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Oscars 2022: Original Screenplay and Adapted Screenplay

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    kaziz
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    #1204487752

    Original Screenplay

    Licorice Pizza
    Belfast
    Don’t Look Up
    Spencer
    C’mon C’mon

    Possibilities:

    The French Dispatch
    King Richard
    A Hero

    Adapted Screenplay

    The Power of the Dog
    Nightmare Alley
    The Humans
    The Lost Daughter
    Passing

    Possibilities:

    Dune

    These are EXACTLY my predix, except I think a foreign film can possibly kick something out in Original: The Worst Person in the World, Parallel Mothers, Titane, Petite Maman, The Hand of God — I think their best shots are with the writing branch (outside Best International Feature). It’s also the only place something like Titane can maybe show up, the writing branch has generally been more open to “weird” stuff than the other branches.

    FYC:
    Picture: The Power of the Dog, Passing, The Lost Daughter
    Director: Jane Campion, Rebecca Hall
    Actor: Benedict Cumberbatch
    Actress: Tessa Thompson, Olivia Colman
    Supporting Actress: Kirsten Dunst, Ruth Negga, Dakota Johnson, Jessie Buckley
    Supporting Actor: Kodi Smit-McPhee, Jesse Plemons

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    FreemanGriffin
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    #1204487801

    These are EXACTLY my predix, except I think a foreign film can possibly kick something out in Original: The Worst Person in the World, Parallel Mothers, Titane, Petite Maman, The Hand of God — I think their best shots are with the writing branch (outside Best International Feature). It’s also the only place something like Titane can maybe show up, the writing branch has generally been more open to “weird” stuff than the other branches.

    In recent years the Director’s branch has also been open to foreign language films taking a slot and even two when Cold War and Parasite were both nominated.

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    Stefania
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    #1204487920

    These are EXACTLY my predix, except I think a foreign film can possibly kick something out in Original: The Worst Person in the World, Parallel Mothers, Titane, Petite Maman, The Hand of God — I think their best shots are with the writing branch (outside Best International Feature). It’s also the only place something like Titane can maybe show up, the writing branch has generally been more open to “weird” stuff than the other branches.

    The Academy has recognized writing not in the English language in the last few years only when the movie was a strong BP contender (“Minari”, Roma”, “Parasite”, “Amour”), but this year I don’t see that international movie that’s strong enough to make it into BP (the closest is “Parallel Mothers” in my opinion). If one of the movies you mentioned gathers steam from now on, then yes.

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    DaKardii
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    #1204498212

    OCTOBER PREDICTIONS

    Original

    Licorice Pizza
    Belfast
    Don’t Look Up
    Mass
    King Richard

     

    Adapted

    The Power of the Dog
    CODA
    The Tragedy of Macbeth
    Nightmare Alley
    House of Gucci

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    Melvinezq
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    #1204498319

    CODA, but not The Lost Daughter or Passing

    Goddamn.

    "The Lost Daughter" in every eligible category - Film
    "Succession" Season 3 in every eligible category - TV
    "Heaux Tales" by Jasmine Sullivan in every eligible category - Music

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    Rachel615
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    #1204502909

    I see that several people are picking Spencer for a nomination. My sense is that for screenwriting, especially for Original Screenwriting, if there are multiple worthy candidates, voters tend to favor for nominations Director-auteurs, which is one of the reasons why I suspect that Steven Knight is unlikely to be nominated for Spencer.

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    Rachel615
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    #1204502920

    I’m not firmly convinced it exists, but pundits and GD posters often refer to a bias against actors in the Best Director category. Do people think there is a similar bias against actors in the screenwriting categories? I don’t think there is but I’m wondering what others think. Maybe the writing branch isn’t as insular as the directing branch.

    Also I recently noticed that Donnie Darko is available to watch for free on You Tube so I just rewatched it, and I was struck that Maggie Gyllenhaal has been involved in making interesting, unusual, and sometimes divisive movies for over 20 years. I had listened to the Q and A of her at the NYFF and thought it interesting to hear her say that when adapting Elena Ferrante’s novel, The Lost Daughter, she approached the book the same way she would approach a script as an actor— wondering why is this scene included and what does it tell me about the work as a whole? For example, is the scene a seduction? An apology? It wouldn’t have occurred to me that adapting a novel into a screenplay had almost anything in common with preparing for an acting role.

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    kaziz
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    #1204502922

    I’m not firmly convinced it exists, but pundits and GD posters often refer to a bias against actors in the Best Director category. Do people think there is a similar bias against actors in the screenwriting categories? I don’t think there is but I’m wondering what others think. Maybe the writing branch isn’t as insular as the directing branch.

    I don’t think so—but that’s probably because the Director’s branch is…well, it’s such a rarefied group of people who have the most power over the films they’re making. Screenwriters almost never have that (unless they’re the directors too, or they’re huge screenwriters!) There’s just SO MANY good screenwriters out there, and there’s a general hunger for good scripts coming from literally everywhere. It’s not surprising to see a debut screenwriter, and they don’t get enough credit through the process of filmmaking anyway! I think this is why we’ve seen female screenwriters, some of whom are actors and filmmakers, get nominated (and win) much more than Directors. It’s just always an eclectic bunch! Like: Matt Damon & Ben Affleck broke through into Hollywood with a script! It’s common enough.

    FYC:
    Picture: The Power of the Dog, Passing, The Lost Daughter
    Director: Jane Campion, Rebecca Hall
    Actor: Benedict Cumberbatch
    Actress: Tessa Thompson, Olivia Colman
    Supporting Actress: Kirsten Dunst, Ruth Negga, Dakota Johnson, Jessie Buckley
    Supporting Actor: Kodi Smit-McPhee, Jesse Plemons

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    Stefania
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    #1204502937

    I see that several people are picking Spencer for a nomination. My sense is that for screenwriting, especially for Original Screenwriting, if there are multiple worthy candidates, voters tend to favor for nominations Director-auteurs, which is one of the reasons why I suspect that Steven Knight is unlikely to be nominated for Spencer.

    I changed my Original Screenplay predictions yesterday. I took out “Spencer” and added “Parallel Mothers”, but I’m not at all convinced. So now my line-up’s “Belfast”, “Licorice Pizza”, “Don’t Look Up”, “C’mon C’mon” and “Parallel Mothers”. I would be more confident if “Parallel Mothers” was a more viable contender for BP.

    I don’t think “Mass” or “King Richard” will make it in. I see “The French Dispatch” more likely than those two, even though I would like to see more reviews of “King Richard” before saying anything. It’s incredible how that movie has been seen in Telluride only and we’re supposed to evaluate it with that. What was WB thinking? We’re not actually seeing it until December…

    Edit: so Spain did not submit “Parallel Mothers” for International Feature. Good timing on my part! Anyway, do you think that this will hinder the possibilities of “Parallel Mothers” to get a screenplay nomination (or other nominations for that matter?). I entered in a conversation on the International Feature thread about “Portrait of a Lady on Fire” where I’ve been attacked by detractors of that movie for thinking that if France had submitted it it would have had more chances at other nominations because of more visibility. I mean, I know it’s Almodóvar and it has got in before without having been submitted, but surely it does help to understand the tastes of the Academy.

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    Stefania
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    #1204509603

    From Variety an article by Clayton Davis who reeeeeeally liked “Parallel Mothers”. He has things to say about the screenplay. I don’t even understand if it’s good or bad, but it’s material to think about. If somebody has already seen the film at NYFF or elsewhere feel free to comment:

    In classic Almodóvar fashion, the movie, produced by Agustín Almodóvar and Esther García, is structured as a telenovela (or Spanish soap opera), presenting exciting characters of moral ambiguity and complexity, infused with comedic beats to offer balance. At this juncture in his career, critics and voters are either on board with that construction, or they’re not. Nevertheless, members of the writer’s branch may find themselves enamored with it again, landing him in contention for original screenplay. However, the script does feel overcooked, sprinkling in narrative beats and actions that don’t seem necessary, all culminating in a finale that has the power to move viewers but may feel like a curveball.

    Soooo, is this good or bad script? 😂

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    JV
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    #1204522326

    Original Screenplay

    Locked: Belfast

    Don’t Look Up as well if the film is a contender. Heavy dialogue parody movie and Adam McKay is a writers darling

    On the verge:
    Licorice Pizza: If the movie is a BP contender then it will get nominated. I can’t imagine this missing in a barren category like this.

    Spencer and King Richard: It will depend on how big of a contender these movies are. Spencer stands a better chance just because it is a more innovative film in its storytelling.

    Mass, C’mon C’mon and The French Dispatch could be contenders for the “lone screenplay nom”. I think Mass a better chance here than in acting.

    And there’s the foreign movies: A Hero, Parallel Mothers, Flee, The Worst Person in the World and Titane. Farhadi and Almodovar are former nominees in this category. Titane would be The Losbter and The Worst Person in the World is a movie about human emotions, which they love.

    I think there’s a big chance we have one lone nominee and one foreign movie + Belfast, Don’t Look Up and Licorice Pizza.

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    Stefania
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    #1204522527

    My lineup right now is the following:

    Belfast
    Don’t Look Up
    Licorice Pizza
    C’mon C’mon
    The French Dispatch

    I just took “Parallel Mothers” out and put “The French Dispatch” in. Mmmmmh, maybe it’s “C’mon C’mon” that’s getting snubbed in favor of a foreign movie, who knows? Last year I was too optimistic and I thought “Never Rarely Sometimes Always” could have a shot at an Original Screenplay nomination.

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    Magnus
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    #1204522562

    Original Screenplay:
    1. Belfast
    2. Licorice Pizza
    3. Don’t Look Up
    4. C’mon C’mon
    5. King Richard

    Adapted Screenplay:
    1. The Power of the Dog
    2. House of Gucci
    3. Nightmare Alley
    4. The Lost Daughter
    5. Dune

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    FreemanGriffin
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    #1204523016

    Mass better get an Original screenplay nomination! The two best aspects of the movie are the ensemble acting foursome and the superb screenplay.

    btw, Flee isn’t in the predictions center but I think it will get a screenplay nomination.

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    Rachel615
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    #1204523022

    Mass better get an Original screenplay nomination! The two best aspects of the movie are the ensemble acting foursome and the superb screenplay.

    btw, Flee isn’t in the predictions center but I think it will get a screenplay nomination.

    Flee IS in the predictions center for Best Picture. It’s an animated documentary and I’m not absolutely sure, but I don’t think documentaries are eligible for screenplay Oscars.

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