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By Ray Pride Pride@moviecitynews.com

THE ACADEMY EXTENDS OSCAR® NOMINATIONS VOTING PERIOD TO JANUARY 4

December 31, 2012
FOR IMMEDIATE RELEASE

BEVERLY HILLS, CA – The Academy of Motion Picture Arts and Sciences has extended the deadline for members to vote for Oscar nominations by one day to Friday, January 4, 2013, 5.p.m. PT.  (The original date was Thursday, January 3, 5 p.m. PT).  Members may vote online or submit a paper ballot.  Any votes received after the deadline will not be counted.

“By extending the voting deadline we are providing every opportunity available to make the transition to online balloting as smooth as possible,” said Ric Robertson, Academy COO.  “We’re grateful to our global membership for joining us in this process.”

In order to accommodate the extension and maintain security, the online voting system will be closed for two hours only (5:00 p.m. to 7:00 p.m. PT) on Thursday, January 3. The system will re-open at 7 p.m. PT on January 3 and remain available to members until 5:00 p.m. PT January 4.

This is the first year the Academy is providing its membership the opportunity to vote online. Several voting resources are available to members, including assisted voting stations in Los Angeles, New York and London, and a 24-hour support call center.

The nominations and final Awards ballots will be tabulated and verified by PricewaterhouseCoopers (PwC) to ensure that all aspects of the balloting process are accurate and secure. In the majority of the categories, PwC will tabulate the ballots using the preferential voting system.

The 85th Academy Awards® nominations will be announced live on Thursday, January 10, 2013, at 5:30 a.m. PT in the Academy’s Samuel Goldwyn Theater.

Academy Awards for outstanding film achievements of 2012 will be presented on Oscar Sunday, February 24, 2013, at the Dolby Theatre™ at Hollywood & Highland Center®, and televised live on the ABC Television Network. The Oscar presentation also will be televised live in more than 225 countries worldwide.

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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–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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CATHERINE LACEY: Do you think that your writer DNA was sort of shaped by how your family was displaced by the Nazi regime before you were born?
RENATA ADLER: It’s funny that you should mention that because I think it affects a lot else, specifically being a refugee. I wasn’t born there. I didn’t experience any of it. But they were refugees. So then I was thinking of this business of being a refugee, no matter in what sense.

Prenatal refugee.
Prenatal refugee and actually postnatal refugee. And I thought there are probably things in common between being a child and being a refugee and being an anthropologist.

It gives you a sense of curiosity.
But also a complete displacement. You’ve got to read the situation. You’re the new kid in school all the time. But I wasn’t aware of it then. I’m aware of it now because language affects you differently, or not. But I used to talk to Mike Nichols about it because he was a refugee. Do you envision an audience when you write? Do you envision a particular person? 

No.
Every once in a while I think: Now, what would Mike say to that?

There’s that idea that when you’re blocked, you can always just write as if it was a letter to one specific person.
Oh, that’s good. That’s a wonderful idea. Mine is more in terms of criticism. If someone was to say, “I know what that is. Do you really want to do that?” But anyway, about Mike and his attitude toward language, I remember him saying—it was a question of whether something written was fresh or not—and he would ask, “Why not smell it?” Which, from an English speaker’s point of view, is hysterical.

~ Renata Adler and Catherine Lacey In Conversation 

“Oh it was just hellish. This is the worst thing that ever happened to me. It would be stupid for me to say that I didn’t know what I was getting into. It has taken me five years to decide on a first film and I always held out for something like this. The lesson to be learned is that you can’t take on an enterprise of this size and scope if you don’t have a movie like The Terminator or Jaws behind you. Because when everybody’s wringing their handkerchiefs and sweating and puking blood over the money, it’s very nice to be able to say, ‘This is the guy who directed the biggest grossing movie of all time, sit down, shut up and feel lucky that you’ve got him.’ It’s another thing when you are there and you’re going ‘Trust me, this is really what I believe in,’ and they turn round and say ‘Well, who the hell is this guy?’ If I make ten shitty movies, I’ll deserve the flak and if I go on to make 10 great ones, this’ll probably be looked upon as my first bungled masterpiece.”
~ David Fincher, 1992

 

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