By Ray Pride Pride@moviecitynews.com

15 DOCUMENTARY FEATURES ADVANCE IN 2013 OSCAR RACE

Posted Tuesday, December 3rd, 2013 - Comments Off on 15 DOCUMENTARY FEATURES ADVANCE IN 2013 OSCAR RACE
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December 3, 2013
FOR IMMEDIATE RELEASE

15 DOCUMENTARY FEATURES ADVANCE IN 2013 OSCAR RACE

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 86th Oscars® . One hundred forty-seven films had originally qualified in the category.

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

“The Act of Killing,” Final Cut for Real
“The Armstrong Lie,” The Kennedy/Marshall Company
“Blackfish,” Our Turn Productions
“The Crash Reel,” KP Rides Again
“Cutie and the Boxer,” Ex Lion Tamer and Cine Mosaic
“Dirty Wars,” Civic Bakery
“First Cousin Once Removed,” Experiments in Time, Light & Motion
“God Loves Uganda,” Full Credit Productions
“Life According to Sam,” Fine Films
“Pussy Riot: A Punk Prayer,” Roast Beef Productions
“The Square,” Noujaim Films and Maktube Productions
“Stories We Tell,” National Film Board of Canada
“Tim’s Vermeer,” High Delft Pictures
“20 Feet from Stardom,” Gil Friesen Productions and Tremolo Productions
“Which Way Is the Front Line from Here? The Life and Time of Tim Hetherington,” Tripoli Street

The Academy’s Documentary Branch determined the shortlist in a preliminary round of voting.  Documentary Branch members will now select the five nominees from among the 15 titles.

The Oscars nominations will be announced live on Thursday, January 16, 2014, at 5:30 a.m. PT in the Academy’s Samuel Goldwyn Theater.

Academy Awards® for outstanding film achievements of 2013 will be presented on Oscar Sunday, March 2, 2014, at the Dolby Theatre® at Hollywood & Highland Center®, and televised live on the ABC Television Network.  The Oscar presentation also will be televised live in more than 225 countries and territories worldwide.

 

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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