The 2022 USC Scripter noms have been announced, and they are as follows:
FILM
Dune
The Lost Daughter
Passing
The Power of the Dog
The Tragedy of Macbeth
TELEVISION
Dopesick
Maid
Station Eleven
The Underground Railroad
WandaVision
The 2022 USC Scripter noms have been announced, and they are as follows:
FILM
Dune
The Lost Daughter
Passing
The Power of the Dog
The Tragedy of Macbeth
TELEVISION
Dopesick
Maid
Station Eleven
The Underground Railroad
WandaVision
Clarence Moye is an editor of film and television at Awards Daily. He is a member of Critics Choice. Follow him on Twitter at @ClarenceMoye.
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Houston winners. TPOTD sweeps again, BP win #25
TPOTD dominates Houston with 6 wins (including tie for score)
Picture: “The Power of the Dog”
Director: Jane Campion, “The Power of the Dog”
Actor: Benedict Cumberbatch, “The Power of the Dog”
Actress: Jessica Chastain, “The Eyes of Tammy Faye”
Supporting Actor: Kodi Smit-McPhee, “The Power of the Dog”
Supporting Actress: Ann Dowd, “Mass”
Screenplay: Jane Campion, “The Power of the Dog”
Cinematography: Greig Fraser, “Dune”
Animated Feature: “The Mitchells vs. the Machines”
Original Score: (tie) Hans Zimmer, “Dune”; Jonny Greenwood, “The Power of the Dog”
Original Song: “Wherever I Fall – Part I,” Cyrano: music by Bryce Dessner and Aaron Dessner; lyrics by Matt Berninger and Carin Besser
Foreign Language Film: “Drive My Car”
Documentary Feature: “Summer of Soul”
Texas Independent Film Award: “Red Rocket”
Visual Effects: “Dune”
Stunt Coordination Team: “No Time to Die”
Ensemble Cast: “Mass”
Potd is a slow paced, boring story but it is oscar bait directing.
In other (tragic) news, R.I.P Gaspard Ulliel 🙁
that is terrible. He was such a superb actor.
Big loss. So talented 🙁 Rip Gaspard
https://uploads.disquscdn.com/images/9f7d9d4cb113c09c10d110cac2aefe7c5cfacea4c7bfc8b8a9863bc5564b2c9b.jpg
To see this fine actor delivering a beautiful performance – Xavier Dolan’s ‘It’s Only The End Of The World’ – his Cesar winning role for Best Leading Actor.
Power of the dog will win but who should win is dune
No./…i dont think it a foregone conclusion at all on that one but your right bout one thing DUNE might just be rising in voting appeal to awards season’s writer voters
Power of the dog was beautifully directed but dune was beautifully written, many years ago
I think Jane will take the Scripter.
This will be a tough category to predict for the Oscar noms. I’m assuming Nightmare Alley is out of it, the writers will look at Macbeth as hardly adapted, and that it’s unlikely for both WSS and Dune (remakes and less talky genre films) to be nominated. Dog, CODA, and Lost Daughter feel strong.
Sad to see Tony Kushner miss the cut for his admirable adaptation to ”West Side Story,” but the USC Scripter Awards have NEVER nominated a screenplay to a movie musical in its 34-year history (since 1988). They once even nominated an adaptation of a comic book: ”Iron Man” (2008). Otherwise, they overwhelmingly nominate adaptations of books/novels. They never nominated an adaptation of a play until 2011 (”A Dangerous Method”), and the only play adaptation to win was ”Moonlight” (2016).
Screenplays to movie musicals almost never get the recognition they deserve. Even the original 1961 ”West Side Story” won 10 of its 11 Oscar nominations, and the only one it lost was Adapted Screenplay. And no musical has won an Oscar for its screenplay since ”Gigi” (1958).
It’s a snub for a BP contender. As you’ve pointed out, Moonlight won for a play adaptation & Macbeth got it for one.
You seem to be overlooking the bigger injustice: USC never nominates musicals.
They changed the rules several years ago. Prior to that, plays had not been eligible. And A Dangerous Method is based on a play which is based on a book.
Must’ve sucked to be Ernest Lehman at the 34th Oscars. Dude went 0/6 at the Oscars and had to get tossed an Honorary statuette in 2001 before leaving us in 2005. :/
Gigi – yay! My favorite musical. Awesome that it’s the last one to win screenplay…
Dune. The Lost Daughter. Works for me!
All hail Macbeth!
All hail Jane Campion!
All hail Dune!
Power of the Dog
Far TOO MANY snubs for the overbloated unecessary (yet again ) additional irrelevant USC SCRIPTER (why it needed when we have the writers guild? similarly, why did SAG need to ‘modernise’ when all thgey did was ‘bureaucratise’ with the equally inconvenient irrelevant and highly quesitonable influence of AFTRA?
Does anyone here understand the distorted logic of doubling down on not one but 2 writing / guild equivalent nominees and same with SAG? WHY? for overwhelming majority of Awards season history you can compellingly argue and make the case against the relevance and importance of the USC SCRIPTER and AFTRA ..cos the fact of matter is writers guild and sag made sounder overall better balanced informed inc by public consent choices as well as critics…than they did ever since Scripter and AFTRA.
Both are a WASTE OF AWARDS SEASON RESOURCES WHICH OUGHT TO BE BETTER INVESTED IN UNDOING THE NEO POLITICISED BROKEN PREFERENTIAL BALLOT SYSTEM AND RESTORING SEMBLANCE OF BALANCE OF POWER TO COMMON SENSE BEST PICTURE CONTENDERS THAT INCORPORATE THE PUBLIC WILL IN PART..
Especially the scripter my G-d what extraordinary snubs.. in fact, Tragedy of Macbeth, Passing, The Lost Daughter if scripter find them sooo important to awards season why is it that even TRagedy of Macbeth has only been ranked on this site as half important contender compared to others in awards season? Why is it then based on collective awards season progress trackjer through numerous sites compiled such organised fashion this time each year by awards daily, that indeed Passing and The Lost Daughter have been NON existent as aserious contender? far more severely so than Macbeth?
IT beggars belief the self righteous arrogance of the Scripter is clawing by a finger nail to stand up and be counted.
Despite the fact that very deserved Dune got scripter nom as they ought to nominated Dune for the WGA to which it far superior adapted screenplay than Power of the Dog and number of others…except maybe West Side Story.
Furthermore the definition of what is deemed ‘ineligible’ according to whom exactly? the Scripter? and how big influential are this useless excuse for doubling down of a guild organisation anyway? are they even worth reporting? and with the SAGS isn’t time for AFTRA component of SAG to minimise it unhelathy influence? ever since AFTRA co existence with original SAG membership as far i understand that have put unethical influence on SAG resulting in faovuritism to lesser known lesser publicly respected film’s actors..not actors they disrespect all actors put tremendous creative ambitious energy regalrdless of film it PROFILE elevation of the actual film that the actors and actresses come from.
We should ALL CALL INTO QUESTION WHY SCRIPTER AND AFTRA undue influence (only existed in 11/ 40 + years of SAG existing in their own right without AFTRA but dont these so called ‘modernised’ additional components just confuse, dilute lack in clarity the once publicly respected merits of the oscar race?
The fact the Scripter snubbed: House of Gucci, The Last Duel, Nightmare Alley, CODA ineligible? why? do we EVER hear ANY transparency and accountabuility nowadays by organisations of awards season that are supposed to admittedly to limited degree but FAR MORE THAN THEY DO TODAY engage with take the film going public in part with them?
Crediblity gaps EVERYWHERE no ‘King Richard’? really? Scriupter doesn’t deserve to have ANY influence..fact only 2 OUT OF VERY LIMITED 5 choices are known as prominents oscart contenders tells you all you need to know bout questionable relevance of the Scripter noms
They didn’t nominate The Father last year. No point to make. Just saying
The Father was not eligible, man. It missed the eligibility window. It was eligible for this year.
I didn’t know that, dude. Interesting that it’s not nominated this year then. You would think an Oscar winner would be worthy…
Shows how important momentum is when it comes to awards. The Father was released late in a year where the contenders didn’t impress most. Hopkins’ performance and the movie knocked up everybody. When I started seeing the “It reminded of my family member” I knew it was winning Screenplay and that Hopkins was competitive.
I don’t know if the same would’ve happened if it had followed a traditional releasing structure. SPC keeping the movie in the dark was a masterclass move.
Well, it shows that these pre-Oscar awards are about the *upcoming* Oscar. Since TF will not show up at this year’s Oscar, why waste a spot? Or USC is really prejudiced against theater adaptation.
Oh, that explains a lot! So the stat didn’t fail. (I predicted The Father in spite of that stat. Would have done so with even more conviction had I known it had been ineligible. Are you absolutely sure?)
The eligibility window is January 1- December 31, every year.
https://libraries.usc.edu/scripter/scripter-2021/eligibility-and-submissions
The Father was released on USA on February 26th (2021), so it was not eligible for the 2021 USC Scripter
I predicted it to win the Oscar, I mean.
A great affirmation for the great Maggie Gyllenhaal.
It’s a terrific debut. Great that she went with a challenging work. Such confident writing and directing. Hope she wins the DGA first feature.
Yep me too. I watched a couple of Q&A appearances with her and selected cast. She is such a fascinating person. Her all too infrequent performances as an actor belie her status as a really superb talent.
I love that she chose a piece of work that challenges what we think of as a “good” mother. And I love Olivia so that helps.
was illuminating perspectives. And not often seen on screen. Bad mothers? Plenty. Mommie Dearest it ain’t thankfully. 🙂
Yes why the black or white, good or bad portrayals of mothers? I love the ambivalence here
Have you seen Gyllenhaal in ‘The Kindergarten Teacher’ (remake). Again she chooses projects that so suit her ambivalence and ambiguity on screen. I know Colman is perfect for The Lost Daughter, but i can’t help wondering what Maggie herself would have done with the role. She is so good in the Kindergarten Teacher. I’ve seen it twice and it haunts me still!
Too young for the Olivia role, could have seen her in the Jesse role but Jessie was great,
I have to check out kindergarten teacher
Gyllenhaal is 44, Colman 47. Yes do check it out. It is a fascinating character portrait. Maggie is mesmerising in it.
Go Queen Jane!!
This is a snub for WSS. Netflix gets 3 out of 5. Is the Netflix bias fading?
It is a snub for WSS but it is worth remembering that USC has never nominated a musical so it isn’t a surprising snub… But yes, Go Queen Jane
But then again, during the Scripter’s existence only one stage musical adaptation has been Oscar nominated for screenplay (Chicago, which probably fell under what Sontag Glick noted about plays being ineligible for the award previously) and in general within the previous 40 years we’ve only two musicals nominated in adapted screenplay (Chicago and Pennies from Heaven)
This is true, which is why I am more confident in CODA than WSS in terms of films that aren’t here… It is an odd year for adapted screenplay I must say and something out of left field could make it in
I think it’s because there weren’t much acclaimed stage musical adaptations worthy to be nominated since Chicago. I mean the closest the I could think of was Hairspray.
This is a blow on West Side Story but I still think it will get nominated at the Oscars and Dune and The Tragedy of Macbeth will probably miss.
I also wonder if Drive My Car can make a splash? I’m still skeptical but it will be an interesting choice.
WandaVision sticks out like a sore thumb
Pleasant surprise for Dune. Wasn’t expecting that.
Since CODA is ineligible, that will probably take one spot (I’d imagine The Tragedy of Macbeth’s). Beyond that, are non-English language movies/source materials eligible?
Adaptation has to be English-language. Source material can be anything.
I was mostly wandering in relation to Drive My Car (because if it wasn’t, these would completely fall in line with my current predictions, just replacing Macbeth and Passing with CODA and Drive My Car)
I think at least a couple of these could go. I still think WSS and CODA are in so that would be at the expense of probably Macbeth and either Passing or Dune
Happy for Dune! 🙂
Sad for West Side Story 🙁