Writer's Guild

[OscarGuy]

This kind of situation would be considered a Continuity error.

[Akash]

Another minor anachonism, Big Magilla.

Well, not really. An anachronism consists of a chronological misplacement of persons, events, places, things etc. Like someone listening to an Ipod in a film set in the 80's. The inconsistency must include the element of time. It's not just about something that doesn't fit in a certain place.

Otherwise, some people on this board might well be anachronistic.



Edited By Akash on 1200478437

[Eric]

Nothing very Miinesota about Juno. First thing I noticed was the architecture style of the homes and said to my wife: "There's a rhododendron growing. They don't have those in Minnesota, I don't think. It looks like Vancouver to me."

Whatever you say.

[cam]

The Winners are Diablo Cody & The Coen Brothers.

A very Minnesota year for the Oscars.

Nothing very Miinesota about Juno. First thing I noticed was the architecture style of the homes and said to my wife: "There's a rhododendron growing. They don't have those in Minnesota, I don't think. It looks like Vancouver to me."
Sure enough, it was filmed here.
Another minor anachonism, Big Magilla.

[Eric]

The Winners are Diablo Cody & The Coen Brothers.

A very Minnesota year for the Oscars.

[Penelope]

We should qualify that "popular" remark: Michael Clayton may have only made just under $40 million, but even that made it the most successful of the "serious, adult" films released in the fall. And no, I'm not including American Gangster in that equation, since its appeal actually skewed younger.

[anonymous1980]

Still, of course there must be at least two popular, commercial movies to round up the Best Picture nominees (if, as it seems certain, No Country for Old Men and There Will Be Blood and, as it seems possible, The Diving Bell and the Butterfly, will be there). One will be Michael Clayton.

Michael Clayton wasn't a "popular" movie despite the presence of George Clooney. At least not box-office wise. The only potential Best Picture nominees to break the $100 million mark are American Gangster and Hairspray. Although Juno is well on it's way there.

[ITALIANO]

Italiano, this was your call, no? That Atonement might have trouble with the Academy? If so, kudos to you for that correct early call.

Thank you for having - unlike others here - a good memory.

And I had always thought that Atonement - with the predictable support of most of the technical branches - would have still been nominated for Best Picture, despite its director having no chances. Now, it's still possible, though honestly, after the WGA, less and less so. (And I repeat that I am one of those who didn't hate Atonement at all - but too often on this board personal preferences and hopes seem to influence predictions which should be more objective. But it must be an American thing, as we see even in politics.)

Still, of course there must be at least two popular, commercial movies to round up the Best Picture nominees (if, as it seems certain, No Country for Old Men and There Will Be Blood and, as it seems possible, The Diving Bell and the Butterfly, will be there). One will be Michael Clayton. And the fifth spot, which I was always looking for, won't be Atonement, nor The Kite Runner, nor Sweeney Todd, and maybe not even - though it still has chances - American Gangster, but probably Juno (it's between these two movies anyway). Which in turn will make the Best Actress race more interesting and difficult to predict - as Sabin has pointed out recently.



Edited By ITALIANO on 1200095831

[rolotomasi99]

Though I still wouldn't out it past them to shock us all and have Atonement pop up in Best Picture without a Director nomination. At this point I'd rather see a boatload of nominations for Atonement than anything for Sweeney Todd or American Gangster.

agreed.

[Steph2]

Italiano, this was your call, no? That Atonement might have trouble with the Academy? If so, kudos to you for that correct early call.

Though I still wouldn't out it past them to shock us all and have Atonement pop up in Best Picture without a Director nomination. At this point I'd rather see a boatload of nominations for Atonement than anything for Sweeney Todd or American Gangster.

[ITALIANO]

Atonement is over.

Finally.

[Sabin]

For a while, I wasn't sure if 'Juno' would make it into the running for Best Picture. Too slight, maybe. Now with its highly publicized no.1 week standing, it looks almost locked-in. I would've thought that script doctor Tony Gilroy is too "inside" to be left "outside" for The Stripper, but that's a reality that doesn't seem to be happening anymore.

The Winners are Diablo Cody & The Coen Brothers. Good for 'Zodiac' though. Although I'd be loathe to leave out Sarah Polley for 'Away from Her' or for that matter Sean Penn's work on 'Into the Wild' (which wasn't so much a coup of writing, but more directing, scoring, performance, and ingenious editing and re-editing), the craftsmanship and economy in 'Zodiac''s narrative should not be ignored.

[Damien]

Yeah I agree anonymous. I'd be surprised -- and disappointed -- if this competitive year means no screenplay nomination for Ratatouille. Especially since the undeserving Finding Nemo and The Incredibles both managed screenplay nods and Ratatouille is far superior to both of them.

Don't even get me started on that wasted Screenplay nomination for Shrek.

And there in a nutshell is why the Oscars are not to be taken seriously as any kind of arbiter of quality. To think that supposed adults voted for these things, and will again make asses of themselves this year . . .

I hate to say it but I would delete both comedies not named Juno and add the garbage that is Before The Devil Knows You're Dead, although the screenplay is not as bad as the direction or the Blob's performance.

[Akash]

Yeah I agree anonymous. I'd be surprised -- and disappointed -- if this competitive year means no screenplay nomination for Ratatouille. Especially since the undeserving Finding Nemo and The Incredibles both managed screenplay nods and Ratatouille is far superior to both of them.

Don't even get me started on that wasted Screenplay nomination for Shrek.

[anonymous1980]

ORIGINAL SCREENPLAY

JUNO, Written by Diablo Cody, Fox Searchlight

MICHAEL CLAYTON, Written by Tony Gilroy, Warner Bros. Pictures

THE SAVAGES, Written by Tamara Jenkins, Fox Searchlight

KNOCKED UP, Written by Judd Apatow, Universal Pictures

LARS AND THE REAL GIRL, Written by Nancy Oliver, MGM

ADAPTED SCREENPLAY

NO COUNTRY FOR OLD MEN, Screenplay by Ethan Coen & Joel Coen, Based on the Novel by Cormac McCarthy, Miramax

THERE WILL BE BLOOD, Screenplay by Paul Thomas Anderson, Based on the Novel Oil by Upton Sinclair, Paramount Vantage

THE DIVING BELL AND THE BUTTERFLY, Screenplay by Ronald Harwood, Based on the Book by Jean-Dominique Bauby, Miramax

INTO THE WILD, Screenplay by Sean Penn, Based on the Book by Jon Krakauer, Paramount Vantage

ZODIAC, Screenplay by James Vanderbilt, Based on the Book by Robert Graysmith, Paramount Pictures

Replace one of the comedies not named Juno with Ratatouille and you have your Oscar nominees.

For adapted screenplay, it wouldn't surprise me if these turn out to be the Oscar nominees as well.