By Ray Pride Pride@moviecitynews.com

Academy Elects 2015-16 Board Of Governors

Posted Friday, July 10th, 2015 - Comments Off on Academy Elects 2015-16 Board Of Governors
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Runoff election required for Writers Branch

The Academy of Motion Picture Arts and Sciences today announced its newly elected 2015–16 Board of Governors.  A runoff election is required for the Writers Branch.

“I’m excited to welcome our four new governors to the Board and congratulate those who have been reelected,” said Academy President Cheryl Boone Isaacs.  “Our Board is made up of some of the most experienced and respected professionals in our industry, and we look forward to working with them on our ongoing goals of increasing member engagement and expanding the Academy’s outreach to our global film community.”

Those elected to the Board for the first time are Lois Burwell, Makeup Artists and Hairstylists Branch; Michael Giacchino, Music Branch; Rory Kennedy, Documentary Branch; and Daryn Okada, Cinematographers Branch.

Incumbent governors reelected to the Board include Jim Bissell, Designers Branch; Tom Hanks, Actors Branch; Kathleen Kennedy, Producers Branch; John Knoll, Visual Effects Branch; Bill Kroyer, Short Films and Feature Animation Branch; Michael Mann, Directors Branch; Scott Millan, Sound Branch; Deborah Nadoolman Landis, Costume Designers Branch; and Bernard Telsey, Casting Directors Branch.

Returning to the Board after a hiatus are governors Jim Gianopulos, Executives Branch; Marvin Levy, Public Relations Branch; and Carol Littleton, Film Editors Branch.

The balloting in the Academy’s Writers Branch produced a tie between candidates Larry Karaszewski and Billy Ray, necessitating a second polling of that branch.  Voting for the runoff election via online and paper ballots will beginThursday, July 16, and end Wednesday, July 22.  The Academy last held a runoff election in 2009 for the Directors Branch.

The Academy’s 17 branches are each represented by three governors, who may serve up to three consecutive three-year terms.  The Board of Governors directs the Academy’s strategic vision, preserves the organization’s financial health, and assures the fulfillment of its mission.

For a full list of Academy governors, click here.

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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