Movie Theater Owners Want to Vote for Oscars and Push to Join the Academy: ‘We Watch Everything… It’s a No Brainer’ (EXCLUSIVE)

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Towards the end of June, it’s anticipated that the Academy of Motion Picture Arts and Sciences will send out invitations to a fresh batch of members who fulfill the necessary professional requirements to become part of Hollywood’s most esteemed club. This yearly addition of new members is generating extra interest, especially among cinema owners – a community eager to see more representatives from their field inducted as voters for Oscar nominations and recipients.

Historically, the Academy has tended to attract professionals from creative fields such as directors, writers, actors, producers, and technicians, along with studio executives. Although some exhibitors are current members, there’s a common belief within the theatrical exhibition community that their distinct viewpoint is under-represented, especially given the Academy’s renewed emphasis on the significance of cinema in theaters.

It’s common for professional organizations in Hollywood to push for more recognition or representation within the Academy. The fight for casting and stunt professionals to be acknowledged has been going on for decades, but it’s recently made significant strides: a new Oscar category for casting will be introduced in 2026, with a stunt category following in 2028. These advancements came after years of lobbying, member petitions, and discussions among Academy leaders.

At present, the Academy is structured into 18 divisions, each focusing on distinct areas of the field. The latest addition to this lineup, the Production and Technology Branch, was established in 2023. As we approach 2025, committees from these divisions are convening to make suggestions regarding new members. This upcoming class is expected to contribute significantly to the Academy’s evolution as it prepares for its centennial celebration in 2028.

Unlike many organizations or groups, one doesn’t simply apply to become a member of this academy. Instead, it operates on an invitation-basis, typically requiring potential members to secure support from two current members within the specific branch they are aiming to join. However, there are exceptions made for individuals who have been nominated for an Oscar; these individuals are automatically considered for membership without needing a sponsor. The ultimate decision is made by the Academy’s Board of Governors.

Numerous sources report that there’s a significant effort to expand the membership class to incorporate more theater owners and exhibitors for the Oscars. As voters are now required to watch all the films, one anonymous exhibitor argues, “Why not include the group we know for sure watches everything?” Another exhibitor simply states, “We’re watching everything…It’s a logical decision.

The Academy declined to comment.

At present, just five exhibitors are part of the Academy’s approximate 11,000 members: Richard Gelfond, who serves as CEO of IMAX Corporation (part of the Executive Branch); Tim League, founder of Alamo Drafthouse Cinema (also within the Executive Branch); Greg Laemmle, chief executive officer of Laemmle Theaters (belonging to the Associate Branch); and David and Patricia Keighley, who occupy executive positions at IMAX and are associated with the Production and Technology Branch.

It’s worth mentioning that among the five individuals, some have qualifications that extend beyond theater work. For instance, League is not just an operator; he is a co-founder of the indie distribution company Neon, known for its Oscar-winning films like “Parasite” and “Anora.” Additionally, he founded Fantastic Fest, which focuses on genre movies. Apart from that, he is also a film producer, having worked on numerous independent projects.

Nevertheless, exhibitors argue that the number of members deeply involved in theatrical productions is significantly insufficient – particularly considering the current period where the Academy is becoming stricter with its regulations concerning theatrical release qualifications.

This year, we’re entering the second round of the Academy’s revised rule for best picture nominations being granted to films released theatrically. The updated conditions require that movies continue to play for a week in at least one of six American cities – Los Angeles, New York, San Francisco, Chicago, Miami, or Atlanta. However, they must now also satisfy new requirements concerning wider theatrical distribution. These adjustments were made after careful study and discussions with distributors and exhibitors of various scales, with the aim of safeguarding and enhancing the cinematic experience in an age where digital streaming is prevalent.

As a movie enthusiast, I can’t help but notice the ripples caused by recent industry changes. In 2023, Apple made a significant move by pledging a billion dollars annually for films designed for theatrical release. Similarly, Amazon has committed to releasing between 12 and 15 movies per year in cinemas before any rule updates, which is quite impressive! These decisions are certainly making waves in the streaming giant landscape.

During the Academy’s reassessment of its organizational setup, one key point is still under debate: What size or impact should a movie theater chain have for its managers or operators to become eligible for membership?

As a film enthusiast, I’d like to highlight some key players in the global cinema industry that I regularly patronize. In the U.S., you’ve got AMC Theatres, spearheaded by Adam Aron, Cinemark, steered by Sean Gamble, and Regal Cinemas, guided by Edward Acuna. On a global scale, Alejandro Ramirez Magaña heads Mexico’s Cinépolis, managing screens across numerous territories, and Pavan Jain oversees India’s PVR INOX, a vast network of screens that spans the country.

However, the discussion doesn’t stop with the major figures within the industry. There are also independent exhibitors, who frequently showcase independent and specialized films that often make it to award contention, questioning if they will be granted access as well.

Is it possible for the proprietor of the Cranford Theater in New Jersey, Doreen Sayegh, or the co-owners of The Moviehouse in Millerton, New York (two well-respected cinemas deeply rooted in their communities), to secure support from the Academy?

The Academy consistently underlines the importance of a robust theater environment for the wellbeing and success of the film industry. Inviting more exhibitors to join the discussion could be a sensible move, one that not only bolsters the Academy’s reputation but also guarantees that those closest to movie-goers have a voice in decision-making processes.

Matt Donnelly contributed to this report.

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2025-05-30 22:47