where everyone is

shot, I mean, basically, Bill Monahan's script had that in the

original, but I'll never forget watching William A. Wellman's

Public Enemy with Jimmy Cagney when I was 10 years old in the

theatre on a re-release. I mean, the brutal honesty of that

film, the street honesty of it always stayed with me. That's

mark I always --I always aimed towards. And that this film

had that kinds of attitude towards it.

The last time we spoke was on the red carpet of The Departed in

New York City and you said you were going to be shooting soon

in Montreal. Can you tell me more about that?

I'm not so sure now. I'm not so sure. We are trying to find

way back to get back to Montreal. We shot some of The Aviator

there and we would like to get back up there. The shooting

facilities are fantastic.

I think that --I think, what a couple of journalists are

trying to get out of you is, when your name was called, was the

word "finally" what popped into your mind?

It's a good question, finally, it, uhm, I kept saying I told

Leslee outside, good thing I didn't get it before. That it's

good thing I waited and good thing, yeah, because maybe it

would have changed the kind of movies I made or something.

couldn't trust myself. I don't know if I was strong enough

before quite honestly. And I am glad it went this way and when

I saw that smile on his face Steven's face, I said something's

up, but I'm glad it's taken this long. It's been worth it.

Congratulations to you. The Departed has done very well and

there were rumors out there obviously about prequel or sequel

being made I was wondering what your involvement would be in

there and whether you would be looking forward to one of your

sequel.

We were talking about it the night the picture opened. So I am

interested in the possibility of doing a prequel. Or a sequel.

You know. I don't know if I would direct, but depends on how

the script turns out.

How about the the rumors that Mr. De Niro would be a part of

this as well?

I don't know about those, but that's not a bad idea.

Marty, I understand that you told the studio when it came time

for campaigning, not to bother to do any campaigning?

Yeah.

On the films we have.

Yeah.

Is that reflective?

Not for me, for the film. Not for me.

For you?

I was really trying to concentrate on the filmmaking and

ultimately, if it wasn't meant in the cards, if this wasn't

meant in the cards, and that's life, the incredible thing is

got to make these movies, I really wanted to make. Mean

Streets, Taxi Driver, Raging Bull through Bob De Niro's pushing

and it got made. Last Temptation of Christ and Goodfellas, who

can complain. I thought it was Gangs of New York. It was an

old, old love of mine. It still is. I had to go out and there

also for The Aviator, it was a film I enjoyed. But I said on

this one, from now on let's relax, let's make as good film as

we can. Really.

So, I guess what I'm saying is in a sense, was that your saying

I don't care if I win anymore, I've lost so many times?

No. I think it's not a matter of not caring. It's the first

time I've been standing here with this. It's good I'm standing

here with this. I'm could not complain, the work is what's

important. I mean trying to get these films financed and cast,

and I mean if I was able to do a film and write it myself, and

photograph it myself and act in it myself, that's something

else, but I can't.

Would the critical and commercial success of The Departed, is

it even sweeter that this Oscar you have in your hands isn't

the career achievement Oscar? It feels fully earned to you?

It does. I do admire the career achievement. I saw Howard

Hawks get a career achievement award and Hitchcock and so many

others who were never awarded the award for one particular film

so it's a very special award, like Robert Altman, but it is

different feeling having been chosen for the year.

Hi, at the DGA awards, backstage, they were asking you, did you

think it was your year yet. Well, do you think it's your year

yet? And how much --this may be tough to delve into, but how

much did this create an insecurity factor in your own head,

after all these years to have done all these great films and to

have not been recognized by your peers, and finally it's not

the word finally, it's like so there. Didn't this make you

insecure over time?

I must say the insecurity is always there. It's not an issue

of not winning an award to feel insecure. I mean I always

question when I do --I have very strong collaborators.

Michael Balhaus on camera and Joe Reidy on this picture after

all and they know me and question everything I do. But there

are certain things I feel very strongly about and I know I am

not going to win any awards, not going to win the Academy

Awards. I am going to keep making pictures. That's the key

thing. It didn't really make me lose confidence in the kind of

picture I wanted to make. Let me put it that way. I don't

know how to make a picture that's fashioned to win me an

Academy Award. I don't know how to do it. Is there a formula

for that? I don't think there is.

So it was just a mystery to you?

Total mystery. The only thing --certainly you get

disappointed but then you get up and go back into the ring.

What are you going to do?

You are going to win one?

Maybe. The winning for me is making the pictures, getting them

released and some people see them and maybe over the years

got to tell you some people see them 10 years later too, which

isn't bad.

I would like to ask you your opinion about the provision of the

results of second world war in Estonia I mean the intent of the

parliament to pass a bill to remove the monuments to liberate

soldier?

I'm sorry, I don't think I'm qualified to answer that. Sorry.

I don't think I'm qualified to answer that. I wish I was.

Queen best picture ran.

Jack Nicholson and Diane Keaton present best picture award.

The Departed

CATEGORY: BEST MOTION PICTURE OF THE YEAR
AWARD RECIPIENT: GRAHAM KING
FILM: "THE DEPARTED"

To be standing here where the Queen of England just stood... Idi Amin,
is pretty incredible. To be standing here where Martin Scorsese won his
Oscar is such a joy, such a joy. Now, I have to read something. I want
to thank Warner Bros., amazing guys to work with, Alan Horn, Jeff
Robinov, Dan Lin, a huge thanks to Kevin McCormick, who takes my 15 calls a
day, everyday. All the cast and crew that Marty just mentioned. You
know, I've been lucky enough to work with this guy four times now, and
last year, I was lucky enough to produce two movies, The Departed and
Blood Diamond. I just want to tell you, from the bottom of my heart, that
to me, Mr. Leonardo DiCaprio, what amazing performances he does every
single time. Every time. I love you, man.

I can't really stand here and not thank Jack. To watch Marty direct
Jack... we'll talk about that later. I want to thank all my family, all my
friends, Bill Monahan, what a great screenplay. What a great
screenplay. Rick, you've been there for years, every one. My kids, who're at the
back there, Hayley and Sammie, you're awesome. My family and my sister,
Erica, a lot of patience for me, thank you so much. And I just want to
say to everyone that knows me, Colin, my business counter, Denis, who
spent every day on set with me. I know I drove you nuts. Thank you.
Thanks to everyone. Thank you so much.

CATEGORY: BEST MOTION PICTURE OF THE YEAR
INTERVIEW WITH: GRAHAM KING
FILM: "THE DEPARTED"

Q. Could you address the controversy in terms of Brad's credits, or the
lack thereof?
A. The P G A makes rules and we fill out our forms and, you know, they
came back and they denied Brad's credits and in fact, Marti and I
appealed, on behalf of Brad's credits, and I will say that now I think he
deserved the credit on the film. He did so much for the picture but I
don't make the rules and their decision is their decision.

Q. So The Departed is a lot about rats. I don't know if you saw the
footage of the real rats in a Taco Bell restaurant a couple days ago. I
don't know if you saw that and took that as a sign this would be a good
sign for your move at all?
A. No. I actually didn't see that. I would like to, though.

Q. What was the greatest win for you tonight for the movie, The
Departed or the --
A. No doubt, Martin Scorsese. When that was given out, my nerves went
down because if we didn't win for picture, Martin, I worked with the
guy for three pictures now and I love him to bits and I wanted to see him
bring it home. The other two are pretty good as well.

Q. And how will you celebrate tonight?
A. I'm sure we will go out and have a drink or two. We will see.

Q. Hi. Congratulations. Was it driving you crazy when your own team
was saying, well, this movie really isn't an academy movie. We don't
want to build it up too much. Weren't you, like, get up and cheer, of
course it is?
A. No. I was actually the one being involved in gangs in New York and
producing the Aviator which really did need nominations to drive to box
office. This one, every day, there wasn't a day onset that we
mentioned the all season. We never mentioned this picture for the awards. We
never thought about it. There was a scene where Jack was coming out of
the bar and has blood all over his hands and he tells Billy to go home
and I turned around to somebody onset and said can you imagine me
showing this to the golden globes? They are going to lynch me and we didn't
think about awards on this.

Q. The importance of shooting this movie in Boston for the
authenticity?
A. Very important. Whenever Martin shoots a movie he's so authentic in
his way of shooting. If we can't shoot in the actual city we want to
we go out and build and working in Boston was wonderful and hope we go
back there very soon.

Q. In the film you have such an all star cast. Did you ever think for
a second that the story would get lost amongst all that star power?
A. Not with Marti behind it, no. I definitely wouldn't and everyone
was fabulous to work with, they really were. There were change made here
and there and Jack put some additions to his character and a producer,
it's a tough film to make with everyone's schedule and dealing with the
additional props, let's say, in the movie. But, you know, at the end
of the day, when you are dealing with the lives of score cease and Jack
Nicholson and Leo and Matt, you kind of sit back and let them do their
thing and that's what I did.

Q. Hi. Congratulations?
A. Thank you.

Q. First of all, first thing that popped into your head when you heard
your name?
A. Such a sur real moment. I didn't think they were going to say me.
It's funny. Don King was reading out the nominees and I'm the only
producer they are not going to call one producer out and it must be
another picture and I just looked at Jack interest his lips moved and said
the The Departed and the rest is a blank.

Q. Now, you talked about how great it is to work with Martin Scorsese.
Talk about that magic he seems to have with everybody that he works
with.
A. You now, it's something when he's onset directing a film, first of
all, there's known in this world that respects film loves film and is a
historian of film like Marti is and every day on the set we talk about
other movies and we talk about what other movies we can make and movies
in the past and he's the King. When he's on a set directinging a cast
of anything, whether it be Aviator or this or gangs, he's just amazing.
He's a collaborator with access and invites me into his world, and he
listens to them if they have an idea and everything is done on a very
easy going way, easy going basis and it's just so natural to him. And,
for me, watching him make this movie and like I said on the stage
before, watching him direct Jack Nicholson for the first time and watching
his camera angles and how he jumps from character to dialogue it's just
phenomenal. It's the greatest.

Q. Hi. Don't you think that there is a kind of gap in between the
choice of the academy and the audience of the public in America than to
some other movies? And do you think The Departed is a kind of movie that
tried to combine the politics as the French critic say and the kind of
cinema able to arrive to all the type of public but perhaps is not of
the most inspired movie by Martin Scorsese? It's a very good movie, but
someone wrote it is not the most personal movie directed by Scorsese.
A. Only thing I can answer to that is he just won his first Academy
Award and we won four out of five Oscars tonight. When Marti gets a movie
and gets a script, he puts his stamp on it every time and whether it's
a deep meaningful movie, gangs in New York or story of Howard Hughes or
whether it's a group of gangsters in vacation, whatever he does he puts
his mark on it and he did this with the movie tonight on The Departed
and he's the only person I have spoken to who hasn't enjoyed the value
of the again a Scorsese film.

Q. Thank you very much and congratulations.
A. Thank you.

Ellen DeGeneres ends the show.

®the oscars®

Sunday February 25, 2007 5PT/8ET

ACTOR -- LEADING

Leonardo DiCaprio – BLOOD DIAMOND

Ryan Gosling – HALF NELSON

Peter O’Toole – VENUS

Will Smith – THE PURSUIT OF HAPPYNESS

Forest Whitaker – THE LAST KING OF SCOTLAND

ACTOR -- SUPPORTING

Alan Arkin – LITTLE MISS SUNSHINE

Jackie Earle Haley – LITTLE CHILDREN

Djimon Hounsou – BLOOD DIAMOND

Eddie Murphy – DREAMGIRLS

Mark Wahlberg – THE DEPARTED

ACTRESS -- LEADING

Penélope Cruz – VOLVER

Judi Dench – NOTES ON A SCANDAL

Helen Mirren – THE QUEEN

Meryl Streep – THE DEVIL WEARS PRADA

Kate Winslet – LITTLE CHILDREN

ACTRESS -- SUPPORTING

Adriana Barraza – BABEL

Cate Blanchett – NOTES ON A SCANDAL

Abigail Breslin – LITTLE MISS SUNSHINE

Jennifer Hudson – DREAMGIRLS

Rinko Kikuchi – BABEL

ANIMATED FEATURE

CARS

HAPPY FEET

MONSTER HOUSE

ART DIRECTION

DREAMGIRLS

THE GOOD SHEPHERD

PAN’S LABYRINTH

PIRATES OF THE CARIBBEAN: DEAD MAN’S CHEST

THE PRESTIGE

CINEMATOGRAPHY

THE BLACK DAHLIA

CHILDREN OF MEN

THE ILLUSIONIST

PAN’S LABYRINTH

THE PRESTIGE

COSTUME DESIGN

CURSE OF THE GOLDEN FLOWER

THE DEVIL WEARS PRADA

DREAMGIRLS

MARIE ANTOINETTE

THE QUEEN

DIRECTING

BABEL

THE DEPARTED

LETTERS FROM IWO JIMA

THE QUEEN

UNITED 93

DOCUMENTARY FEATURE

DELIVER US FROM EVIL

AN INCONVENIENT TRUTH

IRAQ IN FRAGMENTS

JESUS CAMP

MY COUNTRY, MY COUNTRY

DOCUMENTARY SHORT

THE BLOOD OF YINGZHOU DISTRICT

RECYCLED LIFE

REHEARSING A DREAM

TWO HANDS

FILM EDITING

BABEL

BLOOD DIAMOND

CHILDREN OF MEN

THE DEPARTED

UNITED 93

FOREIGN LANGUAGE FILM

AFTER THE WEDDING

DAYS OF GLORY (INDIGÈNES)

THE LIVES OF OTHERS

PAN’S LABYRINTH

WATER

MAKEUP

APOCALYPTO

CLICK

PAN’S LABYRINTH

ORIGINAL SCORE

BABEL

THE GOOD GERMAN

NOTES ON A SCANDAL

PAN’S LABYRINTH

THE QUEEN

ORIGINAL SONG

“I Need to Wake Up”– AN INCONVENIENT TRUTH

“Listen” – DREAMGIRLS

“Love You I Do” – DREAMGIRLS

“Our Town” – CARS

“Patience” – DREAMGIRLS

BEST PICTURE

BABEL

THE DEPARTED

LETTERS FROM IWO JIMA

LITTLE MISS SUNSHINE

THE QUEEN

SHORT FILM -- ANIMATED

THE DANISH POET

LIFTED

THE LITTLE MATCHGIRL

MAESTRO

NO TIME FOR NUTS

SHORT FILM -- LIVE ACTION

BINTA AND THE GREAT IDEA

(BINTA Y LA GRAN IDEA)

ÉRAMOS POCOS (ONE TOO MANY)

HELMER & SON

THE SAVIOUR

WEST BANK STORY

SOUND EDITING

APOCALYPTO

BLOOD DIAMOND

FLAGS OF OUR FATHERS

LETTERS FROM IWO JIMA

PIRATES OF THE CARIBBEAN:DEAD MAN’S CHEST

SOUND MIXING

APOCALYPTO

BLOOD DIAMOND

DREAMGIRLS

FLAGS OF OUR FATHERS

PIRATES OF THE CARIBBEAN: DEAD MAN’S CHEST

VISUAL EFFECTS

PIRATES OF THE CARIBBEAN:DEAD MAN’S CHEST

POSEIDON

SUPERMAN RETURNS

SCREENPLAY -- ADAPTED

BORAT CULTURAL LEARNINGS OF AMERICA FOR MAKE BENEFIT GLORIOUS NATION OF KAZAKHSTAN

CHILDREN OF MEN

THE DEPARTED

LITTLE CHILDREN

NOTES ON A SCANDAL

SCREENPLAY -- ORIGINAL

BABEL

LETTERS FROM IWO JIMA

LITTLE MISS SUNSHINE

PAN’S LABYRINTH

THE QUEEN

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