The Ceremony

Friday, June 26, 2015

From Emma Stone to John Legend, Academy invites record group of 322 to join

The Academy has invited 322 to join its ranks.

This is a very large and extensive group of  “artists and executives who have distinguished themselves by their contributions to theatrical motion pictures” — and a record number.

In recent years, more than 270 were invited to join the nonprofit organization known for its iconic Oscar (271 in 2014, 276 in 2013, 176 in 2012 and 178 in 2011).

The Academy only sends out invitations once per year.

“It’s gratifying to acknowledge the extraordinary range of talent in our industry,” said Academy President Cheryl Boone Isaacs in a statement. “This year, our branches have recognized a more diverse and inclusive list of filmmakers and artists than ever before, and we look forward to adding their creativity, ideas and experience to our organization.”

Among the invitees are some of this year's Oscar winners Eddie Redmayne, J.K. Simmons and Don Hall and Roy Conli of "Big Hero 6," along with nominees Benedict Cumberbatch and Emma Stone.

Musicians Trent Reznor and Atticus Ross, Original Score Oscar winners for 2010's "The Social Network," were also invited.

Here are some of the thankful tweets from invitees:

Find the full list of names below:

Actors (25)
Elizabeth Banks – “Love & Mercy,” “The Hunger Games”
Choi Min-sik– “Lucy,” “Oldboy”
Benedict Cumberbatch – “The Imitation Game,” “Star Trek Into Darkness”
Martin Freeman – “The Hobbit: An Unexpected Journey,” “Hot Fuzz”
Heather Graham – “The Hangover,” “Boogie Nights”
Tom Hardy – “Mad Max: Fury Road,” “Inception”
Kevin Hart – “The Wedding Ringer,” “Ride Along”
Felicity Jones – “The Theory of Everything,” “Like Crazy”
Stephen Lang – “Avatar,” “The Men Who Stare at Goats”
Jodi Long – “A Picture of You,” “Beginners”
John Carroll Lynch – “Shutter Island,” “Zodiac”
Gugu Mbatha-Raw – “Beyond the Lights,” “Belle”
Denis O’Hare – “Milk,” “Michael Clayton”
Michael O’Neill – “Dallas Buyers Club,” “Transformers”
David Oyelowo – “Selma,” “A Most Violent Year”
Dev Patel – “The Best Exotic Marigold Hotel,” “Slumdog Millionaire”
Rosamund Pike – “Gone Girl,” “Pride & Prejudice”
Chris Pine – “Into the Woods,” “Star Trek”
Daniel Radcliffe – “Kill Your Darlings,” “Harry Potter and the Deathly Hallows Part 2”
Eddie Redmayne – “The Theory of Everything,” “Les Misérables”
Jason Segel – “The Five-Year Engagement,” “The Muppets”
J.K. Simmons – “Whiplash,” “Juno”
Sonny Skyhawk – “Geronimo: An American Legend,” “Young Guns II”
Song Kang-ho – “Snowpiercer,” “The Host”
Emma Stone – “Birdman or (The Unexpected Virtue of Ignorance),” “The Help”

Casting Directors (10)
Lucy Bevan – “Cinderella,” “The Hundred-Foot Journey”
Victoria Burrows – “The Hobbit: The Desolation of Smaug,” “King Kong”
Aisha Coley – “Selma,” “Beyond the Lights”
Patricia DiCerto – “Blue Jasmine,” “Vicky Cristina Barcelona”
Mary Hidalgo – “The Lego Movie,” “The Incredibles”
Roger Mussenden – “X-Men: Days of Future Past,” “Get Smart”
Lucie Robitaille – “Incendies,” “The Barbarian Invasions”
Luis San Narciso – “The Skin I Live In,” “The Sea Inside”
April Webster – “Tomorrowland,” “Star Trek”
Tricia Wood – “Woman in Gold,” “The Lincoln Lawyer”

Cinematographers (11)
Christopher Blauvelt – “The Disappearance of Eleanor Rigby,” “The Bling Ring”
Adriano Goldman – “August: Osage County,” “Jane Eyre”
Ben Kasulke – “Laggies,” “Safety Not Guaranteed”
Ryszard Lenczewski – “Ida,” “Margaret” (nominated for Cinematography)
Jody Lee Lipes – “Ballet 422,” “Martha Marcy May Marlene”
Sharone Meir – “Whiplash,” “Mean Creek”
Rachel Morrison – “Cake,” “Fruitvale Station”
Tristan Oliver – “ParaNorman,” “Fantastic Mr. Fox”
Hoyte Van Hoytema – “Interstellar,” “Her”
Roman Vasyanov – “Fury,” “End of Watch”
Łukasz Żal – “Ida,” “Joanna” (nominated for Cinematography)

Costume Designers (3)
Kasia Walicka Maimone – “Foxcatcher,” “Moonrise Kingdom”
Francesca Livia Sartori – “Piazza Fontana: The Italian Conspiracy,” “When the Night”
Jany Temime – “Gravity,” “Skyfall”

Designers (16)
Ramsey Avery – “Tomorrowland,” “Star Trek Into Darkness”
Gae Buckley – “The Book of Eli,” “He’s Just Not That into You”
Keith Brian Burns – “The Best Man Holiday,” “2 Fast 2 Furious”
Lester W. Cohen – “Fading Gigolo,” “Cop Land”
Suzie Davies – “Mr. Turner,” “The Children” (nominated for Production Design)
John F. Fenner – “The Phantom of the Opera,” “The Talented Mr. Ripley”
Darren Gilford – “Oblivion,” “Tron: Legacy”
Derek R. Hill – “Southpaw,” “Pirates of the Caribbean: The Curse of the Black Pearl”
Bryn Imagire – “Cars 2,” “Up”
Dina Lipton – “Baggage Claim,” “Love Hurts”
Tatiana Macdonald – “The Imitation Game,” “The Invisible Woman” (nominated for Production Design)
Dominic Masters – “Woman in Gold,” “Casino Royale”
Doug Meerdink – “Jurassic World,” “Ocean’s Thirteen”
Chris Spellman – “Paper Towns,” “This Is the End”
Patrick Tatopoulos – “300: Rise of an Empire,” “Total Recall”
Charlotte Watts – “Mr. Holmes,” “Mr. Turner” (nominated for Production Design)

Directors (26)
Michael Binder – “Black or White,” “Reign over Me”
Bong Joon-ho – “Snowpiercer,” “Mother”
Niki Caro – “North Country,” “Whale Rider”
Damien Chazelle* – “Whiplash,” “Guy and Madeline on a Park Bench”
Simon Curtis – “Woman in Gold,” “My Week with Marilyn”
François Girard – “Silk,” “The Red Violin”
F. Gary Gray – “The Italian Job,” “Friday”
James Gunn – “Guardians of the Galaxy,” “Super”
Im Kwon-taek – “Chi-Hwa-Seon (Painted Fire),” “Chunhyang”
Stan Lathan – “Beat Street,” “Amazing Grace”
Malcolm D. Lee* – “The Best Man Holiday,” “The Best Man”
Justin Lin – “Fast & Furious 6,” “Better Luck Tomorrow”
François Ozon – “Young & Beautiful,” “Swimming Pool”
Paweł Pawlikowski* – “Ida,” “My Summer of Love”
Kelly Reichardt – “Meek’s Cutoff,” “Wendy and Lucy”
Ira Sachs – “Love Is Strange,” “Keep the Lights On”
Lynn Shelton – “Laggies,” “Your Sister’s Sister”
Abderrahmane Sissako* – “Timbuktu,” “Bamako”
Damián Szifron* – “Wild Tales,” “On Probation”
Fernando Trueba – “Chico & Rita,” “Belle Epoque”
Morten Tyldum – “The Imitation Game,” “Headhunters” (nominated for Director)
Zaza Urushadze – “Tangerines,” “The Guardian”
Wayne Wang – “Anywhere but Here,” “The Joy Luck Club”
Edgar Wright – “The World’s End,” “Scott Pilgrim vs. the World”
Joe Wright – “Anna Karenina,” “Atonement”
Andrey Zvyagintsev* – “Leviathan,” “Elena”

Documentary (22)
Richard Berge – “The Island President,” “The Rape of Europa”
Mathilde Bonnefoy* – “CitizenFour,” “The Invisibles” (winner for Documentary Feature)
Emad Burnat – “5 Broken Cameras”
Guy Davidi – “5 Broken Cameras,” “Interrupted Streams”
Geralyn Dreyfous – “The Square,” “The Invisible War”
Lewis Erskine – “Free Angela: And All Political Prisoners,” “Jonestown: The Life and Death of Peoples Temple”
Shana Hagan – “Misconception,” “This Film Is Not Yet Rated”
Tony Hardmon – “Detropia,” “Semper Fi: Always Faithful”
Leonard Retel Helmrich – “Position among the Stars,” “Shape of the Moon”
Pirjo Honkasalo – “The 3 Rooms of Melancholia,” “Atman”
Judy Irving – “Pelican Dreams,” “The Wild Parrots of Telegraph Hill”
Robert Kenner – “Merchants of Doubt,” “Food, Inc.”
Marc Levin – “Mr. Untouchable,” “The Last Party”
Jesse Moss – “The Overnighters,” “Full Battle Rattle”
Pratibha Parmar – “Alice Walker: Beauty in Truth,” “A Place of Rage”
Paula DuPre’ Pesmen – “Keep On Keepin’ On,” “The Cove”
Gordon Quinn – “Life Itself,” “Hoop Dreams”
Kim Roberts – “Waiting for ‘Superman’,” “Lost Boys of Sudan”
Richard Rowley – “Dirty Wars,” “The Fourth World War”
João Moreira Salles – “Santiago,” “Entreatos (Intermissions)”
Ondi Timoner – “We Live in Public,” “Dig!”

Executives (12)
Carolyn Blackwood
Robbie Brenner
Lia Buman
Steve Burke
David Fenkel
Mellody Hobson
Brian Keane
Steven Paul O’Dell
Jim Orr
Mark Rachesky
Ted Sarandos
Jeff Shell

Film Editors (25)
Craig Alpert – “Pitch Perfect 2,” “Pineapple Express”
Mick Audsley – “The Imaginarium of Doctor Parnassus,” “Dirty Pretty Things”
Pablo Barbieri – “Wild Tales,” “La Antena (The Aerial)”
Nadia Ben Rachid – “Timbuktu,” “Bamako”
Kristina Boden – “The Disappearance of Eleanor Rigby,” “Cake”
Mathilde Bonnefoy* – “CitizenFour,” “Run Lola Run”
Julian Clarke – “Chappie,” “District 9”
Douglas Crise – “Birdman or (The Unexpected Virtue of Ignorance),” “Babel”
Tom Cross – “Whiplash,” “Any Day Now” (winner for Film Editing)
Jinx Godfrey – “The Theory of Everything,” “Man on Wire”
Robert Grahamjones – “Brave,” “Ratatouille”
Masahiro Hirakubo – “Virunga,” “The Duchess”
Jarosław Kamiński – “Ida,” “Aftermath (Pokłosie)”
William Kerr – “Bridesmaids,” “I Love You, Man”
Nico Leunen – “Lost River,” “The Broken Circle Breakdown”
Mike McCusker – “Get On Up,” “3:10 to Yuma”
Tim Mertens – “Big Hero 6,” “Wreck-It Ralph”
Barney Pilling – “The Grand Budapest Hotel,” “An Education” (nominated for Film Editing)
David Rennie – “22 Jump Street,” “Office Space”
Gary D. Roach – “American Sniper,” “Prisoners” (nominated for Film Editing)
Michael L. Sale – “We’re the Millers,” “Bridesmaids”
Stephen Schaffer – “Cars 2,” “WALL-E”
Job ter Burg – “Borgman,” “Winter in Wartime”
Peter Teschner – “St. Vincent,” “Horrible Bosses”
Tara Timpone – “Friends with Kids,” “Bad Teacher”

Makeup Artists and Hairstylists (10)
Frida S. Aradottir – “August: Osage County,” “A Serious Man”
Victoria Down – “Big Eyes,” “Rise of the Planet of the Apes”
Frances Hannon – “The Grand Budapest Hotel,” “The King’s Speech” (winner for Makeup and Hairstyling)
Todd Kleitsch – “Run All Night,” “Black Swan”
Dennis Liddiard – “Foxcatcher,” “Jobs” (nominated for Makeup and Hairstyling)
Jerry Popolis – “Birdman or (The Unexpected Virtue of Ignorance),” “Noah”
Janine Rath-Thompson – “Star Trek Into Darkness,” “Bridesmaids”
Johnny Villanueva – “The Gambler,” “The Fighter”
David White – “Guardians of the Galaxy,” “La Vie en Rose” (nominated for Makeup and Hairstyling)
Elizabeth Yianni-Georgiou – “Guardians of the Galaxy,” “An Education” (nominated for Makeup and Hairstyling)

Members-at-Large (15)
Andy Armstrong
Wayne Billheimer
Kevin Brownlow
Simon Crane
Debbie Denise
Jeff Habberstad
Andy Hendrickson
Elissa M. Rashkin Loparco
Guido Quaroni
Nicole Scalise
Steven J. Scott
Leon D. Silverman
Gregg Smrz
Lynda Ellenshaw Thompson
Steve Venezia

Music (19)
Tyler Bates – “John Wick,” “Guardians of the Galaxy”
Alex Gibson – “Interstellar,” “The Dark Knight”
Jonny Greenwood – “Inherent Vice,” “The Master”
Dave Grusin – “Skating to New York,” “The Firm”
Alex Heffes – “Love and Honor,” “Mandela: Long Walk to Freedom”
Lisa Jaime – “Annie,” “Rock of Ages”
Jóhann Jóhannsson – “The Theory of Everything,” “Prisoners” (nominated for Original Score)
Laura Karpman – “States of Grace,” “Black Nativity”
Christopher Lennertz – “The Wedding Ringer,” “Horrible Bosses”
Lonnie Lynn (aka Common) – “Selma,” “Freedom Writers” (winner for Original Song)
Chris McGeary – “Jersey Boys,” “RoboCop”
Sergio Mendes – “Rio 2,” “Rio”
Daniel Pinder – “Big Hero 6,” “Captain Phillips”
Trent Reznor – “Gone Girl,” “The Girl with the Dragon Tattoo”
Atticus Ross – “Love & Mercy,” “The Social Network”
John Stephens (aka John Legend) – “Selma,” “Django Unchained” (winner for Original Song)
Marc Streitenfeld – “Poltergeist,” “Prometheus”
Erica Weis – “Spy,” “The Heat”
Gary Yershon – “Mr. Turner,” “Another Year” (nominated for Original Score)

Producers (12)
Caroline Baron – “Capote,” “Monsoon Wedding”
Effie T. Brown – “Dear White People,” “Real Women Have Curves”
Terence Chang – “Warriors of the Rainbow: Seediq Bale,” “Face/Off”
Wyck Godfrey – “The Fault in Our Stars,” “Twilight”
Jeremy Kleiner – “Selma,” “12 Years a Slave” (nominated for Best Picture)
Pamela Koffler – “Still Alice,” “Hedwig and the Angry Inch”
Gina Kwon – “Camp X-Ray,” “Me and You and Everyone We Know”
Dan Lin – “The Lego Movie,” “Sherlock Holmes”
Eric Newman – “RoboCop,” “Children of Men”
Bruna Papandrea – “Wild,” “All Good Things”
Lydia Dean Pilcher – “Cutie and the Boxer,” “The Darjeeling Limited”
Rebecca Yeldham – “On the Road,” “The Kite Runner”

Public Relations (19)
Jennifer Allen
Asad Ayaz
Dawn Baillie
Andrew Bernstein
Liz Biber
Mara Buxbaum
Lee Ginsberg
R. Jeff Hill
Michelle Hooper
Chris Libby
Susan Norget
Lewis Oberlander
Gordon Paddison
Elias Plishner
David Pollick
Weiman Seid
LeeAnne Stables
Ryan Stankevich
Bonnie Voland

Short Films and Feature Animation (26)
Alan Barillaro – “Brave,” “WALL-E”
Kristine Belson – “The Croods,” “How to Train Your Dragon”
Darlie Brewster – “Curious George,” “The Prince of Egypt”
Roy Conli – “Big Hero 6,” “Tangled” (winner of Animated Feature)
Ronnie Del Carmen – “Up,” “Spirit: Stallion of the Cimarron”
Paul A. Felix – “Big Hero 6,” “Lilo & Stitch”
Michael Fukushima – “Me and My Moulton,” “Dimanche/Sunday”
Don Hall – “Big Hero 6,” “Winnie the Pooh” (winner of Animated Feature)
Talkhon Hamzavi – “Parvaneh,” “Taub” (nominated for Live Action Short)
Hu Wei – “Butter Lamp (La Lampe Au Beurre De Yak),” “Le Propriétaire” (nominated for Live Action Short)
Jin Kim – “Big Hero 6,” “Bolt”
Mat Kirkby – “The Phone Call,” “Hard to Swallow” (winner for Live Action Short)
David Kneupper – “Alex and Sylvia,” “The Civil War in 4 Minutes”
Michael Lennox – “Boogaloo and Graham,” “The Back of Beyond” (nominated for Live Action Short)
Fabio Lignini – “How to Train Your Dragon 2,” “Puss in Boots”
James Lucas – “The Phone Call” (winner for Live Action Short)
Patrick Osborne – “Feast,” “Paperman” (winner for Animated Short)
Jerome Ranft – “Toy Story 3,” “Ratatouille”
Jim Reardon – “Wreck-It Ralph,” “WALL-E”
Kristina Reed – “Feast,” “Paperman” (winner for Animated Short)
Jason Reisig – “Home,” “Shrek Forever After”
Nicolas Schmerkin – “Habana,” “Logorama”
Anthony Stacchi – “The Boxtrolls,” “Open Season” (nominated for Animated Feature)
Isao Takahata – “The Tale of the Princess Kaguya,” “Grave of the Fireflies” (nominated for Animated Feature)
Michael Thurmeier – “Ice Age: Continental Drift,” “No Time for Nuts”
Marlon West – “Frozen,” “The Princess and the Frog”

Sound (26)
Ray Beckett – “Zero Dark Thirty,” “The Hurt Locker”
Odin Benitez – “Frozen,” “Silver Linings Playbook”
Ron Bochar – “Mortdecai,” “Moneyball”
Jason Canovas – “The Hobbit: The Battle of the Five Armies,” “World War Z” (nominated for Sound Editing)
Thomas Curley – “Whiplash,” “The Spectacular Now” (winner for Sound Mixing)
Michael Dressel – “American Sniper,” “Interstellar”
Mary H. Ellis – “Vacation,” “Prisoners”
Stephanie Flack – “Jupiter Ascending,” “Ender’s Game”
Martín Hernández – “Birdman or (The Unexpected Virtue of Ignorance),” “Biutiful” (nominated for Sound Editing)
Dean Humphreys – “Taken 3,” “The Pianist”
William Johnston – Vice President of Engineering, Formosa Group
Shawn Jones – “Iron Man 3,” “Drive”
Daniel Laurie – “Inside Out,” “Big Hero 6”
David Lee – “Unbroken,” “The Matrix” (nominated for Sound Mixing)
Craig Mann – “Dope,” “Whiplash” (winner for Sound Mixing)
Kyrsten Mate – “Tomorrowland,” “Guardians of the Galaxy”
Shannon J. Mills – “Inside Out,” “Big Hero 6”
Bryan K. Pennington – “Transformers: Age of Extinction,” “Promised Land”
Juan P. Peralta – “Tomorrowland,” “Captain America: The Winter Soldier”
John Ross – “Danny Collins,” “American Hustle”
Peter Staubli – “San Andreas,” “Skyfall”
Mark Taylor – “Edge of Tomorrow,” “Captain Phillips”
Addison Teague – “Big Hero 6,” “The Amazing Spider-Man”
Jon Title – “San Andreas,” “The Divergent Series: Insurgent”
Thomas Varga – “Birdman or (The Unexpected Virtue of Ignorance),” “The Immigrant” (nominated for Sound Mixing)
Ben Wilkins – “Whiplash,” “Star Trek” (winner for Sound Mixing)

Visual Effects (23)
Nicolas Aithadi – “Guardians of the Galaxy,” “X-Men: First Class” (nominated for Visual Effects)
Daniel Barrett – “Dawn of the Planet of the Apes,” “The Hunger Games: Catching Fire” (nominated for Visual Effects)
Stephane Ceretti – “Guardians of the Galaxy,” “Cloud Atlas” (nominated for Visual Effects)
Paul Corbould – “Avengers: Age of Ultron,” “Guardians of the Galaxy” (nominated for Visual Effects)
Tim Crosbie – “X-Men: Days of Future Past,” “The Wolverine” (nominated for Visual Effects)
Dan DeLeeuw – “Captain America: The Winter Soldier,” “Iron Man 3” (nominated for Visual Effects)
Sean Faden – “Fast & Furious 6,” “Let Me In”
Joe Farrell – “The Wolf of Wall Street,” “Hereafter”
Scott R. Fisher – “Interstellar,” “The Dark Knight Rises” (winner for Visual Effects)
Chris Harvey – “Chappie,” “Fast & Furious 6”
Alex Jaeger – “Tomorrowland,” “Marvel’s The Avengers”
Matt Kutcher – “Focus,” “Dawn of the Planet of the Apes”
Andrew Lockley – “Interstellar,” “Inception” (winner for Visual Effects)
Gray Marshall – “Avengers: Age of Ultron,” “Captain America: The First Avenger”
Carl Miller – “Jurassic World,” “Elysium”
David Nakabayashi – “Tomorrowland,” “Avatar”
Rocco Passionino – “Avengers: Age of Ultron,” “Spider-Man 2”
Lou Pecora – “X-Men: Days of Future Past,” “Transformers: Revenge of the Fallen” (nominated for Visual Effects)
Cary Phillips – “Teenage Mutant Ninja Turtles,” “Transformers: Dark of the Moon”
Ellen Poon – “Frozen,” “Inception”
Edwin Rivera – “22 Jump Street,” “Moneyball”
Cameron Waldbauer – “X-Men: Days of Future Past,” “Elysium” (nominated for Visual Effects)
Erik Winquist – “Dawn of the Planet of the Apes,” “Avatar”

Writers (21)
Armando Bo – “Birdman or (The Unexpected Virtue of Ignorance),” “Biutiful” (winner for Original Screenplay)
Damien Chazelle* – “Whiplash,” “Guy and Madeline on a Park Bench” (nominated for Adapted Screenplay)
Álex de la Iglesia – “El Crimen Perfecto,” “The Day of the Beast”
Rick Famuyiwa – “Dope,” “The Wood”
Maya Forbes – “Infinitely Polar Bear,” “Monsters vs Aliens”
E. Max Frye – “Foxcatcher,” “Something Wild” (winner for Original Screenplay)
Nicolás Giacobone – “Birdman or (The Unexpected Virtue of Ignorance),” “Biutiful” (winner for Original Screenplay)
Dan Gilroy – “Nightcrawler,” “The Bourne Legacy” (nominated for Original Screenplay)
Jorge Guerricaechevarría – “Cell 211,” “The Day of the Beast”
Rita Hsiao – “Toy Story 2,” “Mulan”
Simon Kinberg – “X-Men: Days of Future Past,” “Sherlock Holmes”
Malcolm D. Lee* – “The Best Man Holiday,” “The Best Man”
Christopher Markus – “Thor: The Dark World,” “Captain America: The First Avenger”
Stephen McFeely – “Thor: The Dark World,” “Captain America: The First Avenger”
Graham Moore – “The Imitation Game” (winner for Adapted Screenplay)
Paweł Pawlikowski* – “Ida,” “My Summer of Love”
Abderrahmane Sissako* – “Timbuktu,” “Bamako”
Damián Szifron* – “Wild Tales,” “On Probation”
Kessen Tall – “Timbuktu”
Tyger Williams – “The Perfect Guy,” “Menace II Society”
Andrey Zvyagintsev* – “Leviathan,” “Elena”

Associates (non-voting 9)
Victoria Belfrage – Managing Director of Julian Belfrage Associates (London-based actors agency)
Josh Braun — Co-President of Submarine Entertainment (Distribution adviser for "Blackfish" and "Searching for Sugar Man")
Wayne Fitterman — Head of WME’s Production Department (William Morris Endeavor)
Sharon Jackson — Partner, WME (Clients include Jonah Hill and Amy Poehler)
Patricia Keighley — ‎SVP at IMAX Corporation & Managing Director, IMAX POST/DKP Inc.
Cliff Roberts — Partner, Motion Picture Literary at WME
Elyse Scherz — Partner, Talent at WME
James Toth — Agent, Motion Picture Talent at Creative Artists Agency, CAA (Clients include Matthew McConaughey, Robert Downey Jr. and Scarlett Johansson)
Bart Walker — Partner, Motion Picture Literary at ICM Partners

(Associate members are not represented on the Board of Governors and are not eligible to vote for the Academy Awards.)

Seven individuals (*noted above by an asterisk: Mathilde Bonnefoy, Damien Chazelle, Malcolm D. Lee, Paweł Pawlikowski, Abderrahmane Sissako, Damián Szifron and Andrey Zvyagintsev) have been invited to join the Academy by multiple branches. These individuals must select one branch upon accepting membership.

Each year Academy members may sponsor one candidate for membership within their branch. New member application reviews take place in the spring.

New members will be welcomed into the Academy at an invitation-only reception in September.

Wednesday, June 24, 2015

Oscars 2016: Rules approved including tweaks for Best Picture

The Academy’s Board of Governors approved rules Tuesday night for the 88th Academy Awards, with tweaks for Best Picture, Visual Effects and the shorts categories.

Best Picture: To qualify as a producer nominee for a nominated picture, the producer must have been determined eligible for a Producers Guild of America (PGA) award for the picture, or must have appealed the PGA’s refusal of such eligibility. Final determination of the qualifying producer nominees for each nominated picture will be made by the Academy’s Producers Branch Executive Committee.

Visual Effects: The number of eligible films that will be initially shortlisted for further consideration has increased to a maximum of 20 titles (formerly 10). The number of films that will be shortlisted for nominations voting remains at 10.

Documentary Short Subject: The number of films that will be shortlisted for nominations voting has increased from 8 to 10 titles. Instead of a possible three, four or five nominees, the number is now set at five (formerly three to five).

Animated Short Film and Live Action Short Film: A film qualifying via a theatrical release must now have a theater run in Los Angeles County for at least seven consecutive days (formerly three) with at least one screening per day (formerly two). The film also must appear in the theater listings along with the appropriate dates and screening times. In both categories, the number of nominees is now set at five (formerly three to five).

A 2003 look inside the boardroom at Academy headquarters, 8949 Wilshire Blvd. in Beverly Hills, Calif.

New members
Also at Tuesday night’s meeting, the Board voted on lists of potential new members, which the Academy will announce later in the week.

Other changes
We combed through the 35-page document released Wednesday by the Academy and found some of the "other housekeeping adjustments," as the Academy described.

The definition of the Oscar was given two new adjectives: "Academy Awards of Merit shall be given annually to honor outstanding artistic and scientific achievements in theatrically released feature-length motion pictures, and to honor other achievements as provided for in these rules and approved by the Board of Governors."

For the eligibility rule, the following was inserted: "(Blu-ray format does not meet Digital Cinema requirements.)"

In the Animated Feature category, the Academy has increased the submission requirement of DVDs from 200 to 250.

For multiple categories, the word "paperwork" has been changed "online submission form." The rules go on to say, "The producer or distributor of the film must register online at the Academy’s Awards Submissions site,, and inform the Academy of the details of the film’s theatrical release before the release begins."

In the Documentary Short category, five nominees will be chosen by a second round of balloting, "using a preferential voting system." The previous rule stated "the averaged score."

Added to the music categories is a fourth point detailing who is excluded from eligibility: "4. producers and/or arrangers not responsible for the creation of the original song or score."

Throughout the document, the Academy has changed the "industry" and phrase "motion picture industry" to "motion picture arts and sciences."

In the Animated Short and Live Action Short categories, the revised voting rule states, "Members shall vote in the order of their preference for not more than five pictures in each category. The five pictures receiving the highest number of votes in each category shall become the nominations for final voting for the Short Film awards." Gone is previous references to the "10-to-6 point system" and  "films receiving an average score of 7.5 or more shall be eligible for nomination."

A new rule was inserted in the Writing categories: "The Writers Branch Executive Committee shall resolve all questions of eligibility and rules."

For the Scientific and Technical Special Awards, rules 26 and 27 were consolidated into one rule in the revised document, with minor wording changes.

Each year, individual branch and category committees review current rules and propose changes. Then, Awards Rules Committee evaluates all proposed changes before presenting its recommendations to the Board of Governors for approval. Updated campaign regulations, which specify how companies and individuals may market to Academy members any movies and achievements eligible for the 88th Academy Awards, are also presented to the Board for approval.

Find the complete list of rules on the Academy's website.

The 88th Academy Awards, for outstanding film achievements of 2015, will be presented on Sunday, Feb. 28, 2016, at the Dolby Theatre at Hollywood & Highland Center, and will be televised live on ABC and in more than 225 countries worldwide.

Saturday, June 13, 2015

Review: ‘Jurassic World’ brings the nostalgia along for its thrilling ride

By James A. Molnar
TGK Editor

I love the “Jurassic Park” franchise.

And I have enjoyed all three films thus far, each in their own way. Granted, nothing can top the first one, but “Jurassic World” comes awfully close.

As I wrote about earlier this week, Steven Spielberg’s Oscar-winning dino-adventure is my first cinematic memory. It held my imagination captive and it also scared the living daylights out of me.

One of my favorite experiences was going to Universal Studios’ Islands of Adventure park and experiencing the Jurassic Park area. There is nothing quite so thrilling as walking under the iconic archway as John Williams’ memorable score plays in the background.

“Welcome to Jurassic Park.”

That’s the world that was created for all of us 22 years ago.

“Jurassic World,” directed by Colin Trevorrow, is a continuation of that world, but bigger and bolder. Spielberg also served as executive producer so his mark is there.

This new film harkens back to the first film in many ways and as the nostalgia pours in so does that suspense as dinos run amok on the island. Sound familiar?

The whole experience is familiar. What Trevorrow, his crew, along with Chris Pratt and Bryce Dallas Howard and the rest of the actors accomplish is recreating what was so special about that first film.

It does what any great art strives to do: It take us to another place and time.

“Jurassic World” has the perfect blend of comedy, drama, adventure, awe and suspense. You will laugh and cry and jump out of your seat.

It also wouldn’t be a “Jurassic Park” film without kids.

Dallas Howard’s Claire runs the theme park, in all of its corporate sponsored glory, and her nephews are visiting on vacation — of course.

Zach (Nick Robinson) is the eldest and his wide-eyed younger brother Gray (Ty Simpkins) steals the movie.

This time around, scientists on the island have created a hybrid super-dinosaur, the Indominus Rex — what could do wrong? Everything.

A quote from Dr. Ian Malcolm, mathematician and chaos theorist in the original film played by Jeff Goldblum, comes to mind: “Your scientists were so preoccupied with whether or not they could that they didn't stop to think if they should.” (Watch the scene here.)

Let the chaos ensue!

Go, run to the theater and experience this pop culture moment. If you take your 6-year-old son, maybe he’ll thank you one day for giving him his first cinematic memory.

/ 5

Official trailer:

Rated PG-13 for intense science fiction terror.

Thursday, June 11, 2015

My first cinematic memory: ‘Jurassic Park’

Jurassic Park” opened in theaters across America 22 years ago today.

I was 6 when it came out. My dad took me and my sister to see the epic dinosaur adventure on the big screen and to this day I’m thankful for having my first cinematic memory.

The reason I remember it so vividly is because I was so frightfully scared by those dinosaurs brought to life in Steven Spielberg’s adaptation of the Michael Crichton novel.

There is one scene in particular that haunted me for months: The raptors in the kitchen. My sister likes to tease me that when one of the raptors jumped up onto one of the metal tables, I leapt up from my seat in the theater and screamed.

It felt as if I was right there in the kitchen hiding from the stealthy dinosaurs with John Hammond's grandchildren, Lex and Tim. In a way, my sister and I were Lex and Tim; we could perfectly relate.

Following that theatrical experience, I had nightmares for months that I can still remember this to this day. I would be crawling through vents in our house avoiding dinosaurs, which were waiting outside our windows.

That’s the power of film — and a really good blockbuster.

Universal Studios re-released the film on the big screen in 3-D in April of 2013. I was there for the late Thursday night opening. Twenty years later, it was still flawless. I was immersed back into that world. The 3-D was fine, but the dinosaurs still stole the show. I spoke about it the next morning on local TV, giving it five out of five stars.

Watch the kitchen scene:

In preparation for “Jurassic World” opening this week, I spent some time online reading stories and comments about the 1993 film and what people thought of it.

It appears that loving “Jurassic Park,” especially when comparing it to other Spielberg films, is subjective.

Like all works of art, everyone takes something away from each film and brings individual life experience along the way. That’s why some may love a film, while others hate it.

Three of my favorite films were introduced to me at a young age: “Dark Crystal,” “Jurassic Park” and “Hook.” I have a deep connection to these films because they are part of my cinematic knowledge and framework.

While these movies can be frightening to children, they speak directly to them.

The awe and wonder experienced in “Jurassic Park” brings two kids along for the ride, which turns terrifying and treacherous. “Hook” is about a boy that never grows up and “Dark Crystal” follows a young boy who must bravely help save the world after his elder passes on.

These stories all connected with me and I can recognize that, while they may not speak to others in the same way, to me they are my cinematic foundation.

I'll always be grateful to my dad for taking me to see "Jurassic Park" and giving me my first cinematic memory.

Share your first cinematic memory in the comments. Does it still hold resonance for you today?

Here are some of my favorite moments from the film and some behind-the-scenes videos.

Rehearsing the kitchen scene:

Welcome to Jurassic Park:

Glass of water:

The score:

Looking back:

Tuesday, June 9, 2015

2015 Primetime Emmy nominations to be announced three hours later – at 8:30 a.m. PT on July 16

Hollywood gets to sleep in July 16.
Photo: TV Academy

Unlike usual, those on the West Coast wanting to learn the nominations for the Primetime Emmy Awards won't have to wake up by 5:30 a.m. This year, nominations will be announced three hours later — at 8:30 a.m. PT, the TV Academy announced Tuesday.

John Stamos and Uzo Aduba are set to announce the 67th Primetime Emmy nominations on Thursday, July 16 at 11:30 a.m. ET / 8:30 a.m. PT, from the SilverScreen Theater in the Pacific Design Center in Los Angeles.

Photo: TV Academy
The pair will announce the nominations for the major Emmy categories live via TV networks and streaming on

Spike Jones, Jr. will produce the nominations ceremony for the fifth year.

Stamos will star this fall in the new FOX comedy "Grandfathered." Aduba stars as Suzanne “Crazy Eyes” Warren in the Netflix original series "Orange is the New Black," for which she won the 2014 Emmy Award for Outstanding Guest Actress in a Comedy Series.

The 67th Emmy Awards, hosted by Andy Samberg, airs live Sunday, September 20 (8:00 PM ET / 5:00 PM PT) on FOX and will originate from the Microsoft Theatre L.A. LIVE in Los Angeles. Don Mischer will serve as executive producer for the telecast.

Friday, May 29, 2015

Review: ‘San Andreas’ is a jaw-dropping destruction to behold

By James A. Molnar
TGK Editor

Summer blockbusters were made for the big screen.

And bombastic disaster movies like “San Andreas” utilize every inch of that screen to a chilling effect.

Your jaw will hit the floor — again and again — as skyscrapers fall like dominoes to Mother Nature’s force majeure.

The film is aptly named after the infamous fault line, officially called a “transform fault,” that stretches more than 800 miles in California.

During a class lecture, seismologist Lawrence Hayes (Paul Giamatti) tells his students at the California Institute of Technology — and the audience — that California is overdue for the next “Big One” by about 100 years.

“It’s not a matter of if, but a matter of when,” he says.

Hayes and his team of scientists and students are attempting to figure out ways to help save lives by predicting when an earthquake is coming.

That team will help save millions of lives with their technology, but the main star of the film is not Hayes, but Los Angeles Fire Department Search and Rescue helicopter pilot Ray Gaines, played by Dwayne “The Rock” Johnson.

The role was made for Johnson, who is quite the muscle-bulging action star.

He plays a pilot who is strong but gentle and nothing will stand in his way of protecting his family — or saving them from disaster, whether it’s collapsing skyscrapers or flooded buildings.

His family includes estranged wife Emma (Carla Gugino) and teenage daughter Blake (Alexandra Daddario), who is preparing to head to college. Gaines focuses on saving his family via helicopter, airplane and boat, but will make an exception for the injured woman or elderly couple.

If that sounds like a cliché, that’s the entire 114-minute movie.

“I know this sounds crazy, but…” is just one of the many phrases that audiences will eat up like salty popcorn soaked in butter.

With enjoyable 3-D visuals and pulsating sound effects, “San Andreas” is not the place to look for an out-of-the-box story or an Academy Award-winning screenplay.

Audience members could even be heard laughing at one point in this reviewer’s screening. One, because of the gobsmacking visual effects and two, at the miracle that the main characters in the movie didn’t die 100 times — but that’s the point of the summer blockbuster.

The first earthquake hits the Hoover Dam in Nevada. Let’s just say, things don’t go so well.

Before the devastation begins in California, audiences are treated to a sweeping views of the San Francisco and Los Angeles cityscapes. Enjoy the view while it lasts.

Once the disaster begins, it’s jaw-dropping and overwhelming in its scope and beauty.

Look for some fantastic production design by Barry Chusid, who has a niche for disasters, having overseen design for 2011’s “Source Code,” 2009’s “2012” and 2004’s “The Day After Tomorrow.”

Carlton Cuse, known for his work on “Lost,” wrote the screenplay, with story credits given to Andre Fabrizio and Jeremy Passmore.

Director Brad Peyton last worked with Johnson on 2012’s “Journey 2: The Mysterious Island.”

Director and producer Roland Emmerich, who is currently working on the “Independence Day” sequel for next summer, would have been a perfect collaborator for “San Andreas.” He helmed both “2012” and “The Day After Tomorrow.”

This would be the normal location in a movie review for plot points and details, but this is a summer blockbuster and disaster movie. The plot and character development is secondary at best.

Check your brain at the door, sit back and enjoy the destruction in all its 3-D glory.

As the credits roll, singer Sia delivers the movie’s anthem, “California Dreamin’. ” The credits also provide a notice for ways audience members can protect themselves against earthquakes.

You might not want to visit Los Angeles or San Francisco any time soon — or maybe visit now before the next “Big One” hits.

/ 5

Official trailer:

Rated PG-13 for intense disaster action and mayhem throughout, and brief strong language.

Monday, May 25, 2015

Review: Journey to ‘Tomorrowland’ is not perfect but worthwhile

By James A. Molnar
TGK Editor

Have you ever just looked up at the stars and wondered?

What are we doing here on this planet when there is something big out there to discover?

Where are the dreamers? Do we have anymore left? Maybe they’re all off imagining in Tomorrowland.

The film, aptly named after this place, seems to pose and answer a few of these questions.

There is a slight resemblance in “Tomorrowland” to “Men in Black.” There is epic awe, wonder and adventure in that trilogy. And this Disney film, inspired by the themed land at the parks around the world, contains similar topics.

Walt Disney would be proud of a project like this, which aims to inspire and push the imagination to new heights.

The first 20 minutes of the film, directed by Brad Bird, are where it shines. Audiences are treated to scenes from the 1964-65 New York World’s Fair in Flushing Meadows, New York. There is even an epic ride on “it’s a small world.”

Here we find a young inventor named Frank Walker (Thomas Robinson, and later George Clooney). He submits his jet pack to the competition at the Hall of Invention at the World’s Fair, but is turned away when he admits it doesn’t quite work.

When asked why he toils on the invention, Walker replied that’s it’s just pure fun, which is the perfect way to describe these first few scenes of the film.

After that first 20 minutes though, some of that wonder is lost as we are introduced to the life of the story’s heroine Casey Newton (Britt Robertson).

Audiences are then taken on a few road trips that involve “Matrix”-like agents chasing her, meeting up with Clooney’s curmudgeonly Walker, the Eiffel Tower and a trip to Tomorrowland.

Robertson, along with Clooney, add great acting to the film. However, Raffey Cassidy steals the movie and the audience’s heart with her character Athena, a recruiter for the futuristic land.

The increasing problem with this film is that it can’t decide if it’s an adventure drama, a science-fiction epic or a preachy documentary. All of genres can be successful here but they also distract, bouncing the audience between them without focusing on one.

“Tomorrowland” has some great messages: Take action now to save the planet and give it a better future — don’t accept its fate and dream on; and one person can change the world.

One of the film’s best didactic messages is issued by the pseudo-villain, who of course has a British accent: What type of world do we live in where both obesity and starvation are epidemics?

Even with its foibles, “Tomorrowland” is still worth visiting, with hearty messages and epic visuals.

As the song wafting through the World’s Fair at the beginning of the film says, “There’s a great, big, beautiful tomorrow. And tomorrow's just a dream away.”

But like a great dream, sometimes the more you think about it afterwards, the more you realize how strange a journey it was.

/ 5

Official trailer:

Rated PG for sequences of sci-fi action violence and peril, thematic elements, and language.