By Ray Pride Pride@moviecitynews.com

2019 Writers Guild Awards Nominees

SCREENPLAY NOMINEES

ORIGINAL SCREENPLAY

Eighth Grade, Written by Bo Burnham; A24

Green Book, Written by Nick Vallelonga & Brian Currie & Peter Farrelly; Universal Pictures

A Quiet Place, Screenplay by Bryan Woods & Scott Beck and John Krasinski, Story by Bryan Woods & Scott Beck; Paramount Pictures

Roma, Written by Alfonso Cuarón; Netflix

Vice, Written by Adam McKay; Annapurna Pictures

ADAPTED SCREENPLAY

Blackkklansman, Written by Charlie Wachtel & David Rabinowitz and Kevin Willmott & Spike Lee, Based on the book by Ron Stallworth; Focus Features

Black Panther, Written by Ryan Coogler & Joe Robert Cole, Based on the Marvel Comics by Stan Lee and Jack Kirby; Walt Disney Studios Motion Pictures

Can You Ever Forgive Me?, Screenplay by Nicole Holofcener and Jeff Whitty, Based on the book by Lee Israel; Fox Searchlight

If Beale Street Could Talk, Screenplay by Barry Jenkins, Based on the novel by James Baldwin; Annapurna Pictures

A Star is Born, Screenplay by Eric Roth and Bradley Cooper & Will Fetters, Based on the 1954 screenplay by Moss Hart and the 1976 screenplay by John Gregory Dunne & Joan Didion and Frank Pierson, Based on a story by William Wellman and Robert Carson; Warner Bros.

DOCUMENTARY SCREENPLAY

Bathtubs Over Broadway, Written by Ozzy Inguanzo & Dava Whisenant; Focus Features

Fahrenheit 11/9, Written by Michael Moore; Briarcliff Entertainment

Generation Wealth, Written by Lauren Greenfield; Amazon Studios

In Search of Greatness, Written by Gabe Polsky; Art of Sport

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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