#adaptedscreenplay

[hollywoodeaqui]

George Clooney uma vez disse que é possível fazer um filme razoável com um excelente roteiro e um elenco fraco, mas é impossível fazer um filme ok com um péssimo roteiro, mesmo com um elenco excepcional. Eu estudei roteiro no Brasil e em LA e concordo com George. O roteiro é a alma de um filme, onde ele nasce. Eu tive a chance de ficar frente a frente com 9 dos 10 indicados ao Oscar na categoria roteiro original e adaptado (uma das minhas favoritas), no @officialsbiff Compartilho tudo que esses gênios nos contaram sobre seu processo ao escrever a base dos filmes que dominaram a temporada de premiações. Cineastas, cinéfilos e apaixonados pela arte de fazer cinema, essa é pra vocês, imperdível conferir o link na nossa bio. #sbiff #hollywoodéaqui #everythingeverywhereallatonce #livingmovie #allquietonthewesternfront #tarmovie #womentalking #thefabelmans #thebansheesofinisherin #glassonion #triangleofsadness #dicadefilme #awardsseason #oscar2023 #originalscreenplay #adaptedscreenplay (at Santa Barbara, California) https://www.instagram.com/p/Cpnofv1v7_v/?igshid=NGJjMDIxMWI=

[awardseasonblog]

Annunciate le #nominations ai Writers Guild of America Awards (#WGA), i premi con cui il sindacato americano degli sceneggiatori sceglie ogni anno i migliori script originali e migliori adattamenti in ambito cinematografico e televisivo. I verdetti di questi premi sono molto attesi per elaborare le previsioni agli Oscar, dato che molto spesso i vincitori dei #WGAAwards si attestano come i principali favoriti agli Oscar nelle categorie miglior sceneggiatura originale e miglior sceneggiatura non originale. In tal senso dal 1985 in poi, e cioè da quando il premio è stato suddiviso nelle due categorie ufficiali, in 37 edizioni il vincitore del WGA Award ha vinto poi l’Oscar 24 volte nella categoria miglior sceneggiatura originale e 23 volte nella categoria miglior sceneggiatura originale. Quest'anno però la gilda della WGA ha considerato "non eleggibili" i principali competitors di queste due categorie perché non redatti secondo le "loro" linee guida. In questo modo, almeno per quest'anno, i WGA perdono parzialmente la loro funzione di precursori. In tal senso non sono stati considerati idonei i film che finora si stavano dividendo i principali premi tra quelli assegnati dai critici americani: per il miglior script Aftersun, Gli Spiriti dell'isola, Triangle of Sadness (questi ultimi 2 candidati agli Oscar) e per il miglior adattamento All Quiet on the Western Front e Living (entrambi candidati agli Oscar). In ogni caso ecco i nominati e i favoriti: #ORIGINALSCREENPLAY EVERYTHING EVERYWHERE ALL AT ONCE, by Daniel Kwan & Daniel Scheinert (candidato agli Oscar) (FAVORITO) THE FABELMANS, by Steven Spielberg & Tony Kushner (candidato agli Oscar) THE MENU, by Seth Reiss & Will Tracy NOPE, by Jordan Peele TAR, by Todd Field (candidato agli Oscar) #ADAPTEDSCREENPLAY BLACK PANTHER: WAKANDA FOREVER, by Ryan Coogler & Joe Robert Cole, story by Ryan Coogler GLASS ONION, by Rian Johnson (candidato agli Oscar) SHE SAID, by Rebecca Lenkiewicz TOP GUN: MAVERICK, by Ehren Kruger and Eric Warren Singer and Christopher McQuarrie, story by Peter Craig and Justin Marks (candidato agli Oscar) WOMEN TALKING, by Sarah Polley (candidato agli Oscar) (FAVORITO) #AwardsSeason https://www.instagram.com/p/Cn2SpmJsPzG/?igshid=NGJjMDIxMWI=

[theomenmedia]

'It Ends With Us' Screenwriter Talks Tackling Domestic Violence on the Big Screen

https://www.theomenmedia.com/post/it-ends-with-us-screenwriter-talks-tackling-domestic-violence-on-the-big-screen

#ItEndsWithUs #DomesticViolence #Interview #BlakeLively #JustinBaldoni #Hollywood #Movie #News #MovieNews #Drama #DramaticMovies #AdaptedScreenplay

[bb-mcg]

Finally got to see Taika Waititi's Jojo Rabbit and it was just as awesome as I thought it would be. Adapted from a novel by Christine Leuens, only Watiti could balance humor with WWII and Nazis. When I saw him speak in 2018 at TIFF, I remember him mentioning his new film where he would be playing Hitler, implying what a bigger fuck you to that guy than to be played by a mixed Jewish New Zealander. The cast is incredible #scarlettjohansson #samrockwell #rebelwilson #alfieallen to just name a few, and some incredible new, young faces, like #romangriffindavis who has already won several young actor awards. It has also already won a bunch of awards for Best Adapted Screenplay, AFI Movie of the Year, and is nominated for several Academy Awards. You will find yourself laughing at moments you don't expect and then gripping your seat with emotion. This is a brilliant film that portrays humor and humanity set in a time where both were hard to find. It's back in theaters, so go check it out!⁠⠀ @pikifilms⁠⠀ ⁠⠀ #filmfriday #taikawaititi #jojorabbit #cagingskies #czechrepublic #WWII #darkcomedy #satire #antihate #oscars2020 #academyawards #youngactor #newzealand #foxsearchlight #adaptedscreenplay #christineleuens #afi #afimovieoftheyear #TIFF2018 #youngactorawards (at Beach Cinema Alehouse) https://www.instagram.com/p/B8RET_ZhsQz/?igshid=almtipp13m9l

[upyourgeek]

Congratulations Siân Heder! Winning Adapted Screenplay for Apple’s ‘CODA.’ #Oscars #SianHeder #CODA #AdaptedScreenplay https://www.instagram.com/p/CboWBCxL2mQ/?utm_medium=tumblr

[trascapades]

👏🏿❤✊🏿🎬🎨#ArtIsAWeapon CONGRATULATIONS @officialspikelee on finally winning @theacademy #Oscar! Spike won the Best Writing #AdaptedScreenplay Academy award for @blackkklansman! I LOVE this #illustration by #artist @naturel, who captured Spike and the moment perfectly! Reposted from @officialspikelee - BROOKLYN WINS. BROOKLYN WINS. BROOKLYN WINS. MOOKIE WITH OSCAR. #SpikeLee #Oscar2019 #BlackStorytellers #BlackFilms #Mookie #BlackHistoryMonth #TraScapades #ArtIsAWeapon https://www.instagram.com/p/BuUOa9wF_kA/?utm_source=ig_tumblr_share&igshid=bp0h38piqz8q

[violasbabygirl]

🎆👏😍🎉#YESSSSS Reposted from @updates_in_cinema_v2.0 - BLACKKKLANSMAN writers Charlie Wachtel & David Rabinowitz and Kevin Willmott & Spike Lee win the Oscar for BEST ADAPTED SCREENPLAY. ● ● ● #blackkklansman #oscars #academyawards #oscar #theoscars #oscars2019 #win #gold #movies #MovieNews #movie #film #cinema #spikelee #AdaptedScreenplay #academyaward #updatesincinema - #regrann https://www.instagram.com/p/BuSjChdgxGm/?utm_source=ig_tumblr_share&igshid=2ly28l1d40qm

[thrututchteyes]

OSCAR FAVS - BLACKkKLANSMAN! In my formative days in Film School (S/O to @CalArts, @uofoklahoma) Spike Lee was just emerging on the scene with “She’s Gotta Have it.” I found my first kindred spirit - a mind that was merging Hip Hop culture with European avant-garde cinematic traditions. Until that day I felt my vision of storytelling was a disjointed mash-up of influences that made me an outsider in all circles. The year I graduated “Do The Right Thing” was released and the impact on my is indelible. Mr. Lee was nominated for his writing, but was snubbed as Director and this masterpiece was snubbed as Best Picture. 30 years and 20 films later the Film Industry is FINALLY catching up to one of America’s most influential filmmakers & unique voices. Added to the man’s artistic and social-minded influences on my life, I can now throw in the power of his “perseverance” in an Industry that is FINALLY recognizing his genius! 6 Nominations, including Best Director and Best Picture. Ya Dig? Sho Nuff. @officialspikelee @Blackkklansman @AdamDriver @JordanPeele #TuTchT #TuTchTIMAGING #ThruTuTchTEyes #Oscars #BlacKkKlansman #SpikeLee #BestDirector #BestPicture #BestSupportingActor #AdamDriver #AdaptedScreenplay #OriginalScore #FilmEditing #40AcresandaMule #Jordanpeele #TuTchTOscarJoints https://www.instagram.com/p/BuRXw7CFNWm/?utm_source=ig_tumblr_share&igshid=dwrd3tss5zdj

[kevinscanlon]

Congrats to Nicole Holofcener who, with Jeff Whitty, won a WGA Award for adapted screenplay for Can You Ever Forgive Me? #nicoleholofcener #canyouforgiveme #wga #writersguildawards #writersguild #adaptedscreenplay #foxsearchlight #leeisrael https://www.instagram.com/p/BuCEn3igMCL/?utm_source=ig_tumblr_share&igshid=1r4zql5ai3t4g

[its-gabo]

#OscarNoms #AdaptedScreenplay #AStarIsBorn @tntlatam https://www.instagram.com/p/Bs8F9WEBlfs9P75wbE_9Mujd6smDfZglJiA_X80/?utm_source=ig_tumblr_share&igshid=1e9wxnp3rvjyg

[atruebloodwrites]

AuthorLifeMonth2020 * Day 10: Bookish Bucket List * Before I write a scene, I map it out in my head almost cinematically. I think about the colors of the sky. The pulse and attitude of my characters. How their clothes and bodies move. * That leads to the top item on my bookish bucket list. I’d love to see one of my books on screen one day. * Grace sailing through the clouds. Her hair trailing out with the wind, Willa moving her way toward the Golden Gate Bridge with a doctor’s bag clutched in her hand. * It’s a pipe dream I know, but a good dream all the same! 😊 * What about you? What is your bookish dream? * * * #authorlifemonth2020 #bookishbucketlist #adaptedscreenplay #booktomovieadaptation #writerlife #writinglife #writingcommunity #yawritingcommunity #yawriters #yareads #yalit #yabooks #nothingbutsky #acrossabrokenshore #bookadaptation #yahistorical #amwriting #booklife #booklove #booklover #bookworm #bookaddict #bookishgoal #bookishwish #bookishdream #bookcommunity #booksbooksandmorebooks #instareads #shereads #igauthorlife https://www.instagram.com/p/B8Y_7NUFFI4/?igshid=1bdwzdl418v1r

[awardseasonblog]

#SonyPictures Worldwide Acquisitions ha acquisito i diritti di #AMouthfulofAir, basato sull'omonimo romanzo di #AmyKoppelman, è che vedrà come protagonista la candidata all'Oscar #AmandaSeyfried nei panni di Julie Davis,una madre affettuosa, gentile, amorevole con suo marito e suo figlio, autrice di libri per bambini. Quando nasce il suo secondo figlio, quel "trauma della gravidanza" viene portato in primo piano e, con esso inizia una dura battaglia per sopravvivere. Koppelman è l'autrice del bestseller, I Smile Back, che ha adattato per lo schermo con protagonista Sarah Silverman che ottenne per questo ruolo una nomination ai SAG. #NewsCast #casting ##AdaptedScreenplay https://www.instagram.com/p/COSshJjl9Kv/?igshid=wi4pqooup9fb

[daniellempaige]

With @Alanneuwirth @wgaeast #awards So excited that his #callmebyyourname won best #adaptedscreenplay #myfriendsaresocool #writersofinstagram #tv #film #screenwriting #oscarwatch @writersguild

[thedaylieaficionado-blog]

Great Expectations (1998) 112m. R

I was a fan of director Alfonso Cuarón before I even knew who he was or I was an avid film aficionado, due to his A Little Princess being a childhood favorite. I still enjoy watching that movie today; it’s like visiting an old friend. In many ways watching his version of Great Expectations is also like revisiting an old friend. I’m sure many, like myself, had to read Charles Dicken’s Great Expectations in high school (although I was the rare student who not only read but enjoyed the required reading) and I have seen the David Lean classic multiple times (a film truly deserving of four stars). The only difference is, Cuarón’s version is like going to your ten year high school reunion and finding everyone much changed, sometimes for the better and sometimes the worse. I did not go into this film with “great expectations,” that is I knew if I tried to compare it to the book I would be setting the film up for failure and myself up for disappointment. Adapting any novel is always a challenge, especially when you’re tackling one of the giants of 19th century literature. As someone who loves reading just as much as watching films, I understand the argument ‘the book is better than the movie,’ as this is often true, but sometimes watching the movie first actually makes me want to read (or reread) the book, and mostly I believe that books and movies (even when adapted from existing source material) should be kept in separate categories and viewed as separate entities. Films are a visual experience, and while we all visualize the books we’re reading, we have to remember that everyone’s interpretation is going to be different. This film offers such a disclaimer from the start- this is not, states Finn, the way the story happened, but the way he remembers it.  

The skeleton of Dicken’s classic is there in Cuarón’s Great Expectations, for the most part all the major plot points are covered, but it has been updated to the 21st century and set in Florida and New York. The one inconsistency I found odd was the names, most had been changed but some stayed the same- why eliminate Pip and Miss Havisham just to keep Joe and Estella? I can understand that some of the names might have sounded outdated, but is Finnegan Bell and Ms. Dinsmoor any less inconspicuous? Ethan Hawke is Finn (Pip), a budding artist from the start, whose childhood is filled with oddities- he has a terrifying brush with a convict (Robert de Niro as Lustig) and after a gardening job with his brother-in-law/guardian Joe (Chris Cooper) is summoned to the eccentric and reclusive Ms. Dinsmoor’s (Anne Bancroft) decrepit mansion where his fate is sealed the moment he sets eyes on Estella (Gwyneth Paltrow). Beautiful and icy to the core, Estella becomes Finn’s inspiration and obsession. His childhood crush only intensifies when, years later and thanks to a mysterious benefactor, Finn is offered his own show in an upscale gallery in New York where Estella enters his life and his paintings once again. While I admire the daring and dignity in Cuarón’s attempt to recreate a classic for modern times and to appeal to a younger, modern audience the resulting film doesn’t amount to much we haven’t seen before (not only because the novel is so well known, but because it treads the familiar grounds of romantic clichés). Whereas the original expands past the romance to become a broad sweeping coming-of-age tale, this version becomes bogged down by our hapless lovers, so much so, the scenes with Robert de Niro feel like excerpts from another film entirely. What does dazzle is the cinematography- the opulence of the visual settings are sometimes enough to make you forget you already know how it will end and simply enjoy the story. The camera moves like an artist’s hand, employing clever inter-cuts and transitions and interesting angles all lit like a painting. The coastal shots of rural Florida and the contrasting splendors of the rich and unsightly slums of New York are excellent substitutes for Pip’s impoverished childhood and London of the 19th century. The most lavish display of opulence is Ms. Dinsmoor’s Gothic ruin Pardiso Perduto; and behind all the wigs, makeup, and cigarettes Anne Bancroft plays an equally fascinating decaying ruin- helping to bring to life one of the most interesting and devastating characters to ever be presented on page or screen. Being set in the present day (a la 1998) does have its advantages when it comes to the soundtrack as well; Pulp’s Like a Friend has never been used more effectively. So if you take the bad with the good, and set aside all of your own “expectations,” what remains is a good, entertaining film with solid acting, beautiful sets, and a little magic realism that may inspire us all to dance out of restaurants and into the rain in pursuit of true love.  

*** out of ****

[nerditherefirst]

Oscar Analysis: Writing, editing, cinematography

#Oscar Analysis: #OriginalScreenplay #AdaptedScreenplay #Editing and #Cinematography. #NIHF #Nerditherefirst #AcademyAwards

Welcome back to Oscar Analysis! We’re in the home stretch here, with less than a week to go until the big night (Sunday, March 4). Today, we’ll continue moving up the chain into some of the more major categories: screenplay (original and adapted), editing, and cinematography. While the Adapted Screenplay race isn’t much of one, the other three categories should be pretty interesting. Original…

[onemikey]

Writers Guild Awards Voting

What the fuck is a great screenplay anyway?

Every January, for the past three years, I’ve found myself asking versions of this question. The reason is that it’s the time for the WGA Awards, and I have the honor and the privilege (last cliché in this post, I promise) and the somewhat impossible task of voting for the best Original Screenplay, Adapted Screenplay, Drama Series, Comedy Series, and New Series released in the prior calendar year.  

I try to approach this opportunity with the same dedication I approach my work. I care so I do my best. I watch as many movies and TV shows as I can leading up to the nomination process in December then drill down further if there’s anything I’m unfamiliar with when the Guild sends the shortlist in early January. Frequently, stuff I pick out of the large pool to be put on the shortlist doesn’t get anywhere close! Lol! So I go back to my laptop, usually, and I cancel some dates, and I watch some more. 

Throughout this entire process I’m trying to distinguish between a great movie or TV show and a great screenplay or teleplay. What’s the difference? Is there a difference? Should we be separating the blueprint from the finished product? Or is the best screenplay simply whatever gets us to the best movie? Is the calculation different when the script is by a writer-director than when the two roles are separate? And are the rules different in television, where the writer has more sway in shaping the overall look and feel of the show? 

Here we are, back at the profanity-laced question that began this post. It’s a complicated one that I tried to investigate a little more closely this year by actually reading the scripts that were available to me instead of just watching the movies and shows. I didn’t do this for everything- I would’ve had to put all of my own projects aside and drown whatever’s left of my personal life- but when I couldn’t decide between two or three projects I went to the scripts, when available (for some reason, Guild members don’t get sent TV scripts, only feature scripts). 

This, too, is an imperfect process because the movie I already saw plays in my head while I’m reading. Still, it gives insight into- let’s say- the gap between what was on the page and what made it to the screen. For instance, in Noah Baumbach’s screenplay for MARRIAGE STORY, there’s very little color about the characters and much of the impressive blocking in the scenes- which I took as behavior and therefore worthy of being planned at the script stage- is absent. Had I read the script before seeing the movie, I never would’ve predicted the tenor of Alan Alda’s character or the droll, humorlessness of the woman who observes Charlie and his son at his apartment for example. If I had written the script, all that stuff would’ve been there. But Baumbach’s goals and my goals are different. He knows what his actors need from him, complimented by his directing in rehearsal and on set, while I know what I need to give producers and studio executives and, eventually, directors and actors. Because I’m not directing, and especially because I have no produced works of my own yet, I need to do more on the page to help people realize my vision in their minds.

On the other hand, Greta Gerwig’s script for LITTLE WOMEN does have more texture in it. Is this because she was originally only set to write the movie, not direct it? Or did this writing help her prepare to be on set with her crew and her actors? She also implemented a formatting technique to clarify which timeline we’re in at each moment of the script- the past is all in red and the present is all in black. This makes the discrepancy more immediate, at times, than even it is in the movie. 

Bong Joon-ho and Han Jin Won’s screenplay for PARASITE is as tautly constructed as you’d imagine. However, the credibility of the plot is not as strong. Does this matter? Ultimately, probably not because Bong and his cast and crew were able to transcend these bumps in logic through performance and visual technique. Again, like Baumbach, Bong co-wrote a document that he knew how to successfully direct. His aims were specific. But if we were to look at the script without any knowledge of the finished film, would we still think it was one of the five best of the year? Is it at all possible to know? Not to mention that, presumably, what I read was a script-in-translation. I’d be pretty shocked if Bong and Han wrote a Korean language screenplay in English...

I could go on about television, and the effect that prior seasons have on our reception to the current season, or the prominence of David Fincher’s directorial vision on MINDHUNTER- a distinction on TV where the writer/showrunner is typically king- or how to measure the impact of Maya Erskine and Anna Konkle casting themselves in PEN15, a choice that effectively becomes part of the writing. But I think you get the point- the screenplay and the teleplay are only one piece of a larger network of creative actions. To judge them is to ask, “Does this evoke feeling for me? Do I want to see this story and these characters come to life? Can it be an even better experience on screen?”

It’s a guttural thing, I think. At least right now. Next year at this time don’t be surprised if my thoughts have evolved again.

Here’s how I voted: 

Original Screenplay: PARASITE

Adapted Screenplay: LITTLE WOMEN

Drama Series: MINDHUNTER

Comedy Series: BARRY

New Series: PEN15

*Note: I took WATCHMEN out of the running since it sure as hell looks like it was actually a Limited Series. Also, my favorite thing of the entire year was EUPHORIA, but the Writers Guild membership did not agree!!!