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David Poland

By David Poland poland@moviecitynews.com

The Academy 134

The results of the annual ritual of inviting new members into The Academy of Motion Pictures Arts & Sciences were officially announced this morning. 134 new invitees.
Most of what is interesting is along the lines of “what too so long?” For instance, Paramount’s head of marketing, Megan Colligan or long-time in-house big brain David Kaminow or screenwriter John August or producers Kathy Conrad, James Lassiter, and Paula Wagner or execs Dan Battsek and Claudia Lewis or documentarian Rachel Grady or Danny Boyle or cinematographer Anthony Dod Mantle or the Supporting Actress nominee of last year, Amy Ryan.
Quietly leaping in is Russell Smith, who didn’t get blackballed – as I worried – after the public whining about him not getting in last year. (He deserved the slot then, as he does now.)
The Acting Branch seems to have gotten the message that it has been overly cautious about invites – last year inviting only 7 actors to join and 16 the year before – went in for 20 new members, half of whom have never been nominated.
It clearly pays to be an Apatow regular, as his cache put Michael Cera, James Franco, Seth Rogen, and Paul Rudd into the Academy this year. Jonah Hill must be depressed.

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7 Responses to “The Academy 134”

  1. Which actually raises a question for me: Is Apatow a member? Probably, but I don’t recall the year he made it through.

  2. David Poland says:

    Apatow entered as a writer last year

  3. Eric says:

    Could anyone be so kind as to explain what the fuck “public relations” is doing putting twice as many people into the Academy than the writers?

  4. Chucky in Jersey says:

    @Eric: So the PR flacks can tell the ad agencies to adorn all advertising and promotion with “Academy Award Winner” and “Academy Award Nominee”.
    When it comes to cronyism Hollywood is getting to be just like D.C.

  5. IOIOIOI says:

    Eric: SOMEONE HAS TO SELL THIS SHIT!
    Poor Jonah Hill. The brother cannot catch a break. Here’s to him being with some fine cooze at the moment.

  6. hcat says:

    Most of them I get, though I don’t see how Cera, Rudd and Rogan can make the cut and am suprised that Wright is only getting in right now. But Tyler Perry? I agree you can’t help but acknowledge he is a success but to make him a member of the academy is a little much.

  7. hcat says:

    “Poor Jonah Hill. Here’s to him being with some fine cooze at the moment.”
    Well if cooze is regional slang for giant rack of ribs, than I bet that’s the case.

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon