“CINEMA AWARDS: PROPOSALS”
SID GANIS AND PER HOLST
Oscar awards, structure and operation of the American Academy of Motion Picture Arts and Sciences, its difference with the European Film Academy, along with useful views regarding cinema awards in general were among the issues raised in the highly interesting open discussion titled “Cinema Awards: proposals,” held on Wednesday, November 18, in the John Cassavetis hall, in the framework of the 50th TIFF.
Key speakers included Sid Ganis, producer and until recently president of the American Academy of Motion Picture Arts and Sciences, and Per Holst, producer and member of the European Film Academy board; the two speakers expressed their views and shared their invaluable experience in a discussion coordinated by journalist and film critic Giorgos Krassakopoulos. The event was attended by TIFF’s president George Corraface and director Despina Mouzaki.
Before the discussion opening, 50th TIFF honored Sid Ganis -of Greek origin- for his contribution to the Seventh Art. “This is a small token of our appreciation,” said TIFF president George Corraface presenting the award to Mr Ganis, who in a simple and honest manner admitted that he had never expected to be awarded, because he just loved movies since he was a child. Next, Sid Ganis elaborated on certain highly interesting issues pertaining to the Academy’s structure, member categorization according to expertise, as well as film selection process leading to Oscar nominations. Commenting on the brilliance of the Oscar Awards ceremony, Sid Ganis stressed that the revenue of the occassion is channelled by 90% into the support of a large series of projects and actions annually undertaken by the Academy. In particular, he remarked: “Among the Academy’s activities are the Library, the Archives, the Arts and Sciences Council, tributes, lectures, subsidies, exhibitions, new talent competitions and a range of other incentives.”
Contrary to many fellow Americans, who –as he emphatically noted- believe that films are not made outside America, Sid Ganis described the role of the Academy as being an international organisation which first and foremost seeks to materialize film projects in cooperation with international bodies, e.g. Iranian Film Director’s Union, while at the same time aims to promote global cinema production both within and outside the USA.
Next, Per Holst –member of the European Film Academy board- took the floor in the open discussion attempting a brief comparison between the European and American Academies in trying to highlight their differences both in terms of structure and finances. At first, Per Holst pointed out that it is “relatively simple to become a member of the European Film Academy, compared with the American one.” In explaining the organisation’s methodology with regard to film selection securing nomination for the European awards, Mr Holst underlined that this process does not require an official entry proposal from each country, as is the case with the Oscars in the Best Foreign Language Film category. Moreover, he wanted to prioritize the issue of co-productions to European filmmakers, adding that without them big productions in Europe are not feasible due to difficulties in securing finances.
Following the speakers’ proposals, the audience who attended the open discussion referred to Greek reality and asked for the views of the two eminent TIFF guests. Challenged by the question, Sid Ganis and Per Holst addressed vital issues, such as funding, pressure exerted on voting committees when selecting nominations in prized competitions. In his reply regarding the legitimacy of such a regime, Per Holst remarked: “In my view, this tactics is fruitful, because there is cut-throat competition in cinema, there are multitudes of festivals, so filmmakers should be motivated in order to participate in a film festival edition.” Sid Ganis, in turn, opposed this train of thought by arguing that the American Academy seeks to focus on the artistic side of motion pictures, which after the Oscars follow their own commercial course.
