Writer’s Guild 2010 Awards

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

SCREEN WINNERS 

ORIGINAL SCREENPLAY 
Inception, Written by Christopher Nolan; Warner Bros.

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ADAPTED SCREENPLAY
The Social Network, Screenplay by Aaron Sorkin; Based on the book The Accidental Billionaires by Ben Mezrich; Sony Pictures

 

 

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DOCUMENTARY SCREENPLAY
Inside Job, Written by Charles Ferguson; Co-written by Chad Beck, Adam Bolt; Sony Pictures Classics

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NOMINEES

Original Screenplay

Black Swan
Screenplay by Mark Heyman and Andres Heinz and John McLaughlin; Story by Andres Heinz; Fox Searchlight

The Fighter
Screenplay by Scott Silver and Paul Tamasy & Eric Johnson; Story by Keith Dorrington & Paul Tamasy & Eric Johnson; Paramount Pictures

Inception
Written by Christopher Nolan; Warner Bros.

The Kids Are All Right
Written by Lisa Cholodenko & Stuart Blumberg; Focus Features

Please Give
Written by Nicole Holofcener; Sony Pictures Classics

Adapted Screenplay

127 Hours

Screenplay by Danny Boyle & Simon Beaufoy; Based on the book “Between a Rock and a Hard Place” by Aron Ralston; Fox Searchlight

I Love You Phillip Morris
Written by John Requa & Glenn Ficarra; Based on the book by Steven McVicker; Roadside Attractions

The Social Network
Screenplay by Aaron Sorkin; Based on the book “The Accidental Billionaires” by Ben Mezrich; Sony Pictures

The Town
Screenplay by Peter Craig and Ben Affleck & Aaron Stockard; Based on the novel “Prince of Thieves” by Chuck Hogan; Warner Bros.

True Grit
Screenplay by Joel Coen & Ethan Coen; Based on the novel by Charles Portis; Paramount Pictures

Documentary Screenplay

Enemies of the People

Written, Directed, Filmed and Produced by Rob Lemkin and Thet Sambath; International Film Circuit

Freedom Riders
Written, Produced and Directed by Stanley Nelson; International Film Circuit

Gasland
Written and Directed by Josh Fox; HBO Documentary Films and International WOW Company

Inside Job
Produced, Written and Directed by Charles Ferguson; Co-written by Chad Beck, Adam Bolt; Sony Pictures Classics

The Two Escobars
Written by Michael Zimbalist, Jeff Zimbalist; ESPN Films

Who Is Harry Nilsson (And Why Is Everybody Talkin’ About Him)?
Written and Directed by John Scheinfeld; Lorber Films

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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