A Century of Film: Adapted Screenplay
A Century of Film Adapted Screenplay It didn't take long for screenwriters to realize that what had been successful in other mediums could be successful in film as well.  After all, what is probably the first great film, A Trip to the Moon, came from H.G. Wells before Melies visualized it. The awards groups knew…
https://s1.wp.com/i/favicon.ico
News from the San Diego Becks
A Century of Film

Adapted Screenplay

It didn’t take long for screenwriters to realize that what had been successful in other mediums could be successful in film as well. After all, what is probably the first great film, A Trip to the Moon, came from H.G. Wells before Melies visualized it.

The awards groups knew it right from the start, with Best Writing (Adaptation) a category in the very first Oscars. Great literature could be adapted but the not-so-great could also transcend its original material. My whole project of going through the Adapted Screenplay, year by year, is a documented history of the kinds of great (and not great) works that have been adapted into great (and not great, but award winning or nominated) films over the years.

My Top 5 Adapted Screenplays in Film History:

Casablanca

The Princess Bride

The Seventh Seal

The Godfather

Touch of Evil

The other 9 Point Adapted Screenplays (chronological):

The Petrified Forest

The Wizard of Oz

The Grapes of Wrath

The Philadelphia Story

The Maltese Falcon

The Best Years of Our Lives

Brief Encounter

Treasure of the Sierra Madre

All About Eve

A Streetcar Named Desire

Rashomon

The Bridge on the River Kwai

Paths of Glory

Touch of Evil

Some Like It Hot

Dr. Strangelove

Who’s Afraid of Virginia Woolf

Chimes at Midnight

M*A*S*H

Monty Python and the Holy Grail

All the President’s Men

Being There

Breaker Morant

Terms of Endearment

A Room with a View

Glory

Field of Dreams

GoodFellas

The Silence of the Lambs

Schindler’s List

The Age of Innocence

Ed Wood

The Shawshank Redemption

Trainspotting

The English Patient

L.A. Confidential

The Ice Storm

Out of Sight

Crouching Tiger, Hidden Dragon

The Lord of the Rings: The Fellowship of the Ring

The Hours

Adaptation

The Lord of the Rings: The Return of the King

Sideways

Brokeback Mountain

note: I rate all aspects of film on a 9 point scale. They also correspond to the 100 point scale for Best Picture. Films above *** (76-99) all land on the scale. 1 point is for 76-79, just worth mentioning. 2 points is for 80-83, a weak mention, 3 points is for 84-87, near great, 4 points is for 88-89 (which is ****), a solid nominee, 5 points is for 90-91, a very solid nominee, 6 points is for 92-93, a weak winner, a 7 points is for 94-95, a worthwhile winner, 8 points is 96-97, the kind of winner you can’t complain about even if it’s not your #1 choice and 9 points is for 98-99, the very best of all-time. The above list are my 9 point films for Sound through 2011, listed chronologically.

The Writers

Ben Hecht

Though Hecht would eventually direct some films, he was primarily a writer and the first major writer to come to Hollywood and transition into this new system (he was already well-known as a playwright, namely for The Front Page and he had been a reporter in Chicago). While both of his Oscars were for Original Story, he was actually a better writer when it came to adapting.

Key Films: Wuthering Heights, Scarface, Design for Living

Robert Riskin

Frank Capra’s writer all through the thirties and one of the top person when it comes to points in that decade, whether it be Nighthawk Points or the Oscars (where he won one and earned three other nominations, all with Capra, all for adapted scripts).

Key Films: Mr. Deeds Goes to Town, It Happened One Night, You Can’t Take It With You

John Huston

The only writer with a lot of mentions on my own list to not have an original Screenplay on the list. He was the consummate adaptor, mostly for male oriented material with tough guys in hard situations. He’s 4th All-time in Oscar Points and in the Top 10 for the WGA and just outside the Top 10 at the Nighthhawks.

Key Films: The Maltese Falcon, Treasure of the Sierra Madre, The African Queen, The Asphalt Jungle

Billy Wilder

The writer who, more than any other, has the best balance between Original and Adapted and the relatively rare writer (ten all-time) to win Oscars in both.

Key Films: Some Like It Hot, Double Indemnity, The Lost Weekend, Sabrina, Stalag 17

Akira Kurosawa

Though his Samurai films were mostly Original, his other great work was mostly Adapted and the four films listed here are just the tip of the iceberg. To their own shame, the Oscars never nominated him for writing but he’s in 4th place at the Nighthawks.

Key Films: Rashomon, Ran, High and Low, Throne of Blood

Stanley Kubrick

He never won an Oscar (in five nominations) and the Globes somehow never even nominated him for writing but he did win a WGA among his five nominations there and at the Nighthawks he wins three Adapted awards.

Key Films: Dr. Strangelove, A Clockwork Orange, Paths of Glory, The Shining

Ernest Lehman

Another pure writer (he produced as well but never directed), Lehman earned four Oscar noms but never won. However, he’s third all-time in WGA points where he won a whopping five awards.

Key Films: Who’s Afraid of Virginia Woolf, West Side Story

William Goldman

Another of the rare breed to win Oscars for both Original (Butch Cassidy) and Adapted (All the President’s Men). Also, he’s well known for writing multiple great books about the process of being a screenwriter in Hollywood (if you’ve never read Adventures in the Screen Trade or Which Lie Did I Tell you need to – they are among the very best film books available).

Key Films: The Princess Bride, All the President’s Men, Misery

The Academy Awards

Summary:

There is much to be read here and a bit to be read here as well. The former includes some tidbits about the history of the category, how it has dominated among the major Oscar films of all-time as well as some bits about the long history of great writers from other mediums who managed to earn an Oscar nomination but not win the award itself. I failed to mention Tony Kushner in that original bit and since then Nick Hornby also earned a nomination without winning.

Directors:

William Wyler’s films have the most nominations (10, including two wins) but John Huston is the most dominant since he earned seven nominations for writing his own films. Fred Zinnemann is the only director whose films won three Oscars (with three different writers) while Coppola, Joseph L. Mankiewicz, Alexander Payne and George Seaton are the only writer-directors to win multiple Adapted Screenplay Oscars.

Franchises:

Of course this is the category where franchises would be eligible but most people don’t think highly of the writing in franchises, so nominations haven’t been that prevalent. That being said, they are more common than perhaps you might think, beginning in 1936 with a nomination for After the Thin Man. After that, it was a long wait until The Godfather Part II came along. The next one to get a nomination also won (Return of the King). Since then there has also been Before Sunset and Toy Story 3.

Genres:

Adapted is really heavy in Drama, far more so than Original Screenplay is. It accounts for a whopping 57% of the nominations and an astounding 65.48% of the wins. It has won 55 times, with Comedy (10) and Crime (6) the only other genres with more than three wins. Comedy (70 noms to Drama’s 231) is the only other genre with more than 20 noms. Adventure and Sci-Fi have never won the Oscar and there are six genres that have only won once.

Best Picture:

Thirty nine films have won Best Picture and Adapted Screenplay, far more than Original Screenplay, and another 15 Picture winners were nominated for Adapted Screenplay. Every Picture winner from 37-47 and 13 of the 15 from 55-69 were Adapted Screenplay nominees or winners. It took until 1976-78 for three straight Picture winners not to earn a nomination here and there have been only two other such streaks (97-99, 09-11). 33 films have won Picture, Director and Adapted Screenplay compared to 11 doing that with Original though Going My Way, because of the screenplay intricacies, is counted on both lists. It took until 2009-10 for Original to do that in back-to-back years while Adapted did it five straight from 42-46. Only eight Originals have won Picture, Director and a lead acting Oscar while 19 Adapted have done it. In total, 241 films have been nominated for Picture and Adapted Screenplay, well over 50% of the total nominees as opposed to just barely more than a quarter of the Original Screenplay nominees. Until 1996, The Bad and the Beautiful was the only Adapted winner without a Picture nomination and there still have only been three (Sling Blade and Gods and Monsters are the others). From 1937 to 1942 every Adapted nominee earned a Picture nomination. Until the late nineties it was rare to have a year with just one Picture nominee among the Adapted nominees (there has never been a year with zero) and in 1964 and 2010 they all were nominated.

Foreign Films:

This is one place where Original is much better. It took until 1946 for Adapted to have a Foreign nominee (by which point Original already had a Foreign winner) and Open City only counts because of the way the categories were structured (today it would be Original). By 1969, at which point Original had a several year streak going of at least one Foreign nominee a year, Adapted was only reaching its fourth nomination. But the seventies were much stronger (nine nominations including two each in 75 and 76) and through 2011, there have been 21 Foreign nominees though there still hasn’t been a Foreign winner.

Single Nominations:

Unlike Original where it happened for years, no Adapted winner has won without at least another nomination. Until 1996, no Adapted film won without at least two other nominations. A whopping 36% of the Original Screenplay nominees received no other nominations as compared to the less than 10% for Adapted. Original has never gone more than two years without a single nominee while Adapted once went six (37-42) and only had one from 1932-42.

Other Categories:

Picture, of course, is a huge match-up, with over half the films nominated for both. Director also appears among more than half the films and all the acting categories match up far more than for Original. Even Visual Effects crosses over (Forrest Gump and Return of the King won both). No film has yet won Adapted and Sound Editing. There has been little crossover with Animated Film (two Adapted nominees, both won Animated – Shrek and Toy Story 3) and with Foreign Film (three Adapted nominees have won Foreign but obviously nothing has won both).

Points:

Because the two screenwriting categories are not only fluid but also overlap depending on how the script is categorized, I keep just one point spreadsheet for both writing categories. So here are the points for all the writing categories at the Oscars.

Top Oscar Points by Decade:

20s: Joseph Farnham – 160

30s: Robert Riskin / Frances Marion – 200

40s: Billy Wilder – 240

50s: Michael Wilson – 240

60s: Robert Bolt – 200

70s: Francis Ford Coppola – 320

80s: Woody Allen – 240

90s: Woody Allen – 200

00s: Ethan and Joel Coen – 160

note: Farnham, Marion, Wilson, Bolt and Coppola didn’t receive any points outside of those decades.

Top 10 Oscar Points:

Woody Allen – 720

Billy Wilder – 600

Charles Brackett – 400

John Huston – 360

Ben Hecht – 320

Federico Fellini – 320

Francis Ford Coppola – 320

Ethan and Joel Coen – 280

Joseph L. Mankiewicz / Carl Foreman – 280

Paddy Chayefsky / Robert Benton / Oliver Stone – 280

Top 5 Oscar Winners:

Casablanca

The Godfather

L.A. Confidential

The Lord of the Rings: The Return of the King

All About Eve

Worst 5 Oscar Winners:

Sling Blade

Cimarron

Gigi

Out of Africa

Driving Miss Daisy

Worst 5 Oscar Nominees:

Love Story

Airport

Sling Blade

Fatal Attraction

Peyton Place

Top 5 Oscar Years:

1993 (Schindler’s List, Age of Innocence, In the Name of the Father, Remains of the Day, Shadowlands)

1951 (A Place in the Sun, A Streetcar Named Desire, Detective Story, African Queen, La Ronde)

2005 (Brokeback Mountain, Munich, Constant Gardener, History of Violence, Capote)

2002 (Pianist, Hours, Adaptation, About a Boy, Chicago)

2011 (Descendants, Hugo, Tinker Tailor Soldier Spy, Ides of March, Moneyball)

Top 5 Oscars Years by Oscar Score:

1993 – 100 (Schindler’s List, Age of Innocence, In the Name of the Father, Remains of the Day, Shadowlands)

1951 – 97.4 (A Place in the Sun, A Streetcar Named Desire, Detective Story, African Queen, La Ronde)

2005 – 97.3 (Brokeback Mountain, Munich, Constant Gardener, History of Violence, Capote)

2011 – 97.1 (Descendants, Hugo, Tinker Tailor Soldier Spy, Ides of March, Moneyball)

1982 – 96.8 (Missing, Sophie’s Choice, Verdict, Das Boot, Victor/Victoria)

note: The difference between this list and the previous one is that the first one is a flat total based on my 9 point scale. In this one, it’s comparing my top five films to the ones the Oscars actually nominated. So, in the first one, it’s how good are the nominees. In this one it’s how good are the nominees compared to what else was eligible.

Worst 5 Oscar Years:

1929 (The Patriot, In Old Arizona, Valiant, Leatherneck, Our Dancing Daughters, Wonder of Women)

1931 (Cimarron, Criminal Code, Little Caesar, Skippy, Holiday)

1942 (Mrs Miniver, Random Harvest, Pride of the Yankees, 49th Parallel, Talk of the Town)

1930 (Big House, All Quiet on the Western Front, Disraeli, Divorcee, Street of Chance)

1956 (Around the World in 80 Days, Baby Doll, Lust for Life, Giant, Friendly Persuasion)

note: 1929 technically shouldn’t go there since I’ve only seen four of the six nominees (The Patriot and Wonder of Women are lost) but none of them earn any points, and it’s the only year with a flat zero for a score.

note: The Worst 5 Years by Oscar Score are the same five.

Top 5 Films to win the Oscar (based on quality of film not writing):

The Godfather

Casablanca

The Lord of the Rings: The Return of the King

The Bridge on the River Kwai

Schindler’s List

Worst 5 Films to win the Oscar (based on quality of film not writing):

Sling Blade

Cimarron

Gigi

Out of Africa

On Golden Pond

Worst 5 Films to earn an Oscar nomination (based on quality of film not writing):

Fatal Attraction

I Want to Live

Love Story

Airport

Sling Blade

Years in Which the Worst of the Nominees Won the Oscar:

1931: Cimarron over Little Caesar, Criminal Code, Holiday, Skippy

1932: Bad Girl over Dr. Jekyll and Mr. Hyde, Arrowsmith

1936: Story of Louis Pasteur over Mr Deeds Goes to Town, Dodsworth, My Man Godfrey, After the Thin Man

1939: Gone with the Wind over Mr Smith Goes to Washington, Wuthering Heights, Goodbye Mr Chips, Ninotchka

1958: Gigi over Cat on a Hot Tin Roof, Separate Tables, Horse’s Mouth, I Want to Live

1961: Judgment at Nuremberg over West Side Story, Hustler, Guns of Navarone, Breakfast at Tiffany’s

1981: On Golden Pond over French Lieutenant’s Woman, Ragtime, Pennies from Heaven, Prince of the City

1989: Driving Miss Daisy over Field of Dreams, Born on the Fourth of July, My Left Foot, Enemies a Love Story

1994: Forrest Gump over Shawshank Redemption, Quiz, Show, Nobody’s Fool, Madness of King George

1996: Sling Blade over Trainspotting, English Patient, Crucible, Hamlet

2001: A Beautiful Mind over Fellowship of the Ring, In the Bedroom, Ghost World, Shrek

Oscar Scores By Decade:

1930’s: 48.6

1940’s: 67.0

1950’s: 58.7

1960’s: 67.7

1970’s: 70.9

1980’s: 78.3

1990’s: 78.6

2000’s: 79.3

2010’s: 92.9

All-Time: 70.1

Golden Globes

Summary:

The Globes began their Best Screenplay Award in 1947, simply giving an award to Miracle on 34th Street. They were then inconsistent, giving awards in 1948, 51, 53 and 54 but having a slate of two nominees in 1949 and three each in 1950 and 1952. The first three to win the award were all Original but the next five were all Adapted. Then the Globes dropped the category just as they were re-opening their other categories to full slates of nominees again. It wouldn’t be revived until 1965 at which point it would become regular (5 nominees with a handful of exceptions with six nominees).

Many genres have won at least once (Kids, Suspense, Musical, War and Western have won just once). Though a number of films with 6 nominations have failed to earn Screenplay noms (two of which came during the period where the category didn’t exist), no film has earned 7 or more Globe noms without a Screenplay nom. A Star is Born (1976) is the only film to win 5 Globes without a Screenplay win (or even a nom). The only Foreign nominee is The Diving Bell and the Butterfly.

Given that the Globes have twice as many Picture nominees and half as many Screenplay nominees as the Oscars, it’s not surprising that the only films to win Screenplay without another nomination were all in the era where there were no nominees in categories other than the winners. It’s also been fairly rare for films to earn a Screenplay nom with no other noms with just 16 films over the years and only 11 since the category began with a full slate of nominees in 1965.

Winners often win something else; just 10 of the 47 winners since the award began again have failed to win another Globe. Most of them win Picture, with 29 films winning both awards though only four of those won Picture – Comedy and until 1998 the only film to win both was The Goodbye Girl, which is ironic, since it lost both to Annie Hall at the Oscars. It is perhaps notable that of the four films to win Screenplay and Picture – Comedy, three were original (Sideways wasn’t) while in Drama, of the 25 films to win both, only three were original (Love Story, Chinatown, American Beauty). Since 1965, The Hospital is the only film to win Screenplay without a Picture nom (Gandhi was a “Foreign Film” and it won Foreign Film).

There will be a lot more trivia about this category at the Globes in the forthcoming Globes post.

Top 10 Globes Points:

Woody Allen – 320

Stirling Silliphant – 240

Robert Bolt – 240

Oliver Stone – 240

Aaron Sorkin – 240

Francis Ford Coppola – 200

Alexander Payne – 200

12 writers – 160

note: The following list makes distinctions between original and adapted but the Globes themselves have never done so. This is because I wrote no piece on the Globes for the Original Screenplay post.

Best Winner (Adapted): The Godfather

Best Winner (Original): Chinatown

Worst Winner (Adapted): The Ninth Configuration

Worst Winner (Original): Love Story

Best Year for Nominees: 2004 (Sideways, Eternal Sunshine of the Spotless Mind, Aviator, Closer, Finding Neverland)

Weakest Year for Nominees: 1965 (Doctor Zhivago, Collector, Slender Thread, Agony and the Ecstasy, Patch of Blue)

Lowest Critical Acclaim for a Globe Winner (Adapted): Charly

Lowest Critical Acclaim for a Globe Winner (Original): The People vs. Larry Flynt

Highest Critical Acclaim for a Globe Nominee (Adapted): L.A. Confidential **

Highest Critical Acclaim for a Globe Nominee (Original): The Piano

Lowest Critical Acclaim for a Globe nominee (Adapted): Frenzy

Lowest Critical Acclaim for a Globe nominee (Original): Mulholland Drive

Highest Critical Acclaim for a Globe snub (Adapted): A Room with a View

Highest Critical Acclaim for a Globe snub (Original): Melvin and Howard

Best Screenplay for a Globe snub (Adapted): The Princess Bride

Best Screenplay for a Globe snub (Original): Raiders of the Lost Ark

Best Globe Nominee Not Nominated by Any Other Group (Adapted): A Few Good Men

Best Globe Nominee Not Nominated by Any Other Group (Original): House of Games

note: The reason there is no “Worst Nominee” listed for either Adapted or Original is because the worst nominee won the Globe. What fucking morons voted for those scripts?

note: L.A. Confidential had a 20% higher Consensus score than any other Adapted film that failed to win the Globe.

The BAFTA Awards

Summary:

In some ways, possibly even more of a nightmare than the Oscars. The award began as Best British Screenplay in 1954 and continued that way until 1967 (I only count it towards the Consensus in that stretch if it’s for a film that already has other nominations). It is interesting to note that in that stretch they gave the award to four films that won Best Picture at the Oscars including one (Lawrence of Arabia) that didn’t win the Oscar (the other three were Bridge on the River Kwai, Tom Jones, A Man for all Seasons). Then, in 1968, the year that they changed their awards system (dropping the British categories), they changed it to just Screenplay with no regard for whether it was original or adapted (an odd choice at the same time the WGA was finally making that split). From 1968 to 1982, it was a four nominee, one award category and interesting to note that in that 15 year stretch, with no British requirement, only two Oscar winners for Best Picture won (Midnight Cowboy, Annie Hall). Then in 1983, it finally broke into original and adapted as separate categories though it would continue to have four nominees (with some exceptions) until 1999. Like with Original Screenplay, it wouldn’t agree much with the Oscars before it expanded to five Oscar nominees with only three films winning both (Out of Africa, Dangerous Liaisons, Schindler’s List). Since 2000, six films have won both awards and only Last King of Scotland won the BAFTA without an Oscar nom.

For the following categories, I will only discuss both the Screenplay category as it existed from 1968 to 1982 (ignoring the British Screenply category) and the Adapted Screenplay category from 1982 forward.

Genres:

Action, Adventure, Fantasy and Kids never earned Screenplay nominations and 14 of the 17 winners were either Comedy of Drama (7 each).

In Adapted, Adventure is the only category without a nomination. Drama has dominated the winners (15 of 29) but a number of genres have squeaked out one win (Fantasy, Horror, Kids, Musical, Mystery, War). Drama accounts for over half of the nominations.

Best Picture:

The only film to win Picture without a Screenplay nomination during those 15 years was Day for Night and seven films won both. Of the 60 Screenplay nominees in the era, 42 were nominated for Picture.

In Adapted, nine films have won both and another seven films have won Picture with an Adapted Screenplay nomination. Just under half of the Screenplay nominees have earned Picture noms (65 for 133). A whopping 11 films have won Adapted Screenplay without a Picture nomination in less than 30 years while it’s only happened 3 times in over 80 years at the Oscars.

Single Nominees:

During the 15 years of the single category only two films managed to earn a nomination without any other nominations: Blazing Saddles and Airplane.

It was fairly common in the early years of Adapted Screenplay to have a nominee with no other nominations (seven in the first seven years) but much more rare since then (six in 22 years).

Foreign Films:

Three Foreign Films earned Screenplay noms with Discreet Charm of the Bourgeoisie winning the award. Twelve films have earned Adapted noms though only Jean de Florette and Diving Bell and the Butterfly have won the award.

Other Categories:

Screenplay had large crossovers with both Picture and Director (over half of the Screenplay nominees were nominated for each). Since Adapted Screenplay came about every category has crossed over with it at least once (even Song thanks to Tootsie which was bizarrely nominated for Adapted Screenplay). Toy Story 3 is the only Animated Film crossover and it lost Screenplay. Surprisingly, the only two Foreign Films to win Adapted Screenplay lost Foreign Film.

Top 10 BAFTA Points:

Woody Allen – 680

Jean-Claude Carriere – 240

Anthony Minghella – 240

Charlie Kaufman – 240

Ethan and Joel Coen – 240

Ruth Prawer Jhabvala – 200

Ronald Harwood – 200

Steven Zaillian – 200

11 writers – 160

Top 3 BAFTA Winners (Screenplay: 1968-1982)

Chinatown

Annie Hall

The Discreet Charm of the Bourgeoisie

Top 5 BAFTA Winners:

GoodFellas

Trainspotting

The Lord of the Rings: The Return of the King

Schindler’s List

Brokeback Mountain

Worst 3 BAFTA Winners (Screenplay: 1968-1982)

Bugsy Malone

Julia

Gregory’s Girl

Worst 5 BAFTA Winners:

Out of Africa

Heat and Dust

The Last King of Scotland

The Diving Bell and the Butterfly

Romeo + Juliet

Worst 5 BAFTA Nominees (Screenplay: 1968-1982)

Nashville

Bugsy Malone

On Golden Pond

Yanks

A Wedding

Worst 5 BAFTA Nominees:

Scent of a Woman

The Chorus

Out of Africa

The Help

The Devil Wears Prada

Top 3 BAFTA Years (Screenplay: 1968-1982)

1980 (Being There, Airplane, Elephant Man, Kramer vs Kramer)

1972 (Hospital, Last Picture Show, Clockwork Orange, Cabaret)

1974 (Chinatown, Last Detail, Blazing Saddles, Conversation, Lacombe Lucien)

Top 3 BAFTA Years (4 Nominees):

1997 (Romeo + Juliet, L.A. Confidential, Ice Storm, Wings of the Dove)

1985 (Prizzi’s Honor, Amadeus, Passage to India, Shooting Party)

1991 (Commitments, Silence of the Lambs, Dances with Wolves, Cyrano de Bergerac)

Top 3 BAFTA Years (5 Nominees):

2002 (Adaptation, Hours, Pianist, About a Boy, Catch Me if You Can)

2005 (Brokeback Mountain, Constant Gardener, Pride and Prejudice, History of Violence, Capote)

2000 (Traffic, Crouching Tiger Hidden Dragon, Wonder Boys, High Fidelity, Chocolat)

Years in Which the Worst of the Nominees Won the BAFTA:

1976: Bugsy Malone over All the President’s Men, One Flew over the Cuckoo’s Nest, Sunshine Boys

1981: Gregory’s Girl over Atlantic City, French Lieutenant’s Woman, Chariots of Fire

1983: Heat and Dust over Betrayal, Educating Rita, Tootsie

1985: Out of Africa over Ran, Room with a View, Color Purple, Children of a Lesser God

1997: Romeo + Juliet over L.A. Confidential, Ice Storm, Wings of the Dove

The Broadcast Film Critics Awards (Critics Choice)

Summary:

The Screenplay award came into existence with the first BFCA Awards in 1995. However, for the first several years it was just an award (with no nominees) and it was a single award, regardless of the source. In 1997, they started splitting the award into Adapted and Original but it was still just one winner each. Then in 2001 they got strange, adding nominees, but combining it back into just one award. It started with three nominees, went to four the next year (perhaps because of the double winner for Charlie Kauffman’s two scripts) then to five, and moved back and forth between five and six until 2008. Then in 2009 they finally split into two separate award nominations although the number of nominees continued to be inconsistent.

As with other groups, the point leaders will be listed under Adapted Screenplay, especially since the history of this award has been so very strange.

Top 5 BFCA Points:

Aaron Sorkin – 200

Ethan Coen – 160

Joel Coen – 160

Alexander Payne – 160

7 writers – 120

Best Winner (Combined): The English Patient

Best Winner (Adapted): L.A. Confidential

Worst Winner (Adapted): The Green Mile

Worst Nominee: Extremely Loud and Incredibly Close

Best Year for Nominees: 2010 (Adapted) (Social Network, Winter’s Bone, True Grit, Toy Story 3, Town, 127 Hours)

Weakest Year for Nominees: 2011 (Adapted) (Moneyball, Hugo, Descendants, Help, Extremely Loud and Incredibly Close)

Lowest Critical Acclaim for a BFCA Winner: Confessions of a Dangerous Mind

Highest Critical Acclaim for a BFCA Nominee: No Country for Old Men

Lowest Critical Acclaim for a BFCA nominee: A Single Man / Fantastic Mr. Fox

Highest Critical Acclaim for a BFCA snub: Out of Sight

Best Screenplay for a BFCA snub: Trainspotting

Best BFCA Nominee Not Nominated by Any Other Group: A Single Man

Writers Guild of America (WGA)

Summary:

This should be the pre-eminent award for writers and it’s not and the writers have no one but themselves to blame. First, when they began in 1948, they had five different categories, covering four genres and a “Best Written Film Concerning Problems in the American Scene”, which was mostly filled with scripts nominated in another category as well. Second, they seemed to have no limit on nominations in that first year so there were 50 total nominations that first year. Third, they didn’t have rules about where things belong so Treasure of the Sierra Madre won the Western category and lost in the Drama category. For the first three years, things continued the same, though, at least by 1950, they had the nominees under control with a limit for five in most categories. In 1951, Westerns were dropped for a new “Low-Budget” film category which was thankfully dropped in 1952 along with the “Problem” category. So, by 1952 they were at least down to three categories with five nominees in each. But Musical (a category often filled with subpar nominees as is detailed in my Adapted Screenplay post laments from 1952 to 1968 though at least after 1964 it never again had five nominees).

By 1967, long after the Academy had mostly fixed their problems, the WGA finally addressed theirs and made things worse. They added an Original category but didn’t drop anything else, so Bonnie and Clyde became the first film since 1949 to win two WGA awards. Finally in 1969, they actually got quite clever and broke things up into Adapted and Original, divided by Comedy and Drama. That works for me, although I sometimes question their classifications (Butch Cassidy is a Drama? Catch-22 is a Drama? Patton, explicitly based on a book, is Original? Terms of Endearment is a Comedy?) Also, unlike the Globes, they never explicitly named their category Comedy / Musical which makes it stupid to list Cabaret which is a Musical but is definitely not a Comedy. The other problem, of course, which I am well aware of from my own Nighthawk Awards, is that there are not a plethora of awards-worthy Adapted Comedies. By 1983, the last year of that category division, it had been five years since Adapted Comedy had the same number of nominees as Adapted Drama (not helped by considering a film like World According to Garp as a Drama).

So in 1984, the WGA made one final adjustment and ended up with categories just like the Oscars and the BAFTAs (though the BAFTAs had only been doing it for a year at that point): Adapted and Original. Of course, the problems weren’t done and for this, I will break my “2011” curtain for a moment, and act like it’s 2020, which it is. The first problem is that the WGA doesn’t have the same considerations about what makes an adapted screenplay as the Academy does. That’s how The Last Emperor is nominated as Original at the WGA but wins Adapted at the Oscars or Moonlight actually wins the WGA in Original but Adapted at the Oscars. In 2005, they went the opposite way, considering Syriana Adapted while the Academy decided it was Original. The second thing is that the WGA is first and foremost a union. Unlike the other guilds who give the awards based on what they think is the best work of the year, the WGA refuses to acknowledge scripts that are written by people who aren’t a guild member (any Tarantino script, which is why Pulp Fiction didn’t technically sweep all the awards) or don’t hold to the guild standards (which is why none of the Pixar films have ever been nominated in spite of their numerous Oscar nominations). The WGA, I’m sure, thinks this makes them look strong and united while I think it makes them look insular, weak and petty. That’s why there was a five year stretch where three films (King’s Speech, Artist, Birdman) won the PGA and DGA and weren’t WGA nominated (two of them going on to win the Screenplay Oscar). Every year we have to decide going into the Oscar nominations which films might have taken a hit by being passed over by the WGA and which films simply weren’t eligible for their privileged award.

Top 10 WGA Points:

Woody Allen – 1000

Billy Wilder – 800

Ernest Lehman – 560

I.A.L. Diamond – 480

Neil Simon – 480

Frances Goodrich – 440

Albert Hackett – 440

Robert Benton – 440

John Huston – 400

6 writers – 360

Best Winner (Adapted): Schindler’s List

Best Winner (Adapted Comedy): M*A*S*H

Best Winner (Adapted Drama): The Godfather

Best Winner (Comedy): Dr. Strangelove

Best Winner (Drama): Sunset Blvd.

Best Winner (Musical): Singin’ in the Rain

Best Winner (Problems in American Scene): All the King’s Men

Best Winner (Western): Treasure of the Sierra Madre

Worst Winner (Adapted): Driving Miss Daisy

Worst Winner (Adapted Comedy): Kotch

Worst Winner (Adapted Drama): On Golden Pond

Worst Winner (Comedy): Father’s Little Dividend

Worst Winner (Drama): Friendly Persuasion

Worst Winner (Musical): Seven Brides for Seven Brothers

Lowest Critical Acclaim for a WGA Winner: Sitting Pretty

Highest Critical Acclaim for a WGA Nominee: Adaptation

Lowest Critical Acclaim for a WGA nominee: 14 films in 1948

Highest Critical Acclaim for a WGA snub: A Man for All Seasons

Best Screenplay for a WGA snub: Touch of Evil

Best WGA Nominee Not Nominated by Any Other Group: The Princess Bride

The Critics Awards

Summary:

The first critics group to present a Screenplay award was the NBR in 1948. They gave it for three years then put it away for almost 50. It took almost a decade before the NYFC revived the idea in 1959. Like the NBR, they didn’t bother to distinguish between an original or an adapted script; the NBR gave its first two awards to adapted and then to an original while the NYFC went with an adapted the first year and an original the next year. Other awards groups as they would follow will do the same with the NSFC starting in 1967, the LAFC in their first year of 1975 and the BSFC in their first year of 1980. The CFC would start with a single award in 1990. The NBR revived their dormant award in 1998 and then expanded it in 2003 to encompass separate original and adapted awards with the CFC following suit in 2006.

The first two NBR winners and the first NYFC winner were all adapted (Treasure of the Sierra Madre, Fallen Idol, Anatomy of a Murder). But the various critics awards for Best Screenplay soon became the playground for Original scripts as only 11 Adapted scripts had managed to win an award from 1959 to 1988 before things really began to finally open up (see the next section).

Multiple Wins:

For a long time (over 20 years, including 21 films), the only films to win multiple critics awards were Original. Drugstore Cowboy finally broke that run in 1989, becoming the first Adapted script to win multiple awards (it won three). It was an ironic choice to break that barrier since it wouldn’t win any other awards or even earn any other nominations from the awards groups. It was then followed two years later with three wins for Naked Lunch which did the exact same thing. L.A. Confidential would become the first to win five awards (all but the NBR which wouldn’t revive the category until the following year). Sideways would then become the first (and only) film to win all six Screenplay awards.

Multiple Films:

It’s rare for an award to go to more than one film. There have been a couple of ties but the only case of a writer winning an award for multiple films was 2002 when the NBR (in their last year before the split awards) gave it to Charlie Kauffman for Adaptation, Confessions of a Dangerous Mind and Human Nature.

Foreign Films:

Story of Adele H is the only Adapted Foreign Film to ever win a Screenplay award.

Single Awards:

No Adapted Screenplay has ever won multiple critics awards without winning at least one other critics award. Only three have even won a single award without winning any other awards (Cider House Rules, Confessions of a Dangerous Mind, In the Loop).

Other Awards:

If you can do math, you know that 95 films have won Screenplay and additional critics awards. Of those, 48 won only one Screenplay award but those single winners include some of the biggest films ever at critics awards including (in points order) GoodFellas, Schindler’s List, Hurt Locker, Silence of the Lambs and Terms of Endearment. Those five films won a combined five writing awards but 23 Picture awards, 19 Director awards and 28 acting awards. The only other comparable group are those that won five or more Screenplay awards because those four films (listed above) won a combined 21 writing awards but also 20 Picture awards, 19 Director awards and 16 acting awards. Overall, 52 films have won Screenplay and Picture, the biggest overlap (followed closely by Director with 49). Aside from Squid and the Whale (exempted above), the only films with four Screenplay wins without a Picture win are Adaptation and The Queen. Screenplay awards have overlapped with every critics award (even Art Direction though just once – Inception).

Best by Group

NYFC: L.A. Confidential, 1997

LAFC: L.A. Confidential, 1997

NSFC: L.A. Confidential, 1997

BSFC: L.A. Confidential, 1997

CFC: L.A. Confidential, 1997

NBR: Sideways, 2004

Worst by Group

NYFC: Naked Lunch, 1991

LAFC: About Schmidt, 2002

NSFC: Naked Lunch, 1991

BSFC: Naked Lunch, 1991

CFC: Up in the Air, 2009

NBR: Cold Mountain, 2003

10 Best Screenplays that Didn’t Win any Critics Awards (post-1966):

The Princess Bride

The Godfather

Trainspotting

All the President’s Men

The Lord of the Rings: The Fellowship of the Ring

The Lord of the Rings: The Return of the King

Brokeback Mountain

Chimes at Midnight

M*A*S*H

Monty Python and the Holy Grail

5 Most Acclaimed Post-1966 Screenplays to not Win a Critics Award (based on Consensus Awards percentage):

Missing

A Beautiful Mind

Julia

A Room with a View

Brokeback Mountain

Least Acclaimed Performances to Win the Critics by Group

NYFC: Secret Lives of Dentists, 2003

LAFC: About Schmidt, 2002

NSFC: The Pianist, 2002

BSFC: Short Cuts, 1993

CFC: GoodFellas, 1990

NBR: All the Pretty Horses, 2000

Most Critically Acclaimed Screenplay Snubbed by a Critics Group:

NYFC: Social Network, 2010

LAFC: No Country for Old Men, 2007

NSFC: Sense and Sensibility, 1995

BSFC: No Country for Old Men, 2007

CFC: Sense and Sensibility, 1995

NBR: A Beautiful Mind, 2001

Critical Oddities:

note: These are the scripts that won multiple Critics Awards but failed to earn nominations from any of the awards groups.

Drugstore Cowboy, 1989

NYFC, LAFC, NSFC

Naked Lunch, 1991

NYFC, NSFC, BSFC

The Nighthawk Awards

note: Because my awards go, retroactively, all the way back through 1912, there are a lot more nominees and winners than in the other awards. But I don’t always have a full slate of nominees and some years I don’t have any nominees.

Directors:

Five directors have had eight films nominated, three of them writer-directors (Huston, Kubrick, Wilder) and two of them not writers (Hitchcock, Wyler). David Lean’s films have the most wins (4) but he only wrote one of them (Great Expectations). Kubrick, Welles and Wilder won three awards each while John Ford and Ang Lee were non-writing directors whose films won three each.

Franchises:

Fanny (the 1932 film though eligible in 1948) is the first sequel to earn a nomination. After that it’s a bit of a wait until The World of Apu. The Godfather Part II is the first sequel to win the Nighthawk. After that there are 10 more that earn nominations through 2011 including two Star Trek films and three Harry Potter films though only Return of the King wins the Nighthawk.

Genres:

With 41 wins and 186 nominations, Drama is the biggest genre but that’s to be expected, earning between 40 and 50% of both marks. Comedy is next in the high teen percentages for both noms and wins. No other genre has more than 25 noms (just under 6%) or less than 6 (1.41%). Crime is the only other genre with more than 6% of the wins (8 wins for 9.41%) while Adventure and Sci-Fi have never won.

Best Picture:

Of the 85 Picture winners just over half of them win Adapted Screenplay (47). Another four Picture winners earn Adapted noms. Five films do manage to win Adapted Screenplay without a Picture nom, all of them coming in at #6 for the year (That Obscure Object of Desire, Being There, French Lieutenant’s Woman, Hours, Education). In all, almost exactly half of the Adapted Screenplay nominees are nominated for Picture.

Foreign Film:

Eight Foreign Films win the award, starting in 1929 (Nosferatu) and most recently in 2000 (Crouching Tiger). That includes Bergman twice and Kurosawa twice. In total, 52 Foreign films earn nominations with Kurosawa (5 noms) and Truffaut (4 noms) leading the way.

Single Nominations:

Sixteen films manage to earn an Adapted Screenplay nom with no other Nighthawk noms with increased frequency lately (four times from 2001 to 2011 after only four times from 1974 to 2000).

Other Categories:

Picture has the biggest overlap (239 films) with Director not far behind (231) with Editing and Actor both over 200 while Actress is barely over half that. Every category overlaps at least 10 times but no film has won both Adapted Screenplay and Animated Film (though ten films have won Animated Film and earned an Adapted Screenplay nom – the only film with an Adapted Screenplay nom without an Animated Film win is Toy Story 2).

Top 10 Nighthawk Points:

Ingmar Bergman – 1040

Woody Allen – 960

Billy Wilder – 840

Akira Kurosawa – 680

Stanley Kubrick – 480

Charlie Chaplin – 440

Joel and Ethan Coen – 440

Federico Fellini – 360

Preston Sturges / Dudley Nichols / Michael Powell / Emeric Pressburger – 320

Ernest Lehman / Orson Welles / John Huston / Luis Buñuel – 320

Top 10 Nighthawk Drama Points:

Ingmar Bergman – 1160

Akira Kurosawa – 1000

Billy Wilder – 480

Micheal Powell – 400

Emeric Pressburger – 400

John Huston – 400

Stanley Kubrick – 400

Dudley Nichols – 320

Orson Welles – 320

Ethan and Joel Coen / Christopher Nolan – 320

Top 10 Nighthawk Comedy Points:

Woody Allen – 1160

Billy Wilder – 760

Charlie Chaplin – 520

Luis Buñuel – 520

Preston Sturges – 400

Cameron Crowe – 400

I.A.L. Diamond – 360

Ethan and Joel Coen – 360

Federico Fellini – 320

Mel Brooks / Terry Gilliam / Andrew Stanton – 320

Top 10 Nighthawk Weighted Points:

Ingmar Bergman – 1471

Woody Allen – 1433

Billy Wilder – 1330

Akira Kurosawa – 1080

Ethan and Joel Coen – 723

Stanley Kubrick – 616

Luis Buñuel – 580

Federico Fellini – 529

John Huston – 515

Charlie Chaplin – 496

Top 10 Nighthawk Absolute Points:

Woody Allen – 1670

Ingmar Bergman – 1470

Akira Kurosawa – 1160

Billy Wilder – 1120

Ethan and Joel Coen – 970

Stanley Kubrick – 660

Pedro Almodovar – 570

David Mamet – 550

John Sayles – 540

John Huston – 530

Top Nighthawk Absolute Points by Decade:

20s: Buster Keaton – 230

30s: Robert Riskin – 210

40s: Preston Sturges – 460

50s: Billy Wilder – 470

60s: Akira Kurosawa – 650

70s: Woody Allen – 460

80s: Woody Allen – 580

90s: Ethan and Joel Coen – 360

00s: Ethan and Joel Coen – 400

Top 5 Films to win the Nighthawk (based on quality of film not writing):

The Wizard of Oz

Rashomon

The Seventh Seal

The Godfather

Touch of Evil

Weakest 5 Films to win the Nighthawk (based on quality of film not writing):

The Awful Truth

Dracula

The French Lieutenant’s Woman

That Obscure Object of Desire

An Education

Weakest 5 Films to earn a Nighthawk nomination (based on quality of film not writing):

Animal Crackers

The Front Page

Anna Christie

Little Caesar

Oh God!

Top 5 6th Place Finishers at the Nighthawks:

Thirteen Days

Oliver Twist (1951)

Pride and Prejudice (2005)

The Quiet American

The Best Man

The Nighthawk Winners:

1925-26: Greed

1927-28: Sunrise: A Song of Two Humans

1928-29: Nosferatu

1929-30: All Quiet on the Western Front (Oscar)

1930-31: Dracula

1931-32: Scarface

1932-33: I Am a Fugitive from a Chain Gang

1934: The Thin Man (Oscar)

1935: The Informer (Oscar)

1936: The Petrified Forest

1937: The Awful Truth (Oscar)

1938: Bringing Up Baby

1939: The Wizard of Oz

1940: The Grapes of Wrath (Oscar)

1941: The Maltese Falcon (Oscar)

1942: The Magnificent Ambersons

1943: Casablanca (Oscar)

1944: Double Indemnity (Oscar)

1945: The Lost Weekend (Oscar)

1946: The Best Years of Our Lives (Oscar)

1947: Great Expectations (Oscar)

1948: Treasure of the Sierra Madre (Oscar, WGA)

1949: The Bicycle Thieves (Oscar)

1950: All About Eve (Oscar, WGA, Globe)

1951: A Streetcar Named Desire (Oscar, WGA)

1952: Rashomon

1953: From Here to Eternity (Oscar, WGA)

1954: Sabrina (Oscar, WGA, Globe)

1955: Mr. Roberts (WGA)

1956: The Killing

1957: The Bridge on the River Kwai (Oscar)

1958: Touch of Evil

1959: The Seventh Seal

1960: The Virgin Spring

1961: West Side Story (Oscar, WGA)

1962: Lawrence of Arabia (Oscar)

1963: Tom Jones (Oscar)

1964: Dr. Strangelove (Oscar, WGA)

1965: Doctor Zhivago (Oscar, Globe)

1966: Who’s Afraid of Virginia Woolf (Oscar, WGA, Globe)

1967: The Graduate (Oscar, WGA, Globe, BAFTA)

1968: The Lion in Winter (Oscar, WGA, Globe, BAFTA)

1969: Chimes at Midnight

1970: M*A*S*H (Oscar, WGA, Globe)

1971: A Clockwork Orange (Oscar, WGA, BAFTA)

1972: The Godfather (Oscar, WGA, Globe)

1973: The Exorcist (Oscar, WGA, Globe)

1974: The Godfather Part II (Oscar, WGA, Globe)

1975: Monty Python and the Holy Grail

1976: All the President’s Men (Oscar, WGA, Globe, BAFTA)

1977: That Obscure Object of Desire (Oscar)

1978: Midnight Express (Oscar, WGA, Globe)

1979: Being There (WGA, Globe, BAFTA)

1980: Breaker Morant (Oscar)

1981: The French Lieutenant’s Woman (Oscar, Globe, BAFTA)

1982: Sophie’s Choice (Oscar, WGA)

1983: Terms of Endearment (Oscar, WGA, Globe, LAFC)

1984: Amadeus (Oscar, Globe, BAFTA, LAFC)

1985: Ran (BAFTA)

1986: A Room with a View (Oscar, WGA, BAFTA)

1987: The Princess Bride (WGA)

1988: Dangerous Liaisons (Oscar, WGA, BAFTA)

1989: Glory (WGA, Globe)

1990: GoodFellas (Oscar, WGA, Globe, BAFTA, CFC)

1991: The Silence of the Lambs (Oscar, WGA, Globe, BAFTA, CFC)

1992: Howards End (Oscar, WGA, Globe, BAFTA)

1993: Schindler’s List (Oscar, WGA, Globe, BAFTA, CFC)

1994: Ed Wod (WGA)

1995: Sense and Sensibility (Oscar, WGA, Globe, BAFTA, BFCA, NYFC, LAFC, BSFC)

1996: Trainspotting (Oscar, WGA, BAFTA)

1997: L.A. Confidential (Oscar, WGA, Globe, BAFTA, BFCA, NYFC, LAFC, NSFC, BSFC, CFC)

1998: Out of Sight (Oscar, WGA, NSFC, BSFC)

1999: The End of the Affair (BAFTA)

2000: Crouching Tiger, Hidden Dragon (Oscar, WGA, BAFTA)

2001: The Lord of the Rings: The Fellowship of the Ring (Oscar, WGA, BAFTA)

2002: The Hours (Oscar, WGA, Globe, BAFTA)

2003: The Lord of the Rings: The Return of the King (Oscar, WGA, BAFTA)

2004: Sideways (Oscar, WGA, Globe, BAFTA, BFCA, NYFC, LAFC, NSFC, BSFC, CFC, NBR)

2005: Brokeback Mountain (Oscar, WGA, Globe, BAFTA, BFCA)

2006: The Departed (Oscar, WGA, Globe, BAFTA, BFCA)

2007: No Country for Old Men (Oscar, WGA, Globe, BAFTA, BFCA, NYFC, CFC, NBR)

2008: Slumdog Millionaire (Oscar, WGA, Globe, BAFTA, BFCA, CFC, NBR)

2009: An Education (Oscar, BAFTA, BFCA)

2010: The Social Network (Oscar, WGA, Globe, BAFTA, BFCA, NYFC, LAFC, NSFC, BSFC, CFC)

2011: Tinker Tailor Soldier Spy (Oscar, BAFTA)

Consensus Awards

Most Awards (not including the Nighthawk):

Sideways (11 wins)

The Social Network (10 wins)

L.A. Confidential (8 wins)

Consensus Chart

note: The chart below I imported from Excel and I hope it isn’t too confusing. It’s about as big as I could make to still have it fit.

YEAR FILM AA WGA GG BAFTA BFCA Crit Pts WT N W % Rk 1948 Treasure of the Sierra Madre 80 120 64 264 264 4 3 15.14% 1 1948 Snake Pit 40 160 200 200 3 2 11.47% 2 1948 I Remember Mama 120 120 120 2 1 6.88% 3 1948 All My Sons 80 80 80 1 1 4.59% 4 1948 Another Part of the Forest 80 80 80 1 1 4.59% 4 1948 Apartment for Peggy 80 80 80 1 1 4.59% 4 1948 Call Northside 777 80 80 80 1 1 4.59% 4 1948 Command Decision 80 80 80 1 1 4.59% 4 1948 Sitting Pretty 80 80 80 1 1 4.59% 4 1948 Johnny Belinda 40 40 80 80 2 0 4.59% 4 1948 Cry of the City 40 40 40 1 0 2.29% x 1948 Fort Apache 40 40 40 1 0 2.29% x 1948 Four Faces West 40 40 40 1 0 2.29% x 1948 Fury at Furnace Creek 40 40 40 1 0 2.29% x 1948 Green Grass of Wyoming 40 40 40 1 0 2.29% x 1948 June Bride 40 40 40 1 0 2.29% x 1948 Key Largo 40 40 40 1 0 2.29% x 1948 Miss Tatlock’s Millions 40 40 40 1 0 2.29% x 1948 Mr Blandings Builds His Dream House 40 40 40 1 0 2.29% x 1948 Rachel and the Stranger 40 40 40 1 0 2.29% x 1948 Sorry Wrong Number 40 40 40 1 0 2.29% x 1948 Station West 40 40 40 1 0 2.29% x 1948 When My Baby Smiles at Me 40 40 40 1 0 2.29% x 1948 That Lady in Ermine 40 40 40 1 0 2.29% x 1948 Red Shoes, The 40 40 40 1 0 2.29% x 1949 All the King’s Men 40 160 200 200 3 2 15.82% 1 1949 Letter to Three Wives 80 80 160 160 2 2 12.66% 2 1949 Fallen Idol, The 40 64 104 104 2 1 8.23% 3 1949 On the Town 80 80 80 1 1 6.33% 4 1949 Yellow Sky 80 80 80 1 1 6.33% 4 1949 Intruder in the Dust 80 80 80 2 0 6.33% 4 1949 Champion 40 40 80 80 2 0 6.33% 4 1949 Jolson Sings Again 40 40 80 80 2 0 6.33% 4 1949 Hasty Heart 40 40 40 1 0 3.16% x 1949 Heiress 40 40 40 1 0 3.16% x 1949 Home of the Brave 40 40 40 1 0 3.16% x 1949 I Was a Male War Bride 40 40 40 1 0 3.16% x 1949 In the Good Old Summertime 40 40 40 1 0 3.16% x 1949 Lost Boundaries 40 40 40 1 0 3.16% x 1949 Pinky 40 40 40 1 0 3.16% x 1949 She Wore a Yellow Ribbon 40 40 40 1 0 3.16% x 1949 Whispering Smith 40 40 40 1 0 3.16% x 1949 Window 40 40 40 1 0 3.16% x 1949 You’re My Everything 40 40 40 1 0 3.16% x 1949 Streets of Laredo 40 40 40 1 0 3.16% x 1949 Bicycle Thief 40 40 40 1 0 3.16% x 1950 All About Eve 80 120 80 280 264 4 3 28.21% 1 1950 Broken Arrow 40 120 160 160 3 1 17.09% 2 1950 Asphalt Jungle 40 80 40 160 152 3 1 16.24% 3 1950 Annie Get Your Gun 80 80 80 1 1 8.55% 4 1950 Born Yesterday 40 40 80 80 2 0 8.55% 4 1950 Father of the Bride 40 40 80 80 2 0 8.55% 4 1950 Jackpot 40 40 40 1 0 4.27% x 1950 Rio Grande 40 40 40 1 0 4.27% x 1950 Winchester 73 40 40 40 1 0 4.27% x 1951 Place in the Sun 80 120 200 200 3 2 20.33% 1 1951 Bright Victory 80 80 160 144 2 2 14.63% 2 1951 Death of a Salesman 80 80 80 1 1 8.13% 3 1951 Father’s Little Dividend 80 80 80 1 1 8.13% 3 1951 Detective Story 40 40 80 80 2 0 8.13% 3 1951 Streetcar Named Desire 40 40 80 80 2 0 8.13% 3 1951 On the Riviera 40 40 40 1 0 4.07% x 1951 People Will Talk 40 40 40 1 0 4.07% x 1951 Pickup 40 40 40 1 0 4.07% x 1951 Saturday’s Hero 40 40 40 1 0 4.07% x 1951 Show Boat 40 40 40 1 0 4.07% x 1951 You’re in the Navy Now 40 40 40 1 0 4.07% x 1951 African Queen 40 40 40 1 0 4.07% x 1951 La Ronde 40 40 40 1 0 4.07% x 1951 First Legion 40 40 40 1 0 4.00% x 1951 Great Caruso 40 40 40 1 0 4.00% x 1952 High Noon 40 80 40 160 152 3 1 21.84% 1 1952 Five Fingers 40 40 80 160 144 3 1 20.69% 2 1952 Quiet Man 40 80 120 120 2 1 17.24% 3 1952 Bad and the Beautiful 80 40 120 120 2 1 17.24% 3 1952 Room for One More 40 40 40 1 0 4.27% 3 1952 Moulin Rouge 40 40 40 1 0 4.27% 3 1952 Come Back Little Sheba 40 40 40 1 0 4.27% 5 1952 Happy Time 40 40 40 1 0 4.27% 5 1952 Where’s Charley 40 40 40 1 0 4.27% 5 1952 Man in the White Suit 40 40 40 1 0 4.27% 5 1953 Lili 40 80 80 200 184 3 2 26.14% 1 1953 From Here to Eternity 80 80 160 160 2 2 22.73% 2 1953 Shane 40 40 80 80 2 0 11.36% 3 1953 Actress 40 40 40 1 0 5.68% 4 1953 Call Me Madam 40 40 40 1 0 5.68% 4 1953 Gentlemen Prefer Blondes 40 40 40 1 0 5.68% 4 1953 How to Marry a Millionaire 40 40 40 1 0 5.68% 4 1953 Kiss Me Kate 40 40 40 1 0 5.68% 4 1953 Moon is Blue 40 40 40 1 0 5.68% 4 1953 Stalag 17 40 40 40 1 0 5.68% 4 1953 Cruel Sea 40 40 40 1 0 5.68% 4 1953 Hondo 40 40 40 1 0 5.00% x 1954 Sabrina 40 80 80 200 184 3 2 24.73% 1 1954 Seven Brides for Seven Brothers 40 80 120 120 2 1 16.13% 2 1954 Country Girl 80 40 120 120 2 1 16.13% 2 1954 Rear Window 40 40 80 80 2 0 10.75% 4 1954 Carmen Jones 40 40 40 1 0 5.38% 5 1954 Executive Suite 40 40 40 1 0 5.38% 5 1954 Long Long Trailer 40 40 40 1 0 5.38% 5 1954 Star is Born 40 40 40 1 0 5.38% 5 1954 Susan Slept Here 40 40 40 1 0 5.38% 5 1954 Caine Mutiny 40 40 40 1 0 5.38% 5 1954 Forbidden Games 40 40 40 1 0 5.38% 5 1955 Marty 80 80 160 160 2 2 21.05% 1 1955 Mr Roberts 80 80 80 1 1 10.53% 2 1955 Bad Day at Black Rock 40 40 80 80 2 0 10.53% 2 1955 Blackboard Jungle 40 40 80 80 2 0 10.53% 2 1955 East of Eden 40 40 80 80 2 0 10.53% 2 1955 Phffft 40 40 40 1 0 5.88% 4 1955 Daddy Long Legs 40 40 40 1 0 5.26% x 1955 Guys and Dolls 40 40 40 1 0 5.26% x 1955 Oklahoma 40 40 40 1 0 5.26% x 1955 Picnic 40 40 40 1 0 5.26% x 1955 Seven Year Itch 40 40 40 1 0 5.26% x 1955 Tender Trap 40 40 40 1 0 5.26% x 1955 To Catch a Thief 40 40 40 1 0 5.26% x 1956 Around the World in 80 Days 80 80 160 160 2 2 21.05% 1 1956 Friendly Persuasion 40 80 120 120 2 1 15.79% 2 1956 King and I 80 80 80 1 1 10.53% 3 1956 Baby Doll 40 40 80 80 2 0 10.53% 3 1956 Giant 40 40 80 80 2 0 10.53% 3 1956 Bus Stop 40 40 40 1 0 5.26% x 1956 Carousel 40 40 40 1 0 5.26% x 1956 Solid Gold Cadillac 40 40 40 1 0 5.26% x 1956 Somebody Up There Likes Me 40 40 40 1 0 5.26% x 1956 Teahouse of the August Moon 40 40 40 1 0 5.26% x 1956 Full of Life 40 40 40 1 0 5.26% x 1956 Rainmaker 40 40 40 1 0 5.26% x 1956 High Society 40 40 40 1 0 5.26% x 1956 Lust for Life 40 40 40 1 0 5.26% x 1956 Proud and the Beautiful 40 40 40 1 0 5.26% x 1957 Bridge on the River Kwai 80 80 160 160 2 2 18.18% 1 1957 12 Angry Men 40 80 120 120 2 1 13.64% 2 1957 Love in the Afternoon 80 80 80 1 1 9.09% 3 1957 Heaven Knows Mr Allison 40 40 80 80 2 0 9.09% 3 1957 Peyton Place 40 40 80 80 2 0 9.09% 3 1957 Sayonara 40 40 80 80 2 0 9.09% 3 1957 Don’t Go Near the Water 40 40 40 1 0 4.55% x 1957 Joker is Wild 40 40 40 1 0 4.55% x 1957 Pajama Game 40 40 40 1 0 4.55% x 1957 Pal Joey 40 40 40 1 0 4.55% x 1957 Paths of Glory 40 40 40 1 0 4.55% x 1957 Will Success Spoil Rock Hunter 40 40 40 1 0 4.55% x 1958 Gigi 80 80 160 160 2 2 20.00% 1 1958 Me and the Colonel 80 80 80 1 1 10.00% 2 1958 Cat on a Hot Tin Roof 40 40 80 80 2 0 10.00% 2 1958 I Want to Live 40 40 80 80 2 0 10.00% 2 1958 Separate Tables 40 40 80 80 2 0 10.00% 2 1958 Horse’s Mouth 40 40 80 80 2 0 10.00% 2 1958 Damn Yankess 40 40 40 1 0 5.00% x 1958 Indiscreet 40 40 40 1 0 5.00% x 1958 Long Hot Summer 40 40 40 1 0 5.00% x 1958 Reluctant Debutante 40 40 40 1 0 5.00% x 1958 South Pacific 40 40 40 1 0 5.00% x 1958 Tom Thumb 40 40 40 1 0 5.00% x 1959 Anatomy of a Murder 40 40 80 160 160 3 1 18.18% 1 1959 Some Like It Hot 40 80 120 120 2 1 13.64% 2 1959 Diary of Anne Frank 80 80 80 1 1 9.09% 3 1959 Room at the Top 80 80 80 1 1 9.09% 3 1959 Ben-Hur 40 40 80 80 2 0 9.09% 3 1959 Nun’s Story 40 40 80 80 2 0 9.09% 3 1959 Hole in the Head 40 40 40 1 0 4.55% 4 1959 Compulsion 40 40 40 1 0 4.55% x 1959 Li’l Abner 40 40 40 1 0 4.55% x 1959 Never Steal Anything Small 40 40 40 1 0 4.55% x 1959 Porgy and Bess 40 40 40 1 0 4.55% x 1960 Elmer Gantry 80 80 160 160 2 2 22.22% 1 1960 Bells are Ringing 80 80 80 1 1 11.11% 2 1960 Sons and Lovers 40 40 80 80 2 0 11.11% 2 1960 Sundowners 40 40 80 80 2 0 11.11% 2 1960 Tunes of Glory 40 40 80 80 2 0 11.11% 2 1960 Can-Can 40 40 40 1 0 5.56% x 1960 North to Alaska 40 40 40 1 0 5.56% x 1960 Please Don’t Eat the Daisies 40 40 40 1 0 5.56% x 1960 Psycho 40 40 40 1 0 5.56% x 1960 Spartacus 40 40 40 1 0 5.56% x 1960 Inherit the Wind 40 40 40 1 0 5.56% x 1961 Hustler 40 80 80 200 200 3 2 20.83% 1 1961 Breakfast at Tiffany’s 40 80 120 120 2 1 12.50% 2 1961 West Side Story 40 80 120 120 2 1 12.50% 2 1961 Judgment at Nuremberg 80 40 120 120 2 1 12.50% 2 1961 Absent Minded Professor 40 40 40 1 0 4.17% 5 1961 Babes in Toyland 40 40 40 1 0 4.17% 5 1961 Fanny 40 40 40 1 0 4.17% 5 1961 Flower Drum Song 40 40 40 1 0 4.17% 5 1961 Innocents 40 40 40 1 0 4.17% 5 1961 One Two Three 40 40 40 1 0 4.17% 5 1961 Parent Trap 40 40 40 1 0 4.17% 5 1961 Raisin in the Sun 40 40 40 1 0 4.17% 5 1961 Snow White and the Three Stooges 40 40 40 1 0 4.17% 5 1961 Majority of One 40 40 40 1 0 4.17% 5 1961 Guns of Navarone 40 40 40 1 0 4.17% 5 1962 To Kill a Mockingbird 80 80 160 160 2 2 19.05% 1 1962 Lawrence of Arabia 40 80 120 120 2 1 14.29% 2 1962 Music Man 80 80 80 1 1 9.52% 4 1962 Miracle Worker 40 40 80 80 2 0 9.52% 4 1962 Billie Rose’s Jumbo 40 40 40 1 0 9.09% 4 1962 Billy Budd 40 40 40 1 0 4.76% 5 1962 Birdman of Alcatraz 40 40 40 1 0 4.76% 5 1962 Gypsy 40 40 40 1 0 4.76% 5 1962 Mr Hobbs Takes a Vacation 40 40 40 1 0 4.76% 5 1962 Notorious Landlady 40 40 40 1 0 4.76% 5 1962 Period of Adjustment 40 40 40 1 0 4.76% 5 1962 Pigeon That Took Rome 40 40 40 1 0 4.76% 5 1962 State Fair 40 40 40 1 0 4.76% 5 1962 David and Lisa 40 40 40 1 0 4.76% 5 1962 Lolita 40 40 40 1 0 4.76% 5 1963 Hud 40 80 80 200 200 3 2 26.32% 1 1963 Tom Jones 80 80 160 160 2 2 21.05% 2 1963 Lilies of the Field 40 80 120 120 2 1 15.79% 3 1963 Captain Newman MD 40 40 80 80 2 0 10.53% 4 1963 Charade 40 40 40 1 0 10.00% 4 1963 Balcony 40 40 40 1 0 5.26% 5 1963 Great Escape 40 40 40 1 0 5.26% 5 1963 Irma La Douce 40 40 40 1 0 5.26% 5 1963 Ugly American 40 40 40 1 0 5.26% 5 1963 Sundays and Cybele 40 40 40 1 0 5.26% 5 1964 Becket 80 80 40 200 200 3 2 26.32% 1 1964 Dr Strangelove 40 80 40 160 160 3 1 21.05% 2 1964 Mary Poppins 40 80 120 120 2 1 15.79% 3 1964 Servant, The 80 80 80 1 1 12.50% 4 1964 My Fair Lady 40 40 80 80 2 0 10.53% 4 1964 World of Henry Orient 40 40 40 1 0 6.25% x 1964 Night of the Iguana 40 40 40 1 0 5.26% x 1964 Seven Days in May 40 40 40 1 0 5.26% x 1964 Topkapi 40 40 40 1 0 5.26% x 1964 Unsinkable Molly Brown 40 40 40 1 0 5.26% x 1964 Best Man 40 40 40 1 0 5.26% x 1964 Zorba the Greek 40 40 40 1 0 5.26% x 1965 Dr Zhivago 80 80 160 144 2 2 16.51% 1 1965 Thousand Clowns 40 80 120 120 2 1 13.76% 2 1965 Collector 40 40 40 120 112 3 0 12.84% 3 1965 Pawnbroker 80 80 80 1 1 9.17% 4 1965 Sound of Music 80 80 80 1 1 9.17% 4 1965 Cat Ballou 40 40 80 80 2 0 9.17% 4 1965 Ship of Fools 40 40 80 80 2 0 9.17% 4 1965 That Darn Cat 40 40 40 1 0 9.09% x 1965 Patch of Blue 40 40 80 72 2 0 8.26% x 1965 Spy Who Came in From the Cold 40 40 40 1 0 4.59% x 1965 Agony and the Ecstasy 40 40 32 1 0 3.67% x 1965 Slender Thread 40 40 32 1 0 3.67% x 1966 Man for All Seasons 80 80 80 80 320 304 4 4 30.65% 1 1966 Russians are Coming Russians are Coming 40 80 40 160 152 3 1 15.32% 2 1966 Who’s Afraid of Virginia Woolf 40 80 40 160 152 3 1 15.32% 2 1966 Alfie 40 40 40 120 112 3 0 11.29% 4 1966 Professionals 40 40 80 80 2 0 8.06% 5 1966 Sand Pebbles 40 40 80 72 2 0 7.26% x 1966 Harper 40 40 40 1 0 4.03% x 1966 How to Steal a Million 40 40 40 1 0 4.03% x 1966 You’re a Big Boy Now 40 40 40 1 0 4.03% x 1967 Graduate 40 80 40 80 240 232 4 2 29.90% 1 1967 In the Heat of the Night 80 40 80 200 184 3 2 23.71% 2 1967 In Cold Blood 40 40 80 80 2 0 10.31% 3 1967 Camelot 40 40 40 1 0 5.15% 4 1967 Dr Dolittle 40 40 40 1 0 5.15% 4 1967 Flim Flam Man 40 40 40 1 0 5.15% 4 1967 How to Succeed in Business Without Really Trying 40 40 40 1 0 5.15% 4 1967 Up the Down Staircase 40 40 40 1 0 5.15% 4 1967 Barefoot in the Park 40 40 40 1 0 5.15% 4 1967 Cool Hand Luke 40 40 40 1 0 5.15% 4 1967 Ulysses 40 40 40 1 0 5.15% 4 1968 Lion in Winter 80 80 40 40 240 232 4 2 22.48% 1 1968 Odd Couple 40 80 120 120 2 1 11.63% 2 1968 Rosemary’s Baby 40 40 40 120 112 3 0 10.85% 3 1968 Pretty Poison 80 80 80 1 1 7.75% 4 1968 Funny Girl 80 80 80 1 1 7.75% 4 1968 Rachel Rachel 40 40 80 80 2 0 7.75% 4 1968 Charly 80 80 64 1 1 6.20% x 1968 Heart is a Lonely Hunter 40 40 40 1 0 3.88% x 1968 Petulia 40 40 40 1 0 3.88% x 1968 Finian’s Rainbow 40 40 40 1 0 3.88% x 1968 Yours Mine and Ours 40 40 40 1 0 3.88% x 1968 Oliver 40 40 40 1 0 3.88% x 1968 Fixer 40 40 32 1 0 3.10% x 1968 Fox 40 40 32 1 0 3.10% x 1969 Midnight Cowboy 80 80 40 80 280 272 4 3 24.11% 1 1969 Goodbye Columbus 40 80 40 160 160 3 1 14.18% 2 1969 Anne of the Thousand Days 40 40 80 160 144 3 1 12.77% 3 1969 They Shoot Horses Don’t They 40 40 40 120 120 3 0 10.64% 4 1969 Z 40 40 80 80 2 0 7.09% 5 1969 John and Mary 40 40 80 72 2 0 6.38% x 1969 Alice’s Restaurant 40 40 40 1 0 3.55% x 1969 Cactus Flower 40 40 40 1 0 3.55% x 1969 Gaily Gaily 40 40 40 1 0 3.55% x 1969 Prime of Miss Jean Brodie 40 40 40 1 0 3.55% x 1969 Reivers 40 40 40 1 0 3.55% x 1969 True Grit 40 40 40 1 0 3.55% x 1969 Downhill Racer 40 40 40 1 0 3.55% x 1970 MASH 80 80 40 200 192 3 2 23.30% 1 1970 I Never Sang for My Father 40 80 120 120 2 1 14.56% 2 1970 Airport 40 40 80 80 2 0 9.71% 3 1970 Lovers and Other Strangers 40 40 80 80 2 0 9.71% 3 1970 Women in Love 40 40 80 80 2 0 9.71% 3 1970 Catch-22 40 40 40 1 0 4.85% x 1970 Great White Hope 40 40 40 1 0 4.85% x 1970 Little Big Man 40 40 40 1 0 4.85% x 1970 Owl and the Pussycat 40 40 40 1 0 4.85% x 1970 Twelve Chairs 40 40 40 1 0 4.85% x 1970 Where’s Poppa 40 40 40 1 0 4.85% x 1970 Scrooge 40 40 32 1 0 3.88% x 1971 Last Picture Show 40 40 80 80 240 240 4 2 21.74% 1 1971 French Connection 80 80 40 200 192 3 2 17.39% 2 1971 Clockwork Orange 40 40 40 120 120 3 0 10.87% 3 1971 Kotch 80 40 120 112 2 1 10.14% 4 1971 Go-Between 80 80 80 1 1 7.25% 5 1971 Boy Friend 40 40 40 1 0 3.62% x 1971 Fiddler on the Roof 40 40 40 1 0 3.62% x 1971 Johnny Got His Gun 40 40 40 1 0 3.62% x 1971 Little Murders 40 40 40 1 0 3.62% x 1971 McCabe and Mrs Miller 40 40 40 1 0 3.62% x 1971 New Leaf 40 40 40 1 0 3.62% x 1971 Conformist 40 40 40 1 0 3.62% x 1971 Garden of the Finzi-Continis 40 40 40 1 0 3.62% x 1972 Godfather 80 80 80 240 224 3 3 19.58% 1 1972 Cabaret 40 80 40 40 200 192 4 1 16.78% 2 1972 Pete n Tillie 40 40 80 80 2 0 6.99% 3 1972 Sounder 40 40 80 80 2 0 6.99% 3 1972 Avanti 40 40 80 72 2 0 6.29% 5 1972 Deliverance 40 40 80 72 2 0 6.29% 5 1972 Heartbreak Kid 40 40 80 72 2 0 6.29% 5 1972 Butterflies are Free 40 40 40 1 0 3.50% x 1972 Slaughterhouse Five 40 40 40 1 0 3.50% x 1972 Travels with My Aunt 40 40 40 1 0 3.50% x 1972 War Between Men and Women 40 40 40 1 0 3.50% x 1972 Emigrants 40 40 40 1 0 3.50% x 1972 Lady Sings the Blues 40 40 40 1 0 3.50% x 1972 Young Winston 40 40 40 1 0 3.50% x 1972 Sleuth 40 40 40 1 0 3.50% x 1972 Frenzy 40 40 32 1 0 2.80% x 1973 Exorcist 80 40 80 200 184 3 2 20.72% 1 1973 Last Detail 40 40 80 160 160 3 1 18.02% 2 1973 Paper Moon 40 80 120 120 2 1 13.51% 3 1973 Serpico 40 80 120 120 2 1 13.51% 3 1973 Paper Chase 40 40 80 80 2 0 9.01% 5 1973 Cinderella Liberty 40 40 80 72 2 0 8.11% x 1973 Day of the Jackal 40 40 80 72 2 0 8.11% x 1973 40 Carats 40 40 40 1 0 4.50% x 1973 Godspell 40 40 40 1 0 4.50% x 1974 Godfather II 80 80 40 200 192 3 2 27.27% 1 1974 Apprenticeship of Duddy Kravitz 40 80 120 120 2 1 17.05% 2 1974 Lenny 40 40 80 80 2 0 11.36% 3 1974 Young Frankenstein 40 40 80 80 2 0 11.36% 3 1974 Conrack 40 40 40 1 0 5.68% 5 1974 Front Page 40 40 40 1 0 5.68% 5 1974 Parallax View 40 40 40 1 0 5.68% 5 1974 Taking of Pelham One Two Three 40 40 40 1 0 5.68% 5 1974 Murder on the Orient Express 40 40 40 1 0 5.68% 5 1974 Towering Inferno 40 40 32 1 0 4.55% x 1975 One Flew over the Cuckoo’s Nest 80 80 80 40 280 264 4 3 25.19% 1 1975 Sunshine Boys 40 80 40 40 200 192 4 1 18.32% 2 1975 Jaws 40 40 40 120 112 3 0 10.69% 3 1975 Story of Adele H 80 80 80 1 1 7.63% 4 1975 Barry Lyndon 40 40 80 80 2 0 7.63% 4 1975 Man Who Would Be King 40 40 80 80 2 0 7.63% 4 1975 French Connection II 40 40 40 1 0 3.82% x 1975 Hester Street 40 40 40 1 0 3.82% x 1975 Man in the Glass Booth 40 40 40 1 0 3.82% x 1975 Prisoner of Second Avenue 40 40 40 1 0 3.82% x 1975 Return of the Pink Panther 40 40 40 1 0 3.82% x 1975 Scent of a Woman 40 40 40 1 0 3.82% x 1976 All the President’s Men 80 80 40 40 240 232 4 2 27.10% 1 1976 Pink Panther Strikes Again 80 80 80 1 1 9.35% 2 1976 Seven Per-Cent Solution 40 40 80 80 2 0 9.35% 2 1976 Bound for Glory 40 40 80 80 2 0 9.35% 2 1976 Marathon Man 40 40 80 72 2 0 8.41% 5 1976 Voyage of the Damned 40 40 80 72 2 0 8.41% 5 1976 Bingo Long Travelling All Stars 40 40 40 1 0 4.67% x 1976 Family Plot 40 40 40 1 0 4.67% x 1976 Ritz 40 40 40 1 0 4.67% x 1976 Shootist 40 40 40 1 0 4.67% x 1976 Stay Hungry 40 40 40 1 0 4.67% x 1976 Fellini’s Casanova 40 40 40 1 0 4.67% x 1977 Julia 80 80 40 80 280 272 4 3 36.17% 1 1977 Oh God 40 80 120 120 2 1 15.96% 2 1977 I Never Promised You a Rose Garden 40 40 80 80 2 0 10.64% 3 1977 Equus 40 40 80 80 2 0 10.64% 3 1977 Islands in the Stream 40 40 40 1 0 5.32% 5 1977 Looking for Mr Goodbar 40 40 40 1 0 5.32% 5 1977 Semi-Tough 40 40 40 1 0 5.32% 5 1977 Spy Who Loved Me 40 40 40 1 0 5.32% 5 1977 That Obscure Object of Desire 40 40 40 1 0 5.32% 5 1977 Saturday Night Fever 40 40 40 1 0 3.36% x 1978 Midnight Express 80 80 80 240 224 3 3 28.57% 1 1978 Heaven Can Wait 40 80 120 120 2 1 15.31% 2 1978 Bloodbrothers 40 40 80 80 2 0 10.20% 3 1978 California Suite 40 40 80 80 2 0 10.20% 3 1978 Same Time Next Year 40 40 80 80 2 0 10.20% 3 1978 Go Tell the Spartans 40 40 40 1 0 5.10% x 1978 Invasion of the Body Snatchers 40 40 40 1 0 5.10% x 1978 Superman 40 40 40 1 0 5.10% x 1978 Who is Killing the Great Chefs of Europe 40 40 40 1 0 5.10% x 1978 Who’ll Stop the Rain 40 40 40 1 0 5.10% x 1979 Kramer vs Kramer 80 80 80 40 80 360 344 5 4 38.74% 1 1979 Being There 80 40 80 200 192 3 2 21.62% 2 1979 Norma Rae 40 40 40 120 112 3 0 12.61% 3 1979 Apocalypse Now 40 40 80 80 2 0 9.01% 4 1979 Little Romance 40 40 80 80 2 0 9.01% 4 1979 Starting Over 40 40 40 1 0 4.50% x 1979 La Cage Aux Folles 40 40 40 1 0 4.50% x 1980 Ordinary People 80 80 40 200 192 3 2 21.05% 1 1980 Elephant Man 40 40 40 40 160 152 4 0 16.67% 2 1980 Airplane 80 40 120 120 2 1 13.16% 3 1980 Stunt Man 40 40 40 120 112 3 0 12.28% 4 1980 Coal Miner’s Daughter 40 40 80 80 2 0 8.77% 5 1980 Ninth Configuration 80 80 64 1 1 7.02% x 1980 Empire Strikes Back 40 40 40 1 0 4.39% x 1980 Great Santini 40 40 40 1 0 4.39% x 1980 Hopscotch 40 40 40 1 0 4.39% x 1980 Breaker Morant 40 40 40 1 0 4.39% x 1980 Raging Bull 40 40 32 1 0 3.51% x 1981 On Golden Pond 80 80 80 40 280 264 4 3 32.67% 1 1981 French Lieutenant’s Woman 40 40 40 120 112 3 0 13.86% 2 1981 Rich and Famous 80 80 80 1 1 9.90% 3 1981 Prince of the City 40 40 80 80 2 0 9.90% 3 1981 Ragtime 40 40 80 80 2 0 9.90% 3 1981 Cutter’s Way 40 40 40 1 0 4.95% x 1981 For Your Eyes Only 40 40 40 1 0 4.95% x 1981 Pennies from Heaven 40 40 40 1 0 4.95% x 1981 First Monday in October 40 40 40 1 0 3.42% x 1982 Missing 80 80 40 80 280 272 4 3 38.64% 1 1982 Victor/Victoria 40 80 120 120 2 1 17.05% 2 1982 Verdict 40 40 40 120 112 3 0 15.91% 3 1982 Sophie’s Choice 40 40 80 80 2 0 11.36% 4 1982 Fast Times at Ridgemont High 40 40 40 1 0 5.68% 5 1982 World According to Garp 40 40 40 1 0 5.68% 5 1982 Das Boot 40 40 40 1 0 5.68% 5 1983 Terms of Endearment 80 80 80 80 320 304 4 4 30.40% 1 1983 Reuben Reuben 40 80 40 160 152 3 1 15.20% 2 1983 Dresser 40 40 40 120 112 3 0 11.20% 3 1983 Educating Rita 40 40 40 120 112 3 0 11.20% 3 1983 Heat and Dust 80 80 80 1 1 8.00% 5 1983 Betrayal 40 40 80 80 2 0 8.00% 5 1983 Christmas Story 40 40 40 1 0 4.00% x 1983 Right Stuff 40 40 40 1 0 4.00% x 1983 To Be or Not to Be 40 40 40 1 0 4.00% x 1983 Year of Living Dangerously 40 40 40 1 0 4.00% x 1984 Amadeus 80 80 40 80 280 264 4 3 28.70% 1 1984 Killing Fields 40 80 40 80 240 232 4 2 25.22% 2 1984 Passage to India 40 40 40 40 160 152 4 0 16.52% 3 1984 Soldier’s Story 40 40 40 120 112 3 0 12.17% 4 1984 Greystoke 40 40 80 80 2 0 8.70% 5 1984 Natural 40 40 40 1 0 4.35% x 1984 Another Country 40 40 40 1 0 4.35% x 1985 Prizzi’s Honor 40 80 40 80 240 232 4 2 28.16% 1 1985 Out of Africa 80 40 40 80 240 232 4 2 28.16% 1 1985 Color Purple 40 40 40 120 120 3 0 14.56% 3 1985 Trip to Bountiful 40 40 80 80 2 0 9.71% 4 1985 Agnes of God 40 40 40 1 0 4.85% 5 1985 Kiss of the Spider Woman 40 40 40 1 0 4.85% 5 1985 Ran 40 40 40 1 0 4.85% 5 1985 Shooting Party 40 40 40 1 0 4.85% 5 1986 Room with a View 80 80 40 200 200 3 2 35.71% 1 1986 Children of a Lesser God 40 40 40 120 120 3 0 21.43% 2 1986 Stand by Me 40 40 80 80 2 0 14.29% 3 1986 Down and Out in Beverly Hills 40 40 40 1 0 7.14% 4 1986 Little Shop of Horrors 40 40 40 1 0 7.14% 4 1986 Color of Money 40 40 40 1 0 7.14% 4 1986 Crimes of the Heart 40 40 40 1 0 7.14% 4 1987 Last Emperor 80 40 80 200 184 3 2 22.33% 1 1987 Roxanne 80 80 80 1 1 9.71% 2 1987 Jean de Florette 80 80 80 1 1 9.71% 2 1987 Fatal Attraction 40 40 80 80 2 0 9.71% 2 1987 Full Metal Jacket 40 40 80 80 2 0 9.71% 2 1987 Princess Bride 40 40 40 1 0 4.85% x 1987 Untouchables 40 40 40 1 0 4.85% x 1987 Dead 40 40 40 1 0 4.85% x 1987 My Life as a Dog 40 40 40 1 0 4.85% x 1987 84 Charing Cross Road 40 40 40 1 0 4.85% x 1987 Empire of the Sun 40 40 40 1 0 4.85% x 1987 Prick Up Your Ears 40 40 40 1 0 4.85% x 1988 Dangerous Liasions 80 80 80 240 240 3 3 30.30% 1 1988 Unbearable Lightness of Being 40 40 80 160 160 3 1 20.20% 2 1988 Accidental Tourist 40 40 40 120 120 3 0 15.15% 3 1988 Gorillas in the Mist 40 40 80 80 2 0 10.10% 4 1988 Who Framed Roger Rabbit 40 40 80 80 2 0 10.10% 4 1988 Little Dorrit 40 40 80 80 2 0 10.10% 4 1988 Babette’s Feast 40 40 40 1 0 4.85% x 1988 Cry in the Dark 40 40 32 1 0 4.04% x 1989 Drugstore Cowboy 232 232 232 3 3 23.02% 1 1989 Driving Miss Daisy 80 80 40 200 200 3 2 19.84% 2 1989 Born on the Fourth of July 40 40 80 40 200 184 4 1 18.25% 3 1989 My Left Foot 40 40 40 120 120 3 0 11.90% 4 1989 Field of Dreams 40 40 80 80 2 0 7.94% 5 1989 Glory 40 40 80 72 2 0 7.14% x 1989 Enemies a Love Story 40 40 40 1 0 3.97% x 1989 Shirley Valentine 40 40 40 1 0 3.97% x 1989 War of the Roses 40 40 40 1 0 3.97% x 1990 Reversal of Fortune 40 40 40 152 272 264 5 2 23.24% 1 1990 Dances with Wolves 80 80 80 40 280 264 4 3 23.24% 1 1990 GoodFellas 40 40 40 80 64 264 256 5 2 22.54% 3 1990 Mr and Mrs Bridge 80 80 80 1 1 7.04% 4 1990 Awakenings 40 40 80 80 2 0 7.04% 4 1990 Grifters 40 40 80 80 2 0 7.04% 4 1990 Cyrano de Bergerac 40 40 40 1 0 3.52% x 1990 Postcards from the Edge 40 40 40 1 0 3.52% x 1990 Godfather Part III 40 40 32 1 0 2.82% x 1991 Silence of the Lambs 80 80 40 40 64 304 296 5 3 31.90% 1 1991 Naked Lunch 224 224 224 3 3 24.14% 2 1991 JFK 40 40 40 40 160 152 4 0 16.38% 3 1991 Commitments 40 80 120 120 2 1 12.93% 4 1991 Fried Green Tomatoes 40 40 80 80 2 0 8.62% 5 1991 Prince of Tides 40 40 80 80 2 0 8.62% 5 1991 Europa Europa 40 40 40 1 0 4.31% x 1992 Player 40 80 40 80 64 304 296 5 3 37.00% 1 1992 Howards End 80 40 40 40 200 192 4 1 24.00% 2 1992 Scent of a Woman 40 40 80 40 200 184 4 1 23.00% 3 1992 Enchanted April 40 40 80 80 2 0 10.00% 4 1992 Glengarry Glenn Ross 40 40 40 1 0 5.00% 5 1992 River Runs Through It, A 40 40 40 1 0 5.00% 5 1992 Few Good Men 40 40 32 1 0 4.00% x 1993 Schindler’s List 80 80 80 80 64 384 368 5 5 35.94% 1 1993 Remains of the Day 40 40 40 40 160 152 4 0 14.84% 2 1993 In the Name of the Father 40 40 40 120 120 3 0 11.72% 3 1993 Short Cuts 40 72 112 104 2 1 10.16% 4 1993 Joy Luck Club 40 40 80 80 2 0 7.81% 5 1993 Shadowlands 40 40 80 80 2 0 7.81% 5 1993 Fugitive 40 40 40 1 0 3.91% x 1993 Age of Innocence 40 40 40 1 0 3.91% x 1993 Strictly Ballroom 40 40 40 1 0 3.91% x 1994 Forrest Gump 80 80 40 40 240 232 4 2 28.43% 1 1994 Quiz Show 40 40 40 80 200 192 4 1 23.53% 2 1994 Madness of King George 40 40 40 120 120 3 0 14.71% 3 1994 Shawshank Redemption 40 40 40 120 112 3 0 13.73% 4 1994 Ed Wood 40 40 40 1 0 4.90% 5 1994 Little Women 40 40 40 1 0 4.90% 5 1994 Nobody’s Fool 40 40 40 1 0 4.90% 5 1994 Browning Version 40 40 40 1 0 4.90% 5 1995 Sense and Sensibility 80 80 80 40 80 232 592 560 8 7 50.72% 1 1995 Babe 40 40 40 120 120 3 0 10.87% 2 1995 Leaving Las Vegas 40 40 40 120 120 3 0 10.87% 2 1995 Apollo 13 40 40 80 80 2 0 7.25% 4 1995 Il Postino 40 40 80 80 2 0 7.25% 4 1995 Get Shorty 40 40 80 72 2 0 6.52% x 1995 Richard III 40 40 40 1 0 3.62% x 1995 Dead Man Walking 40 40 32 1 0 2.90% x 1996 English Patient 40 40 40 80 80 280 256 5 2 28.57% 1 1996 Sling Blade 80 80 160 160 2 2 17.86% 2 1996 Trainspotting 40 40 80 160 160 3 1 17.86% 2 1996 Romeo + Juliet 80 80 80 1 1 8.93% 4 1996 Crucible 40 40 80 80 2 0 8.93% 4 1996 Birdcage 40 40 40 1 0 4.46% x 1996 Emma 40 40 40 1 0 4.46% x 1996 Hamlet 40 40 40 1 0 4.46% x 1996 Evita 40 40 40 1 0 4.46% x 1997 LA Confidential 80 80 40 40 80 368 688 664 10 8 58.45% 1 1997 Wag the Dog 40 40 40 40 160 152 4 0 13.38% 2 1997 Wings of the Dove 40 40 40 120 120 3 0 10.56% 3 1997 Donnie Brasco 40 40 80 80 2 0 7.04% 4 1997 Ice Storm 40 40 80 80 2 0 7.04% 4 1997 Sweet Hereafter 40 40 40 1 0 3.52% x 1998 Out of Sight 40 80 144 264 264 4 3 28.95% 1 1998 Simple Plan 40 40 80 64 224 208 4 2 22.81% 2 1998 Primary Colors 40 40 80 160 160 3 1 17.54% 3 1998 Gods and Monsters 80 40 120 120 2 1 13.16% 4 1998 A Civil Action 40 40 40 1 0 4.39% 5 1998 Thin Red Line 40 40 40 1 0 4.39% 5 1998 Hilary and Jackie 40 40 40 1 0 4.39% 5 1998 Little Voice 40 40 40 1 0 4.39% 5 1999 Cider House Rules 80 40 40 64 224 216 4 2 22.69% 1 1999 Election 40 80 80 200 200 3 2 21.01% 2 1999 Talented Mr Ripley 40 40 40 120 120 3 0 12.61% 3 1999 Insider 40 40 40 120 112 3 0 11.76% 4 1999 Green Mile 40 80 120 104 2 1 10.92% 5 1999 End of the Affair 80 80 80 1 1 8.40% x 1999 October Sky 40 40 40 1 0 4.20% x 1999 Ideal Husband 40 40 40 1 0 4.20% x 2000 Traffic 80 80 80 80 80 400 368 5 5 33.82% 1 2000 Wonder Boys 40 40 40 40 72 232 224 5 1 20.59% 2 2000 Chocolat 40 40 40 120 120 3 0 11.03% 3 2000 Crouching Tiger Hidden Dragon 40 40 40 120 120 3 0 11.03% 3 2000 High Fidelity 40 40 80 80 2 0 7.35% 5 2000 O Brother Where Art Thou 40 40 80 80 2 0 7.35% 5 2000 All the Pretty Horses 64 64 64 1 1 5.88% x 2000 East is East 40 40 40 1 0 4.20% x 2000 Quills 40 40 32 1 0 2.94% x 2001 Beautiful Mind 80 80 80 40 40 320 296 5 3 38.14% 1 2001 Shrek 40 80 120 120 2 1 15.46% 2 2001 Lord of the Rings: Fellowship of the Ring 40 40 40 120 120 3 0 15.46% 2 2001 Ghost World 40 40 80 80 2 0 10.31% 4 2001 Bridget Jones Diary 40 40 80 80 2 0 10.31% 4 2001 Black Hawk Down 40 40 40 1 0 5.15% x 2001 In the Bedroom 40 40 40 1 0 5.15% x 2002 Adaptation 40 40 40 80 80 280 560 536 9 6 34.90% 1 2002 About Schmidt 40 80 40 80 240 216 4 2 14.06% 2 2002 Pianist 80 40 72 192 192 3 2 12.50% 3 2002 Hours 40 80 40 40 200 192 4 1 12.50% 3 2002 Confessions of a Dangerous Mind 80 64 144 128 2 2 8.33% 5 2002 About a Boy 40 40 40 120 120 3 0 7.81% x 2002 Chicago 40 40 40 120 112 3 0 7.29% x 2002 Catch Me if You Can 40 40 40 1 0 2.60% x 2003 American Splendor 40 80 224 344 344 5 4 27.56% 1 2003 Lord of the Rings: Return of the King 80 40 80 200 200 3 2 16.03% 2 2003 Mystic River 40 40 40 40 40 200 184 5 0 14.74% 3 2003 Cold Mountain 40 40 40 64 184 176 4 1 14.10% 4 2003 Seabiscuit 40 40 40 120 112 3 0 8.97% 5 2003 Secret Lives of Dentists 80 80 80 1 1 6.41% x 2003 Big Fish 40 40 80 72 2 0 5.77% x 2003 City of God 40 40 40 1 0 3.21% x 2003 Girl with a Pearl Earring 40 40 40 1 0 3.21% x 2004 Sideways 80 80 80 80 80 432 832 800 11 11 58.14% 1 2004 Finding Neverland 40 40 40 40 160 144 4 0 10.47% 2 2004 Motorcycle Diaries 40 40 40 120 120 3 0 8.72% 3 2004 Before Sunset 40 40 80 80 2 0 5.81% 4 2004 Million Dollar Baby 40 40 80 80 2 0 5.81% 4 2004 Closer 40 40 80 72 2 0 5.23% x 2004 Mean Girls 40 40 40 1 0 2.91% x 2004 Chorus 40 40 40 1 0 2.91% x 2005 Brokeback Mountain 80 80 80 80 40 360 336 5 4 33.87% 1 2005 Capote 40 40 40 40 152 312 304 6 2 30.65% 2 2005 Constant Gardener 40 40 40 120 120 3 0 12.10% 3 2005 History of Violence 40 40 40 120 120 3 0 12.10% 3 2005 Munich 40 40 80 72 2 0 7.26% 5 2005 Pride & Prejudice 40 40 40 1 0 4.03% x 2006 Departed 80 80 40 40 40 136 416 400 7 4 37.04% 1 2006 Little Children 40 40 40 40 160 144 4 0 13.33% 2 2006 Notes on a Scandal 40 40 40 120 112 3 0 10.37% 3 2006 Last King of Scotland 80 80 80 1 1 7.41% 4 2006 Borat 40 40 80 80 2 0 7.41% 4 2006 Devil Wears Prada 40 40 80 80 2 0 7.41% 4 2006 Painted Veil 64 64 64 1 1 5.93% x 2006 Thank You for Smoking 40 40 40 1 0 3.70% x 2006 Children of Men 40 40 40 1 0 3.70% x 2006 Casino Royale 40 40 40 1 0 3.70% x 2007 No Country for Old Men 80 80 80 40 40 208 528 504 8 6 42.57% 1 2007 Diving Bell and the Butterfly 40 40 40 80 200 192 4 1 16.22% 2 2007 There Will Be Blood 40 40 40 120 120 3 0 10.14% 3 2007 Atonement 40 40 40 120 112 3 0 9.46% 4 2007 Into the Wild 40 40 80 72 2 0 6.08% 5 2007 Charlie Wilson’s War 40 40 80 64 2 0 5.41% x 2007 Zodiac 40 40 40 1 0 3.38% x 2007 Away from Her 40 40 40 1 0 3.38% x 2007 Kite Runner 40 40 40 1 0 3.38% x 2008 Slumdog Millionaire 80 80 80 80 80 128 528 496 7 7 39.24% 1 2008 Curious Case of Benjamin Button 40 40 40 40 40 64 264 248 6 1 19.62% 2 2008 Frost/Nixon 40 40 40 40 40 200 184 5 0 14.56% 3 2008 Doubt 40 40 40 40 160 144 4 0 11.39% 4 2008 Reader 40 40 40 120 112 3 0 8.86% 5 2008 Dark Knight 40 40 40 1 0 3.16% x 2008 Revolutionary Road 40 40 40 1 0 3.16% x 2009 Up in the Air 40 80 80 80 80 208 568 536 8 7 40.36% 1 2009 Precious 80 40 40 40 200 192 4 1 14.46% 2 2009 In the Loop 40 40 80 160 160 3 1 12.05% 3 2009 District 9 40 40 40 40 160 144 4 0 10.84% 4 2009 Education 40 40 40 120 112 3 0 8.43% 5 2009 Crazy Heart 40 40 40 1 0 3.01% x 2009 Julie and Julia 40 40 40 1 0 3.01% x 2009 Star Trek 40 40 40 1 0 3.01% x 2009 Fantastic Mr Fox 40 40 32 1 0 2.41% x 2009 Single Man 40 40 32 1 0 2.41% x 2010 Social Network 80 80 80 80 80 352 752 720 10 10 53.25% 1 2010 127 Hours 40 40 40 40 40 200 184 5 0 13.61% 2 2010 True Grit 40 40 40 40 160 152 4 0 11.24% 3 2010 Toy Story 3 40 40 40 120 112 3 0 8.28% 4 2010 Town 40 40 80 72 2 0 5.33% 5 2010 Winter’s Bone 40 40 80 72 2 0 5.33% 5 2010 I Love You Phillip Morris 40 40 40 1 0 2.96% x 2010 Girl with the Dragon Tattoo 40 40 40 1 0 2.96% x 2011 Moneyball 40 40 40 40 80 216 456 432 8 4 33.54% 1 2011 Descendents 80 80 40 40 40 64 344 328 6 3 25.47% 2 2011 Tinker Tailor Soldier Spy 40 80 120 120 2 1 9.32% 3 2011 Hugo 40 40 40 120 112 3 0 8.70% 4 2011 Help 40 40 40 120 112 3 0 8.70% 4 2011 Ides of March 40 40 40 120 112 3 0 8.70% 4 2011 Girl with the Dragon Tattoo 40 40 40 1 0 3.11% x 2011 Extremely Loud and Incredibly Close 40 40 32 1 0 2.48% x

Lists

Best Oscar Winner Snubbed by the BAFTAs: The Godfather

Best BAFTA Winner Snubbed by the Oscars: Being There

Best Oscar Nominee Snubbed by the BAFTAs: Out of Sight

Best BAFTA Nominee Snubbed by the Oscars: The Ice Storm

Best Film Snubbed by the Oscars and BAFTAs but Nominated by WGA: The Princess Bride

Best Film Snubbed by all four groups: Monty Python and the Holy Grail

Average Nighthawk Winner (9 point scale): 8.13

Average Oscar Winner (9 point scale): 5.59

Average BAFTA Winner (9 point scale): 6.62

Average WGA Winner (9 point scale): 5.68

Average Nighthawk 2nd Place (9 point scale): 6.96

Average Nighthawk Nominee (9 point scale): 6.17

Average Oscar Nominee (9 point scale): 3.51

Average BAFTA Nominee (9 point scale): 4.91

Total Oscar Score: 70.10

Average Oscar Winner Rank: 6.15

Average Oscar Winner Rank Among Nominees: 2.25

Since 2011

Nighthawk Notes:

Top 10 Nighthawk Points:

Ingmar Bergman – 1040

Woody Allen – 960

Billy Wilder – 840

Akira Kurosawa – 680

Ethan and Joel Coen – 560

Stanley Kubrick – 480

Charlie Chaplin – 440

Quentin Tarantino – 440

Federico Fellini – 360

10 writers – 320

Top 10 Nighthawk Drama Points:

Ingmar Bergman – 1160

Akira Kurosawa – 1000

Billy Wilder – 480

Christopher Nolan – 440

Micheal Powell – 400

Emeric Pressburger – 400

John Huston – 400

Stanley Kubrick – 400

Quentin Tarantino – 400

Ethan and Joel Coen – 360

Top 10 Nighthawk Comedy Points:

Woody Allen – 1160

Billy Wilder – 760

Charlie Chaplin – 520

Luis Buñuel – 520

Ethan and Joel Coen – 480

Andrew Stanton – 440

Preston Sturges – 400

Cameron Crowe – 400

I.A.L. Diamond – 360

Terry Gilliam – 360

Top 10 Nighthawk Weighted Points:

Ingmar Bergman – 1471

Woody Allen – 1467

Billy Wilder – 1330

Akira Kurosawa – 1080

Ethan and Joel Coen – 889

Stanley Kubrick – 616

Luis Buñuel – 580

Quentin Tarantino – 545

Federico Fellini – 529

Pedro Almodovar – 524

Top 10 Nighthawk Absolute Points:

Woody Allen – 1730

Ingmar Bergman – 1470

Ethan and Joel Coen – 1190

Akira Kurosawa – 1160

Billy Wilder – 1120

Pedro Almodovar – 730

Stanley Kubrick – 660

Quentin Tarantino – 630

Chrostopher Nolan – 600

David Mamet – 550

9 point Screenplays Since 2011:

Lincoln

Little Women

Oscar Notes: Before Midnight and Logan are the latest franchise films to earn nominations. Things haven’t changed among the genres: Drama accounts for 65% of the nominations and 75% of the wins since 2011 (Comedy won the other two). Sci-Fi, which didn’t get its first nomination until 2009 got its second and third (Martian, Arrival). The connection between Adapted and Picture has really diminished. The Century of Film ended with three straight Picture winners without an Adapted nomination and after two films that won both (but not Director), there was a two year gap, another that won both (but not Director) and now three straight years where the Picture winner didn’t earn an Adapted nomination. It’s still stronger with nominations though, with 29 of the 40 nominees since 2011 earning Picture noms. There have only been four films with a single nomination, although three were in 2017, the first time there were three in a single year (Logan, Disaster Artist, Molly’s Game) and the first time there multiple in a year since 1977. No Foreign film has been nominated since 2007. The Director connection has really weakened (only 14 of 40 nominees). Also, the Adapted winners haven’t been winning other things. Five of the eight winners since 2011 won no other Oscar. To get five Adapted winners that won no other Oscars before that you had to go back to 1995. But before that, there had only been 6 films to win Adapted with no other wins in the first 68 years of the Oscars. Adapted once went 26 years without doing that (1938-64) while it’s now done it three years in a row.

Top Oscar Points for the 10s:

Aaron Sorkin: 160

Top 10 Oscar Points:

Woody Allen – 720

Billy Wilder – 600

Charles Brackett – 400

John Huston – 360

Ethan and Joel Coen – 360

Ben Hecht – 320

Federico Fellini – 320

Francis Ford Coppola – 320

Joseph L. Mankiewicz / Carl Foreman – 280

Paddy Chayefsky / Robert Benton / Oliver Stone – 280

Golden Globes: Steve Jobs became the first film since 1971 to win Screenplay without a Picture nomination. Of the four films to win Picture and Screenplay since 2011, notably, three of them were in the Comedy category. Birdman added Fantasy to the list of genres that have won the award. No film has earned a Screenplay nom with no other noms making District 9 the only film since 2001 to do so still.

Top 10 Globes Points:

Aaron Sorkin – 360

Woody Allen – 320

Quentin Tarantino – 320

Stirling Silliphant – 240

Robert Bolt – 240

Oliver Stone – 240

Francis Ford Coppola – 200

Alexander Payne – 200

13 writers – 160

BAFTA Notes: Since 2011, every winner has been Comedy (3) or Drama (5) with Drama accounting for 27 of the 40 nominations. Best Picture is even more divorced from Adapted Screenplay since 2011 with no film winning both and only two Picture winners even earning a Screenplay nom while three Screenplay winners weren’t even nominated for Picture. Only three films have managed a nomination with no other nominations since 2011 (Beasts of the Southern Wild, Hidden Figures, Molly’s Game) and no Foreign film has been nominated at all.

Top 10 BAFTA Points:

Woody Allen – 720

Ethan and Joel Coen – 320

Quentin Tarantino – 280

Jean-Claude Carriere – 240

Anthony Minghella – 240

Charlie Kaufman – 240

Steven Zaillian – 200

Ruth Prawer Jhabvala – 200

Ronald Harwood – 200

Aaron Sorkin – 200

BFCA Notes:

Top 5 BFCA Points:

Aaron Sorkin – 280

Ethan Coen – 280

Joel Coen – 280

Alexander Payne – 160

Josh Singer – 160

WGA Notes: I’ve already covered above the problems with the WGA lately. It’s a quandary each year trying to decide how the WGA affects Oscar predictions based on what films are simply ineligible (in 2019, Once Upon a Time), which are snubbed (in 2019, the initial thought on Two Popes) and which just have category confusion (in 2019, the final thought on Two Popes which apparently the WGA considered original).

Top 10 WGA Points:

Woody Allen – 1000

Billy Wilder – 800

Ernest Lehman – 560

I.A.L. Diamond – 480

Neil Simon – 480

Frances Goodrich – 440

Albert Hackett – 440

Robert Benton – 440

John Huston – 400

8 writers – 360

Critics Notes: Before Midnight became the first Adapted film to win multiple critics awards for Screenplay but no other awards.

The Nighthawk Winners:

2012: Lincoln (Oscar, WGA, Globe, BAFTA, BFCA, NYFC, NSFC, BSFC, CFC)

2013: Wolf of Wall Street (Oscar, WGA, BAFTA, BFCA, NBR)

2014: The Imitation Game (Oscar, WGA, Globe, BAFTA, BFCA)

2015: Carol (Oscar, WGA, BAFTA, NYFC)

2016: Arrival (Oscar, WGA, BAFTA, BFCA)

2017: Call Me By Your Name (Oscar, WGA, BAFTA, BFCA, CFC)

2018: If Beale Street Could Talk (Oscar, WGA, Globe, BAFTA, BFCA, CFC, NBR)

2019: Little Women (Oscar, WGA, BAFTA, BFCA, CFC)

Chart / Consensus Notes: