![]() Some things haven’t changed, list to list. And formerly individuated genres like sci-fi, horror, comedy, and drama intersect freely, sometimes all in the same screenplay-see Parasite or The Lobster. Depth of character, once strictly the province of the drama, or the issue film, is not out of place in a superhero movie or one starring a badly behaving bridesmaid. There are seven scripts for animated films on the new list. This great (right?) democratization of content has also changed a lot of hard-and-fast rules. The studio system has given way to the streaming system, where everything, no matter the source, competes for eyeballs. Get Out wasn’t conceived and written under any such restrictions, with a catch: The very concept of “writing for the screen” is in existential crisis. “We weren’t making art, we were making a living,” screenwriter Julius Epstein famously quipped of the studio system under which Casablanca was written. More to the point, there is not the sense that the writer had to contrive a way to make his or her character more…relatable, regardless of race, gender, or sexual orientation.Īs the number one vote-getter, Get Out is this list’s version of Casablanca: Imagine Jordan Peele pitching his concept to Jack Warner, and it immediately becomes apparent why comparing screenplays across Hollywood epochs is a non-starter. There are some 30 female screenwriters this time around, and five writers of color in the top 10. On the prior list, classic films about women, like Sunset Boulevard or All About Eve, were still narrated by men-one lying dead in a swimming pool. ![]() 'The new 101 Greatest Screenplays of the 21st Century (*so far) could not but tell a different, and fluid, story. Screenplays of the 21st Century (so far).Discrimination in Hiring & Representation.
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