Before Hollywood's biggest stars deliver their acceptance speeches at Sunday's Academy Awards, the 2013 Writers Guild Awards have honored the folks who supply A-list actors and actresses with words. The 65th annual ceremony kicked off Sunday, celebrating the best and the brightest behind the scenes — and behind the pen — in television, film, and beyond in 2012.
But there were few surprises at the awards — Mark Boal picked up his second WGA win for Zero Dark Thirty (he won his first for Hurt Locker in 2010) while television's critical darlings, Breaking Bad and Louie proved to be victorious.
Who else was a big winner at the WGA awards? See below to find out!
MOTION PICTURE CATEGORIES
Zero Dark Thirty, written by Mark Boal; Columbia Pictures
Argo, screenplay by Chris Terrio; based on a selection from The Master of Disguise by Antonio J. Mendez and the Wired magazine article “The Great Escape” by Joshuah Bearman; Warner Bros. Pictures
Searching for Sugar Man, written by Malik Bendejelloul; Sony Pictures Classics
Breaking Bad, Written by Sam Catlin, Vince Gilligan, Peter Gould, Gennifer Hutchison, George Mastras, Thomas Schnauz, Moira Walley-Beckett; AMC
Louie, Written by Pamela Adlon, Vernon Chatman, Louis C.K.; FX
Girls, Written by Judd Apatow, Lesley Arfin, Lena Dunham, Sarah Heyward, Bruce Eric Kaplan, Jenni Konner, Deborah Schoeneman, Dan Sterling; HBO
Mad Men (AMC), Written by Semi Chellas and Matthew Weiner, "The Other Woman"
LONG FORM – ORIGINAL
Hatfields & McCoys (History Channel), Teleplay by Ted Mann and Ronald Parker, Story by Bill Kerby and Ted Mann, Nights Two and Three
LONG FORM – ADAPTED
Game Change (HBO), Written by Danny Strong, Based on the book by Mark Halperin and John Heilemann
Modern Family (ABC), Written By Elaine Ko; ABC, "Virgin Territory"
COMEDY/VARIETY (INCLUDING TALK) — SERIES
Portlandia, Written by Fred Armisen, Carrie Brownstein, Karey Dornetto, Jonathan Krisel, Bill Oakley
COMEDY/VARIETY — MUSIC, AWARDS, TRIBUTES — SPECIALS
66th Annual Tony Awards, Written by Dave Boone, Special Material by Paul Greenberg; Opening and Closing Songs by David Javerbaum, Adam Schlesinger; CBS
CHILDREN'S – EPISODIC & SPECIALS
Sesame Street (PBS), Written by Christine Ferraro, "The Good Sport"
CHILDREN'S — LONG FORM OR SPECIAL
"Girl vs. Monster," Story by Annie De Young; Teleplay by Annie De Young and Ron McGee; Disney Channel
The Simpsons, Written by David Mandel & Brian Kelley; Fox, "Ned and Edna's Blend Agenda"
The Young & the Restless, Written by Amanda Beall, Jeff Beldner, Brent Boyd, Susan Dansby, Janice Ferri Esser, Jay Gibson, Scott Hamner, Maria Kanelos, Natalie Minardi Slater, Beth Milstein, Michael Montgomery, Anne Schoettle, Linda Schreiber, Lisa Seidman, Sarah K. Smith, Christopher J. Whitesell, Teresa Zimmerman; CBS
DOCUMENTARY — CURRENT EVENTS
Frontline, Written by Martin Smith and Marcela Gaviria; PBS, "Money, Power and Wall Street: Episode One"
DOCUMENTARY — OTHER THAN CURRENT EVENTS
Nova, Written by Randall MacLowry; PBS, "The Fabric of the Cosmos: The Illusion of Time"
NEWS — REGULALRY SCHEDULED, BULLETIN, OR BREAKING REPORT
"Tragedy in Colorado: The Movie Theatre Massacre," Written by Lisa Ferri, Joel Siegel; ABC News
NEWS — REGULARLY SCHEDULED OR BREAKING REPORT
"World News This Year 2011," Written by Darren Reynolds; ABC News Radio
NEWS — ANALYSIS, FEATURE OR COMMENTARY
"Dishin Digital," Written by Robert Hawley, WCBS-AM
PROMOTIONAL WRITING AND GRAPHIC ANIMATION CATEGORIES
ON-AIR PROMOTION (RADIO OR TELEVISION)
"Partners," Written by Dan A. Greenberger, CBS
TELEVISION GRAPHIC ANIMATION
Sunday Morning with Charles Osgood, Animation by Bob Pook; CBS, "The Oscars"
NEW MEDIA AND VIDEOGAME CATEGORIES
OUTSTANDING ACHIEVEMENT IN WRITING DERIVATIVE NEW MEDIA
The Walking Dead: Cold Storage, Written by John Esposito (amctv.com) – “Hide And Seek,” “Keys to the Kingdom,” “The Chosen Ones,” “Parting Shots”
OUTSTANDING ACHIEVEMENT IN WRITING ORIGINAL NEW MEDIA
Jack In A Box, Written by Michael Cyril Creighton (jackinaboxsite.com) – “The Compromises, Episode 1,” “The Pest, Episode 3,” The Snake, Episode 4,” “The Bonding, Episode 6,” “The Future, Episode 7/Series Finale”
OUTSTANDING ACHIEVEMENT IN VIDEOGAME WRITING
Assassin's Creed III: Liberation, Scriptwriting by Richard Farrese, Jill Murray; Ubisoft
What do you think of this year's winners? Let us know in the comments!
Follow Alicia on Twitter @alicialutes.
With each outing in his evolving filmmaking career actor-turned-director Ben Affleck has amped up the scope. Gone Baby Gone was a character drama woven into a hard-boiled mystery. The Town saw Affleck dabble in action pulling off bank heists many compared to the expertise of Heat. In Argo the director pulls off his most daring effort melding one part caper comedy and two parts edge-of-your-seat political thriller into an exhilarating theatrical experience.
At the height of the Iranian Revolution in 1979 anti-Shah militants stormed the U.S. embassy and captured 52 American hostages. Six managed to escape the raid finding refuge in the Canadian ambassador's home. Within hours the militants began a search for the missing Americans sifting through shredded paperwork for even the smallest bit of evidence. Under pressure by the ticking clock the CIA worked quickly to formulate a plan to covertly rescue the six embassy workers. Despite a lengthy list of possibilities only Tony Mendez (Affleck) had a plan just enticing enough to unsuspecting Iranian officials to work: the CIA would fake a Hollywood movie shoot.
There's nothing in Argo or Affleck's portrayal of Mendez that would tell you the technical operations officer has the imagination to conjure his master plan — Affleck perhaps to differentiate himself from the past plays his character with so much restraint he looks dead in the eyes — but when the Hollywood hijinks swing into full motion so does Argo. Mendez hooks up with Planet of the Apes makeup artist John Chambers (John Goodman) and producer Lester Siegel (Alan Arkin) to convince all of Hollywood that their sci-fi blockbuster "Argo " is readying for production. With enough promotional material concept art and press coverage Mendez and his team can convince the Iranian government they're a legit operation. A location scout in Tehran will be their method of extracting the bunkered down escapees.
Without an interesting lead to draw us in Affleck lets his eclectic ensemble do the heavy lifting. For the most part it works. Argo is basically two movies — Goodman and Arkin lead the Ocean's 11-esque half and Affleck takes the reigns when its time to get the six — another who's who of character actors including Tate Donovan Clea Duvall Scoot McNairy and Rory Cochrane — through the terrifying security of the Iranian airport. Arkin steals the show as a fast talking Hollywood type complete with year-winning catchphrase ("ArGo f**k yourself!) while McNairy adds a little more humanity to the spy mission when his character butts heads with Mendez. The split lessens the impact of each section but the tension in the escape is so high so taut that there's never a moment to check out.
Reality is on Affleck's side his camera floating through crowds of protestors and the streets of Tehran — a warscape where anything can happen. Each angle he chooses heightens the terror which starts to close in on the covert escape as they drift further and further from their homebase. Argo is a complete package with the '70s production design knowing when to play goofy (the fake movie's wild sci-fi designs) and when to remind us that problems took eight more steps to fix then they do today. Alexandre Desplat's score finds balance in haunting melodies and energetic pulses.
Part of Argo's charm is just how unreal the entire operation really was. To see the men and women involved go through with a plan they know could result in death. It's a suspenseful adventure and while there's not much in the way of character to cling to the visceral experience tends to be enough.