By Ray Pride Pride@moviecitynews.com

USC Libraries Name Finalists for Thirtieth Annual Scripter Adaptation Awards

Posted Tuesday, January 16th, 2018 - Comments Off on USC Libraries Name Finalists for Thirtieth Annual Scripter Adaptation Awards
Be Sociable, Share!
LOS ANGELES—The USC Libraries have named the finalists for the 30th-annual USC Libraries Scripter Award. In this particularly competitive year, voting resulted in ties for the film and television categories.
 
Due to a three-way tie in the nomination round, the writers of seven films and the works on which the films are based will compete for the honors this year. The finalist writers for film adaptation are, in alphabetical order by film title:
  • Author André Aciman and screenwriter James Ivory for “Call Me By Your Name”
  • Screenwriters Scott Neustadter and Michael H. Weber for “The Disaster Artist,” and authors Greg Sestero and Tom Bissell for their nonfiction book “The Disaster Artist: My Life Inside ‘The Room,’ the Greatest Bad Movie Ever Made”
  • Screenwriters Scott Frank, Michael Green, and James Mangold, and authors Roy Thomas, Len Wein, and John Romita, Sr., for “Logan”
  • Screenwriter James Gray and author David Grann for “The Lost City of Z”
  • Screenwriter Aaron Sorkin and author Molly Bloom for “Molly’s Game”
  • Screenwriters Dee Rees and Virgil Williams and author Hillary Jordan for “Mudbound”
  • Screenwriter Allan Heinberg and author William Moulton Marston for “Wonder Woman”
Writers of six television shows and their printed source material will vie for the Scripter Award this year. The finalist writers—including for the first time a single author with nominations for two series in a single year—for television are, in alphabetical order by series title:
  • Screenwriter Sarah Polley and author Margaret Atwood for “Alias Grace”
  • David E. Kelley, for the episode “You Get What You Need” from “Big Little Lies,” and author Liane Moriarty
  • Noah Pink and Ken Biller for the episode “Einstein: Chapter One” from “Genius,” and author Walter Isaacson for his book “Einstein: His Life and Word”
  • Bruce Miller for the episode “Offred” from “The Handmaid’s Tale” and author Margaret Atwood
  • Peter Landesman, George C. Wolfe, and Alexander Woo for the television film “The Immortal Life of Henrietta Lacks,” and author Rebecca Skloot
  • Joe Penhall and Jennifer Haley for “Episode 10” of “Mindhunter” and authors John Douglas and Mark Olshaker for their nonfiction book “Mindhunter: Inside the FBI’s Elite Serial Crime Unit”
Chaired by USC professor and past president of the Writers Guild of America, West, Howard Rodman, the 2018 Scripter selection committee selected the finalists from a field of 91 film and 28 television adaptations.
 
Serving on the selection committee, among many others, are film critics Leonard Maltin, Anne Thompson and Kenneth Turan; authors Lisa Belkin, Michael Chabon and Michael Ondaatje; screenwriters Geoffrey Fletcher and Erin Cressida Wilson; producers Suzanne Todd and Mike Medavoy; and USC deans Elizabeth Daley of the School of Cinematic Arts and Catherine Quinlan of the USC Libraries.
 
The studios distributing the finalist films and current publishers of the printed works are:
  • “Call Me By Your Name”—Sony Pictures Classics and Picador
  • “The Disaster Artist”—A24 and Simon & Schuster
  • “Logan”—20th Century Fox and Marvel Comics
  • “The Lost City of Z”—Amazon Studios and Simon & Schuster
  • “Molly’s Game”—STX Entertainment and Dey Street Books
  • “Mudbound”—Netflix and Algonquin Books
  • “Wonder Woman”—Warner Bros. and DC Comics
The networks airing the finalist television series and current publishers of the original printed works are:
  • “Alias Grace”—Netflix and Anchor
  • “Big Little Lies”—HBO and Berkley
  • “Genius”—National Geographic and Simon & Schuster
  • “The Handmaid’s Tale”—Hulu and Anchor
  • “The Immortal Life of Henrietta Lacks”— HBO and Broadway Books
  • “Mindhunter”—Netflix and Gallery Books
The USC Libraries will announce the winning authors and screenwriters at a black-tie ceremony on Saturday, Feb. 10, 2018 in the historic Edward L. Doheny Jr. Memorial Library on the University Park campus of the University of Southern California. Since 1988, Scripter has honored the authors of printed works alongside the screenwriters who adapt their stories. In 2016, the USC Libraries inaugurated a new Scripter award, for television adaptation. Television and film finalists compete in separate categories.
 
For more information about Scripter—including ticket availability, additional sponsorship opportunities, and an up-to-date list of sponsors—please email scripter@usc.edu or visit scripter.usc.edu.
Be Sociable, Share!

Posted in Awards Watch, MCN Curated Headlines, Movie City News, Note Pad | Comments Off on USC Libraries Name Finalists for Thirtieth Annual Scripter Adaptation Awards

Comments are closed.

Quote Unquotesee all »

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