Writer’s Guild of America

2003 | 2005 | 2006 | 2007 | 2008 | 2009 | 2010

Nominations: January 4, 2006
Awards: February 4, 2006

ORIGINAL SCREENPLAY

Crash
Screenplay by Paul Haggis & Bobby Moresco, Story by Paul Haggis, Lions Gate Films

ADAPTED SCREENPLAY

Brokeback Mountain
Screenplay by Larry McMurtry & Diana Ossana
Based on the Short Story by Annie Proulx
Focus Features

DOCUMENTARY SCREENPLAY

Enron: The Smartest Guys in the Room
Written By Alex Gibney, Based on the book The Smartest Guys in the Room: The Amazing Rise and Scandalous Fall of Enron by Bethany McLean and Peter Elkind, Magnolia Pictures and HDNet Films

Nominations

ORIGINAL SCREENPLAY

Cinderella Man
Screenplay by Cliff Hollingsworth and Akiva Goldsman, Story by Cliff Hollingsworth, Universal Pictures

Crash
Screenplay by Paul Haggis & Bobby Moresco, Story by Paul Haggis, Lions Gate Films

The 40 Year Old Virgin
Written by Judd Apatow & Steve Carell, Universal Pictures

Good Night, And Good Luck
Written by George Clooney & Grant Heslov, Warner Independent Pictures

The Squid and the Whale
Written by Noah Baumbach, Samuel Goldwyn Films

ADAPTED SCREENPLAY

Brokeback Mountain
Screenplay by Larry McMurtry & Diana Ossana
Based on the Short Story by Annie Proulx
Focus Features

Capote
Screenplay by Dan Futterman
Based on the Book by Gerald Clarke
UA/Sony Pictures Classics

The Constant Gardener
Screenplay by Jeffrey Caine
Based on the Novel by John le Carré
Focus Features

A History of Violence
Screenplay by Josh Olson
Based on the Graphic Novel by John Wagner and Vince Locke New Line Cinema

Syriana
Written by Stephen Gaghan
Based on the Book “See No Evil” by Robert Baer
Warner Bros. Pictures

DOCUMENTARY SCREENPLAY

Cowboy Del Amor
Written by Michèle Ohayon, Homeland Film Productions

Enron: The Smartest Guys in the Room
Written By Alex Gibney, Based on the book The Smartest Guys in the Room: The Amazing Rise and Scandalous Fall of Enron by Bethany McLean and Peter Elkind, Magnolia Pictures and HDNet Films

The Fall of Fumimori
Written by Ellen Perry & Zack Anderson & Kim Roberts, Stardust Pictures

March of the Penguins
Narration Written by Jordan Roberts, Based upon the story by Luc Jacquet and screenplay by Luc Jacquet & Michel Fessler, Warner Independent Pictures and Bonne Pioche

Street Fight
Written by Marshall Curry, Marshall Curry Productions

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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