By Ray Pride Pride@moviecitynews.com

Spielberg, Laura Dern, Roger Ross Williams Among New Academy Governors

Posted Monday, July 18th, 2016 - Comments Off on Spielberg, Laura Dern, Roger Ross Williams Among New Academy Governors
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THE ACADEMY ELECTS 2016–17 BOARD OF GOVERNORS

Runoff election required for Film Editors Branch

LOS ANGELES, CA – The Academy of Motion Picture Arts and Sciences today announced its newly elected 2016–17 Board of Governors.  A runoff election is required for the Film Editors Branch.

“I’m honored and privileged to welcome the Academy’s new Board,” said Academy President Cheryl Boone Isaacs. “I thank our members for actively participating and taking another step toward inclusion, one that will bring new ideas and perspectives as we continue to expand our global outreach while leading our community forward.”

Those elected to the Board for the first time are:                               

Laura Dern, Actors Branch
Sharen K. Davis, Costume Designers Branch
Steven Spielberg, Directors Branch
Roger Ross Williams, Documentary Branch
Laura Karpman, Music Branch
Kevin Collier, Sound Branch

Incumbent governors reelected to the Board include David Rubin, Casting Directors Branch; John Bailey, Cinematographers Branch; Jan Pascale, Designers Branch; Mark Johnson, Producers Branch; Nancy Utley, Public Relations Branch; Jon Bloom, Short Films and Feature Animation Branch; and Robin Swicord, Writers Branch.

Returning to the Board after a hiatus are governors William M. Mechanic, Executives Branch; Leonard Engelman, Makeup Artists and Hairstylists Branch; and Craig Barron, Visual Effects Branch.

The balloting in the Academy’s Film Editors Branch produced a tie between candidates Maryann Brandon and Mark Goldblatt, necessitating a run-off election.  Voting will begin Monday, July 25, and end Thursday, July 28.  The Academy last held a runoff election in 2015 for the Writers Branch.

The Board of Governors also includes the three governors-at-large appointed in January by Cheryl Boone Isaacs: Reginald Hudlin, Jennifer Yuh Nelson and Gregory Nava.

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 sets 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