Grand Prix (1966 film)

1966 film by John Frankenheimer

Grand Prix

Theatrical release poster by Howard Terpning

Directed by| John Frankenheimer
Written by| Robert Alan Aurthur
Produced by| Edward Lewis
Starring| James Garner
Eva Marie Saint
Yves Montand
Toshiro Mifune
Brian Bedford
Jessica Walter
Antonio Sabàto
Françoise Hardy
Cinematography| Lionel Lindon
Edited by| Fredric Steinkamp
Henry Berman
Stewart Linder
Frank Santillo
Music by| Maurice Jarre

Production
companies

Joel Productions
John Frankenheimer Productions
Cherokee Productions

Distributed by| Metro-Goldwyn-Mayer

Release date

* December 21, 1966 (1966-12-21)

Running time

| 176 minutes
Country| United States
Language| English
Budget| $9 million
Box office| $20.8 million[1]

Grand Prix is a 1966 American sports drama film directed by John Frankenheimer, produced by Edward Lewis, and written by Robert Alan Aurthur with uncredited story contributions by Frankenheimer and rewrites by William Hanley. It stars an international ensemble cast, including James Garner, Eva Marie Saint, Yves Montand, Brian Bedford, Jessica Walter, Françoise Hardy and Antonio Sabàto. Toshiro Mifune has a supporting role as a race team owner, inspired by Soichiro Honda. The picture was photographed in Super Panavision 70 by Lionel Lindon, and presented in 70mm Cinerama in premiere engagements. Its unique racing cinematography is one of the main draws of the film.

The film includes real-life racing footage and cameo appearances by drivers including Formula One World Champions Phil Hill, Graham Hill, Juan Manuel Fangio, Jim Clark, Jochen Rindt and Jack Brabham. Other drivers who appeared in the film include Dan Gurney, Lorenzo Bandini, Bob Bondurant, Ludovico Scarfiotti, Richie Ginther, Joakim Bonnier, Bruce McLaren and Jo Siffert.[2]

One of the ten highest-grossing films of 1966, Grand Prix won three Academy Awards for its technical achievements.[3]

## Plot

[edit]

The story follows the fate of four Formula One drivers through a fictionalized version of the 1966 Formula One season:

* Jean-Pierre Sarti (Ferrari) – A Frenchman who has been World Champion twice, is nearing the end of his career and is feeling increasingly cynical about racing itself.
* Pete Aron (first Jordan BRM, then Yamura) – An American attempting to repeat past successes and overcome his reputation as a reckless, second-tier driver; he signs with the newcomer Yamura Motors.
* Scott Stoddard (Jordan BRM) – A British driver recuperating from a bad crash that left him hospitalized; he becomes dogged by recurrent pains while dealing with the emotional turmoil of his rocky marriage.
* Nino Barlini (Ferrari) – A charismatic yet arrogant Italian racer, he's Ferrari's No. 2 driver, being a promising rookie and former world motorcycle champion.

James Garner got considerable experience behind the wheel of a rear-engined Formula car, leading to his real life sponsorship of a Formula racing team

The film's subplots revolve around the women who try to live with or love the racers with dangerous lifestyles. The married Sarti begins an affair with American magazine writer Louise Frederickson, who initially has little interest in motorsports. Aron has a brief romance with Stoddard's unhappy wife Pat while Stoddard deals with living in the shadow of his family's history, being unsure if he can live up to the prestigious racing legacy of his late brother.

The story concludes at the Italian Grand Prix, its winner likely to become World Champion. Sarti's wife Monique shows up just before it begins; she comes face-to-face with Louise and tells Sarti that she'll never grant him a divorce, even as Sarti wishes to end their unhappy union. Sarti's car has technical difficulties at the race's start, with the other drivers facing a close contest for first. Sarti is killed in a spectacular crash. In recognition, his Ferrari teammate, Barlini, is flagged off the course by team leader Manetta, resulting in a tight race between Aron and Stoddard to the finish line, Aron getting the checkered flag. While a jubilant Aron magnanimously invites Stoddard to the winner's platform to join him, the shock of Sarti's death takes its toll on the celebration. The film ends with Aron alone, walking along the circuit of the final racetrack.

## Cast

[edit]

Yves Montand as Jean-Pierre Sarti

* James Garner as Pete Aron
* Yves Montand as Jean-Pierre Sarti
* Brian Bedford as Scott Stoddard
* Antonio Sabàto as Nino Barlini
* Toshiro Mifune as Izo Yamura
* Paul Frees as Yamura's voice
* Adolfo Celi as Agostino Manetta
* Claude Dauphin as Hugo Simon
* Jack Watson as Jeff Jordan
* Donald O'Brien as Wallace Bennett
* Albert Rémy as a field doctor
* Eva Marie Saint as Louise Frederickson
* Jessica Walter as Pat Stoddard
* Françoise Hardy as Lisa
* Enzo Fiermonte as Guido
* Geneviève Page as Monique Delvaux-Sarti
* Rachel Kempson as Mrs. Stoddard
* Ralph Michael as Mr. Stoddard

## Production

[edit]

John Frankenheimer on set

Director John Frankenheimer later said when he made the film he had the "choice of making a Grand Hotel type picture or a Test Pilot type picture" and he chose the former.[4] Swedish actress Harriet Andersson was originally cast as the female lead, but was replaced by Eva Marie Saint after the first week of filming.[5]

The making was a race itself as fellow Hollywood icons Steve McQueen and John Sturges planned to make a similar movie exploring the life of racers, with the McQueen/Sturges team initially using the title Day of the Champion.[6] Due to the McQueen/Sturges production's exclusivity contract with the German Nürburgring race track, Frankenheimer had to turn over 27 reels shot there to Sturges. Frankenheimer got ahead in schedule terms anyway, however, and McQueen's project ran into a wide variety of problems. His racing film, entitled Le Mans, was released in 1971.

The production team began by using connections to Grand Prix drivers such as Dan Gurney, Carroll Shelby and former Grand Prix World Champion Phil Hill, who all assisted them in trying to break through an otherwise reluctant European establishment. The filming process meant disrupting vital practice runs and otherwise getting in the way of the actual racers' activities. The Grand Prix team initially faced a particularly lukewarm response from Ferrari, with the firm concerned that the movie would overly sensationalize their work. Frankenheimer spliced together approximately thirty minutes of detailed footage after filming in Monte Carlo, temporarily halted the movie's production, and sent the short piece over to the company's management. He received such a positive response that he gained unprecedented access, being allowed to shoot inside Ferrari's production floor alongside the real racing vehicles. The director used this budding relationship to push other entities to help with the film-making process. Many real-life drivers of the era ended up making cameo appearances in Grand Prix, several even briefly speaking alongside the actors.[7]

Filming on the streets of Royat, which stood in for Monaco in some scenes;[8] James Garner is driving the following car

The F1 cars in the film are mostly mocked-up Formula Three cars made to look like contemporary Formula One models, although the film also used footage from actual F1 races.[9] Because Yamura Motors is a fictional race team, the producers struck a deal with Bruce McLaren's newly formed McLaren team to have his car, the McLaren M2B, painted with Yamura's colors.[10] The paint scheme used was designed to resemble that used on the contemporary Honda RA272 cars competing during this period. On two occasions, because the McLaren could not take part in these races, another car was painted in the same colours: Bob Bondurant's BRM at Spa, and at Zandvoort for the Dutch GP, the Lotus 25 BRM entered by Reg Parnell for Mike Spence.

Some of the footage was captured by Phil Hill, the 1961 World Champion, who drove a modified camera car in some sessions during the actual 1966 Monaco and Belgian Grands Prix.[11] In order to realistically film the racing cars at speed, the camera car used for much of this filming was a Ford GT40,[12][13] a fast and powerful endurance racing car of the same type that dominated races such as the 24 Hours of Le Mans during the last half of the 1960s. This was some of the earliest experimentation with in-car cameras for F1, particularly in terms of first-person shots aimed at putting the audience in the position of the racers.[7]

The actual level of driving ability possessed by the movie's actors varied wildly. Bedford could not drive at all and was only ever in the car for close-up type shots, with the production's driving instructor calling the actor's situation "hopeless". Montand and Sabàto faced significant challenges, both of them struggling with even basic skills. Garner, on the other hand, proved competent enough that he trained exclusively with iconic Shelby Cobra driver Bob Bondurant, with the actor's interest in cars growing greatly as a direct result of his involvement in the film. Garner's talents on the road became strong enough that some of the professional drivers, including Bondurant, remarked that the actor could have been a successful Grand Prix driver if he had not gone into making films; in fact, Garner went on to sponsor his own Formula racing team, captured in the 1969 documentary The Racing Scene. His devotion to the part in Grand Prix caused him to do his own stunt in the scene in which a fuel leak in his vehicle sets it on fire.[7] Garner's car was fitted with a higher rollbar and had no seat, since he was too tall to fit in a contemporary F3 car.

The blue and red helmet design that James Garner's character uses is often confused with that of then-Grand Prix race driver Chris Amon from New Zealand; the colours are reversed. Brian Bedford's character’s design was the same as real life 1966 BRM driver Jackie Stewart. As Bedford couldn't drive, this was done so that they could shoot footage of Stewart driving the BRM (with a balaclava over his face to hide that it wasn't Bedford). Sarti's helmet was John Surtees', and Barlini's was Lorenzo Bandini's.

Yves Montand (sitting in the Ferrari) on set

Circuits featured in the film include Circuit de Monaco (Monaco), Clermont-Ferrand (France), Circuit de Spa-Francorchamps (Belgium), Circuit Park Zandvoort (Netherlands), Brands Hatch (United Kingdom),[14] and Autodromo Nazionale Monza (Italy). The Nürburgring (West Germany), Watkins Glen International (USA), and the Autódromo Hermanos Rodríguez (Mexico) were all mentioned in the film but there was no footage shown.

The camera cars used during actual GP races were a Lotus 25 Climax at Monaco and a McLaren M2B Ford at Spa, both driven by 1961 F1 World Champion Phil Hill. A camera was mounted at the front only at Monaco, and an additional one filming the driving wheel was in place at Spa. Aerial shots were filmed from an Alouette III helicopter. These shots were taken so close to the actual roads that the cameraman's shoes became stained with bits of greenery from the tips of nearby trees.[7] Several other camera cars were used during the shooting of staged races, including a modified Ford GT40 and an AC Cobra.

Although making various technological innovations in their filmmaking, numerous difficulties bogged down the movie's production. During filming with wet roads, several cars lost control to the point that one driver broke his shoulder bone and another nearly careened into the upstairs window of a house. The production team often decided to include unplanned accidents caught on film in the final movie, coming back hours later to shoot before-and-after scenes so that things fit in the final cut. For major accidents that were part of the story-line, the crew constructed a special cannon-like device that could fire gutted cars a considerable distance.[7]

Title designer Saul Bass was credited as visual consultant, montages and titles. He made extensive use of multiple split screens.[15][16] During the making of the film, both Frankenheimer and Garner were interviewed by television personality Alan Whicker for the BBC series Whicker's World.[7]

## Reception

[edit]

### Box office

[edit]

The film grossed $20.8 million in the United States and Canada. It was one of the ten highest-grossing films of 1966. Theatrical rentals generated $9.3 million for the studio.[1][17][18]

### Critical

[edit]

Upon its 1966 release, New York Times critic Bosley Crowther called the film "a smashing and thundering compilation of racing footage shot superbly at the scenes of the big meets around the circuit, jazzed up with some great photographic trickery ... Mr. Frankenheimer belts you with such a barrage of magnificent shots of the racing cars, seen from every angle and every possible point of intimacy, that you really feel as though you've been in it. The octane pace race editing, interspersed with proper high speed car-to-car camera angles; long drivers' Point-of-View (POV) angles (try to stop your head moving in sync with the turns...); and a revolutionary split-screen device motif, further introducing car racing footage not seen before in modern film. Furthermore, the director and Saul Bass fill that mammoth screen from time to time with these split-screens and montages that made the racing sequences fairly jump with pure octane . Triple and quadruple panels and even screen-filling checkerboards ... hit the viewer with stimulations that optically generate a sort of intoxication with racing. It's razzle-dazzle of a random sort, but it works."[16] However, Crowther concluded "the big trouble with this picture ... is that the characters and their romantic problems are stereotypes and clichés... You come away with the feeling that you've seen virtually everything there is to see in grand-prix racing, except the real guys who drive those killer cars."

Variety called the film "one of those rare pictures that draws its basic strength, excitement and interest-arresting potential through the visual (the pure art of cinema) and if it lacked brilliant virtuosity in the action department it would be just another flimflam."[19] Philip K. Scheuer of the Los Angeles Times called it "the new, definitive, great film about auto racing", adding that after three hours "if one emerged with the feeling that maybe there has been just too much, here is one case in which I can state happily that it is better than too little."[20] Leo Sullivan of The Washington Post wrote, "John Frankenheimer's 'Grand Prix' is brought alive with cinematic innovations and is frequently set ablaze with excitement."[21] Brendan Gill of The New Yorker described the film as "big, brave, eye-bedazzling, earsplitting, and sometimes almost heart-stopping."[22] The Monthly Film Bulletin wrote, "The cars, of course, steal all the thunder, but one is a little disappointed to find the drivers and their private lives so little elevated beyond the level of pulp fiction. Still, as a spectacle Grand Prix is on the whole such a success that the fact it isn't anything more than a spectacle hardly matters."[23]

Forty-five years later, upon its release on Blu-ray Disc, The New York Times reviewed the film again, with Dave Kehr saying in 2011 "considered purely from a technical point of view, the new disc is a beauty, with crisp, richly textured images that do justice to the original 65-millimeter Super Panavision format, and a roaringly dimensional soundtrack ... As a movie, though, Grand Prix was never that grand. First shown as a reserved-seat, road-show attraction in Cinerama theaters, it is little more than a 176-minute version of the roller-coaster ride This Is Cinerama that introduced the format in 1952, a high-speed tour of the principal stops on the Formula One tour, with the spectator, as often as possible, strapped into the driver's seat."[3]

## Accolades

[edit]

At the 39th Academy Awards, Grand Prix won Oscars for Best Sound Effects (Gordon Daniel), Best Film Editing and Best Sound (Franklin Milton).[24] John Frankenheimer was nominated for Outstanding Directing by the Directors Guild of America.

## See also

[edit]

* Le Mans (film)
* The Racing Scene
* Rush (2013 film)
* Ford v Ferrari
* F1 (film)

## References

[edit]

1. ^ a b "Grand Prix, Box Office Information". The Numbers. Archived from the original on June 16, 2013. Retrieved April 16, 2012.
2. ^ Grand Prix (1966) – Full cast and crew Archived July 28, 2018, at the Wayback Machine. IMDb
3. ^ a b Kehr, Dave (May 20, 2011). "Start Your High-Def Engines". The New York Times. Archived from the original on June 4, 2011. Retrieved September 5, 2011.
4. ^ Mann, R. (September 26, 1982). "FRANKENHEIMER SPEEDS ON". Los Angeles Times. ProQuest 153254062.
5. ^ "Interview of Edward Lewis". Static.library.ucla.edu. Retrieved June 12, 2024.
6. ^ My Husband, My Friend, Neile McQueen Toffel, A Signet Book, 1986 Archived May 15, 2008, at the Wayback Machine. thesandpebbles.com
7. ^ a b c d e f Pushing the Limit: The Making of Grand Prix (DVD). New Wave Entertainment Television. Retrieved October 24, 2011.
8. ^ "Puy-de-Dôme: when Yves Montand and Françoise Hardy were shooting "Grand Prix" at the Charade circuit". Franceinfo. September 18, 2018.
9. ^ Armstrong, Stephen B., ed. (March 22, 2013). John Frankenheimer: Interviews, Essays, and Profiles. Scarecrow Press. p. 102\. ISBN 978-0810890565. "The only race shoot that did not occur at a "live" race weekend was the film's French Grand Prix. The real French race in 1966 was held at the flat and featureless Reims circuit, and so Frankenheimer staged a mock race at Clermont-Ferrand, which allowed the luxury of time to fill in many of the story elements and flesh out some of the characters."
10. ^ "Action! McLaren At The Movies". McLaren Racing. McLaren.com. May 23, 2016. Retrieved May 4, 2024. "Frankenheimer's artistic license. . . helps to explain why McLaren's first Formula 1 car appeared in white and green – a livery not usually associated with the marque."
11. ^ "Phil Hill". Motor Sport magazine archive. Retrieved February 23, 2016.
12. ^ "1965 FORD GT40 Mk1". Racecarsdirect.com. August 28, 2023.
13. ^ Ronnie Spain. "FORD GT40 P/1027 : A STATEMENT OF SUMMARY HISTORY" (PDF). Rmd.be. Retrieved June 12, 2024.
14. ^ Kent Film Office (December 21, 1966). "Kent Film Office Grand Prix Article". Archived from the original on September 16, 2015. Retrieved September 16, 2015.
15. ^ Perkins, Will. "Grand Prix". www.artofthetitle.com. Archived from the original on June 13, 2019. Retrieved August 17, 2019.
16. ^ a b Crowther, Bosley (December 22, 1966). "Flag Is Down at Warner for Grand Prix: Drama of Auto Racers Stars Yves Montand". The New York Times. Archived from the original on April 18, 2019. Retrieved April 17, 2019.
17. ^ Finler, Joel Waldo (2003). The Hollywood Story. Wallflower Press. pp. 358–359. ISBN 978-1-903364-66-6.
18. ^ Beaupre, Lee (May 15, 1968). "Rising Skepticism On Stars". Variety. p. 1.
19. ^ "Film Reviews: Grand Prix". Variety. December 28, 1966. 6.
20. ^ Scheuer, Philip K. (December 23, 1966). "'Grand Prix' in Driver's Seat". Los Angeles Times. Part IV, p. 5.
21. ^ Sullivan, Leo (May 25, 1967). "'Grand Prix' Is Exciting Spectacle". The Washington Post. K2.
22. ^ Gill, Brendan (December 31, 1966). "The Current Cinema". The New Yorker. 60.
23. ^ "Grand Prix". The Monthly Film Bulletin. 34 (399): 57. April 1967.
24. ^ "The 39th Academy Awards (1967) Nominees and Winners". oscars.org. Archived from the original on November 10, 2014. Retrieved August 24, 2011.

## External links

[edit]

* Grand Prix at IMDb
* Grand Prix at the TCM Movie Database
* Grand Prix at the AFI Catalog of Feature Films
* Grand Prix at Rotten Tomatoes
* Grand Prix at AllMovie

* v
* t
* e

Works directed by John Frankenheimer

Feature films|

* The Young Stranger (1957)
* The Young Savages (1961)
* All Fall Down (1962)
* Birdman of Alcatraz (1962)
* The Manchurian Candidate (1962)
* Seven Days in May (1964)
* The Train (1964)
* Seconds (1966)
* Grand Prix (1966)
* The Fixer (1968)
* The Extraordinary Seaman (1969)
* The Gypsy Moths (1969)
* I Walk the Line (1970)
* The Horsemen (1971)
* The Iceman Cometh (1973)
* Impossible Object (1973)
* 99 and 44/100% Dead (1974)
* French Connection II (1975)
* Black Sunday (1977)
* Prophecy (1979)
* The Challenge (1982)
* The Holcroft Covenant (1985)
* 52 Pick-Up (1986)
* Dead Bang (1989)
* The Fourth War (1990)
* Year of the Gun (1991)
* The Island of Dr. Moreau (1996)
* Ronin (1998)
* Reindeer Games (2000)

Television|

* Portrait in Celluloid (1955)
* Forbidden Area (1956)
* The Troublemakers (1957)
* The Thundering Wave (1957)
* The Last Tycoon (1957)
* The Violent Heart (1958)
* Rumors of Evening (1958)
* Bomber's Moon (1958)
* A Town Has Turned to Dust (1958)
* For Whom the Bell Tolls (1959)
* The Turn of the Screw (1959)
* Against the Wall (1994)
* The Burning Season (1994)
* Andersonville (1996)
* George Wallace (1997)
* Path to War (2002)

* v
* t
* e

Cinerama

Films|

| Three-panel|

* This Is Cinerama (1952)
* Cinerama Holiday (1955)
* Seven Wonders of the World (1956)
* Search for Paradise (1957)
* South Seas Adventure (1958)
* Windjammer (1958)
* The Wonderful World of the Brothers Grimm (1962)
* Holiday in Spain (1962)
* How the West Was Won (1962)
* The Best of Cinerama (1963)
* Cinerama's Russian Adventure (1966)

|

70 mm|

* It's a Mad, Mad, Mad, Mad World (1963)
* Circus World (1964)
* Mediterranean Holiday (1964)
* The Greatest Story Ever Told (1965)
* The Hallelujah Trail (1965)
* Battle of the Bulge (1965)
* Khartoum (1966)
* Grand Prix (1966)
* Custer of the West (1967)
* 2001: A Space Odyssey (1968)
* Ice Station Zebra (1968)
* Krakatoa, East of Java (1969)
* Song of Norway (1970)
* The Great Waltz (1972)

Fisheye|

* To the Moon and Beyond (1964)

Venues|

| Present|

* Cinerama Dome
* Pictureville Cinema
* Seattle Cinerama

|

Former|

* Indian Hills Theater

People|

* Merian C. Cooper
* Hazard E. Reeves
* Lowell Thomas
* Mike Todd

Related|

* Cinemiracle
* Cinerama Adventure
* Cinerama Releasing Corporation
* Kinopanorama
* Multi-image
* Polyvision
* Super Panavision 70
* Ultra Panavision 70
* Todd-AO process
* Waller Gunnery Trainer

* v
* t
* e

Bryna Productions

Presidents|

* Kirk Douglas (Filmography) (1949–1982)
* Anne Douglas (1982–1989)
* Peter Douglas (1989–1996)

Vice-Presidents and General Managers|

* William Schorr (1952–1955)
* Norman A. Cook (1955)
* Jerry Bresler (1955–1958)
* Edward Lewis (1958–1966)
* Eleanor Wolquitt (1966–1968)
* Norman Kurland (1968–1970)
* Anne Douglas (1970–1982)

Key Executives|

* Allan Balter
* Joseph A. Barry
* Myer P. Beck
* Barney Briskin
* George M. Cahan
* Eric Douglas
* Joel Douglas
* Michael Douglas
* Charles K. Feldman
* James B. Harris
* Charles Levy
* Stanley Margulies
* Martin Melcher
* Seymour Poe
* Norman Retchin
* Milton Shapiro
* Robert Siodmak
* Linn Unkefer
* David E. Weshner

Films|

* The Indian Fighter (1955)
* Spring Reunion (1956)
* Lizzie (1957)
* The Careless Years (1957)
* Ride Out for Revenge (1957)
* Paths of Glory (1957)
* The Vikings (1958)
* The Devil's Disciple (1959)
* Last Train from Gun Hill (1959)
* Spartacus (1960)
* Strangers When We Meet (1960)
* The Last Sunset (1961)
* Lonely Are the Brave (1962)
* The List of Adrian Messenger (1963)
* Seven Days in May (1964)
* Seconds (1966)
* Grand Prix (1966)
* The Brotherhood (1968)
* Summertree (1971)
* A Gunfight (1971)
* The Light at the Edge of the World (1971)
* To Catch a Spy (1971)
* Scalawag (1973)
* Posse (1975)
* One Flew Over the Cuckoo's Nest (1975)
* The Final Countdown (1980)
* Something Wicked This Way Comes (1983)
* Tough Guys (1986)

Television|

* King of the Vikings (1957)
* Tales of the Vikings (1959–1960)
* Dr. Jekyll and Mr. Hyde (1973)
* Draw! (1984)
* Amos (1985)
* Sperry Goes Hollywood (1986)

Stage|

* One Flew Over the Cuckoo's Nest (1963–1964)

Subsidiaries|

* Bryna Corporation
* Bryna Industries
* Bryna International
* Brynaprod
* Cameron Productions
* Douglas and Lewis Productions
* Eric Productions
* Joel Productions
* Michael Productions
* Peter Vincent Music
* Public Relations Consultants
* TBC Merger
* The Brotherhood Company
* The Bryna Company

Affiliates|

* Aspen Productions
* Astral Film Productions
* Barbizon Productions
* Barcarola
* Bigstick Productions
* Capitole Films
* Cayuga Productions
* Cherokee Productions
* Columbia Broadcasting System
* Curtleigh Productions
* Douglas/Reuther Productions
* Edward Lewis Productions
* Fantasy Films
* Film Finance Group
* Further Films
* Gibraltar Productions
* Harris-Kubrick Pictures
* Harvest Productions
* Hecht-Hill-Lancaster Films
* Inex Film
* Jet Films
* Jerry Bresler Productions
* John Frankenheimer Productions
* Les Films de la Pléiade
* Ludgate Films
* Martin Ritt Productions
* The Mirisch Corporation
* Oceania Produzioni Internazionali Cinematografiche
* Polyc International
* Quine Productions
* Rizzoli Films
* Seven Arts Productions
* Silver Screen Partners II
* The Stone Group
* Stonebridge Entertainment
* Thoroughbred Productions
* Touchstone Pictures
* Triumfilms
* Vincent Pictures
* Vulcano Film
* Wallis-Hazen Productions
* Walt Disney Productions
* Winters/Rosen Productions
* Zeeuwse Maatschappij
* Zwaluw

Distributors|

* Buena Vista
* Columbia Broadcasting System
* Columbia Pictures
* Home Box Office
* Metro-Goldwyn-Mayer
* NBC
* National General Pictures
* Paramount Pictures
* Rank Film Distributors
* United Artists
* United Artists Records
* United Artists Television
* Universal-International Pictures

* v
* t
* e

Academy Award for Best Sound Editing

Sound Effects
1963–1967|

* Walter Elliott (1963)
* Norman Wanstall (1964)
* Treg Brown (1965)
* Gordon Daniel (1966)
* John Poyner (1967)

Sound Effects Editing
1982–1999|

* Charles L. Campbell and Ben Burtt (1982)
* Jay Boekelheide (1983)
* Kay Rose (1984)
* Charles L. Campbell and Robert Rutledge (1985)
* Don Sharpe (1986)
* Stephen Hunter Flick and John Pospisil (1987)
* Charles L. Campbell and Louis Edemann (1988)
* Ben Burtt and Richard Hymns (1989)
* Cecelia Hall and George Watters II (1990)
* Gary Rydstrom and Gloria S. Borders (1991)
* Tom McCarthy and David E. Stone (1992)
* Gary Rydstrom and Richard Hymns (1993)
* Stephen Hunter Flick (1994)
* Lon Bender and Per Hallberg (1995)
* Bruce Stambler (1996)
* Christopher Boyes and Tom Bellfort (1997)
* Gary Rydstrom and Richard Hymns (1998)
* Dane A. Davis (1999)

Sound Editing
2000–2019|

* Jon Johnson (2000)
* George Watters II and Christopher Boyes (2001)
* Ethan Van der Ryn and Mike Hopkins (2002)
* Richard King (2003)
* Randy Thom and Michael Silvers (2004)
* Mike Hopkins and Ethan Van der Ryn (2005)
* Bub Asman and Alan Robert Murray (2006)
* Karen Baker Landers and Per Hallberg (2007)
* Richard King (2008)
* Paul N. J. Ottosson (2009)
* Richard King (2010)
* Eugene Gearty and Philip Stockton (2011)
* Per Hallberg and Karen Baker Landers / Paul N. J. Ottosson (2012)
* Glenn Freemantle (2013)
* Alan Robert Murray and Bub Asman (2014)
* Mark Mangini and David White (2015)
* Sylvain Bellemare (2016)
* Richard King and Alex Gibson (2017)
* John Warhurst and Nina Hartstone (2018)
* Donald Sylvester (2019)

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