By Ray Pride Pride@moviecitynews.com

Oscar 89 Names Production Team

89th OSCARS® PRODUCTION TEAM ANNOUNCED

Over 75 Years of Combined Oscars Telecast Experience

LOS ANGELES, CA — Producers Michael De Luca and Jennifer Todd today announced eight key members of the production team for the 89th Oscars®, which will air live on Sunday, February 26, on ABC. It was previously announced that Glenn Weiss would be returning as director for his second consecutive year.

“This team has over 75 years of combined experience working on Oscars telecasts,” said De Luca and Todd. “It’s truly a privilege to work alongside them.”

Rob Paine has been associated with the Oscars telecast for over 20 years and returns as the Supervising Producer.  Paine has more than 200 television events to his name and has earned four Emmy nominations and a Peabody Award.  His other credits include 11 Super Bowl Halftime Shows, “The Kennedy Center Honors” and the recent gala opening of the Smithsonian National Museum of African American History and Culture.

Production designer Derek McLane returns to the Oscars for a fifth consecutive year.  He has earned four Emmy nominations for his work on the Oscars telecasts and won in 2014.  His other television credits include “Hairspray Live!,” “The Wiz Live!,” “Peter Pan Live!” and “The Sound of Music Live!”  McLane also has designed sets for several acclaimed Broadway productions; he received a Tony Award for his work on the drama “33 Variations” as well as three nominations for musicals.

Billy Kimball returns for his second year as writer.  He has previously written for the Governors Awards and was the writer on the “Independent Spirit Awards” nine times.  Kimball is currently a writer and consulting producer on the HBO comedy series “Veep.”  His other writing credits include “The Late Late Show with Craig Kilborn,” “The Simpsons” and the documentary feature “Waiting for ‘Superman,’” which he co-wrote with Davis Guggenheim.

Also returning as writer is Jon Macks, an eight-time Emmy nominee.  This is his 20th time writing on the Oscars; he has been the head writer for the hosts on seven Oscars telecasts.  In addition to his work on the Oscars, Macks wrote for 22 years on theTonight Show with Jay Leno” and writes for Billy Crystal, Steve Martin, Chris Rock and Martin Short.

Harold Wheeler returns for his fourth Oscars telecast.  An accomplished orchestrator, composer, conductor, record producer and arranger, Wheeler has received multiple Emmy and Tony Award nominations as well as an NAACP Theatre Award for lifetime achievement.  His television credits include the “People’s Choice Awards,” “AFI’s 100 Years…” series and 17 seasons of “Dancing with the Stars.”  Wheeler also composed music for two Democratic National Conventions and the opening ceremonies of the 1996 Summer Olympics.  On Broadway, he has orchestrated musicals including “Hairspray,” “The Full Monty,” “Dreamgirls,” “The Wiz” and “Promises, Promises.”

Taryn Hurd rejoins the Oscars telecast team for the fourth consecutive year as Talent Producer.  She also has served as talent producer on the past three Governors Awards ceremonies along with numerous variety television specials and award shows.

Lightning designer Robert Dickinson returns for his 28th Oscars show.  He has won 18 Primetime Emmy Awards, including three for Oscars telecasts.  Additionally, Dickinson has been honored with two Daytime Emmy Awards. His credits include “The Kennedy Center Honors,” “The Grammys,” “Primetime Emmy Awards,” “Tony Awards” and “Academy of Country Music Awards” Olympics ceremonies in Atlanta, Salt Lake City, Athens and Vancouver; the ceremonies of the European Games in Baku; and the specials “Peter Pan Live!” and “The Sound of Music Live!”

Raj Kapoor joins the Oscars for the first time designing screen content and performances.  Kapoor’s recent credits include six Grammys, Disneyland’s 60th Anniversary, ABC’s “Greatest Hits” and the “Radio Disney Music Awards.”  Kapoor has mounted numerous large-scale international tours for Carrie Underwood, Faith Hill and Tim McGraw, Soul 2 Soul, One Republic, American Idol, Jason Aldean, Shania Twain, Juanes, Jewel, Jonas Brothers, Demi Lovato and Rascal Flatts.  He has also directed and produced Las Vegas residencies for Shania Twain, John Fogerty, Backstreet Boys and Mariah Carey.

The 89th Oscars will be held on Sunday, February 26, 2017, at the Dolby Theatre® at Hollywood & Highland Center® in Hollywood, and will be broadcast live on the ABC Television Network at 7 p.m. EST/4 p.m. PST. The Oscars, produced by De Luca and Todd and hosted by Jimmy Kimmel, also will be televised in more than 225 countries and territories worldwide. Additionally, “The Oscars: All Access” live stream from the red carpet and backstage will begin at 7 p.m. EST/4 p.m. PST on Oscar.com.

# # #

 

 

ABOUT THE ACADEMY
The Academy of Motion Picture Arts and Sciences is a global community of more than 7,000 of the most accomplished artists, filmmakers and executives working in film. In addition to celebrating and recognizing excellence in filmmaking through the Oscars, the Academy supports a wide range of initiatives to promote the art and science of the movies, including public programming, educational outreach and the upcoming Academy Museum of Motion Pictures, which is under construction in Los Angeles.

FOLLOW THE ACADEMY
www.oscars.org
www.facebook.com/TheAcademy
www.youtube.com/Oscars
www.twitter.com/TheAcademy

 

 

COMMUNICATIONS DEPARTMENT

Be Sociable, Share!

Comments are closed.

Quote Unquotesee all »

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