The WGA Awards were handed out tonight.
Original Screenplay went to Parasite, while Adapted Screenplay went to Jojo Rabbit.
Parasite was guaranteed to win here, since Quentin was ineligible. Adapted was pretty much a tossup between Little Women and Jojo. So no big surprises. In both cases, I wanna see what BAFTA does tomorrow, but at least now we did solidify the 50/50 state of both races. Tomorrow’s gonna tell us which one we should see as the slight frontrunner in both categories.
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Okay, WGA nominations are out. This will help with the Screenplay categories.
Though I should mention – a lot of stuff isn’t eligible here, so when you don’t see certain films on the list, it’s not because they didn’t vote for them. It’s because the scripts are ineligible, most likely because the writer isn’t a member of the guild. Quentin is famously not in the guild, so he’s won like two Screenplay awards without ever being nominated at the guild.
Here’s a quick list of stuff that was ineligible here: Once Upon a Time in Hollywood, Pain and Glory, The Farewell, The Peanut Butter Falcon, The Last Black Man in San Francisco, Waves, Midsommar, Judy, Downton Abbey, Toy Story 4.
Also note that both The Two Popes and Hustlers were deemed Original by the WGA and are competing for Adapted at the Oscars. Though looking at these lists we’re about to see… maybe that’s not the right call.
Here are your WGA nominees for 2019: (more…)
The WGA Awards were handed out tonight.
Eighth Grade won for Original Screenplay and Can You Ever Forgive Me? won for Adapted Screenplay.
Both of those are surprising results. Eighth Grade isn’t even nominated for the Oscar, so that’s part of that one. The other part — The Favourite wasn’t eligible for WGA. And the Original Screenplay category was long considered The Favourite vs. Green Book. So now you have a situation where Green Book was in the guild without having to face The Favourite, and it still lost. That’s fascinating. And since Roma didn’t win, that means that doesn’t get a boost into “could win” territory. So now we’re back to The Favourite vs. Green Book. You can’t call it just yet because if Green Book is gonna win Best Picture, it almost certainly is gonna take Screenplay too. But man, does this make you look even more sideways at Green Book’s chances here.
And then for Adapted — Can You Ever Forgive Me? opens up the Adapted race to three films instead of two. I thought it would be either Beale Street or BlacKkKlansman, which split BFCA and BAFTA. I figured this would be the tiebreaker. Now we just have another hat in the ring. Though what’s even more interesting about the whole affair — all three of them lost the USC Scripter to Leave No Trace, which isn’t nominated for the Oscar. So now we have three scripts which won one precursor each, and no real idea how the Academy’s gonna vote for the category.
Oh well. That’s the fun of Oscar season, I guess. MPSE is announcing tonight, so those results will go up when I have them. CDG announces Tuesday and then that’ll be it for the precursors. Then I’ve got four category breakdowns left — both Screenplay categories, Sound Editing, which will go up tomorrow, and Best Picture, which will go up last. Then Friday come the Five Word Film Reviews (which are DONE already! Most years I’m rushing to write up like 300 reviews in less than a week. I did that shit already!). Saturday we do our usual Favorite Moments in the Best Picture nominees and prepare ourselves for Sunday. P.S. I’m already 43,000 words into my giant Oscar article. I’m on top of this shit this year. I am ready.
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Okay, our final shortlist for today — the Writers Guild.
These nominations always have to be taken with a grain of salt just because there are always ineligible scripts each year. I think because people aren’t actually guild members. The ones that I know for sure that weren’t eligible this year were: The Favourite, Hereditary, Sorry to Bother You, Death of Stalin, Incredibles 2, The Sisters Brothers and Leave No Trace.
Most of those really stood no shot at the final list, but The Favourite almost certainly will, so it not being nominated here means nothing for its ultimate chances in the end.
That said, here are your WGA nominees for 2018: (more…)
The WGA Awards were handed out tonight.
The winners were Get Out for Original Screenplay and Call Me By Your Name for Adapted Screenplay. The latter was not surprising in the least, and the former is only interesting because it beat Lady Bird. Three Billboards, the presumptive favorite to win the Oscar (at least, until it loses BAFTA next week), was ineligible here. So really it was gonna come down to which won, Get Out or Lady Bird. So here we are.
Crazy to me that The Shape of Water is nowhere in this Screenplay conversation, despite being the presumptive favorite for Best Picture. Then again, if Three Billboards really is the movie that’s gonna win the whole thing, it winning Screenplay makes more sense. But if it is The Shape of Water, you do realize that the Best Picture winner does win Screenplay like 2/3 of the time, right? It’s crazy that it doesn’t even feel like a contender at this point.
Anyway, more categories tomorrow. (And by the way, I’m also 17,000 words into my Oscar picks article, due to go up in about three weeks. Haven’t even started making choices yet. the 17,000 words is just set up. So get ready for that, eventually.)
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The new year is up and running, and we’ve got some guild nominations to get through.
We begin with the WGA, which is generally helpful in figuring out the Screenplay categories, outside of the fact that invariably a handful of scripts are not eligible for the WGA, which will throw a giant monkey wrench into everyone’s calculations. I know for a fact that Three Billboards and Darkest Hour are not eligible. Though I believe those are the only ones.
This is also a year where it feels like Original Screenplay is way stronger than Adapted Screenplay, which will undoubtedly lead to some ‘snubs’ there at some point during the race.
Let’s see what the WGA has given us this year: (more…)
The WGA Awards were announced tonight. A few guilds announced tonight. But they got done first, so they get first dibs.
Moonlight won for Original Screenplay. Arrival won for Adapted Screenplay.
Which basically dominoes that one. Moonlight is nominated Adapted at the Oscars. So that’s a wrap, and now we don’t need to concern ourselves with whether or not Arrival is gonna win.
And all that leaves is Original Screenplay, which is plain old guesswork. And a 50/50 choice, so it’s not too bad.
Though what this does tell me is — for those who want to make the case that Moonlight is a legitimate upset choice for Best Picture, this goes a long way to helping make that argument.
I’d also highly recommend checking out the video of the speeches that were made. Particularly Aaron Sorkin, Oliver Stone and Richard Curtis.
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The Writer’s Guild announced their nominations.
Generally you can only really believe about 60% of what you see with them, just because every year a bunch of scripts go in different categories (two years ago, Whiplash was nominated in Original at WGA and was pushed Adapted for the Oscars), or are just straight up ineligible at the WGA for various reasons. So you can only go so far in believing the WGA nominations in terms of translating into Oscar nominations.
That said, let’s take a look at what they nominated this year: (more…)
Oh yeah, the WGA Awards were announced last night.
I realized I never wrote it up as I checked to see if ASC announced yet (which they will soon).
The Big Short won for Adapted and Spotlight won for Original.
Your screenplay categories are locked. No need to stretch this article out any more than it needs to be.
The Writers Guild announced their nominees this year.
I don’t put a whole lot of stock into them, just because of their eligibility issues (if you’re not a member, you won’t get nominated. Which is why Quentin is never nominated and wasn’t nominated for Django, despite winning the Oscar), but they are generally helpful for seeing what the major contenders are (and what scripts people will think have a chance to be nominated, even if they don’t).
Here are the nominees: (more…)
The WGA Awards were held tonight.
Taking the Adapted Screenplay award was The Imitation Game.
And taking the Original Screenplay award was The Grand Budapest Hotel.
The Adapted Screenplay win cements Imitation Game as the frontrunner I assumed it would be. Theory of Everything won the BAFTA, but Imitation Game now has this and the USC Scripter award, which I don’t put much stock into, but people see it as an important one. At this point, with no solid wins outside of the one BAFTA award, I can’t see anything else taking this down next Sunday outside of possibly Whiplash, which has found itself in the Adapted category, having not been there and competed against Imitation Game at all this season.
And the win for Grand Budapest now cements that as your likely frontrunner for the Original Screenplay Oscar ahead of Birdman, even though that one feels like a much tighter race overall. That one feels like it could go either way, even though at this point, more support feels like it’s been shown for Budapest in this category. Not to mention, the likely Director win for Inarritu might make people more likely to shy away from him in the Screenplay category, and this could be considered the consolation prize for Wes Anderson, who will not be winning Best Picture or Best Director, in all likelihood. Though Birdman was ineligible here, so the Budapest win was more of a foregone conclusion.
So those are the WGA Awards. The CAS Awards are also tonight, so I’ll be back with the winner of that and likely presumed favorite for the Sound Mixing oscar.
The Writers Guild announced their nominations today. It’s a big day for guilds. Three of them. We’ll start here.
We can’t ever put a whole lot of stock in the WGA, just because of their crazy rules of eligibility and what is or isn’t able to be on there. Pretty sure, of the last four Screenplay winners (being the last two years), two of them did not get nominated at the WGA (Django and 12 Years a Slave. I know 12 Years for sure. Django, I think, was also not eligible.) So you can’t treat their nominees as scripture to the extent that you can with the DGA nominations. (And even then, sometimes they’re not always 5/5.)
But before we get into all that, let’s see who they nominated. Here are the nominees for the 2014 WGA Awards: (more…)
And finally, the WGA Awards were announced last night, and they’re pretty much the most meaningless of the three sets of awards that were given out. Mostly because so many films are deemed ineligible that it really doesn’t help guess the Oscar race at all. Last year, Django Unchaiend won Original Screenplay and wasn’t even nominated for the WGA. This year, 12 Years a Slave was ineligible. So how can you consider it meaningful?
That said, here are the winners: Her won for Original Screenplay, marking it a solid favorite for the Oscar (though I’m still not convinced American Hustle won’t somehow take it on the night), and Captain Phillips won for Adapted Screenplay, given 12 Years a Slave‘s ineligibility. The rest of it I don’t care about, so, those are your winners.
And all that told us was that Her will be getting a lot of support, and hopefully that support will be enough to overcome the people who will blindly be voting for American Hustle across the board. But at least we have it narrowed down to two, right?
The WGA Awards were announced tonight.
Argo won for Adapted Screenplay. It pretty much has that in the bag. Especially considering 4/5 of that category is the Oscar category
Zero Dark Thirty won for Original Screenplay. This means a little less, since the presumed frontrunners for the Oscar, Django and Amour weren’t nominated/ineligible. So that was a pretty expected outcome. I still say this is no more than an upset winner at the Oscars.
And Searching for Sugar Man won for Documentary. That pretty much has it in the bag.
That’s it. Quick update. Basically set more things in stone. Looking like Argo has at least three Oscars in the bag at this point.
The WGA nominations have been announced.
This is one of those things where if feels like a bigger deal than it is. Since with the WGA, they deem so much shit ineligible that the categories almost never match up with the Oscars. But we go through the motions anyway.
The nominees for Original Screenplay are:
Zero Dark Thirty
Which is cool. I expect these plus Django to be the majority of the list. Maybe Arbitrage. (more…)
Tonight, two major awards were given out, the first being the WGA Awards. I’ll do those quickly, since they were the least surprising and interesting of the two.
The Descendants won Best Adapted Screenplay, pretty much cementing that as the probable Oscar winner (over Moneyball, which hasn’t really made enough of a push to seem poised for an upset), and Midnight in Paris won for Original Screenplay, which was a given, since The Artist was ineligible. That’s always been the favorite for the Oscar alongside (and probably ahead of) The Artist. So no surprises there.
The other awards given out today were the Motion Picture Sound Editors Awards. There were lots of categories there, so I’ll do my best to make it brief and sum it up as best I can. Cutting out all the awards not relevant to the Best Sound Editing category at the Oscars (The Muppets winning Best Music in a Musical Film and Tintin winning for Animated): Hugo won Best Sound Editing: Music in a Feature Film. War Horse won Best Sound Editing: Sound Effects and Foley in a Feature Film. And Super 8 won Best Sound Editing: Dialogue and ADR in a Feature Film. What this means and a more thorough (barely) breakdown of these awards after the jump. (more…)