Click to Skip Ad
Closing in...
Berlin Review: Could 'War on Everyone' Be the Best Bad Cop Comedy Ever? Berlin Review: Could 'War on Everyone' Be the Best Bad Cop Comedy Ever? Berlin Review: With 'Midnight Special,' Jeff Nichols Offers Up a Very Special Sci-Fi Thriller Berlin Review: With 'Midnight Special,' Jeff Nichols Offers Up a Very Special Sci-Fi Thriller How They Designed the Characters and Sounds for the Oscar-Nominated 'Mad Max: Fury Road' How They Designed the Characters and Sounds for the Oscar-Nominated 'Mad Max: Fury Road' Meryl Streep to Fund The Writers Lab, Supporting Women Screenwriters Over 40 (EXCLUSIVE) Meryl Streep to Fund The Writers Lab, Supporting Women Screenwriters Over 40 (EXCLUSIVE) Oscar Predictions 2016 Oscar Predictions 2016 Roger Deakins on Shooting Hollywood From the Inside Out in 'Hail, Caesar!' (Video) Roger Deakins on Shooting Hollywood From the Inside Out in 'Hail, Caesar!' (Video) A Letter to Michael B. Jordan A Letter to Michael B. Jordan Bona Fide Acquires Movie Rights to Knausgaard New York Times Series 'My Saga' for Alexander Payne (EXCLUSIVE) Bona Fide Acquires Movie Rights to Knausgaard New York Times Series 'My Saga' for Alexander Payne (EXCLUSIVE) WATCH: 9 Oscar-Nominated Screenwriters on How They Got Their Start, Their Writing Process, and Much More WATCH: 9 Oscar-Nominated Screenwriters on How They Got Their Start, Their Writing Process, and Much More Inside the Oscar Nominees Lunch Inside the Oscar Nominees Lunch How John Ridley and Company Create the Emotional Resonance of 'American Crime' How John Ridley and Company Create the Emotional Resonance of 'American Crime' Top 10 Takeaways:  'Hail, Caesar!' Leads Three New Releases—Which Barely Total $20 Million Top 10 Takeaways: 'Hail, Caesar!' Leads Three New Releases—Which Barely Total $20 Million 'Deadpool' Review & Roundup: Ryan Reynolds Finds a Franchise Worthy of His Talents 'Deadpool' Review & Roundup: Ryan Reynolds Finds a Franchise Worthy of His Talents Arthouse Audit: 'The Club' and 'Rams' Reveal Weakness in Subtitled Film Market Arthouse Audit: 'The Club' and 'Rams' Reveal Weakness in Subtitled Film Market Inside the Directors Guild Awards Inside the Directors Guild Awards Joel & Ethan Coen Crack Each Other Up, And Me, Talking About 'Hail, Caesar!' Joel & Ethan Coen Crack Each Other Up, And Me, Talking About 'Hail, Caesar!' Why George Miller Should Win DGA Award and Directing Oscar for 'Mad Max: Fury Road' Why George Miller Should Win DGA Award and Directing Oscar for 'Mad Max: Fury Road' WATCH: Oscar Nominee Tom Hardy Explains Why Shooting 'The Revenant' Was So Bloody Hard (EXCLUSIVE VIDEO) WATCH: Oscar Nominee Tom Hardy Explains Why Shooting 'The Revenant' Was So Bloody Hard (EXCLUSIVE VIDEO) How They Created the Bear VFX for the Mauling of Leonardo DiCaprio in 'The Revenant' How They Created the Bear VFX for the Mauling of Leonardo DiCaprio in 'The Revenant' What Happened to Scorsese's $70-Million Short 'The Audition' Starring DiCaprio, De Niro and Pitt? What Happened to Scorsese's $70-Million Short 'The Audition' Starring DiCaprio, De Niro and Pitt?

Writers Guild Ballot Reveals Ineligible Oscar Contenders That Won't Get WGA Boost; 'Les Miserables' Key Omission

Photo of Anne Thompson By Anne Thompson | Thompson on Hollywood December 17, 2012 at 2:27PM

January 3 marks the day that Writers Guild nominations will be announced--and Academy ballots are due. It's not surprising that scruffy indie "Beasts of the Southern Wild" should be left off the Writers Guild ballot. The WGA always leaves off films that were deemed ineligible, often foreign ("A Separation"), indie ("Pulp Fiction") or animated players ("Up") who either aren't guild signatories or didn't pony up to get qualified.
0
'Les Miserables'
'Les Miserables'

January 3 marks the day that Writers Guild nominations will be announced--and Academy ballots are due. It's not surprising that scruffy indie "Beasts of the Southern Wild" should be left off the Writers Guild ballot. The WGA always leaves off films that were deemed ineligible, often foreign ("A Separation"), indie ("Pulp Fiction") or animated players ("Up") who either aren't guild signatories or didn't pony up to get qualified.

But for Working Title not to qualify William Nicholson's script for big-budget "Les Miserables" is more surprising. (The production is not a signatory to the guild.) In this case Writers Guild cred could be crucial to an eventual adapted screenplay nomination, because the movie is perceived as a version of the stage musical that is all sung. The painstaking changes and adaptations that made the movie possible could use some attention.

"The Artist" and "The King's Speech" both managed to make it to the Best Picture Oscar without the benefit of a WGA nomination. Thus the Weinstein Co. doesn't care about getting the extra spotlight for such films as "Quartet" and French Oscar entry "The Intouchables." TWC auteur Quentin Tarantino, for one, has never joined the Guild, which has not hurt his chances with the Academy in the past. He finally joined the DGA this year, which does nominate deserving filmmakers who aren't signatories, and happily delivered the first dripping wet screening of "Django Unchained" to that group.

In Contention's Kris Tapley got hold of a ballot and sussed out some 15 awards contenders that weren't there.

Among possible 2012 Academy writer nominees films not WGA eligible are foreign films from Sony Pictures Classics' (Austrian Oscar entry "Amour," from Michael Haneke and Jacques Audiard's "Rust and Bone") and Lionsgate/Summit ("The Impossible"), Brit contenders Best Exotic Marigold Hotel," "Anna Karenina," and "The Deep Blue Sea," indie films from Martin McDonagh ("Seven Psychopaths"), Ava DuVernay ("Middle of Nowhere"), Sarah Polley ("Take This Waltz") and Lynn Shelton ("Your Sister's Sister") as well as Disney/Pixar's animated "Brave."

This article is related to: Oscars, Awards, Awards


E-Mail Updates






Festivals on TOH



Thompson on Hollywood

Born and raised in Manhattan, Anne Thompson grew up going to the Thalia and The New Yorker and wound up at grad Cinema Studies at NYU. She worked at United Artists and Film Comment before heading west as that magazine's west coast editor. She wrote for the LA Weekly, Sight and Sound, Empire, The New York Times and Entertainment Weekly before serving as West Coast Editor of Premiere. She wrote for The Washington Post, The London Observer, Wired, More, and Vanity Fair, and did staff stints at The Hollywood Reporter and Variety. She eventually took her blog Thompson on Hollywood to Indiewire. She taught film criticism at USC Critical Studies, and continues to host the fall semester of “Sneak Previews” for UCLA Extension.