By MCN Editor editor@moviecitynews.com

15 DOCUMENTARY FEATURES ADVANCE IN 2011 OSCAR RACE

Posted Friday, November 18th, 2011 - 10 Comments »
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Beverly Hills, CA – The Academy of Motion Picture Arts and Sciences today announced that 15 films in the Documentary Feature category will advance in the voting process for the 84th Academy Awards®. One hundred twenty-four pictures had originally qualified in the category.

The 15 films are listed below in alphabetical order by title, with their production company:

“Battle for Brooklyn” (RUMER Inc.)
“Bill Cunningham New York” (First Thought Films)
“Buck” (Cedar Creek Productions)
“Hell and Back Again” (Roast Beef Productions Limited)
“If a Tree Falls: A Story of the Earth Liberation Front” (Marshall Curry Productions, LLC)
“Jane’s Journey” (NEOS Film GmbH & Co. KG)
“The Loving Story” (Augusta Films)
“Paradise Lost 3: Purgatory” (@radical.media)
“Pina” (Neue Road Movies GmbH)
“Project Nim” (Red Box Films)
“Semper Fi: Always Faithful” (Tied to the Tracks Films, Inc.)
“Sing Your Song” (S2BN Belafonte Productions, LLC)
“Undefeated” (Spitfire Pictures)
“Under Fire: Journalists in Combat” (JUF Pictures, Inc.)
“We Were Here” (Weissman Projects, LLC)

The Documentary Branch Screening Committee viewed all the eligible documentaries for the preliminary round of voting. Documentary Branch members will now select the five nominees from among the 15 titles on the shortlist.

The 84th Academy Awards nominations will be announced live on Tuesday, January 24, 2012, at 5:30 a.m. PT in the Academy’s Samuel Goldwyn Theater.

Academy Awards for outstanding film achievements of 2011 will be presented on Sunday, February 26, 2012, 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.

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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
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Posted in Movie City News, Press Releases | 10 Comments »

10 Responses to “15 DOCUMENTARY FEATURES ADVANCE IN 2011 OSCAR RACE”

  1. Barbara Koenen says:
    November 18, 2011 at 2:30 pm

    What about The Interrupters? Wow, that’s crazy!

  2. Ray Pride says:
    November 18, 2011 at 2:47 pm

    Embarrassment of riches or riches of embarrassment? As I headlined on the front page, “No Senna. No Tabloid. No Abyss. No Page One. And No Interrupters.”

  3. spassky says:
    November 18, 2011 at 3:55 pm

    nothing makes sense anymore.

  4. Beth Orchard says:
    November 18, 2011 at 4:41 pm

    I live in Chicago and not having the film the Interrupters nominated is a disgrace.

  5. Outraged Chicagoan says:
    November 18, 2011 at 5:39 pm

    First it was Hoop Dreams, then The Interrupters. Why does the Academy hate gritty slices of urban life? Hmm, I wonder?

  6. Danella Isaacs says:
    November 18, 2011 at 7:29 pm

    Good to see “We Were Here” making the cut.

  7. Joe Nagan says:
    November 19, 2011 at 9:06 am

    What is with – The Interrupters – not being included, is Chicago still on the blacklist????

  8. ron says:
    November 19, 2011 at 9:40 am

    No Interrupters?!!!

    I cannot believe this….

    THEY SHOULD BE ASHAMED OF THEMSELVES

  9. Ian says:
    November 19, 2011 at 3:51 pm

    wow. just unbelievable. No Interrupters? No Eddie Murphy? This year’s academy awards is a disaster.

  10. T.Holly says:
    November 19, 2011 at 6:32 pm

    Are you sure that’s not just an alphabetical list of titles to play on PBS’ Frontline series?

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