Ten Most Richly Deserved Oscars
A list by Tim Robey
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- Costume Designer
- Director
- Production Designer
Eiko Ishioka was born on 12 July 1938 in Tokyo, Japan. She was a costume designer and director, known for Bram Stoker's Dracula (1992), The Cell (2000) and The Fall (2006). She was married to Nico Soultanakis. She died on 21 January 2012 in Tokyo, Japan.Best Costume Design for "Bram Stoker's Dracula" (1992).- Cinematographer
- Camera and Electrical Department
- Director
Almost universally considered one of the greatest cinematographers of all time, Jack Cardiff was also a notable director. He described his childhood as very happy and his parents as quite loving. They performed in music hall as comedians, so he grew up with the fun that came with their theatrical life in pantomime and vaudeville. His father once worked with Charles Chaplin. His parents did occasional film appearances, and young Jack appeared in some of their films, such as My Son, My Son (1918), at the age of four. He had the lead in Billy's Rose (1922) with his parents playing his character's parents in the film. Jack was a production runner, or what he would call a "general gopher", for The Informer (1929) in which his father appeared. For one scene he was asked by the first assistant cameraman to "follow focus", which he said was his first real brush with photography of any kind, but he claimed that it was the lure of travel that led to him joining a camera department making films in a studio. He had, however, become impressed with the use of light and color in paintings by the age of seven or eight, and described how he watched art directors in theaters painting backdrops setting lights. His friend Ted Moore was also a camera assistant in this period when both worked in a camera department run by Freddie Young, who would also become a legendary cinematographer. He worked for Alfred Hitchcock during the filming of The Skin Game (1931).
By 1936 Cardiff had risen to being a camera operator at Denham Studios when the Technicolor Company hired him on the basis of what he told them in interview about the use of light by master painters. This led to his operating camera for the first Technicolor film shot in Britain, Wings of the Morning (1937). He finally was offered the full position of director of photography by Michael Powell for A Matter of Life and Death (1946), ironically working in B&W for the first time in some sequences. His next assignment was on Black Narcissus (1947), where he acknowledged the influence of painters Vermeer and Caravaggio and their use of shadow. He won the Academy Award for best color cinematography for this film. Jack certainly got to travel when it was decided to shoot The African Queen (1951) on location in the Congo. Errol Flynn offered Jack the chance to direct The Story of William Tell (1953) that would star Flynn. It would have been the second film made in CinemaScope had it been completed, but the production ran out of money part way through filming in Switzerland.
It has been said that Marilyn Monroe requested that Jack photograph The Prince and the Showgirl (1957). Although he had already directed some small productions, he had a critical breakthrough with Sons and Lovers (1960). He continued directing other films through the 1960s, including the commercial hit Dark of the Sun (1968), but for the most part returned to working for other directors as a very sought-after cinematographer in the 1970s and beyond. He continued to work into the new century, almost until his death. He was made an OBE in 2000 and received a lifetime achievement award at the 73rd Academy Awards.Best Colour Cinematography for "Black Narcissus" (1947).- Additional Crew
- Art Department
- Director
H.R. Giger was born on 5 February 1940 in Chur, Switzerland. He was a director, known for Alien (1979), Alien vs. Predator (2004) and Aliens (1986). He was married to Carmen Maria Scheifele and Mia Bonzanigo. He died on 12 May 2014 in Zurich, Switzerland.Best Visual Effects for "Alien" (1979).- Actress
- Writer
- Soundtrack
If a film were made of the life of Vivien Leigh, it would open in India just before World War I, where a successful British businessman could live like a prince. In the mountains above Calcutta, a little princess is born. Because of the outbreak of World War I, she is six years old the first time her parents take her to England. Her mother thinks she should have a proper English upbringing and insists on leaving her in a convent school - even though Vivien is two years younger than any of the other girls at the school. The only comfort for the lonely child is a cat that was in the courtyard of the school that the nuns let her take up to her dormitory. Her first and best friend at the school is an eight-year-old girl, Maureen O'Sullivan who has been transplanted from Ireland. In the bleakness of a convent school, the two girls can recreate in their imaginations the places they have left and places where they would some day like to travel. After Vivien has been at the school for 18 months, her mother comes again from India and takes her to a play in London. In the next six months Vivien will insist on seeing the same play 16 times. In India the British community entertained themselves at amateur theatricals and Vivien's father was a leading man. Pupils at the English convent school are eager to perform in school plays. It's an all-girls school, so some of the girls have to play the male roles. The male roles are so much more adventurous. Vivien's favorite actor is Leslie Howard, and at 19 she marries an English barrister who looks very much like him. The year is 1932. Vivien's best friend from that convent school has gone to California, where she's making movies. Vivien has an opportunity to play a small role in an English film, Things Are Looking Up (1935). She has only one line but the camera keeps returning to her face. The London stage is more exciting than the movies being filmed in England, and the most thrilling actor on that stage is Laurence Olivier. At a party Vivien finds out about a stage role, "The Green Sash", where the only requirement is that the leading lady be beautiful. The play has a very brief run, but now she is a real actress. An English film is going to be made about Elizabeth I. Laurence gets the role of a young favorite of the queen who is sent to Spain. Vivien gets a much smaller role as a lady-in-waiting of the queen who is in love with Laurence's character. In real life, both fall in love while making this film, Fire Over England (1937). In 1938, Hollywood wants Laurence to play Heathcliff in Wuthering Heights (1939). Vivien, who has just recently read Gone with the Wind (1939), thinks that the role of Scarlett O'Hara is the first role for an actress that would be really exciting to bring to the screen. She sails to America for a brief vacation. In New York she gets on a plane for the first time to rush to California to see Laurence. They have dinner with Myron Selznick the night that his brother, David O. Selznick, is burning Atlanta on a backlot of MGM (actually they are burning old sets that go back to the early days of silent films to make room to recreate an Atlanta of the 1860s). Vivien is 26 when Gone with the Wind (1939) makes a sweep of the Oscars in 1939. So let's show 26-year-old Vivien walking up to the stage to accept her Oscar and then as the Oscar is presented the camera focuses on Vivien's face and through the magic of digitally altering images, the 26-year-old face merges into the face of Vivien at age 38 getting her second Best Actress Oscar for portraying Blanche DuBois in A Streetcar Named Desire (1951). She wouldn't have returned to America to make that film had not Laurence been going over there to do a film, Carrie (1952) based on Theodore Dreiser's novel "Sister Carrie". Laurence tells their friends that his motive for going to Hollywood to make films is to get enough money to produce his own plays for the London stage. He even has his own theater there, the St. James. Now Sir Laurence, with a seat in the British House of Lords, is accompanied by Vivien the day the Lords are debating about whether the St James should be torn down. Breaking protocol, Vivien speaks up and is escorted from the House of Lords. The publicity helps raise the funds to save the St. James. Throughout their two-decade marriage Laurence and Vivien were acting together on the stage in London and New York. Vivien was no longer Lady Olivier when she performed her last major film role, The Roman Spring of Mrs. Stone (1961).Best Actress for "A Streetcar Named Desire" (1951).- Writer
- Producer
- Additional Crew
Avid reader Charlie Kaufman wrote plays and made short films as a young student. He moved from Massapequa, New York to West Hartford, Connecticut in 1972 where he attended high school. As a comedic actor, he performed in school plays and, after graduation, he enrolled at Boston University but soon transferred NYU to study film. Charlie worked in the circulation department of the Star Tribune, in Minneapolis, in the late 1980s and moved to Los Angeles in 1991, where he was hired to write for the TV sitcom Get a Life (1990). He went on to write comedy sketches and a variety of TV show episodes. Between writing assignments, he wrote the inventive screenplay Being John Malkovich (1999), which created Hollywood interest and the attention of producer Steve Golin. Charlie works at home in Pasadena, California, where he lives with his wife Denise and children.... and Michel Gondry and Pierre Bismuth.
Best Original Screenplay for "Eternal Sunshine of the Spotless Mind" (2004).- Cinematographer
- Visual Effects
- Additional Crew
Eugen Schüfftan moved from his motherland, Germany, to France in 1933 to escape the rising Nazi movement. He moved to the US in 1940 and became a member of Local 644, the East Coast cinematographers chapter of the International Alliance of Theatrical Stage Employees (IATSE). He invented the Schüfftan Process for optical special effects that was used until it was replaced by the simpler matte method. He received the Academy Award for black and white cinematography in 1962 for The Hustler (1961).
For a variety of reasons, Schufftan did not receive proper screen credit for many films he photographed. Director Edgar G. Ulmer, who worked with Schufftan on several films, said it was because he wasn't in the ASC (American Society of Cinematographers) and therefore wasn't allowed to take screen credit. Ulmer said that on one or two of the films he made with Schufftan he was forced to credit Jockey Arthur Feindel, the camera operator, as the cinematographer because of that.Best Black-and-White Cinematography for "The Hustler" (1961).- Sound Department
- Editor
- Editorial Department
Verna Fields was born on 21 March 1918 in St. Louis, Missouri, USA. She was an editor, known for Jaws (1975), American Graffiti (1973) and Paper Moon (1973). She was married to Sam Fields. She died on 30 November 1982 in Encino, California, USA.Best Editing for "Jaws" (1975).- Production Designer
- Art Department
- Art Director
Ken Adam was a British movie production designer, best known for his set designs for the James Bond films of the 1960s and 1970s, as well as for Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964).
His first major screen credit was as production designer on the British thriller Spin a Dark Web (1956). In 1961 he was hired for the first James Bond film, Dr. No (1962).
Adam did not work in the second James Bond film, From Russia with Love (1963) because he was working in Stanley Kubrick's Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964). This enabled him to make his name with his innovative, semi-futuristic sets for further James Bond films, such as Goldfinger (1964), Thunderball (1965), You Only Live Twice (1967), Diamonds Are Forever (1971), The Spy Who Loved Me (1977), and his last Bond film was Moonraker (1979).
Adam returned to work with Kubrick on Barry Lyndon (1975), for which he won an Oscar. He also worked in The Ipcress File (1965) and its sequel Funeral in Berlin (1966), Goodbye, Mr. Chips (1969), Sleuth (1972), and The Madness of King George (1994), for which he won his second Oscar for Best Art Direction.
In 2003, Adam was knighted for services to the film industry and Anglo-German relations.
He died on 10 March 2016 at his home in London at the age of 95.Best Art Direction for "Barry Lyndon" (1975).- Actor
- Producer
- Additional Crew
Lead and supporting actor of the American stage and films, with sandy colored hair, and pale complexion. He won an Oscar as Best Supporting Actor for his performance in The Deer Hunter (1978), and has been seen in mostly character roles, often portraying psychologically unstable individuals, though that generalization would not do justice to Walken's depth and breadth of performances.
Walken was born in Astoria, Queens, New York. His mother, Rosalie (Russell), was a Scottish emigrant, from Glasgow. His father, Paul Wälken, was a German emigrant, from Horst, who ran Walken's bakery. Christopher learned his stage craft, including dancing, at Hofstra University & ANTA, and picked up a Theatre World award for his performance in the revival of the Tennessee Williams play "The Rose Tattoo". Walken then first broke through into cinema in 1969 appearing in Me and My Brother (1968), before appearing alongside Sean Connery in the sleeper heist movie The Anderson Tapes (1971). His eclectic work really came to the attention of critics in 1977 with his intense portrayal of Diane Keaton suicidal younger brother in Annie Hall (1977), and then he scooped the Best Supporting Actor Academy Award in 1977 for his role as Nick in the electrifying The Deer Hunter (1978). Walken was lured back by The Deer Hunter (1978) director Michael Cimino for a role in the financially disastrous western Heaven's Gate (1980), before moving onto surprise audiences with his wonderful dance skills in Pennies from Heaven (1981), taking the lead as a school teacher with telepathic abilities in the Stephen King inspired The Dead Zone (1983) and then as billionaire industrialist Max Zorin trying to blow up Silicon Valley in the 007 adventure A View to a Kill (1985). Looking at many of Walken's other captivating screen roles, it is easy to see the diversity of his range and even his droll comedic talents with humorous appearances in Biloxi Blues (1988), Wayne's World 2 (1993), Joe Dirt (2001), Mousehunt (1997) and America's Sweethearts (2001). Most recently, he continued to surprise audiences again with his work as a heart broken and apologetic father to Leonardo DiCaprio in Catch Me If You Can (2002).Best Supporting Actor for "The Deer Hunter" (1978).- Sound Department
- Editor
- Editorial Department
Walter Murch has been editing sound in Hollywood since starting on Francis Ford Coppola's film The Rain People (1969). He edited sound on American Graffiti (1973) and The Godfather Part II (1974), won his first Academy Award nomination for The Conversation (1974), won his first Oscar for Apocalypse Now (1979), and won an unprecedented double Oscar for Best Sound and Best Film Editing for his work on The English Patient (1996). Most recently he helped reconstruct Touch of Evil (1958) to Orson Welles' original notes, and edited The Talented Mr. Ripley (1999). Mr. Murch was, along with George Lucas and Francis Ford Coppola, a founding member of northern California cinema. Mr. Murch has directed --Return to Oz (1985) -- and longs to do so again, but as an editor and sound man he is one of the few universally acknowledged masters in his field. For his work on the film "Apocalypse Now (1979)", Walter coined the term "sound designer", and along with colleagues such as Ben Burtt, helped to elevate the art and impact of film sound to a new level.Best Sound for "Apocalypse Now" (1979).