Browse content similar to And the Winner Is.... Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
Dateline: Hollywood, California. | 0:00:06 | 0:00:08 | |
Tinseltown readies itself for its grandest of nights - | 0:00:08 | 0:00:12 | |
the Academy Awards. | 0:00:12 | 0:00:13 | |
This year's Oscars promises to be an absolute nail-biter | 0:00:13 | 0:00:16 | |
between favourites Lawrence Of Arabia and The Music Man. | 0:00:16 | 0:00:20 | |
But the real trouble in River City, | 0:00:20 | 0:00:22 | |
and the race everyone is talking about, | 0:00:22 | 0:00:24 | |
is the contest to see who will be crowned Best Actress. | 0:00:24 | 0:00:28 | |
Here's icy beauty Lee Remick, | 0:00:28 | 0:00:30 | |
nominated for her turn as Jack Lemmon's boozy bride. | 0:00:30 | 0:00:33 | |
Skipping the wine and sticking to roses, Lee? | 0:00:33 | 0:00:36 | |
Kooky Anne Bancroft, | 0:00:36 | 0:00:38 | |
who brought her inimitable Annie Sullivan to the screen | 0:00:38 | 0:00:40 | |
in Arthur Penn's The Miracle Worker, | 0:00:40 | 0:00:42 | |
will be working a miracle herself | 0:00:42 | 0:00:44 | |
to make the curtain in her latest Broadway triumph. | 0:00:44 | 0:00:47 | |
Golden Globe winner Geraldine Page out walking her pooch. | 0:00:47 | 0:00:51 | |
Will Oscar follow the Globe's lead | 0:00:51 | 0:00:54 | |
and give Tennessee Williams' latest muse | 0:00:54 | 0:00:56 | |
Hollywood's highest honour? | 0:00:56 | 0:00:57 | |
With her ninth nomination, screen legend Katharine Hepburn | 0:00:57 | 0:01:01 | |
will not be making a Long Day's Journey | 0:01:01 | 0:01:03 | |
to the West Coast this year, | 0:01:03 | 0:01:04 | |
as she plans once again to sit out the festivities | 0:01:04 | 0:01:07 | |
in her Connecticut hideaway. | 0:01:07 | 0:01:10 | |
But all the Vegas odds-makers | 0:01:10 | 0:01:12 | |
say the smart money is on Bette Davis. | 0:01:12 | 0:01:14 | |
It's an honour just to be nominated...again. | 0:01:14 | 0:01:17 | |
Miss Davis, do you have any comment on the Academy | 0:01:17 | 0:01:19 | |
snubbing your co-star, Joan Crawford? | 0:01:19 | 0:01:21 | |
-Define "snub." -Next question. | 0:01:21 | 0:01:23 | |
One thing's for sure, no matter who wins, history will be made | 0:01:23 | 0:01:27 | |
in three weeks when Frank Sinatra hosts the 35th Academy Awards. | 0:01:27 | 0:01:32 | |
The 1963 Oscars. | 0:02:50 | 0:02:54 | |
I have to say that's when things took such an ugly turn. | 0:02:54 | 0:02:57 | |
Not that everything was | 0:02:57 | 0:02:59 | |
sunshine and lollipops up until then, | 0:02:59 | 0:03:01 | |
but it was the Academy Awards that year | 0:03:01 | 0:03:04 | |
when it became the point of no return | 0:03:04 | 0:03:08 | |
for both Bette and Joan. | 0:03:08 | 0:03:10 | |
I truly believed that the ladies | 0:03:11 | 0:03:13 | |
would put aside their natural personal enmity, | 0:03:13 | 0:03:17 | |
but there were so many people who profited | 0:03:17 | 0:03:20 | |
from them being at each other's throats. | 0:03:20 | 0:03:22 | |
The studio, the publicity people, | 0:03:22 | 0:03:25 | |
and of course, the columnists. | 0:03:25 | 0:03:27 | |
I know first-hand. | 0:03:27 | 0:03:29 | |
Unscrupulous reporters did everything they could to sow hatred | 0:03:31 | 0:03:36 | |
between myself and my own sister. | 0:03:36 | 0:03:38 | |
The actress Joan Fontaine is your younger sister. | 0:03:38 | 0:03:41 | |
Well, she's not that much younger, but, yes. | 0:03:41 | 0:03:44 | |
So there is no feud between you two? | 0:03:44 | 0:03:47 | |
A feud implies continuing hostile conduct | 0:03:47 | 0:03:51 | |
between two parties. | 0:03:51 | 0:03:53 | |
I can't remember an instance | 0:03:53 | 0:03:55 | |
where I instigated hostile behaviour. | 0:03:55 | 0:03:59 | |
You refused to speak to her backstage after your 1947 Oscar win. | 0:03:59 | 0:04:03 | |
You're referring to that photo of me in Photoplay magazine. | 0:04:03 | 0:04:08 | |
I wasn't turning my back on my sister in that photo. | 0:04:08 | 0:04:11 | |
I just didn't see that she was there. | 0:04:11 | 0:04:13 | |
It's hard to imagine | 0:04:14 | 0:04:16 | |
the pressure the Academy Awards puts on one. | 0:04:16 | 0:04:20 | |
Which brings us back to Bette and the other Joan. | 0:04:20 | 0:04:25 | |
Well, it all started, I remember, with the nominations. | 0:04:25 | 0:04:28 | |
And understandably, Joan was hurt, | 0:04:28 | 0:04:31 | |
because she was snubbed. | 0:04:31 | 0:04:33 | |
Unfortunately, dear Bette wasn't about to offer her any solace. | 0:04:33 | 0:04:38 | |
But Joan, being a fighter, | 0:04:38 | 0:04:41 | |
wasn't about to let one tiny detail | 0:04:41 | 0:04:44 | |
like not being nominated push her out of the limelight. | 0:04:44 | 0:04:48 | |
The very day of the nominations, | 0:04:49 | 0:04:52 | |
Joan marched herself down to the Motion Picture Academy | 0:04:52 | 0:04:55 | |
and demanded to see Mr Wendell Corey, | 0:04:55 | 0:04:58 | |
the President of the Academy. | 0:04:58 | 0:04:59 | |
Mr Corey, Joan Crawford's headed this way and she's not slowing down. | 0:04:59 | 0:05:03 | |
Joan, I can promise you, the vote tally is beyond reproach. | 0:05:10 | 0:05:15 | |
The people at Price Waterhouse are honest to a fault. | 0:05:15 | 0:05:17 | |
Wendell, I'm confident under your stewardship | 0:05:17 | 0:05:20 | |
that everything here at the Academy is above board. | 0:05:20 | 0:05:23 | |
I wish all the worthy nominees good luck and Godspeed. | 0:05:23 | 0:05:27 | |
I'm here to offer my services. | 0:05:27 | 0:05:29 | |
As it turns out, I'm available to present this year. | 0:05:29 | 0:05:32 | |
Either Best Picture or Best Director. | 0:05:32 | 0:05:36 | |
You decide which. | 0:05:36 | 0:05:37 | |
Oh, well, that's... | 0:05:38 | 0:05:40 | |
That's very generous. | 0:05:40 | 0:05:41 | |
Of course I'm going to require a few things. | 0:05:41 | 0:05:44 | |
I'd appreciate it if the Academy could pay for my hair and make-up. | 0:05:44 | 0:05:47 | |
And, of course, provide a car and chauffeur. | 0:05:47 | 0:05:51 | |
Well, we don't do that for presenters. | 0:05:51 | 0:05:54 | |
You will for me. | 0:05:57 | 0:05:58 | |
I believe if Bette had said to even one reporter | 0:06:00 | 0:06:04 | |
that she regretted Joan not getting a nod, | 0:06:04 | 0:06:07 | |
all that unpleasantness would have gone away. | 0:06:07 | 0:06:10 | |
She came across as cold | 0:06:10 | 0:06:13 | |
and unsympathetic to some, | 0:06:13 | 0:06:16 | |
but really she was nervous. | 0:06:16 | 0:06:19 | |
Terribly so. | 0:06:19 | 0:06:20 | |
PHONE RINGS | 0:06:23 | 0:06:25 | |
Bonsoir. I have a person-to-person call | 0:06:25 | 0:06:28 | |
for Mademoiselle de Havilland from Mademoiselle Davis. | 0:06:28 | 0:06:30 | |
Oh. Yes, of course, operator. | 0:06:30 | 0:06:33 | |
-LINE CONNECTS -Bette? | 0:06:33 | 0:06:35 | |
Livvie. I have no idea what time it is there. Did I wake you? | 0:06:35 | 0:06:38 | |
No, not at all. I was just reading what passes as a script | 0:06:38 | 0:06:42 | |
for a new movie they've offered me. | 0:06:42 | 0:06:44 | |
Anything in it for me? | 0:06:44 | 0:06:46 | |
Not unless you want to play a wino or a hoodlum. | 0:06:46 | 0:06:49 | |
The title alone makes me want to shudder. | 0:06:49 | 0:06:52 | |
Lady In A Cage. | 0:06:52 | 0:06:54 | |
-CHUCKLING -Just sounds so awful. | 0:06:54 | 0:06:57 | |
Awful! And if you don't snap it up, I will. | 0:06:57 | 0:07:00 | |
I doubt very much indeed that it will bring you your fourth Oscar. | 0:07:02 | 0:07:06 | |
-Don't jinx me, I haven't won the third one yet. -You will. | 0:07:06 | 0:07:09 | |
In only a few weeks' time, too. | 0:07:09 | 0:07:11 | |
You know I'll be pulling for you. | 0:07:11 | 0:07:13 | |
Pulling for me? You're going to be sitting right next to me. | 0:07:13 | 0:07:16 | |
Oh, you can't really expect me to travel all that way | 0:07:16 | 0:07:19 | |
for an award show. | 0:07:19 | 0:07:21 | |
You bet your ass I can. | 0:07:21 | 0:07:23 | |
Oh, Livvie, you have no idea what they've been saying | 0:07:23 | 0:07:25 | |
about me in the press. | 0:07:25 | 0:07:27 | |
About you and Joan, you mean? | 0:07:27 | 0:07:29 | |
-Christ, is it in the French papers, too? -In any language, all they want | 0:07:29 | 0:07:33 | |
is a catfight. | 0:07:33 | 0:07:35 | |
-You have to stop giving it to them. -I know. | 0:07:35 | 0:07:38 | |
I should be kinder, I want to be, | 0:07:38 | 0:07:40 | |
but she sets me off. | 0:07:40 | 0:07:43 | |
I know the impulse well. | 0:07:43 | 0:07:44 | |
But two words - | 0:07:44 | 0:07:46 | |
"No...comment." | 0:07:46 | 0:07:49 | |
Easy for you to say. My Joan is FAR worse than your Joan. | 0:07:49 | 0:07:52 | |
Not possible. | 0:07:52 | 0:07:54 | |
You know what my bitch sister has taken to telling the press? | 0:07:54 | 0:07:59 | |
That I broke her collarbone when we were children. | 0:08:00 | 0:08:03 | |
Can you imagine? | 0:08:03 | 0:08:06 | |
And the press...just gobbles it up. | 0:08:06 | 0:08:09 | |
Monsters. | 0:08:10 | 0:08:12 | |
Livvie, you have to come. | 0:08:12 | 0:08:14 | |
The goddamn Hollywood press, they won't be able to say shit about me | 0:08:14 | 0:08:17 | |
if there's another woman of comparable stature supporting me. | 0:08:17 | 0:08:20 | |
Comparable to Joan's stature, you mean. | 0:08:20 | 0:08:23 | |
What else would I mean? | 0:08:23 | 0:08:25 | |
-LIV IN VOICEOVER: -Bette was never easy. | 0:08:25 | 0:08:27 | |
But I know she respects me. | 0:08:27 | 0:08:29 | |
We both have two Oscars, and she knew that winning another one | 0:08:30 | 0:08:34 | |
didn't matter that much to me, | 0:08:34 | 0:08:36 | |
so I wasn't competition to her, I suppose. | 0:08:36 | 0:08:39 | |
I was never a threat. | 0:08:39 | 0:08:41 | |
In her mind, I was always Melanie Wilkes | 0:08:41 | 0:08:44 | |
to her Scarlett O'Hara. | 0:08:44 | 0:08:46 | |
Of course, I really was Melanie Wilkes. | 0:08:46 | 0:08:49 | |
Her third Oscar. | 0:08:54 | 0:08:56 | |
You always did stink at math, Joanie, not a third Oscar. | 0:08:56 | 0:08:59 | |
Her tenth nomination, her eighth loss. | 0:08:59 | 0:09:01 | |
That's the way you got to think of it. | 0:09:01 | 0:09:03 | |
But she is the odds-on favourite. | 0:09:03 | 0:09:05 | |
Well, that's because this town loves nothing more | 0:09:05 | 0:09:08 | |
than to bestow titles. And they're just itching | 0:09:08 | 0:09:10 | |
to give that old nag the triple crown. | 0:09:10 | 0:09:12 | |
But we're going to see she doesn't get it. | 0:09:12 | 0:09:13 | |
-How? -Mm. Easy. | 0:09:13 | 0:09:16 | |
There are, as of now, 655 Academy members | 0:09:16 | 0:09:19 | |
in your peer group that'll be casting a vote for Best Actress. | 0:09:19 | 0:09:24 | |
We just have to get to, say, a hundred of them, | 0:09:24 | 0:09:27 | |
and we can tip this thing. | 0:09:27 | 0:09:28 | |
You mean actually lobby the Academy members | 0:09:28 | 0:09:31 | |
-to vote against her? -Why not? | 0:09:31 | 0:09:33 | |
Well, because it will be seen as sour grapes on my part. | 0:09:33 | 0:09:37 | |
And that's why you have to stay squeaky clean. | 0:09:37 | 0:09:39 | |
You let me poison the well. | 0:09:39 | 0:09:41 | |
You're gonna serve up nothing but rainbows and moonbeams. | 0:09:41 | 0:09:45 | |
Get out your phone book. | 0:09:45 | 0:09:47 | |
We're gonna play a little game I learned from Jack Webb - | 0:09:47 | 0:09:50 | |
"Good cop, bad cop." | 0:09:50 | 0:09:51 | |
I'll put the word out on Davis. | 0:09:53 | 0:09:54 | |
You plump up the other nominees. | 0:09:54 | 0:09:57 | |
Well, who do you think is her closest competition? | 0:09:57 | 0:10:00 | |
Well, they're not gonna give it to that buzzard Hepburn. | 0:10:00 | 0:10:02 | |
She's never once showed up to the ceremony. | 0:10:02 | 0:10:05 | |
I'll bad-mouth her a little bit, too. Her and those slacks. | 0:10:05 | 0:10:08 | |
Remick's no threat, they all still think of her | 0:10:08 | 0:10:10 | |
as a television actress. | 0:10:10 | 0:10:12 | |
Push for Page or Bancroft. | 0:10:12 | 0:10:14 | |
Lean on the "Hollywood reaches out to Broadway" angle. | 0:10:14 | 0:10:17 | |
One of them gets it, it'll sting her even more. | 0:10:17 | 0:10:20 | |
You hate her more than I do. | 0:10:22 | 0:10:24 | |
I find her vulgar. | 0:10:24 | 0:10:26 | |
Besides, she thinks we're all hypocrites. | 0:10:26 | 0:10:28 | |
Aren't we, though, Hedda? | 0:10:28 | 0:10:30 | |
Well, of course we are, | 0:10:30 | 0:10:32 | |
but I'm not gonna be judged for it, not by her. | 0:10:32 | 0:10:35 | |
Hypocrisy is the tribute vice must pay to virtue. | 0:10:36 | 0:10:41 | |
You've always understood that. | 0:10:41 | 0:10:43 | |
She never has. | 0:10:43 | 0:10:45 | |
The only reason the rest of the country allows this Babylon | 0:10:45 | 0:10:48 | |
to stay standing is because it believes we have a conscience. | 0:10:48 | 0:10:51 | |
And for 30 years, I have been that conscience. | 0:10:51 | 0:10:55 | |
And I gave up everything for it. | 0:10:55 | 0:10:57 | |
My career as an actress, my marriage, | 0:10:57 | 0:10:59 | |
my dream of having many children. | 0:10:59 | 0:11:02 | |
What has she sacrificed? Nothing. | 0:11:02 | 0:11:05 | |
Well, then, let's make some calls. | 0:11:05 | 0:11:07 | |
Chuck, it's Hedda. | 0:11:09 | 0:11:10 | |
I just had to call and say how much I loved you in El Cid, | 0:11:10 | 0:11:14 | |
how I adore a man in a leather skirt. | 0:11:14 | 0:11:17 | |
Oh, why, thank you, Doris. That's very sweet of you. | 0:11:17 | 0:11:20 | |
But I really wasn't expecting one this year. | 0:11:20 | 0:11:23 | |
Oh, but I was thrilled to see Geraldine Page get nominated | 0:11:23 | 0:11:26 | |
weren't you? | 0:11:26 | 0:11:27 | |
Yes, a concussion. She kicked her right in the head twice. | 0:11:27 | 0:11:31 | |
Joan would have been well within her rights | 0:11:31 | 0:11:33 | |
to file assault charges. | 0:11:33 | 0:11:34 | |
Well, I was lucky enough to see Miss Bancroft play it onstage. | 0:11:34 | 0:11:37 | |
And do you know, Loretta, | 0:11:37 | 0:11:39 | |
her Annie Sullivan seemed even more blind on screen? | 0:11:39 | 0:11:43 | |
Why should she have three? | 0:11:43 | 0:11:44 | |
You know, the one they gave her for Dangerous she uses as a doorstop? | 0:11:44 | 0:11:48 | |
Mm. Her bathroom. Can you believe it? | 0:11:48 | 0:11:51 | |
That poor Oscar has to watch that woman go to the toilet. | 0:11:51 | 0:11:55 | |
No, Anne Bancroft is absolutely brilliant. | 0:11:55 | 0:11:58 | |
Love to you, Cary. | 0:11:58 | 0:11:59 | |
It's no use. | 0:12:02 | 0:12:03 | |
-What are you talking about? -It's a fool's errand. | 0:12:03 | 0:12:06 | |
She's already won. | 0:12:06 | 0:12:07 | |
-Joan. -No, I don't mean today or on Oscar night. | 0:12:07 | 0:12:11 | |
I have been in competition | 0:12:11 | 0:12:13 | |
with that goddamn woman my entire career. | 0:12:13 | 0:12:17 | |
A constant battle. | 0:12:17 | 0:12:19 | |
For men, for roles, for magazine covers. | 0:12:19 | 0:12:22 | |
And I don't know why. | 0:12:23 | 0:12:25 | |
I was the bigger star. | 0:12:26 | 0:12:29 | |
My leading men were more attractive. | 0:12:29 | 0:12:31 | |
My pictures made more money. | 0:12:31 | 0:12:33 | |
And yet I was always made to feel inferior. | 0:12:33 | 0:12:37 | |
After years of working so hard to be | 0:12:38 | 0:12:40 | |
an ambassador for Hollywood, to be part of this community, | 0:12:40 | 0:12:44 | |
while she gives the industry the finger | 0:12:44 | 0:12:46 | |
from her mouldy home in Connecticut. | 0:12:46 | 0:12:48 | |
And yet, when presented with the opportunity, | 0:12:48 | 0:12:51 | |
they nominate her...instead of me. | 0:12:51 | 0:12:56 | |
It's so fucking humiliating. | 0:12:56 | 0:12:58 | |
I think you've had enough of that iced tea. | 0:12:58 | 0:13:01 | |
No, I mean it, Hedda. | 0:13:01 | 0:13:02 | |
Something inside me broke when they announced those nominations. | 0:13:05 | 0:13:09 | |
Not because I was counting on it | 0:13:09 | 0:13:11 | |
or because I hoped that it would ensure | 0:13:11 | 0:13:13 | |
a few more precious years of work. | 0:13:13 | 0:13:15 | |
It was beyond that. | 0:13:15 | 0:13:16 | |
Whatever self-confidence I had left was gone. | 0:13:18 | 0:13:24 | |
She leeched it out of me! | 0:13:24 | 0:13:26 | |
Oh, God, I can't believe I said I would present at those awards. | 0:13:29 | 0:13:33 | |
I don't know what I was thinking. I can't go to that awards show. | 0:13:33 | 0:13:36 | |
I can't show my face any more. | 0:13:36 | 0:13:38 | |
Joan, you are going to those awards. | 0:13:38 | 0:13:42 | |
We can get you your self-confidence back. | 0:13:42 | 0:13:44 | |
-I don't see how. -I'll tell you how. | 0:13:44 | 0:13:46 | |
She may have been the one who was nominated, | 0:13:48 | 0:13:50 | |
but as God as my witness, | 0:13:50 | 0:13:52 | |
that woman is not going to walk off that stage | 0:13:52 | 0:13:57 | |
with the Oscar for Best Actress, | 0:13:57 | 0:14:00 | |
because you are. | 0:14:00 | 0:14:01 | |
JAZZ PLAYING, PHONE RINGS | 0:14:10 | 0:14:13 | |
Well, gee, don't get up or anything. | 0:14:16 | 0:14:18 | |
-Hello. -Gerry? | 0:14:20 | 0:14:23 | |
Is this Miss Geraldine Page? | 0:14:23 | 0:14:25 | |
It is. Rip, turn that down. | 0:14:25 | 0:14:27 | |
I can't hear. | 0:14:27 | 0:14:29 | |
This is Joan Crawford, dear, | 0:14:29 | 0:14:31 | |
calling from Hollywood, California. | 0:14:31 | 0:14:34 | |
-WHISPERS: -It's Joan fucking Crawford. | 0:14:34 | 0:14:36 | |
-Joan Crawford?! -Gerry? | 0:14:36 | 0:14:38 | |
Miss Crawford, how may I help you? | 0:14:39 | 0:14:44 | |
I just want to say right up front that I was not upset. | 0:14:44 | 0:14:47 | |
Upset? Why would you be upset? | 0:14:47 | 0:14:51 | |
With the performance you were nominated for | 0:14:51 | 0:14:53 | |
in Sweet Bird Of Youth. | 0:14:53 | 0:14:54 | |
The faded movie queen swanning about. | 0:14:55 | 0:14:58 | |
Oh, I think we all know who that was based on, dear. | 0:14:58 | 0:15:02 | |
Oh, no, Miss Crawford. | 0:15:02 | 0:15:04 | |
Mr Williams created that role. I was just... | 0:15:04 | 0:15:06 | |
No, I was flattered, Gerry. | 0:15:06 | 0:15:07 | |
Really, I was. | 0:15:07 | 0:15:09 | |
You got it so close to perfect. | 0:15:09 | 0:15:11 | |
Although I would never date a man under 40. | 0:15:11 | 0:15:14 | |
Not enough money to keep this lady happy. | 0:15:14 | 0:15:17 | |
Uh-huh? | 0:15:17 | 0:15:19 | |
What does she want? | 0:15:20 | 0:15:21 | |
Was there something you needed, Miss Crawford? | 0:15:22 | 0:15:25 | |
No, I just wanted to say congratulations, Gerry. | 0:15:25 | 0:15:28 | |
I mean, with so many wonderful performances this year | 0:15:28 | 0:15:31 | |
and only five nominations, | 0:15:31 | 0:15:33 | |
I was so glad to see you get recognised. | 0:15:33 | 0:15:36 | |
-Thank you. -Can you believe it's only two weeks away? | 0:15:37 | 0:15:42 | |
-And I haven't even cut out potatoes yet. -Potatoes? | 0:15:42 | 0:15:46 | |
Those television cameras are many times more punishing | 0:15:46 | 0:15:49 | |
than the motion picture cameras. | 0:15:49 | 0:15:51 | |
Who's doing your gown? | 0:15:51 | 0:15:54 | |
My gown? I hadn't really thought about my gown. | 0:15:54 | 0:15:58 | |
Well, of course, you have many fine options out there in New York. | 0:15:58 | 0:16:03 | |
But you want to be fitted here the day of. | 0:16:03 | 0:16:06 | |
May I suggest Edith Head? | 0:16:06 | 0:16:08 | |
Really, there's no-one better, dear. | 0:16:08 | 0:16:10 | |
I could speak to her for you, and then, if you like, | 0:16:10 | 0:16:13 | |
I could personally help you select your jewels. | 0:16:13 | 0:16:15 | |
That is awfully generous of you, Miss Crawford, really, | 0:16:15 | 0:16:18 | |
but I think I'm gonna try and keep it simple. | 0:16:18 | 0:16:20 | |
Don't forget, Gerry. | 0:16:20 | 0:16:21 | |
You're representing Hollywood. | 0:16:21 | 0:16:24 | |
I mean, this broadcast will be seen all over the world. | 0:16:24 | 0:16:28 | |
People depend on us to brighten their ordinary lives | 0:16:28 | 0:16:31 | |
with a little glamour. | 0:16:31 | 0:16:33 | |
Well, if their lives depend on my glamour, | 0:16:33 | 0:16:36 | |
I've got some bad news for them. | 0:16:36 | 0:16:37 | |
Well...it really is too stressful, isn't it, dear? | 0:16:40 | 0:16:45 | |
Lord knows the year I was nominated for Mildred Pierce, | 0:16:45 | 0:16:48 | |
I was too nervous to attend. | 0:16:48 | 0:16:51 | |
No, I stayed home and faked pneumonia. | 0:16:51 | 0:16:53 | |
And do you know what? | 0:16:53 | 0:16:56 | |
They brought the Oscar to me. | 0:16:56 | 0:16:58 | |
And in a way, it was more intimate, more of an honour. | 0:16:58 | 0:17:02 | |
Is that what you think I should do? | 0:17:05 | 0:17:09 | |
Stay home? | 0:17:09 | 0:17:10 | |
Well, I could accept it for you. | 0:17:11 | 0:17:14 | |
It's just down the road from me, and I have to be there anyway. | 0:17:15 | 0:17:19 | |
I'll say lovely things and you can watch from the comfort | 0:17:19 | 0:17:23 | |
of your New York one-bedroom. | 0:17:23 | 0:17:26 | |
Oh... | 0:17:26 | 0:17:27 | |
Sure, Miss Crawford. | 0:17:29 | 0:17:32 | |
You are welcome to accept the award on my behalf. | 0:17:32 | 0:17:35 | |
Really? | 0:17:35 | 0:17:37 | |
Well, if that's what you want. | 0:17:39 | 0:17:42 | |
Just send me a list of people to thank. | 0:17:42 | 0:17:45 | |
Let's try to keep it to three names. | 0:17:45 | 0:17:47 | |
Short and sweet, in my opinion, is the best. | 0:17:47 | 0:17:50 | |
I will do that. | 0:17:51 | 0:17:53 | |
Wonderful. | 0:17:53 | 0:17:56 | |
All my love to you, Gerry. | 0:17:56 | 0:17:58 | |
Miss Crawford? | 0:17:58 | 0:17:59 | |
JOAN HANGS UP | 0:17:59 | 0:18:01 | |
Well... | 0:18:06 | 0:18:07 | |
..good news. | 0:18:09 | 0:18:11 | |
I'm not going to make you put on a tux this year. | 0:18:11 | 0:18:14 | |
You're actually gonna let that high-strung show pony | 0:18:14 | 0:18:16 | |
represent you at the Oscars? | 0:18:16 | 0:18:18 | |
Well, she needs it. | 0:18:20 | 0:18:21 | |
And besides... | 0:18:24 | 0:18:26 | |
Hollywood should be forced to look at what they've done to her. | 0:18:26 | 0:18:30 | |
Annie...you have a visitor. | 0:19:01 | 0:19:03 | |
Joan Crawford. | 0:19:03 | 0:19:04 | |
Joan Crawford caught the performance? | 0:19:05 | 0:19:08 | |
-Sure. Pull the other one, Lydia. -I'm serious. | 0:19:08 | 0:19:10 | |
She's right outside the door. | 0:19:10 | 0:19:12 | |
Well, hell, show her in. | 0:19:16 | 0:19:18 | |
Miss Crawford. What an honour. | 0:19:25 | 0:19:27 | |
I just had to pop back | 0:19:27 | 0:19:29 | |
and tell you what an astonishing performance you gave tonight, | 0:19:29 | 0:19:33 | |
and to a half-empty house. That really is dedication. | 0:19:33 | 0:19:36 | |
Well, thank you. | 0:19:37 | 0:19:39 | |
You theatre gals. | 0:19:39 | 0:19:42 | |
I don't know how you do it. | 0:19:42 | 0:19:43 | |
Night after night, weekends, | 0:19:43 | 0:19:46 | |
matinees. | 0:19:46 | 0:19:48 | |
Oh, it must be terribly taxing on your voice. | 0:19:48 | 0:19:51 | |
I drink a lot of tea. | 0:19:51 | 0:19:52 | |
Smart. | 0:19:52 | 0:19:54 | |
I was so looking forward to seeing you next week | 0:19:55 | 0:19:57 | |
at the Academy Awards, | 0:19:57 | 0:19:59 | |
but I read in Dorothy Kilgallen's column that you won't be attending? | 0:19:59 | 0:20:04 | |
I'm afraid not. I can't. | 0:20:04 | 0:20:06 | |
I'd have to miss three performances, and I just couldn't do that | 0:20:06 | 0:20:09 | |
to the people who paid to see the show. | 0:20:09 | 0:20:11 | |
It's either the work or the reward, you know. | 0:20:11 | 0:20:13 | |
So you're not mad at our little movie colony? | 0:20:13 | 0:20:17 | |
I know they gave that Shirley MacLaine | 0:20:17 | 0:20:19 | |
your part in Two For The Seesaw. | 0:20:19 | 0:20:23 | |
Well, I heard that movie stank. | 0:20:23 | 0:20:25 | |
-To high heaven. -SHE LAUGHS | 0:20:25 | 0:20:27 | |
Good. | 0:20:27 | 0:20:29 | |
Can I offer you a drink? | 0:20:29 | 0:20:31 | |
No, no, no, no. Please, let me get it. | 0:20:31 | 0:20:33 | |
I also understand that you have requested | 0:20:36 | 0:20:40 | |
young Patty Duke to accept your prize should you win. | 0:20:40 | 0:20:44 | |
Yeah, but because she's nominated, too, | 0:20:44 | 0:20:46 | |
the Academy put the kibosh on that idea. | 0:20:46 | 0:20:49 | |
Well, that seems silly. | 0:20:49 | 0:20:50 | |
It's probably for the best, though. | 0:20:52 | 0:20:54 | |
What if I were to win for Best Actress | 0:20:54 | 0:20:56 | |
and Patty lost for Supporting? | 0:20:56 | 0:20:58 | |
I'd hate to put the kid through that. | 0:20:58 | 0:21:00 | |
But, between you and me, I think she's going to win. | 0:21:00 | 0:21:05 | |
Yes, I think she is, too. | 0:21:05 | 0:21:06 | |
And my sixth sense tells me | 0:21:06 | 0:21:10 | |
that you're going to win also. | 0:21:10 | 0:21:12 | |
Wouldn't that be something? | 0:21:12 | 0:21:14 | |
Yes, it certainly would. | 0:21:14 | 0:21:15 | |
The blind leading the blind. | 0:21:15 | 0:21:18 | |
Miss Crawford... | 0:21:30 | 0:21:31 | |
..did you fly all the way here to ask | 0:21:34 | 0:21:36 | |
if you could accept my award for me? | 0:21:36 | 0:21:38 | |
No. No, but I certainly would be happy to... | 0:21:38 | 0:21:41 | |
But would it make you happy? | 0:21:41 | 0:21:44 | |
Desperately. | 0:21:49 | 0:21:50 | |
Well, then I really hope I do win. | 0:21:53 | 0:21:56 | |
I'd be honoured to have someone of your stature | 0:21:56 | 0:22:00 | |
accept on my behalf. | 0:22:00 | 0:22:01 | |
Thank you. | 0:22:07 | 0:22:08 | |
I'm sorry. I really must go now. | 0:22:11 | 0:22:13 | |
I have a dinner engagement in an hour. | 0:22:13 | 0:22:15 | |
-It was lovely to meet you, Miss Crawford. -Yes, and you, too. | 0:22:15 | 0:22:18 | |
Thank you. | 0:22:18 | 0:22:19 | |
-Joan? -Hmm? | 0:22:22 | 0:22:24 | |
Davis may have had the flashier role, | 0:22:26 | 0:22:29 | |
but you made that movie work. | 0:22:29 | 0:22:32 | |
I really admired what you did. | 0:22:32 | 0:22:34 | |
Good. The jewels and the gown have been approved by Miss Crawford. | 0:22:51 | 0:22:54 | |
You know where to carefully lay them out. | 0:22:54 | 0:22:56 | |
Upstairs. She just woke up. | 0:22:59 | 0:23:00 | |
Move, move, move. Do not speak, just work. | 0:23:00 | 0:23:03 | |
That goes for everyone here. | 0:23:06 | 0:23:08 | |
Do not address Miss Crawford unless she speaks to you first. | 0:23:08 | 0:23:11 | |
And pick up the pace. | 0:23:11 | 0:23:13 | |
It is Oscar day. | 0:23:13 | 0:23:15 | |
"Dearest Bette, good luck tonight. You deserve to win. | 0:23:15 | 0:23:19 | |
"Jack Warner." | 0:23:19 | 0:23:21 | |
"Bette, take home the gold. We are so proud of you. | 0:23:21 | 0:23:25 | |
"Ronnie and Nancy Reagan." | 0:23:25 | 0:23:27 | |
Oh. | 0:23:27 | 0:23:28 | |
You're a shoo-in to win, Miss Davis. | 0:23:28 | 0:23:30 | |
Everybody thinks so. | 0:23:30 | 0:23:32 | |
So it seems. | 0:23:32 | 0:23:34 | |
Edith Head gave me this idea. Everything in silver. | 0:23:39 | 0:23:42 | |
Like a silver Oscar. | 0:23:42 | 0:23:44 | |
I think silver's so much more elegant than gold, don't you? | 0:23:44 | 0:23:47 | |
Did you know Edith already has seven Oscars? | 0:23:47 | 0:23:52 | |
-And you have two? -Not yet. | 0:23:52 | 0:23:54 | |
OK, time to go. | 0:23:54 | 0:23:56 | |
Hair. | 0:23:58 | 0:23:59 | |
How do I look? | 0:24:42 | 0:24:44 | |
You look beautiful. | 0:24:45 | 0:24:47 | |
Like the first frost of fall. | 0:24:47 | 0:24:49 | |
Like Sonja Henie in one of those... winter wonderland skating pictures. | 0:24:50 | 0:24:54 | |
Very funny. | 0:24:54 | 0:24:56 | |
Mr Cukor, will you do the honours? | 0:24:56 | 0:24:59 | |
With pleasure. | 0:24:59 | 0:25:00 | |
You are one of my oldest friends. | 0:25:07 | 0:25:09 | |
We have known each other for 40 years, | 0:25:09 | 0:25:13 | |
and I have never bullshitted you. | 0:25:13 | 0:25:15 | |
Now, there's something I want to say to you, | 0:25:15 | 0:25:18 | |
and you need to listen. | 0:25:18 | 0:25:20 | |
Don't do this. | 0:25:22 | 0:25:24 | |
Do what? | 0:25:25 | 0:25:26 | |
Try and take it from her. | 0:25:26 | 0:25:29 | |
The night. | 0:25:29 | 0:25:33 | |
It'll be seen in all quarters for exactly what it is - | 0:25:33 | 0:25:37 | |
a petty act of revenge from a woman scorned. | 0:25:37 | 0:25:40 | |
If she doesn't win, you'll get bad press. | 0:25:43 | 0:25:45 | |
Better than no press. | 0:25:45 | 0:25:47 | |
These people will never work with you again. | 0:25:47 | 0:25:49 | |
Davis, Aldrich... | 0:25:49 | 0:25:51 | |
Good. | 0:25:51 | 0:25:52 | |
Joanie, you're bigger than this. | 0:25:52 | 0:25:56 | |
No, I'm not. | 0:26:03 | 0:26:05 | |
Christ, you always look better than me. | 0:26:18 | 0:26:21 | |
Drink? | 0:26:21 | 0:26:22 | |
Let's get one there. | 0:26:22 | 0:26:23 | |
Our chariot awaits. | 0:26:23 | 0:26:25 | |
Bette, what happened to this one? | 0:26:25 | 0:26:27 | |
Did all the gold plating fall off? | 0:26:27 | 0:26:29 | |
Rubbed off, you mean. | 0:26:29 | 0:26:31 | |
Every night when I watch television in bed, I hold it. | 0:26:31 | 0:26:34 | |
He's the perfect companion. | 0:26:34 | 0:26:36 | |
He doesn't talk back. He listens. | 0:26:36 | 0:26:38 | |
He's patient. | 0:26:38 | 0:26:40 | |
And sometimes, | 0:26:44 | 0:26:46 | |
when I need it, | 0:26:46 | 0:26:48 | |
he reminds me of that perfect night | 0:26:48 | 0:26:51 | |
when I won him... | 0:26:51 | 0:26:53 | |
and the whole world... | 0:26:53 | 0:26:55 | |
..stood up and cheered. | 0:26:57 | 0:27:01 | |
And I was loved. | 0:27:01 | 0:27:03 | |
God, that's sad. | 0:27:08 | 0:27:10 | |
Actually, | 0:27:12 | 0:27:13 | |
as a woman heading toward her second divorce, | 0:27:13 | 0:27:16 | |
I get it. | 0:27:16 | 0:27:18 | |
I get it completely. | 0:27:18 | 0:27:21 | |
Let me visit the powder room | 0:27:24 | 0:27:26 | |
and we'll be on our way. | 0:27:26 | 0:27:28 | |
Wait up for me, boys. | 0:27:35 | 0:27:37 | |
Tonight I'm bringing you home a baby brother. | 0:27:37 | 0:27:40 | |
The Academy of Motion Picture Arts and Sciences presents | 0:27:52 | 0:27:56 | |
its 35th annual achievement awards. | 0:27:56 | 0:27:59 | |
These people, like most of us, are movie fans. | 0:28:00 | 0:28:04 | |
They've come from all over the country, | 0:28:04 | 0:28:06 | |
here to the Pacific Auditorium in Santa Monica, California, | 0:28:06 | 0:28:09 | |
to get a glimpse of their favourite movie actors, | 0:28:09 | 0:28:11 | |
as the most famous faces in the world | 0:28:11 | 0:28:13 | |
arrive to attend Oscar's coming out party. | 0:28:13 | 0:28:16 | |
Look, there's Jack Lord of Stoney Burke. | 0:28:18 | 0:28:20 | |
Eva Marie Saint. | 0:28:22 | 0:28:24 | |
There's little Patty Duke. | 0:28:26 | 0:28:28 | |
There's Lee Remick with husband Bill Colleran. | 0:28:28 | 0:28:32 | |
There's Bob Stack and Mrs Stack. | 0:28:33 | 0:28:35 | |
And Gregory Peck, a nominee for his work this year | 0:28:36 | 0:28:39 | |
as Atticus Finch in To Kill a Mockingbird. | 0:28:39 | 0:28:42 | |
And there's Miss Bette Davis, | 0:28:43 | 0:28:45 | |
nominated tonight for her performance | 0:28:45 | 0:28:47 | |
in What Ever Happened to Baby Jane? | 0:28:47 | 0:28:49 | |
Miss de Havilland, is it true you flew out | 0:28:49 | 0:28:51 | |
from Paris to present the award for Best Picture? | 0:28:51 | 0:28:55 | |
I will present that award, but I travelled here | 0:28:55 | 0:28:58 | |
to be with my dear friend, Bette. | 0:28:58 | 0:29:00 | |
I'm here to see her be the first actress to win three Oscars. | 0:29:00 | 0:29:05 | |
She's the greatest. | 0:29:05 | 0:29:07 | |
And the industry owes her this. | 0:29:07 | 0:29:10 | |
What do you say to that, Miss Davis? | 0:29:10 | 0:29:12 | |
I'm not ashamed to admit I want this. | 0:29:12 | 0:29:16 | |
There's screen legend Joan Crawford. | 0:29:17 | 0:29:19 | |
She'll be presenting the Oscar tonight for Best Director. | 0:29:19 | 0:29:22 | |
Miss Crawford, Miss Crawford. | 0:29:22 | 0:29:25 | |
Your Baby Jane co-star, Bette Davis, | 0:29:25 | 0:29:27 | |
is nominated for Best Actress tonight. | 0:29:27 | 0:29:30 | |
Who did you vote for? | 0:29:30 | 0:29:32 | |
The winner. | 0:29:32 | 0:29:34 | |
Set the cold cuts right there | 0:29:47 | 0:29:49 | |
on that table. | 0:29:49 | 0:29:50 | |
Get that vodka open for the guests. | 0:29:50 | 0:29:54 | |
-What about the centrepiece? -Just move it. | 0:29:54 | 0:29:56 | |
Miss Crawford. | 0:29:57 | 0:29:58 | |
Stan, how lovely to see you. | 0:29:58 | 0:30:00 | |
How are Judy and the children? | 0:30:00 | 0:30:02 | |
Miss Crawford, I'm sorry, but you cannot | 0:30:02 | 0:30:04 | |
turn the green room into your own private party. | 0:30:04 | 0:30:07 | |
It's against Academy bylaws. | 0:30:07 | 0:30:08 | |
Light me. | 0:30:08 | 0:30:09 | |
Drink. | 0:30:17 | 0:30:19 | |
Have a lovely evening. | 0:30:19 | 0:30:21 | |
Mamacita, touch up. | 0:30:22 | 0:30:26 | |
Now, the nominees for Best Achievement | 0:30:28 | 0:30:32 | |
in Art Direction for a Colour Production are... | 0:30:32 | 0:30:34 | |
Oh, Jesus Christ, this night. | 0:30:34 | 0:30:36 | |
What a fool, to care about anything this much | 0:30:38 | 0:30:40 | |
or want anything this much. | 0:30:40 | 0:30:42 | |
Hey, Bette, sit down. | 0:30:42 | 0:30:44 | |
..Meredith Willson's Music Man... | 0:30:44 | 0:30:45 | |
Look at me. | 0:30:45 | 0:30:47 | |
..Art direction by Paul Groesse... | 0:30:47 | 0:30:49 | |
Take a breath. | 0:30:49 | 0:30:50 | |
You are going to win. | 0:30:50 | 0:30:53 | |
The crown is yours. | 0:30:53 | 0:30:55 | |
And so is the record. | 0:30:55 | 0:30:56 | |
What did I ever do to deserve you? | 0:30:58 | 0:31:01 | |
When we were young, | 0:31:01 | 0:31:03 | |
you were one of the first to make me feel | 0:31:03 | 0:31:06 | |
I was more than a pretty face. | 0:31:06 | 0:31:07 | |
You showed me how to fight. | 0:31:08 | 0:31:11 | |
And, boy, did you fight for me at the beginning of my career. | 0:31:11 | 0:31:14 | |
And now here you are, | 0:31:15 | 0:31:17 | |
fighting for me at the end of mine. | 0:31:17 | 0:31:20 | |
Oh, don't be so maudlin. | 0:31:20 | 0:31:22 | |
Here we are at the top of Mount Olympus, | 0:31:22 | 0:31:25 | |
and all you want to do is jump off. | 0:31:25 | 0:31:27 | |
This is supposed to be a celebration. | 0:31:27 | 0:31:29 | |
Well, then, where's the booze? | 0:31:29 | 0:31:32 | |
I think Frank must've drunk it all. | 0:31:32 | 0:31:34 | |
Come on, then. Let's go to the green room | 0:31:34 | 0:31:36 | |
and get ourselves some proper swamp water. | 0:31:36 | 0:31:39 | |
You don't want to go there. | 0:31:39 | 0:31:42 | |
Why not? | 0:31:45 | 0:31:47 | |
My goodness, | 0:32:03 | 0:32:05 | |
an Oscar winner at 17. | 0:32:05 | 0:32:08 | |
The only way to go is down. | 0:32:08 | 0:32:10 | |
So, then, you are the youngest Academy Award winner | 0:32:10 | 0:32:13 | |
in history, is that right? | 0:32:13 | 0:32:15 | |
That's what they tell me. | 0:32:15 | 0:32:16 | |
-What's your pup's name? -Bambi. | 0:32:17 | 0:32:20 | |
She's my good luck charm. | 0:32:20 | 0:32:21 | |
Well, I'll say. | 0:32:21 | 0:32:23 | |
You know, dear, | 0:32:23 | 0:32:25 | |
it isn't ladylike | 0:32:25 | 0:32:26 | |
to bring a pet to the Academy Awards. | 0:32:26 | 0:32:29 | |
The winner... | 0:32:30 | 0:32:31 | |
is France for Sundays and Cybele. | 0:32:31 | 0:32:34 | |
Good luck. | 0:32:54 | 0:32:56 | |
Miss Crawford? Your category is next. | 0:32:58 | 0:33:01 | |
Best Director? You're presenting? | 0:33:01 | 0:33:02 | |
Oh, yes. Thank you. | 0:33:02 | 0:33:05 | |
Right this way. | 0:33:05 | 0:33:06 | |
How much longer till my category? | 0:33:23 | 0:33:25 | |
Best Actress? | 0:33:25 | 0:33:27 | |
About ten minutes. | 0:33:27 | 0:33:29 | |
The nominees for Best Achievement in Directing are: | 0:33:48 | 0:33:52 | |
Frank Perry for David and Lisa, | 0:33:52 | 0:33:54 | |
Pietro Germi for Divorce Italian Style, | 0:33:54 | 0:33:58 | |
David Lean for Lawrence of Arabia, | 0:33:58 | 0:34:01 | |
Arthur Penn for The Miracle Worker, | 0:34:01 | 0:34:04 | |
and Robert Mulligan for To Kill a Mockingbird. | 0:34:04 | 0:34:09 | |
Please. | 0:34:09 | 0:34:10 | |
David Lean... | 0:34:19 | 0:34:21 | |
Lawrence of Arabia. | 0:34:21 | 0:34:24 | |
APPLAUSE | 0:34:24 | 0:34:27 | |
God bless you. | 0:34:40 | 0:34:42 | |
This limey is deeply touched and greatly honoured. | 0:34:42 | 0:34:48 | |
Thank you. | 0:34:48 | 0:34:51 | |
APPLAUSE | 0:34:51 | 0:34:54 | |
Excuse me, Miss Crawford, where should I go? | 0:35:02 | 0:35:04 | |
Follow me. | 0:35:04 | 0:35:05 | |
Cue Mr Sinatra. | 0:35:05 | 0:35:07 | |
Here is the magnificently versatile Miss Bette Davis... | 0:35:07 | 0:35:10 | |
Hello, how are you? | 0:35:10 | 0:35:12 | |
The nominees for Best Story and Screenplay... | 0:35:18 | 0:35:22 | |
Ben, nice to see you. | 0:35:22 | 0:35:23 | |
..written directly for the Screen | 0:35:23 | 0:35:26 | |
are story and screenplay by Ennio De Concini... | 0:35:26 | 0:35:29 | |
Hey, Bob. | 0:35:31 | 0:35:33 | |
..Stanley Shapiro and Nate Monaster | 0:35:33 | 0:35:36 | |
for That Touch of Mink. | 0:35:36 | 0:35:39 | |
Story and screenplay by Ingmar Bergman | 0:35:39 | 0:35:43 | |
for Through a Glass Darkly. | 0:35:43 | 0:35:45 | |
The envelope, please. | 0:35:45 | 0:35:47 | |
You're right in there. | 0:35:47 | 0:35:49 | |
-The winner is... -Mr Lean, over here. Congratulations. | 0:35:49 | 0:35:51 | |
..those three difficult Italian names, | 0:35:51 | 0:35:54 | |
Divorce Italian Style. | 0:35:54 | 0:35:57 | |
The next award will be for the Best Actress. | 0:36:10 | 0:36:14 | |
And I am pleased to announce that, this year, | 0:36:14 | 0:36:16 | |
in addition to the Oscar, the winning actress | 0:36:16 | 0:36:18 | |
will also receive three glorious days | 0:36:18 | 0:36:20 | |
at the Sands Hotel in Las Vegas. | 0:36:20 | 0:36:21 | |
LAUGHTER | 0:36:21 | 0:36:24 | |
To make the presentation is last year's winner for this, | 0:36:26 | 0:36:29 | |
his provocative performance in Judgment at Nuremberg, | 0:36:29 | 0:36:31 | |
ladies and gentlemen, Mr Maximilian Schell. | 0:36:31 | 0:36:33 | |
Thank you. | 0:36:43 | 0:36:44 | |
The nominees for Best Performance by an Actress are... | 0:36:52 | 0:36:55 | |
Anne Bancroft in The Miracle Worker, | 0:36:55 | 0:36:59 | |
Bette Davis in What Ever Happened to Baby Jane, | 0:36:59 | 0:37:02 | |
Katherine Hepburn, Long Day's Journey into Night, | 0:37:02 | 0:37:04 | |
Geraldine Page for Sweet Bird of Youth... | 0:37:04 | 0:37:07 | |
and Lee Remick for Days of Wine and Roses. | 0:37:07 | 0:37:10 | |
And the winner is... | 0:37:19 | 0:37:21 | |
..Anne Bancroft... | 0:37:26 | 0:37:28 | |
for The Miracle Worker. | 0:37:28 | 0:37:30 | |
Accepting for Anne Bancroft... | 0:37:30 | 0:37:32 | |
-ECHOING: -Miss Joan Crawford. | 0:37:32 | 0:37:36 | |
Miss Bancroft said, "Here's my little speech, dear Joan." | 0:38:07 | 0:38:12 | |
Quote: "There are three reasons why I deserve this award: | 0:38:12 | 0:38:16 | |
"Arthur Penn, Bill Gibson, and Fred Coe." | 0:38:16 | 0:38:20 | |
Unquote. | 0:38:20 | 0:38:22 | |
Thank you. | 0:38:22 | 0:38:24 | |
Miss Crawford. Beautiful, beautiful, that's great. | 0:38:53 | 0:38:56 | |
Fantastic. One more over here, Miss Crawford. | 0:38:56 | 0:38:58 | |
Beautiful, that's great. One more... | 0:38:58 | 0:39:00 | |
Oh, your hair looks great. | 0:39:00 | 0:39:02 | |
Miss Crawford, | 0:39:02 | 0:39:03 | |
would you mind a picture with the other winners? | 0:39:03 | 0:39:06 | |
Of course not, dear. | 0:39:09 | 0:39:11 | |
Mr Peck. Mr Peck, over here. | 0:39:11 | 0:39:13 | |
Right here. | 0:39:13 | 0:39:14 | |
Ladies and gentlemen of the press, | 0:39:14 | 0:39:17 | |
tonight's champions. | 0:39:17 | 0:39:19 | |
I can't believe it. | 0:39:26 | 0:39:28 | |
I just cannot believe it. | 0:39:31 | 0:39:34 | |
I'm in utter shock. | 0:39:34 | 0:39:36 | |
Double-fisting it, Bette? | 0:39:40 | 0:39:42 | |
No, John, these are not both for me. | 0:39:42 | 0:39:44 | |
This one is mine, and this one is to throw | 0:39:44 | 0:39:46 | |
in Crawford's face the next time I see her. | 0:39:46 | 0:39:48 | |
Could have made history. | 0:39:56 | 0:39:58 | |
Coulda, woulda, shoulda. | 0:40:01 | 0:40:03 | |
You still can. | 0:40:03 | 0:40:05 | |
Really, Livvie? | 0:40:05 | 0:40:07 | |
In what part? In what picture?! | 0:40:07 | 0:40:10 | |
I'm sorry. | 0:40:17 | 0:40:18 | |
I just... | 0:40:21 | 0:40:23 | |
I just thought for a moment... | 0:40:23 | 0:40:27 | |
that I was back in the game. | 0:40:27 | 0:40:29 |