By David Poland poland@moviecitynews.com

BILL MECHANIC AND ADAM SHANKMAN NAMED OSCAR® TELECAST PRODUCERS

Posted Tuesday, October 20th, 2009 - Comments Off on BILL MECHANIC AND ADAM SHANKMAN NAMED OSCAR® TELECAST PRODUCERS
Be Sociable, Share!

Beverly Hills, CA – Bill Mechanic and Adam Shankman will produce the 82nd Academy Awards® telecast, Academy of Motion Picture Arts and Sciences President Tom Sherak announced today. This will be the first major Oscar show involvement for both men.

“I couldn’t be happier to have this talented team on board,” said Sherak. “I’ve known Bill for many years so it’s like putting Oscar in the care of a dear friend. Bill has a tremendous love and respect of film and will draw from his vast experience as a producer, a studio executive and a film historian to help make this year’s Oscar telecast a memorable one. And Adam’s experience in producing, directing and especially choreography will be a huge asset to the production.”

“I’m thrilled to be producing the Oscars with Adam,” said Mechanic. “I think Adam has the perfect background and spirit to make the show both unique and fun to watch. Together we will build upon the best traditions from the great shows of the past while helping pave the way to the future.”

“The last time I was on the show was as a dancer, and to come back as a producer is such an unbelievable honor,” said Shankman. “I look forward to collaborating with Bill to celebrate the world’s collective love of movies and provide a fun escape from the difficult times we’re living in. Simply put, there is no show like the Oscars and I am thrilled to be a part of our industry’s most treasured tradition.”

Mechanic is the chairman and CEO of Pandemonium Films and the former chairman and CEO of Fox Filmed Entertainment. While at Fox, the studio released titles including “True Lies” (1994), “Braveheart” (1995), “Titanic” (1997), “The Full Monty” (1997), “There’s Something About Mary” (1998), “Boys Don’t Cry” (1999) and “Cast Away” (2000) among many others. Prior to Fox, he served in executive positions at the Walt Disney Company and Paramount. Mechanic’s producer credits include this year’s animated feature “Coraline” and the thriller “Dark Water” (2005).
Shankman’s directorial credits include “Bedtime Stories” (2008), “Hairspray” (2007), “A Walk To Remember” (2002) and “The Wedding Planner” (2001). His upcoming projects include “Rock of Ages,” “Sinbad,” “Bob: The Musical” and “Bye Bye Birdie.” In addition to directing, Shankman, along with his sister, Jennifer Gibgot, produce films through their shingle, Offspring Entertainment. Together they are currently producing “The Last Song,” “Going The Distance” and “Step Up 3D,” all set for 2010 release.

Academy Awards for outstanding film achievements of 2009 will be presented on Sunday, March 7, 2010, at the Kodak Theatre at Hollywood & Highland Center®, and televised live by the ABC Television Network. The Oscar presentation also will be televised live in more than 200 countries worldwide.
Be Sociable, Share!

Posted in Awards Watch, Note Pad | Comments Off on BILL MECHANIC AND ADAM SHANKMAN NAMED OSCAR® TELECAST PRODUCERS

Comments are closed.

Quote Unquotesee all »

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