Yurek Bogayevicz's 1987 film "Anna" (Thursday and Saturday), for which she wrote her first English-language screenplay, won Sally Kirkland an Oscar nomination for her portrayal of the struggles of a fading New York theater actress.
Written and directed by Hayao Miyazaki; United States production directors, John Lasseter, Brad Lewis and Peter Sohn; English-language screenplay by Melissa Mathison, translated from the original Japanese by Jim Hubbert; music by Joe Hisaishi; produced by Toshio Suzuki; released by Walt Disney Studios.
The French-language screenplay was adapted by René Sti.
Wade has now tuned up the language of the screenplay.
Haneke's Amour won nods for leading actress (Emmanuelle Riva), foreign language film, original screenplay and best director.
That sly confusion between the beautiful and the gruesome extends to the language of the screenplay by Ms. Harron and Guinevere Turner.
As the novel steams to its terminus, there is more than a little deus ex machina (in screenplay language, the term implies an unnatural, contrived ending).
The playwright's language, which Mr. Warchus's screenplay skillfully imitates, retains the force of a calligraphic scrawl evoking the shadowy primal emotions of stored-up memory.
That is the sound of the dead language in Roland Joffé's screenplay for "There Be Dragons" as it tramples his would-be epic of the Spanish Civil War into an indigestible pulp.
How do you explain the Jane Austen bandwagon, which rolls on full steam with "Becoming Jane," an imitation screen adaptation of an Austen-like novel that imagines the author's romantic life at 20? Austen's refined language, which Sarah Williams and Kevin Hood's screenplay does a reasonably good job of capturing, is part of the charm.
Iranian film A Separation, which recently triumphed at the London Critics Circle awards, received two nods, including best foreign language movie and original screenplay.
