By MCN Editor editor@moviecitynews.com

ACADEMY ANNOUNCES PROMOTIONS FOR SCOTT MILLER AND KIMBERLY ROUSH

March 28, 2012
FOR IMMEDIATE RELEASE

Beverly Hills, CA – The Academy of Motion Picture Arts and Sciences has promoted Scott Miller and Kimberly Roush to senior management positions, COO Ric Robertson announced today. Miller, who will continue to serve as Assistant General Counsel, has also assumed the role of Managing Director of Administration, while Roush has been elevated to Managing Director of Membership and Awards. Both will report directly to Robertson.

Miller has held the position of Assistant General Counsel since 2002. In this capacity, he oversees all contract negotiations, directs global trademark enforcement, and provides key legal support in the production of the annual Academy Awards® show. In his new position, Miller adds senior administrative responsibilities such as campaign regulations and compliance, building and theater operations, and Oscar® statuette manufacture and distribution. “Scott has played a crucial and effective role in protecting our work and our brand. This expanded position will allow him to apply his energies and intelligence to an even wider array of Academy operations,” said Robertson.

Roush has served as Director of Membership since joining the Academy staff in 2008. She manages all activities related to the organization’s global membership of more than 6,000 leading motion picture professionals, including new member selection, branch committees and member communications and events, and balloting. She also supervises the coordination of the Governors Ball as well as the Governors Awards.

In her new role, Roush adds oversight of the seven-person awards department and its work, which includes the Academy Awards rules, Awards categories, the Scientific and Technical Awards, and the Student Academy Awards, as well as all awards-related activities within the member branches. Prior to joining the Academy staff, Roush spent 12 years at the Telluride Film Festival, where she was the director of development, then vice president and director of development and communications.

“Kimberly’s remarkable leadership has been vital in improving the ways we serve our members. Her skilled management of the interwoven activities of the membership and awards departments will enable them to function even more effectively and seamlessly,” Robertson said.

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ABOUT THE ACADEMY
The Academy of Motion Picture Arts and Sciences is the world’s preeminent movie-related organization, with a membership of more than 6,000 of the most accomplished men and women working in cinema. In addition to the annual Academy Awards—in which the members vote to select the nominees and winners­—the Academy presents a diverse year-round slate of public programs, exhibitions and events; provides financial support to a wide range of other movie-related organizations and endeavors; acts as a neutral advocate in the advancement of motion picture technology; and, through its Margaret Herrick Library and Academy Film Archive, collects, preserves, restores and provides access to movies and items related to their history. Through these and other activities the Academy serves students, historians, the entertainment industry and people everywhere who love movies.

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“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch