By Ray Pride Pride@moviecitynews.com

10 Animated Shorts Up For Oscar

Posted Wednesday, November 23rd, 2016 - Comments Off on 10 Animated Shorts Up For Oscar
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The Academy of Motion Picture Arts and Sciences today announced that 10 animated short films will advance in the voting process for the 89th Academy Awards®.  Sixty-nine pictures had originally qualified in the category.

The 10 films are listed below in alphabetical order by title, with their production companies:

“Blind Vaysha,” Theodore Ushev, director (National Film Board of Canada)

“Borrowed Time,” Andrew Coats and Lou Hamou-Lhadj, directors (Quorum Films)

“Happy End,” Jan Saska, director (FAMU – Film and TV School of the Academy of Performing Arts in Prague)

“The Head Vanishes,” Franck Dion, director (Papy3D Productions, National Film Board of Canada and ARTE France Cinema Department)

“Inner Workings,” Leo Matsuda, director, and Sean Lurie, producer (Walt Disney Animation Studios)

“Once upon a Line,” Alicja Jasina, director (University of Southern California)

“Pear Cider and Cigarettes,” Robert Valley, director, and Cara Speller, producer (Massive Swerve Studios and Passion Pictures Animation)

“Pearl,” Patrick Osborne, director (Google Spotlight Stories/Evil Eye Pictures)

“Piper,” Alan Barillaro, director, and Marc Sondheimer, producer (Pixar Animation Studios)

“Sous Tes Doigts (Under Your Fingers),” Marie-Christine Courtès, director, and Ludivine Berthouloux, art director (Vivement Lundi! and Novanima)

Members of the Short Films and Feature Animation Branch viewed all the eligible entries for the preliminary round of voting.

Short Films and Feature Animation Branch members will now select five nominees from among the 10 titles on the shortlist.  Branch screenings will be held in Los Angeles, London, New York and San Francisco in December.

Nominations for the 89th Oscars® will be announced on Tuesday, January 24, 2017.

The 89th Oscars will be held on Sunday, February 26, 2017, at the Dolby Theatre® at Hollywood & Highland Center® in Hollywood, and will be televised live on the ABC Television Network at 7 p.m. ET/4 p.m. PT.  The Oscars also will be televised live in more than 225 countries and territories worldwide.

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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