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.
What no "giant sea pods" this time? Instead The Invasion skews the Body Snatchers scenario by making the alien invasion a virus rather than plant life. Said virus which comes to Earth via a mysterious crash of a space shuttle is transmitted by some form of bodily fluid-to-bodily fluid connection. For example throwing up into people's faces or coffee cups is a fun way to spread the disease. The end result however is the same: Once the infected person falls asleep they undergo a transformation and wake up looking the same but are unfeeling and inhuman—and ready to organize. As the infection spreads and more and more people are altered there are a few humans left fighting for their lives including psychiatrist Carol Bennell (Nicole Kidman) and her doctor friend Ben Driscoll (Daniel Craig). Carol’s only hope is to stay awake long enough to find her young son who may hold the key to stopping the devastating invasion. But we won’t tell you how. OK it has something to do with an immunity but that’s all we are going to say. Nicole Kidman has had a string of bad luck since winning that damn Oscar for The Hours. One wonders if maybe the golden statuette might actually be a curse (Cuba Gooding Jr. anyone?). Still regardless of the movie--be it Bewitched The Stepford Wives or Fur: An Imaginary Portrait of Diane Arbus--Kidman manages to turn in a decent performance. The same goes for The Invasion. Her mother bear act is quite believable as she races to find her son (played with spunk by Jackson Bond) while trying to stay awake and pretending to be cold and unemotional among the pod people--oh excuse me the virally infected people. You root for her all the way. Craig doesn’t have as much to do but still delivers when it counts. In a supporting role Jeremy Northam does a nice job as Carol’s ex-husband a CDC doctor who is one of the first to get infected. As does the always good Jeffrey Wright as a very clever genetic scientist. Even Veronica Cartwright one of the survivors in the 1978 Invasion of the Body Snatchers makes a cameo as one of Carol’s patients who tells her “My husband isn’t my husband!” Famous last words. Body snatching must be a popular water-cooler topic at the movie studios. Starting with the 1956 sci-fi classic Invasion of the Body Snatchers in which Kevin McCarthy barely escapes his small town with his life running into highway traffic screaming “They're here already! You're next! You're next You're next...” there have been at least two other versions including the above-mentioned 1978 film and the 1993 film Body Snatchers. To its credit The Invasion switches things up a bit nixing the pods and making it more relevant to our current socio-political climate. It even begs the question: Could we be better off if we didn’t have emotions? But the movie is still mired by its derivativeness and too-pat ending—and it also apparently had problems getting off the shelf. Originally wrapped in early 2006 rumor has it the studio didn’t like German director Oliver Hirschbiegel’s original cut and brought in Matrix’s Andy Wachowski and Larry Wachowski for rewrites and James McTeigue (V for Vendetta) to direct the new scenes. Again to its credit The Invasion surprisingly feels cohesive despite all the different influences. Let’s just say whoever came up with the tense car chase in which Carol tries to throw off the pod people (it's just more effective calling them that) draped all over the car kudos to them.
The movie tagline sort of sums it up: "Four guys from the suburbs hit the road...and the road hits back." The four middle-aged friends who like to jump on their motorcylces and go riding around once a week are: Doug (Tim Allen) a dentist embarrassed by his job; Bobby (Martin Lawrence) a henpecked husband who wants to break away from being a plumber; Dudley (William H. Macy) a mild-mannered computer programmer and resident geek; and finally Woody (John Travolta) an entrepreneur with seemingly the most going for him. In actuality Woody is about to hit rock bottom but rather than be honest with his friends he convinces them all to hit the open road with him--to feel the wind in their hair so to speak. And as they go looking for adventure they soon find that they’ve embarked on a journey they will never forget. Uh-huh. Who would have thought these four actors would make a movie together? Casting Wild Hogs looked like the best part about making the movie as the producers probably sat around coming up with different variations (wonder who else they considered--Tom Hanks? Steve Carell?) Comedy veterans Allen and Lawrence have fun riffing on one another doing their shtick here and there while Travolta (the only real biker of the bunch) and Macy easily keep up with the antics. For the most part these guys click but I’m sure everyone did this purely for the money—and the Harleys. Ray Liotta gets to play the menacing villain once again as the leader of a motorcycle gang who has it out for our hapless quartet. Of course this time Liotta plays it for laughs and does a nice job with it. Even Marisa Tomei makes an appearance as a small town denizen who falls for Macy’s Dudley as the boys end up defending the town from Liotta and his thugs Magnificent Seven-style. You can see every plot point coming a mile away plus a few director Walt Becker probably didn’t even know were in there. But honestly from the guy who directed Van Wilder what did you expect? Becker is handy with a camera and totally knows where the film’s bread is buttered focusing all his energy and attention on his four stars. Unfortunately in doing so Wild Hogs mostly misses out on the poignancy of say a City Slickers even though it tries real hard to get us to connect with these middle-aged men trying to recapture youth--or whatever. But listen this isn’t supposed to change the world; Wild Hogs is just pure dumb fun about a group of guys wearing leather and riding hogs. Period.
The Hoover household is something of an insane asylum but nobody would ever knowingly hurt anyone except him- or herself. Richard (Greg Kinnear) is a deluded optimist and motivational speaker who only motivates himself. His wife Sheryl (Toni Collette) unwittingly reinforces his behavior by placating him and hiding her frustration. Sheryl’s dad (Alan Arkin) an acid-tongued old-timer who’s hooked on heroin and brother (Steve Carell) a gay suicidal Proust scholar who is the epitome of the “crazy uncle” cliché are also aboard the crazy train. Richard and Sheryl’s son Dwayne (Paul Dano) is a Nietzsche follower who only communicates with his family by writing. Then there’s the daughter Olive (Abigail Breslin) the family’s glue. All she wants is to compete in the Little Miss Sunshine beauty pageant so the Hoovers all load their baggage onto the family’s VW bus--which barely runs--and embark on a long bumpy ride to California.
If only there were a Best Ensemble Oscar Sunshine’s cast would…get snubbed for being too quirky but still. And by constantly upstaging one another the actors may have further hurt their chances. It is this no ego effect however that is central to the movie’s theme and success. While all the performances are nothing short of superb the three showstoppers are Collette Carell and Breslin. Aussie Collette continues her brilliantly understated career with this turn as a well-meaning Everymom who ultimately only wants to nurture her family. Carell perhaps the only one with a fighting chance at an Oscar nod shows us why he’s really a megastar: he can act with a complete about-face from his usual roles as evidence. (Lest we forget this is a guy who up until recently was a fake-news correspondent!) And Breslin (Signs) is simply an amazing young talent who provides all the wide-eyed caffeine the film needs and then some but does so with precious maturity. It’s as if she inspired the title. There’s a quirky behind-the-scenes story too: Sunshine’s directors--plural--are married to one another! Husband-and-wife duo Jonathan Dayton and Valerie Faris are widely known music-video directors but not the type who would make their big-screen transition with something like say Torque; thankfully they chose substance over style. If not for these very gifted directors Sunshine could’ve come unhinged where so many pedestrian “dysfunctional family” indies do: by turning the characters each with a laundry list of defining quirks into caricatures. But thanks in equal parts to the direction acting and flawless script (from first-timer Michael Arndt) there is so much truth to each character. Most notable though is the linear nature of the story; these directors clearly don’t need swooping twists to convey their themes and profundity and that is rare and remarkable. The climax with which it all culminates can only be described as unforgettable.