The 74th Writers Guild of America Awards took place Sunday, one of the last guild stops of Oscar season (the American Society of Cinematographers Awards were the same night). Did they provide clarity on two of the closest Oscar contests, Best Original Screenplay and Best Adapted Screenplay?
The thing about the WGA Awards, of course, is that the guild’s rigid rules stipulate that only members can compete, rendering numerous Oscar contenders ineligible every year. And there were quite a few this go-round. Ineligible original scripts include “Annette,” “Belfast,” “A Hero,” “Mass,” “Parallel Mothers,” “Pig” and “The Worst Person in the World.” Adapted screenplays forced to sit out include “Cyrano,” “Drive My Car,” “The Lost Daughter,” “Passing” and “The Power of the Dog.”
In original, the WGA nominated “Being the Ricardos” (Aaron Sorkin), “Don’t Look Up” (Adam McKay & David Sirota), “The French Dispatch” (Wes Anderson & Roman Coppola & Hugo Guinness & Jason Schwartzman...
The thing about the WGA Awards, of course, is that the guild’s rigid rules stipulate that only members can compete, rendering numerous Oscar contenders ineligible every year. And there were quite a few this go-round. Ineligible original scripts include “Annette,” “Belfast,” “A Hero,” “Mass,” “Parallel Mothers,” “Pig” and “The Worst Person in the World.” Adapted screenplays forced to sit out include “Cyrano,” “Drive My Car,” “The Lost Daughter,” “Passing” and “The Power of the Dog.”
In original, the WGA nominated “Being the Ricardos” (Aaron Sorkin), “Don’t Look Up” (Adam McKay & David Sirota), “The French Dispatch” (Wes Anderson & Roman Coppola & Hugo Guinness & Jason Schwartzman...
- 3/20/2022
- by Joyce Eng
- Gold Derby
Remember when National Geographic’s “Free Solo” won the Academy Award for documentary in 2018 and then went on to win six Emmys, including directing for a documentary/nonfiction program? Or when ESPN’s “O.J.: Made in America” did the same thing in 2016?
The loophole that allowed docs to somehow compete in both Oscars and Emmys was always a bit bizarre. It couldn’t happen in scripted, where the rules have been ironclad: If you were released theatrically first, you’re a movie; if you’re on television, you’re, well, TV.
In documentary, though, it’s often TV outlets such as HBO, PBS or Nat Geo commissioning and funding the projects to air on their networks — making them, arguably, TV projects. But if they’re screened in theaters, the Oscars can claim them too. “Why a television documentary is eligible for AMPAS’ feature awards is a question for AMPAS,” the...
The loophole that allowed docs to somehow compete in both Oscars and Emmys was always a bit bizarre. It couldn’t happen in scripted, where the rules have been ironclad: If you were released theatrically first, you’re a movie; if you’re on television, you’re, well, TV.
In documentary, though, it’s often TV outlets such as HBO, PBS or Nat Geo commissioning and funding the projects to air on their networks — making them, arguably, TV projects. But if they’re screened in theaters, the Oscars can claim them too. “Why a television documentary is eligible for AMPAS’ feature awards is a question for AMPAS,” the...
- 6/17/2021
- by Michael Schneider
- Variety Film + TV
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