By Ray Pride Pride@moviecitynews.com

Oscar Scraps Dawn Nominations Presser For Online Live Stream And Featured Placement On ABC’s “Good Morning America”

 

[PR] We’ve got exciting news.

To welcome our new class of nominees, several Oscar®-winning and nominated Academy members including Jennifer Hudson, Brie Larson, Emmanuel Lubezki, Jason Reitman and Ken Watanabe will join Academy President Cheryl Boone Isaacs to reveal the 89th Oscars® Nominations, on Tuesday, January 24, beginning at 5:18 a.m. PST/8:18 a.m. EST/1:18 p.m. GMT/9:18 p.m. CST.

In a departure from our tradition of a live audience at the Academy, this year’s nominations will be announced via a global live stream on Oscar.com, Oscars.org, the Academy’s digital platforms, a satellite feed, and local broadcasters, including “Good Morning America.”

To support your coverage, downloads and editorial content for the 24 Oscar award categories will be available on Oscar.com and Oscars.org immediately following the announcement. Satellite coordinates and announcement details will be available in the coming days, including interview opportunities.

We invite you to celebrate our 89th Academy Awards® with us, and to share in a terrific new Oscar season.

Thank you,
Academy Communications

 

 

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ABOUT THE ACADEMY
The Academy of Motion Picture Arts and Sciences is a global community of more than 7,000 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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www.youtube.com/Oscars
www.twitter.com/TheAcademy

 

 

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One Response to “Oscar Scraps Dawn Nominations Presser For Online Live Stream And Featured Placement On ABC’s “Good Morning America””

  1. pat says:

    I bet Ken Watanabe is going to spend January 25 apologizing for mispronouncing Hidden Fences a half dozen times.

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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