By Ray Pride Pride@moviecitynews.com

THE PGA ANNOUNCES 2018 PRODUCERS GUILD AWARDS NOMINEES FOR DOCUMENTARY MOTION PICTURES

 [prLOS ANGELES (November 20, 2017) – The Producers Guild of America (PGA) announced today its 2018 Documentary Motion Pictures nominees that will advance in the final voting process for the 29th Annual Producers Guild Awards. The Producers Guild Awards honor excellence in motion picture and television productions, as well as some of the living legends who shape the profession. The remaining nominations for Theatrical Motion Pictures, Animated Theatrical Motion Pictures, Television Series/Specials, Long Form Programs, and Sports, Children’s and Short Form Programs will be announced January 5, 2018.

Also, the PGA and The Players club will host their second Annual East Coast Nominees Celebration on January 16, 2018 in New York. The event is open to nominees and their guests.

The ceremony for the 2018 Producers Guild Awards takes place on January 20, 2018 at The Beverly Hilton hotel in Los Angeles where the final winners will be announced.

The films nominated for the Award for Outstanding Producer of Documentary Motion Pictures are listed below in alphabetical order:

 

·         “Chasing Coral”

·         “City of Ghosts”

·         “Cries from Syria”

·         “Earth: One Amazing Day”

·         “Jane”

·         “Joshua: Teenager vs. Superpower”

·         “The Newspaperman: The Life and Times of Ben Bradlee”

 

* These films are in the process of being vetted for individual producer eligibility.

During the awards show, the Producers Guild will also present special honors to Chairman of Universal Pictures Donna Langley for its Milestone Award and to film producer Charles Roven for its David O. Selznick Award, among others. The 2018 Producers Guild Awards presented by Cadillac Event Chairs are Donald De Line and Amy Pascal.

 

In 1990, the Producers Guild held the first-ever Golden Laurel Awards, which were renamed the Producers Guild Awards in 2002. Richard Zanuck and Lili Fini Zanuck took home the award for Best Produced Motion Picture for “Driving Miss Daisy,” establishing the Guild’s awards as a bellwether for the Oscars.

ABOUT THE PRODUCERS GUILD OF AMERICA (PGA)

The Producers Guild of America is the non-profit trade group that represents, protects and promotes the interests of all members of the producing team in film, television and new media. The Producers Guild has more than 8,100 members who work together to protect and improve their careers, the industry and community by providing members with employment opportunities, seeking to expand health benefits, promoting fair and impartial standards for the awarding of producing credits, as well as other education and advocacy efforts such as encouraging sustainable production practices.  For more information and the latest updates, please visit Producers Guild of America websites and follow on social media:

Websites: www.producersguild.orgwww.pgagreen.orgwww.pgadiversity.org

Twitter: @ProducersGuild

Facebook: www.facebook.com/pga

YouTube: www.youtube.com/producersguild

Instagram: www.instagram.com/producersguild

Hashtag: #PGAwards

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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