“Just Another example of Los Angeles The Goat To be. The Oscars is In Hollywood Los Angeles Tomorrow Night. If you Have all The Stars in Los Angeles why do The Oscors else where?” for your information the Oscars have some thing to do with movies and the Academy Award some thing to do with Music and they all are call entertainment And They all are mostly run In Los Angeles. The capital Of Entertainment” Do you have something to say about that? The last time I checked Los Angeles was the city of Angeles. continu to read
In 1949, the ceremonies were held in their strangest and most mysterious venue. Only days before the show, AMPAS announced that they would be holding the Oscars not on a soundstage as they planned, but in the “Academy Awards Theater” at their headquarters on Wilshire Boulevard in West Hollywood. Since the theater only sat 950 people, attendance was limited to “nominees, studio personnel involved with presentations and the press.”
In 1953, AMPAS finally allowed their arch-rival, television, to broadcast the show.
Officially, AMPAS claimed they had made the decision so they could put more of their money into cultural and educational programs. They were supposedly pleased with the decision, stating, “It has always been hoped to center activities of the organization in its own establishment.” According to film historian Robert Osborne, this was a bunch of malarkey. The sudden change was the direct result of the growing distrust of the studio system:
The major Hollywood studios—MGM, 20th Century Fox, Warner Bros., Paramount and RKO Radio—had withdrawn their financial support of the awards in order to remove rumors that they had been trying to exert their influence on voters. The new, shrunken seating capacity made it impossible to accommodate more than a fraction of those who hoped to attend, and the last-minute withdrawal of studio support had left no time for Academy officials to raise the needed funds to rent a larger location.
This experiment seems to have been a dismal failure. In 1950, the Oscars moved to the B. Marcus Priteca-designed Pantages Theatre in Hollywood, where they would stay for 10 years.
In 1953, AMPAS finally allowed their arch-rival, television, to broadcast the show. Millions of viewers across the country watched as Bob Hope hosted the proceedings from the palatial Art Deco theater. According to the LA Times, the interior of the Pantages reflected the change:
The stage was banked with flowers and plants and surmounted by Roman columns and a large Oscar as usual but something new had been added. At the back of the stage stood a giant TV screen, and smaller ones were scattered strategically throughout the auditorium. On all these screens the business on stage was repeated ad infinitum.
In 1961, the show moved again, this time to the new Welton Becket-designed Santa Monica Civic Auditorium, far from what most considered the heartbeat of Hollywood. “Interest in the Oscar and the awards continued to grow,” Robert Osborne writes in his book 80 Years of Oscar. “Simultaneously, the audience capacity at the Pantages…had been reduced…and after investigation, no other auditorium in the area was found by the Academy to be either big enough or available on the dates required.” Much to everyone’s surprise, the far-flung venue was a hit, according to the LA Times:
The Civic Auditorium in the Bay City proved to be the most spacious and commodious of the academy’s several one night stands down through the years. A looming expanse just a shell’s throw from the blue Pacific…of steel, glass, concrete, gala banners and welcoming red carpets. But the early night chill seeping in from the sea cast no damper on the proceedings taking place in this modern, sloping, pillarless (nobody sat behind a post) amphitheater packed with industry notables.
The Awards would stay at the Civic for most of the 1960s. In 1969, they moved to the theater most people now associate with the Oscars—the Dorothy Chandler Pavilion at the Music Center in Downtown Los Angeles. Opened in 1964, the Pavilion was designed by Civic Auditorium architect Welton Becket in the New Formalism style.
In 1969, Downtown welcomed Hollywood with open arms, proclaiming the ceremony was back “after 40 years in the provinces.”
The Music Center’s construction was spearheaded by Dorothy Chandler, a member of one of the blue-blooded families that had once shunned Hollywood folk. Now, Downtown welcomed Hollywood with open arms, proclaiming the ceremony was back “after 40 years in the provinces.” The theater sat 3,197 people and bleachers were set up for another 3,000 spectators outside the venue. “In the Dorothy Chandler Pavilion the show will for the first time enjoy facilities suitable for what has evolved into not only a glittering social event but also a big and complicated theatrical production,” the LA Times enthused.
The Oscars stayed at the Pavilion for almost two decades and become synonymous in the public’s mind with the increasingly popular televised show. Many were shocked in 1988 when AMPAS chose to hold the sixtieth Academy Awards at the then rather decrepit Shrine Auditorium. Its reasons were twofold—the Shrine could accommodate almost twice as many people, and the venue gave the Academy more rehearsal days.
Until 2002, the Awards bounced between the “cold vastness of the Shrine” and the “cramped confines of the Dorothy Chandler Pavilion.” When the Oscars were held at the Pavilion, there was a frenzy each year over who got tickets. When it was held at the Shrine, many grumbled over its unsafe location, dingy accommodations, and a backstage so small reporters were “crammed in a tent.”
These difficulties increasingly convinced the Academy that they needed a home of their own that would meet the many needs of the enormous telecast. This problem was solved when the Academy was approached by TrizecHahn Corporation, who wanted to build a grand new theater complex on Hollywood Boulevard.
AMPAS collaborated with TrizecHahn to build the perfect Academy Awards venue. “It had to be glamorous and beautiful, which we believe it is,” said Bob Rehme, former Academy president. “We wanted it designed to hold a live TV show, with a permanent main camera position. It had to have a large stage, like the Shrine or Radio City Music Hall. And it had to have a very large orchestra pit that could hold 75 musicians—no Broadway show has that big an orchestra.”
On March 24, 2002, the 74th Academy Awards were held at the new Kodak Theatre, just a stone’s throw away from the Roosevelt Hotel, where the journey had begun 73 shows before. For better or worse, the Academy Awards has finally come home—for now.