73rd Academy Awards (2000): Nominees and Winners

NOMINATIONS		AWARDS
12 10 5 – – 4 3 – – – –	Gladiator Crouching Tiger, Hidden Dragon Chocolat Erin Brockovich Traffic Almost Famous Billy Elliot Dr. Seuss’ How the Grinch Stole Christmas The Patriot Quills Wonder Boys	5 4 – 1 – – – – – – – – –	Gladiator Crouching Tiger, Hidden Dragon Traffic Almost Famous Big Mama Dr. Seuss’ How the Grinch Stole Christmas Erin Brockovich Father and Daughter Into the Arms of Strangers: Stories… Pollock Quiero Ser (I want to be…) U-571 Wonder Boys
NOMINATION/WIN TALLY LEGEND Best Picture winner Best Picture nominee Nominations are listed for all films receiving 3 or more

BEST PICTURE

Chocolat – David Brown, Kit Golden, Leslie Holleran
Crouching Tiger, Hidden Dragon – Bill Kong, Hsu Li Kong, Ang Lee
Erin Brockovich – Danny DeVito, Michael Shamberg, Stacey Sher
Gladiator – Douglas Wick, David Franzoni, Branko Lustig
Traffic – Edward Zwick, Marshall Herskovitz, Laura Bickford

DIRECTING

Billy Elliot – Stephen Daldry
Crouching Tiger, Hidden Dragon – Ang Lee
Erin Brockovich – Steven Soderbergh
Gladiator – Ridley Scott
Traffic – Steven Soderbergh

ACTOR IN A LEADING ROLE

Javier Bardem – Before Night Falls
Russell Crowe – Gladiator
Tom Hanks – Cast Away
Ed Harris – Pollock
Geoffrey Rush – Quills

ACTRESS IN A LEADING ROLE

Joan Allen – The Contender
Juliette Binoche – Chocolat
Ellen Burstyn – Requiem for a Dream
Laura Linney – You Can Count on Me
Julia Roberts – Erin Brockovich

ACTOR IN A SUPPORTING ROLE

Jeff Bridges – The Contender
Willem Dafoe – Shadow of the Vampire
Benicio Del Toro – Traffic
Albert Finney – Erin Brockovich
Joaquin Phoenix – Gladiator

ACTRESS IN A SUPPORTING ROLE

Judi Dench – Chocolat
Marcia Gay Harden – Pollock
Kate Hudson – Almost Famous
Frances McDormand – Almost Famous
Julie Walters – Billy Elliot

WRITING (Screenplay Based on Material Previously Produced or Published)

Chocolat – Robert Nelson Jacobs
Crouching Tiger, Hidden Dragon – Wang Hui Ling, James Schamus, Tsai Kuo Jung
O Brother, Where Art Thou? – Ethan Coen, Joel Coen
Traffic – Stephen Gaghan
Wonder Boys – Steve Kloves

WRITING (Screenplay Written Directly for the Screen)

Almost Famous – Cameron Crowe
Billy Elliot – Lee Hall
Erin Brockovich – Susannah Grant
Gladiator – David Franzoni, John Logan, William Nicholson
You Can Count on Me – Kenneth Lonergan

MUSIC (Original Song)

“A Fool In Love” – Meet the Parents – Music, Lyric by Randy Newman
“I’ve Seen It All” – Dancer in the Dark – Music by Björk; Lyric by Lars von Trier, Sjon Sigurdsson
“A Love Before Time” – Crouching Tiger, Hidden Dragon – Music by Jorge Calandrelli, Tan Dun; Lyric by James Schamus
“My Funny Friend And Me” – The Emperor’s New Groove – Music by Sting, David Hartley; Lyric by Sting
“Things Have Changed” – Wonder Boys – Music, Lyric by Bob Dylan

MUSIC (Original Score)

Chocolat – Rachel Portman
Crouching Tiger, Hidden Dragon – Tan Dun
Gladiator – Hans Zimmer
Malèna – Ennio Morricone
The Patriot – John Williams

FILM EDITING

Almost Famous – Joe Hutshing, Saar Klein
Crouching Tiger, Hidden Dragon – Tim Squyres
Gladiator – Pietro Scalia
Traffic – Stephen Mirrione
Wonder Boys – Dede Allen

CINEMATOGRAPHY

Crouching Tiger, Hidden Dragon – Peter Pau
Gladiator – John Mathieson
Malèna – Lajos Koltai
O Brother, Where Art Thou? – Roger Deakins
The Patriot – Caleb Deschanel

ART DIRECTION

Crouching Tiger, Hidden Dragon – Tim Yip
Dr. Seuss’ How the Grinch Stole Christmas – Art Direction: Michael Corenblith; Set Decoration: Merideth Boswell
Gladiator – Art Direction: Arthur Max; Set Decoration: Crispian Sallis
Quills – Art Direction: Martin Childs; Set Decoration: Jill Quertier
Vatel – Art Direction: Jean Rabasse; Set Decoration: Françoise Benoît-Fresco

COSTUME DESIGN

Crouching Tiger, Hidden Dragon – Tim Yip
Dr. Seuss’ How the Grinch Stole Christmas – Rita Ryack
Gladiator – Janty Yates
102 Dalmatians – Anthony Powell
Quills – Jacqueline West

MAKEUP

The Cell – Michèle Burke, Edouard Henriques
Dr. Seuss’ How the Grinch Stole Christmas – Rick Baker, Gail Ryan
Shadow of the Vampire – Ann Buchanan, Amber Sibley

SOUND

Cast Away – Randy Thom, Tom Johnson, Dennis Sands, William B. Kaplan
Gladiator – Scott Millan, Bob Beemer, Ken Weston
The Patriot – Kevin O’Connell, Greg P. Russell, Lee Orloff
The Perfect Storm – John Reitz, Gregg Rudloff, David Campbell, Keith A. Wester
U-571 – Steve Maslow, Gregg Landaker, Rick Kline, Ivan Sharrock

SOUND EDITING

Space Cowboys – Alan Robert Murray, Bub Asman
U-571 – Jon Johnson

VISUAL EFFECTS

Gladiator – John Nelson, Neil Corbould, Tim Burke, Rob Harvey
Hollow Man – Scott E. Anderson, Craig Hayes, Scott Stokdyk, Stan Parks
The Perfect Storm – Stefen Fangmeier, Habib Zargarpour, John Frazier, Walt Conti

FOREIGN LANGUAGE FILM

Amores Perros – Mexico
Crouching Tiger, Hidden Dragon – Taiwan
Divided We Fall – Czech Republic
Everybody Famous! – Belgium
The Taste of Others – France

DOCUMENTARY (Feature)

Into the Arms of Strangers: Stories of the Kindertransport – Mark Jonathan Harris, Deborah Oppenheimer
Legacy – Tod Lending
Long Night’s Journey into Day – Frances Reid, Deborah Hoffmann
Scottsboro: An American Tragedy – Barak Goodman, Daniel Anker
Sound and Fury – Josh Aronson, Roger Weisberg

DOCUMENTARY (Short Subject)

Big Mama – Tracy Seretean
Curtain Call – Chuck Braverman, Steve Kalafer
Dolphins – Greg MacGillivray, Alec Lorimore
The Man on Lincoln’s Nose – Daniel Raim
On Tiptoe: Gentle Steps to Freedom – Eric Simonson, Leelai Demoz

SHORT FILM (Animated)

Father and Daughter – Michael Dudok de Wit
The Periwig-Maker – Steffen Schäffler, Annette Schäffler
Rejected – Don Hertzfeldt

SHORT FILM (Live Action)

By Courier – Peter Riegert, Ericka Frederick
One Day Crossing – Joan Stein, Christina Lazaridi
Quiero Ser (I want to be…) – Florian Gallenberger
Seraglio – Gail Lerner, Colin Campbell
A Soccer Story (Uma Historia de Futebol) – Paulo Machline

HONORARY AWARD

To Jack Cardiff, master of light and color.
To Ernest Lehman, in appreciation of a body of varied and enduring work.

IRVING G. THALBERG MEMORIAL AWARD

Dino De Laurentiis

GORDON E. SAWYER AWARD

Irwin W. Young

JOHN A. BONNER MEDAL OF COMMENDATION

To N. Paul Kenworthy, Jr. in appreciation for outstanding service and dedication in upholding the high standards of the Academy of Motion Picture Arts and Sciences.

AWARD OF COMMENDATION

To Ioan Allen for the concept, Robin Bransbury for the design and Mark Harrah for the implementation of the Trailer Audio Standards Association (TASA) Loudness Standard. The adoption of the TASA loudness standard has led directly to better sound in the cinema for trailers and features alike.

SCIENTIFIC AND TECHNICAL AWARD (Academy Award of Merit)

To ROB COOK, LOREN CARPENTER and ED CATMULL for their significant advancements to the field of motion picture rendering as exemplified in Pixar’s ‘Renderman.’ Their broad professional influence in the industry continues to inspire and contribute to the advancement of computer-generated imagery for motion pictures. [Special Photographic]

SCIENTIFIC AND TECHNICAL AWARD (Scientific and Engineering Award)

To AL MAYER, SR. and AL MAYER, JR., for the mechanical design, IAIN NEIL for the optical design and BRIAN DANG for the electronic design of the Panavision Millennium XL Camera System. This camera brings the full uncompromised performance of larger heavy-duty cameras to the lightest weight category with ruggedness and advanced features previously expected only in specialized or effects cameras. [Camera]
To JOE WARY, GERALD PAINTER and COLIN F. MOSSMAN for the design and development of the Deluxe Laboratories Multi Roller Film Transport System. This release print system at Deluxe Laboratories utilizes a revolutionary design allowing for higher print volumes, reduced space requirements for loop racks and elevators, and safer operation. [Laboratory]
To ALVAH J. MILLER and PAUL JOHNSON of Lynx Robotics for the electronic and software design of the Lynx C-50 Camera Motor System. This camera motor, operated with programmable microprocessors, achieves an unprecedented range of precisely controlled speeds in stand-alone cameras or when synchronized to motion-control systems. [Camera]
To AKAI DIGITAL for the design and development of the DD8plus digital audio dubber specifically designed for the motion picture industry. [These]digital audio dubbers have afforded the post-production community a faster, more cost-effective means of playing back hundreds of digital audio tracks for pre-mixing or final mixing in creating motion picture sound tracks. They also offer individual track slipping in multiple track configurations, random access recall, and both destructive and non-destructive editing capabilities, eliminating the requirements for razor blade conforming. [Sound]
To FAIRLIGHT for the design and development of the DAD digital audio dubber specifically designed for the motion picture industry. [These]digital audio dubbers have afforded the post-production community a faster, more cost-effective means of playing back hundreds of digital audio tracks for pre-mixing or final mixing in creating motion picture sound tracks. They also offer individual track slipping in multiple track configurations, random access recall, and both destructive and non-destructive editing capabilities, eliminating the requirements for razor blade conforming. [Sound]
To ADVANCED DIGITAL SYSTEMS GROUP (ADSG) for the design and development of the Sony DADR 5000 digital audio dubber specifically designed for the motion picture industry. [These]digital audio dubbers have afforded the post-production community a faster, more cost-effective means of playing back hundreds of digital audio tracks for pre-mixing or final mixing in creating motion picture sound tracks. They also offer individual track slipping in multiple track configurations, random access recall, and both destructive and non-destructive editing capabilities, eliminating the requirements for razor blade conforming. [Sound]
To TIMELINE, INCORPORATED for the design and development of the MMR 8 digital audio dubber specifically designed for the motion picture industry. [These]digital audio dubbers have afforded the post-production community a faster, more cost-effective means of playing back hundreds of digital audio tracks for pre-mixing or final mixing in creating motion picture sound tracks. They also offer individual track slipping in multiple track configurations, random access recall, and both destructive and non-destructive editing capabilities, eliminating the requirements for razor blade conforming. [Sound]

SCIENTIFIC AND TECHNICAL AWARD (Technical Achievement Award)

To LEONARD PINCUS, ASHOT NALBANDYAN, GEORGE JOHNSON, THOMAS KONG and DAVID PRINGLE for the design and development of the SoftSun low pressure xenon long-arc light sources, their power supplies and fixtures. With the ability to dim these very high powered lights at essentially constant Kelvin temperature and without flicker, these units produce a bright and even light source for general set lighting. The availability of very high wattage units allows production to extend the hours of work past the time when the crew would otherwise have ‘lost the light.’ [Lighting]
To VIC ARMSTRONG for the refinement and application to the film industry of the Fan Descender for accurately and safely arresting the descent of stunt persons in high freefalls. Considered a standard of the industry, the Fan Descender provides a means for significantly increasing the safety of very high stunt falls. The system permits falls to be made under controlled deceleration and with a highly predictable stopping point without limitation of camera angles. [Stage Operations]
To PHILIP GREENSTREET of Rosco Laboratories for the concept and development of the Roscolight Day/Night Backdrop. This unique photographic scenic backing allows a smooth transition from day to night views with a single backing. The Roscolight backings provide an important new creative tool to filmmakers, saving time, money and stage space. [Stage Operations]
To UDO SCHAUSS, HILDEGARD EBBESMEIER and KARL LENHARDT for the optical design, and RALF LINN and NORBERT BRINKER for the mechanical design of the Schneider Super Cinelux lenses for motion picture projection. These projection lenses provide a significant improvement in the quality of the cinema viewing experience. [Lenses and Filters]
To GLENN M. BERGGREN for the concept, HORST LINGE for research and development, and WOLFGANG REINECKE for the optical design of the ISCO Ultra-Star Plus lenses for motion picture projection. The unique optical design of the Ultra-Star Plus projection lenses achieves unprecedented edge-to-edge uniformity of illumination, combined with a significant increase in screen brightness, thus providing a substantial improvement in the cinema viewing experience. [Lenses and Filters]
To BILL TONDREAU of Kuper Systems, ALVAH J. MILLER and PAUL JOHNSON of Lynx Robotics, and DAVID STUMP of Visual Effects Rental Services for the conception, design and development of data capture systems that enable superior accuracy, efficiency and economy in the creation of composite imagery. These systems digitally record live action camera and axis data with practically no impact on the live action production process, allowing compositing for visual effects to become faster and more cost-effective. [Systems]
To VENKAT KRISHNAMURTHY for the creation of the Paraform Software for 3D Digital Form Development. This system streamlines the creation of 3D computer graphics models by allowing artists to convert the data from automatically scanned physical models into a user-specified configuration of patches well suited for use in computer applications. [Special Photographic]
To GEORGE BORSHUKOV, KIM LIBRERI and DAN PIPONI for the development of a system for image-based rendering allowing choreographed camera movements through computer graphic reconstructed sets. This component of the Manex Visual Effects Virtual Cinematography System provides theatrical-quality virtual settings. [Special Photographic]
To JOHN P. PYTLAK for the development of the Laboratory Aim Density (LAD) system. The LAD system has become the standard method used by film laboratories and digital film recording facilities for the effecient and uniform control of color and exposure in camera negatives, interpositives and duplicate negatives. [Laboratory]