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Best Picture
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American Graffiti, Francis Ford Coppola, producer;
Gary Kurtz, co-producer (Universal) |
|
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Cries and Whispers, Ingmar Bergman, producer
(New World Pictures) |
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The Exorcist, William Peter Blatty, producer
(Warner Bros.) |
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The Sting, Tony Bill,
Michael Phillips and Julia Phillips, producers (Universal)
|
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A Touch of Class, Melvin Frank, producer (Avco
Embassy) |
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Best Actor
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Marlon Brando, Last Tango in Paris
|
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Jack Lemmon, Save the Tiger
|
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Jack Nicholson, The Last Detail
|
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Al Pacino, Serpico
|
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Robert Redford, The Sting
|
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Best Actress
|
Ellen Burstyn, The Exorcist
|
|
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Glenda Jackson, A Touch
of Class
|
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Marsha Mason, Cinderella Liberty
|
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Barbra Streisand, The Way We Were
|
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Joanne Woodward, Summer Wishes, Winter Dreams
|
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Actor in a Supporting Role
|
Vincent Gardenia, Bang the Drum Slowly
|
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Jack Gilford, Save the Tiger
|
|
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John Houseman, The Paper
Chase
|
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Jason Miller, The Exorcist
|
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Randy Quaid, The Last Detail
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Actress in a Supporting Role
|
Linda Blair, The Exorcist
|
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Candy Clark, American Graffiti
|
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Madeline Kahn, Paper Moon
|
|
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Tatum O'Neal, Paper Moon
|
|
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Sylvia Sidney, Summer Wishes, Winter Dreams
|
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Directing
|
Ingmar Bergman, Cries and Whispers
|
|
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Bernardo Bertolucci, Last Tango in Paris
|
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William Friedkin, The Exorcist
|
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George Roy Hill, The Sting
|
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George Lucas, American Graffiti
|
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Writing
|
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Screenplay Based on Material
From Another Medium
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William Peter Blatty,
The Exorcist
|
|
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James Bridges, The Paper Chase
|
|
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Waldo Salt and Norman Wexler, Serpico
|
|
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Alvin Sargent, Paper Moon
|
|
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Robert Towne, The Last Detail
|
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Original Screenplay
|
Ingmar Bergman, Cries and Whispers
|
|
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Melvin Frank and Jack Rose, A Touch of Class
|
|
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George Lucas, Gloria Katz and Willard Huyck, American
Grafitti
|
|
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Steve Shagan, Save the Tiger
|
|
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David S. Ward, The
Sting
|
|
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Cinematography
|
Jack Couffer, Jonathan Livingston Seagull
|
|
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Sven Nykvist, Cries and
Whispers
|
|
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Owen Roizman, The Exorcist
|
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Harry Stradling, Jr., The Way We Were
|
|
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Robert Surtees, The Sting
|
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Art Direction
|
Henry Bumstead, art direction;
James Payne, set decoration, The Sting
|
|
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Stephen Grimes, art direction; William Kiernan, set
decoration, The Way We Were
|
|
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Philip Jefferies, art direction; Robert de Vestel, set
decoration, Tom Sawyer
|
|
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Bill Malley, art direction; Jerry Wunderlich, set decoration,
The Exorcist
|
|
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Lorenzo Mongiardino and Gianni Quaranta, art direction;
Carmelo Patrono, set decoration, Brother Sun Sister
Moon
|
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Sound
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Robert Knudson and Chris Newman,
The Exorcist
|
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Donald O. Mitchell and Lawrence O. Jost, The Paper
Chase
|
|
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Ronald K. Pierce and Robert Bertrand, The Sting
|
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Richard Portman and Les Fresholtz, Paper Moon
|
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Richard Portman and Lawrence O. Jost, The Day of
the Dolphin
|
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Music
|
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Song
|
“All That Love Went to Waste,” A Touch of Class,
George Barrie, music; Sammy Cahn, lyrics |
|
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“Live and Let Die,” Live and Let Die, Paul
McCartney and Linda McCartney, music and lyrics |
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“Love,” Robin Hood, George Bruns, music;
Floyd Huddleston, lyrics |
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“Nice to Be Around,” Cinderella Liberty,
John Williams, music; Paul Williams, lyrics |
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“The Way We Were,” The
Way We Were, Marvin Hamlisch, music; Alan and
Marilyn Bergman, lyrics
|
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Original Dramatic Score
|
John Cameron, A Touch of Class
|
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Georges Delerue, The Day of the Dolphin
|
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Jerry Goldsmith, Papillon
|
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Marvin Hamlisch, The
Way We Were
|
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John Williams, Cinderella Liberty
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Scoring: Original Song
Score and Adaptation or Scoring: Adaptation
|
Marvin Hamlisch, The
Sting
|
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André Previn, Herbert Spencer and Andrew Lloyd
Webber, Jesus Christ Superstar
|
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Richard M. Sherman and Robert B. Sherman, song;
John Williams, adaptation, Tom Sawyer
|
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Film Editing
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Verna Fields and Marcia Lucas, American Graffiti
|
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Frank P. Keller and James Galloway, Jonathan Livingston
Seagull
|
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Ralph Kemplen, The Day of the Jackal
|
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Jordan Leondopoulos, Bud Smith, Evan Lottman and Norman
Gay, The Exorcist
|
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William Reynolds, The Sting
|
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Costume Design
|
Donfeld, Tom Sawyer
|
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Edith Head, The Sting
|
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Dorothy Jeakins and Moss Mabry, The Way We Were
|
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Piero Tosi, Ludwig
|
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Marik Vos, Cries and Whispers
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Short Subjects
|
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Animated
|
Frank Film (Frank
Mouris, producer; Frank Mouris Production)
|
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The Legend of John Henry (Nick Bosustow
and David Adams, producers; Bosustow-Pyramid Films
Production) |
|
|
Pulcinella (Emanuele Luzzati and Guilio
Gianini, producers; Luzzati-Gianini Production) |
|
Live Action
|
The Bolero (Allan
Miller and William Fertik, producers; Allan Miller
Production)
|
|
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Clockmaker (Richard Gayer, producer; James
Street Productions) |
|
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Life Times Nine (Pen Densham and John Watson,
producers; Insight Productions) |
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Documentary
|
|
Short Subject
|
Background (Carmen D'Avino, producer; D'Avino
and Fucci-Stone Productions) |
|
|
Children at Work (Paisti Ag Obair) (Louis
Marcus, producer; Gael-Linn Films) |
|
|
Christo's Valley Curtain (Albert Maysles
and David Maysles, producers; Maysles Films Production) |
|
|
Four Stones for Kanemitsu (Terry Sanders
and June Wayne, producers; Tamarind Production) |
|
|
Princeton: A Search
for Answers (Julian Krainin and DeWitt L. Sage,
Jr., producers; Krainin-Sage Productions)
|
|
Feature
|
Always a New Beginning (John D. Goodell,
producer; Goodell Motion Pictures) |
|
|
Battle of Berlin (Bengt von zur Muehlen,
producer; Chronos Film GmbH) |
|
|
The Great American
Cowboy (Keith Merrill, producer; Keith Merrill
Associates-Rodeo Film Productions)
|
|
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Journey to the Outer Limits (Alex Grasshoff,
producer; National Geographic Society and Wolper
Productions) |
|
|
Walls of Fire (Gertrude Ross Marks and
Edmund F. Penney, producers; Mentor Productions) |
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Foreign Language Film
|
Day for Night, France
|
|
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The House of Chelouche Street, Israel |
|
|
L'Invitation, Switzerland |
|
|
The Pedestrian, Federal Republic of Germany—West |
|
|
Turkish Delight, Netherlands |
|
Irving G. Thalberg Memorial
Award
|
Lawrence Weingarten
|
|
Jean Hersholt Humanitarian
Award
|
Lew Wasserman
|
|
Honorary Awards:
|
To
Henri Langlois
for his devotion to the art of film, his massive contributions
in preserving its past and his unswerving faith in its
future |
|
|
To
Groucho Marx
in recognition of his brilliant creativity and for the
unequalled acheivements of the Marx Brothers in the art
of motion picture comedy |
