AceShowbiz - Bruce Feldman, a seasoned publicist and awards strategist, has been a member of the Academy of Motion Picture Arts and Sciences since 1986. He recently shared his perspective on the Academy’s announcement that the Oscars ceremony will relocate from the Dolby Theatre in Hollywood to the L.A. Live complex downtown starting in 2029.

While many have expressed surprise or disappointment at the news, Feldman is not among them. Reflecting on his decades of experience attending and watching the Oscars, he notes that the ceremony has evolved through various venues over time. Before the Dolby Theatre became its home 24 years ago, the Oscars were held at locations including the Pantages Theatre in Hollywood, the Civic Auditorium in Santa Monica, the Dorothy Chandler Pavilion downtown, and the Shrine Auditorium near USC.

Having witnessed these changes firsthand, Feldman believes that change is not inherently negative, even for such a tradition-rich event as the Oscars. In fact, he views the move to L.A. Live as potentially positive, provided the Academy prioritizes the needs of its members.

One of the key issues Feldman highlights is the long-standing problem of limited seating at the Dolby Theatre, which only accommodates 3,300 guests. Most of these seats are reserved for nominees and their entourages, presenters, Academy governors, and press members. As a result, many rank-and-file Academy members must enter a lottery to attend, with relatively few winning tickets.

In contrast, the Peacock Theater within L.A. Live offers more than double the capacity, with 7,100 seats. Feldman strongly feels that the majority of these additional seats should be allocated to Academy members to enhance their participation in the ceremony.

However, despite his support for the relocation, Feldman criticizes the Academy’s leadership for how they handled the decision. He points out that for over 40 years as a member, he has never seen the president, CEO, or governors seek the input of members on major changes. This includes significant past decisions such as expanding the Best Picture nominees from five to ten, introducing a popular film award, efforts to disenfranchise aging members, and removing several awards from the live telecast — all decisions that eventually faced backlash and had to be reversed.

Feldman underscores that one of the reasons members are invited to join the Academy is for their expert perspective based on years of experience. Yet, he observes that the leadership often acts as if this expertise is undervalued or ignored. He cites as an example the controversial addition of three "governors-at-large" to the Academy’s already large board, a move made despite bylaws that forbade it at the time, followed by a secret amendment of the bylaws to legitimize the change. These actions raise questions about the governance practices within the Academy.

Despite these frustrations, Feldman remains proud to be a member, considering it one of the highest honors in the film industry short of winning an Oscar. Still, he laments that the Academy often treats its members as an afterthought when making decisions about their largest event.

Looking ahead, Feldman hopes that although members were not consulted about the move to downtown, many more will at least have the chance to attend the ceremony once it relocates. This, he believes, would restore some of the community spirit and inclusivity that the Academy should strive to maintain.

In summary, while the relocation of the Oscars from the Dolby Theatre to the L.A. Live complex represents a significant shift, it offers an opportunity for greater member engagement and attendance. However, Feldman stresses that the process by which the decision was made highlights ongoing issues with transparency and member involvement within the Academy’s leadership.