By Ray Pride Pride@moviecitynews.com

Academy Sets New Governors, Including Albert Berger, Kate Amend, Ed Zwick And Caleb Deschanel

July 18, 2014
FOR IMMEDIATE RELEASE

THE ACADEMY ELECTS 2014–15 BOARD OF GOVERNORS

LOS ANGELES, CA – Five first-time governors have been elected to the Academy of Motion Picture Arts and Sciences Board of Governors.  In addition, eight incumbents have been reelected and four previous governors are returning to the Board.

The first-time governors are Kate Amend, Documentary Branch; Daniel R. Fellman, Executives Branch; Albert Berger, Producers Branch; Bob Rogers, Short Films and Feature Animation Branch; and Mark Mangini, Sound Branch.

The reelected governors are Annette Bening, Actors Branch; Lora Kennedy, Casting Directors Branch; Jeffrey Kurland, Costume Designers Branch; Rick Carter, Designers Branch; Michael Tronick, Film Editors Branch; Kathryn Blondell, Makeup Artists and Hairstylists Branch; Cheryl Boone Isaacs, Public Relations Branch; and Phil Robinson, Writers Branch.

Returning to the Board after a hiatus are governors Caleb Deschanel, Cinematographers Branch; Edward Zwick, Directors Branch; Charles Bernstein, Music Branch; and Bill Taylor, Visual Effects Branch.

The Academy’s 17 branches are each represented by three governors, who may serve up to three consecutive three-year terms.

Governors who were not up for reelection and who continue on the Board are Ed Begley, Jr. and Tom Hanks, Actors Branch; David Rubin and Bernard Telsey, Casting Directors Branch; John Bailey and Dante Spinotti, Cinematographers Branch; Deborah Nadoolman Landis and Judianna Makovsky, Costume Designers Branch; Jim Bissell and Jan Pascale, Designers Branch; Kathryn Bigelow and Michael Mann, Directors Branch; Rob Epstein and Alex Gibney, Documentary Branch; Dick Cook and Amy Pascal, Executives Branch; Mark Goldblatt and Lynzee Klingman, Film Editors Branch; Bill Corso and Leonard Engelman, Makeup Artists and Hairstylists Branch; Charles Fox and Arthur Hamilton, Music Branch; Mark Johnson and Kathleen Kennedy, Producers Branch; Rob Friedman and Nancy Utley, Public Relations Branch; Jon Bloom and Bill Kroyer, Short Films and Feature Animation Branch; Curt Behlmer and Scott Millan, Sound Branch; Richard Edlund and John Knoll, Visual Effects Branch; and Bill Condon and Robin Swicord, Writers Branch.

 

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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; 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.

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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