Journalist Sasha Stone and her editor Ryan Adams have an interesting little blog that tracks the Oscars and other awards at www.awardsdaily.com. Today, Sasha has a worthwhile post on contenders for best screenplay.
Obviously, studio script readers are sworn to silence on drafts of potential studio blockbusters. Spielberg reportedly numbered all copies of the drafts of his scripts even during production to help keep the details under wraps. But, today, leaked scripts are common-place, leading to the inevitable so-called “script reviews”. For example, here is a review of a draft script for the close-to-production Judge Dredd and here is a review of an early draft of the not-even-near-production contemplated remake of Forbidden Planet. Both of these reviews are for scripts that may never be shot. Are these types of reviews fair game?
That is the question. Whether ’tis nobler in the mind to write the whole damned script or to spill it in the outline/treatment/secretly already written stage and sell it on the pitch. The Hollywood Reporter thinks it has an answer.
Sheldon Turner plays hard at being a screenwriter, and it shows. He is credited with the recent “Up In The Air” (a terrific script) and, according to IMDB, has more than a dozen projects in development. Hear him talk about writing and the biz.
Nineteen years after Geena Davis and Susan Sarandon took their famous turn in a ’66 Thunderbird convertible, screenwriter Callie Khouri discusses her Oscar winning screenplay for “Thelma & Louis” with Sallie King of the Los Angeles Times. Discussing the ending, she says:
People either thought it was an uplifting ending or they thought they committed suicide at the end. It kind of depends on how they see it.
Uhm? If it isn’t suicide, what is it?
Know your screenwriters. Paul Haggis is an interesting and complex character; he is a screenwriter. His credits span from Walker, Texas Ranger to the Oscar nominated screenplay for Million Dollar Baby to the Oscar winning screenplay for Crash. He was a writer on Casino Royale, the first James Bond reboot, and its follow up Quantum of Solace. He is one of the few important Hollywood figures to publicly renounce Scientology. You can read his interesting bio here, and/or listen to him discuss screenwriting in this interview….
Jehoshua Eliashberg, Sam K. Hui, and John Zhang of the Wharton School of Economics have come up with a formula to analyze return based upon the screenplay. You can read about it here at NPR.org and even download the original paper.