By MCN Editor editor@moviecitynews.com

575 FILMS IN COMPETITION FOR 2011 STUDENT ACADEMY AWARDS®

Posted Monday, April 18th, 2011 - Comments Off on 575 FILMS IN COMPETITION FOR 2011 STUDENT ACADEMY AWARDS®
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FOR IMMEDIATE RELEASE

Beverly Hills, CA – 52 entries from 32 countries, along with 523 entries from students representing 136 U.S. colleges and universities, are in competition for the 2011 Student Academy Awards.  The competition – now in its 38th year – will culminate in the awards presentation, which will include screenings of the winning films, on Saturday, June 11, at the Academy of Motion Picture Arts and Sciences’ Samuel Goldwyn Theater in Beverly Hills.

The Academy established the Student Academy Awards in 1972 to support and encourage excellence in filmmaking at the collegiate level.  Gold, Silver and Bronze Medal awards and corresponding cash grants may be presented in each of four categories: Animation, Narrative, Documentary and Alternative.

This year, for the first time, up to three films may also be honored with medals and cash grants in the Foreign Student Film category, the same as in the individual U.S. categories.

In February, at the 83rd Academy Awards, 2010 Student Academy Award® winner Luke Matheny took home the Oscar® for Live Action Short Film for “God of Love.”  Tanel Toom, the 2010 Honorary Foreign Film winner, was also nominated in the Live Action Short Film category for “The Confession,” and John Lasseter, a Student Academy Award winner in 1979 and 1980, was nominated for the Adapted screenplay for “Toy Story 3.”  Since the program’s inception, Student Academy Award winners have gone on to earn 43 Oscar nominations and have won 8 Academy Awards.

A complete list of schools and countries represented in the competition is available at http://www.oscars.org/awards/saa/entrants.html.

The 38th Annual Student Academy Awards ceremony on June 11 is free and open to the public, but advance tickets are required.  Tickets will be available beginning on May 2.  Tickets may be obtained online at www.oscars.org, in person at the Academy box office or by mail.  The Samuel Goldwyn Theater is located at 8949 Wilshire Boulevard in Beverly Hills.  For more information, call (310) 247-3600.

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ABOUT THE ACADEMY
The Academy of Motion Picture Arts and Sciences is the world’s preeminent movie-related organization, with a membership of more than 6,000 of the most accomplished men and women working in cinema. In addition to the annual Academy Awards – in which the members vote to select the nominees and winners – the Academy presents a diverse year-round slate of public programs, exhibitions and events; provides financial support to a wide range of other movie-related organizations and endeavors; acts as a neutral advocate in the advancement of motion picture technology; and, through its Margaret Herrick Library and Academy Film Archive, collects, preserves, restores and provides access to movies and items related to their history. Through these and other activities the Academy serves students, historians, the entertainment industry and people everywhere who love movies.

FOLLOW THE ACADEMY
www.oscars.org
www.facebook.com/TheAcademy
www.youtube.com/Oscars
www.twitter.com/TheAcademy

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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