by John Sullivan | Feb 23, 2018 | Industry News
We continue our Oscars prediction by looking at the big guns in the acting categories…
By Jamie White.
The glitz and the glamour of the Oscars really comes alive when we get to the main acting categories. These categories are arguably the most entertaining and interesting for the general audience, and this year interesting is the right word!
Best Actor
Timothée Chalamet, “Call Me by Your Name”
Daniel Day-Lewis, “Phantom Thread”
Daniel Kaluuya, “Get Out”
Gary Oldman, “Darkest Hour”
Denzel Washington, “Roman J. Israel, Esq.”
This category seems pretty straight forward, to be honest – even with Daniel Day-Lewis involved!
DARKEST HOUR is one of the most blatant examples of an Oscar-bait film we’ve seen since… well LA LA LAND. Hollywood loves movies about Hollywood, after all. But, Churchill just seems like a character that someone would win an Oscar for playing. It’s about time Gary Oldman got one, too.
This category does seem to already be over, and it reminds us of the time Leo won his Oscar – the joke about him never winning was running thin, and the same can be said for Oldman. It would be a genuine shock if Oldman didn’t win this.
Best Actress
Sally Hawkins, “The Shape of Water”
Frances McDormand, “Three Billboards Outside Ebbing, Missouri”
Margot Robbie, “I, Tonya”
Saoirse Ronan, “Lady Bird”
Meryl Streep, “The Post”
Now this category seems more like it! And again, we don’t think the Oscar nominee stalwart in this group (sorry, Meryl!) is gonna come out on top.
For us, we see this as a three-way stand-off between McDormand, Robbie, and Ronan. McDormand is definitely the front-runner, and rightly so. And if the love for McDormand at the BAFTAs is anything to go by, this should be as much a walkover as the male category should be for Oldman.
But for some reason our very own John Sullivan has this voice in the back of his head saying “It’s Margot’s time!” Similar wins have happened in the recent past (see Jennifer Lawrence and Emma Stone). But, maybe another year, John. This time we’re gonna overrule you! McDormand all the way for us.
Agree with our predictions or not? Let us know on Twitter and Facebook! Next we look at the big one – Best Picture!
© WriteMovies 2017. Exclusive to WriteMovies – To syndicate this content for your own publication, contact ian (at) writemovies dot-com.
by John Sullivan | Feb 19, 2018 | Industry News
2018 Oscars Predictions: Supporting Actors and Actresses. By Jamie White.
The supporting actors categories don’t’ always get the recognition they deserve. They’re sometimes overlooked because the main acting category gets SO much attention. But this year may be the most interesting and competitive supporting acting categories yet… here’s our 2018 Oscars predictions for the Supporting Actors categories…
Supporting Actor
Willem Dafoe, “The Florida Project”
Woody Harrelson, “Three Billboards Outside Ebbing, Missouri”
Richard Jenkins, “The Shape of Water”
Christopher Plummer, “All the Money in the World”
Sam Rockwell, “Three Billboards Outside Ebbing, Missouri”
Five great actors with nominations in a category so competitive it sees two actors from the same film challenging each other!
And in truth, it would be a bit of a shock if THREE BILLBOARDS didn’t see one of its stars win out here. Both Harrelson and Rockwell were excellent performers in this masterpiece.
To choose one is difficult, though. But considering the critical buzz about his performance and his BAFTAs success last night, we’re leaning towards Rockwell taking this little gold man home.
Supporting Actress
Mary J. Blige, “Mudbound”
Allison Janney, “I, Tonya”
Lesley Manville, “Phantom Thread”
Laurie Metcalf, “Lady Bird”
Octavia Spencer, “The Shape of Water”
As if it couldn’t get any harder to predict a winner…
A truly outstanding group of nominees here, including Octavia Spencer who is now tied for most Oscar nominations for a black actress (tying with Viola Davis). But while we love THE SHAPE OF WATE and Guillermo Del Toro, the film’s acting isn’t it’s strongest suit.
We see this category as another two-way head-to-head, this time between Allison Janney and Laurie Metcalf – and once again, it almost hurts to pick a winner here!
But we will – and we’ll give it to Metcalf. Despite missing out to Janney at the Globes, we think this will be Metcalf’s night for her astounding performance in LADY BIRD.
Agree with our predictions or not? Let us know on Twitter and Facebook! Next we’ll look at the main acting categories…
© WriteMovies 2017. Exclusive to WriteMovies – To syndicate this content for your own publication, contact ian (at) writemovies dot-com.
by John Sullivan | Jan 26, 2018 | Industry News
With the full list of Oscars nominees having been revealed this week, it’s time to get excited for the most glamorous awards ceremony in America. THE SHAPE OF WATER leads the way with 13 nominations, while Meryl Streep got her annual nomination for just appearing in a film (this time it’s THE POST), and there were one or two surprises. One of which happened in the screenplay categories. So, let’s take a look, shall we?
Adapted Screenplay Nominees:
CALL ME BY YOUR NAME, James Ivory
THE DISASTER ARTIST, Scott Neustadter & Michael H. Weber
LOGAN, Scott Frank & James Mangold and Michael Green
MOLLY’S GAME, Aaron Sorkin
MUDBOUND, Virgil Williams and Dee Rees
The Adapted Screenplay category is one of the most debatable categories considering the projects excluded. It feels strange to not have further biopics included in this category – THE DARKEST HOUR immediately springs to mind as one noticeable exclusion. But this category has one nomination that will spark some conversation…
The category is fairly… understated really. All excellent films, but this category doesn’t have the same stand out picks as others do. Still, some interesting inclusions. Most notably, LOGAN. This is the FIRST superhero film (that we can think of) that has been nominated in the Adapted Screenplay category. THE INCREDIBLES got a nod for Original Screenplay, making LOGAN only the second superhero film to EVER get an Oscar screenplay nomination.
The rest of the category isn’t as “standout” because of that, but some noticeable inclusions of THE DISASTER ARTIST and MOLLY’S GAME add some meat to the bones. CALL ME BY YOUR NAME and MUDBOUND are perhaps lesser-known to wider audiences, but the latter should definitely not be discounted considering it’s WWII setting and juxtaposition of white and black veterans; with GET OUT a strong contender this year, do not count MUDBOUND out!
Predictions…
John: I think considering the hype of GET OUT, and the racial tensions and relations in this country, MUDBOUND could be the winner here.
Jamie: I would love it if LOGAN won and set the new precedent for superhero/comic book films. It’s not even a superhero film really! Saying that… I think THE DISASTER ARTIST may take its token award in this category…
Watch out for our thoughts and reaction to the Original Screenplay nominations coming Monday…
Check out the full Oscars nominees list here: http://variety.com/2018/film/news/list-2018-oscar-nominations-1202668757/
by John Sullivan | Oct 4, 2017 | Industry News
Is Winter the new Summer for Hollywood blockbusters? Release dates of big films this year suggest that Winter is the season to be jolly for Hollywood.
So-called Oscar bait has always been released towards the end of Summer right through to Winter. This supposedly gives these films an edge – there’s a recency bias surrounding these films, but Winter is also slowly becoming the time for blockbusters, too.
In recent years the Middle-Earth and STAR WARS franchises have been reinvented and relocated release dates to December – which proved financially successful for them – and now the superhero films are following suit. The 2017 Spring and Summer saw the fringe films, the riskier films – GUARDIANS OF THE GALAXY VOL 2. SPIDERMAN: HOMECOMING, WONDER WOMAN, but come November, the big boys are coming back. THOR: RAGNAROK and THE JUSTICE LEAGUE both have November release dates – close enough to December to rake in the money, but far enough away from STAR WARS EP: VIII that they won’t have to fight off the Jedi fans.
While the big name films are currently few in number, it looks like Winter will become the new blockbuster season for years to come. https://www.bloomberg.com/news/articles/2017-09-19/how-hollywood-got-over-the-summer-blockbuster
© WriteMovies 2017. Exclusive to WriteMovies – To syndicate this content for your own publication, contact ian (at) writemovies dot-com.
by John Sullivan | Apr 27, 2017 | Studio Consulting, Trainees' Examples
An example script consultancy on a reading of MOONLIGHT script, winner of Best Picture and Best Original Screenplay at the 2017 Oscars.
“This screenplay is beautifully written, the central theme elegantly expressed in an almost poetic style…” Extracts from a script report by our trainee Edward Smith, based on a reading of the MOONLIGHT script: CLICK HERE to read the script online from Simply Scripts.
This example report was completed by Edward Smith as part of his internship with us, which has recently been successfully completed.
To see the full industry-standard format we use for Studio Coverage, either commission your own (CLICK HERE) based on the script you submit, or purchase The Confidential Studio Manual to get the inside track on how the industry will really assess and process your script (CLICK HERE)!
WRITEMOVIES STORY DEPARTMENT COVERAGE
TITLE: MOONLIGHT LOCALE: Miami, Atlanta
AUTHOR: Barry Jenkins SETTING: Urban U.S.
PERIOD: Present FORM: SP
PRODUCER: N/A BUDGET: Low
SYNOPSIS
This screenplay is divided into three chapters, each focusing on a different stage of the protagonist’s life and titled after the name he is currently using; in the first part, aged twelve, he goes by the name LITTLE. Chased by a gang of bullies, he takes refuge in an abandoned crackhouse, where he is found by the drug dealer, JUAN. Little spends the night with Juan and his girlfriend, TERESA, and starts to become close to them because his own mother, PAULA, is neglectful of him.
When Juan discovers Paula doing drugs, they argue about raising Little, with Paula implying that he is gay. That night, having been confronted by Paula, Little goes to speak to Juan, asking him what the word “faggot” means and whether he is himself gay. Juan reassures him, but is then forced to admit, to his shame, that he is a drug dealer and that he has sold Paula drugs.
In the second chapter, the protagonist, now sixteen-years-old, goes by his real name, CHIRON. In the intervening years, Juan has died and Paula has become even more abusive, but Chiron still regularly visits Teresa. He is now struggling with his attraction to his friend, KEVIN, while also still coping with bullies – particularly his classmate, TERRELL…
COMMENTS:
This screenplay is beautifully written, the central theme elegantly expressed in an almost poetic style. It deals with an oft-overlooked issue, studying what it is like to be a gay black man, charting the struggles the protagonist faces in establishing his own identity in a culture that is hostile to his sexuality; this is dealt with both delicately and realistically thanks to the high quality of the writing…
By portraying three distinct stages of Chiron’s life, we are able to see the intricacies of his situation and better understand how he develops as a character. He is forced to change because of the physical and emotional abuse he suffers, with very few nurturing figures to help him. From being a gentle, vulnerable child, he violently lashes out against his bullies and eventually reinvents himself as a drug dealer to hide who he truly is. In the end, he is only able to come to terms with his sexuality because of Kevin’s influence, bringing him full circle back to his true self after all the challenges he has faced.
Each chapter also has its own, miniature three act structure. For example, the first chapter has an inciting incident when Little meets Juan; the first act sees them become attached to one another, the second develops their relationship, and the third deals with the conversation between them when Little asks about being gay. Similarly, the other two chapters also have a three act structure, allowing each one to stand on its own as an independent story – albeit strengthened and given context by the others.
To see the full industry-standard format we use for Studio Coverage, either commission your own (CLICK HERE) based on the script you submit, or purchase The Confidential Studio Manual to get the inside track on how the industry will really assess and process your script (CLICK HERE)!
Sally Hawkins, “The Shape of Water”
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