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David Poland

By David Poland

Press Release – WGA Noms

2010 Writers Guild Awards Screen Nominees Announced
LOS ANGELES, NEW YORK — The Writers Guild of America, West (WGAW) and the Writers Guild of America, East (WGAE) have announced nominations for outstanding achievement in writing for the screen during the past year. Winners will be honored at the 2010 Writers Guild Awards held on Saturday, February 20, 2010, at simultaneous ceremonies in Los Angeles and New York.
(500) Days of Summer, Written by Scott Neustadter & Michael H. Weber; Fox Searchlight
Avatar, Written by James Cameron; 20th Century Fox
The Hangover, Written by Jon Lucas & Scott Moore; Warner Bros.
The Hurt Locker, Written by Mark Boal; Summit Entertainment
A Serious Man, Written by Joel Coen & Ethan Coen; Focus Features
Crazy Heart, Screenplay by Scott Cooper; Based on the novel by Thomas Cobb; Fox Searchlight
Julie & Julia, Screenplay by Nora Ephron; Based on the books Julie & Julia by Julie Powell and My Life in France by Julia Child with Alex Prud

18 Responses to “Press Release – WGA Noms”

  1. aris says:


  2. Aladdin Sane says:

    Star Trek? It’s entertaining and all…but really?

  3. Aladdin Sane says:

    And where’s Tarantino?!!!

  4. Rothchild says:

    QT’s not in the WGA.

  5. Aladdin Sane says:

    Oh. Any particular reason?

  6. Rob says:

    500 Days of Summer, huh? Yes, truly, the scene where Zooey and Joey take turns saying the word “penis” in public represented the finest in screenwriting craft this year.

  7. Dignan says:

    Is it any worse than “I see you” being inelegantly forced into the pop culture landscape?
    These nominations mean even less than usual this year as the Draconian WGA rules of eligibility have been enforced in such a way to punish a disproportionate number of small production companies that can’t afford to operate under WGA guidelines and reward big studio fair. How lovely that the same people who threw away months of work a couple years back to punish the studio system have now planted a big wet kiss on the cheek of those who used to (and no doubt still) screwed them out of their residuals.

  8. The InSneider says:

    Rob, I’ve played the Penis game before and it’s quite fun. You should pull the stick out of your ass and try it some time. Summer was wonderfully written and alongside The Hurt Locker, the most deserving screenplay on both lists.

  9. LYT says:

    I presume District 9 wasn’t eligible because none of the dialogue was actually scripted.
    Then again, Mike Leigh movies usually end up being ruled eligible. As for Anvil, is there a precedent for documentaries like that (i.e. without a Michael Moore-type narration) being nominated? Ditto Tyson, who presumably was not reading a script?

  10. storymark says:

    “I’ve played the Penis game before and it’s quite fun. ”
    Groovy for you, but how does that make it clever writing?

  11. David Poland says:

    I would guess D9 might not be WGA signatory, but improv has not stopped noms in the past.
    And yes, the screenplay category for docs has been a rat’s nest since they started it. The films they have nom’ed have been more and less scripted. IN this case, only the Moore doc is like a script that was made into a film… which is why it kinda sucks.

  12. Dignan says:

    Well, since you asked. It’s clever writing because it’s a game built entirely around testing boundaries and control. It’s establishing her as someone who isn’t confined by the rules of public decency as well as showing what her sense of humor is (which also speaks to her immaturity). She is amused that he becomes embarrassed by the end of the game indicating that she doesn’t take his feelings especially seriously. All of this is of a piece with their relationship and helps establish a patten of suspect behavior even before their eventual breakup.

  13. Rob says:

    Yes, Dignan, and that’s a deft feat of character development matched on pretty much any episode of Accidentally on Purpose. Next.

  14. christian says:

    Exactly, Rob.
    And how about that amazing STAR TREK structure where Kirk finds not only Spock, but Scotty, on a planet he’s been randomly sent to?

  15. storymark says:

    Well, there certainly is no excuse for Scotty being there. But Kirk and Spock were there for the same reason – it was the closest.

  16. storymark says:

    Dignan – Thanks, I wasn’t trying to be argumentative, just looking for more context than “it’s a real game”.

  17. leahnz says:

    wow, that avatar nom is going to have the naysayers who don’t know the difference between an actual screenplay and dialog spitting tacks

  18. Triple Option says:

    Considering the success of the film I can’t say I’m at all shocked Avatar got a Best Original Screenplay nomination. I am a bit surprised it wasn’t nominated for Best Adapted Screenplay considering how much of the story had been ripped off from every other movie ever shot since the dawn of time.

Quote Unquotesee all »

“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima