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Tag: loving the art of screenwriting (1-2 of 2)

Dalton Trumbo finally gets writing credit for 'Roman Holiday'

The Writer’s Guild of America announced today that it has officially restored the late blacklisted screenwriter Dalton Trumbo’s credit to the 1953 movie Roman Holiday. He now shares a “screenplay by” credit with the other two writers; the “Story By” credit belongs to him.

In 1947, Trumbo was called before the House Un-American Activities Committee to testify about Communist influence in Hollywood. He refused to name names, was convicted for contempt of Congress, served 11 months in a federal penitentiary, and was blacklisted from working in Hollywood. He spent a decade living in Mexico with his family, writing screenplays under fake names or with the help of a front writer. One of the screenplays he worked on became Roman Holiday, one of the great romantic comedies in history. Roman Holiday‘s screenplay won an Academy Award, which was accepted by John Dighton and Trumbo’s front writer (and good friend) Ian McLellan Hunter. Trumbo was posthumously awarded the Oscar in 1993.

In a press release, Chris Keyser — president of Writer’s Guild of America, West — said, “It is not in our power to erase the mistakes or the suffering of the past. But we can make amends, we can pledge not to fall prey again to the dangerous power of fear or to the impulse to censor, even if that pledge is really only a hope. And, in the end, we can give credit where credit is due.”

Follow Darren on Twitter: @EWDarrenFranich

'Moneyball': How audiences fell back in love with screenwriting. Plus, Brad Pitt's sexiest dimension

Moneyball, the crackerjack true-life baseball movie starring Brad Pitt as the quirky, embattled, visionary Oakland A’s general manager Billy Beane (a name born to be a movie character), took a lot of people, including me, by surprise. A baseball drama with a star as big as Brad Pitt might have seemed like the perfect summer movie, so you had to wonder a bit why it wasn’t one. Then too, given the film’s late-September, quasi-no-man’s-land release date, it didn’t exactly sound like awards material either (though people have already started to talk about it in that way). Baseball movies, for whatever reason, have historically been underachievers at the box office (Moneyball‘s $20.6 million take makes it the all-time opening-weekend champ for a baseball flick), so the expectations were at a relatively low ebb when I first saw the movie a couple of weeks ago at the Toronto International Film Festival. (What was a baseball movie doing at TIFF anyway?) Yet from that moment, right up until this very moment, I have yet to meet anyone who’s seen Moneyball who doesn’t like it a lot. The picture is incredibly shrewd entertainment, lively and original and full of surprise, directed and acted with great passion and skill. READ FULL STORY

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