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DOCUMENTARY THEATRICAL MOTION PICTURE NOMINATIONS FOR THE 2012 PRODUCERS GUILD AWARDS

Posted Friday, December 2nd, 2011 - Comments Off on DOCUMENTARY THEATRICAL MOTION PICTURE NOMINATIONS FOR THE 2012 PRODUCERS GUILD AWARDS
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LOS ANGELES, CA (December 2, 2011) – The Producers Guild of America (PGA) announced today the Documentary Theatrical Motion Picture nominees that will advance in the voting process for the 23rd Annual Producers Guild Awards.

The nominated films, listed below in alphabetical order, are:

BEATS, RHYMES & LIFE: THE TRAVELS OF A TRIBE CALLED QUEST

BILL CUNNINGHAM NEW YORK

PROJECT NIM

SENNA

THE UNION

Producers Guild arbitrations for individual producer credit determination for all film and television categories are still underway. Television series nominations for the 2012 Producers Guild Awards will be announced December 7, 2011. All other nominations for the 2012 Producers Guild Award categories will be announced January 3, 2012, along with the individual producers.

All 2012 Producers Guild Award winners will be announced on January 21, 2012 at the Beverly Hilton Hotel. This year, the Producers Guild will also award special honors to Steven Spielberg, Leslie Moonves, Don Mischer, and Stan Lee, among others. The 2012 Producers Guild Awards co-chairs are Michael Manheim and Paula Wagner.

In 1990 the PGA held the first-ever Golden Laurel Awards, which were renamed the Producers Guild Awards in 2002. Richard Zanuck and Lili Fini Zanuck took home the award for Best Produced Motion Picture for DRIVING MISS DAISY, establishing the Guild’s awards as a bellwether for the Oscars. Last year, the PGA awarded THE KING’S SPEECH with its Darryl F. Zanuck Producer of the Year Award in Theatrical Motion Pictures, marking the fourth consecutive year the Producers Guild has presaged the The Academy of Motion Picture’s choice.

To cover the 2012 Producers Guild Awards, a completed press credential application form MUST be received no later than Friday, January 13, 2012 to receive consideration. To request a Producers Guild Awards Credential application, please email Mackenzie.Smith@42West.net. All other PGA and PGA Awards media inquiries should be directed to Kelly Mullens at (310) 477-4442 or KKMullens@42West.net or Brittany Geldmacher at (424) 901-8738 or Brittany.Geldmacher@42West.net.

About the Producers Guild of America
The Producers Guild of America is the non-profit trade group that represents, protects and promotes the interests of all members of the producing team in film, television and new media. The PGA has over 4,750 members who work together to protect and improve their careers, the industry and community by providing members with health benefits, employment opportunities, the creation of fair and impartial standards for the awarding of producing credits, as well as other education and advocacy efforts such as promoting sustainable production practices. Visit www.producersguild.org and www.pgagreen.org for more information.

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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