Z

By Ray Pride Pride@moviecitynews.com

‘Argo’ Navigates to USC Libraries Scripter Win

Journalist, memoirist, and screenwriter take the 25-anniversary honor.

USC President C.L. Max Nikias; USC Libraries Dean Catherine Quinlan; Scripter Award winner Joshuah Bearman, author of a Wired Magazine article on which “Argo” is based

LOS ANGELES, CA (February 9, 2013) – Authors Joshuah Bearman and Antonio J. Mendez and screenwriter Chris Terrio received the 25th-annual USC Libraries Scripter Award for their contributions to “Argo.” Selection committee co-chair Howard Rodman announced the winners at the black-tie event on Saturday, Feb. 9, at USC’s Doheny Memorial Library.In his acceptance speech, Bearman said “I think that with adaptation you hope another writer can come and take a look at your work and see a new perspective and add insight, which is certainly the case with Chris Terrio.”“Argo’s” Scripter win adds to the growing number of awards for the Warner Bros. film, including the American Film Institute’s Movie of the Year as well as best motion picture in the drama category and best director at last month’s Golden Globes. The film is nominated for seven Academy Awards.

Scripter, established by the Friends of the USC Libraries in 1988, honors the screenwriter or screenwriters of the year’s most accomplished cinematic adaptation as well as the author of the written work upon which the screenplay is based. Scripter is the only award of its kind that recognizes authors of the original work alongside the adapting screenwriters.

Terrio based his adaptation on Mendez’s autobiographical work “The Master of Disguise,” published by William Morrow in 2000, and Bearman’s article “The Great Escape,” which appeared in Wired Magazine in 2007.

USC Libraries Dean Catherine Quinlan welcomed the attendees gathered in Los Angeles Times Reference Room of USC’s historic Edward L. Doheny Memorial Library.

“In the context of the library, Scripter at 25 years old is a young tradition,” Quinlan said. “But it is a tradition that helps our libraries collect knowledge that is far older than 25 years and one that will support discoveries by our USC community far beyond the next quarter-century.”

Co-chaired by Golden Globe-winning screenwriter Naomi Foner and USC screenwriting professor and vice president of the Writers Guild of America, West, Howard Rodman, the Scripter selection committee chose “Argo” from a field of 84 eligible films. A tie in the first round of voting resulted in six finalist films this year, rather than the usual five.

The 41-member selection committee included film critics Leonard Maltin and Kenneth Turan; screenwriters Geoffrey Fletcher, Eric Roth, and Robin Swicord; authors Michael Chabon and Mona Simpson; and USC deans Catherine Quinlan of the USC Libraries, Elizabeth M. Daley of the School of Cinematic Arts and Madeline Puzo of the School of Dramatic Arts.

The USC Libraries also honored Larry McMurtry and Diana Ossana with the Literary Achievement Award for their body of work to date. USC President C. L. Max Nikias presented the honor.

“With deep reserves of imagination and intellect, Mr. McMurtry and Ms. Ossana inspire USC’s entire creative-arts community,” Nikias said. “And for this, we warmly salute them.”

Over the course of their writing partnership McMurtry and Ossana have collaborated on dozens of novels and screenplays, including “Brokeback Mountain,”which won the 2005 Academy Award for Best Adapted Screenplay, as well as the award-winning miniseries “Streets of Laredo,” “Dead Man’s Walk,” and “Johnson County War.”They are currently collaborating on the screen adaptation of Paulette Jiles’s novel “The Color of Lightning.”

This year’s event featured a silent auction, the proceeds of which support the USC Libraries’ collections. Donors to the auction included Bennett Farms, the Cosmopolitan of Las Vegas, Hawaii Five-0 and Eye Productions, Hungry Cat Santa Monica, L.A. Saddlery, the Los Angeles Clippers, the Namale Resort & Spa in Fiji, Paperblanks, PGA Tour, Picca Peruvian Cantina, the NFL, Pizzeria Mozza, Pleasant Holidays, South Coast Winery, the Sundance Institute, Terranea Resort, Robbins Research International, Montage Beverly Hills, the Wine of the Month Club, and the USC Thornton School of Music.

In-kind sponsors this year included John and Dana Agamalian and Blue Ice Vodka; Esquire Bar & Lounge of Pasadena, Calif.; Farrar, Straus and Giroux; Paperblanks; Penguin Books; and the Wine of the Month Club.

For more information about Scripter—including additional images from the ceremony—visitscripter.usc.edu.

Leave a Reply

Z

Quote Unquotesee all »

“We don’t defy the laws of physics: There are no flying men or cars in this movie. So it made sense to do it old-school: real vehicles and real human beings in the desert. We shot the movie more or less in continuity, because the cars and the characters get really banged up along the way. The biggest benefit of digital technology for me was that the cameras were smaller and much more agile, so you could put them anywhere. We also spent a huge amount of time on spatial awareness—making sure the viewer could follow the action and understand what was happening. There has to be a strong causal connection from one shot to the next, just the same way that in music, there has to be a connection from one note to the next. Otherwise it’s just noise. Too often, if you just cram a lot of stuff into the frame, you get the illusion of a fast pace. But there’s no coherence. It doesn’t flow. It comes off as headbanging music, and it can be exhausting. We storyboarded the movie before we had a script: We had 3,500 boards, which helps the cast and crew understand how everything is going to fit together. Movies are getting faster and faster. The Road Warrior had 1,200 cuts. This one has 2,700 cuts. You have to treat it like a symphony.”
~ George Miller

“I was having issues with my script for It’s All About Love, so I called Ingmar Bergman and we ended up talking about everything but the script. He said, “Well, Festen is a masterpiece, so what are you going to do now?” At that point, I had not decided if I was going to make It’s All About Love, so I answered, “Hmmm, I don’t know. Maybe this, maybe that.” There was just a long pause, and then he said, “You’re fucked.” I said, “Well, how can you know?” “Well, Thomas, you always have to decide your next movie before the movie you’re doing presently opens.” And I said, “Why is that?” “Well, two things can happen. One thing is that you fail, and then you’ll feel scared and humiliated. It’ll get into your head. Second, and even worse, you have success, and then you’ll want more of it, or you’ll want to maintain it. But if you decide on your next film while you’re in the middle of editing, it becomes a very nonchalant choice. And then it’s shorter from the heart to the hand.”
~ Thomas Vinterberg

Z Z