By Ray Pride Pride@moviecitynews.com

ACADEMY LAUNCHES 2016 STUDENT ACADEMY AWARDS COMPETITION

New Expanded Foreign Film Category Winners Eligible for Oscars®

LOS ANGELES, CA – The Academy is now accepting entries for its 2016 Student Academy Awards® competition.  All Student Academy Award® winners become eligible for Oscars® consideration.  The entry deadline for submissions is Wednesday, June 1.

New this year, the Foreign Film category has been expanded to include separate awards for narrative, animation and documentary entries.  Gold, Silver and Bronze Medal awards may be given in the Foreign Film Narrative category; Gold Medal awards may be given in the Foreign Film Animation and the Foreign Film Documentary categories.  The U.S. competition categories remain the same: Alternative, Animation, Narrative and Documentary.

For the second year, students are asked to submit their films online using FilmFreeway, a widely used festival and competition platform.  Complete rules and a link to the online submission platform are available atwww.oscars.org/saa.

The 43rd Student Academy Awards presentation will be held on Thursday, September 22, at the Academy’s Samuel Goldwyn Theater in Beverly Hills.

Past winners have gone on to receive 49 Oscar nominations and have won or shared eight awards.  This year two 2015 Student Academy Award winners received Oscar nominations in the Live Action Short Film category: Henry Hughes, a Gold Medal winner in the Narrative category for “Day One,” and Patrick Vollrath, a Bronze Medal winner in the Foreign Film category for “Everything Will Be Okay (Alles Wird Gut).”  Past Student Academy Award winners include acclaimed filmmakers Pete Docter, Cary Fukunaga, John Lasseter, Spike Lee, Trey Parker and Robert Zemeckis.

The U.S. competition is open to all full-time undergraduate and graduate students whose films are made within the curricular structure of an eligible accredited institution.  In the Foreign Film Narrative, Foreign Film Animation and Foreign Film Documentary categories, eligible schools are allowed to submit one student film per category to the competition.  For a complete list of eligibility requirements, visit www.oscars.org/saa.

In 1972, the Academy established the Student Academy Awards to provide a platform for emerging global filmmakers by creating opportunities within the industry to showcase their work.

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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