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MBA Pattern of Demands 2011
Voting Deadline January 24.
Winner of Silverdoc’s WGA Screenplay Award Gets National Praise
A Film Unfinished, a documentary by Yael Hersonski examining the production of a notorious Nazi propaganda film falsely depicting Jewish life in the Ghetto is gaining wider release and considerable praise. Praise for the film demonstrates that winners of Silverdocs’ WGA Documentary Screenplay Awardare films to watch out for. New York Magazine considers the film’s importance.
WGAE talks with FCC Chair about film, piracy and the future of journalism
Michael Winship led a Q&A with Chairman Julius Genachowski at the Silverdocs Festival. The Chairman said “The most important thing we can do with this new medium … is to make sure … the Internet is open for content creators…" Read more here.
Writers Guild Members Win Oscars & Independent Spirit Awards
Congratulations to Geoffrey Fletcher for winning the Best Adapted Screenplay Oscar for Precious: Based on the Novel ‘Push’ by Sapphire. Fletcher also won Best First Screenplay from the Independent Spirit Awards. Mark Boal won the Best Original Screenplay Oscar for The Hurt Locker. Scott Neustader and Michael H. Weber took home Best Screenplay for (500) Days of Summer in the Independent Spirit Awards.
These wins were predicted by the Writers Guild Awards in February. There The Hurt Locker won for Best Original Screenplay. Both Precious: Based on the Novel ‘Push’ by Sapphire and (500) Days of Summer were nominees in their categories.
2010 WRITERS GUILD FILM AWARDS NOMINEES ANNOUNCED
New York and Los Angeles – The Writers Guild of America, East (WGAE) and the Writers Guild of America, West (WGAW) have announced nominations for outstanding achievement in writing for the screen, television, radio, news, promotional writing, and graphic animation during the past year. Winners will be honored at the 2010 Writers Guild Awards held on Saturday, February 20, 2010, at simultaneous ceremonies in New York and Los Angeles.
The nominees are:
(500) Days of Summer, Written by Scott Neustadter & Michael H. Weber; Fox Searchlight
Avatar, Written by James Cameron; 20th Century Fox
The Hangover, Written by Jon Lucas & Scott Moore; Warner Bros.
The Hurt Locker, Written by Mark Boal; Summit Entertainment
A Serious Man, Written by Joel Coen & Ethan Coen; Focus Features
Crazy Heart, Screenplay by Scott Cooper; Based on the novel by Thomas Cobb; Fox Searchlight
Julie & Julia, Screenplay by Nora Ephron; Based on the books Julie & Julia by Julie Powell and My Life in France by Julia Child with Alex Prud’homme; Sony Pictures
Precious: Based on the novel Push by Sapphire, Screenplay by Geoffrey Fletcher; Based on the novel Push by Sapphire; Lionsgate
Star Trek, Written by Roberto Orci & Alex Kurtzman; Based upon Star Trek, Created by Gene Roddenberry; Paramount Pictures
Up in the Air, Screenplay by Jason Reitman and Sheldon Turner; Based upon the novel by Walter Kirn; Paramount Pictures
Against the Tide, Screenplay by Richard Trank, Based on original material written by Richard Trank & Rabbi Marvin Hier; Moriah Films
Capitalism: A Love Story, Written by Michael Moore; Overture Films
The Cove, Written by Mark Monroe; Lionsgate and Roadside Attractions
Earth Days, Written by Robert Stone; Zeitgeist Films
Good Hair, Written by Chris Rock & Jeff Stilson and Lance Crouther and Chuck Sklar; Roadside Attractions
Soundtrack for a Revolution, Written by Bill Guttentag & Dan Sturman; Freedom Song Productions and Louverture Films
Feature films eligible for a Writers Guild Award were exhibited theatrically for at least one week in Los Angeles in 2009 and were written under the WGA’s Minimum Basic Agreement (MBA) or under a bona fide collective bargaining agreement of the Australian Writers Guild, Writers Guild of Canada, Writers Guild of Great Britain, Irish Playwrights & Screenwriters Guild or the New Zealand Writers Guild.
Documentaries eligible for a Writers Guild Award featured an on-screen writing credit and were exhibited theatrically in New York or Los Angeles for one week in 2009. While credited documentary writers were required to join the WGAE’s Nonfiction Writers Caucus or WGAW Nonfiction Writers Caucus to be considered, scripts need not have been written under WGA jurisdiction to be considered.
The 2010 Writers Guild Awards will be held on Saturday, February 20, 2010, simultaneously at the Hudson Theatre at the Millennium Broadway Hotel in New York City and the Hyatt Regency Century Plaza Hotel in Los Angeles. For more information about the 2010 Writers Guild Awards submission process, guidelines, and official entry forms, please visit www.wgaeast.org or www.wga.org.
For media press inquiries about the 2010 Writers Guild Awards New York show, please contact Sherry Goldman in the WGAE Press Office at (718) 224-4133 or email: email@example.com; or visit online at: www.wgaeast.org. For media inquiries about the 2010 Writers Guild Awards Los Angeles show, please contact Gregg Mitchell in the WGAW Communications Department at: (323) 782-4574, email: firstname.lastname@example.org, or visit online at: www.wga.org
The Writers Guild of America, East (WGAE) and Writers Guild of America, West (WGAW) are labor unions representing writers in motion pictures, television, cable, new media, and broadcast news. The Guilds negotiate and administer contracts that protect the creative and economic rights of their members; conduct programs, seminars, and events on issues of interest to writers; and present writers’ views to various bodies of government. For more information on the Writers Guild of America, East, visit www.wgaeast.org. For more information on the Writers Guild of America, West, visit www.wga.org.
Budd Schulberg, ‘On The Waterfront’ Screenwriter, Dies at 95
In Remembrance of
“We note the passing of our colleague Budd Schulberg, a longtime member of the Writers Guild of America, East Council.
Budd will especially be remembered for four great contributions to American literature: the acerbic Hollywood novel “What Makes Sammy Run?,” his boxing world novel “ ,” the Academy Award-winning screenplay for “On the Waterfront” and his script for “A Face in the Crowd,” a remarkably prescient look at media, the cult of personality and their impact on American society and politics.
In candor, Budd also will be remembered for his role as a friendly witness before HUAC, the House Un-American Activities Committee during the era of the Hollywood blacklist. As Victor Navasky wrote in an afterword to his book, “Naming Names,” a comprehensive and perceptive chronicle of those times, “The fear conspired to divide and sometimes destroy decent people of good will who for years had been colleagues and compatriots. The wounds won’t heal. The issues are passed on from generation to generation.”
In the decades following that awful period, Budd endeavored to be a stalwart member of this union and to share his creative gifts with others, made manifest by his work with the Frederick Douglass Creative Arts Center in Harlem and the in Los Angeles.
Our condolences to his family and friends."
– Michael Winship, President, Writers Guild of America , East
Budd Schulberg, ‘On The Waterfront’ Screenwriter, Dies at 95
By Tim WeinerThe New York Times
Budd Schulberg, wrote the award-winning screenplay for “On The Waterfront” and created a classic American archetype of naked ambition, Sammy Glick, in his novel “What Makes Sammy Run?,” died on Wednesday. He was 95 and lived in the Brookside section of Westhampton Beach , N.Y.
His death was confirmed by his wife, Betsy.
Mr. Schulberg also wrote journalism, short stories, novels and biographies. He collaborated with F. Scott Fitzgerald, arrested the Nazi filmmaker Leni Riefenstahl and named names before a Communist-hunting Congressional committee. But he was best known for writing some of the most famous lines in the history of the movies.
Some were delivered by Marlon Brando playing the longshoreman Terry Malloy in the 1954 film “On the Waterfront.” Malloy had lost a shot at a prizefighting title by taking a fall for easy money.
“I coulda been a contender,” Malloy tells his brother, Charley (Rod Steiger). “I coulda been somebody. Instead of a bum, which is what I am.”
It was Adam’s fall in New York argot. Mr. Schulberg won the 1954 Oscar for best story and screenplay.
Mr. Schulberg wrote about the power of Hollywood moguls, mob bosses and political ideologues to run roughshod over ordinary people — longshoremen, boxers, even writers. It was the System against the little guy, a fixed fight in a world where “the love of a lousy buck” and a “cushy job” were “more important than the love of man,” in the words of Father Barry, the crusading priest in “On the Waterfront” played by Karl Malden, who died on July 1.
“It’s the writer’s responsibility to stand up against that power,” Mr. Schulberg said in an interview with The New York Times in 2006, videotaped for posthumous showing on its Web site. “The writers are really almost the only ones, except for very honest politicians, who can make any dent on that system. I tried to do that. And that’s affected me my whole life.”
The son of a movie mogul, Mr. Schulberg was twice ostracized by Hollywood and twice fought back with his typewriter. The first time came in 1941, with his first novel, “What Makes Sammy Run?,” a depiction of back-lot back stabbing. The story’s antihero, Sammy Glick, a product of the Lower East Side, is a young man on the make who will lie, cheat and steal to achieve success, rising from newspaper copy boy to Hollywood boss on the strength of his cutthroat ambition. “The spirit of Horatio Alger gone mad,” Mr. Schulberg said.
The book cut so close to the bone that Mr. Schulberg was warned that he would never work in the film industry again.
The second time Mr. Schulberg faced professional ruin was when he appeared before the House Un-American Activities Committee in 1951 during its relentless investigation of the Communist Party’s influence on the movie industry.
Mr. Schulberg had gone to the Soviet Union in 1934 and joined the Communist Party of the United States after he returned to Hollywood . “It didn’t take a genius to tell you that something was vitally wrong with the country,” he said in the 2006 interview, recalling his decision to join the party.
“The unemployment was all around us,” he said. “The bread lines and the apple sellers. I couldn’t help comparing that with my own family’s status, with my father; at one point he was making $11,000 a week. And I felt a shameful contrast between the haves and the have-nots very early.”
His romance with Communism ended six years later, when he quit the party after feeling pressure to bend his writing to fit its doctrines.
Mr. Schulberg had been identified as a party member in testimony before the House committee. Called to testify, he publicly named eight other Hollywood figures as members, including the screenwriter Ring Lardner Jr. and the director Herbert Biberman.
They were two among the Hollywood 10 — witnesses who said the First Amendment gave them the right to think as they pleased and keep their silence before the committee. All were blacklisted and convicted of contempt of Congress. Losing their livelihoods, Lardner served a year in prison and Biberman six months.
In the turmoil of the Red Scare, Mr. Schulberg’s testimony was seen as a betrayal by many, an act of principle by others. The liberal consensus in Hollywood was that Lardner had acquitted himself more gracefully before the committee when asked if he had been a Communist: “I could answer it, but if I did, I would hate myself in the morning.”
In the 2006 interview, Mr. Schulberg said that in hindsight he believed that the attacks against real and imagined Communists in the United States were a greater threat to the country than the Communist Party itself. But he said he had named names because the party represented a real threat to freedom of speech.
“They say that you testified against your friends, but once they supported the party against me, even though I did have some personal attachments, they were really no longer my friends,” he said. “And I felt that if they cared about real freedom of speech, they should have stood up for me when I was fighting the party.”
After his testimony Mr. Schulberg came back with the story and screenplay for “On the Waterfront.” The idea grew out of a Pulitzer Prize-winning series of articles written for The New York Sun about the power of mob bosses on the New York docks. Mr. Schulberg did months of independent research. He befriended a crusading priest, the Rev. John M. Corridan, who fought for the dockworkers’ cause and became a model for Father Barry.
The script, which won one of eight Oscars awarded to the film, bears echoes of Mr. Schulberg’s own political struggle: the film’s director, Elia Kazan, had also chosen to name names.
At one point Father Barry encourages the dockworkers to testify against the mob. In America , he says, there are “ways of fighting back.”
“Getting the facts to the public,” the priest continues. “Testifying for what is right against what is wrong. What’s ratting to them is telling the truth for you. Can’t you see that?”
Budd Wilson Schulberg was born on March 27, 1914, in New York . He grew up in Hollywood in the 1920s, surrounded by silent-movie stars. His father, B. P. Schulberg, rose to be chief of production at Paramount Studios; his mother, the former Adeline Jaffe, was a prominent literary agent. Budd attended Dartmouth and earned a Bachelor of Arts degree cum laude in 1936.
He spent World War II making information and propaganda films for the War Department and the Office of Strategic Services, the forerunner of the Central Intelligence Agency, working with the Hollywood director John Ford. In Germany at the war’s end, he helped put together filmed evidence against the Nazis for the Nuremberg trials. To help in the editing, he tracked down Leni Riefenstahl, who had made powerful propaganda films for Hitler. Dressed in his military uniform and with a warrant in his pocket, he drove to her Bavarian chalet and returned with her to Nuremberg in an open-air military vehicle.
Mr. Schulberg published a gritty second novel, “The Harder They Fall,” in 1947. One of the first realistic examinations of professional boxing, based partly on the career of Primo Carnera, a heavyweight champion managed by a gangster, the book stood for many years as a model for other novels, plays and films about the amoral world of the ring. His 1950 novel, “The Disenchanted,” grew out of his attempt 12 years earlier to collaborate on a screenplay with F. Scott Fitzgerald, then in a long alcoholic tailspin. Mr. Schulberg, who was 24 at the time, had turned in a mediocre first draft for a film to be set at Dartmouth , called “Winter Carnival.” The producer, Walter Wanger, told him a second writer would be assigned to help him knock out the script.
“I wasn’t too happy about it,” Mr. Schulberg remembered. “I said, ‘Who’s the writer?’ He said, ‘F. Scott Fitzgerald.’
“I thought it was just a joke, like saying ‘Leo Tolstoy,’ ” Mr. Schulberg recalled. “And I said, ‘Scott Fitzgerald — isn’t he dead?’ And he said, ‘No, he’s not dead, he’s right in the next room reading your script.’ ”
The effort ended after Fitzgerald went on a bender in New Hampshire with Mr. Schulberg, who turned the disastrous experience into “The Disenchanted.” (The novel was later transformed into a play, which had its Broadway debut in 1958 and brought Jason Robards a best-actor Tony Award.) After their joint success with “On the Waterfront,” Mr. Schulberg wrote and Mr. Kazan directed “A Face in the Crowd” (1957), one of the first films to weigh the political clout of television. Based on a Schulberg short story, the film depicts the transformation of a country singer, played by Andy Griffith, from power-drunk star into populist demagogue.
Mr. Schulberg wrote ceaselessly, writing for television, publishing journalism and releasing books. He remained convinced that writing could help create a measure of social justice. In 1965 he founded the Douglass House Watts Writers Workshop in Los Angeles with the goal of encouraging black teenagers to write. He also founded the Frederick Douglass Creative Arts Center in New York in 1971.
Mr. Schulberg’s 1936 marriage to Virginia Ray ended in divorce in 1942. His 1943 marriage to Victoria Anderson ended in divorce in 1964. His third wife, the actress Geraldine Brooks, died in 1977. In 1979 he married the actress and writer Betsy Ann Langman.
He is survived by a daughter, Victoria Kingsland, from his first marriage; a son, Stephen, from his second marriage; a son and daughter, Benjamin and Jessica, from his fourth marriage; and two grandchildren. Another son from his second marriage, David, died in 2005.
Mr. Schulberg never stopped working. Last year he was in Scotland , at the Edinburgh Festival Fringe, for a new adaptation of his stage version of “On the Waterfront”; he and Stan Silverman had first adapted it for the stage in 1995, when it had its Broadway debut, to weak reviews.
In 2001 Mr. Schulberg began collaborating with the director Spike Lee on a screenplay about the heavyweight title fights between Joe Louis, the black American champion, and Max Schmeling, the German boxer, each man serving as a reluctant symbol for two nations soon to go to war.
For Mr. Schulberg, the story, as yet unproduced, yielded vividly dramatic possibilities but also an opportunity to consider social issues involving race, sports and national identity. It was his kind of story.
“I’d like to be remembered as someone who used their ability as a novelist or as a dramatist to say the things he felt needed to be said about the society” while being “as entertaining as possible,” he said in the 2006 interview.
“Because if you don’t” entertain, he said, “nobody’s listening.”
Screen Credits Referendum Overwhelmingly Approved
To Our Fellow Members:
We're pleased to inform you that ballots have been tabulated, and members of the Writers Guilds, East and West have overwhelmingly approved all three proposed amendments to the Screen Credits Manual. A total of 1,619 ballots were cast with the following results:
- Proposal #1 – Arbiter Teleconference – 90% in favor of adopting the amendment (1,455 yes; 154 no).
- Proposal #2 – Elimination of Relaxed Standard – Percentage Requirements to Receive Screenplay Credit – 86% in favor of adopting the amendment (1,387 yes; 219 no).
- Proposal #3 – Rules for Production Executive Teams – Elimination of 60% Rule – 83% in favor of adopting the amendment (1,344 yes; 268 no).
The amendments are effective immediately, and will apply to any project for which a Notice of Tentative Writing Credits is submitted on or after August 1, 2008. The text of the amendments may be found on each Guild's website at www.wgaeast.org and www.wga.org.
Thanks to all of you who participated in this important referendum, yet another indication of our continued, growing solidarity. Special thanks to the members of the Credits Review Committee for their patience, commitment and hard work.
Patric M. Verrone
WGA Awards First SilverDocs Documentary Screenplay Award
FIRST-EVER WGA SILVERDOCS DOCUMENTARY SCREENPLAY AWARD
GOES TO WRITER-DIRECTOR ANNA BROINOWSKI FOR FORBIDDEN LIE$
Los Angeles – The Writers Guild of America, West and the Writers Guild of America, East have named writer-director Anna Broinowski as the winner of the first-ever WGA SILVERDOCS Documentary Screenplay Award for her film Forbidden Lie$, presented at Saturday night's awards ceremony at the AFI Silver Theater in Silver Springs, MD. The honor goes to the qualifying screenwriter of a feature-length film who demonstrates screenwriting excellence in the documentary genre.
"The Writers Guilds are proud to be the sponsors of this new award, which highlights the fact that many compelling documentaries are indeed written and include a story structure. While nonfiction writers are honored through our own annual Writers Guild Awards, we also felt it was important for them to receive recognition at the SILVERDOCS film festival," commented WGAW President Patric M. Verrone.
"The art of writing documentaries is one often overlooked and underappreciated in the entertainment world. We are thrilled that this new WGA Award at SILVERDOCS will recognize those who work so diligently and creatively to enhance the imagery of non-fiction film with their
well-crafted words and ideas," added WGAE President Michael Winship.
"SILVERDOCS is honored to work with the WGA to recognize the art and craft of screenwriting in documentary, a critical element in shaping non-fiction storytelling," said SILVERDOCS Festival Director Patricia Finneran.
Forbidden Lie$ investigates accusations that Forbidden Love author Norma Khouri fabricated her biographical tale of a Muslim friend who was murdered for dating a Christian. Broinowski's documentary also recently won the Australian Film Institute's Best Documentary Award.
The WGA SILVERDOCS Documentary Screenplay Award carries with it a prize of $2,500 and the winner will be granted membership, free of charge for the first year, in the WGAW Nonfiction Writers Caucus or WGAE Nonfiction Writers Caucus.
Nominees for this year's WGA Documentary Screenplay Award at SILVERDOCS 2008 were:
DEAR ZACHARY: A LETTER TO A SON ABOUT HIS FATHER – Writer, Director, Composer Kurt Kuenne
FORBIDDEN LIE$ – Written and Directed by Anna Broinowski
GONZO: THE LIFE AND WORK OF HUNTER S. THOMPSON – Screenplay by Alex Gibney; From the Words of Hunter S. Thompson
IN THE FAMILY – Written, Produced and Directed by Joanna Rudnick
I.O.U.S.A. – Written by Patrick Creadon, Christine O'Malley, and Addison Wiggin; Story by Addison Wiggin and Kate Incontrera
LETTER TO ANNA – Written and Directed by Eric Bergkraut, Coauthor: Therese Obrecht Hodler
LUCIO – Script and Direction by Jose Mari Goenaga, Aitor Arregi
To be eligible for this Award, SILVERDOCS documentaries were required to meet the following criteria: Writer(s) must have received an approved onscreen screenwriting credit, and a script must be submitted for consideration, i.e., a screenplay or transcript.
In recent years, the Guilds have increased their outreach and organizing efforts to build a strong community of nonfiction writers, with an aim to bring more documentaries under WGA contracts. The WGA's Documentary Screenplay Contract enables writers to write and sell documentary screenplays using partial or completely deferred fees while receiving Writers Guild benefits and protections. Questions regarding joining the Writers Guild through documentary work may be directed to the WGAW's Kay Schaber Wolf at (323) 782-4731 or email: email@example.com and also the WGAE's Alexis DiVincenti at (212) 767-7800.
This season, SILVERDOCS 2008 presented a total of 108 diverse films, representing 63 countries selected from 1,861 submissions with six World, eight North American, six U.S. and seven East Cost premieres, as well as two retrospective programs. Now in its sixth year, SILVERDOCS and its concurrent International Documentary Conference honors excellence in filmmaking, supports the diverse voices and free expression of independent storytellers and celebrates the power of documentary – past, present, and future – to enhance the understanding of the world. At this year's week-long festival, a wide range of documentary films from around the globe screened in six distinct sections: U.S. Feature Competition, World Feature Competition, Best Music Documentary, Silver Spectrum (formerly known as World View), Short Films, and 1968 and Beyond, a special thematic sidebar added for 2008. Additional information about SILVERDOCS is available at www.silverdocs.com.
The Writers Guild of America, West (WGAW) and the Writers Guild of America, East (WGAE) represent writers in the motion picture, broadcast, cable, and new media industries in both entertainment and news.
‘No Country’ and ‘There Will Be Blood’ Lead Oscars
The Joel and Ethan Coen-penned "No Country For Old Men," about the ruthless aftermath of a botched drug deal, and "There Will Be Blood," starring Daniel Day-Lewis as a scheming oil man in an epic about American capitalism, took the lead in the Oscar race with eight nominations each, including best picture and best director.
Meanwhile, "Michael Clayton," a throwback thriller to the 1970s, starring George Clooney as a corporate fixer, received seven nominations, including nods for best picture, best screenplay (by WGAE member Tony Gilroy), best actor (Clooney) and best supporting actress (Tilda Swinton). "Atonement," the adaptation of Ian McEwan's time-shifting, betrayal-filled novel, also captured seven nominations, including for best picture and best supporting actress (Saoirse Ronan).
Unlike last year, when flashy mainstream hits like "The Departed," "Dreamgirls" and "Little Miss Sunshine" dominated, the 2008 Oscar race swings back toward critic-driven films. Many of the movies that received multiple nominations feature dark themes and unconventional endings that, for the most part, have failed to attract broad audiences.
Even the Warner Brothers picture "Michael Clayton," which had the only budget of any consequence among the best-picture nominees, has only sold $39 million in tickets at North American theaters.
All but shut out from the key categories were "American Gangster," the Universal Pictures blockbuster about a Harlem heroin kingpin, and "Into the Wild," a story about a boy's journey to a remote corner of Alaska that was directed by Sean Penn. Each film received just one nomination in the major categories and two overall. Ruby Dee was nominated for best supporting actress in "American Gangster," and Hal Holbrook garnered a nod- his first – for best supporting actor in "Into the Wild."
One of the more upbeat films of the year and a hit – "Juno," the tale of a quirky teenager who gives her baby up for adoption – received four nominations, including best picture, best director, best actress and best original screenplay.
Still, many of the nominations were expected. Daniel Day-Lewis, whose fierce portrayal of an oil man in "There Will Be Blood" has already won him a wheelbarrow full of accolades, continued his march to the ultimate awards podium with a best actor nomination.
Julie Christie and Marion Cotillard, who won respective best actress plaudits at the Golden Globe Awards for playing an Alzheimer's victim in "Away From Her" and the singer Edith Piaf in "La Vie en Rose," will vie for the academy's top female acting honor.
One of the biggest questions about this year's Oscar race – how a continuing writers strike will affect the ceremony – went unanswered. Sid Ganis, president of the academy, did not address the matter during the nominations announcement. The academy has said it has contingency plans in case the writers' strike is not settled by the ceremony, scheduled for Feb. 24.
Best motion picture
"Atonement" (Focus Features) A Working Title Production: Tim Bevan, Eric Fellner and Paul Webster, Producers
"Juno" (Fox Searchlight) A Dancing Elk Pictures, LLC Production: Lianne Halfon, Mason Novick and Russell Smith, Producers
"Michael Clayton" (Warner Bros.) A Clayton Productions, LLC Production: Sydney Pollack, Jennifer Fox and Kerry Orent, Producers
"No Country for Old Men" (Miramax and Paramount Vantage) A Scott Rudin/Mike Zoss Production: Scott Rudin, Ethan Coen and Joel Coen, Producers
"There Will Be Blood" (Paramount Vantage and Miramax) A JoAnne Sellar/Ghoulardi Film Company Production: JoAnne Sellar, Paul Thomas Anderson and Daniel Lupi, Producers
Performance by an actress in a leading role
Cate Blanchett in "Elizabeth: The Golden Age" (Universal)
Julie Christie in "Away from Her" (Lionsgate)
Marion Cotillard in "La Vie en Rose" (Picturehouse)
Laura Linney in "The Savages" (Fox Searchlight)
Ellen Page in "Juno" (Fox Searchlight)
Performance by an actor in a leading role
George Clooney in "Michael Clayton" (Warner Bros.)
Daniel Day-Lewis in "There Will Be Blood" (Paramount Vantage and Miramax)
Johnny Depp in "Sweeney Todd The Demon Barber of Fleet Street" (DreamWorks and Warner Bros., Distributed by DreamWorks/Paramount)
Tommy Lee Jones in "In the Valley of Elah" (Warner Independent)
Viggo Mortensen in "Eastern Promises" (Focus Features)
Performance by an actor in a supporting role
Casey Affleck in "The Assassination of Jesse James by the Coward Robert Ford" (Warner Bros.)
Javier Bardem in "No Country for Old Men" (Miramax and Paramount Vantage)
Philip Seymour Hoffman in "Charlie Wilson's War" (Universal)
Hal Holbrook in "Into the Wild" (Paramount Vantage and River Road Entertainment)
Tom Wilkinson in "Michael Clayton" (Warner Bros.)
Achievement in directing
"The Diving Bell and the Butterfly" (Miramax/Pathé Renn), Julian Schnabel
"Juno" (Fox Searchlight), Jason Reitman
"Michael Clayton" (Warner Bros.), Tony Gilroy
"No Country for Old Men" (Miramax and Paramount Vantage), Joel Coen and Ethan Coen
"There Will Be Blood" (Paramount Vantage and Miramax), Paul Thomas Anderson
Performance by an actress in a supporting role
Cate Blanchett in "I'm Not There" (The Weinstein Company)
Ruby Dee in "American Gangster" (Universal)
Saoirse Ronan in "Atonement" (Focus Features)
Amy Ryan in "Gone Baby Gone" (Miramax)
Tilda Swinton in "Michael Clayton" (Warner Bros.)
"Atonement" (Focus Features), Screenplay by Christopher Hampton
"Away from Her" (Lionsgate), Written by Sarah Polley
"The Diving Bell and the Butterfly" (Miramax/Pathé Renn), Screenplay by Ronald Harwood
"No Country for Old Men" (Miramax and Paramount Vantage), Written for the screen by Joel Coen & Ethan Coen
"There Will Be Blood" (Paramount Vantage and Miramax), Written for the screen by Paul Thomas Anderson
"Juno" (Fox Searchlight), Written by Diablo Cody
"Lars and the Real Girl" (MGM), Written by Nancy Oliver
"Michael Clayton" (Warner Bros.), Written by Tony Gilroy
"Ratatouille" (Walt Disney), Screenplay by Brad Bird; Story by Jan Pinkava, Jim Capobianco, Brad Bird
"The Savages" (Fox Searchlight), Written by Tamara Jenkins
Best animated feature film of the year
"Persepolis" (Sony Pictures Classics): Marjane Satrapi and Vincent Paronnaud
"Ratatouille" (Walt Disney): Brad Bird
"Surf's Up" (Sony Pictures Releasing): Ash Brannon and Chris Buck
Best foreign language film
"The Counterfeiters" Austria
Achievement in art direction
"American Gangster" (Universal): Art Direction: Arthur Max; Set Decoration: Beth A. Rubino
"Atonement" (Focus Features): Art Direction: Sarah Greenwood; Set Decoration: Katie Spencer
"The Golden Compass" (New Line in association with Ingenious Film Partners): Art Direction: Dennis Gassner; Set Decoration: Anna Pinnock
"Sweeney Todd The Demon Barber of Fleet Street" (DreamWorks and Warner Bros., Distributed by DreamWorks/Paramount): Art Direction: Dante Ferretti; Set Decoration: Francesca Lo Schiavo
"There Will Be Blood" (Paramount Vantage and Miramax): Art Direction: Jack Fisk; Set Decoration: Jim Erickson
Achievement in cinematography
"The Assassination of Jesse James by the Coward Robert Ford" (Warner Bros.): Roger Deakins
"Atonement" (Focus Features): Seamus McGarvey
"The Diving Bell and the Butterfly" (Miramax/Pathé Renn): Janusz Kaminski
"No Country for Old Men" (Miramax and Paramount Vantage): Roger Deakins
"There Will Be Blood" (Paramount Vantage and Miramax): Robert Elswit
Achievement in costume design
"Across the Universe" (Sony Pictures Releasing) Albert Wolsky
"Atonement" (Focus Features) Jacqueline Durran
"Elizabeth: The Golden Age" (Universal) Alexandra Byrne
"La Vie en Rose" (Picturehouse) Marit Allen
"Sweeney Todd The Demon Barber of Fleet Street" (DreamWorks and Warner Bros., Distributed by DreamWorks/Paramount) Colleen Atwood
Best documentary feature
"No End in Sight" (Magnolia Pictures) A Representational Pictures Production: Charles Ferguson and Audrey Marrs
"Operation Homecoming: Writing the Wartime Experience" (The Documentary Group) A Documentary Group Production: Richard E. Robbins
"Sicko" (Lionsgate and The Weinstein Company) A Dog Eat Dog Films Production: Michael Moore and Meghan O'Hara
"Taxi to the Dark Side" (THINKFilm) An X-Ray Production: Alex Gibney and Eva Orner
"War/Dance" (THINKFilm) A Shine Global and Fine Films Production: Andrea Nix Fine and Sean Fine
Best documentary short subject
"Freeheld" A Lieutenant Films Production: Cynthia Wade and Vanessa Roth
"La Corona (The Crown)" A Runaway Films and Vega Films Production: Amanda Micheli and Isabel Vega
"Salim Baba" A Ropa Vieja Films and Paradox Smoke Production: Tim Sternberg and Francisco Bello
"Sari's Mother" (Cinema Guild) A Daylight Factory Production: James Longley
Achievement in film editing
"The Bourne Ultimatum" (Universal): Christopher Rouse
"The Diving Bell and the Butterfly" (Miramax/Pathé Renn): Juliette Welfling
"Into the Wild" (Paramount Vantage and River Road Entertainment): Jay Cassidy
"No Country for Old Men" (Miramax and Paramount Vantage) Roderick Jaynes
"There Will Be Blood" (Paramount Vantage and Miramax): Dylan Tichenor
Achievement in makeup
"La Vie en Rose" (Picturehouse) Didier Lavergne and Jan Archibald
"Norbit" (DreamWorks, Distributed by Paramount): Rick Baker and Kazuhiro Tsuji
"Pirates of the Caribbean: At World's End" (Walt Disney): Ve Neill and Martin Samuel
Achievement in music written for motion pictures (Original score)
"Atonement" (Focus Features) Dario Marianelli
"The Kite Runner" (DreamWorks, Sidney Kimmel Entertainment and Participant Productions, Distributed by Paramount Classics): Alberto Iglesias
"Michael Clayton" (Warner Bros.) James Newton Howard
"Ratatouille" (Walt Disney) Michael Giacchino
"3:10 to Yuma" (Lionsgate) Marco Beltrami
Achievement in music written for motion pictures (Original song)
"Falling Slowly" from "Once" (Fox Searchlight) Music and Lyric by Glen Hansard and: Marketa Irglova
"Happy Working Song" from "Enchanted" (Walt Disney): Music by Alan Menken; Lyric by Stephen Schwartz
"Raise It Up" from "August Rush" (Warner Bros.): Nominees to be determined
"So Close" from "Enchanted" (Walt Disney): Music by Alan Menken; Lyric by Stephen Schwartz
"That's How You Know" from "Enchanted" (Walt Disney): Music by Alan Menken; Lyric by Stephen Schwartz
Best animated short film
"I Met the Walrus" A Kids & Explosions Production: Josh Raskin
"Madame Tutli-Putli" (National Film Board of Canada) A National Film Board of Canada Production Chris Lavis and Maciek Szczerbowski "Même Les Pigeons Vont au Paradis (Even Pigeons Go to Heaven)" (Premium Films) A BUF Compagnie Production Samuel Tourneux and Simon Vanesse
"My Love (Moya Lyubov)" (Channel One Russia) A Dago-Film Studio, Channel One Russia and Dentsu Tec Production Alexander Petrov
"Peter & the Wolf" (BreakThru Films) A BreakThru Films/Se-ma-for Studios Production Suzie Templeton and Hugh Welchman
Best live action short film
"At Night" A Zentropa Entertainments 10 Production: Christian E. Christiansen and Louise Vesth
"Il Supplente (The Substitute)" (Sky Cinema Italia) A Frame by Frame Italia Production: Andrea Jublin
"Le Mozart des Pickpockets (The Mozart of Pickpockets)" (Premium Films) A Karé Production: Philippe Pollet-Villard
"Tanghi Argentini" (Premium Films) An Another Dimension of an Idea Production: Guido Thys and Anja Daelemans
"The Tonto Woman" A Knucklehead, Little Mo and Rose Hackney Barber Production: Daniel Barber and Matthew Brown
Achievement in sound editing
"The Bourne Ultimatum" (Universal): Karen Baker Landers and Per Hallberg
"No Country for Old Men" (Miramax and Paramount Vantage): Skip Lievsay
"Ratatouille" (Walt Disney): Randy Thom and Michael Silvers
"There Will Be Blood" (Paramount Vantage and Miramax): Matthew Wood
"Transformers" (DreamWorks and Paramount in association with Hasbro): Ethan Van der Ryn and Mike Hopkins
Achievement in sound mixing
"The Bourne Ultimatum" (Universal) Scott Millan, David Parker and Kirk Francis
"No Country for Old Men" (Miramax and Paramount Vantage): Skip Lievsay, Craig Berkey, Greg Orloff and Peter Kurland
"Ratatouille" (Walt Disney): Randy Thom, Michael Semanick and Doc Kane
"3:10 to Yuma" (Lionsgate): Paul Massey, David Giammarco and Jim Stuebe
"Transformers" (DreamWorks and Paramount in association with Hasbro): Kevin O'Connell, Greg P. Russell and Peter J. Devlin
Achievement in visual effects
"The Golden Compass" (New Line in association with Ingenious Film Partners): Michael Fink, Bill Westenhofer, Ben Morris and Trevor Wood
"Pirates of the Caribbean: At World's End" (Walt Disney): John Knoll, Hal Hickel, Charles Gibson and John Frazier
"Transformers" (DreamWorks and Paramount in association with Hasbro): Scott Farrar, Scott Benza, Russell Earl and John Frazier
The (Pay) Envelope, Please
Jon Fine reports for Business Week:
Like the Republicans in the early part of this decade, network TV's power has enjoyed more than a touch of Teflon. I This is true particularly where advertisers are concerned. Ratings steadily declining? Funny, TV's share of ad spending isn't. TiVo (TIVO) users skip ads? Whatever, buddy. Be sure to cough up $2 million-plus for that Super Bowl ad on the way out.
But then came this writers' strike, which began Nov. 5 and, at the time of this writing, shows no sign of ending. Many top-rated scripted shows, among them Grey's Anatomy and CSI, are about to run out of new episodes. This will change everything, right? Well…not yet. So far it hasn't hurt the lucrative advertiser-television love match that, judging from all the evidence, both parties still cherish. There is, of course, an enormous hedge in the word "yet." But some potential heavy weather has hit with all the force of a lamb. Late Show with David Letterman-which forged a separate peace with its writers, since Letterman's company, not CBS (CBS), owns the show-has narrowed the gap with perennial late-night leader Jay Leno. Still, the latter's initial (writer-less) ratings remain decent, if not world-beating, as do those for NBC's (GE) Late Night with Conan O'Brien. Meanwhile, the next season of (the unscripted) American Idol, which premiered to 33.2 million viewers, will quiet some story lines about how bad it is that non-reality programming is disappearing.
Network types insist the strike is saving them money thus far-no unairable scripted pilots to waste millions on!-and beat their chests over how well some reality shows, like the newly revived American Gladiators, are performing. TV producers are axing deals with writers. In sum: gut-check time for the strikers. Adding to the pressure is that the Directors Guild began negotiating in mid-January for its upcoming contract with the producers.
So-advantage, networks? It's not that easy. (Nothing about this strike is easy.) At best, the networks are playing a dangerous game of chicken; they're hurtling toward an invisible line that divides "saving money" from "destroying the business." I shouldn't have to mention the gajillions of media options now available for both consumers and advertisers since the last strike, in 1988-hundreds of cable channels instead of 30, and innumerable online options, video and otherwise.
But those looking to fleeing viewers to make the networks cave are looking in the wrong place. The perversity of network economics keeps ad revenues steady while around 5% of the audience diminishes annually. The networks are insulated, somewhat, against disappearing viewers. They are not at all insulated from disappearing advertisers. Which is why the first real looming threat to the networks isn't some New Media option but rather a geriatric ritual: the Oscars.
Should the strike swallow the Oscars on Feb. 24, the biggest loser is not ABC (DIS), which is set to air them. It's the movie studios, which lose their biggest spectacle and promotional platform-that overlong orgy of self-congratulation and glitz that, for good or ill, tens of millions of people still watch. (Next to the Super Bowl, it's the biggest annual event on TV.) Bear in mind that the studios are pretty big TV advertisers. In the first 10 months of 2007, they spent $943.9 million to advertise movie and DVD releases on broadcast TV.
After the studios took a hit by losing a telecast of the Golden Globes-one with movie stars, anyway-on Jan. 13, how happy would an Oscars ceremony without any ceremony make them? Would they be thrilled to shell out millions each week to the networks that just thwarted them, or will they move more dollars into online media? (Movie ads have migrated online faster than many other ad categories, so this is neither a far-fetched notion nor an idle threat.) Don't forget, too, that every major network's owner also counts movie assets among its holdings-and that the movie studios face strike issues of their own with writers. So losing the Oscars means angering both a major advertiser and an important ally in a strike.
Does that sound to you like a constituency the networks can afford to tick off?