Oscars Analysis 2011: The screenplays
Sometimes I worry that the rationale behind awarding Oscars for screenplays is utterly fraudulent. Don’t get me wrong, I’m not denigrating the importance of writing in today’s cinematic climate, not least when high-brow critics constantly grumble about how “Scripts don’t matter anymore” and “Young people are too attention-addled to appreciate a proper art film” and “What the hell is Twitter, anyway?”. My real concern is that, of all of the prizes awarded at the Academy Awards, the screenplay is the one category that voters can’t actually see. For Best Costume Design, they can judge a film’s wardrobe; for Best Cinematography, they can follow the camera movements and lighting; for the acting fields, they can watch the performer. You get the idea.
But a screenplay? Hell, a screenplay is just a few hundred typewritten pages that might have been drafted years ago and were lying in a dusty desk drawer underneath some old Superman comics until a director miraculously came along and decided to turn them into a movie. Of course, it rarely works that way (though Clint Eastwood apparently sat on the Oscar-nominated script for Unforgiven for 15 years until he was old enough to play the lead), but I nevertheless wonder if we can accurately judge a screenplay on its own merits rather than as a mere stepping stone to a finished film.
But so it goes. Besides, these are two of the categories in which the Academy regularly exhibits a certain degree of bravery (“The Oscar-winning Eternal Sunshine of the Spotless Mind” always has a nice ring to it), so I suppose I shouldn’t be staring into the mouths of gift horses. Read More