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DAWN HUDSON AND RIC ROBERTSON NAMED TO NEW ACADEMY POSTS

Posted Friday, April 8th, 2011 - Comments Off on DAWN HUDSON AND RIC ROBERTSON NAMED TO NEW ACADEMY POSTS
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April 7, 2011
FOR IMMEDIATE RELEASE

Beverly Hills, CA – The Board of Governors of the Motion Picture Academy voted on Thursday to establish a new executive structure for the organization, replacing retiring executive director Bruce Davis with former Film Independent head Dawn Hudson and long-time Academy executive Ric Robertson, who will become the organization’s CEO and COO respectively. Robertson will report to Hudson in the new leadership tandem.

Hudson has spent 20 years at the helm of Film Independent, which grew from a small non-profit into a nationally recognized arts institution under her leadership.  Film Independent’s two signature programs are the 26-year-old Independent Spirit Awards and the Los Angeles Film Festival, held annually in June.
“The Academy is the gold standard for the world’s most influential art form, and I am humbled by what the Board of Governors, the Academy members, and the staff have accomplished under Bruce Davis’s leadership.” said Hudson. “I am thrilled to have this opportunity to work with Ric, and to carry the Academy’s mission forward into the future.”

Robertson joined the Academy in 1981 following a short stint with the Los Angeles International Film Exposition (FILMEX), and became the organization’s second-in-command in 1989, when he was appointed Executive Administrator. In that position he has overseen the Academy’s public programming, its library and film archive as well as its public relations, marketing, legal affairs, and numerous awards-related events and activities.

“Having Bruce as a mentor has been tremendously valuable to me,” said Robertson. “It will serve me well as I move into this new management position and partnership with Dawn, as we help to write the Academy’s next chapter.”

Academy president Tom Sherak said that the new structure for the Academy’s executive staff had occurred to the officers of the organization as they began seriously considering the succession issue. “We’re a different organization than we used to be,” Sherak said, “with a range of activities that couldn’t have been conceived of when the present structure came into place. Now, with the leadership team of Dawn as our CEO and Ric as our COO, we have the ideal combination of new vision and institutional continuity to move us forward.”

Following a planned bylaw revision, already in the works, Hudson and Robertson will assume their new positions on June 1.

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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