|
|
|
1963 Ganadores y Nominados
|
|
 |
| 1963 Oscars were held at the Santa Monica Civic Auditorium
on April 13, 1964 Host: Jack Lemmon
|
| Oscar a la mejor película |
America, America, Elia Kazan, producer (Warner
Bros.) |
|
Cleopatra, Walter Wanger, producer (Twentieth
Century-Fox) |
|
How the West Was Won, Bernard Smith, producer
(MGM) |
|
Lilies of the Field, Ralph Nelson, producer (United
Artists) |
|
Tom Jones, Tony Richardson, producer (United
Artists-Lopert Pictures) |
| Oscar al mejor actor |
Albert Finney, Tom Jones |
|
Richard Harris, This Sporting Life |
|
Rex Harrison, Cleopatra |
|
Paul Newman, Hud |
|
Sidney Poitier, Lilies of the Field |
| Oscar a la mejor actriz |
Leslie Caron, The L-Shaped Room |
|
Shirley MacLaine, Irma La Douce |
|
Patricia Neal, Hud |
|
Rachel Roberts, This Sporting Life |
|
Natalie Wood, Love With the Proper Stranger |
| Oscar al mejor actor de reparto |
Nick Adams, Twilight of Honor |
|
Bobby Darin, Captain Newman, M.D. |
|
Melvyn Douglas, Hud |
|
Hugh Griffith, Tom Jones |
|
John Huston, The Cardinal |
| Oscar a la mejor actriz de reparto |
Diane Cilento, Tom Jones |
|
Dame Edith Evans, Tom Jones |
|
Joyce Redman, Tom Jones |
|
Margaret Rutherford, The V.I.P.s |
|
Lilia Skala, Lilies of the Field |
| Oscar al mejor director |
Federico Fellini, Federico Fellini's 81/2 |
|
Elia Kazan, America, America |
|
Otto Preminger, The Cardinal |
|
Tony Richardson, Tom Jones |
|
Martin Ritt, Hud |
| Guión |
| Screenplay Based on Material From Another Medium |
Serge Bourguigon and Antoine Tudal, Sundays
and Cyb�le |
|
Richard Breen, Phoebe Ephron and Henry Ephron,
Captain Newman, M.D. |
|
John Osborne, Tom Jones |
|
James Poe, Lilies of the Field |
|
Irving Ravetch and Harriet Frank, Jr., Hud |
| Story and Screenplay Written Directly for the
Screen |
Carlo Bernari, screenplay, The Four Days of
Naples |
|
Pasquale Festa Campanile, Massimo Franciosa,
Vasco Pratolini and Nanni Loy, story; Pasquale Festa
Campanile, Massimo Franciosa, Nanni Loy and James
R. Webb, How the West Was Won |
|
Federico Fellini, Ennio Flaiano, Tullio Pinelli
and Brunello Rondi, Federico Fellini's 81/2 |
|
Elia Kazan, America, America |
|
Arnold Schulman, Love With the Proper Stranger |
|
| Oscar a la mejor fotografía |
| Black-and-White |
Lucien Ballard, The Caretakers |
|
George Folsey, The Balcony |
|
Ernest Haller, Lilies of the Field |
|
James Wong Howe, Hud |
|
Milton Krasner, Love With the Proper Stranger |
| Color |
William H. Daniels, Milton Krasner, Charles Lang,
Jr. and Joseph LaShelle, How the West Was Won |
|
Joseph LaShelle, Irma La Douce |
|
Ernest Laszlo, It's a Mad, Mad, Mad, Mad World |
|
Leon Shamroy, The Cardinal |
|
Leon Shamroy, Cleopatra |
|
| Oscar a la mejor dirección de arte |
| Black-and-White |
Gene Callahan, Oscar a la mejor dirección de
arte, America, America |
|
George W. Davis and Paul Groesse, Oscar a la
mejor dirección de arte;
Henry Grace and Hugh Hunt, set decoration, Twilight
of Honor |
|
Piero Gherardi, Oscar a la mejor dirección de
arte, Federico Fellini's
81/2 |
|
Hal Pereira and Tambi Larsen, Oscar a la mejor
dirección de arte; Sam
Comer and Robert Benton, set decoration, Hud |
|
Hal Pereira and Roland Anderson, Oscar a la
mejor dirección de arte;
Sam Comer and Grace Gregory, set decoration, Love
With the Proper Stranger |
| Color |
Ralph Brinton, Ted Marshall and Jocelyn Herbert,
Oscar a la mejor dirección de arte; Josie MacAvin, set decoration, Tom
Jones |
|
George W. Davis, William Ferrari and Addison Hehr,
Oscar a la mejor dirección de arte; Henry Grace, Don Greenwood, Jr. and
Jack Mills, set decoration, How the West Was
Won |
|
John DeCuir, Jack Martin Smith, Hilyard Brown,
Herman Blumenthal, Elven Webb, Maurice Pelling and
Boris Juraga, Oscar a la mejor dirección de arte; Walter M. Scott, Paul
S. Fox and Ray Moyer, set decoration, Cleopatra |
|
Hal Pereira and Roland Anderson, Oscar a la
mejor dirección de arte;
Sam Comer and James Payne, set decoration, Come
Blow Your Horn |
|
Lyle Wheeler, Oscar a la mejor dirección de arte; Gene Callahan, set
decoration, The Cardinal |
|
| Sound |
Columbia Studio Sound Dept., Bye Bye Birdie |
|
MGM Studio Sound Dept., How the West Was Won |
|
Samuel Goldwyn Studio Sound Dept., It's a Mad, Mad,
Mad, Mad World |
|
Twentieth Century-Fox Studio Sound Dept. and Todd-AO
Sound Dept., Cleopatra |
|
Universal City Studio Sound Dept., Captain Newman,
M.D. |
| Music |
| Song |
�Call Me Irresponsible,� Papa's Delicate
Condition, James Van Heusen, music; Sammy Cahn,
lyrics |
|
�Charade,� Charade, Henry Mancini, music;
Johnny Mercer, lyrics |
|
�It's a Mad, Mad, Mad, Mad World,� It's a Mad,
Mad, Mad, Mad World, Ernest Gold, music; Mack
David, lyrics |
|
�More,� Mondo Cane, Riz Ortolani and Nino
Oliviero, music; Norman Newell, lyrics |
|
�So Little Time,� 55 Days at Peking, Dimitri
Tiomkin, music; Paul Francis Webster, lyrics |
| Musical Score, Substantially Original |
John Addison, Tom Jones |
|
Ernest Gold, It's a Mad, Mad, Mad, Mad World |
|
Alfred Newman and Ken Darby, How the West Was
Won |
|
Alex North, Cleopatra |
|
Dimitri Tiomkin, 55 Days at Peking |
| Scoring of Music, Adaptation or Treatment |
George Bruns, The Sword in the Stone |
|
John Green, Bye Bye Birdie |
|
Maurice Jarre, Sundays and Cyb�le |
|
Andr� Previn, Irma La Douce |
|
Leith Stevens, A New Kind of Love |
|
| Film Editing |
Frederic Knudtson, Robert C. Jones and Gene Fowler,
Jr., It's a Mad, Mad, Mad, Mad World |
|
Harold F. Kress, How the West Was Won |
|
Louis R. Loeffler, The Cardinal |
|
Dorothy Spencer, Cleopatra |
|
Ferris Webster, The Great Escape |
| Costume Design |
| Black-and-White |
Piero Gherardi, Federico Fellini's 81/2 |
|
Edith Head, Love With the Proper Stranger |
|
Edith Head, Wives and Lovers |
|
Bill Thomas, Toys in the Attic |
|
Travilla, The Stripper |
| Color |
Donald Brooks, The Cardinal |
|
Edith Head, A New Kind of Love |
|
Walter Plunkett, How the West Was Won |
|
Irene Sharaff, Vittorio Nino Novarese and Renie,
Cleopatra |
|
Piero Tosi, The Leopard |
|
| Special Effects |
Ub Iwerks, The Birds |
|
Emil Kosa, Jr., Cleopatra |
| Sound Effects |
(Not necessarily given each year) |
|
Robert L. Bratton, A Gathering of Eagles |
|
Walter G. Elliott, It's a Mad, Mad, Mad, Mad World |
| Short Subjects |
| Cartoon |
Automania 2000 (Halas and Batchelor Production;
Path� Contemporary Films) |
|
The Critic (Pintoff-Crossbow Productions;
Columbia) |
|
The Game (Igra) (Zagreb Film; Rembrandt
Films-Film Representations) |
|
My Financial Career (National Film Board
of Canada; Walter Reade-Sterling-Continental Distributing) |
|
Pianissimo (Carmen D'Avino Production;
Cinema 16) |
| Live Action |
The Concert (James A. King Corp.; George
K. Arthur-Go Pictures) |
|
Home-Made Car, BP (North American) Ltd.;
Lester A. Schoenfeld Films) |
|
An Occurrence at Owl Creek Bridge (Films
du Centaure-Filmartic; Cappagariff-Janus Films) |
|
Six-Sided Triangle (Milesian Film Production,
Ltd.; Lion International Films) |
|
That's Me (Stuart Productions; Path� Contemporary
Films) |
|
| Documentales |
| Short Subject |
Chagall (Auerbach Film Enterprises,
Ltd.-Flag Films; Union Films) |
|
The Five Cities of June (George Stevens,
Jr., producer; U.S. Information Agency) |
|
The Spirit of America (Algernon G. Walker,
producer; Spotlight News, Inc.) |
|
Thirty Million Letters (Edgar Anstey, producer;
British Transport Films) |
|
To Live Again (Wilding, Inc.; St. Barnabas
Hospital, Bronx, N.Y.) |
| Feature |
Robert Frost: A Lover's Quarrel With the
World (WGBH Educational Foundation; Holt, Reinhart
and Winston, Inc.) |
|
Le Maillon et la Chaine (The Link and
the Chain) (Paul de Roubaix, producer; Films
Du Centaure-Filmartic) |
|
Terminus (Edgar Anstey, producer; British
Transport Films) |
|
The Yanks Are Coming (Marshall Flaum, producer;
David L. Wolper Productions) |
|
| Oscar a la mejor película extranjera |
Federico Fellini's 81/2, Italy |
|
Knife in the Water, Poland |
|
Los Tarantos, Spain |
|
The Red Lanterns, Greece |
|
Twin Sisters of Kyoto, Japan |
| Irving G. Thalberg Memorial Award |
Sam Spiegel |
|
|
Oscars: Grandes artistas y directores nunca
tuvieron su estatuilla
