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The 61st Annual Academy Awards (1989)

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Award of the American academy of cinematographic arts and sciences, from 1940th known as "Oscar", - American film award created in 1929 and traditionally handed to the figures of ... See full summary »

Director:

Jeff Margolis
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Nominated for 1 Primetime Emmy. See more awards »

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Cast

Credited cast:
James Acheson ... Himself - Winner
Harry Andrews ... Himself - Memorial Tribute (archive footage)
Anne Archer ... Herself - Presenter
Army Archerd ... Himself - Performer
Hal Ashby ... Himself - Memorial Tribute (archive footage)
Bille August ... Himself - Winner
Lucille Ball ... Herself - Presenter
Drew Barrymore ... Herself
Judith Barsi ... Herself - Memorial Tribute (archive footage)
Ronald Bass Ronald Bass ... Himself - Winner
Candice Bergen ... Herself - Presenter
Jacqueline Bisset ... Herself - Presenter
Peter Biziou Peter Biziou ... Himself - Winner
Eileen Bowman ... Snow White
Beau Bridges ... Himself - Presenter
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Storyline

Award of the American academy of cinematographic arts and sciences, from 1940th known as "Oscar", - American film award created in 1929 and traditionally handed to the figures of cinematographic art for their contribution to creation of movies.

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Genres:

News

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Details

Country:

USA

Language:

English

Release Date:

29 March 1989 (USA) See more »

Also Known As:

The 61st Annual Academy Awards See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Sound Mix:

Stereo

Color:

Color

Aspect Ratio:

1.33 : 1
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Did You Know?

Trivia

Although producer Allan Carr received much of the blame for the infamous Rob Lowe/Snow White duet, the opening musical number was actually planned and staged by Steve Silver, creator of the long-running San Francisco musical revue, "Beach Blanket Babylon." According to the book, "The Big Show: High Times and Dirty Dealings Backstage at the Academy Awards," by Steve Pond, Allan Carr asked Steve Silver to create an opening number for the Oscar show, but didn't give him any guidance on what the number should include or how long it should be. Silver planned and rehearsed the opening number with his "Babylon" cast in San Francisco, while Carr concentrated on renovating the Dorothy Chandler Pavilion in Los Angeles. Silver conceived the number as "Beach Blanket Babylon Goes Hollywood." (In the "Babylon" stage show, a Disney-like Snow White is the main character. Also, the show features elaborate costumes, wigs, and headdresses, and satirical songs like the "Proud Mary" parody sung by Rob Lowe and Snow White.) On the day before the Oscar broadcast, Silver and his "Babylon" cast staged the opening number for the first time at the Dorothy Chandler Pavilion. The original version was 26 minutes long. Carr then informed Silver that the number was too long, and needed to be cut down. Silver cut it down to 14 minutes, but it still remains the longest opening number in Oscar history. (Those who saw the 26-minute version said it was better than the shorter version.) On the night of the Oscar broadcast, the opening number famously bombed. Silver later said he thought it flopped because the Oscar audiences weren't familiar with his "Babylon" show, and didn't realize the number was supposed to be tongue-in-cheek. See more »

Connections

Edited into Oscar's Greatest Moments (1992) See more »

Soundtracks

I Only Have Eyes for You
(uncredited)
Written by Harry Warren
Performed with different lyrics by Eileen Bowman
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User Reviews

 
The birth of digital cinema
15 March 2009 | by higuitamaxSee all my reviews

I think Elileen, here, has her award ceremonies mixed. I have this particular chow on a BETA tape I would watch several times as a teenager (I was the lamest teenager, I know). I only had this show recorded, and the next one. I remember Lucille Ball standing there with Bob Hope, the two Bonds (Connery and Moore) with Michael Caine, the thing with Martin Short and Princess Leia and Robin Williams dressed as a "Big Rat". This year was important for it was the advent of a new era. We now go to the movies and everything is CGI. Hollywood had already toyed with computer effects on movies like Tron (I like it!) or The last starfighter (kind of dumb), but with Willow the era of digital cinema was born. For the first time computer graphics and effects looked real (or at least, credible). We had a good witch, Raziel, who could transform herself into practically every creature imaginable. So, ILM gave birth to a then new technique called the Morph. If you want to see how it was done optically (before digital cinema) you only have to see Krull, from 1980. There, Ergo the magician had the same power exactly complete with the mess-up transformations. Anyway, Willow, for such a breakthrough, it was only nominated for Sound effects editing and best visual effects at the Oscars. I think Die hard got the award.


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