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The Black List 2009: Manager Score Card
The Black List 2009: Agency Score Card
2ND UPDATE: I'm the first to post the entire roster after EW premiered the Top 10 (here as they wrote it, plus I added in some production details) because of a pre-arrangement. That's right, it's time for Universal film executive Franklin Leonard's THE BLACK LIST begun back in 2004. Compiled every year from the suggestions of 311 film executives, each contributes the names of up to ten of their favorite scripts that were written in, or are somehow uniquely associated with, 2009 and will not be released in theaters during this calendar year. This year, scripts had to receive at least five mentions to be included on THE BLACK LIST. It has been said many times, but it’s worth repeating: THE BLACK LIST is not a 'best of' list. It is, at best, a 'most liked' list." But it does catapult dozens of scripts into production and screenwriters out of oblivion. Diablo Cody's Juno, Nancy Oliver's Lars And The Real Girl, Scott Neustader's and Michael Weber's 500 Days Of Summer, are just some of the screenplays which appeared on The Black List and then were made. I've noticed that it's also a "big dick" measuring contest for the Hollywood agencies and their motion picture lit departments. Problem is, some screenwriters think this list isn't on the up-and-up and accuse junior studio execs and assistants along with self-interested agents and managers of getting together to push their own clients on projects even if already abandoned. So get off the ledge if you're not on THE BLACK LIST. And, if you are, then congratulations. This year’s list consists of 97 scripts with 311 people contributing to the ranking — up from 260 in 2008:
1. The Muppet Man By Christopher Weekes
What it’s about: The life and times of the late Jim Henson (pictured), the man behind Sesame Street and The Muppets.
What it’s like: The Andy Kaufman biopic Man on the Moon, but with puppets. This moving story depicts the life of a creative genius, with occasional surreal appearances by the likes of Kermit and Miss Piggy.
AGENT William Morris Endeavor – Bill Weinstein, Adriana Alberghetti
MANAGER Circle of Confusion – Britton Rizzio, Lawrence Mattis, Kelly McCormack
Status: Set up at The Jim Henson Co.
2. The Social Network By Aaron Sorkin
What it’s about: Chronicles Mark Zuckerberg’s complicated journey towards creating Facebook. Sorkin depicts both the founder’s motivations for starting the largest social network in the world and the human casualties that came with his profound success.
What it’s like: The fascinating biographical elements of Shattered Glass meets the courtroom drama of Kramer vs. Kramer, without the tears. Sorkin cuts between Zuckerberg’s heated depositions with his former Harvard colleagues who claimed he stole Facebook from them and the chronological retelling of the company’s trip to becoming a billion-dollar enterprise.
AGENT William Morris Endeavor – Ari Emanuel, Jason Spitz
Status: In production for Sony Pictures. Scott Rudin Productions, Michael De Luca Productions, Cean Chaffin, and Dana Brunetti producing. Jesse Eisenberg plays Zuckerberg while Justin Timberlake portrays Sean Parker, one of the founders of Napster and Zuckerberg’s idol. David Fincher is directing.
3. The Voices By Michael R. Perry
What it’s about: Jerry, a schizophrenic worker at a bathtub factory, accidentally kills an attractive woman from accounting. While trying to cover his bloody tracks, Jerry starts taking advice from his talking (and foul-mouthed) cat and dog.
What it’s like: Watching the lovable pig from Babe join forces with American Psycho’s Patrick Bateman. Some may be turned off by the script’s twisted sense of humor — Jerry has friendly conversations with his victim’s severed head — while others will get a kick out of its sheer audacity.
AGENT United Talent Agency – Charlie Ferraro, Jenny Maryasis
MANAGER Kaplan/Perrone Entertainment – Aaron Kaplan, Sean Perrone
Status: Vertigo Entertainment is trying to package the film with a lead actor. Mark Romanek (One Hour Photo) is developing.
4. Prisoners By Aaron Guzikowski
What it’s about: When his young daughter and her best friend vanish on Thanksgiving Day, a Christian survivalist named Keller Dover takes matters into his own hands, imprisoning and torturing a suspect whom the police have set free. But does Dover have the wrong man? And if he does, who really has his little girl?
What’s it like: Silence of the Lambs meets Mystic River. A terrifying, riveting read. Vivid, unforgettable characters, a bullet-fast plot, and scenes that mine our deepest psychological fears. Lock the doors and windows (and go to the bathroom) before turning the first page.
AGENT William Morris Endeavor - David Karp, Rich Cook, Adam Levine
MANAGER Madhouse Entertainment
Status: Antoine Fuqua (Training Day) directing for Alcon Entertainment and Warner Bros, Madhouse Entertainment and Kira Davis producing.
5. Cedar Rapids By Phil Johnston
What it’s about: Tim Lippy is a small-town insurance man who’s somehow made it to middle age without having quite done anything. Everything changes when he unexpectedly gets the chance to represent his company at the Cedar Rapids insurance convention, where comedy ensues, of course.
What it’s like: The 40-Year-Old Virgin meets Napoleon Dynamite. A sad, but not pathetic, middle-aged man comes of age in the Midwest. A speedily told story with romance and action and some legitimately funny jokes.
AGENT United Talent Agency – Jason Burns
MANAGER Industry Entertainment – Eryn Brown
Status: In production Fox Searchlight. Ad Hominem Enterprises producing, with Miguel Arteta directing and Ed Helms playing Lippy. John C. Reilly, Alia Shakwat, Anne Heche and Sigourney Weaver co-star.
6. Londongrad By David Scarpa
What it’s about: The writer of The Day The Earth Stood Still and co-writer of The Last Castle does an adaptation of Alan Cowell’s 2008 book The Terminal Spy: A True Story of Espionage, Betrayal and Murder, chronicling the life and strange death of Alexander Litvinenko. Remember in 2006, when that ex-Soviet spy was allegedly poisoned with radioactive tea at a London sushi joint? That’s him.
What it’s like: The script evokes Born on the Fourth of July, Silkwood, and Robert DeNiro’s history-of-the-CIA saga The Good Shepherd — but in Russia, with spies. Using Litvinenko’s final days as a framing device, Scarpa’s script flashes back to pivotal passages of Alexander’s adult life: training and serving as a KGB agent; trying to staunch the growing influence of Russian mobs as a Russian super-cop after the fall of Communism; and boldly deciding to publicly accuse his superiors of trying to assassinate a Russian business tycoon, as well as facilitating the rise of Russian president Vladimir Putin through acts of terrorism.
AGENT HML – Bob Hohman, Bayard Maybank, Devra Lieb
Status: Warner Bros. has optioned the script. Initial Entertainment Group and Infinitum Nihil producing.
7. L.A. Rex By Will Beall (based on his novel of the same name)
What it’s about: Rookie LAPD officer Ben Halloran gets partnered with scarred and tobacco-spitting Officer Marquez, and the unlikely team hit the streets of L.A. on the brink of a gang-rivalry explosion. Amid run-ins with the Mexican mafia, brutal gang murders, and corrupt cops, we soon find that Halloran may not be as squeaky clean as his brand new badge.
What it’s like: Training Day combined with the brutal violence of The Departed. L.A. Rex is as much a cop story as it is a graphic portrait of underground crime in Los Angeles.
AGENT Creative Artists Agency – Shari Smiley, Jay Baker
MANAGER Management 360 – Darin Friedman
Status: Paramount Pictures has optioned on behalf of producer Scott Rudin.
8. Desperados By Ellen Rapoport
What it’s about: Wesley Robbins, a 30-something single attorney with an unhealthy obsession with coupling up, thinks she’s found the perfect man. But when he doesn’t call for days after the first time they sleep together she freaks out and sends him a scathing email, only to learn he’s been laid up in a Mexican hospital with some broken bones. On a whim, she and her girlfriends travel down south to erase the email before she ruins what she believes could be her one true love.
What it’s like: The Hangover meets The Sweetest Thing, but in a good way. This equal parts raunchy and sweet script has LOL moments and the potential to be a big hit, especially with audiences loving movies today with complicated female protagonists.
AGENT Creative Artists Agency – Jessica Matthews
MANAGER Management 360 – Susan Bymel, Daniel Rapoport
Status: Isla Fisher is attached to star with Mark Gordon and Jason Blum producing at Universal.
9. The Gunslinger By John Hlavin
What it’s about: When a Texas Ranger is horrifically tortured and killed, his sharp-shooter older brother, Sam Lee Hensley, plots revenge against the mysterious, sadistic leader of a notorious drug cartel. Sam Lee’s quest for vengeance will cost him seven years in prison, his right hand and one eye. It will imperil his young nephew and wreak havoc on the lives of those who love him. And it will not bring him peace.
What it’s like: No Country For Old Men fused with Death Wish, graced by the melancholy of Unforgiven. Violent, macho, and action-packed, it’s as fun as a Dirty Harry script, but the remorse and grief of the central character linger long after the final gunshot.
AGENT United Talent Agency – Jason Burns
MANAGER Benderspink – Jill McElroy, Charlie Gogolak
Status: Warner Bros. and Andrew Lazar producing
10. (tie) By Way of Helena By Matt Cook
What it’s about: Set in the south at the turn of the century, Texas Ranger David Kingston and his Mexican bride are sent down to the mysterious town of Helena to investigate the multiple Mexican bodies washing up in the river. What they discover is an idyllic-like town where everything is not as it seems.
What it’s like: Pleasantville meets High Noon where dueling-pistol showdowns take on a whole new meaning and the definitions of righteousness and morality are twisted into unrecognizable concepts.
AGENT William Morris Endeavor – Cliff Roberts, Danny Gabai
MANAGER Anonymous Content – Keith Redmon, Bard Dorros
Status: Purchased by Russian filmmaker-producer Sergei Bodrov (Kavkazskiy plennik)
10. (tie) The Days Before By Chad St. John
What’s it about: A man from the future keeps hopping one successive day into the past desperate to stop a vicious race of time-traveling aliens from wiping out humanity.
What’s it’s like: This lightning-paced, time-travel adventure is Back to the Future meets Independence Day meets Demolition Man accompanied with a gargantuan production budget.
AGENT International Creative Management – Lars Theriot, Ava Jamshidi
Status: Warner Bros. has optioned it. Hollywood Gang Productions producing. A few big-time action directors have circled it but no one is yet attached.
11. DOC AND HOWIE WHACK A GRANNY by Steve Leff
What it's about: “Two men, Doc and Howie, inadvertently kill an elderly woman when they neglect to help her carry groceries up stairs. The incident puts them in position to get closer to the woman's attractive granddaughters, and they struggle with deciding whether to tell the women the truth about the circumstances under which they met.”
AGENT United Talent Agency – Doug Johnson
MANAGER Rain Management Group – Jonathan Baruch, Geoff Silverman
Status: The Montecito Picture Company producing.
12. WHEN CORRUPTION WAS KING by Frank Baldwin
What it's about: “A scrappy lawyer from Chicago's South Side rises to be a trusted attorney for the Outfit – the mob that controls the city through an elaborate web of bribery, voterigging and violence – until he turns state's witness and brings the whole corrupt system to its knees.”
AGENT William Morris Endeavor – Cliff Roberts
MANAGER Leverage Management – Michael Prevett
Status: Paramount Pictures. Temple Hill Entertainment producing.
13. PAWN SACRIFICE by Steve Knight
What it's about: “The life story of chess legend Bobby Fischer leading up to his historic world championship match against Boris Spassky.”
AGENT Creative Artists Agency – Brian Siberell, Sally Willcox
Status: Sony Pictures. Maguire Entertainment producing.
14. TOY’S HOUSE by Chris Galletta
What it's about: “When fourteen year old Joe Toy and his buddies tire of their parents overbearing ways, they decide to build their own house in the woods, away from the restraints of the lives they have come to know.”
AGENT The Gersh Agency – Carolyn Sivitz
MANAGER Anonymous Content – Bard Dorros
Status: Big Beach Productions
15. MIXTAPE by Stacey Menear
What it's about: “A thirteen year old outcast finds a mixtape that belonged to the deceased parents she never knew, accidentally destroys it, and uses the song list to go on a journey to find all the music in an attempt to get to know her parents.”
AGENT Paradigm – Ida Ziniti, Valarie Phillips
MANAGER Parallax Talent Management – Jim Wedaa
Status: Jim Wedaa producing.
16. THE ISOLATE THIEF by Kevin Leffler
What it's about: “In the dead of winter in the middle of the U.S. Civil War, a young man tries to hide the gold he stole from rogue soldiers who have taken over his remote house.”
AGENT International Creative Management – Aaron Hart
MANAGER Energy Entertainment – Brooklyn Weaver, Adam Marshall
Status: Hawk Koch producing.
17. BOOK SMART by Emily Halpern and Sarah Haskins
What it's about: “Two overachieving high school seniors realize the only thing they haven't accomplished is having boyfriends, and each resolves to find one by prom.”
AGENT William Morris Endeavor – Lis Rowinski, Sharon Sheinwold (Halpern)
United Talent Agency – Kassie Evashevski, Rio Hernandez (Haskins)
Status: Fox. Handsomecharlie Films producing.
18. MOTOR CITY by Chad St. John
What it's about: “A small time hood is framed and sent to prison, only to exact revenge years later.”
AGENT International Creative Management – Lars Theriot, Ava Jamshidi
Status: Warner Brothers. Dark Castle Entertainment producing.
19. THEY FALL BY NIGHT by Zach Baylin
What it's about: “A burned out detective investigates the kidnapping of a socialite couple's child.”
AGENT International Creative Management – Aaron Hart
MANAGER Mosaic – Brent Lilley
Status: Di Bonaventura Pictures producing
20. CELESTE & JESSE FOREVER by Rashida Jones and Will McCormack
What it's about: “A divorcing couple tries to maintain their friendship while they both pursue other people.”
AGENT United Talent Agency – Keya Khayatian (Jones)
Gersh - David Kopple, Lindsay Porter (McCormick)
MANAGER Brillstein Entertainment Partners - Andrea Pett-Joseph (Jones)
Status: Overture. Team Todd producing.
21. NEIGHBORHOOD WATCH by Jared Stern
“A suburban ‘neighborhood watch’ group, actually a front for dads to get some male bonding time away from the family, uncovers a plot bent on destroying the world.”
AGENT William Morris Endeavor – Jeff Gorin
MANAGER Industrial Entertainment – Helena Hayman
Odenkirk Provissiero Entertainment - Marc Provissiero
Fox. 21 Laps Entertainment producing.
22. CONVICTION by Jonathan Herman
“After serving five years in prison after a botched heist, a mastermind bank robber is forced by a tenacious FBI agent to entrap his former protege who has embarked on a multi-million-dollar bank-robbing spree.”
AGENT William Morris Endeavor – Mike Esola
MANAGER Luber/Roklin - Stephen Crawford
Warner Brothers. Silver Pictures producing.
23. BEST ACTRESS by Michael Zam and Jaffe Cohen
“The story of the infamous career-long battle between screen legends Joan Crawford and Bette Davis, focusing on the on-set experience of the only film they ever made together WHATEVER HAPPENED TO BABY JANE.”
AGENT William Morris Endeavor – Adriana Alberghetti, Kimberly Bialek
MANAGER Artist Talent Management – Renee Tab
Plan B Entertainment producing.
24. BETTY’S READY by Jaylynn Bailey
“After she discovers that her boyfriend is gay, a high schooler, determined to lose her virginity before she goes to college, pursues several possible ‘candidates’ before she finds love with her geeky neighbor, who has always loved her.”
AGENT Hohman Maybank Lieb - Bob Hohman, Bayard Maybank, Devra Lieb
MANAGER Circle of Confusion - Britton Rizzio, Noah Rosen
25. THE SITTER by Brian Gatewood and Alessandro Tanaka
“A suspended college student, living at home with his single mom, is talked into babysitting the three, young kids next door.”
AGENT United Talent Agency - Keya Khayatian, Charlie Ferraro
MANAGER Brillstein Entertainment Partners - Eryn Brown
Fox. Michael De Luca Productions.
26. Z FOR ZACHARIAH by Nissar Modi
“A sixteen-year-old girl named Ann Burden survives a nuclear war in a small American town..”
AGENT Creative Artists Agency - Jay Baker, Josh Krauss
MANAGER Energy Entertainment - Angelina Chen, Brooklyn Weaver
Zik Zak Filmworks producing.
27. WENCESLAS SQUARE by Christopher Markus and Stephen McFeely
“Based on the Arthur Phillips short story. Two spies fall in love while participating in separate Cold War missions in Prague during the 1980s.”
AGENT United Talent Agency - Charlie Ferraro, Keya Khayatian
Endgame Entertainment and This American Life producing.
28. BALLS OUT by The Robotard 8000 (Tim Talbott and Malcolm Spellman)
“When insurance salesman Jim Simmers has a near death experience, he decides that nothing matters except getting a promotion, a new car, and the hot girl from work. Jim's new attitude alienates his friends and co-workers, and he must figure out how to live his new life without losing his old one.”
AGENT Paradigm - Trevor Astbury, Mark Ross
MANAGER The Schiff Company - Nicole Romano
29. BURIED by Chris Sparling
“A civilian contractor in Iraq is kidnapped and awakens to find himself buried in a coffin in the desert.”
AGENT United Talent Agency - Charlie Ferraro, Doug Johnson
MANAGER Kaplan/Perrone Entertainment - Aaron Kaplan, Sean Perrone
Dark Trick Films, The Safran Company, Versus Entertainment producing.
29. THE DIVERSIFICATION OF NOAH MILLER by Adam Cole-Kelly and Sam Pitman
“A liberal New Yorker realizes he isn't as open-minded as he thinks he is and sets out to make a black friend.”
AGENT William Morris Entertainment - Mike Esola, Bill Weinstein
MANAGER Management 360 - Darin Friedman
34th Street Films, Radar Pictures producing.
30. THE GIRL WITH THE RED RIDING HOOD by David Leslie Johnson
“A Gothic imagining of the classic fairy tale in which a young woman is confronted by a werewolf, this time with a teenage love triangle at its center.”
AGENT Paradigm - Chris Smith
Warner Brothers. Appian Way Productions producing.
31. MY MOTHER'S CURSE by Dan Fogelman
“The young inventor of a new organic cleaning product invites his mother on a crosscountry road trip as he tries to sell his product to marketing outlets. His ulterior motive is to reunite her with a man she loved when she was young, and her motive is to help him overcome his ‘curse’ of non-commitment in relationships, for which she blames herself.”
AGENT William Morris Endeavor - Danny Greenberg
MANAGER Industry Entertainment - Eryn Brown
Paramount Pictures. Michaels Goldwyn producing.
32. RESTLESS by Jason Lew
“A tale of young love between a teenage boy and girl who share a preoccupation with mortality.”
AGENT William Morris Endeavor - Adam Levine
MANAGER Crestview Entertainment - Eric Black
Sony Pictures. Imagine Entertainment producing.
33. STREETS ON FIRE by Justin Britt-Gibson
“Two cops, reluctantly partnered, try to bring down a drug syndicate while navigating the streets of Chicago.”
AGENT The Gersh Agency - Sean Barclay
MANAGER Media Talent Group - Chris Davey
Katalyst Films producing.
34. TAKE THIS WALTZ by Sarah Polley
“A young woman struggles with her infidelities and the budding realization that she may be addicted to the honeymoon period of her relationships.”
AGENT William Morris Agency - Gaby Morgerman
MANAGER D/F Management - Frank Frattaroli
Susan Cavan producing.
35. THE TRADE by Dave Mandel
“The true story of two New York Yankees pitchers who caused a national scandal when they swapped wives in the early 70s.”
AGENT William Morris Endeavor – Bill Weinstein, Jeff Gorin, Phil Raskind
Warner Brothers. Idealogy producing.
36. BAYTOWN DISCO by Barry Battles and Griffin Hood
“Three redneck brothers get in over their heads when they agree to help a woman kidnap her son back from his seemingly evil father.”
AGENT Agency for the Performing Arts - Sheryl Peterson, Debbie Deuble Hill
MANAGER Elevate Entertainment - Jenny Wood
37. JIMI by Max Borenstein
“The life story of rock legend Jimi Hendrix.”
AGENT United Talent Agency - Keya Khayatian, Jon Huddle, Rebecca Ewing
MANAGER Anonymous Content - Adam Kossack, Bard Dorros
Legendary Pictures. Billy Gerber producing.
38. WHATEVER GETS YOU THROUGH THE NIGHT by Morgan Foehl
“After ten years on the run from the mob, the son of a mob lawyer must choose between prison and helping the man who killed his mother.”
AGENT William Morris Endeavor - Mike Esola, Lisa Hallerman
MANAGER Wirehouse Entertainment - Jessica Jordan
39. THE GUYS GIRL by Nick Confalone and Neal Dusedau
“Three male best friends realize they’re each in love with their mutual female best friend when she gets engaged.”
AGENT United Talent Agency - Blair Kohan, Rio Hernandez
MANAGER 3 Arts Entertainment - Greg Walter
Ternion producing.
40. RITES OF MEN by Jonathan Herman
“When a working class dad’s only son is murdered, he sets out to discover who is responsible.”
AGENT William Morris Endeavor - Mike Esola
MANAGER Luber/Roklin - Stephen Crawford
Universal Pictures.
41. SMILE, RELAX, ATTACK by Eli Attie
“A young, ambitious political consultant finds himself in over his head when his first big client - an incumbent Democratic Virginia Senator - becomes the subject of national scrutiny by both Parties.”
AGENT William Morris Endeavor - Bryan Besser
Mandate Pictures. Idealogy producing.
42. BOBBY MARTINEZ by Ric Roman Waugh
“A coming-of-age biopic about the titular Mexican-American surfer. Martinez rose out of the gang-ridden streets of Southern California to become a hero to his community when he swept every major amateur surfing tournament in his first year of competition and won the ASP Rookie of the Year honors in his first pro season.”
AGENT International Creative Management - Nicole Clemens, Harley Copen, Nick Reed
MANAGER Management 360 - Darin Friedman
State Street Pictures and Participant Media producing.
43. SHIMMER LAKE by Oren Uziel
“As a small-town bank-theft job slowly unravels, it proves to involve virtually everyone, from an ex-meth-lab runner to a crooked prosecutor and his vengeful cop brother.”
AGENT William Morris Endeavor - Bryan Besser
MANAGER Circle of Confusion - Britton Rizzio
Fox. Josephson Entertainment producing.
44. LOVESTRUCK by Annabel Oakes
“Cynical best friends Amelia and Ruth love nothing more than to ridicule romance. When they take it one step too far at their friend's wedding, they are sentenced to a fate worse than death - becoming heroines in their own romantic comedy.”
AGENT Untitled Talent Agency - Rio Hernandez, Jon Huddle
MANAGER Kaplan/Perrone Entertainment - Sean Perrone, Bryan Miller
Apparatus producing.
45. GOOD LOOKING by Chris McCoy
“In a future where dating services perfectly match soulmates, a man rejects the person chosen for him.”
AGENT Creative Artists Agency - Brian Siberell, Sally Willcox
MANAGER Anonymous Content - Shawn Simon
Dreamworks. Double Feature Films producing.
46. LIARS (A-E) by Emma Forrest
“A twenty-nine year old woman on the way to President Obama's inauguration stops to retrieve lost items from her ex-boyfriend in the hope of getting over her most recent heartache.”
AGENT William Morris Endeavor - Cliff Roberts
Casaratto - Eleanor Burns
Miramax. Scott Rudin Productions producing.
47. A FISTFUL OF QUARTERS: THE LEGEND OF NOLAN BUSHNELL by Brian Hecker and Craig Sherman
“The rise of Nolan Bushnell, father of the videogame industry, who started Atari in the 70s.”
AGENT Original - Jordan Bayer
MANAGER Principato Young Management - Paul Young, George Heller
Paramount Pictures. Appian Way Productions producing.
48. JIMMY SIX by Daniel Casey
“The screw-up son of a murdered mobster goes with a hitman to exact revenge on the informer who sent his father to his death.”
AGENT William Morris Endeavor - Mike Esola
MANAGER Circle of Confusion - Noah Rosen
Whitewater Films producing.
49. CORSICA 72 by Neil Purvis and Robert Wade
“On the island of Corsica in 1972, childhood best friends Marco and Sauveur find their lives veering in opposite directions - the first towards the Mafia, the second toward a simpler life with his beloved, Lucia. When the Corsican mob kills Sauveur's brother, they ignite a tit-for-tat blood feud that inevitably leads toward a final showdown.”
AGENT United Talent Agency - Jeremy Barber
Ruby Films producing.
50. ARTHUR by Peter Baynham
“Based on the 1981 film of the same name. A spoiled rich twentysomething must decide between true love and the vast fortune he’ll inherit if he marries a society woman whom he doesn’t love.”
AGENT United Talent Agency - Jeremy Barber
Warner Brothers. MBST Entertainment and Benderspink producing.
51. 2 GUNS by Blake Masters
“Based on the comic book of the same name by Stephen Grant. A DEA agent and an undercover naval intelligence officer unwittingly investigate each other while stealing mob money.”
AGENT United Talent Agency – Blair Kohan, Geoff Morely
Universal Pictures. Marc Platt Productions and Boom! Studios producing.
52. CUT BANK by Roberto Patino
“A small town thriller set in Cut Bank, Montana.”
AGENT William Morris Endeavor - Rich Cook, David Karp
MANAGER Principato Young - Evan Cavic
Stick n’ Stone Productions producing.
53. DEAD LOSS by Josh Baizer and Marshall Johnson
“A crab fishing boat crew rescues a castaway adrift in a life raft with mysterious cargo that soon both captivates and divides them.”
AGENT William Morris Endeavor - Bill Weinstein, David Karp
MANAGER Anonymous Content - Bard Dorros, Shawn Simon
Thousand Words producing.
54. THE STORM by Richard Taylor and Bryan Bagby
“A bounty hunter and his prey must unite to take on an evil sheriff and his posse in a lawless Wyoming town.”
AGENT The Gersh Agency - Carolyn Sivitz
MANAGER Anonymous Content - Bard Dorros
Simon Brooks producing.
55. I HOPE WE CAN STILL BE FRIENDS by John Whittington
“A couple breaks up after 5 years together but vow to remain friends after the fact, which proves much harder to do than they imagined.”
AGENT The Gersh Agency - Sarah Self
MANAGER Mason Novick
Inferno Entertainment. Mason Novick producing.
56. I HATE YOU DAD by David Caspe
“A father moves in with his son on the eve of his son’s wedding and promptly begins feuding with the bride-to-be.”
AGENT William Morris Endeavor - Phil D’amecourt, Elia Infascelli-Smith
MANAGER Magnolia - Javier Contreras
Sony Pictures. Happy Madison Productions producing.
57. IF I STAY by Shauna Cross
“Based on the novel of the same name by Gayle Forman. A teenage girl leaves her body after a tragic car crash and needs to decide whether to return to her life or not.”
AGENT William Morris Endeavor - Cliff Roberts, Lis Rowinski
MANAGER Jaret Entertainment - Seth Jaret
Summit Entertainment. Di Novi Pictures producing.
58. THE KING'S SPEECH by David Seidler
“George VI, also known as Bertie, reluctantly takes the throne of England when his
brother, Edward, abdicates in 1936. The unprepared king turns to a radical speech
therapist, Lionel Logue, to help overcome his nervous stutter and the two forge a
friendship.”
MANAGER Jeff Aghassi Management - Jeff Aghassi
The Weinstein Company. Bedlam Pictures and See-Saw Films producing.
59. THE GHOST AND THE WOLF by Rylend Grant and Dikran Ornekian
“An ex-cop and his old partner must reunite, burying years of distrust, to take on the vicious Russian mobsters who altered their lives profoundly in the 90s… destroying one and propelling the other to Captain.”
MANAGER Industry Entertainment - Andrew Deane
60. CON MEN by Eric Lane
“Greg Weinstock and Kevin Russell, two drug reps from Burlington Labs with nothing in common aside from a shared gift of moving product, are dispatched to a convention to hook the biggest sale of their lives.”
Shay Weiner producing.
61. THE BLIND RAGE OF PEACOAT MILLER by Adam Penn
“A college student home for the holidays discovers that an internet porn film turns its viewer into homicidal maniacs. As the epidemic spreads, he has to save his longtime crush while struggling to control his own urges.”
AGENT Creative Artists Agency - Billy Hawkins, Brian Kavanaugh-Jones
MANAGER Energy Entertainment - Adam Marshall, Milana Rabkin
Status: Michael de Luca Productions and David Gordon Green producing.
62. JOSH by Gary Ross
What it's about: “The lives of a single father and his teenaged son are dramatically changed when the boy's mother returns and wants to be part of her son's life.”
AGENT Creative Artists Agency - David O’Connor, Maha Dakhil
Status: Universal Pictures. Larger Than Life Productions producing.
63. MY SISTER IS MARRYING A DOUCHEBAG by Wendy Molyneux and Lizzie Molyneux
What it's about: “A young woman, thinking that her sister’s new fiance is a douchebag, sets out to sabotage their wedding.”
AGENT William Morris Endeavor - Phil D’amecourt, Simon Faber
MANAGER Kaplan/Perrone Entertainment - Aaron Kaplan, Sean Perrone
64. THE LOW SELF ESTEEM OF LIZZIE GILLESPIE by Mindy Kaling and Brent Forrester
What it's about:“A single girl in Manhattan dates the hottest guy in the world but must overcome her insecurities when she hears him deny they are dating.”
AGENT United Talent Agency - Blair Kohan, Julien Thuan (Kaling)
United Talent Agency - Jason Burns, David Kramer (Forrester)
MANAGER 3 Arts Entertainment - Howard Klein (Kaling)
Levity Management Group - Kevin Stolper (Forrester)
Status: Mandate Pictures.
65. RENKO VEGA & THE JENNIFER NINE by John Raffo
What it's about: “Renko Vega, once a hero and now a rogue thief wandering the galaxy with his hyperintelligent spaceship the Jennifer 9, is forced to become a hero once again when the young daughter of the President of Earth is kidnapped.”
AGENT Agency for the Performing Arts - Debbie Deuble Hill, Sheryl Peterson
MANAGER Brucks Entertainment - Brian Brucks
66. NORM THE MOVIE by Sam Esmail
What it's about: “A buddy comedy in which a guy is transported into a movie... or so he thinks.”
AGENT William Morris Endeavor - Mike Esola, Danny Gabai
MANAGER Energy Entertainment - Adam Marshall, Milana Rabkin
67. SMASH AND GRAB by Marc Wolff
What it's about: “When his wife is kidnapped, a reformed thief has to team up with his hapless ex-partner to save her, while dodging the LAPD, the FBI, and various members of the Los Angeles underworld.”
AGENT United Talent Agency - Tobin Babst
MANAGER Mason Novick
Status: Mason Novick and Julie Yorn producing.
68. THE TRUE MEMOIRS OF AN INTERNATIONAL ASSASSIN by Jeff Morris
What it's about: “Joe, an insecure writer with a boring desk job, finally manages to sell his assassin novel, The Memoirs of an International Assassin to the one publisher that will buy it. To his horror the publisher retitles it The True Memoirs of an International Assassin and markets the book as non-fiction -- making it seem as if Joe is the assassin himself. He soon finds himself in the crosshairs of the CIA, various drug lords, the media, and a beautiful investigative journalist while on a vacation in Belize.”
AGENT William Morris Endeavor - Mike Esola, Rich Cook
MANAGER Art/Work Entertainment - Julie Bloom
Status: The Film Department. Michael De Luca Productions producing.
69. NO BLOOD, NO GUTS, NO GLORY by Chase Palmer
What it's about: “A spy and twenty Union soldiers in disguise board a train in Georgia to execute a scheme that could bring a quick end to the U.S. Civil War.”
AGENT William Morris Endeavor - Craig Kestel
MANAGER Gotham Group - Peter McHugh, Lindsay Williams
Status: Misher Films producing.
70. ALLIES WITH BENEFITS by Elizabeth Wright Shapiro
What it's about: “The female President of The United States falls for her old college fling, the now Prime Minister of England.”
AGENT United Talent Agency - Blair Kohan, Tobin Babst, Jay Gassner
MANAGER Industry Entertainment - Jess Rosenthal
Status: Scott Free Productions producing.
71. 30 MINUTES OR LESS by Matthew Sullivan and Michael Diliberti
What it's about: “A comedy about a pizza delivery guy on an unlikely caper.”
AGENT William Morris Endeavor - Bill Weinstein, Simon Faber
MANAGER New School Media - Brian Levy
Status: Red Hour Films and New School Media producing.
72. COMIC CON by Matthew Sullivan and Michael Diliberti
What it's about: “To save their beloved neighborhood comic shop, a justice league of comic geeks must plan and execute a daring heist at Comic-Con.”
AGENT William Morris Endeavor - Bill Weinstein, Simon Faber
MANAGER New School Media - Brian Levy
73. CROOK FACTORY by Nicholas Meyer
What it's about: “Based on the novel by Dan Simmons and true events. An FBI agent is ordered to baby-sit Ernest Hemingway as he goes about running a motley spy ring in WWII Cuba.”
MANAGER Alan Gasmer & Friends - Alan Gasmer
Status: Warner Brothers. Infinitum Nihil producing.
74. THE UMBRELLA ACADEMY by Mark Bomback
What it's about: “Based on the comic book written by Gerard Way. After being raised by a brilliant scientist and a hyper-intelligent chimp, six super-powered former ‘child superheroes’ reunite to stop one of their own from leading a violin symphony that will destroy the world.”
AGENT William Morris Endeavor - Jason Spitz
MANAGER Anonymous Content - Adam Shulman
Status: Universal Pictures. Stuber Productions and Dark Horse Entertainment producing.
75. HANNA by David Farr
What it's about: “A fourteen year old girl is raised by her father to be a cold hearted killing machine.”
AGENT Creative Artists Agency - Bob Bookman, Josh Krauss
Curtis Brown - Nick Marston
Status: Focus Features. Adelstein Productions producing.
THE HAND JOB by Maggie Carey
What it's about: “A coming-of-age comedy about a teenage girl who gives her first hand job (among other life experiences).”
AGENT United Talent Agency - Blair Kohan, Julien Thuan
MANAGER 3 Arts Entertainment - Greg Walter, Tom Lassally
Status: Team Todd producing.
THE HUNGRY RABBIT JUMPS by Robert Tannen
What it's about: “A man becomes entangled in a secret society that forces him to murder.”
AGENT Feature Artists Agency - Brian Dreyfuss
MANAGER The Shuman Company - AB Fischer
Status: Maguire Entertainment and Endgame Entertainment producing.
DUE DATE by Alan R. Cohen and Alan Freedland
What it's about: “An uptight father-to-be is forced to travel across the country with an idiotic stoner in order to close a major business deal and make it home in time for the birth of his first child.”
AGENT William Morris Endeavor - Jason Spitz, Richard Weitz, Mike Esola
Status: Warner Brothers. Legendary Pictures and Green Hat Films producing.
THE CURSE OF MEDUSA by J Lee and Tom Welch
What it's about: “An origin story of Medusa the Gorgon.”
MANAGER Anonymous Content - Adam Kossack
Status: Original Films producing.
MEDIEVAL by Alex Litvak and Michael Finch
What it's about: “An unlikely group of imprisoned warriors are forced on a suicide mission to steal the King's crown in order to gain their freedom. They soon realize they've been set up to take the fall for the assassination of the King.”
AGENT William Morris Endeavor - Adam Levine
Status: Fox, New Regency. Wonderland Sound and Vision producing.
OWENS MANUAL by Greg Ferkel
What it's about: “A mild-mannered IT guy finds an 'owners manual' to his dull life but struggles to manage the realities of it when he reaches the end of the manual.”
AGENT International Creative Management - Harley Copen, Sophie Holodnik
MANAGER Caliber Media - Max Roman
Status: Gary Sanchez Productions producing.
THE LAST STAND by Andrew Knauer
What it's about: “A drug cartel king escapes his trial in a 200mph Gumpert Apollo, and the only thing in between him and Mexican freedom is a small town cop in a bordertown.”
AGENT William Morris Endeavor - Mike Esola
MANAGER Energy Entertainment - Jake Wagner
Status: Lionsgate. Di Bonaventura Pictures producing.
JAWS OF LIFE by Michael Goldbach
What it's about: “A seventeen year old boy falls in love with a woman old enough to be his mother and begins to question the meaning of love and relationships while his parents go through a divorce.”
MANAGER The Collective - Ava Greenfield
Status: Mason Novick producing.
JITTERS by Marc Haimes
What it's about: “A dysfunctional, recession-struck family moves into a new neighborhood and is terrorized by superbugs.”
AGENT William Morris Endeavor - Jeff Gorin
MANAGER Benderspink - JC Spink, Charlie Gogolak
Status: Paramount Pictures. Benderspink producing.
SWINGLES by Zach Braff
What it's about: “A bachelor who is dumped by his wingman teams up with a sharp-tongued woman he can't stand in order to meet women.”
AGENT Creative Artists Agency - Craig Gering
MANAGER Industry Entertainment - Sandra Chang
Status: Paramount Pictures. Misher Films producing.
THE TREES by Tyler Hisel
What it's about: “Isolated and threatened, a mysterious force hidden within the trees outside the small town of Laytonsville, Maryland strikes fear in the townsfolk as Sheriff Paul Shields attempts to overcome the demons of his past while protecting those that he loves.”
MANAGER Insignia Entertainment - Alexander Robb
THE SPECTACULAR NOW by Scott Neustadter and Mike Weber
What it's about: “A hard-partying high school senior's life changes when he meets a shy, insecure girl.”
AGENT Creative Artists Agency - Bill Zotti, Greg McKnight
MANAGER Kaplan/Perrone Entertainment - Aaron Kaplan, Sean Perrone
Status: Fox Searchlight. 21 Laps Entertainment producing.
SAND DOGS by Vineet Dewan and Angus Fletcher
What it's about: “A pair of Western Red Crescent Paramedics weather a series of intense, dangerous days in the Gaza Strip.”
AGENT United Talent Agency - Ramses Ishak, Michael Sheresky (Dewan)
Agency for the Performing Arts - David Saunders (Fletcher)
MANAGER Caliber Media - Dallas Sonnier (Dewan & Fletcher)
SEX, GREED, MONEY, MURDER & CHICKEN FRIED STEAK by Reinhard Denke
What it's about: “The story of oilman T. Cullen Davis, the richest man in the United States ever to be tried (and acquitted twice) for the capital murder of his stepdaughter, marking the end of the reign of Texas oil billionaires.”
AGENT William Morris Endeavor - Mike Esola
Status: Infinitum Nihil producing.
WATER FOR ELEPHANTS by Richard LaGravanese
What it's about: “Jacob Jankowski is about to take his final exams in veterinary medicine at Cornell when his parents are killed in a car accident. He drops out and joins Benzini Brothers, a second-rate traveling circus trying to survive during the Depression.”
AGENT Creative Artists Agency - Byrdie Lifson-Pompan, David O’Connor
Status: Fox 2000. Flashpoint Entertainment producing.
THE WETTEST COUNTY by Nick Cave
What it's about: “Based on the book by Matt Bondurant. The story of a moonshine gang operating in the bootlegging capital of America – Franklin County, Virginia – during Prohibition.”
AGENT United Agents - Anthony Jones
Status: Red Wagon Productions producing.
WALL STREET 2: MONEY NEVER SLEEPS by Allan Loeb
What it's about: “Gordon Gekko, fresh from prison, re-emerges into a much harsher financial world than the one he left.”
AGENT Creative Artists Agency - Jon Levin, Carin Sage
MANAGER Scarlet Fire - Steven Pearl
Status: Fox. The Edward R. Pressman Film Corporation producing.
THE UNDERLING by Dave Stoller and Ben Shiffrin
What it's about: “A man slowly comes to discover his girlfriend is literally working for the devil and has to find a way to escape.”
AGENT United Talent Agency - Charlie Ferraro
Status: MANAGER Gotham Group - Jeremy Bell, Lindsay Williams
THE VATICAN TAPES by Chris Borrelli
What it's about: “In a highly secured vault deep within the walls of Vatican City, the Catholic Church holds thousands of old films and video footage documenting exorcisms/supposed exorcisms and other unexplained religious phenomena they feel the world is not ready to see. This is the first tape - Case 83-G - stolen from these archives and exposed to the public by an anonymous source.”
AGENT United Talent Agency - Jon Huddle
MANAGER H2F - Chris Fenton
Status: Lionsgate. Lakeshore Entertainment producing.
YEAR 12 by Edward Ricourt
What it's about: “Twelve years after an alien invasion leaves humankind decimated and brutally subjugated, a former soldier must smuggle deadly uranium in his bloodstream and, with help from a pair of rebels, fight his way to an air force base where the uranium can be extracted and used to fuel a nuclear missile for a counterstrike that will reverse the direction of the war.”
AGENT Creative Artists Agency - Matt Rosen
MANAGER Gotham Group - Peter McHugh
Status: Paramount Pictures. Roth Films producing.
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Congrats to all on the LIST but everyone should remember it is a popularity contest as Nikki says.
There is as much jockeying and lobbying to get agent clients on this list as there is to become one of PEOPLE’S Sexiest folks every year by the PR flacks.
Like all great ideas in Hollywood that started out organically, the Black List has been co-opted by the powers that be. Agencies have been making the rounds for months trying to get their clients on the list, so it’s no longer a “best liked” list at all, but more of a “brow-beaten executives’ begrudging choices” list.
I agree with the sentiment above but would also add that a large number of executives are incentivized to only vote for scripts set up at their own companies. Pretty much all the voters I spoke to were rallying solely for their own projects. What ever happened to actually considering your own taste and the merits of a script regardles off its political value, just for the sake of integrity and creative satisfaction? If we could keep a few select areas of our business, such as The Black List, untainted by personal agendas and purely creative, perhaps we could all be a little more motivated to go to our jobs each day. The real people who should be voters are assistants. Good assistants read more than anyone else in this town and haven’t hit the level of apathy that most execs have hit at this point — a point that compels them to vote like corporate automatons.
You nailed it.
I don’t really have much else to add, but your thoughtful post deserved a reply.
Couldn’t agree more.
The list has a few unknowns but is chock full big names, and considering it spawned “Jennifer’s Body” and “Seven Pounds” it seems to be more sizzle than steak. Still, it was a neat idea when it started.
Wow paradoxical Hollywood! I thought that you would be talking of a black list in the style of the fifties! I do prefer this one !
Don’t know they were some great writers on the fifties one……….
Clients on the list or not, most agents carry themselves like they have small dick complexes.
I dunno… it’s a totally anonymous list. No agent or manager will ever know whether any particular exec voted on a particular script. So “brow-beating” wouldn’t necessarily make a difference.
In fact, if an agent was begging me to put his/her client’s script on my Top 10 incessantly, it would likely drive me to NOT put that script on my list. Know what I’m sayin?
So, no matter how much “lobbying” goes on, it’s still up to each individual exec to decide on their Top 10. The anonymous nature would seem to ensure that.
Of course, there will always be haters and doubters… but no agent has ever influenced me as to my choices.
It’s true. The best tracking board comments are of the ilk of, “Hey – we’re trying to get some ‘Black List’ traction for this script and we remembered that you loved it back in March, so maybe, if you’d just consider submitting it…!”
And, of course, there are several management companies that have gone the opposite direction – refusing to submit their clients’ scripts for Black List consideration the more it’s known how scripts get on there.
The Days Before… proof that juice matters more than taste.
You guys could not be more wrong. This is a great top 10. Muppet Man is one of the best scripts in recent memory.
Mahna Mahna.
second that. it’s kind of a joke. my boss used to force everyone to vote for our scripts. and they did make it on the list as a result.
The problem is the top ten is a list of movies purchased or in production or getting ready for production. It’s hardly an undiscovered list. These are all extremely hot screenwriters. Maybe the creators of the Black List should put some effort into developing or finding some projects that warrant being on the list instead of spending so much time rounding up on a list the fruits of other people’s efforts.
I have to tell you, I’m on the list and I’m not hot. Really, I’m not.
nothing new here. what ever happened to the roots of the black list? the organic script? the struggling screenwriter that broke the doors down. the top ones are all studio picts.
yeah… cash under the table
Santa — what cash under the table?! As one of those execs that voted, I did so with complete anonymity and chose the scripts that were the best ones I read that year. No one brow beat and no one paid me off. If there was cash involved, I’d love to be placed on a list to get some of that.
I wish the Black List were the year’s best unoptioned screenplays. That would actually make it useful and interesting. This is just a lame “what’s what” of studio development. Boring.
That’s what it was at the start.
“I wish the Black List were the year’s best unoptioned screenplays. That would actually make it useful and interesting. This is just a lame “what’s what” of studio development. Boring.
Comment by Bart — December 11, 2009 @ 9:52 am”
Exactly! What’s the point of publishing a list in December of the best “unproduced” scripts of the year? Looks like green(lit) is the new black. What a waste.
After I sold a spec that didn’t make the black list, I had a meeting with an agency who told me if I signed with them, they would guarantee me one of the top placements on the Black List as long as I remained a client with them.
This was without even reading my new spec that I was working on.
Take the list with a grain of salt, but congrats to the writers who get the injection of heat from it.
Strike while the iron is hot.
I’d agree with A — look at the top 10 and all you’ll see is scripts that have been at the very least optioned (with most set-up at major studios). There was a time when top 10 scripts on the Black List were still available to be optioned — and not already in production. I mean, seriously, THE SOCIAL NETWORK? It’s a good script, but does anyone think Aaron Sorkin is undiscovered? And CEDAR RAPIDS has been in Variety numerous times announcing major casting news…fairly ridiculous IMHO.
What does anyone need to know, except that AARON EFFING SORKIN is number TWO on this list? Only one of the most Emmyest, kajillionairy, television and feature writers in the past two decades. Please.
quite right darling!!! more worryingly have you read some of the drivel on the list that is actually being optioned?
Prisoners is too dark and mostly likely won’t sell, Cedar Rapids was a horrible read, and The Social Network sounds absolutely stupid…..
There are better things to write about… I’m disappointed, not to may promising scripts these days.. Everything is just a big waste of money to finance.
“Muppet Man” and “Cedar Rapids” are both pretty great and “Social Network” is just a really fun read, as is “Gunslinger.” “The Prisoners,” however, is the most overrated script of the year and “The Days Before” is written in what feels like a parody of Emmerich/Bay movies. “Next” by way of “Epic Movie” (with a surprising amount of TV-style stock characters/dialogue).
But remember crap like “The Low Dweller” and “Galahad” made the list last year?
Desperados is a Seinfeld episode, switching phone messages for email, by why would they need to go to Mexico to erase it? It would make more sense to break into his house
Desperados sounds a lot like Road Trip; traveling cross country to stop girlfriend from seeing naughty tape. And it is exactly like that Seinfeld ep. In film school they called that hegemony.
I dunno. I never thought the intent of this list was to highlight the studios 2011 release slate. Thought it was about the overlooked, the underappreciated and the undernoticed. This a lame.
Every comment posted today will undoubtedly note that these are all screenplays that are in play.
So what’s the point of the Black List.
This will be the last year anyone gives a crap.
Shameful that only one woman made the list.
If audiences are loving films with complicated female protagonists, why on Earth is TWILIGHT a success? You couldn’t ask for a weaker and more vapid female lead than Bella McDimbulb.
Did we see the same movie, I thought the character of Bella wasa perfect representation of just the kind of disaffected youth pseudo-raising herself in lieu of the selfish baby boomer parent she lives with, you could find – the kind of girl who is the perfect candidate to fall head over heels in love with a vampire. Or maybe it was Stewart’s performance that conveyed all of that. Either way, you need to chill ‘luzid.’
this list is total pr bullshit. execs name the projects they are working on. this list is pointless, if you need proof, that shitty mila jojovich alien script was on last years list. typical hollywood bullshit
The Robotard 8000 made the cut! Maybe there’s some justice with the blacklist after all…
-RnsW
Thanks, dude.
Maybe if we paid more attention to what audiences think instead of executives, we’d make better films.
Really? Its come to this – THE HAND JOB? I think we are all up for provocative scripts but this is pathetic. And a remake of ARTHUR makes the list too?
Amen.
I was actually on the list a couple years ago and I had respect for it before that. But when I saw the Arthur remake…this is tripe. End the list now.
What I want to know is why REWRITES are on here, like SWINGLES and HANNA, but don’t mention the previous writer(s)? I understand that a writer can make a steaming pile into pure gold, but even if that’s the case, shouldn’t credit be given to the writer(s) who originated the concept? I’m just dismayed to see that the list has hit this level.
My thought as well. Wasn’t Swingles submitted to buyers in like 2006? Kind of a joke.
This list unfortunately has become meaningless now. It started out with great intentions, but now has become a PR contest between agencies and management companies to get their clients scripts on this list. I’ve read many of the scripts listed here and its so abundantly clear that pressure was applied to get some of these on the list. it’s a joke.
The main thing about this list… remakes of old remakes..
again,,,,and, again. Most everything on this list will fail at the box, MARK my words. Depp’s is also a remake, it’s been done, twice before. The difference is Johnny is the last GREAT actor of integrity left, in Hollyweird.. He never sold out, like the rest. His talent runs deep. I know, Any movie he decides to do, will be above the rest. Just change the title, it doesn’t work.
What are you talking about? What of Depp’s is a remake of a remake?
I think he means Johnny Depp’s career. He started out kind of hot but then fizzled out. However, he has made a comeback this decade and not many stars get to do so. For the most part, acting is a media kind of job and the media tends to chew up and spit out people. In other words, you have to either lie low or reinvent yourself. In Depp’s case, he was seen as a dramatic actor and is more or less seen as an action star today due to involvement in the Disney Pirate movies.
The first time I’ve checked this out and I was surprised to see that every film already has producers attached. I was expecting things that hadn’t been sold yet. As such, this is hardly newsworthy. It’s a joke to think that a script by Aaron Sorkin or something like Wall Street 2 needs to be on a list like this to get greenlit. I agree with the sentiment that a list which represented more unknown writers or unsold scripts would be a lot more intriguing.
CE’s of the world unite!
Of the ones I’ve read, there are a lot of very good scripts on here – but just as many that aren’t. In many cases, there are good scripts that a studio DOESN’T WANT other studios to read. It is, after all, a poker game between the big ones, and they don’t want to tip their hands as to their upcoming slate. So I notice that the scripts on here are either already in production, or LONG SHOTS for production. There doesn’t seem to be much in between, in that gray area, where lots of very good work exists.
Thank you, Nikki, for posting this massive list. Very eye-opening and very sad too, in a way. I know that a LOT of writers visit this site and the comments. Likewise as well with Agents and Development folks. So does anyone else out there – while reading these pitches/plots notice the MASSIVE retreads and recycling of existing films. Most of the retreads seem to be from either new-noir thrillers which fell flat; OR middling comedies made during the 1990’s, none of which were blockbusters (unless American Pie is considered as such). Anyone else hear familiar bells ringing on 70% of these scripts? It’s like watching the Development Hell version of “I Love the 90’s”.
I am NOT trying to insult anyone specifically here…as I am sure a LOT of the actual scripts are superior to their slug-line/plots. But I know way too many “repped-but-unproduced” writers who are just shoe-gazing mood holes who think a good script is a bad Apatow story marinated with Juno catchphrases, and Tarantinoish comic violence. But for the others…I can only hope they rise above the all too common tripe to pack some true emotion into their works.
It somewhat depresses me to see such a massive lack of originality in there for what this list is SUPPOSED to represent. No, I’m not from the shallow end of the gene pool – I’m fully aware of the Hollywood lack of originality…but, isn’t it usually in the form of sequels and re-makes?
Again, I’m not critical of the writers, as certainly the plot lines of “boy meets girl – add a dog and/or drunken slob roomie – hilarity ensues”, is an age-old story line. I admit having not read but maybe 4 or 5 of the scripts on this list, and I’m certain ALL of the writers have a modicum of talent (as they seem well repped)…but, again: Why the massive lack of originality? (at least in the stories anyhow).
Is this REALLY what Execs (and/or readers) feel the public will spend their already UltraMega competitive entertainment time/money on?
While I am very happy personally for the up-n-coming writers getting some cash for their works (and a good foot in the door), I shed a silent tear to think of the studios/financial backers who are going to shell out a lot of money on a lot of inevitible failures. (I feel like Iron Eyes Cody standing at the foot of Laurel Canyon). Because that will certainly close doors on a lot of writers and a lot of possibly new (and original) stories.
Sorry to rain on anyone’s parade here…and I wish all the best of luck and success…but I cannot be the only one seeing the Emporer’s tanlines taunting me on this one. Then again, since I’m NOT much of a screenwriting success myself (only sold 3 scripts in 10 years -lol), then maybe it is just MY prescription lenses which need adjusting.
Oh Adam Novak…Where art thou and your lone, dogged voice of originality in the wildlands of the industry? Thanks again Nikki for this complete list, and your great pertinent journalism. And to all the aspiring writers out there: “Never give up. There’s got to be a pony in this pile of shit somewhere!”.
Michael, we’re going to take away your caps lock button.
Don’t know much about how the list is compiled. I *do* know that I met with the folks who are making one of the listed scripts, and every person in the room felt it was badly conceived, poorly written, and embarrassingly inept. And trust me. That’s being kind.
It was well down the list. But still.
hahaha
Literally one of the worst scripts I’ve read this year (and by the way, I’m a full-time reader) is on this list. For some reason it delights me to imagine that it’s the same project that you’re talking about.
It is amazing how many of these scripts already have financing, are already shooting or are by well established writers.
For what it is worth, the best of the scripts without financing are: The Voices, L.A. Rex, Mixtape and Betty’s Ready and maybe Baytown Disco.
Nice call, ElefyMan. Perhaps other CEs and Assistants would be willing to share their unbiased favorites here (whether on the 2009 Black List or not).
For my money:
‘Fire Me’ by Dylan Morgan & Josh Siegal
‘The Long Road Home’ by Mikko Alanne
Carl,
I thought “The Long Road Home” was wonderful. Also liked “Pure,” which won a Nicholl this year, and “The Devil & Houdini,” which was by a former Nicholl winner I think. Haven’t read “Fire Me” yet.
I’m with Carl and Higgins. If there are scripts that didn’t make the blacklist that we thought were tremendous reads, let’s talk about those. If we think the listmakers got it wrong, let’s get it right.
I agree on both “Fire Me” and “The Devil & Houdini” — two of the best reads for 2009.
So, here’s what we have so far:
Blacklist 2.0 (suggestions for a new name welcome)
FIRE ME
THE LONG ROAD HOME
PURE
THE DEVIL & HOUDINI
Copy and append with your own suggestions of scripts that were the best reads of the year (in no particular order).
Blurg! I forgot to add ElefyMan’s suggestions.
So, ‘Blacklist 2.0′ as it stands now:
FIRE ME
THE LONG ROAD HOME
PURE
THE DEVIL & HOUDINI
THE VOICES
L.A. REX
MIXTAPE
BETTY’S READY
Excellent choices, and I’d add DREAM BEFORE WAKING by John Griffin, ‘nother Nicholler, an utterly charming script.
Wow, this list has changed a lot. What’s the point of putting titles on here that are in production. Isn’t it moot at that point? I do remember when this list had some real use. So, why doesn’t someone with enough contacts and motivation just start up another one? Call it the OFF-BLACK LIST or something.
i thought this list used to be about UNPRODUCED great scripts. WTF happened??? Shame. Also did you mean on #12 Leverage Manager Michael GARNETT?
The death of the Black List was when it became public — now no different than any other early ad/pub.
The Black List is still a good idea because it helps the business, especially in this economy. Screenplays are a challenging product to market, and the Black List creates intrigue and interest about scripts. Hope they can keep it going.
I agree.
I would imagine there are a few factors that would contribute to a script making the list, other than the quality of the idea/premise (movie potential) or the quality of the writing. Like, how wide its exposure was (which would depend on how energetic the agent was at getting it out to a large number of voting execs as either a sample or a spec) and WHEN it went out (how fresh it is in the memory of the execs, at the time they are polled). Then of course, there’s the obvious suck up factor. There are some very middling scripts on this list.
I find it funny how many of these scripts involve the Mob. Just an observation.
A lot of these screenplays sound similar to one another like the two about divorcing couples who try to stay friends.
Having read both of those scripts (CELESTE AND JESSE FOREVER and I HOPE WE CAN STILL BE FRIENDS) I can say that I HOPE WE CAN STILL BE FRIENDS is awesome, and CELESTE should not be on this list.
THE MUPPET MAN – Amazing
THE SOCIAL NETWORK – Yes, it is from a huge writer, but still great.
THE GHOST AND THE WOLF – Great script with Johnny Depp’s company attached.
WALL STREET 2 – A follow up on a classic and very well written.
BURIED -
Sounds like a lot of writers and their reps with sour grapes in the comments above because they’re not on the list. Reminder, the list is culled from anonymous votes for the scripts they enjoyed the most. Don’t like what was chosen? Write something better and get it into the right hands. Oh yeah, if you could do that you wouldn’t be here griping as you are!
THE FACTS: The studios aren’t the only ones responsible for feeding moviegoers mediocre product. “Agencies” supply them with most of the material. If the story that ends up on the screen don’t connect with audiences then agencies should also be held liable for pushing these types of stories. There’s a disconnect between seller, buyer and moviegoer.
“Write something better and get it into the right hands.”
That’s a crock of shit right there. If it was all about the writing, a lot of these crappy screenplays wouldn’t be on the list. I don’t doubt there are some great ones in there too, but many of them sound like the typical dreck that studios and agencies subject audiences to on a regular basis. There is some pretty good anecdotal evidence on this board alone that this list has been co-opted by the powers that be. Oh, and as far as getting it into the right hands– most agents wouldn’t know good writing if their lives depended on it. They are like those high schoolers at the end of “Can’t Buy Me Love” doing that stupid dance at the prom because the kid they think is the new cool thing is doing it.
First of all, to those who are saying “these scripts/writers aren’t unknowns” — that’s not the point of the list! We’re only asked to name the scripts we LIKED the most. It’s impractical to make a list of “undiscovered scripts” — if the scripts were undiscovered we wouldn’t know about them! As it is I don’t have enough time to read all the scripts I have to read for my boss. I can’t also be reading ten thousand scripts from “unknown writers” just to see if one of them should get a Black List vote. Since a script needs at least five votes to make the list, a truly “unknown” script is never going to make it.
I think many of the scripts on the list are quite good. That said, a couple of my favorite scripts of the year did not make the list and I wish they did. Maybe we can talk about some of the scripts that should have been on there.
Here’s a suggestion. Why doesn’t the Blacklist have a even number of people from the participating companies vote, but none is allowed to vote for a script from any writer they rep. Seems this may be a little more balanced. Just a thought.
only 14 female writers. WTF?
Hi Nikki,
Thank you very much for posting this list. I’m not a Hollywood insider (more like an outsider looking in) so I’m pleased as punch that you gave us a list and description of all the scripts that made the list. Keep up the good work!
I read these comments and I’m overcome with a gross feeling… a feeling which stems from being in the proximity of such hostile, bitter vindictiveness.
The sheer amount of bile on display is beyond sad, beyond pathetic. A few writers get recognized for writing scripts that execs actually liked (because whether you want to admit it to yourself or not, execs absolutely LOATHE most of what they read every day) and suddenly everyone is crying “bullshit!” and “conspiracy!” and “all of these Black List scripts sound like shit!” and going on to say the entire concept of the Black List is somehow fraudulent and a product of evil agent/manager machinations.
To all those haters: GET OVER IT. Yeah, you’re pissed that other writers have achieved some success and recognition, and you haven’t. I suppose that’s the WRITER’S fault? The AGENT’S fault? Also the Lawyer, perhaps, and every other “evil” exec in town who is participating in this charade?
Such Mass Delusion! It’s the same old story. Unsuccessful people can’t stand it when other people have success in Hollywood. So they take to the internet comments page, and talk immense amounts of bitter, bitter shit.
God, it makes me ill. All of you haters make me ill. Franklin came up with a great idea. A window into the development community, to see what scripts happen to turn them on in a given year. Nothing more. Nothing less.
It’s a valuable tool. Which is more than I can say for the majority of all you bitter, bitter, bitter commenters.
Because you’re just tools, and nothing else.
The bottom line is, Black List scripts do frequently have heat, and Hollywood is the worse for it. “Lars” was no 3 a few years ago. It made about 56 bucks at the box office. “Things I lost In The Fire” was no. 1 on the Black List in 2005 or 2006. It was a huge bust in theaters. I could go on and on and on. “Little Miss Sunshine”, a GREAT movie and script, was no. 43 on the Black List. Were any of those 42 scripts ranked above it even in the same league? Highly unlikely. What the hell does that tell you? That the people choosing the Black List are usually wrong.
Most of the people voting for these scripts wouldn’t recognize a good one if it bit ‘em. Retire the Black List. As we deal with a bad economy and aftermath of the strike, it’s just another thing harming the industry.
Glad to see “Renko Vega and the Jennifer Nine” made it on (I honestly thought it would be a little higher). You want originality? This script is original. This script is almost insane.
started shooting early Dec…
HUNGRY RABBIT JUMPS
Swingles? Huh?
I don’t know what you all are talking about — Bill Lawrence’s rewrite of Swingles was AMAZING.
Everyone would do well to recall that The Last Boy Scout was a great read. Everyone in town raved about it. And today, Shane Black is writing Lethal Weapon 5. Lucrative yes, but….
Kiss Kiss Bang Bang – Shane Black’s directorial debut off his own script – rocked.
And if LW5 is his work, I’m there.
Snarky – I’m one of those 14 female writers to make the list this year. Yay!
8 months ago, I was an unsigned, unproduced complete unknown. I wrote BETTY’S READY this year, the in April, I signed with a boutique (Hohman, Maybank and Lieb) and just signed with Circle of Confusion a few weeks ago. So, I don’t want to be all controversial or anything, but I don’t think there was anyone out there with bionic powers twisting the arms of producers and execs into voting for my script.
Hey, I’m just happy to be here!
PS – Thanks for the props, ElefyMan!
Congrats JlB !! I pray that 8 months from now you won’t be a signed, unproduced, unknown! Keep on diggin! “Betty” has great pace, detailed principals, and superb arcs – the solid hallmarks of a promising writer who knows both script-to-screen translation and depth of characters beyond simply trying to attract solid talent elements for development purposes only (IMHO).
I sincerely wish you all of the best and hope you use any and all attention from “Betty” to spread your wings, capitalize on success, and create the legendary original writings of which you are capable. Most importantly…never lose your fire; your inspirations; and never…ever…take advice from internet commenters like us! Keep rockin!
huge kudos to you!
Would you say you’re more like Betty or Xan? Lol.
Nice script kid, keep pounding at the Olivetti.
Comic Con made it on the list!!!!! Laughable. One of the worst scripts that came thru our offices this year
Jaylyn Bailey —
This type of obnoxious self-promotion is in very bad taste. Instead of getting on an Internet message board to sing your own praises, put your nose to the grindstone and actually accomplish something. You haven’t yet.
That was uncalled for.
no PR is right – it’s a terribly “smug” piece of self-promotion.
What a horribly disgusting comment, and from someone I hardly believe is a “produced writer.” Jaylyn’s comment was not obnoxious, self-promoting or in the least of bad taste, and I am thrilled for her that she made the list, and that she had the balls to come on here and publicly dispel some of the vitriol aimed at this list. No, I’ve never met her, I haven’t read her script and I have nothing nice to say about her managers, but I’ve been where she is, and as actual working members of this industry, we should do nothing but cheer for and support new talent. High tides raise all ships.
I assume Produced Writer is still basking in the fumes of his WWE STRAIGHT TO PRODUCTION movbie called BIG FISTS, starring Hulk Hogan and with the lovely now deceased Anna Nicole Smith as the leads. DUDE, I can feel your bitterness from here.
I have to say – I agree with both sides. As a high level development exec, I get TONS of pressure from the agencies and management companies to name their clients on this list. That being said, I don’t have to listen to them as this list is completely anonymous (but the pressure from the agenices and your studio/company do tend to cloud your mind while compiling your list – I admit). Several breakthrough scripts did make the list this year which is thrilling, but for the most part, the list is filled with scripts that are ramping up or are all ready in production (which is highly disappointing). My favortie script this year did not make the list: REPEAT AFTER ME by Peter Paige and Brad Bredeweg. It’s touching, hilarious, and timely. I say that each exec commenting on this article should name their actual favorites that didn’t make the list and lets start a new REAL black list, shall we?
We got on this bitch with almost no support from traditional channels.
I covered six scripts on this list. Of those six, only one was decent. Those other five remain unsold and I honestly believe they only made this List because of the firms behind them.
There are only a handful of agents and reps in this town who can break down a script with any bit of authority. The rest are what I call SWELLRIDERS. They can’t surf and don’t want to learn but they sure as heck know how to play the rest of the game.
Now the Black List is effectively a lame duck administration, I propose we all switch to the Hack List.
This is the list for so-called successful working screenwriters, who delivered absolutely crap.
To get the ball rolling, I would suggest Steven Sodebergh’s draft of Moneyball.
OMG! It was like the work of a smart but other Asbergered egomaniac who promised to ‘fill in the blanks’ later with some more ‘lighting in a bottle’ docudrama brilliance. (Oooh – handheld, edgy.) Not so much screenwriting as a shopping list of disconnected ‘vignettes’ smeared with a tonnage of sporting statistics.
In second place… Over to you, guys.
Anything written by the Wibberlys.
(They actually turned in a draft of the script for I SPY with: “Owen Wilson says something funny here” in place of a line of dialogue.)
I’d add J. Michael S.’ NINJA ASSASIN. I know he wrote it in 53 hours, but maybe if he’d splurged and spent oh, 72 hours on it the movie might have rocked.
Yeah Jaylynn!!!
Is it my imagination, or are there a lot of Russian/Soviet/Cold War related scripts on this list?
Sad to see so few scripts with female leads (Will that “Medusa” one have a female in it? I haven’t read it).
14 female writers, that sounds like a lot! (Only because I’m depressed about the state of female filmmakers in the biz and I’ll take anything at this point)
The plot lines of most of these sound like teenage-boy wet dreams. YAWN.
Fact: I read a lot of scripts and I’m astounded that 14 scripts from women made it onto the list. That seems awfully high. I don’t know if it’s a left brain/right brain kinda thing, but almost always the scripts from men are superior. And of the male writers, I love an Ivy pedigree. Not because I’m a snob, but Ivy seems to produce the best, especially in comedy and action.
Unfortunately the Black List has obviously jumped the shark. A rewrite of Arthur? Are you f-ing me?! If that doesn’t prove this is all political I don’t know what does.
You, sir, are a blatant misogynist. And, you may not be aware, but such myopic and unintelligent statements really call attention to you – an insecure man who feels threatened and emasculated by women. Pathetic.
Here are some facts for you, genius:
1. More women than men attend Ivy League schools
2. Clearly you do not have a psychological background because left/right brain exists in both sexes; you are claiming that women can’t write well because they can’t tap into their creative right brain, and yet women have been considered inferior in math and science (left brain) as well. There’s always some inexcusable justification for female inferiority, isn’t there?
3. This industry pigeon-holes women into writing insipid, inane rom-com scripts.
4. If I were to insert any other sort of racial epithet, such as: “blacks just can’t write, must be a right/left brain kinda thing, you know, they have a smaller brains than whites” – everyone on this post would get up in arms for such an offensive racist comment.
And, yet, when women are maligned and denigrated that is perfectly acceptable. ENOUGH IS ENOUGH.
Women represent over 50% of the population. It is high time we concentrate our power, and take a stand against this bullshit.
http://jezebel.com/5426065/fuck-them-times-critic-on-hollywood-women–why-romantic-comedies-suck
Amen, sister. I am from the Ivy Pedigree and there is about 2% of actual talent that carries 98% of mediocrity and sometimes stupidity. And yes, sexism is fashionable and explicit misogyny is clever but no, we are not racists. We are much too evolved to be racists. Being sexist is just part of life, right?
Wrong. Don’t be hating just because we can make babies AND write great scripts.
blimey!! you’re even more smug than Jaylynn.
Ivy pedigree scripts all read exactly the same. Boring.
You are an idiot of the highest order. A complete and utter moron.
I heard “The Curse Of Medusa” is pretty awesome and tells the untold story of the Gorgon Medusa. I’ve been wanting someone to get an epic right, and hopefully they get this one right. Kudos to you two J Lee and Tom Welch.
For the people crying bitter, I don’t think you are addressing the criticism that others have. The Black List is supposed to feature the best unproduced scripts of the year and in the past it’s been unknowns who got some kudos and maybe a few meetings. Seeing Aaron Sorkin’s script about Facebook, which doesn’t even sound interesting as a concept is ridiculous. Remakes < original ideas. Popularity < talent. Hoping that 2010 brings an alternative list which will be fun to read about instead of this shark jumped mash up.
I thought the Black List was a list of best or favorite unproduced screenplays but 2 of the top 10 are in production and a couple others, like BURIED have already been made…
These are the best scripts I read this year (only one made the list):
LA REX
REPEAT AFTER ME
ROGER THAT
FIRE ME
Any “best of” list that doesn’t include these scripts is a farce. And we are most DEFINITELY pressured regarding our votes!
All the people complaining about what the Black Lis is supposed to be are missing the point.
Maybe there are some lame scripts on there, but execs are asked to name their 10 favorite scripts of the year. Period. It’s not a list of undiscovered writers or projects that don’t have financing.
but you’re missing the point that if it’s true that agencies can buy or bully their projects being listed, it has no legitimacy; it’s just another promotional tool for people who don’t really need it.
Okay, so here’s where we stand for the Blacklist 2.0 for 2009 (again, title suggestions welcome):
FIRE ME (by Dylan Morgan and Josh Siegal)
THE LONG ROAD HOME (by Mikko Alanne)
PURE (writer?)
THE DEVIL & HOUDINI (writer?)
THE VOICES (by Michael R. Perry)
L.A. REX (by Will Beall)
MIXTAPE (by Stacy Menear)
BETTY’S READY (by Jaylynn Bailey)
I HOPE WE CAN STILL BE FRIENDS (by Josh Wittington)
THE GHOST AND THE WOLF (by Rylend Grant & Dikran Ornekian)
REPEAT AFTER ME (by Peter Paige & Brad Bredeweg)
ROGER THAT (writer?)
CEs, Assistants, Writers, etc. — copy and append with your own suggestions of scripts that were the best reads of the year (in no particular order).
Add to this list:
THE MURDOCHS (by Jesse Armstrong)
SAND DOGS (Vineet Dewan & Angus Fletcher)
fyi:
PURE = Jeff Williams
THE DEVIL AND HARRY HOUDINI = Colleen Demaio
ROGER THAT = Brian & Jim Kehoe
Haven’t read any of those, so I’m neither voting for nor against them. Just updating writer info.
I second “FIRE ME.” Loved it.
I was on the Black List several years ago. It was cool, it was jiggity, it was crescent-fresh.
One thing that people have to understand, however, is that there are some great scripts out there that are not circulated because agencies and/or managers don’t want them to be. Those scripts go directly to people at WB, or Disney, or Production Company A, or Belial’s Abbatoir Films, that said reps have a relationship with. It’s hard to expect 5 votes on something that only three people have seen.
Is there some utter shit on this list? Yes. But there was also utter shit on the list years ago. The same goes for the absolutely brilliant shit (”Jennifer 9″, for example.)
Personally I would like to see something like “The Labia List” which only asks for votes of best-like scripts by women.
I would also like to see a Black List that only includes original ideas and one that only includes remakes.
Will that ever happen?
I hope so.
In the meantime, I like to think of the lives that will be changed by their inclusion on this year’s List. Not the Sorkins or Braffs.
It gives the cheer.
re: NOTES
“Personally I would like to see something like “The Labia List” which only asks for votes of best-like scripts by women.”
The Labia List? That is so offensive. Why should women be marginalized onto their own list and offensively called after a part of the female anatomy. I can’t even imagine the uproar that would happen on these boards if you proposed a list of a minority such as black or asian and called it an equally offensive name.
There are just as many good female writers as men. The fact that there are so few on the list speaks volumes of the opportunities women have with representation in hollywood then about how many good scripts there are written by women. Hollywood is sexist beyond belief and the Blacklist is a baby of the system.
I am a writer – my sex should never come into the equation. Imagine yourself being on the “The Penis List” or perhaps “The Scrotum List” – Wouldn’t that be lovely. You’re parents would be so proud.
So, women, who represent over 50% of the population, are relegated to their own little disenfranchised list, “The Labia List.”
So, in your opinion, scripts written by female screenwriters do not merit inclusion on the Black List.
Once again, another dim-witted misogynist comment from someone with feelings of serious inadequacy.
will someone be posting a link to media fire like last year where we can download the scripts????? that would be awesome!!!
Wow. So this is how it works, huh?
Good to know.
Completely and totally worthless.
Originally this list was about challenging screenplays. Movies that were not getting made because they were groundbreaking and scaring off execs.
How many of these films are already in production? Why list The Social Network? I don’t get it. Why list a film David Fincher is directing?
Someone should create the real Black List now because the herd mentality of Hollywood has infiltrated the underground once again.
I like this game. Lets continue.
The TOP 5 scripts of the year, list or no list, are as follows:
1) THE MUPPET MAN by Christopher Weekes
2) THE DEVIL AND HARRY HOUDINI by Colleen Demaio
3) REPEAT AFTER ME by Brad Bredeweg & Peter Paige
4) BETTY’S READY by Jaylynn Bailey
5) RESTLESS by Jason Lew
I also loved THE MURDOCHS, ROGER THAT and THE MUPPET MAN. I *think* I read ROGER THAT last year, though. Still one of my personal top ten of all time because I have a paint-in-the-ass brother.
I really wish the Black List hadn’t gone commercial. There are some fantastic scripts on the list, but it’s just as notable for the great ones left off the list.
I was sorry to see that an unsold comedy, EMERGENCY CONTACT, did not make the Black List. One of the funniest scripts I’ve read in the last few years. Might have been their first script, and imo held it’s own against the comedies on this year’s list.
of all the scripts i’ve covered, i never once made judgment based on the sex of the writer. last i checked, hollywood is all about making $$ and a woman’s name on a script is not going to get in the way of that.
EX-MAS should be on Black List 2.0. As well as KILLING JOHN STAMOS.
all i can say is IT’S ABOUT TIME SOMEONE TOLD THE MEDUSA STORY! I don’t think there’s any character in the world that is SO famous, but we never gets more than a few sentences in books, or minutes in movies, or is tougher than a level 2 boss in video games.
if “Crap of the Titans” is getting made, than this has to.
Some of these scripts are already done shooting. The RObert Downey Jr one “due date” just wrapped… sounds like a great movie but WTF? Why is it on the list????
and I agree with the Medusa post. Sounds sweet
I LOVE ANYTHING ABOUT THE MUPPETS!!!
Yeah, I’m all for Muppets, Medusa, but please no Zach Braff scripts.
At first I didn’t realize that this was the entire list (as opposed to the top 10). This is very, very cool.
I’m really surprised THE MUPPET MAN is the object of so much praise and affection. I wanted to enjoy it- but kept finding myself thinking, “Well, THAT’s not historically accurate… And THAT’s totally bogus…” I found historical problems and I’m not even a Jim Henson expert. (I’m not talking about the use of Muppets as real beings. Their incorporation as non-manipulated entities into a biographical film is a novel and cool idea and might make it have broader appeal- and I am not personally opposed to such a device, if used properly.)
I am opposed to biographic films which take liberties with known historical facts- simply for the sake of entertainment. I can understand “filling in holes” if the historical record is incomplete- as it frequently is for figures in the distant past. (It seems a bit like using Frog DNA if you don’t have the complete chain of a dinosaur…) But there are no such holes in the record for Henson- particularly not the Sesame Street era Henson and beyond.
I mean, jeez… His last appearance on Arsenio is on Youtube- anyone can watch it. So why rewrite such a scene and take liberties with it? That is just one of many such moments where deviations from the documented record are obvious. It is, in a word, lame.
He was a truly great man and he deserves to be recognized for his greatness- not mythologized or rounded up to the nearest-whole-archetype. I hope the story will receive the rewrite that it needs- not to purge its rich Muppet-world bookends, but instead to fix those historical errors that will undermine the film’s potential to serve as the definitive rendering of the life of a truly great American entertainer.
Some tough responses here. If your script is NOT on the list, good luck… keep pushing… but stop being a hater.
No one likes the one about the pizza delivery boy? Shameful.
BOOK SMART sounds interesting.
And why has no one mentioned THE GIRL WITH THE RED RIDING-HOOD? it sounds like TWILIGHT without vampires.
Actually THE GIRL WITH THE RED RIDING HOOD was very entertaining in a SLEEPY HOLLOW kind of way.
It seems to be written for a ‘hard’ PG-13, but it’s most definitely not TWILIGHT. If it had even a WHIFF of was I would never have finished it.
That last sentence should have read: ‘If it had gotten even a WHIFF of TWILIGHT-itis I would never have finished it.’
My 9-5 as a simple assistant to TV Producers, making like $500 a week. SUCKS… AND I watched my independent movie fall apart due to a crazy financier at the last possible minute… BUT… My bigger script made the Black list this year, hopefully it helps!
Here’s to HOPE!
Happy Holidays and Good luck to everyone in 2010!
Just a word on THE GUNSLINGER.
Of course, the most obvious comparison people are going to go for in describing it is NO COUNTRY FOR OLD MEN; with its bleak, borderline-nihilistic violent tone and dusty Texas setting.
But for me this script has a palpable kinship with ROLLING THUNDER, the 80’s classic written by Paul Schrader.
In fact, a hack producer could film this script and pretty much call it a remake/re-imagining with the ROLLING THUNDER title and it wouldn’t feel out of place.
Excellent script. I thoroughly enjoyed it.
iiiiiiiiinteresting. I look forward to it happening. Is it one of the ones that’s actually IN production?
My friends wrote a movie on this list and they’re completely done.. well… still finishing up POST production a little bit… but talk about a film that doesn’t belong on a list like this… Just don’t tell my friends that.
Anyone have that CURSE OF MEDUSA script?
OK I am not in the industry but I go to the movies a lot. Here are the ones I would be interested in seeing based on their description. By the way, I wish they would explain whether some of the scripts were comedies. Some sounded interesting if they were comedies or extremely lame if they were not. Also many of plots sound like bad tv shows.
True Memoirs of an Assassain
Diversification of Noah Miller
Buried
Take this Waltz
The Trade (is this a comedy? – it would only work as a comedy)
Betty’s Ready
Isolate Thief
Mixtape
LA Rex
Good Looking
Killing John Stamos? Anyone have any details on this?