By Ray Pride Pride@moviecitynews.com

THE OSCARS AVAILABLE IN ITS ENTIRETY VIA ABC’S FULL EPISODE PLAYER, HULU AND HULU PLUS FOR A LIMITED TIME BEGINNING MONDAY

Posted Sunday, February 24th, 2013 - Comments Off on THE OSCARS AVAILABLE IN ITS ENTIRETY VIA ABC’S FULL EPISODE PLAYER, HULU AND HULU PLUS FOR A LIMITED TIME BEGINNING MONDAY
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February 24, 2013
FOR IMMEDIATE RELEASE

 

THE OSCARS® SHOW TO BE AVAILABLE IN ITS ENTIRETY VIA ABC’S

FULL EPISODE PLAYER, HULU AND HULU PLUS FOR A LIMITED TIME

BEGINNING MONDAY, FEBRUARY 25TH

 

THE FULL SHOW ALSO AVAILABLE VIA ABC ON DEMAND

 

BEVERLY HILLS, CA – For the first time, viewers in the U.S. will be able to stream tonight’s Oscars show in its entirety across multiple platforms including ABC.com, the ABC Player app, and the free, ad-supported Hulu and Hulu Plus subscription service.  The show will also be available via ABC On Demand, the network’s fast forward-disabled VOD service.

The Oscars, in its entirety, will be available to stream within hours of its broadcast completion, beginning Monday, Feb. 25th at 6:00 a.m. EST through Wednesday, February 27, at midnight EST.

“Tonight’s show included remarkable performances that will surely have people talking.  This is an easy, convenient way for anyone who missed the show to catch up and join the conversation,” said Karin Gilford, Senior Vice President of Digital Media, ABC Entertainment.   “It’s also perfect for anyone who just wants to relive the most magical moments of the night.”

“Our goal is to give fans as many ways to enjoy and engage with the Oscars as possible and this will provide another great opportunity for them,” said Christina Kounelias, the Academy’s Chief Marketing Officer.

The full streaming will be advertiser supported with :15 or :30 video spots running intermittingly from Blue Diamond, Diet Coke, Hyundai, JC Penney, Samsung and The University of Phoenix.

Additionally, during the telecast, Oscar.com offered a plethora of “Real Time Oscar Highlights” to viewers almost instantly after they debuted on the live broadcast.  Those special moments from telecast as well as numerous highlights from the Red Carpet and backstage during the show, are currently available on the show’s official site, Oscar.com.

Oscar.com and the official Oscars app go to great lengths to engage fans, giving them unparalleled access to all things Oscar Sunday.   As part of the “Backstage Pass,” there are almost 20 exclusive live cameras strategically placed on the Red Carpet, and throughout the backstage are of the Dolby Theatre.  Fans can either sit back and enjoy the action in “Watch” mode, or control the cameras they want to see in “Direct” mode.  Hosts and correspondents include:  “The View’s” Sherri Shepherd, television personality Cameron Mathison, “Modern Family’s” Rico Rodriquez, Entertainment Weekly’s Jess Cagle, and PEOPLE’s Peter Castro.  For the first time this year, Backstage Pass will include the Red Carpet Digital Lounge, where Radio Disney’s Jake Whetter, POPSUGAR’s Alison McNamara and Mashable’s Brian Hernandez will report on the most buzzed about trends on social media using multi-media monitors run from Samsung Galaxy tablets and smartphones.

Hosted by Seth MacFarlane, the show included:

  • A Celebration of Movie Musicals: Jennifer Hudson (Dreamgirls) and Catherine Zeta-Jones (Chicago) joined this year’s Oscar nominees from Les Miserables, Hugh Jackman and Anne Hathaway along with co-stars Russell Crowe, Amanda Seyfried, Eddie Redmayne, Aaron Tveit, Samantha Barks and Helena Bonham Carter
  • A very special performance from Barbra Streisand
  • Norah Jones performing “Everybody Needs a Best Friend” from the motion picture Ted
  • Adele singing the Oscar-nominated theme song from Skyfall
  • Appearances by:  Jack Nicholson, Dustin Hoffman, Jane Fonda, Jennifer Garner, Kristen Stewart, Kerry Washington, Jennifer Aniston, Michael Douglas, Jamie Foxx, Paul Rudd, Salma Hayek Pinault, Melissa McCarthy, Liam Neeson, John Travolta, Ben Affleck, Jessica Chastain, Jennifer Lawrence, Halle Berry, Sandra Bullock, Nicole Kidman, Reese Witherspoon, Mark Wahlberg, Ted and “Marvel’s The Avengers” cast members Robert Downey Jr., Samuel L. Jackson, Chris Evans, Jeremy Renner and Mark Ruffalo; returning 2011 Oscar winners Jean Dujardin, Christopher Plummer, Octavia Spencer and Meryl Streep; “Chicago” cast members Richard Gere, Queen Latifah, Renée Zellweger and Catherine Zeta-Jones; special guests Joseph Gordon-Levitt, Daniel Radcliffe, Channing Tatum and Charlize Theron; and performers including Kristin Chenoweth, Jennifer Hudson, Catherine Zeta-Jones, Hugh Jackman, Russell Crowe, Anne Hathaway, Amanda Seyfried, Eddie Redmayne, Samantha Barks, Aaron Tveit and Helena Bonham, Adele, Dame Shirley Bassey, Norah Jones and Barbra Streisand.

 

The Oscars for outstanding film achievements of 2012 were presented on Oscar® Sunday, February 24, at the Dolby Theatre™ at Hollywood & Highland Center®, and were hosted by Seth MacFarlane. The Oscar presentation was televised live on the ABC Television Network and in more than 225 countries worldwide.

 

Media Contacts:
Fonda Berosini, 818-569-3256, Fonda.Berosini@abc.com
Karen Hobson, 818-569-7789, Karen.Hobson@disney.com
Maria Gonima, 310-295-3116, Maria.Gonima@hulu.com
Teni Melidonian, tmelidonian@oscars.org

# # #

 

 

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