By Ray Pride Pride@moviecitynews.com

For Oscar 91, Academy Issues More Rules Arcana

Posted Tuesday, April 24th, 2018 - Comments Off on For Oscar 91, Academy Issues More Rules Arcana
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AWARDS RULES APPROVED FOR 91ST OSCARS®

CAMPAIGN REGULATIONS UPDATED FOR NEW AWARDS SEASON

LOS ANGELES, CA — The Academy’s Board of Governors has approved Oscars® rules and campaign regulations for the 91st Academy Awards®.

Submission deadlines for awards eligibility have been changed. There is now one submission deadline – Monday, October 1, 2018 – for the Animated Feature Film, Documentary Feature, Documentary Short Subject, Foreign Language Film, Animated Short Film and Live Action Short Film categories. The submission deadline for Best Picture and all other categories is Thursday, November 15, by 5 p.m. PT.

In the Music categories, all members of the Music Branch will view films eligible for Original Score and film clips of eligible Original Songs and vote in a preliminary round to produce a shortlist of 15 titles in each category using the preferential voting system. Five nominees for Original Score and five nominees for Original Song will then be chosen by branch members in a second round of balloting also using preferential voting.

In the Documentary Feature category, films that have won a qualifying award at a competitive film festival will be eligible for Academy Awards consideration regardless of any prior public exhibition or distribution by nontheatrical means. The Documentary Feature Qualifying Festival List will be available later this spring. Furthermore, the critic review eligibility requirement has been expanded to include additional New York- and Los Angeles-based publications.

To align with credits eligibility in the Best Picture category, rules in both the Animated Feature Film and Documentary Feature categories have been updated to allow for more than one producer to be designated as a nominee.

In a procedural change, members of the Visual Effects Branch Nominating Committee will now be able to stream bake-off reels from the shortlisted films or attend satellite bake-off screenings and vote online. Previously, committee members were only able to vote in person at the Academy’s Visual Effects Bake-off in Los Angeles.

Other amendments to the rules include standard date changes and other “housekeeping” adjustments.

Rules are reviewed annually by individual branch and category committees. The Awards and Events Committee then reviews all proposed changes before presenting its recommendations to the Board of Governors for approval.

Updated campaign regulations, which specify how companies and individuals may promote to Academy members any movies and achievements eligible for the 91st Academy Awards, are also presented to the Board of Governors for approval.

For the first time, studios, distributors and filmmakers will be required to use an Academy-approved mailing house to send sanctioned awards materials for eligible films to Academy members. Each approved mailing house will be provided with an official list of Academy members who have opted-in along with their contact information to facilitate both physical and digital mailings.

Additionally, the number of post-nominations screenings with a filmmaker Q&A is now limited to a maximum of four regardless of category or country in which the event takes place. This rule eliminates the two additional screenings currently allowed for Documentary and Foreign Language Film nominees.

For the complete 91st Academy Awards rules, visit oscars.org/rules.

The 91st Oscars will be held on Sunday, February 24, 2019, at the Dolby Theatre® at Hollywood & Highland Center® in Hollywood, and will be televised live on the ABC Television Network at 6:30 p.m. ET/3:30 p.m. PT. The Oscars also will be televised live in more than 225 countries and territories worldwide.

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ABOUT THE ACADEMY
The Academy of Motion Picture Arts and Sciences is a global community of more than 8,000 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

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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