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1963 Oscars:
The 1963 Academy Awards were presented April 13, 1964 at the Santa Monica Civic Auditorium.
| Best Picture | America, America, Elia Kazan, producer (Warner Bros.) |
| Cleopatra, Walter Wanger, producer (Twentieth Century-Fox) |
| How the West Was Won, Bernard Smith, producer (MGM) |
| Lilies of the Field, Ralph Nelson, producer (United Artists) | | Tom Jones, Tony Richardson, producer (United Artists-Lopert Pictures) |
| Best Actor | Albert Finney, Tom Jones |
| Richard Harris, This Sporting Life |
| Rex Harrison, Cleopatra |
| Paul Newman, Hud |
| Sidney Poitier, Lilies of the Field | |
| Best Actress | Leslie Caron, The L-Shaped Room |
| Shirley MacLaine, Irma La Douce |
| Patricia Neal, Hud |
| Rachel Roberts, This Sporting Life | | Natalie Wood, Love With the Proper Stranger |
| Actor in a Supporting Role | Nick Adams, Twilight of Honor |
| Bobby Darin, Captain Newman, M.D. |
| Melvyn Douglas, Hud |
| Hugh Griffith, Tom Jones | | John Huston, The Cardinal |
| Actress in a Supporting Role | Diane Cilento, Tom Jones |
| Dame Edith Evans, Tom Jones |
| Joyce Redman, Tom Jones |
| Margaret Rutherford, The V.I.P.s | | Lilia Skala, Lilies of the Field |
| Directing | Federico Fellini, Federico Fellini's 81/2 |
| Elia Kazan, America, America |
| Otto Preminger, The Cardinal |
| Tony Richardson, Tom Jones | | Martin Ritt, Hud |
| Writing |
| Screenplay Based on Material From Another Medium | Serge Bourguigon and Antoine Tudal, Sundays and Cybèle |
| Richard Breen, Phoebe Ephron and Henry Ephron, Captain Newman, M.D. |
| John Osborne, Tom Jones |
| James Poe, Lilies of the Field | | Irving Ravetch and Harriet Frank, Jr., Hud |
| Story and Screenplay Written Directly for the Screen | Carlo Bernari, screenplay, The Four Days of Naples |
| Pasquale Festa Campanile, Massimo Franciosa, Vasco Pratolini and Nanni Loy, story; Pasquale Festa Campanile, Massimo Franciosa, Nanni Loy and James R. Webb, How the West Was Won |
| Federico Fellini, Ennio Flaiano, Tullio Pinelli and Brunello Rondi, Federico Fellini's 81/2 |
| Elia Kazan, America, America | | Arnold Schulman, Love With the Proper Stranger | |
| Cinematography |
| Black-and-White | Lucien Ballard, The Caretakers |
| George Folsey, The Balcony |
| Ernest Haller, Lilies of the Field |
| James Wong Howe, Hud | | Milton Krasner, Love With the Proper Stranger |
| Color | William H. Daniels, Milton Krasner, Charles Lang, Jr. and Joseph LaShelle, How the West Was Won |
| Joseph LaShelle, Irma La Douce |
| Ernest Laszlo, It's a Mad, Mad, Mad, Mad World |
| Leon Shamroy, The Cardinal | | Leon Shamroy, Cleopatra | |
| Art Direction |
| Black-and-White | Gene Callahan, art direction, America, America |
| George W. Davis and Paul Groesse, art direction; Henry Grace and Hugh Hunt, set decoration, Twilight of Honor |
| Piero Gherardi, art direction, Federico Fellini's 81/2 |
| Hal Pereira and Tambi Larsen, art direction; Sam Comer and Robert Benton, set decoration, Hud | | Hal Pereira and Roland Anderson, art direction; Sam Comer and Grace Gregory, set decoration, Love With the Proper Stranger |
| Color | Ralph Brinton, Ted Marshall and Jocelyn Herbert, art direction; Josie MacAvin, set decoration, Tom Jones |
| George W. Davis, William Ferrari and Addison Hehr, art direction; Henry Grace, Don Greenwood, Jr. and Jack Mills, set decoration, How the West Was Won |
| John DeCuir, Jack Martin Smith, Hilyard Brown, Herman Blumenthal, Elven Webb, Maurice Pelling and Boris Juraga, art direction; Walter M. Scott, Paul S. Fox and Ray Moyer, set decoration, Cleopatra |
| Hal Pereira and Roland Anderson, art direction; Sam Comer and James Payne, set decoration, Come Blow Your Horn | | Lyle Wheeler, art direction; Gene Callahan, set decoration, The Cardinal | |
| Sound | Columbia Studio Sound Dept., Bye Bye Birdie |
| MGM Studio Sound Dept., How the West Was Won |
| Samuel Goldwyn Studio Sound Dept., It's a Mad, Mad, Mad, Mad World |
| Twentieth Century-Fox Studio Sound Dept. and Todd-AO Sound Dept., Cleopatra | | Universal City Studio Sound Dept., Captain Newman, M.D. |
| Music |
| Song | “Call Me Irresponsible,” Papa's Delicate Condition, James Van Heusen, music; Sammy Cahn, lyrics |
| “Charade,” Charade, Henry Mancini, music; Johnny Mercer, lyrics |
| “It's a Mad, Mad, Mad, Mad World,” It's a Mad, Mad, Mad, Mad World, Ernest Gold, music; Mack David, lyrics |
| “More,” Mondo Cane, Riz Ortolani and Nino Oliviero, music; Norman Newell, lyrics | | “So Little Time,” 55 Days at Peking, Dimitri Tiomkin, music; Paul Francis Webster, lyrics |
| Musical Score, Substantially Original | John Addison, Tom Jones |
| Ernest Gold, It's a Mad, Mad, Mad, Mad World |
| Alfred Newman and Ken Darby, How the West Was Won |
| Alex North, Cleopatra | | Dimitri Tiomkin, 55 Days at Peking |
| Scoring of Music, Adaptation or Treatment | George Bruns, The Sword in the Stone |
| John Green, Bye Bye Birdie |
| Maurice Jarre, Sundays and Cybèle |
| André Previn, Irma La Douce | | Leith Stevens, A New Kind of Love | |
| Film Editing | Frederic Knudtson, Robert C. Jones and Gene Fowler, Jr., It's a Mad, Mad, Mad, Mad World |
| Harold F. Kress, How the West Was Won |
| Louis R. Loeffler, The Cardinal |
| Dorothy Spencer, Cleopatra | | Ferris Webster, The Great Escape |
| Costume Design |
| Black-and-White | Piero Gherardi, Federico Fellini's 81/2 |
| Edith Head, Love With the Proper Stranger |
| Edith Head, Wives and Lovers |
| Bill Thomas, Toys in the Attic | | Travilla, The Stripper |
| Color | Donald Brooks, The Cardinal |
| Edith Head, A New Kind of Love |
| Walter Plunkett, How the West Was Won |
| Irene Sharaff, Vittorio Nino Novarese and Renie, Cleopatra | | Piero Tosi, The Leopard | |
| Special Effects | Ub Iwerks, The Birds | | Emil Kosa, Jr., Cleopatra |
| Sound Effects | (Not necessarily given each year) |
| Robert L. Bratton, A Gathering of Eagles | | Walter G. Elliott, It's a Mad, Mad, Mad, Mad World |
| Short Subjects |
| Cartoon | Automania 2000 (Halas and Batchelor Production; Pathé Contemporary Films) |
| The Critic (Pintoff-Crossbow Productions; Columbia) |
| The Game (Igra) (Zagreb Film; Rembrandt Films-Film Representations) |
| My Financial Career (National Film Board of Canada; Walter Reade-Sterling-Continental Distributing) | | Pianissimo (Carmen D'Avino Production; Cinema 16) |
| Live Action | The Concert (James A. King Corp.; George K. Arthur-Go Pictures) |
| Home-Made Car, BP (North American) Ltd.; Lester A. Schoenfeld Films) |
| An Occurrence at Owl Creek Bridge (Films du Centaure-Filmartic; Cappagariff-Janus Films) |
| Six-Sided Triangle (Milesian Film Production, Ltd.; Lion International Films) | | That's Me (Stuart Productions; Pathé Contemporary Films) | |
| Documentary |
| Short Subject | Chagall (Auerbach Film Enterprises, Ltd.-Flag Films; Union Films) |
| The Five Cities of June (George Stevens, Jr., producer; U.S. Information Agency) |
| The Spirit of America (Algernon G. Walker, producer; Spotlight News, Inc.) |
| Thirty Million Letters (Edgar Anstey, producer; British Transport Films) | | To Live Again (Wilding, Inc.; St. Barnabas Hospital, Bronx, N.Y.) |
| Feature | Robert Frost: A Lover's Quarrel With the World (WGBH Educational Foundation; Holt, Reinhart and Winston, Inc.) |
| Le Maillon et la Chaine (The Link and the Chain) (Paul de Roubaix, producer; Films Du Centaure-Filmartic) |
| Terminus (Edgar Anstey, producer; British Transport Films) | | The Yanks Are Coming (Marshall Flaum, producer; David L. Wolper Productions) | |
| Foreign Language Film | Federico Fellini's 81/2, Italy |
| Knife in the Water, Poland |
| Los Tarantos, Spain |
| The Red Lanterns, Greece | | Twin Sisters of Kyoto, Japan |
| Irving G. Thalberg Memorial Award | Sam Spiegel |
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