Writer’s Guild of America Nominations

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OUTSTANDING ACHIEVEMENT IN DOCUMENTARY WRITING

BRIGHT LEAVES
Narration Written by Ross McElwee

CONTROL ROOM
Written by Julia Bacha and Jehane Noujaim

HOME OF THE BRAVE
Written by Paola di Florio

THE HUNTING OF THE PRESIDENT
Written by Harry Thomason and Nickolas Perry

IN THE REALMS OF THE UNREAL
Written by Jessica Yu

SUPER SIZE ME
Written by Morgan Spurlock

ORIGINAL SCREENPLAY

THE AVIATOR
Written by John Logan, Miramax Films

ETERNAL SUNSHINE OF THE SPOTLESS MIND
Screenplay by Charlie Kaufman, Story by Charlie Kaufman & Michel Gondry & Pierre Bismuth, Focus Features

GARDEN STATE
Written by Zach Braff, Fox Searchlight Pictures

HOTEL RWANDA
Written by Keir Pearson & Terry George, United Artists

KINSEY
Written by Bill Condon, Fox Searchlight Pictures

ADAPTED SCREENPLAY

BEFORE SUNSET
Screenplay by Richard Linklater & Julie Delpy & Ethan Hawke, Story by Richard Linklater & Kim Krizan, Based on Characters Created by Richard Linklater & Kim Krizan, Warner Independent Pictures

MEAN GIRLS
Screenplay by Tina Fey, Based on the Book “Queen Bees and Wannabes) by Rosalind Wiseman, Paramount Pictures

MILLION DOLLAR BABY
Screenplay by Paul Haggis, Based upon Stories from “Rope Burns” by F.X. Toole, Warner Bros.

THE MOTORCYCLE DIARIES
Screenplay by Jose Rivera, Based on the Books “Notas de Viaje” by Ernesto Guevara and “Con el Che por America Latina” by Alberto Granado, Focus Features

SIDEWAYS
Screenplay by Alexander Payne & Jim Taylor, Based on the Novel by Rex Pickett, Fox Searchlight Pictures

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon