By Ray Pride Pride@moviecitynews.com

OSCARS TO FEATURE TRIBUTE TO MOVIE MUSICALS OF THE LAST DECADE

 January 25, 2013
FOR IMMEDIATE RELEASE

BEVERLY HILLS, CA – The Oscars will include a special celebration of movie musicals of the last ten years, the telecast’s producers announced today.

“The musical as a motion picture genre has had a remarkable renaissance in the last decade,” said producers Craig Zadan and Neil Meron.  “We are excited to showcase three musical films—‘Chicago,’ ‘Dreamgirls’ and ‘Les Misérables’— on our Oscar® show.”

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

 

ABOUT CRAIG ZADAN AND NEIL MERON

Craig Zadan and Neil Meron are producers of critically acclaimed and award-winning feature films, television movies, series, and Broadway productions.  Their feature films include The Bucket List, Footloose, Hairspray, and Chicago, which won six Academy Awards including one for “Best Picture.”  For television, they’ve produced films of “Steel Magnolias,” “Life with Judy Garland,” and “A Raisin in the Sun,” among many others and the series “Smash” and “Drop Dead Diva.”  They recently returned to their roots in live theater by producing Broadway revivals of the Tony-winning “Promises, Promises” and the Tony-winning 50th Anniversary revival of “How to Succeed in Business Without Really Trying.”

 

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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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“One of my favorite things in watching any performance on film is when there isn’t a lot of cutting going on and when you get a chance to become really absorbed in the artist in hand. The same way we do, hopefully, at a concert, when we get a chance to really trip in to something that’s happening on stage. Whether the singer’s singing, or one of the other musicians is playing, we sort of stay there instead of cutting round with our eyes a lot.”
~ Jonathan Demme

“We’ve talked about this before in the past, my obsession with the Shakespearean histories having the ideal combination of the sweet and the sour. In ‘Henry IV, Part II’ which we’ve discussed before, in the end of that story it’s very complex and haunting because Prince Hal becomes Henry the King, and he has transcended his hoodlum days and at the ceremony is Falstaff, his good friend with whom he has really fucked around and been a loser with, and Falstaff comes up to him and says, ‘Now that you’re king we can really party,’ and the king famously says, ‘I know thee not, old man.’ It becomes Henry IV’s anointment and Falstaff’s catastrophe. That’s life. I have experienced very little unfettered triumph. There are moments, such as when my children are born, but even that comes with new fears and anxieties. In a sense the better you can communicate that life is both at once, the more powerful over time something becomes. One strives for something where the threads are there because it lasts in way that is very palpable. The idea of a tragedy is powerful in literature and theater, but in cinema it doesn’t work, certainly not commercially, and less so critically. Why is that? I think it has to do with how movies are so close to us.”
~ James Gray