By Ray Pride Pride@moviecitynews.com

Academy Reveals Nicholl Screenwriting Shortlist

LOS ANGELES, CA – Eleven individual screenwriters and one writing team have been shortlisted for the 2016Academy Nicholl Fellowships in Screenwriting.  The Academy Nicholl Fellowships Committee will meet later this month to select up to five winners to receive year-long fellowships.  A total of 6,915 scripts were submitted for this year’s competition.

The shortlisted writers are (listed alphabetically):

Michele Atkins, “Talking About the Sky” (Seattle, WA)
Josh Barkey, “Marlene the Divine” (Waxhaw, NC)
Beanie Barnes, “Little Toro” (New York, NY)
Todd Condie, “John Wayne Slept Here” (Brooklyn, NY)
Spencer Harvey and Lloyd Harvey, “Photo Booth” (Balgowlah, Australia)
Geeta Malik, “Dinner with Friends” (Los Angeles, CA)
Danielle Ownbey, “The Blast-Off Inn” (Glendale, CA)
Elizabeth Oyebode, “Tween the Ropes” (Sunnyvale, CA)
Justin Piasecki, “Death of an Ortolan” (Los Angeles, CA)
Michael Toner, “Hey Jude” (Van Nuys, CA)
Arun K. Vir, “Suburban Turban” (Los Angeles, CA)
Kirk Weddell, “Alone” (Wimbledon, England)

The Academy Nicholl Fellowships Committee is chaired by writer Robin Swicord, and marketing executive Buffy Shutt serves as vice chair.  The other members of the committee are writers Tina Gordon Chism, Naomi Foner, Eric Roth, Kirsten Smith and Tyger Williams; actor Eva Marie Saint; animation director Jennifer Yuh Nelson; cinematographer John Bailey; executives Marcus Hu and Bill Mechanic; producers Stephanie Allain, Albert Berger, Julia Chasman, Julie Lynn, Peter Samuelson and Robert W. Shapiro.

The fellowship winners will each receive a $35,000 prize, the first installment of which will be distributed at an awards presentation on Thursday, November 3, at the Academy’s Samuel Goldwyn Theater in Beverly Hills.  For the fourth consecutive year, the event also will include a live read of selected scenes from the fellows’ winning scripts.

Established in 1986, the Academy created the Nicholl Fellowships in Screenwriting competition to identify and encourage talented new screenwriters from around the world.  Since the program’s creation, the Academy has awarded 147 fellowships.  For more information on the Academy Nicholl Fellowships in Screenwriting, click here.

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ABOUT THE ACADEMY
The Academy of Motion Picture Arts and Sciences is a global community of more than 7,000 of the most accomplished artists, filmmakers and executives working in film.  In addition to celebrating and recognizing excellence in filmmaking through the Oscars, the Academy supports a wide range of initiatives to promote the art and science of the movies, including public programming, educational outreach and the upcoming Academy Museum of Motion Pictures, which is under construction in Los Angeles.

FOLLOW THE ACADEMY
www.oscars.org
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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