By Ray Pride Pride@moviecitynews.com

Academy Adds 3 To Board Of Governors; 6 Members Added To Board Committees

THE ACADEMY ADDS DIVERSE VOICES TO ITS LEADERSHIP

Three members added to Board of Governors
Six members also added to Board committees

 

LOS ANGELES, CA – Academy President Cheryl Boone Isaacs today appointed three new governors to join the Academy’s 51-seat Board. Reginald Hudlin (Directors Branch), Gregory Nava (Writers Branch) and Jennifer Yuh Nelson (Short Films and Feature Animation Branch) were confirmed by the current Board members for three-year terms, effective immediately.

“I’m proud of the steps we have taken to increase diversity,” said Boone Isaacs. “However, we know there is more to do as we move forward to make this a more inclusive organization.”

The Board also appointed additional Academy members to each of the six Board committees that provide oversight to specific Academy areas.

  • Actor Gael García Bernal joins the Awards and Events Committee, chaired by First Vice President Jeffrey Kurland.
  • Cinematographer Amy Vincent joins the Preservation and History Committee, chaired by Vice President John Bailey.
  • Producer Effie Brown joins the Museum Committee, chaired by Vice President Kathleen Kennedy.
  • Executive Marcus Hu and Animator Floyd Norman join the Education and Outreach Committee, chaired by Vice President Bill Kroyer.
  • Executive Vanessa Morrison joins the Finance Committee, chaired by Treasurer Jim Gianopulos.
  • Producer Stephanie Allain joins the Membership and Administration Committee, chaired by Secretary Phil Robinson.

The Board also reaffirmed its January 21 resolution to make sure Academy voters are active in the motion picture industry. In the meeting, the Board decided that each branch executive committee will determine specific criteria for active voters based on the guidelines established in January.  Active voters are defined as:

  • those who have worked in the motion picture industry in the last 10 years;
  • those who have worked anytime during three 10-year periods whether consecutive or not;
  • members who have won or been nominated for an Oscar®.

The branch executive committees will meet every two years—starting this spring—to review their members and determine any potential reclassifications. The committees also will adopt an appeals process for members who may lose their voting privileges.

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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