Today was the release of the annual Black List which is distributed in the movie business. It’s compiled from the suggestions of over 150 film executives and high-level assistants, each of whom contributed the names of up to 10 of their favorite scripts that were written in, or are somehow uniquely associated with, 2007 and will not be released in theaters during this calendar year. Like last year, scripts had to receive at least two mentions to be included on the roster. Remember, The Black List emphasizes that it’s not a “best of” list but, at best, a “most liked” list.
This is also a “big dick” measuring contest for the Hollywood agencies and their motion picture lit departments: the most screenplays on the list were repped by Creative Artists Agency, followed closely by (in order of quantity) William Morris Agency, United Talent Agency, Endeavor, Paradigm, International Creative Management, and Gersh. Problem is, some screenwriters tell me this list isn’t on the level because it consists of mainly junior studio execs and assistants along with self-interested agents and managers getting together to push their own clients and projects some of which have already been abandoned.
I’ve decided to cause trouble and post just the index:
44 MENTIONS
RECOUNT by Danny Strong
43 MENTIONS
FARRAGUT NORTH by Beau Willimon
38 MENTIONS
PASSENGERS by Jon Spaihts
35 MENTIONS
INFILTRATOR by Josh Zetumer
29 MENTIONS
SELMA by Paul Webb
27 MENTIONS
CURVEBALL by Steve Knight
25 MENTIONS
I WANT TO F— YOUR SISTER by Melissa Stack
24 MENTIONS
THE ROAD by Joe Penhall
21 MENTIONS
THE WAY BACK by Nat Faxon & Jim Rash
17 MENTIONS
THIS SIDE OF THE TRUTH by Matt Robinson
16 MENTIONS
DUBAI by Adam Cozad
PIERRE PIERRE by Edwin Cannistraci & Frederick Seton
14 MENTIONS
THE NECESSARY DEATH OF CHARLIE COUNTRYMAN by Matt Drake
13 MENTIONS
SOURCE CODE by Ben Ripley
11 MENTIONS
EDWIN A. SALT by Kurt Wimmer
THE HUMAN FACTOR by Anthony Peckham
UNION STATION by Doug Jung
10 MENTIONS
ADVENTURELAND by Greg Mottola
9 MENTIONS
KAMIKAZE LOVE by Chad Damiani & JP Levin
7 MENTIONS
BFF by Chad & Dara Creasey
THE BOOK OF ELI by Gary Whitta
LION MAN OF TUSCANY by Nathan Skulnik
NEVER LET ME GO by Alex Garland
UNTITLED BILL CARTER PROJECT by Jordan Roberts
6 MENTIONS
$40,000 MAN by John Daily & Jonathan Goldstein
THE ART OF MAKING MONEY by Frank Baldwin
BLITZ by Nathan Parker
MANAGEMENT by Stephen Belber
SHELTER by Karl Mueller
SLUMDOG MILLIONAIRE by Simon Beaufoy
UNTITLED MICHAEL MANN/JOHN LOGAN PROJECT by John Logan
WEDNESAY by Massy Tadjedin
THE WOLF OF WALL STREET by Terence Winter
5 MENTIONS
DREAMS OF THE ROMANS by John Hindman
GET BACK by Chris McCoy
JENNIFER’S BODY by Diablo Cody
JONES by Carol Heikkinen
MAN ON THE TRAIN by Dan Taplitz
VALKYRIE by Chris MacQuarrie
WORLD WAR Z by J. Michael Straczynski
THE WRESTLER by Robert Siegel
ZOMBIELAND by Rhett Reese & Paul Wernick
4 MENTIONS
20,000 LEAGUES UNDER THE SEA by Craig Titley
BALTIMORE by Chris Terrio & Jesse Lichtenstein
COLD CITY by David James Kelly
DARKON by John Hodgman
GENIUS by John Logan
BROTHERS IN ARMS aka HILL 427 by Noah Lukeman
ORPHAN by David Leslie Johnson
SCORE by Jeremy Slater
UNTITLED C. RANDOLPH PHARMACEUTICAL SCRIPT by Charles Randolph
3 MENTIONS
ALL GOOD THINGS by Marcus Hinchey, Marc Smerling & Andrew Jarecki
BLACK BOX by Brad Holloway
BLINDNESS by Don McKellar
BUTTERCUP by Alice O’Neil
CLASH OF THE TITANS by Travis Beacham
DEAR JOHN by Jamie Linden
DIRTY GIRL by Abe Sylvia
DOUBT by John Patrick Shanley
ELI WEBB by Thompson Evans
HANGOVER by Jon Lucas & Scott Moore
HAPPYTHANKYOUMOREPLEASE by Josh Radnor
HOW TO LOSE FRIENDS AND ALIENATE PEOPLE by Peter Straughan
JEFF THE IMMORTAL by Chris Bishop
JOY by Jack Paglen
LAST CHANCE HARVEY by Stephen Hopkins
MAGGIE LYNN by Craig Brewer
THE ORNATE ANATOMY OF LIVING THINGS by Matt Spicer and Max Winkler
RELATIVITY by Peter Craig
THE REVENENT by Mark L Smith
TEHRAN by Richard Regen
3 MENTIONS
TOKYO SUCKERPUNCH by Ed Solomon
UNTITLED CHEF PROJECT by Steve Knight
THE WACKNESS by Jon Levine
THE WEDDING PARTY by Francesca Marciano
WILD WILD EAST by Chase Palmer
WITH KIND REGARDS FROM KINDERGARTEN by Adam K Kline
THE WIZARDS OF PERFIL by Keith Fulton & Lou Pepe
WRECKING BALL by Susan Brightbill
ZELDA by Hanna Weg
2 MENTIONS
36 by Richard Price
THE 37TH DIMENSION by Griffin Creech & Tom Kuntz
ARCADIA DISINHERITED by Adam Hutchinson
ALFRED HITCHCOCK AND THE MAKING OF PSYCHO by John McLaughlin
BACK EAST by Zach Whedon
BEAT KIP by Rob Kerkovich & Todd Waldman
BFF by Jenni Konner & Alli Rushfield
BROMANCE by Barry Schwartz & Raza Syed
BURN AFTER READING by The Coen Brothers
COXBLOCKER by Greg Coolidge and Tim Dowling
DEEP THROAT by Peter Landesman
DEMOLITION by Bryan Sipe
THE DEVIL AND THE DEEP BLUE SEA by Robbie Pickering
THE DUCHESS by Jeffrey Hatcher & Anders Thomas Jensen
DUPLICITY by Tony Gilroy
EAGLE EYE by Hilary Seitz
ENRON by Sheldon Turner
FIASCO HEIGHTS by Kyle Ward
FORTRESS OF SOLITUDE by Josh Marston
GIANT MONSTERS ATTACK JAPAN by JF Lawton
A GOOD MOTHER by Rey Howard
I ROCK IRAQ by Stephen Chin
IN by Bess Wohl
JIMBO by William Finkelstein
JUSTICE LEAGUE OF AMERICA by The Mulroneys
THE LAND OF LOST THINGS by Dan Mazeau
LET IT FALL by John Ridley
MAMMOTH by Lukas Moodysson
MAN AND WIFE by Lorene Scafaria
MAN UNDER by Ann Cherkis
MATZOBALLERS by Adam Herschman
NO MAN’S LAND by Jeff Nachmanoff
OCEAN BEACH by Frank Cassese & Joel Plotch
OF EVERY WICKEDNESS by Brian McGreevey & Lee Shipman
PANDORA by Karl Gajdusek
PICTURES OF YOU by Josh Friedlander
ROSCOE by Steve Zaillian
SEX AND SYLVIA PLATH by Jennifer O’Kieffe
SHOTGUN HARLEY by Jason Jones & Mike Beaver
SOMEBODY TO LOVE by Michael Cunningham
SPACE INVADER by Mike Lisbe & Nate Reger
STRANGE SKIES by Pat Healy
THE TOWN by Peter Craig
UNIQUE by Michael Cooney
WHIP IT by Shauna Cross
WILL by Demetri Martin
YEARBOOK by Bob Nelson
YES MAN by Nick Stoller
Editor-in-Chief Nikki Finke - tip her here.





The “f-word” exists.
Get over it, Sandy.
Excited to see this Alex Garland script.
I’ve heard a lot about Burn After Reading. Sounds good.
Hey, John August, you’re not on the list…maybe let’s have something that Tim Burton won’t be directing, please? “GO” back to your old style.
As a member of the homosexual lobby, I’m disgusted by Sandy Daley’s attempts to further denigrate a writer by invoking our name. Though homosexual deaths in films are unfortunate (and ought to be avoided), Neuter-think has never been part of our gay agenda.
I pray to my false god (the Oscar, an infallible harbinger of taste) that the reeducation swat team has already begun a John Waters marathon, so that in the future, she may speak more accurately to the needs and desires of flaming homos, like myself, everywhere.
I WANT TO FUCK YOUR CORPSE is actually set up with Lions Gate right now with Selma Blair and Ryan Reynolds attached. I read it and it’s absolutely delightful. And to the ignorant haters out there: read the scripts before you judge them. Because the title is I Want to Fuck YOUR Corpse, not I Want to Fuck A Corpse.
I am one of the voters for the list and I can tell you that no one influenced my choices in any way – I seriously voted for the scripts that I loved reading this year (and I work at a production company – I have no clients to tout). It didn’t and doesn’t matter if they are available or not (so I find the idea that the list “jumped the shark” ridiculous)- it’s about sharing material that we think is good, whether or not it’s getting made. Sure, we do all read a ton of material, so you can call us jaded, but it really is on the level. It was started by an exec who just wanted to help out and share good work that’s being done that everybody might not know about. It’s amazing to me that so many writers are posting sour grapes stuff here based on titles, etc (Sandy, you might try reading the actual script before railing to long and hard against it) – you would think that writers would appreciate a list like this. A few of these scripts were sold in big, splashy deals, but most of these scripts are small stories that aren’t likely to get made and most of these writers deserve (and could use) a little extra support.
You also have to remember, tentoes, that scripts from the big agencies are generally more widely disseminated – it’s impossible for a script to get 44 votes if it hasn’t been read by 44 of the voters. Plus, many writers leave their small agencies after they begin to have some success – so the big agency thing becomes a self-fulfilling prophecy.
I’m on the list and got my agency rep BECAUSE of this script, not BEFORE it was written.
I agree with your thoughts in regard to the top five agencies hogging the list and thus only clients of those agencies are getting on the list. As if they’re the only writers who can write a great script. And so it goes. Nepotism and incest everywhere in this God forsaken business.
RE: Lack of females on the list.
Yeah, it blows. But I also think there’s a really cool way to parlay having ovaries into success. It makes you a novelty, especially if you’re unrepentent and badass about it.
Own it. And write your ass off. Some people may be assholes about it, but most are pretty supportive.
It’s worked for me. I thank everyday I’m not just another pasty, white dude. Boooooorrriiinnnggg.
I’m currently doing a polish on “I WANT TO —- SANDY’S SISTER.”
Ah, sweet comedy muse, thank you for your bountiful gifts to me.
I rec’d Sex and Sylvia Plath for the Expo contest — it definitely stood out for a contest entry, but I don’t know how well it would actually do on screen. Personally I’m kinda of tired of “off-beat” teen angst, but I suppose it sells.
Wow. These comments went downhill faster than Lindsay Lohan on a shag rug covered in coke.
If most writers are lucky to sell one screenplay for one hundred twenty thousand dollars every six years (as a post above states), perhaps most writers would be better off seeking a different profession.
I just read I WANT TO FUCK YOUR SISTER’S CORPSE, and it is magnificent, to say the least. It’s “When Harry Met Sally” meets “Night of the Living Dead.” I see Bruce Willis and Julia Roberts as the leads.
I can tell you right now that if Bruce and Julia team up side by side in “I WANT TO FUCK YOUR SISTER’S CORPSE” then no doubt about it…
…I can already smell the Oscar buzz.
A born winner if I do say so myself.
Bad news BLACK LIST writers. The networks are taking all your scripts, cutting them into hour-longs and shooting them for primetime TV.
They don’t think you’ll mind.
**It really is realistic in Hollywood
to get a million dollar deal.
That’s a thousand dollars a week
for twenty years !!
For what it’s worth, here’s one more opinion from someone who read I WANT TO ______ YOUR SISTER (which, by the way, is how the title appears on the cover page of the script).
Far from “utter mysoginistic swill,” it’s a sharp, clever little movie with a lot more to say than most teen comedies out there. In fact, it reminded me quite a bit of MEAN GIRLS, which was once the hot new comedy of the moment before anyone had ever heard of Diablo Cody (or the Black List, for that matter).
So I guess my point is the same one that’s already been made on this discussion board: don’t judge a script by its cover.
Honestly, some of the people writing comments on this site should consider what they are saying. This post was about some undoubtedly amazing scripts!
Every second post is practically about the movie title ‘I Want to __ Your Sister’, either get a life and move on from the topic or just shut the hell up!
I WANT TO ____ YOUR SISTER was a great script – and guess what, Melissa Stack is a lawyer! She is smart, funny and she can write.
Yeah, it really doesn’t seem fair that the top five agencies monopolize the Blacklist. You know that can’t be right…
I read most of these screenplays. I liked “Farragut North.” I’m surprised that “Shamrocks & Thistles” wasn’t on this list. Maybe it will be next year. Also, “The Road” was good. Congratulations to everyone.
Maybe one day I will be on this list.
**It really is realistic in Hollywood
to get a million dollar deal.
That’s a thousand dollars a week
for twenty years !!
$1,000,000 divided by 52 weeks divided by 20 years is $961 a week.
Take out commissions and taxes and a million bucks would work out to about $500 bucks a week.
Jeff McGivern, are you the same guy who wrote that e-mail about the AIG bailout?
I’ve read a couple of scripts on the list this year, and they were nothing to scream about.