By Ray Pride Pride@moviecitynews.com

Lynette Howell Taylor And Stephanie Allain To Produce 92nd Oscars

Posted Friday, November 15th, 2019 - Comments Off on Lynette Howell Taylor And Stephanie Allain To Produce 92nd Oscars
Be Sociable, Share!

LOS ANGELES, CA – Oscar®-nominated producer Lynette Howell Taylor and producer Stephanie Allain will produce the 92nd Oscars®, Academy President David Rubin announced today.  It will be their first involvement with the Oscars, which airs live on the ABC Television Network and broadcast outlets worldwide on Sunday, February 9, 2020.

“The combined producing talents of Lynette and Stephanie will bring dynamism and excitement to the 92nd Oscars show,” said Academy President David Rubin. “Their vast production experience ranges from groundbreaking independent film to global blockbuster.  We look forward to collaborating with them to bring an unforgettable Oscars event to movie fans around the world.”

“We have both watched the Oscars for as long as we can remember, and to be given the opportunity to produce the show is a dream,” said Howell Taylor and Allain.  “It’s an honor and a thrill to join forces to deliver an entertaining show that celebrates the artistry of this year’s best films.”

“How thrilling to have both Lynette and Stephanie leading our Oscars production team,” said Academy CEO Dawn Hudson. “I have every confidence that they will deliver a high-caliber performance.”

“We have our first win this Oscars season and it’s having Lynette Howell Taylor and Stephanie Allain produce our biggest live event of the year,” said Karey Burke, president, ABC Entertainment. “Lynette and Stephanie have impeccable taste, are at the top of their field, and have such a distinct and wonderful way of captivating audiences with storytelling that is compelling, creative and filled with superstars. We can’t wait to see their imagination come to life on the grandest, most coveted stage in Hollywood.”

Howell Taylor earned a Best Picture Oscar nomination for “A Star Is Born” (2018).  She has produced more than 20 movies in the last 15 years, including “The Accountant,” “Captain Fantastic,” “Big Eyes,” “The Place beyond the Pines,” “Blue Valentine” and “Half Nelson.”  Her television credits include the HBO limited series “I Know This Much Is True.”  Howell Taylor is the founder of 51 Entertainment, a filmmaker-driven production company.
A champion for diverse voices in cinema, Allain is best known for launching the careers of directors John Singleton, Robert Rodriguez, Craig Brewer, Sanaa Hamri and Justin Simien.  Her film and television credits include “Hustle & Flow” and “Dear White People.” Allain’s company, Homegrown Pictures, produces content by and about women and people of color. She served as director of the Los Angeles Film Festival, is a founding ambassador of ReFrame, and serves on the Board of Women in Film.

The 92nd Oscars will be held on Sunday, February 9, 2020, at the Dolby Theatre at Hollywood & Highland Center in Hollywood, and will be televised live on the ABC Television Network.  The Oscars also will be televised live in more than 225 countries and territories worldwide.

# # #

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
www.facebook.com/TheAcademy
www.youtube.com/Oscars
www.twitter.com/TheAcademy

Be Sociable, Share!

Posted in Awards Watch, MCN Curated Headlines, Movie City News | Comments Off on Lynette Howell Taylor And Stephanie Allain To Produce 92nd Oscars

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