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67-541: Richard Owen Fleischer ( / ˈ f l aɪ ʃ ər / ; December 8, 1916 – March 25, 2006) was an American film director whose career spanned more than four decades, beginning at the height of the Golden Age of Hollywood and lasting through the American New Wave . Though he directed films across many genres and styles, he is best known for his big-budget, "tentpole" films , including: 20,000 Leagues Under

134-496: A decade for films to adapt to sound and return to the level of artistic quality of the silents, which they did in the late 1930s when the Greatest Generation came of age. Many great works of cinema that emerged from this period were of highly regimented filmmaking. One reason this was possible is that, as so many films were made, not every one had to be a big hit. A studio could gamble on a medium-budget feature with

201-403: A film out of any of the film shot for It's All True but he was unable. Another project that did not come to fruition was a film starring Al Jolson . RKO's owner Howard Hughes was impressed by The Narrow Margin and hired Fleischer to re-write and re-shoot the majority of His Kind of Woman (1952) after he was dissatisfied with the original cut delivered by director John Farrow . Hughes

268-418: A film, he waved a light on the screen. When a majority of flashlights had voted, the film was switched off. Hoop Dreams was stopped after 15 minutes." The academy's executive director, Bruce Davis, took the unprecedented step of asking accounting firm Price Waterhouse to turn over the complete results of that year's voting, in which members of the committee had rated each of the 63 eligible documentaries on

335-401: A good script and relatively unknown actors. This was the case with Citizen Kane (1941), directed by Orson Welles and regarded as one of the greatest films of all time . Other strong-willed directors, like Howard Hawks , Alfred Hitchcock and Frank Capra , battled the studios in order to achieve their artistic visions. The apogee of the studio system may have been the year 1939, which saw

402-438: A photographed play in that the events seem to exist objectively and that cameras only give us the best view of the whole play. This treatment of space consists of four main aspects: centering, balancing, frontality, and depth. Persons or objects of significance are mostly in the center part of the picture frame and never out of focus. Balancing refers to the visual composition, i. e., characters are evenly distributed throughout

469-417: A respiratory infection at the age of 89. Japanese film director Kiyoshi Kurosawa expresses admiration for Fleischer. Nominated- Golden Raspberry Award for Worst Director Source: Golden Age of Hollywood Classical Hollywood cinema is a term used in film criticism to describe both a narrative and visual style of filmmaking that first developed in the 1910s to 1920s during the later years of

536-525: A rodeo-themed story starring Gig Young and Jean Hagen . Fleischer was chosen by Walt Disney – his father's former rival as a cartoon producer – to direct 20,000 Leagues Under the Sea (1954) starring Kirk Douglas . While in the film's post-production phase, Fleischer received an offer from Dore Schary at MGM to direct Bad Day at Black Rock , but had to turn it down because of the work still required on Leagues . He directed Violent Saturday (1955),

603-410: A scale of six to ten. "What I found," said Davis, "is that a small group of members gave zeros (actually low scores) to every single film except the five they wanted to see nominated. And they gave tens to those five, which completely skewed the voting. There was one film that received more scores of ten than any other, but it wasn't nominated. It also got zeros (low scores) from those few voters, and that

670-619: A series of projects, including Lanny Budd (from a novel by Upton Sinclair ), Don Camillo , Salvatore Guliano , Dark Angel and Sacco and Vanzetti (from a script by Edward Anhalt ), but none were made. He accepted an offer from Samuel Bronston and Philip Yordan to make The Nightrunners of Bengal in Spain, but this project fell apart when Bronston's empire collapsed. Back in Hollywood, Richard Zanuck had become head of production at Fox and offered Fleischer Fantastic Voyage (1966). It

737-472: A thriller for Buddy Adler at 20th Century Fox . It was successful, and Fox signed Fleischer to a long-term contract. He worked for this studio for the next 15 years. Fleischer's first film under his new contract with Fox was The Girl in the Red Velvet Swing (1955). He then made Bandido , a Western with Robert Mitchum . Kirk Douglas hired Fleischer to make The Vikings (1958), which

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804-472: Is a chain of cause and effect with causal agents – in classical style, events do not occur randomly. Time in classical Hollywood is continuous, linear, and uniform, since non-linearity calls attention to the illusory workings of the medium. The only permissible manipulation of time in this format is the flashback . It is mostly used to introduce a memory sequence of a character, e.g. , Casablanca . The greatest rule of classical continuity regarding space

871-565: Is also referred to as the studio era , which may also include films of the late silent era. For millennia, the only visual standard of narrative storytelling art was the theatre . Since the first narrative films in the mid-late 1890s, filmmakers have sought to capture the power of live theatre on the cinema screen. Most of these filmmakers started as directors on the late 19th-century stage, and likewise, most film actors had roots in vaudeville (e.g. The Marx Brothers ) or theatrical melodramas. Visually, early narrative films had adapted little from

938-561: Is ambiguously defined. To some, it began with The Jazz Singer , which was released in 1927, when the Interbellum Generation came of age and increased box-office profits for films as sound was introduced to feature films. To others, the era began in 1929, when the silent age had definitively ended. Most Hollywood pictures from the late 1920s to 1960s adhered closely to a genre — Western, slapstick comedy, musical, animated cartoon, and biopic (biographical picture) — and

1005-482: Is object permanence: the viewer must believe that the scene exists outside the shot of the cinematic frame to maintain the picture's realism. The treatment of space in classical Hollywood strives to overcome or conceal the two-dimensionality of film ("invisible style") and is strongly centered upon the human body. The majority of shots in a classical film focus on gestures or facial expressions (medium-long and medium shots ). André Bazin once compared classical film to

1072-457: Is particularly noted for her influence on on-screen performance techniques. Griffith's 1915 epic The Birth of a Nation , also starring Gish, was ground-breaking for film as a means of storytelling – a masterpiece of literary narrative with numerous innovative visual techniques. The film initiated so many advances in American cinema that it was rendered obsolete within a few years. Though 1913

1139-496: The 3rd Academy Awards , prior to the introduction of a documentary category, With Byrd at the South Pole won the award for Best Cinematography , becoming the first documentary both to be nominated for and win an Oscar. 1952's Navajo would become the first film nominated for both Best Documentary and Best Cinematography. Woodstock was the first documentary to be nominated for Best Film Editing while Hoop Dreams

1206-568: The Academy Award -winning documentary Design for Death (1947), the gritty noir The Narrow Margin (1952), the true-crime dramas Compulsion (1959), The Boston Strangler (1968) and 10 Rillington Place (1971), the mob action film The Don Is Dead (1973), the swashbuckler The Prince and the Pauper (1977), the 1980 remake of The Jazz Singer and the horror sequel Amityville 3-D (1983). Fleischer worked with many of

1273-523: The American Film Institute's list ranking the top 25 male and 25 female greatest screen legends of American film history. As of 2024, Sophia Loren ( 90) is the only living star. Other surviving figures who were nominated for the list include Ann Blyth (96), Claire Bloom (93), Rita Moreno (92) and Margaret O'Brien (87). Academy Award for Documentary Feature Following the academy's practice, films are listed below by

1340-420: The cross cut , which establishes the concurrence of action in different locations. Jump cuts are allowed in the form of the axial cut , which does not change the angle of shooting at all, but has the clear purpose of showing a perspective closer or farther from the subject, and therefore does not interfere with temporal continuity. Classical narration progresses always through psychological motivation, i.e., by

1407-473: The silent film era . It then became characteristic of American cinema during the Golden Age of Hollywood from about 1927, the advent of sound film , until the 1960s (perhaps till 1972, when Dolby Stereo was introduced). It eventually became the most powerful and pervasive style of filmmaking worldwide. Similar or associated terms include classical Hollywood narrative , the Golden Age of Hollywood , Old Hollywood , and classical continuity . The period

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1474-411: The "photographed play" style by creating an imaginary 180-degree axis between the viewer and the shot, allowing viewers to clearly orient themselves within the position and direction of action in a scene. According to the 30-degree rule , cuts in the angle that the scene is viewed from must be significant enough for the viewer to understand the purpose of a change in perspective. Cuts that do not adhere to

1541-414: The 1947 documentary Design for Death , co-written by Theodor Geisel (later known as Dr. Seuss), which examined the cultural forces that led to Japan's imperial expansion through World War II. Fleischer moved to Los Angeles and was assigned his first feature, Child of Divorce (1946), a vehicle for Sharyn Moffett . It was successful so Fleischer was assigned to Banjo , another Moffett vehicle, which

1608-480: The 30-degree rule, known as jump cuts , are disruptive to the illusion of temporal continuity between shots. The 180-degree and 30-degree rules are elementary guidelines in filmmaking that preceded the official start of the classical era by over a decade, as seen in the pioneering 1902 French film A Trip to the Moon . Cutting techniques in classical continuity editing serve to help establish or maintain continuity, as in

1675-517: The Academy, is it? It's 5% of the Academy." The awards process has also been criticized for emphasizing a documentary's subject matter over its style or quality. In 2009, Entertainment Weekly 's Owen Gleiberman wrote about the documentary branch members' penchant for choosing "movies that the selection committee deemed good because they're good for you... a kind of self-defeating aesthetic of granola documentary correctness." In 2014, following

1742-719: The Documentary Short Subject category) ; Rob Epstein – 2 awards ; Marvin Hier – 2 awards ; Barbara Kopple – 2 awards Mark Jonathan Harris – 2 awards Michael Moore's Fahrenheit 9/11 , at the time the highest-grossing documentary film in movie history, was ruled ineligible because Moore had opted to have it played on television prior to the 2004 election. Previously, the 1982 winner Just Another Missing Kid had already been broadcast in Canada and won that country's ACTRA award for excellence in television at

1809-569: The Oscar documentary shortlist exclusions that year, The Hollywood Reporter 's Scott Feinberg reacted to Red Army 's omission: "...no matter which 15 titles the doc branch selected, plenty of other great ones would be left on the outside. That is the case, most egregiously, with Gabe Polsky 's Red Army (Sony Classics), a masterful look at the role of sports in society and Russian-American relations ". ( Icarus , another documentary related to sports and Russian-American relations, later won

1876-644: The Oscar.) In 2017, following the win of the eight-hour O.J.: Made in America in this category, the academy announced that multi-part and limited series would be ineligible for the award in the future, even if they are not broadcast after their Oscar-qualifying release (as was O.J.: Made in America ). Various other acclaimed documentaries have not been nominated. Though Academy rules do not expressly preclude documentaries from being nominated in other competitive categories, documentaries are typically considered ineligible for nominations in categories that presume

1943-505: The Pauper (1977) was a version of the Mark Twain novel that featured Heston, Harrison and Scott in its cast. Fleischer was hired to replace Richard Sarafian on Ashanti (1979), starring Michael Caine , which turned out to be a flop. He received another call to replace a director, in this case Sidney J. Furie , on The Jazz Singer (1980), an unsuccessful attempt to make a film star out of Neil Diamond . Tough Enough (1983)

2010-543: The Sea (1954), The Vikings (1958), Barabbas (1961), Fantastic Voyage (1966), the musical film Doctor Dolittle (1967), the war epic Tora! Tora! Tora! (1970), the dystopian mystery-thriller Soylent Green (1973), the controversial period drama Mandingo (1975), and the Robert E. Howard sword-and-sorcery films Conan the Destroyer (1984) and Red Sonja (1985). His other directorial credits include

2077-581: The World War II Japanese attack on Pearl Harbor . It was his last film for 20th Century Fox. Fleischer traveled to England, where he directed the well received true-crime dramatization, 10 Rillington Place (1971) starring Richard Attenborough and John Hurt . He then replaced John Huston , who had fallen out with star George C. Scott , on The Last Run (1971). The thriller See No Evil (1971) with Mia Farrow followed. Returning to Hollywood, he made The New Centurions (1972) from

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2144-481: The announcement of the shortlist of eligible feature documentary nominees, Sony Pictures Classics co-president Tom Bernard publicly criticized Academy documentary voters after they excluded SPC's Red Army from the shortlist. "It's a sign of some really old people in the documentary area of the Academy. There's a lot of people who are really up in their years. It's shocking to me that that film ( Red Army ) didn't get in," Bernard said. Additionally, in his reporting of

2211-493: The award year (that is, the year they were released under the academy's rules for eligibility). In practice, due to the limited nature of documentary distribution, a film may be released in different years in different venues, sometimes years after production is complete. Finalists for Best Documentary Feature are selected by the Documentary Branch based on a preliminary ballot. A second preferential ballot determines

2278-434: The film as a form of storytelling. It was also the year when Yevgeni Bauer (the first true film artist, according to Georges Sadoul ) started his short, but prolific, career. In the world generally and America specifically, the influence of Griffith on filmmaking was unmatched. Equally influential were his actors in adapting their performances to the new medium. Lillian Gish , the star of film short The Mothering Heart ,

2345-416: The film industry itself, with the height of the studio system . This mode of production, with its reigning star system promoted by several key studios, had preceded sound by several years. By mid-1920, most of the prominent American directors and actors, who had worked independently since the early 1910s, had to become a part of the new studio system to continue to work. The beginning of the sound era itself

2412-655: The film; in America, this artistic change is attributed to filmmakers like D. W. Griffith finally breaking the grip of the Edison Trust to make films independent of the manufacturing monopoly. Films worldwide began to noticeably adopt visual and narrative elements which would be found in classical Hollywood cinema. 1913 was a particularly fruitful year for the medium, as pioneering directors from several countries produced films such as The Mothering Heart (D. W. Griffith), Ingeborg Holm ( Victor Sjöström ), and L'enfant de Paris ( Léonce Perret ) that set new standards for

2479-568: The first documentary and first animated film nominated for Best International Feature Film, although it was not nominated for Best Documentary Feature. The Danish-language animated documentary Flee was later nominated for Best International Feature, Best Documentary Feature, and Best Animated Feature, the first film to accomplish this feat. Nine documentaries have received nominations for Best Original Song : Mondo Cane (for Riz Ortolani and Nino Oliviero 's " More "), An Inconvenient Truth (for Melissa Etheridge 's " I Need to Wake Up ",

2546-463: The five films (including eventual winner Common Threads: Stories from the Quilt ) selected that year as nominees for an Academy Award for Best Documentary Feature. They noted that Michael Moore 's Roger & Me (distributed by Warner Brothers ) was omitted from the nominees, although it had been highly praised by numerous critics and was ranked by many critics as one of the top ten films of

2613-440: The five nominees. Prior to the 78th Academy Awards , there were twelve films shortlisted. These are the additional films that were shortlisted. For this Academy Award category, the following superlatives emerge: Arthur Cohn – 3 awards (resulting from 4 nominations) ; Simon Chinn – 2 awards ; Jacques-Yves Cousteau – 2 awards ; Walt Disney – 2 awards (resulting from 7 nominations; Disney has an additional 2 wins in

2680-472: The frame. The action is subtly addressed towards the spectator (frontality) and set , lighting (mostly three-point lighting , especially high-key lighting ), and costumes are designed to separate foreground from the background (depth). The New Hollywood of the mid-1960s to early 1980s was influenced by the romanticism of the classical era, as was the French New Wave . These were recognized on

2747-718: The licensing of Betty Boop and Koko the Clown . In June 2005, he released his memoirs of his father's career in Out of the Inkwell: Max Fleischer and the Animation Revolution . Fleischer's 1993 autobiography Just Tell Me When to Cry , described his many difficulties with actors, writers and producers. He died in 2006 at the Motion Picture and Television Country House and Hospital in his sleep of

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2814-409: The novel by Joseph Wambaugh , again starring George C. Scott. At MGM, he made the science-fiction movie Soylent Green (1973), with Charlton Heston . Three action films followed: The Don Is Dead (1973), with Anthony Quinn , plus two for Walter Mirisch : The Spikes Gang (1974), with Lee Marvin , and Mr. Majestyk (1974), with Charles Bronson , written by Elmore Leonard . Fleischer

2881-593: The only nominee from a documentary to win), Chasing Ice (for J. Ralph 's "Before My Time"), Racing Extinction (for Ralph and Anhoni 's " Manta Ray "), Jim: The James Foley Story (for Ralph and Sting 's " The Empty Chair "), Glen Campbell: I'll Be Me (for Glen Campbell and Julian Raymond 's " I'm Not Gonna Miss You "), The Hunting Ground (for Lady Gaga and Diane Warren 's " Til It Happens To You "), RBG (for Warren's "I'll Fight") and American Symphony (for Batiste's "It Never Went Away"). Documentaries nominated for their scores include This

2948-478: The reality inherent to the stage, film (unlike the stage) offers the freedom to manipulate apparent time and space, and thus create the illusion of realism – that is temporal linearity and spatial continuity. By the early 1910s, when the Lost Generation was coming of age, filmmaking was beginning to fulfill its artistic potential. In Sweden and Denmark, this period would later be known as the "Golden Age" of

3015-590: The release of such classics as The Wizard of Oz ; Gone with the Wind ; The Hunchback of Notre Dame ; Stagecoach ; Mr. Smith Goes to Washington ; Destry Rides Again ; Young Mr. Lincoln ; Wuthering Heights ; Only Angels Have Wings ; Ninotchka ; Beau Geste ; Babes in Arms ; Gunga Din ; The Women ; Goodbye, Mr. Chips ; and The Roaring Twenties . The visual-narrative style of classical Hollywood cinema, as elaborated by David Bordwell ,

3082-452: The same creative teams often worked on films made by the same studio. For instance, Cedric Gibbons and Herbert Stothart always worked on MGM films ; Alfred Newman worked at 20th Century Fox for twenty years; Cecil B. DeMille 's films were almost all made at Paramount Pictures ; and director Henry King 's films were mostly made for 20th Century Fox. Similarly, actors were mostly contract players. Film historians note that it took about

3149-415: The shortlist." Among other rule changes taking effect in 2013, the academy began requiring a documentary to have been reviewed by either The New York Times or Los Angeles Times , and be commercially released for at least one week in both of those cities. Advocating the rule change, Michael Moore said "When people get the award for best documentary and they go on stage and thank the Academy, it's not really

3216-416: The stage, and their narratives had adapted very little from vaudeville and melodrama. Before the visual style which would become known as "classical continuity", scenes were filmed in full shot and used carefully choreographed staging to portray plot and character relationships. Editing technique was extremely limited, and mostly consisted of close-ups of writing on objects for their legibility. Though lacking

3283-555: The time of its nomination. In 1990, a group of 45 filmmakers filed a protest to the Academy of Motion Picture Arts and Sciences over a potential conflict of interest involving Mitchell Block . They noted that Block was a member of the Documentary Steering Committee, which selects films as nominees, but he had a conflict of interest because his company Direct Cinema owned the distribution rights to three of

3350-497: The top Hollywood stars of his time, including: Kirk Douglas , Robert Mitchum , James Mason , Robert Wagner , Tony Curtis , Louis Jourdan , Jean Hagen , Victor Mature , Richard Egan , Ray Milland , Farley Granger , Orson Welles , Diane Varsi , Anthony Quinn , Stephen Boyd , Rex Harrison , Anthony Newley , Mia Farrow , George C. Scott , Charles Bronson , Richard Attenborough , Charlton Heston , Lee Marvin , Glenda Jackson , Eddie Deezen and Arnold Schwarzenegger . He

3417-407: The voting pool and improved his odds. Following protests by many documentarians, the nominating system subsequently was changed. Hoop Dreams director Steve James said "With so few people looking at any given film, it only takes one to dislike a film and its chances for making the short list are diminished greatly. So they've got to do something, I think, to make the process more sane for deciding

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3484-681: The will of a human character and its struggle with obstacles towards a defined goal. This narrative element is commonly composed of a primary narrative (e.g. a romance) intertwined with a secondary narrative or narratives. This narrative is structured with an unmistakable beginning, middle and end, and generally there is a distinct resolution. Utilizing actors, events, causal effects, main points, and secondary points are basic characteristics of this type of narrative. The characters in classical Hollywood cinema have clearly definable traits, are active, and very goal oriented. They are causal agents motivated by psychological rather than social concerns. The narrative

3551-423: The work is fictitious, including Best Production Design , Best Costume Design , and acting. To date, no documentaries have been nominated for Best Picture , or Best Director . The Quiet One was nominated for Best Story and Screenplay . No documentary feature has yet been nominated for Best Picture, although Chang was nominated in the "Unique and Artistic Production" category at the 1927/28 awards. At

3618-494: The year. The controversy over Hoop Dreams ' exclusion was enough to have the Academy Awards begin the process to change its documentary voting system. Roger Ebert, who had declared it to be the best 1994 movie of any kind, looked into its failure to receive a nomination: "We learned, through very reliable sources, that the members of the committee had a system. They carried little flashlights. When one gave up on

3685-697: Was a disaster. RKO agreed to loan him to Stanley Kramer and Carl Foreman , who had admired Child of Divorce , to make So This Is New York (1948) for the Kramer Company at Columbia. Back at RKO, Fleischer made The Clay Pigeon , a thriller based on a story by Foreman. His other early films were taut film noirs , such as: Bodyguard (1948), Follow Me Quietly (1949), Armored Car Robbery (1950) and The Narrow Margin (1952). Fleischer said he constantly tried to graduate to A pictures during this time. When Norman Krasna and Jerry Wald set up at RKO, they asked Fleischer to see if he could make

3752-403: Was a global landmark for filmmaking, 1917 was primarily an American one; the era of "classical Hollywood cinema" is distinguished by a narrative and visual style which began to dominate the film medium in America by 1917. The narrative and visual style of classical Hollywood style developed further after the transition to sound-film production. The primary changes in American filmmaking came from

3819-402: Was a success and revived his Hollywood career. He was entrusted with Fox's big "roadshow" musical of 1967, Doctor Dolittle (1967), with Rex Harrison . It failed to break even. Most acclaimed was The Boston Strangler (1968), with Tony Curtis . Che! (1969), a biopic of Che Guevara that starred Omar Sharif , was an expensive flop, as was Tora! Tora! Tora! (1970), an account of

3886-503: Was about the Toughman Contest starring Dennis Quaid . He made three more for De Laurentiis: Amityville 3-D (1983), Conan the Destroyer (1984) and Red Sonja (1985). The latter two were adaptations of Robert E. Howard 's Hyborian Age stories, both starring Arnold Schwarzenegger . His final theatrical feature was Million Dollar Mystery (1987). Fleischer was chairman of Fleischer Studios , which today handles

3953-649: Was born to a Jewish family in Brooklyn, the son of Essie (née Goldstein) and animator/producer Max Fleischer , a native of Kraków, Austria, now Poland. After graduating from Brown University , he went to Yale School of Drama , where he met his future wife, Mary Dickson. Fleischer served in the U.S. Army during World War II. His film career began in 1942 at the RKO studio, directing shorts, documentaries, and compilations of forgotten silent features, which he called "Flicker Flashbacks". He won an Academy Award as producer of

4020-487: Was enough to push it to sixth place." In 2000, Arthur Cohn, the producer of the winning One Day in September boasted "I won this without showing it in a single theater!" Cohn had hit upon the tactic of showing his Oscar entries at invitation-only screenings, and to as few other people as possible. Oscar bylaws at the time required voters to have seen all five nominated documentaries; by limiting his audience, Cohn shrank

4087-483: Was heavily influenced by the ideas of the Renaissance and its resurgence of mankind as the focal point. It is distinguished at three general levels: devices, systems, and the relations of systems. The devices most inherent to classical Hollywood cinema are those of continuity editing . This includes the 180-degree rule , one of the major visual-spatial elements of continuity editing. The 180-degree rule keeps with

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4154-443: Was noted for his versatility, able to work in almost any genre under wildly varying conditions and budgets, making him a popular and prolific choice for producers. Though Fleischer was never considered an auteur and was not a highly acclaimed artist, many of his films proved very financially and critically successful, winning accolades and being some of the highest-grossing features of their respective release years. Richard Fleischer

4221-436: Was pleased with the results and agreed to loan Fleischer to Stanley Kramer to make The Happy Time (1952). Fleischer was put under contract to the Kramer Company. The Happy Time was successful, and Fleischer was meant to follow it with another for Kramer and Foreman, Full of Life . However the film was never made because the partnership between Foreman and Kramer ended. He accepted an offer from MGM to make Arena ,

4288-457: Was produced independently by Douglas through his company Brynaprod (and distributed through United Artists ) and was another big hit. Back at Fox, Fleischer made Compulsion (1959), a crime drama with Orson Welles for producer Richard D. Zanuck . It was successful and earned Fleischer a Directors Guild Award nomination. Fox offered him North to Alaska (1960) with John Wayne , which Fleischer originally agreed to do, but withdrew when he

4355-534: Was reunited with De Laurentiis for the successful though controversial Mandingo (1975). The Incredible Sarah (1976), a British biopic of Sarah Bernhardt with Glenda Jackson , came next. Fleischer earned a reputation as a reliable journeyman and "replacement director", filling in when a project's original director was fired by a producer for creative differences. These included Huston in The Last Run and Michael Campus for Mandingo . The Prince and

4422-442: Was the second (although it was, controversially, not nominated for Best Documentary Feature). Woodstock is also the only documentary to receive a nomination for Best Sound . Honeyland became the first documentary to be nominated for both Best International Feature Film and Best Documentary Feature. The following year, Collective would accomplish the same double nomination. Prior to this, Waltz with Bashir became

4489-512: Was unhappy with the script. He moved to Paris where Darryl F. Zanuck asked him to make The Ballad of Red Rocks , a vehicle for Zanuck's then-girlfriend Juliette Gréco . The film was not made, but Fleischer directed two other stories for Zanuck starring Gréco: Crack in the Mirror (1960) and The Big Gamble (1961). Fleischer then signed a contract with Dino De Laurentiis to make Barabbas (1961). After this, he and De Laurentiis announced

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