By Ray Pride Pride@moviecitynews.com

‘Argo’ Navigates to USC Libraries Scripter Win

Journalist, memoirist, and screenwriter take the 25-anniversary honor.

USC President C.L. Max Nikias; USC Libraries Dean Catherine Quinlan; Scripter Award winner Joshuah Bearman, author of a Wired Magazine article on which “Argo” is based

LOS ANGELES, CA (February 9, 2013) – Authors Joshuah Bearman and Antonio J. Mendez and screenwriter Chris Terrio received the 25th-annual USC Libraries Scripter Award for their contributions to “Argo.” Selection committee co-chair Howard Rodman announced the winners at the black-tie event on Saturday, Feb. 9, at USC’s Doheny Memorial Library.In his acceptance speech, Bearman said “I think that with adaptation you hope another writer can come and take a look at your work and see a new perspective and add insight, which is certainly the case with Chris Terrio.”“Argo’s” Scripter win adds to the growing number of awards for the Warner Bros. film, including the American Film Institute’s Movie of the Year as well as best motion picture in the drama category and best director at last month’s Golden Globes. The film is nominated for seven Academy Awards.

Scripter, established by the Friends of the USC Libraries in 1988, honors the screenwriter or screenwriters of the year’s most accomplished cinematic adaptation as well as the author of the written work upon which the screenplay is based. Scripter is the only award of its kind that recognizes authors of the original work alongside the adapting screenwriters.

Terrio based his adaptation on Mendez’s autobiographical work “The Master of Disguise,” published by William Morrow in 2000, and Bearman’s article “The Great Escape,” which appeared in Wired Magazine in 2007.

USC Libraries Dean Catherine Quinlan welcomed the attendees gathered in Los Angeles Times Reference Room of USC’s historic Edward L. Doheny Memorial Library.

“In the context of the library, Scripter at 25 years old is a young tradition,” Quinlan said. “But it is a tradition that helps our libraries collect knowledge that is far older than 25 years and one that will support discoveries by our USC community far beyond the next quarter-century.”

Co-chaired by Golden Globe-winning screenwriter Naomi Foner and USC screenwriting professor and vice president of the Writers Guild of America, West, Howard Rodman, the Scripter selection committee chose “Argo” from a field of 84 eligible films. A tie in the first round of voting resulted in six finalist films this year, rather than the usual five.

The 41-member selection committee included film critics Leonard Maltin and Kenneth Turan; screenwriters Geoffrey Fletcher, Eric Roth, and Robin Swicord; authors Michael Chabon and Mona Simpson; and USC deans Catherine Quinlan of the USC Libraries, Elizabeth M. Daley of the School of Cinematic Arts and Madeline Puzo of the School of Dramatic Arts.

The USC Libraries also honored Larry McMurtry and Diana Ossana with the Literary Achievement Award for their body of work to date. USC President C. L. Max Nikias presented the honor.

“With deep reserves of imagination and intellect, Mr. McMurtry and Ms. Ossana inspire USC’s entire creative-arts community,” Nikias said. “And for this, we warmly salute them.”

Over the course of their writing partnership McMurtry and Ossana have collaborated on dozens of novels and screenplays, including “Brokeback Mountain,”which won the 2005 Academy Award for Best Adapted Screenplay, as well as the award-winning miniseries “Streets of Laredo,” “Dead Man’s Walk,” and “Johnson County War.”They are currently collaborating on the screen adaptation of Paulette Jiles’s novel “The Color of Lightning.”

This year’s event featured a silent auction, the proceeds of which support the USC Libraries’ collections. Donors to the auction included Bennett Farms, the Cosmopolitan of Las Vegas, Hawaii Five-0 and Eye Productions, Hungry Cat Santa Monica, L.A. Saddlery, the Los Angeles Clippers, the Namale Resort & Spa in Fiji, Paperblanks, PGA Tour, Picca Peruvian Cantina, the NFL, Pizzeria Mozza, Pleasant Holidays, South Coast Winery, the Sundance Institute, Terranea Resort, Robbins Research International, Montage Beverly Hills, the Wine of the Month Club, and the USC Thornton School of Music.

In-kind sponsors this year included John and Dana Agamalian and Blue Ice Vodka; Esquire Bar & Lounge of Pasadena, Calif.; Farrar, Straus and Giroux; Paperblanks; Penguin Books; and the Wine of the Month Club.

For more information about Scripter—including additional images from the ceremony—visitscripter.usc.edu.

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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