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Ray Pride

By Ray Pride Pride@moviecitynews.com

2017 FYC (For Your Consideration) Screenplays Now Up To 36 Titles

PDF downloads, for the duration of the 2017 awards season. (Make a note in comments if a link doesn’t load.)

Battle of the Sexes, written by Simon Beaufoy

Beauty and the Beast, screenplay by Stephen Chbosky and Evan Spiliotopoulos; based on 1991 animated film written by Linda Woolvert

The Beguiled, Written by Sofia Coppola, based on the novel by Thomas Cullinan

The Big Sick, Written by Kumail Nanjiani & Emily V. Gordon [secondary link]

Brad’s Status, Written by Mike White

Breathe, Written by William Nicholson

Brigsby Bear, Story by Kyle Mooney; Screenplay by Kevin Costello & Kyle Mooney

Coco, Original Story By Lee Unkrich, Jason Katz, Matthew Aldrich, Adrian Molina; Screenplay By Adrian Molina and Matthew Aldrich

Darkest Hour, Written By Anthony McCarten

The Disaster Artist, Written by Scott Neustadter & Michael H. Weber; Based on the book by Greg Sestero and Tom Bissell

Downsizing, Written by Alexander Payne & Jim Taylor

A Fantastic Woman,  Screenplay by Sebastián Lelio, Gonzalo Maza

First They Killed My Father, Screenplay by Loung Ung & Angelina Jolie; Based on the Book “First They Killed My Father: A Daughter of Cambodia Remembers” by Loung Ung

The Florida Project, Written by Sean Baker & Chris Bergoch

Get Out, by Jordan Peele

Guardians of the Galaxy V. 2. Written by James Gunn

Happy End, Written By Michael Haneke

I, Tonya, Written by Steven Rogers

Lady Bird, Written by Greta Gerwig

Last Flag Flying, by Richard Linklater & Darryl Ponicsan

Logan, Story by James Mangold. Screenplay by Scott Frank & James Mangold and Michael Green

The Lost City of Z, Screenplay by James Gray; Based on the Book by David Grann

Loveless, By Oleg Negin, Andrey Zvyagintsev

The Man Who Invented Christmas, Screenplay by Susan Coyne; Based on the Book by Les Standiford

Mark Felt, Written by Peter Landesman

Maudie, Written by Sherrie White

The Meyerowitz Stories (New and Selected), Written by Noah Baumbach

mother!, Written by Darren Aronofsky

Mudbound, Screenplay by Virgil Williams and Dee Rees; Based on the Novel by Hillary Jordan

Norman, By Joseph Cedar

Novitiate, By Maggie Betts

Okja, Written by Bong Joon Ho and Jon Ronson

The Shape of Water, Written by Guillermo del Toro & Vanessa Taylor

Three Billboards Outside Ebbing, Missouri, Written by Martin McDonagh

Thor: Ragnarok, Written by Eric Pearson and Craig Kyle & Christopher L. Yost

Victoria & Abdul, By Lee Hall

War For The Planet of the Apes, Written by Mark Bomback & Matt Reeves; Based on Characters Created by Rick Jaffa & Amanda Silver

Wonderstruck, Written by Brian Selznick

3 Responses to “2017 FYC (For Your Consideration) Screenplays Now Up To 36 Titles”

  1. Debbie says:

    I loved Thor Ragnarok. It gets my vote.

  2. YancySkancy says:

    I’m not having any luck with some of these. The Big Sick goes to an Amazon page, but the script isn’t there. Meyerowitz Stories goes to a blank Netflix page.

  3. Ray Pride says:

    Thanks for noting. Revised links for both screenplays.

Movie City Indie

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This is probably going to sound petty, but Martin Scorsese insisting that critics see his film in theaters even though it’s going straight to Netflix and then not screening it in most American cities was a watershed moment for me in this theatrical versus streaming debate.

I completely respect when a filmmaker insists that their movie is meant to be seen in the theater, but the thing is, you got to actually make it possible to see it in the theater. Some movies may be too small for that, and that’s totally OK.

When your movie is largely financed by a streaming service and is going to appear on that streaming service instantly, I don’t really see the point of pretending that it’s a theatrical film. It just seems like we are needlessly indulging some kind of personal fantasy.

I don’t think that making a feature film length production that is going to go straight to a video platform is some sort of “step down.“ I really don’t. Theatrical exhibition as we know it is dying off anyway, for a variety of reasons.

I should clarify myself because this thread is already being misconstrued — I’m talking about how the movie is screened in advance. If it’s going straight to Netflix, why the ritual of demanding people see it in the theater?

There used to be a category that everyone recognized called “TV movie” or “made for television movie” and even though a lot of filmmakers considered that déclassé, it seems to me that probably 90% of feature films fit that description now.

Atlantis has mostly sunk into the ocean, only a few tower spires remain above the waterline, and I’m increasingly at peace with that, because it seems to be what the industry and much of the audience wants. We live in an age of convenience and information control.

Only a very elite group of filmmakers is still allowed to make movies “for theaters“ and actually have them seen and judged that way on a wide scale. Even platform releasing seems to be somewhat endangered. It can’t be fought. It has to be accepted.

9. Addendum: I’ve been informed that it wasn’t Scorsese who requested that the Bob Dylan documentary only be screened for critics in theaters, but a Netflix representative indicated the opposite to me, so I just don’t know what to believe.

It’s actually OK if your film is not eligible for an Oscar — we have a thing called the Emmys. A lot of this anxiety is just a holdover from the days when television was considered culturally inferior to theatrical feature films. Everybody needs to just get over it.

In another 10 to 20 years they’re probably going to merge the Emmys in the Oscars into one program anyway, maybe they’ll call it the Contentys.

“One of the fun things about seeing the new Quentin Tarantino film three months early in Cannes (did I mention this?) is that I know exactly why it’s going to make some people furious, and thus I have time to steel myself for the takes.

Back in July 2017, when it was revealed that Tarantino’s next project was connected to the Manson Family murders, it was condemned in some quarters as an insulting and exploitative stunt. We usually require at least a fig-leaf of compassion for the victims in true-crime adaptations, and even Tarantino partisans like myself – I don’t think he’s made a bad film yet – found ourselves wondering how he might square his more outré stylistic impulses with the depiction of a real mass murder in which five people and one unborn child lost their lives.

After all, it’s one thing to slice off with gusto a fictional policeman’s ear; it’s quite another to linger over the gory details of a massacre that took place within living memory, and which still carries a dread historical significance.

In her essay The White Album, Joan Didion wrote: “Many people I know in Los Angeles believe that the Sixties ended abruptly on August 9, 1969, ended at the exact moment when word of the murders on Cielo Drive traveled like brushfire through the community, and in a sense this is true.”

Early in Once Upon a Time in Hollywood, as Leonardo DiCaprio and Brad Pitt’s characters drive up the hill towards Leo’s bachelor pad, the camera cranes up gently to reveal a street sign: Cielo Drive. Tarantino understands how charged that name is; he can hear the Molotov cocktails clinking as he shoulders the crate.

As you may have read in the reviews from Cannes, much of the film is taken up with following DiCaprio and Pitt’s characters – a fading TV actor and his long-serving stunt double – as they amusingly go about their lives in Los Angeles, while Margot Robbie’s Sharon Tate is a relatively minor presence. But the spectre of the murders is just over the horizon, and when the night of the 9th finally arrives, you feel the mood in the cinema shift.

No spoilers whatsoever about what transpires on screen. But in the audience, as it became clear how Tarantino was going to handle this extraordinarily loaded moment, the room soured and split, like a pan of cream left too long on the hob. I craned in, amazed, but felt the person beside me recoil in either dismay or disgust.

Two weeks on, I’m convinced that the scene is the boldest and most graphically violent of Tarantino’s career – I had to shield my eyes at one point, found myself involuntarily groaning “oh no” at another – and a dead cert for the most controversial. People will be outraged by it, and with good reason. But in a strange and brilliant way, it takes Didion’s death-of-the-Sixties observation and pushes it through a hellfire-hot catharsis.

Hollywood summoned up this horror, the film seems to be saying, and now it’s Hollywood’s turn to exorcise it. I can’t wait until the release in August, when we can finally talk about why.

~ Robbie Collin