By Ray Pride Pride@moviecitynews.com

David Rubin Elected Academy President

David Rubin was elected president of the Academy of Motion Picture Arts and Sciences August 6 by the organization’s Board of Governors.

Also elected to officer positions by the Board:

  • Lois Burwell, First Vice President (chair, Awards and Events Committee)
  • Sid Ganis, Vice President (chair, Museum Committee)
  • Larry Karaszewski, Vice President (chair, Preservation and History Committee)
  • Nancy Utley, Vice President (chair, Education and Outreach Committee)
  • Mark Johnson, Treasurer (chair, Finance Committee)
  • Bonnie Arnold, Secretary (chair, Membership and Governance Committee)

Rubin is beginning his first term as president and his seventh year as a governor representing the Casting Directors Branch.  Burwell, Ganis, Karaszewski and Utley were re-elected to their posts.  This will be the first officer stint for Arnold and Johnson.

Rubin is the first casting director to hold the position of Academy President.  With more than 100 film and television credits, he has cast such features as “The English Patient,” “Men in Black,” “Hairspray,” “Lars and the Real Girl,” “The Talented Mr. Ripley,” “Four Weddings and a Funeral,” “Get Shorty,” “My Best Friend’s Wedding,” “William Shakespeare’s Romeo + Juliet” and “Fried Green Tomatoes.”

Academy board members may serve up to three consecutive three-year terms, while officers serve one-year terms, with a maximum of four consecutive years in any one office.

For a full listing of the Academy’s 2019-20 Board of Governors, click here.

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ABOUT THE ACADEMY
The Academy of Motion Picture Arts and Sciences is a global community of more than 9,000 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
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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