![]() It’s not that ANYONE can just write a great script. But it often takes a village to create one these days. And because Hollywood knows this, they have stopped celebrating the writer the way they used to. Sometimes by many different writers (or producers or executives or directors or actors) to the point where the original script is barely recognizable and the original writer getting credit often isn’t the one who wrote the best lines. John Ridley has a history of writing scripts that get completely rewritten and then arbitrating for credit, which brings up another major point for why screenwriters perhaps aren’t being as well-respected anymore.Įvery script is rewritten. There are sometimes a lot of politics in screenwriting. It won for Best Picture and Best Adapted Screenplay but because of the drama behind the scenes, writer John Ridley and Director Steve McQueen didn’t even mention each other in their speeches. In Blue Jasmine, because of all the negative media attention Woody Allen has been receiving, people wanted to play it safe and just focus on Cate Blanchett’s masterful delivery of the words and emotional turns instead of the writing itself. #No gravity dallas plus#But with more F-bombs than any other film in history, an often muddy theme, and a story that seemed to end three different times in its 3-hour plus running time, the script was seen as overwritten and could have been tighter. In fact, it probably has the most quotable lines of any nominated film. #No gravity dallas movie#The Wolf of Wall Street was a much loved movie with some great dialogue and memorable scenes and performances. It had a few powerful scenes, but it was Amy Adams and Jennifer Lawrence that made those words shine. It had style and voice, but not much substance. But no one thought Gravity had a very strong story or script.Īmerican Hustle went home empty handed (which was fine by me) and its biggest criticism was that while the PERFORMANCES were great, and the world was original, the actual story and plot wasn’t very strong. In Gravity’s case, it was a film driven by the DIRECTOR’S vision and technical handling of the material and how that skill created a movie-going experience unlike any other. In Dallas, let’s be honest – it wasn’t the words McConaughey or Leto said that made that movie special – it was the WAY they said them and their immersion in their roles. These were films driven by powerful performances and technical achievement. These were not films driven by powerful dialogue. Looking at the projects that won big last night, Gravity and Dallas Buyers Club specifically, these were not movies driven by story or script. And in 2013, I dare say it was the latter that occurred. And sometimes, it’s the fantastic and powerful performances from the actors that bring the words on the page to life. Sometimes it’s the powerful words on the page that elicit fantastic performances from actors. That being said, my second point is that the lack of mention of the writing and writers from the winners last night I think illuminated something painfully obvious in the films nominated…the writing wasn’t THAT great. If it wasn’t for the WGA, the Screenplay awards would probably be given out at the Creative Arts Ceremony. Screenwriters are hardly ever the FOCUS of the Oscars – it’s a night based around the actors, directors and films themselves. They weren’t dismissed any more than production designers or editors were. They received their Oscars like everyone else in every other category. I even got an email this morning from a client wondering why those responsible for the stories aren’t being appreciated by Hollywood anymore.įirst – while Robert De Niro’s somewhat insulting and stereotypical introduction to the Best Screenplay Oscar didn’t help, I don’t think writers WERE forgotten from the telecast. #No gravity dallas pro#Since last night’s Oscars ceremony, there has been a lot of chatter by writers (both pro and amateur) on social media that screenwriters were all but forgotten in the telecast and in the winner’s speeches. ![]()
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