NEWSWEEK: It’s the 75th anniversary of the Oscars. How did you take that into account when planning this year’s ball?

Cheryl Cecchetto: We’re going to pay homage to 75 years of the Academy’s history. The first ceremony took place on May 16th, 1929. The decor has been inspired by that first awards dinner. It was all in one room and it was only 200 and some guests. Tickets were 10 bucks for dinner and show. Isn’t that wild?

How will you use design to evoke nostalgia?

We’re inspired by this actual photograph that was taken that night. There was no color in film at that time so there’s no color in my party. We’re using a neutral palette of black, white, silver and sepia tones. The walls are going to have huge black-and-white photographs showing images from each subsequent decade.

Will there be other historical details?

The actual ticket that we are giving out for the ball will also feature the very first photo of the dinner. There will be a 30-piece string orchestra with [jazz-pop vocalist] Patti Austin. We have chosen [Oscar-winning] songs from the past 75 years for Patti to perform. The waiters will be in [vintage] white tux tails and cummerbunds.

Make us crazy. Talk about the food you’re going to serve.

Wolfgang Puck is doing the menu. We’re going to have a lobster salad, a vegetable medley, a sweet-pea soup with Black Russian truffles and wonderful petit fours. Wolfgang always does a chocolate gold Oscar that he gift wraps and gives to guests as they leave.

How’d you get your start?

I worked as a floor manager 15 and 16 years ago at the Governors Ball. I became good friends with Otto Spoerri [who retired in December as controller of the Academy after 24 years of deciding who gets invited and who sits where at the awards show]. We worked together, and he sent me a letter thanking me. Then the following year he asked me to come on board. He put the letter on Academy letterhead. It was a major door-opening for me. I came here [to Los Angeles] as an actress.

Weren’t you on “The Golden Girls” years ago?

How did you know that? [Laughs]

Talk about some of your favorite guests. Didn’t Christopher Reeve come to the ball in 1996 shortly after his accident?

I knew about him coming, and I was quite flattered that he would make the effort. I had to have power directed to his table for his life support. It’s been a learning curve for me; some have been better than others. You never stop learning on something like this. You’re always trying to outdo yourself. There’s new challenges, there’s new techniques and you’re always looking for cutting-edge elements.

What’s your budget?

I cannot say. There are tickets that are sold, and I’m sure there are tickets that are comped, too, perhaps for nominees and what not.

And how many people come?

1,650.

Have there been many mishaps?

Remember the [1994] earthquake? Our tent swayed back and forth and back and forth. I had to double-check all of my riggings. Actually, the tent was perfect because it just moved with the earthquake, like a high-rise would. It was about three days ahead of time.

Are you a celebrity junkie? Or do you have to tune out famous people to get your job done?

It’s not that I tune them out. I have two preschool kids, and I do love movies, but a lot of times I’m just not up to speed. Plus, everybody’s a celebrity, really. There’s 1,200 staff and crew. Between technicians and musicians and entertainment and security and traffic controllers and all that, there’s a lot of people. With waiters and bartenders and chefs, you’re up to about 455. There will be 10,000 white orchids and calla lilies, 30,000 square feet of white carpeting and 850 picture frames. Then there’s 18,000 square feet of fabric and 2,000 bottles of wine.

Phew. Isn’t security so tight that even getting your tickets is a big ordeal?

Oh, my god. You have to go in person to get your tickets. Or have someone bring a signed letter to have someone pick up your tickets.

Can you sleep the night before the big event?

I’m a good sleeper. Plus, I have great detox baths.