Sentences with phrase «whose screenplay for»

The script is by Dan Fogelman, a jokester whose screenplay for Crazy.

It doesn't hurt that the film was written by Robert Siegel, whose screenplays for

It doesn't hurt that the film was written by Robert Siegel, whose screenplays for The Wrestler and Big Fan were character studies of unconventional, deeply troubled protagonists.

Not exact matches

Stir of Echoes was based on a novel by Richard Matheson, whose work inspired such disparate films as Somewhere in Time and The Incredible Shrinking Man; it was written and directed by David Koepp, who wrote the screenplays for Jurassic Park and Mission: Impossible.

The screenplay for Tonight We Raid Calais was written by future blacklistee Waldo Salt, whose liberal stance was politically correct during wartime but considered a «no no» once peace was declared.

Take a Pulitzer Prize - winning author's first original screenplay, attach a respected director whose last film was considered a disappointment by many, and add a cast that includes Michael Fassbender (one of the highlights of that disappointing film), Brad Pitt, Javier Bardem, Penelope Cruz, and Cameron Diaz, and you have a solid formula for one of the most anticipated films of the year.

But the origins of Sorkin's rapid - fire screenplay can be found in Simon, whose characters have an equally large amount to say and are using language as a means of achieving political dominance, using every sentence to compete for space.

The crew being stalked by a bear - like creature, whose wails sound uncannily like those of a disappeared crew member, manages to exquisitely generate tension from its surrealistic conceit, while the climactic twenty minutes in the lighthouse sees Garland attempt to explore the theme of consciousness (a conceit he's tackled in everything from his screenplay for Never Let Me Go, to his directorial debut Ex Machina) from a different perspective.

Written by Alex Ross Perry (who's maybe the last human being on Earth whose name you'd expect to see in the closing credits) and filled with all of the sincerity that he's left out of the savagely caustic screenplays he's written for himself, «Nostalgia» begins with an insurance agent named Daniel (John Ortiz) visiting Ronald, a curmudgeonly old hoarder played by Bruce Dern.

It's an audience - approved template that Wiig (who co-wrote the screenplay with Annie Mumolo) has little problem personalizing, sincerely and ridiculously confronting issues of beauty, wealth, loyalty, monogamy, marriage, and sex through the tale of a character whose life spirals downward after her best friend, Lillian (Maya Rudolph), gets engaged and she's forced to battle for sole possession of BFF status with Lillian's glamorous and wealthy new sidekick, Helen (Rose Byrne).

But much of the credit should go to Lawrence Lasker, Walter F. Parkes, and Walon Green, whose screenplay deftly links the boy's sexual and moral maturation with a similar development on the part of the computer, thus accomplishing the thematic goal of «humanizing» technology that all the video - game movies — and video games themselves — have been striving for.

First, an almost flawless first time original screenplay by Aaron Guzikowski, whose only other writing credit was for his adaptation of the Icelandic film that became the Mark Wahlberg hit «Contraband.»

The character of Corinne is based on Carolyn Briggs, whose memoir, This Dark World, was the inspiration for the film, and who also co-wrote the screenplay.

Instead, it's based on an original screenplay by Charles Grayson (The Barbarian and the Geisha, 1958), The Woman on Pier 13, 1949) and Vincent B. Evans, a real - life bombardier on the Memphis Belle during WW2 whose only other screen credit was for Chain Lightning (1950).

Tracy Letts, whose August: Osage County play is written into the screenplay for Killer Joe, works with director William Friedkin (The Exorcist, The French Connection) once again, both having worked on the 2006 ultra paranoia movie Bug.

Also getting a best picture nomination (as well as nods for star Brie Larson, adapted screenplay by Emma Donoghue from her novel and director Lenny Abrahamson) was the singular «Room,» an emotional roller coaster whose success led to perhaps the biggest surprise of the morning.

Michel Franco, whose «Chronic» won a screenplay prize in the main competition two years ago,» received the Certain Regard jury prize for his latest, the family drama «April's Daughters» («Hijas de Abril»).

Produced by, among others, spy novelist Olen Steinhauer and veteran TV writer - producer Bradford Winters (whose screenplays cover an impressive chronology from The Borgias to The Americans), Berlin Station follows the hunt for a Snowdenesque mole who is leaking unflattering CIA secrets to the world.

Mind you, it has other good things going for it, too — a taut, intelligent and cleverly structured screenplay by Anthony McCarten, who brought us The Theory Of Everything, top - drawer direction from Joe Wright, whose 2007 wartime drama, Atonement, comes repeatedly to mind, and a scene - stealing but exquisitely judged supporting performance from Kristin Scott Thomas as Clementine Churchill.

Charlie Kaufman — «Synecdoche, New York «Having written some of the defining screenplays of the early noughties (ok fine, «Being John Malkovich» was 1999) Charlie Kaufman became something of a brand - name screenwriter — one whose own input rivalled that of the directors he's most associated with (Michel Gondry and Spike Jonze) for authorial ownership over the finished film.

The movie is about the process of learning, and the teacher, the movie suggests, is Cecil (based on Eugene Allen, whose story in an article by Will Haygood serves as the basis for the screenplay), a White House butler who serves for seven Presidents over the course of 29 years.

Lee, whose most recent credit includes the screenplay for A Beautiful Lie about crime novelist Patricia Highsmith, recently attended the Sundance Institute Screenwriters Intensive and spoke with us about her creative origins, inspiration culled from the Hong Kong New Wave, and how she hopes to balance the scales when it comes to women on screen.

Then, we revisit two interviews with first - time directors who could win major awards on Sunday: Yance Ford, whose film Strong Island is up for Best Documentary, and Greta Gerwig, a contender for Best Director and Best Original Screenplay for Lady Bird.

The direction and screenplay is by Jon Lucas and Scott Moore (The Change - Up, Rebound), whose claim to fame comes from writing the screenplay for the first Hangover film.

Will it be Martin McDonagh, whose Three Billboards screenplay took a blue - hot blowtorch to some of the most incendiary topics in American life (racism, police brutality, criminal justice, the abuse of women)-- and wound up singing its author, after a handful of critics called the film out for its insensitivity to racial dynamics in the U.S.?

12 Years a Slave (Fox, Blu - ray, DVD, Digital HD), coming hot off an Oscar win for Best Picture as well as Best Supporting Actress (Lupita Nyong» o, whose acceptance speech was a work of art) and Best Adapted Screenplay (by John Ridley), timed this release right.

He devised the story — about a Niagara Falls couple (Ryan Reynolds and Mireille Enos) whose young daughter is abducted and held prisoner for eight years by a foppish psychopath (Kevin Durand)-- and his screenplay, co-written with TV - movie vet David Fraser, employs his usual structural gamesmanship, leaping to and fro in time and withholding crucial details.

Three awards were lavished on Beyond the Hills, a Romanian nun melodrama that polarised the press: best screenplay for Cristian Mungiu, whose abortion drama 4 Months, 3 Weeks and 2 Days won the Palme d'Or in 2007, plus joint best actress awards for its leads.

Adapting Jane Austen is an unexpected move for Stillman, whose first four films used original screenplays written only by him.

Ayer, whose career began at the start of the millennium with screenplay credits for U-571 and the original The Fast and the Furious, has evolved into a respected filmmaker as writer - director of End of Watch and Fury.

The screenplay by Tony Gilroy — whose previous writing credits include The Bourne Identity (2002) and its three successors — provides a strong foundation for the film, demonstrating a solid understanding of the undercover world.

The Blue Tooth Virgin (R for profanity and brief drug use) Buddy comedy about a magazine editor (Bryce Johnson) whose friendship with an aspiring scriptwriter (Austin Peck) becomes strained after he offers frank feedback about his pal's latest screenplay.

Peele, whose directorial debut of GET OUT landed him several Academy Award Nominations, earned the Oscar for Best Original Screenplay.

The director race ended in a tie between «Carlos» helmer Olivier Assayas and David Fincher, whose «The Social Network» pulled in wins for Best Screenplay and, ultimately, Best Picture.

That would be all well and good, if not for the fact that the screenplay isn't really the stuff of deep drama, penned by David Wagner and Brent Goldberg, whose previous claims to movie fame were the crass misfires, Van Wilder and My Baby's Daddy.

In addition to the tie for screenplay, they awarded a «Palme d'Or Spéciale» to the veteran filmmaker Jean - Luc Godard, whose «The Image Book» was the most abrasive and adventurous thing in Cannes by several light years — another of his dense, synapse - frying meditations on the decay of language, imagery and civilization as we know it.

Unlike most modern - day actioners, it never plays grandiose, and never does the screenplay by Richard Wenk (16 Blocks, Just the Ticket) and Lewis John Carlino (whose original 1972 screenplay provides the basis for this one) try to tie what's going on into a larger, more topical world view.

McCarthy, whose books have been adapted into such fantastic films as No Country for Old Men and The Road, sold the spec screenplay The Counselor...

This is a film that has a great shot at an original screenplay nod, at the very least, for the great Bruce Wagner, whose script will be among the year's very best.

Nothing for its picturesque cinematography, its challenging screenplay adaptation, nor its direction by Jean - Marc Vallée, whose Dallas Buyers Club scored six Oscar nods last year, including a win in Best Actor for Matthew McConaughey.

In accepting his award (along with director Barry Jenkins) for best adapted screenplay for «Moonlight» on Sunday night, Tarell Alvin McCraney paid homage to another gay Oscar winner whose triumph inspired him the way he hoped his would inspire others.

The film reunites director Jason Reitman (Up In The Air) with screenwriter Diablo Cody (Juno), whose work was nominated for Best Original Screenplay by the Writers Guild of America and the Broadcast Film Critics Association.

On the face of it, Dickinson might seem well - matched to Davies, the English writer - director whose penchant for penetrating studies of anguished women (The Deep Blue Sea, Sunset Song) ought to place Cynthia Nixon's performance in a recognisable spectrum, of distant voices and still lives.Instead, Davies's screenplay is remarkable mostly for an archness and artifice only partially redeemed by several of the performances.

The Salesman, from Iranian director Asghar Farhadi (A Separation), picked up two awards: one for Farhadi's screenplay, the other a Best Actor prize for Shahab Hosseini, who plays a stage actor whose wife is assaulted in their home.

Asghar Farhadi (pictured above) returned and picked up two prizes, best actor and best screenplay, for a not - quite - up - to - his best Forushande / The Salesman, a post-earthquake tale whose tremors reverberate and imbalance an artsy couple playing in a Persian version of Arthur Miller's play.

There was no best actress nomination for Sally Hawkins, whose sunny schoolteacher in Mike Leigh's Happy - Go - Lucky had been expected to pick one up; although Mike Leigh's script did make an appearance in the best original screenplay category — a controversial inclusion, given that Leigh's films are largely the result of improvisation.

The film's screenplay is written by playwright Tom Stoppard, whose works like «Rosencrantz and Guildenstern Are Dead» and «Arcadia» are widely acclaimed; he also penned screenplays for Terry Gilliam's «Brazil,» John Madden's «Shakespeare In Love,» and Joe Wright's «Anna Karenina.»

If the word «adapted» is tripping you up, the CliffsNotes explanation is that the Academy's nutso rules decree that established franchises, whose subsequent installments have such credits as «based on characters created by Richard Linklater and Kim Krizan,» become ineligible for Original Screenplay honors.

Best screenplay went to Malcolm Campbell for What Richard Did, the story of a popular Irish teenager whose life is changed forever after a senseless act of violence.

King Arthur's screenplay was written by David Franzioni, whose script for Gladiator somehow led to an undeserving Best Picture.