Results displayed by award category; sort is chronological
Win indicated by an asterisk (*)
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2000 (73rd)
Javier Bardem -- Before Night Falls {"Reinaldo Arenas"}
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| * | Russell Crowe -- Gladiator {"Maximus Decimus Meridius"}
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Geoffrey Rush -- Quills {"The Marquis de Sade"}
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Jeff Bridges -- The Contender {"President Jackson Evans"}
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Willem Dafoe -- Shadow of the Vampire {"Max Schreck"}
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| * | Benicio Del Toro -- Traffic {"Javier Rodriguez"}
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Albert Finney -- Erin Brockovich {"Ed Masry"}
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Joaquin Phoenix -- Gladiator {"Commodus"}
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Joan Allen -- The Contender {"Laine Hanson"}
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Juliette Binoche -- Chocolat {"Vianne Rocher"}
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Ellen Burstyn -- Requiem for a Dream {"Sara Goldfarb"}
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Laura Linney -- You Can Count on Me {"Samantha 'Sammy' Prescott"}
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| * | Julia Roberts -- Erin Brockovich {"Erin Brockovich"}
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Judi Dench -- Chocolat {"Armande Voizin"}
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| * | Marcia Gay Harden -- Pollock {"Lee Krasner"}
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Kate Hudson -- Almost Famous {"Penny Lane"}
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Frances McDormand -- Almost Famous {"Elaine Miller"}
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Julie Walters -- Billy Elliot {"Mrs. Wilkinson"}
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"A Fool In Love" from Meet the Parents -- Music and Lyric by Randy Newman
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"I've Seen It All" from Dancer in the Dark -- Music by Björk; Lyric by Lars von Trier and Sjon Sigurdsson
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"A Love Before Time" from Crouching Tiger, Hidden Dragon -- Music by Jorge Calandrelli and Tan Dun; Lyric by James Schamus
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"My Funny Friend and Me" from The Emperor's New Groove -- Music by Sting and David Hartley; Lyric by Sting
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| * | "Things Have Changed" from Wonder Boys -- Music and Lyric by Bob Dylan
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| * | U-571 -- Jon Johnson
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| * | 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]
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| * | 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]
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| * | 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]
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| * | 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]
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| * | 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]
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| * | 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]
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| * | 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]
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| * | 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]
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| * | 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]
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| * | 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]
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| * | 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]
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| * | 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]
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| * | 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]
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| * | 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]
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| * | 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]
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| * | 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]
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| * | 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]
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| * | 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.
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