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And The Casting Society Of America Nominates…

Posted Tuesday, January 6th, 2015 - Comments Off on And The Casting Society Of America Nominates…
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CASTING SOCIETY OF AMERICA ANNOUNCES FEATURE FILM NOMINEES FOR
30TH ANNUAL ARTIOS AWARDS
 
Final Ballots Distributed Today
HOLLYWOOD, CA (January 6, 2015) – The Casting Society of America (CSA) has unveiled its feature film nominees for the 30th Annual Artios Awards. Final film ballots have been distributed and votes can be entered at http://www.castingsociety.com/, through Monday, January 12th. All winners for film, television, theater and new media categories will be announced at the 30th Annual Artios Awards on January 22, 2015, during the height of awards season, with award ceremonies to be held simultaneously at the Beverly Hilton Hotel in Los Angeles (reception will commence at 6:00 p.m. PT) and at42WEST (formerly XL Nightclub), Cabaret & Lounge (514 West 42nd Street) in New York (reception will commence at 6:00 p.m. ET).
The bicoastal awards show will be hosted by Patton Oswalt (Los Angeles) and Michael Urie (New York City). The evening will also honor two-time Academy Award®-nominee Richard Linklater (Boyhood) with the Career Achievement Award; Academy Award®-nominated and Emmy Award®-winning director Rob Marshall (Into the Woods) with the New York Apple Award; and Emmy Award®-winning casting director Ellen Lewis with the Hoyt Bowers Award.
Francine Maisler leads the film contenders with four nominations for her work in casting: Into the Woods, Birdman, 12 Years a Slave and Captain Phillips. Due to the Artios Awards date change this year, the eligibility period for film projects was expanded for this award ceremony only, to include films released theatrically from July 1, 2013 through December 31, 2014.
Across all categories, James Calleri leads with eight nominations (theater categories), followed by Bernard Telsey (television, theater and film categories) and Daniel Swee (theater categories) with seven nominations each.
Feature film nominees announced today include:
Big Budget Comedy
Guardians of the Galaxy – Sarah Finn, Reg Poerscout-Edgerton, Tamara Hunter
(Associate)
Into The Woods – Francine Maisler, Bernard Telsey, Tiffany Little Canfield
The Secret Life of Walter Mitty – Rachel Tenner, Charlene Lee (Associate), Bess Fifer
(Associate)
This is Where I Leave You – Cindy Tolan, Adam Caldwell (Associate)
We’re the Millers – Lisa Beach, Sarah Katzman, Lisa Mae Fincannon (Location
Casting), Jeremy Gordon (Associate), Beth Lipari (Associate), Dana Salerno
(Associate)
The Wolf of Wall Street – Ellen Lewis
 
Big Budget Drama
12 Years a Slave – Francine Maisler, Meagan Lewis (Location Casting), Melissa
Kostenbauder (Associate)
American Hustle – Mary Vernieu, Lindsay Graham, Angela Peri (Location Casting)
Captain Phillips – Francine Maisler, Donna M. Belajac (Location Casting)
Foxcatcher – Jeanne McCarthy, Rori Bergman (Location Casting), Donna M. Belajac
(Location Casting), Matthew Maisto (Associate)
Gone Girl – Laray Mayfield, Annie Hamilton (Location Casting)
Selma – Aisha Coley, Robyn Owen (Associate)
Studio or Independent Comedy
Big Eyes – Jeanne McCarthy, Nicole Abellera, Coreen Mayrs (Location Casting), Heike
Brandstatter (Location Casting)
Chef – Sarah Finn, Tamara Hunter (Associate)
The Grand Budapest Hotel – Douglas Aibel, Jina Jay, Henry Russell Bergstein
(Associate)
Pride – Fiona Weir
St. Vincent – Laura Rosenthal
Top Five – Victoria Thomas, Matthew Maisto (Associate)
Studio or Independent Drama
Birdman – Francine Maisler
Blue Jasmine – Juliet Taylor, Patricia DiCerto, Nina Henninger (Location Casting)
Dallas Buyers Club – Kerry Barden, Paul Schnee, Rich Delia, Tracy Kilpatrick (Location
Casting), Allison Estrin (Associate)
Inside Llewyn Davis – Ellen Chenoweth, Amelia McCarthy (Associate)
The Theory of Everything – Nina Gold
Whiplash – Terri Taylor
Low Budget Comedy
Adult World – Jennifer Euston
Believe Me – JC Cantu, Beth Sepko (Location Casting)
Dear White People – Kim Taylor-Coleman
The Double – Douglas Aibel, Henry Russell Bergstein (Associate)
Space Station 76 – Eric Souliere
Two Night Stand – Angela Demo, Julie Schubert (Location Casting)
Low Budget Drama
Boyhood – Beth Sepko
Cake – Mary Vernieu, Lindsay Graham
Camp X-Ray – Richard Hicks
Lonely Boy – Howard Meltzer
Short Term 12 – Kerry Barden, Paul Schnee, Rich Delia, Allison Estrin (Associate)
The Spectacular Now – Angela Demo, Tracy Kilpatrick (Location Casting)
 
Animation
Big Hero 6 – Jamie Sparer Roberts
The Book of Life – Christian Kaplan
Frozen – Jamie Sparer Roberts
Monsters University – Kevin Reher, Natalie Lyon
Planes – Jason Henkel
Rio 2 – Christian Kaplan
Past Artios Award winners include the casting directors of: Silver Linings Playbook, Argo, The King’s Speech, The Social Network, Girls, Homeland, Modern Family, The Mindy Project, House of Cards, The Book of Mormon and Carousel. Previous attendees and presenters have included critically acclaimed talent, such as: Ben Affleck, Jennifer Garner, J.J. Abrams, Neil Patrick Harris, Jake Gyllenhaal, Chris Pine, Kerry Washington, Jeremy Renner, Diane Lane, Aisha Tyler and Marg Helgenberger. ‘Artios’ is an ancient Greek word meaning ‘perfectly fitted’ and the adjective is always used in the plural form.
About the Casting Society of America
The Casting Society of America (CSA) was founded in February of 1982 with the intention of establishing a recognized standard of professionalism in the casting field and providing its members with a support organization to further their goals and protect their common interests. CSA currently boasts more than 600 members. CSA Casting Directors and Associates work around the world, with members based in the United States, Canada, Europe, Australia and Africa. The CSA is a global resource for producers, directors and creative teams seeking casting professionals, while promoting the image of casting directors and associates worldwide, engaging in a number of charitable activities, and supporting its members by sharing important and helpful professional information. For more information on the Casting Society of America, please visit CastingSociety.com.
 
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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