Writer’s Guild of America

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

ORIGINAL SCREENPLAY
JUNO – Written by Diablo Cody, Fox Searchlight

ADAPTED SCREENPLAY
NO COUNTRY FOR OLD MEN – Screenplay by Ethan Coen & Joel Coen, Based on the Novel by Cormac McCarthy, Miramax

DOCUMENTARY SCREENPLAY
TAXI TO THE DARK SIDE – Written by Alex Gibney, THINKFilm
Nominations

ORIGINAL SCREENPLAY

JUNO
Written by Diablo Cody, Fox Searchlight

MICHAEL CLAYTON
Written by Tony Gilroy, Warner Bros. Pictures

THE SAVAGES
Written by Tamara Jenkins, Fox Searchlight

KNOCKED UP
Written by Judd Apatow, Universal Pictures

LARS AND THE REAL GIRL
Written by Nancy Oliver, MGM

ADAPTED SCREENPLAY

NO COUNTRY FOR OLD MEN
Screenplay by Ethan Coen & Joel Coen, Based on the Novel by Cormac McCarthy, Miramax

THERE WILL BE BLOOD
Screenplay by Paul Thomas Anderson, Based on the Novel Oil by Upton Sinclair, Paramount Vantage

THE DIVING BELL AND THE BUTTERFLY
Screenplay by Ronald Harwood, Based on the Book by Jean-Dominique Bauby, Miramax

INTO THE WILD
Screenplay by Sean Penn, Based on the Book by Jon Krakauer, Paramount Vantage

ZODIAC
Screenplay by James Vanderbilt, Based on the Book by Robert Graysmith, Paramount Pictures

DOCUMENTARY SCREENPLAY

THE CAMDEN 28
Written by Anthony Giacchino, First Run Features

NANKING
Screenplay by Bill Guttentag & Dan Sturman & Elisabeth Bentley, Story by Bill Guttentag & Dan Sturman, THINKFilm

NO END IN SIGHT
Written by Charles Ferguson, Magnolia Pictures

THE RAPE OF EUROPA
Written by Richard Berge, Nicole Newnham and Bonni Cohen, Menemsha Films

SICKO
Written by Michael Moore, Lionsgate/The Weinstein Company

TAXI TO THE DARK SIDE
Written by Alex Gibney, THINKFilm

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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