Quoted
ACHIEVEMENT IN DIRECTING
Ethan Coen:
I don’t have a lot to add to what I said earlier. Thank you.
Joel Coen:
Ethan and I have been making stories with movie cameras since we were kids. In the late ’60s when Ethan was 11 or 12, he got a suit and a briefcase and we went to the Minneapolis International Airport with a Super 8 camera and made a movie about shuttle diplomacy called “Henry Kissinger, Man on the Go.” And honestly, what we do now doesn’t feel that much different from what we were doing then. There are too many people to thank for this. We’re really thrilled to have received it, and we’re very thankful to all of you out there for letting us continue to play in our corner of the sandbox, so thank you very much.
– Joel and Ethan Coen on accepting the Oscar for “No Country for Old Men”
PERFORMANCE BY AN ACTOR IN A LEADING ROLE
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And that’s the closest I’ll ever come to getting a knighthood, so thank you.
My deepest thanks to the members of the Academy for whacking me with the handsomest bludgeon in town. I’m looking at this gorgeous thing you’ve given me and I’m thinking back to the first devilish whisper of an idea that came to him and everything since and it seems to me that this sprang like a golden sapling out of the mad, beautiful head of Paul Thomas Anderson.
I wish my son and my partner HW Plainview were up here with me, the mighty Dillon Freasier. So many people to thank. One amongst them would be Mrs. Plainview down there, the enchantingly optimistic, open-minded and beautiful Rebecca Miller.
I hope that all those to whom I owe and to whom I feel the deepest gratitude will forgive me if I say just simply, “Thank you, Paul.”
I’ve been thinking a lot about fathers and sons in the course of this, and I’d like to accept this in the memory of my grandfather, Michael Balcon, my father, Cecil Day-Lewis, and my three fine boys, Gabriel, Ronan and Cashel. Thank you very much indeed. Thank you.
– Daniel Day-Lewis on receiving the Oscar for “There Will Be Blood”
ORIGINAL SCREENPLAY
What is happening? This is for the writers, and I want to thank all the writers. I especially want to thank my fellow nominees because I worship you guys and I’m learning from you every day, so thank you very much. I want to thank the Academy, I want to thank Fox Searchlight, Mr. Mudd, Mandate, Dan Dubiecki. I want to thank our incredible cast including the superhuman Ellen Page. I want to thank Jason Reitman, who I consider a member of my family, and I’m in awe of his talent as a filmmaker. I want to thank Sarah Self. I want to thank Mason Novick who knew I could do this before I did. And most of all, I want to thank my family for loving me exactly the way I am.
– Diablo Cody on receiving the Oscar for “Juno”
BEST DOCUMENTARY SHORT SUBJECT
Cynthia Wade:
Thank you. It was Lieutenant Laurel Hester’s dying wish that her fight for, against discrimination would make a difference for all the same sex couples across the country that face discrimination every day. Discrimination that I don’t face as a married woman. Sheila Nevins and HBO for making this film have a broadcast and a home on Cinemax later this year. To my husband Matthew Syrett, who took care of our children and held down a full-time job so that we could make this film. And to our incredible team in New York, thank you so much.
Vanessa Roth:
And to all our supporters and families who believe that even a 38-minute movie could change minds and lives and our children who remind us about what’s really important. And to Stacie, who’s here tonight, who’s really auto mechanic by day but hero in life who always did what was right. And she’s here tonight. So thank you so much.
Cynthia Wade:
Thank you.
– Vanessa Roth and Cynthia Wade on accepting the Oscar for “Freeheld”
ACHIEVMENT IN CINEMATOGRAPHY
John Toll won this a number of years ago said that the production designer on his movie, that 50% of it belonged to him. Well, 80% belongs to Jack Fisk and his production crew. And David Crank and Dylan Tichenor. But it really, we all know it really, really belongs to Paul. That this is his imagination and his energy and his extraordinary vision. It sort of enabled us to create the world of “There Will Be Blood.” Thank you, Paul. We’re really all standing on the shoulders, we know this, of Daniel Day-Lewis, who isn’t here right now, but thank you all so much. Thank you. And Helen. Thank you so much.
– Robert Elswit on receiving the Oscar for “There Will Be Blood”
BEST DOCUMENTARY FEATURE
Alex Gibney:
Wow. Thank you very much, Academy. Here’s to all doc filmmakers. And, truth is, I think my dear wife Anne was kind of hoping I’d make a romantic comedy, but honestly, after Guantanamo, Abu Ghraib, extraordinary rendition that simply wasn’t possible. This is dedicated to two people who are no longer with us, Dilawar, the young Afghan taxi driver, and my father, a Navy interrogator who urged me to make this film because of his fury about what was being done to the rule of law. Let’s hope we can turn this country around, move away from the dark side and back to the light. Thank you very much.
– Alex Gibney and Eva Orner on receiving the Oscar for “Taxi to the Dark Side”
BEST FOREIGN LANGUAGE FILM OF THE YEAR
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Thank you very much. There have been some great Austrian filmmakers working here, thinking of Billy Wilder, Fred Zinnemann, Otto Preminger, most of them had to leave my country because of the Nazis, so it sort of makes sense that the first Austrian movie to win an Oscar is about the Nazis’ crimes. Making this movie, I had a most brilliant cast, a wonderful crew, the best of all families to support me at home, so actually, it was easy for me. Thank you very much.
– Stefan Ruzowitzky on receiving the Oscar for “The Counterfeiters”
ACHIEVEMENT IN FILM EDITING
Forty-eight years ago, my father was privileged enough to receive an Oscar, and I’m deeply, deeply honored that you put me in his company tonight. To the brilliant Paul Greengrass, to Frank Marshall, thank you, thank you, thank you. To everybody in post-production, led by my good friend and colleague, Mark Fitzgerald, each and every one of you share in this award with me. To Universal Pictures, to the Academy, my deepest, deepest thanks. To the amazing Matt Damon, thank you. And to my family, especially Anne, Anno, Ava and Fiona. My kids, I love you. Thank you so, so much.
– Christopher Rouse on receiving his Oscar for “The Bourne Ultimatum”
PERFORMANCE BY AN ACTRESS IN A LEADING ROLE
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“Oh — thank you so much. Olivier, what you did to me, Maestro Olivier Dahan, you rocked my life. You truly rocked my life. Thank you so much to Picturehouse for your passion, members of the Academy, thank you so, so much. And — wow. Well, I’m speechless now. I — I — well, I — thank you life, thank you love, and it is true, there is some angels in this city. Thank you so, so much.”
– Marion Cotillard on receiving her Oscar for “La Vie en Rose”
ACHIEVEMENT IN MUSIC WRITTEN FOR MOTION PICTURES (ORIGINAL SONG)
Glen Hansard:
Thanks! This is amazing. What are we doing here? This is mad. We made this film two years ago. We shot on two Handycams. It took us three weeks to make. We made it for a hundred grand. We never thought we would come into a room like this and be in front of you people. It’s been an amazing thing. Thanks for taking this film seriously, all of you. It means a lot to us. Thanks to the Academy, thanks to all the people who’ve helped us, they know who they are, we don’t need to say them. This is amazing. Make art. Make art. Thanks.
Marketa Irglova:
Hi everyone. I just want to thank you so much. This is such a big deal, not only for us, but for all other independent musicians and artists that spend most of their time struggling, and this, the fact that we’re standing here tonight, the fact that we’re able to hold this, it’s just to prove no matter how far out your dreams are, it’s possible. And, you know, fair play to those who dare to dream and don’t give up. And this song was written from a perspective of hope, and hope at the end of the day connects us all, no matter how different we are. And so thank you so much, who helped us along way. Thank you.
– Glen Hansard and Marketa Irglova on receiving the Oscar for “Falling Slowly”
ADAPTED SCREENPLAY
Joel Coen:
Thank you very much for this. Thank you, Scott Rudin for bringing us this novel and giving us the opportunity to make the movie. I think whatever success we’ve had in this area has been entirely attributable to how selective we are. We’ve only adapted Homer and Cormac McCarthy, so thank you.
Ethan Coen:
We, uh and thank you very much.
– Joel Coen and Ethan Coen on receiving the Oscar for “No Country for Old Men”
PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE
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Oh, no. Happy birthday, man. I have an American agent who is the spitting image of this. Really truly the same shape head and, it has to be said, the buttocks.
And I’m giving this to him because there’s no way I would be in America at all ever on a plane, if it wasn’t for him. So, Brian Swardstrom, I’m giving this to you. And Tony Gilroy walks on water, it’s entirely official as far as I’m concerned, and Jen Fox and Steve Samuels, our incredible producers.
And Sydney Pollack, and George Clooney, you know, the seriousness and the dedication to your art, seeing you climb into that rubber bat suit from “Batman & Robin,” the one with the nipples, every morning under your costume, on the set, off the set, hanging upside-down at lunch, you rock, man.
– Tilda Swinton on receiving the Oscar for “Michael Clayton”
ACHIEVEMENT IN SOUND MIXING
Scott Millan:
Would it be all right to kiss Halle Berry now? We’d like to thank the Academy, certainly, Per and Karen, just thank you, principally everybody, Frank Marshall, Pat Crowley. Our director, Paul Greengrass. Chris Rouse, our picture editor. Everybody at Universal, Per and Karen, of course. Everybody at Todd AO, our team there.
And I’d like to add one thing, kind of a somber note, this last week we lost a colleague and a friend, who was also a member of the Board of Governors here at the Academy, his name is Paul Huntsman. I would like to dedicate this to Paul. So, thank you very much.
David Parker:
Thanks to everyone who worked on sound for the film and thanks to the Academy. Thank you very much.
– Scott Millan, David Parker and Kirk Francis on receiving the Oscar for “The Bourne Ultimatum”
ACHIEVEMENT IN SOUND EDITING
Karen Baker Landers:
Oh my God, I went blank. It’s such an honor to be here. I want to thank, we want to thank the Academy. We want to thank Universal Studios.
Per Hallberg:
And the pleasure of doing something like this with filmmakers like Paul, and I’m blanking out, too.
Karen Baker Landers:
Frank Marshall
Per Hallberg:
Pat Crowley
Karen Baker Landers:
Pat Crowley
Per Hallberg:
Chris Rouse
Karen Baker Landers:
Chris Rouse. Paul Greengrass.
Per Hallberg:
You said that already.
Karen Baker Landers:
Mixers. Scott Millan, David Parker. We planned this and we blew it.
Per Hallberg:
And, anyway, most of all, we want to thank the crew that works with us every day.
Karen Baker Landers:
Yes, gosh, Chris Assells, Dan Hegeman, I know, I know, music. Thank you so much.
Per Hallberg:
Thank you, thank you.
– Karen Baker Landers and Per Hallberg on receiving the Oscar for “The Bourne Ultimatum”
PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE
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Wow. Alright, this is very amazing. It’s a great honor for me to have this. I want to & I have to speak fast here, man.
Thank you to the Coens for being crazy enough to think that I could do that and put one of the most horrible haircuts in history over my head.
Thank you for really proving my work. I want to share this with the cast, with the great Tommy Lee Jones, with the great Josh Brolin, with the great Kelly MacDonald. And I want to dedicate this to my mother, and I have to say this in Spanish, and I’m sorry…
[Speaking in Spanish]
Thank you very much!
– Javier Bardem on receiving the Oscar for “No Country for Old Men”
