The BAFTAS 2011 List of Nominations is out.
The King's Speech has a whopping fourteen including Best Original Screenplay, Best Film, Best Director, Best Actor and Best Editing.
The Coens' True Grit got zero nominations at the Golden Globes, but they're on the BAFTA list for eight including Best Film, Best Adapted Screenplay, Best Cinematographer (the Coens' regular, Roger Deakins, Best Actor (Jeff Bridges) and Best Actress (Hailee Steinfeld)
I always find it interesting to compare the current nominees of screen awards with the winners of the previous years.
You can compare this year's BAFTA nominations with the winners from 2010 and 2009
here. Click on BAFTAS on the left hand menu:
http://www.unique-screenwriting.com
What do think of the Screenplay Nominees?
Best original screenplay
Black Swan - Mark Heyman, Andres Heinz, John McLaughlin
The Fighter - Scott Silver, Paul Tamasy, Eric Johnson
Inception - Christopher Nolan
The Kids are All Right - Lisa Cholodenko, Stuart Blumberg
The King's Speech - David Seidler
Best adapted screenplay
127 Hours - Danny Boyle, Simon Beaufoy
The Girl with the Dragon Tattoo - Rasmus Heisterberg, Nikolaj Arcel
The Social Network - Aaron Sorkin
Toy Story 3 - Michael Arndt
True Grit - Joel Coen, Ethan Coen
Showing posts with label coens. Show all posts
Showing posts with label coens. Show all posts
Wednesday, 19 January 2011
Sunday, 16 January 2011
How the Coen Brothers Write Their Scripts
In an interview on the WGA site, Ethan and Joel Coen are uncharacteristically fulsome in their answers about their latest filmTrue Grit and offer some fascinating insights into how they write their scripts.
If anyone has to be convinced of my repeated plea for screenwriters to stop worrying about the '3-Act structure' or building a ready-made template for their story, the Coens have done a very persuasive job for me.
They don't set out with a clear outline and then squeeze everything in. Joel says:
'It’s much more the case that there’s a discussion about what comes next extending a certain way into the script that often gets batted about verbally and then just gets written as opposed to writing it all down with one subset of A, B, C, D, and E, you know? It’s like, "Okay, this will happen, and it will lead to this, and then we don’t know what."'
Ethan agreed: 'That’s true. It’s kinda mushy. We don’t do an outline in terms of mapping out the whole thing but then, on the other hand, we don’t exactly write scene A and then stop and say, "Ok, what’s scene B?"
Joel: Yeah, it might be, "Ok, this will happen and lead to this and this and then we get here, and we’ll figure it out." If we’re writing scene B, we have some clear idea of what scene C might be and a slightly fuzzier idea of what D might be and a vague idea of what the ramifications of that might be – or maybe not. It just kind of falls off into darkness.'
True inspiration for all screenwriters!
Read the full interview with the Coens by Dylan Callaghan at http://www.wga.org/
If anyone has to be convinced of my repeated plea for screenwriters to stop worrying about the '3-Act structure' or building a ready-made template for their story, the Coens have done a very persuasive job for me.
They don't set out with a clear outline and then squeeze everything in. Joel says:
'It’s much more the case that there’s a discussion about what comes next extending a certain way into the script that often gets batted about verbally and then just gets written as opposed to writing it all down with one subset of A, B, C, D, and E, you know? It’s like, "Okay, this will happen, and it will lead to this, and then we don’t know what."'
Ethan agreed: 'That’s true. It’s kinda mushy. We don’t do an outline in terms of mapping out the whole thing but then, on the other hand, we don’t exactly write scene A and then stop and say, "Ok, what’s scene B?"
Joel: Yeah, it might be, "Ok, this will happen and lead to this and this and then we get here, and we’ll figure it out." If we’re writing scene B, we have some clear idea of what scene C might be and a slightly fuzzier idea of what D might be and a vague idea of what the ramifications of that might be – or maybe not. It just kind of falls off into darkness.'
True inspiration for all screenwriters!
Read the full interview with the Coens by Dylan Callaghan at http://www.wga.org/
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