Oscars ‘08: Best Screenplays

Published by Jeff Leins on February 13, 2008

Today is the first day the writers are back to work. It’s a great day for everyone, except for reality writers whose every thought was created into a hit show. I thought I would commemorate this special occasion by doing what writers do best: eating pizza at the computer.

Then, while I’m chowing on some hand tossed, I’d break down the best screenplays of the year as recognized by the professionals.

When the WGA Nominations came out, the Gold Derby pointed out they weren’t in any particular order. They suggested that the “random” order was how many votes they received with the front runners at the top of the list. Then I came along, read that, and said, “Hey, I think they’re right.” Turns out we were right. You know, because we’re a team.

The winner of the WGA Award for “Best Original Screenplay” went to Diablo Cody for Juno and “Best Adapted Screenplay” went to the Coen brothers for No Country for Old Men.

Here are the Academy’s nominees:

WRITING (ORIGINAL SCREENPLAY)
Juno
Lars and the Real Girl
Michael Clayton
Ratatouille
The Savages

Obvious Omissions: The only difference between the Academy and the WGA was Ratatouille over Knocked Up. I happen to agree Ratatouille was a better original script, while Knocked Up is a lot of improvised brilliance.

On that note, Ratatouille and animated movies in general finally get some respect outside of their own category.

Lars and the Real Girl is a good movie, but the script isn’t exactly phenomenal. The premise is original (a guy and a blow up doll), but it was the execution that made the movie special.

The only film I haven’t had a chance to see in the Oscar list is The Savages. I’ve heard good things about the quirky script, but I just haven’t found a theater playing it nearby. I look forward to seeing it, but based on the buzz it won’t matter for this category.

Juno clearly has the momentum. Diablo Cody’s constant media attention is too much for anyone to ignore. She’s the only pure writer I’ve ever seen on Letterman. There’s a reason Juno is getting so much attention in the media and at the box office. It’s because her script is something special.

If you look beyond the hip lingo, the story itself boasts a slew of well-rounded characters, funny and touching dialogue, and even scattered social commentary. It’s my pick and will be the Academy’s choice in a week and a half.

WRITING (ADAPTED SCREENPLAY)
Atonement
Away from Her
The Diving Bell and the Butterfly
No Country for Old Men
There Will Be Blood

Obvious Omissions: Into the Wild and Zodiac. It’s a shame neither of these received more attention, especially Into the Wild.

Each of these adaptations resulted in a great film. But, in my opinion, Atonement was great because of Joe Wright’s direction. The script, in my opinion, was the only thing holding the film back.

Away from Her and Diving Bell were elevated by outstanding performances.

Which leaves us with the two most nominated movies of the year. No Country for Old Men and There Will Be Blood.

I’ve read the book No Country for Old Men by Cormac McCarthy and the movie is a perfect adaptation. It captures not just the basic plot, but is daring enough to shift protagonists halfway through. It then grabs the feel of the environment and the raw, cold-blooded character of Anton Chigurh. No Country should pick this one up on its way to Best Picture.

The only thing going against the Coens at this point is that they’ve won the screenplay Oscar before. If it goes to anyone else, it will be to recognize the rising talent of Paul Thomas Anderson.

Oscar Nominations
Best Song and Score
Best Visual Effects, Make-Up, and Costume Design
Best Animated Film
Best Direction/Cinematography
Best Supporting Actor/Actress
Best Actor/Actress
Best Picture