By Ray Pride Pride@moviecitynews.com

Oscar General Entry Submission Forms Due November 15

LOS ANGELES, CA — Friday, November 15 is the deadline to submit Oscars Submission Forms (OSF) in the general entry categories to the Academy of Motion Picture Arts and Sciences for 92nd Academy Awards consideration. Films will not be accepted for consideration after the deadline.

For a feature film to be considered for the 2019 Awards, the film’s distributor or producer must upload via our submission website a scanned, signed copy of the OSF and legal billing (complete on-screen credits) or deliver a signed OSF and the film’s legal billing to the Academy’s 8949 Wilshire Boulevard office. The deadline for submission by either method is 5 p.m. PT on November 15. If a feature film is released in Los Angeles County in 2019 and the completed OSF and billing are not delivered by the deadline, the film will be ineligible for Academy Awards in any year.

OSFs are accessible online only, at https://submissions.oscars.org/. Complete 92nd Academy Awards rules can be found at http://www.oscars.org/oscars/rules-eligibility.

For additional information about submission and feature film eligibility, contact submissions@oscars.org or 310-247-3000, ext. 2299.

While the credits submission deadline is November 15, feature films have until December 31 to open in a qualifying commercial motion picture theater in Los Angeles County and begin a minimum run of seven consecutive days to be eligible for 2019 Awards consideration.

Entries in the animated feature, documentary, international feature and short film categories are subject to special rules and qualifying criteria. The submission deadline in these specialty categories has already passed.

Nominations for the 92nd Academy Awards will be announced on Monday, January 13, 2020.

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.

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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

COMMUNICATIONS DEPARTMENT
8949 WILSHIRE BOULEVARD | BEVERLY HILLS, CA 90211-1907
(310) 247-3090 TEL | (310) 271-3395 FAX | PUBLICITY@OSCARS.ORG | WWW.OSCARS.ORG/PRESS

EMAIL LIST & SUBSCRIBER INFORMATION

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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