The list of candidates for the 2020 Academy of Motion Pictures Arts and Sciences’ Board of Governors election is now out, with the winner in each branch being chosen directly from these entries rather than whittling it down to four finalists in each, as has been done previously. The list of candidates is made up of qualified AMPAS members who actually submit themselves.
Also new this year in the streamlined timetable, as Deadline exclusively reported May 16. The winners for the 17 open slots on the 54-member board will be chosen by preferential balloting, just like Best Picture race at the Oscars. Voting begins Monday and ballots are due back June 5.
The actors branch is the largest in the Academy and it also has drawn the biggest field of contenders for the one spot that is up. Incumbent governor Whoopi Goldberg is running for re-election against past governor Ed Begley Jr. vying to return to the board.
Also new this year in the streamlined timetable, as Deadline exclusively reported May 16. The winners for the 17 open slots on the 54-member board will be chosen by preferential balloting, just like Best Picture race at the Oscars. Voting begins Monday and ballots are due back June 5.
The actors branch is the largest in the Academy and it also has drawn the biggest field of contenders for the one spot that is up. Incumbent governor Whoopi Goldberg is running for re-election against past governor Ed Begley Jr. vying to return to the board.
- 5/29/2020
- by Pete Hammond
- Deadline Film + TV
The list of candidates for the Academy of Motion Picture Arts and Sciences’ 2020-2021 Board of Governors has been unveiled to members.
Voting begins on June 1 and ends on June 5.
Candidates run for three-year terms with a maximum of three terms. Each branch has three seats on the board. Only one of those seats is open each year because terms are staggered.
The candidates were posted on the Academy members’ portal on Friday afternoon. Below is the complete list (divided by branch) of those running for spots on the board.
Actors
Michael Lee Aday
Ed Begley, Jr.
Robert Carradine
Nicolas Coster
Colman Domingo
Richard Dreyfuss
Spencer Garrett
Bruce Glover
Whoopi Goldberg (incumbent)
James Keach
Stacy Keach
Peter Wong
Jodi Long
Tim Matheson
Joe Pantoliano
Lou Diamond Phillips
Andrea Riseborough
Andrew Stevens
Rita Wilson
Casting Directors
Kerry Barden
Richard Hicks
Margery Simkin
Debra Zane
Cinematographers
Andrzej Bartkowiak
Richard P. Crudo
Svetlana Cvetko...
Voting begins on June 1 and ends on June 5.
Candidates run for three-year terms with a maximum of three terms. Each branch has three seats on the board. Only one of those seats is open each year because terms are staggered.
The candidates were posted on the Academy members’ portal on Friday afternoon. Below is the complete list (divided by branch) of those running for spots on the board.
Actors
Michael Lee Aday
Ed Begley, Jr.
Robert Carradine
Nicolas Coster
Colman Domingo
Richard Dreyfuss
Spencer Garrett
Bruce Glover
Whoopi Goldberg (incumbent)
James Keach
Stacy Keach
Peter Wong
Jodi Long
Tim Matheson
Joe Pantoliano
Lou Diamond Phillips
Andrea Riseborough
Andrew Stevens
Rita Wilson
Casting Directors
Kerry Barden
Richard Hicks
Margery Simkin
Debra Zane
Cinematographers
Andrzej Bartkowiak
Richard P. Crudo
Svetlana Cvetko...
- 5/29/2020
- by Marc Malkin
- Variety Film + TV
What does it mean to be on the A-list? In addition to being a box office draw, which is a must, those within that rareified air can often call the shots creatively on their own movies, command a high salary and even develop their own projects. But while she's primarily remembered now as "America's sweetheart" or "The girl with curls," few actors then or now have had the popularity, power and influence of silent film star Mary Pickford. One of early cinema's hugest box office draws, an innovator in film acting, a founder of a major studio and a pop culture icon whose image still resonates to this day, Nicholas Eliopoulos' "Mary Pickford: Muse Of The Movies" is a loving tribute and expansive look at Pickford's life, loves and career.
The masterstroke of this documentary that sets it apart from your standard clip montage intercut with talking heads and voiceover narration,...
The masterstroke of this documentary that sets it apart from your standard clip montage intercut with talking heads and voiceover narration,...
- 6/21/2012
- by Kevin Jagernauth
- The Playlist
The 13th annual Kansas Silent Film Festival will be held on February 27th and 28th, 2009 and will play host to both the U.S.A. Premiere of a restored ‘lost’ feature film and the Kansas Premiere of a new documentary on silent film star, Mary Pickford. Sponsored by Washburn University, this event will take place at White Concert Hall on campus. Admission is free and open to the public. For more current information, check out our website at www.kssilentfilmfest.org.
The U.S.A. Premiere is Barelys the Magnificent, a previously ‘lost’ MGM feature film from 1926 starring John Gilbert in a swashbuckling romantic adventure based on a novel by Rafael Sabatini. It’s a sumptuous, exciting tale set in 17th Century France with a cavalier lover who steals women’s hearts, but cannot find the words for the woman he truly loves. There’s a rousing climax that outdoes...
The U.S.A. Premiere is Barelys the Magnificent, a previously ‘lost’ MGM feature film from 1926 starring John Gilbert in a swashbuckling romantic adventure based on a novel by Rafael Sabatini. It’s a sumptuous, exciting tale set in 17th Century France with a cavalier lover who steals women’s hearts, but cannot find the words for the woman he truly loves. There’s a rousing climax that outdoes...
- 1/29/2009
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
"Martin Lawrence Live: Runteldat," the actor-comic's latest performance film, is a two-for-one job. The first part contains a spectacularly unfunny stand-up routine consisting of weak, off-putting and belabored jokes. The other is a rationalization for all his recent legal and personal misfortunes.
The Maryland native delivers his jokes and excuses to thousands of adoring fans at Constitution Hall in Washington. Thanks to a hit TV series and several popular films, Lawrence has a definite following of forgive-and-forget fans, so the laugh track is solid. This concert film should also score with fans nationwide, but it is unlikely to win many converts for Lawrence.
The best comics, whether their material is off-color or not, deliver observations and insights into the human condition with wit and verbal dexterity. Neither weapon is in Lawrence's comic arsenal. His crude routines focus on safe sex, getting old (he's all of 36), disciplining children ("Whup you child's ass!"), sex after pregnancy, prenuptial agreements (he's for them) and overweight women (he's against them).
Lawrence has little to say on any of these topics. Worse, he is one of the least articulate comics in the history of stand-up. If you eliminate the words "fuck," "shit" and all their variations, this movie would barely qualify as a talkie.
Of course, humor is a matter of taste. Fans may love his comic riffs. Things only become pathetic when Lawrence decides to "tell my own story." The three now-infamous incidents he explains are his deranged behavior with a gun in the middle of an L.A. street -- "I was higher than a motherfucker!" -- a nightclub fight and a bizarre episode where he nearly died of heat stroke and dehydration while jogging in the noon sun.
His defense of this misbehavior: "No one is immune to the trials and tribulations of life." No apologies. No declaration that he has cleaned up his act. Just a defiant "We're all human". Everyone does these kind of things, he insists. Really?
This guy could have taught Tricky Dick Nixon a few tricks. He invokes God whenever he thinks that will go down well. He patronizes his audience by insisting that through all his self-imposed trials, "I felt your love". He even invokes Sept. 11 in response to his critics in the media without ever explaining what one has to do with the other.
The film itself is very cut and dried. An opening sequence contains clips from old TV shows and films and shots of Lawrence revving up backstage for his show. Once it begins, director David Raynr keeps the cameras trained on his sweating comic, seldom cutting away for obligatory shots of the crowd screaming with laughter. Daryn Okada's cinematography is refreshingly no-frills.
MARTIN LAWRENCE LIVE: RUNTELDAT
Paramount Pictures
MTV Films and Runteldat
Credits: Director: David Raynr; Writer: Martin Lawrence; Producers: Michael Hubbard, Beth Hubbard, David Gale, Loretha Jones; Executive producers: Martin Lawrence, Robert Lawrence, Van Toffler; Director of photography: Daryn Okada; Production designer: Richard Hoover; Co-producers: Walter Latham, Michael Cole, Momita Sengupta; Editor: Nicholas Eliopoulos. Cast: Martin Lawrence.
MPAA rating R, running time 103 minutes.
The Maryland native delivers his jokes and excuses to thousands of adoring fans at Constitution Hall in Washington. Thanks to a hit TV series and several popular films, Lawrence has a definite following of forgive-and-forget fans, so the laugh track is solid. This concert film should also score with fans nationwide, but it is unlikely to win many converts for Lawrence.
The best comics, whether their material is off-color or not, deliver observations and insights into the human condition with wit and verbal dexterity. Neither weapon is in Lawrence's comic arsenal. His crude routines focus on safe sex, getting old (he's all of 36), disciplining children ("Whup you child's ass!"), sex after pregnancy, prenuptial agreements (he's for them) and overweight women (he's against them).
Lawrence has little to say on any of these topics. Worse, he is one of the least articulate comics in the history of stand-up. If you eliminate the words "fuck," "shit" and all their variations, this movie would barely qualify as a talkie.
Of course, humor is a matter of taste. Fans may love his comic riffs. Things only become pathetic when Lawrence decides to "tell my own story." The three now-infamous incidents he explains are his deranged behavior with a gun in the middle of an L.A. street -- "I was higher than a motherfucker!" -- a nightclub fight and a bizarre episode where he nearly died of heat stroke and dehydration while jogging in the noon sun.
His defense of this misbehavior: "No one is immune to the trials and tribulations of life." No apologies. No declaration that he has cleaned up his act. Just a defiant "We're all human". Everyone does these kind of things, he insists. Really?
This guy could have taught Tricky Dick Nixon a few tricks. He invokes God whenever he thinks that will go down well. He patronizes his audience by insisting that through all his self-imposed trials, "I felt your love". He even invokes Sept. 11 in response to his critics in the media without ever explaining what one has to do with the other.
The film itself is very cut and dried. An opening sequence contains clips from old TV shows and films and shots of Lawrence revving up backstage for his show. Once it begins, director David Raynr keeps the cameras trained on his sweating comic, seldom cutting away for obligatory shots of the crowd screaming with laughter. Daryn Okada's cinematography is refreshingly no-frills.
MARTIN LAWRENCE LIVE: RUNTELDAT
Paramount Pictures
MTV Films and Runteldat
Credits: Director: David Raynr; Writer: Martin Lawrence; Producers: Michael Hubbard, Beth Hubbard, David Gale, Loretha Jones; Executive producers: Martin Lawrence, Robert Lawrence, Van Toffler; Director of photography: Daryn Okada; Production designer: Richard Hoover; Co-producers: Walter Latham, Michael Cole, Momita Sengupta; Editor: Nicholas Eliopoulos. Cast: Martin Lawrence.
MPAA rating R, running time 103 minutes.
Jada Pinkett Smith stars as a sassy good-time girl who beats all the players at their own game in "Woo", a flatly stereotypical sex comedy that disappoints on both fronts.
With Pinkett's character calling the trite shots, the filmmakers obviously hope to woo urban females with a genre that has been the domain of young males. But this is no "Waiting to Exhale".
Will's wife may help attract some initial business but likely not enough to pull the "Woo" over anyone's eyes.
After a visit to her sexually confused, psychic friend Celestrial (Girlina), Darlene "Woo" Bates (Pinkett Smith) is set up on a blind date with Tim (Tommy Davidson), a shy law clerk who has spent so many nights home alone that his buddies have started calling him Macaulay Culkin.
Not one to let a deadbeat -- albeit a well-meaning one -- spoil the fun, Woo decides to take Manhattan (played in part by Toronto) in style, leaving a path of destruction in their wake. Despite trashing a fancy Italian restaurant and losing a couple of cars along the way, Tim realizes that his polar opposite is nevertheless an attractive proposition, as does Woo.
In theory, it's easy to see why Pinkett Smith would find the role attractive. It presents her the opportunity to play a strong, off-the-wall character who can really let loose. But while she does with it what she can, David C. Johnson's script -- with its bottom-of-the-bin stereotypes and hackneyed situations -- does her no favors. As written, Woo borders on just plain annoying.
Also asked to play an essentially one-note character, Davidson is nevertheless able to inject some adept physical humor into the portrayal. Elsewhere, a briefly seen LL Cool J has a little fun as Tim's smooth neighbor, while Billy Dee Williams, in a sequence that recalls the Bogie bits in "Play It Again, Sam", makes an unbilled cameo as himself.
After an impressive debut with "Party Girl", Daisy von Scherler Mayer's direction feels awkward and plodding here, making the picture seem a lot longer than 85 minutes.
WOO
New Line Cinema
A New Deal/Gotham Entertainment production
Director: Daisy V.S. Mayer
Screenwriter: David C. Johnson
Producers: Beth Hubbard, Michael Hubbard
Executive producers: John Singleton,
Howard Hobson, Bradford W. Smith
Director of photography: Jean Lepine
Production designer: Ina Mayhew
Editors: Nicholas Eliopoulos, Janice Hampton
Costume designer: Michael Clancy
Music: Michel Colombier
Music supervisor: Bill Coleman
Casting: Robi Reed-Humes
Color/stereo
Cast:
Woo: Jada Pinkett Smith
Timmy: Tommy Davidson
Lenny: Dave Chappelle
Claudette: Paula Jai Parker
Hop: Darrel Heath
Romaine: Michael Ralph
Celestrial: Girlina
Darryl: LL Cool J
Running time -- 85 minutes
MPAA rating: R...
With Pinkett's character calling the trite shots, the filmmakers obviously hope to woo urban females with a genre that has been the domain of young males. But this is no "Waiting to Exhale".
Will's wife may help attract some initial business but likely not enough to pull the "Woo" over anyone's eyes.
After a visit to her sexually confused, psychic friend Celestrial (Girlina), Darlene "Woo" Bates (Pinkett Smith) is set up on a blind date with Tim (Tommy Davidson), a shy law clerk who has spent so many nights home alone that his buddies have started calling him Macaulay Culkin.
Not one to let a deadbeat -- albeit a well-meaning one -- spoil the fun, Woo decides to take Manhattan (played in part by Toronto) in style, leaving a path of destruction in their wake. Despite trashing a fancy Italian restaurant and losing a couple of cars along the way, Tim realizes that his polar opposite is nevertheless an attractive proposition, as does Woo.
In theory, it's easy to see why Pinkett Smith would find the role attractive. It presents her the opportunity to play a strong, off-the-wall character who can really let loose. But while she does with it what she can, David C. Johnson's script -- with its bottom-of-the-bin stereotypes and hackneyed situations -- does her no favors. As written, Woo borders on just plain annoying.
Also asked to play an essentially one-note character, Davidson is nevertheless able to inject some adept physical humor into the portrayal. Elsewhere, a briefly seen LL Cool J has a little fun as Tim's smooth neighbor, while Billy Dee Williams, in a sequence that recalls the Bogie bits in "Play It Again, Sam", makes an unbilled cameo as himself.
After an impressive debut with "Party Girl", Daisy von Scherler Mayer's direction feels awkward and plodding here, making the picture seem a lot longer than 85 minutes.
WOO
New Line Cinema
A New Deal/Gotham Entertainment production
Director: Daisy V.S. Mayer
Screenwriter: David C. Johnson
Producers: Beth Hubbard, Michael Hubbard
Executive producers: John Singleton,
Howard Hobson, Bradford W. Smith
Director of photography: Jean Lepine
Production designer: Ina Mayhew
Editors: Nicholas Eliopoulos, Janice Hampton
Costume designer: Michael Clancy
Music: Michel Colombier
Music supervisor: Bill Coleman
Casting: Robi Reed-Humes
Color/stereo
Cast:
Woo: Jada Pinkett Smith
Timmy: Tommy Davidson
Lenny: Dave Chappelle
Claudette: Paula Jai Parker
Hop: Darrel Heath
Romaine: Michael Ralph
Celestrial: Girlina
Darryl: LL Cool J
Running time -- 85 minutes
MPAA rating: R...
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