Six writers won the 24th annual Don and Gee Nicholl Fellowships in Screenwriting presented by the Academy of Motion Picture Arts and Sciences. Each writer or writing team will receive the first installment of a $30,000 prize at a gala dinner in Beverly Hills on November 12. This year's winners are (listed alphabetically by author): Matt Ackley of Los Angeles for Victoria Falls; Vineet Dewan and Angus Fletcher of Los Angeles for Sand Dogs; John Griffin of Los Angeles for Dream Before Waking; Nidhi Anna Verghese of Los Angeles for Jallianwala Bagh; Jeff Williams of Wake Forest, N.C. for Pure. The winners were selected from a record 6,380 scripts submitted for this year's competition open to any individual who has not sold or optioned a screenplay or teleplay for more than $5,000, or received a fellowship or prize that includes a "first look" clause, an option, or any other quid pro quo involving the writer's work. Final judging of the competition was conducted by the Nicholl Committee, chaired by writer and 1992 Nicholl fellow Susannah Grant, and composed of writers Naomi Foner, Daniel Petrie Jr, Tom Rickman and Dana Stevens; actor Eva Marie Saint; cinematographers John Bailey and Steven B. Poster; executive Bill Mechanic; producers Gale Anne Hurd, David Nicksay, Peter Samuelson and Robert W. Shapiro; marketing executive Buffy Shutt; and agent Ronald R. Mardigian. Fellowships are awarded with the understanding that the recipients will each complete a feature-length screenplay during their fellowship year. Since the program's inception in 1985, 113 fellowships have been awarded.
AMPAS Announces Nicholl Screenwriting Fellowship Winners For 2009
By Nikki Finke | Category: Awards | Thursday October 29, 2009 @ 10:19am PST
Comments (15)
|
Post a Comment
Comments On Deadline Hollywood are monitored. So don't go off topic, don't impersonate anyone, don't get your facts wrong, and don't bore me.
Breaking News
Marketplace
-
Two Weeks of Posts Comments 1 LIVE-SNARKING THE 82ND OSCARS... 658 2 Sundance 'Welcome To The Rileys' Bought 460 3 'ALICE' IS A MONSTER! $116.3M Blows Past 'Avatar' For Biggest 257 4 Marvel Still Looking For Captain America 190 5 God Stars In 3D Book Of Genesis Bible Tale 143 ‘Glee’ Returns In April…
News/Opinion Poll
Loading ...By The Numbers
Title Studio Gross 1 Alice In Wonderland Disney $62.7 M 2 Green Zone Universal $14.3 M 3 Shes Out Of My Leag Paramount $9.8 M 4 Shutter Island Paramount $8.1 M 5 Remember Me Summit $8.1 M 6 Our Family Wedding Fox $7.6 M 7 Avatar Fox $6.5 M 8 Brooklyns Finest Overture $4.5 M 9 Cop Out Warner $4.3 M 10 The Crazies Overture $3.7 M 11 Percy Jackson Fox $3.1 M 12 Crazy Heart Fox $3.0 M 13 The Blind Side Warner $1.6 M 14 Valentines Day Warner $1.4 M 15 Ghost Writer Summit $1.2 M 16 Dear John Sony $1.0 M 17 Tooth Fairy Fox $0.7 M 18 Alvin And Chipmunks Fox $0.5 M 19 Last Station SPC $0.4 M 20 The Wolfman Universal $0.4M SOURCE: RENTRAKBox Office Poll
Loading ...Twitter @nikkifinke
Deadline Now Monday For MGM Auction http://bit.ly/9byKMdAbout 44 min. agoRSS Feeds
Carl Icahn Now Wants ALL Of Lionsgate
Congratulations to the winners!
SAND DOGS is one of the best scripts I’ve read all year. It will definitely make the Black List.
What is SAND DOGS about?
“Jeff Williams of Wake Forest, N.C. for Pure.”
JEFF was sitting next to me on Sunday in Austin Film Fest when he won there also. It’s a kinda week that screenwriters dream of.
Yes, congratulations to the winners. Absolutely. But of the 113 Fellowships that have been awarded, how many of these movies ended up actually being produced? Anybody know?
I believe both “Finding Forrester” and “Akeelah and the Bee” were fellowship winners, and there have probably been some others. But the point of the fellowship, as I understand it, is not so much to find scripts that will be easily produced, but to identify promising writers and then give them a lump sum that allows them to spend the next year focused on writing their next script (ideally without having to exhaust all their creative energies on a soul-sucking day job).
Closet Land, Amored, Arlington Road, bunch more.
Two of the five (Matt Ackley, Nidhi Anna Verghese) are recent American Film Institute graduates – way to go AFI!!!
Thousands of aspiring writers from all over the country submit scripts to this competition and of the winners the only regional writer is Jeff Williams, the rest are all from L.A.; the finalists were all from L.A. and NYC (plus Jeff Williams). That should really tell writers something, that those who are serious about being screenwriters pack up their bags and move their butts to L.A. where the business is. There are benefits to being in a large community of writers, producers and filmmakers, with regard to learning the craft.
Nicholl keeps track of this, so there’s no need to read too much into one year. About 60% of the winners have been Californians of all stripes; most of those probably are in L.A. but I wouldn’t automatically assume so. Factor in the self-selection tautology (people who want to break in move to California) and I wouldn’t put stock in your theory.
Most of the benefit of being in L.A. is pretty marginal for a feature writer (particularly since the spec market for non-adapted material is basically dead), and I’d say that ALL of the benefit of being in L.A. for writing skill level is marginal. Weighing against that is the extremely high cost of living in SoCal and the very strong likelihood of not having steady work when you’ve got 13% or whatever official unemployment.
Congrats to all the winners, I worked with one of the writers of “Sand Dogs” and he is really talented. Good luck guys.
Re receiving scripts and doing deals via Skype:
I love the way the industry is going, it certainly makes my life easier. I don’t have to travel as much, I don’t get as many paper cuts opening mail, and I don’t have to pay for online porn…ok that last one has nothing to do with the industry, but I think we can all agree it’s fucking sweet! One of the things I love most about it all though is that it allows my studio to reach a much broader talent base. It use to be that if you wanted to work in this industry you pretty much had to live in Los Angeles. You could make do in New York as well but it was a bit more difficult. Now people from some inbred town in Arkansas can send me pitches, reels, and have a meeting with me all while I’m on the toilet (what they don’t know can’t offend them). I truly hope that someday I will not receive a single white envelope in the morning and instead will just have an email inbox flooded with loglines, promising film dailies, budget breakdowns, industry news, and of course the occasional incriminating photo of someone I don’t like in the biz smoking crack with Gary Busey on Wilshire Blvd.
When are people going to see this for what it is — merely a marketing ploy by AMPAS (like the Oscars), in an attempt to perpetuate its own meaningless existence. It means nothing, the judging is based on nothing, and isn’t it a sure way to get your script/idea swiped by one of the lowly readers who screen the flock of 6380 scripts? I recall submitting my own script — virtually identical to the one that I actually produced, that made box-office profit, and was even nominated for an Oscar. Yet the script — essentially identical to the one submitted for the phony baloney Nicholl Fellowship — never even made it to the semi-finals or quarter finals or whatever they call it. I say run far, far away from this farce — and keep your ideas safe until able to really pitch or produce them.
That last comment was idiotic. I am a fellow and winning it has changed my life beyond compare.
Jeff Williams and I worked together at an architectural firm for years. He was truly one of the best bosses I had and it couldn’t happen to a more deserving guy!