By Ray Pride Pride@moviecitynews.com

2019 Writers Guild Awards Nominees

SCREENPLAY NOMINEES

ORIGINAL SCREENPLAY

Eighth Grade, Written by Bo Burnham; A24

Green Book, Written by Nick Vallelonga & Brian Currie & Peter Farrelly; Universal Pictures

A Quiet Place, Screenplay by Bryan Woods & Scott Beck and John Krasinski, Story by Bryan Woods & Scott Beck; Paramount Pictures

Roma, Written by Alfonso Cuarón; Netflix

Vice, Written by Adam McKay; Annapurna Pictures

ADAPTED SCREENPLAY

Blackkklansman, Written by Charlie Wachtel & David Rabinowitz and Kevin Willmott & Spike Lee, Based on the book by Ron Stallworth; Focus Features

Black Panther, Written by Ryan Coogler & Joe Robert Cole, Based on the Marvel Comics by Stan Lee and Jack Kirby; Walt Disney Studios Motion Pictures

Can You Ever Forgive Me?, Screenplay by Nicole Holofcener and Jeff Whitty, Based on the book by Lee Israel; Fox Searchlight

If Beale Street Could Talk, Screenplay by Barry Jenkins, Based on the novel by James Baldwin; Annapurna Pictures

A Star is Born, Screenplay by Eric Roth and Bradley Cooper & Will Fetters, Based on the 1954 screenplay by Moss Hart and the 1976 screenplay by John Gregory Dunne & Joan Didion and Frank Pierson, Based on a story by William Wellman and Robert Carson; Warner Bros.

DOCUMENTARY SCREENPLAY

Bathtubs Over Broadway, Written by Ozzy Inguanzo & Dava Whisenant; Focus Features

Fahrenheit 11/9, Written by Michael Moore; Briarcliff Entertainment

Generation Wealth, Written by Lauren Greenfield; Amazon Studios

In Search of Greatness, Written by Gabe Polsky; Art of Sport

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“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