{"id":257,"date":"2021-12-21T09:36:55","date_gmt":"2021-12-21T08:36:55","guid":{"rendered":"https:\/\/joubjoub.fr\/didasko\/?p=257"},"modified":"2023-07-03T11:08:33","modified_gmt":"2023-07-03T09:08:33","slug":"101-greatest-screenplays-of-the-21st-century-so-far","status":"publish","type":"post","link":"https:\/\/joubjoub.fr\/didasko\/101-greatest-screenplays-of-the-21st-century-so-far\/","title":{"rendered":"101 Greatest Screenplays of the 21st Century (*so far)"},"content":{"rendered":"\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/get_out.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">1\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/get-out\">Get Out (2017)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Jordan Peele\u201cI realized early in the writing that\u00a0<em>Get Out<\/em>\u00a0is so much more than simply what happens when you have a black male protagonist at the center of a horror film,\u201d Jordan Peele told\u00a0<em>Written By<\/em>.\u00a0<em>Get Out<\/em>, which won the 2018 Writers Guild Award for Original Screenplay&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/eternal_sunshine_of_the_spotless_mind.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">2\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/eternal-sunshine-of-the-spotless-mind\">Eternal Sunshine of the Spotless Mind (2004)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Charlie Kaufman, Story by Charlie Kaufman &amp; Michel Gondry &amp; Pierre BismutThe germ of the idea came from conceptual artist Pierre Bismuth, via director Michel Gondry: What if you sent postcards to people informing them they\u2019d been erased from someone\u2019s memory? How would they react? Charlie Kaufman\u2019s narrative&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/social_network.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">3\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/the-social-network\">The Social Network (2010)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by Aaron Sorkin, Based Upon the Book\u00a0<em>The Accidental Billionaires<\/em>\u00a0by Ben MezrichWe begin the story of the decline of Western civilization with a Harvard sophomore who suffers from an acute case of logorrhea returning to his dorm room after a bad date. Blowing off steam with a light bit of hacking, he soon creates a platform to rate coeds called FaceMash&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/parasite.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">4\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/parasite\">Parasite (2019)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by Bong Joon Ho and Han Jin Won, Story by Bong Joon HoIn Bong Joon Ho\u2019s dark satire, the yuppie Park family lives in architectural splendor in the hills about Seoul. The scrappy Kims fold pizza boxes in a subterranean apartment prone to flooding. When one of the Kims begins tutoring one of the Parks&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/no_country_for_old_men.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">5\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/no-country-for-old-men\">No Country for Old Men (2007)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written for the Screen by Joel Coen &amp; Ethan Coen, Based on the Novel by Cormac McCarthySet on the plains of West Texas, the Coens\u2019 screenplay, winner of the 2008 Writers Guild Award for Adapted Screenplay, is a master class in the power of the unsaid on the page. In place of words are cryptic, existential musings and brief encounters&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/moonlight.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">6\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/moonlight\">Moonlight (2016)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by Barry Jenkins, Story by Tarell Alvin McCraneyBarry Jenkins\u2019 2017 Oscar- and Writers Guild Award-winning screenplay, divided into three, equally compelling coming-of-age chapters in the life of a young Black man in Miami, is an adaptation of Tarell Alvin\u00a0McCraney\u2019s unpublished play&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/there_will_be_blood.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">7\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/there-will-be-blood\">There Will Be Blood (2007)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by Paul Thomas Anderson, Based on the Novel\u00a0<em>Oil!<\/em>\u00a0by Upton SinclairPaul Thomas Anderson\u2019s epic, turn-of-the-century, neo-historical tale of oil baron Daniel Plainview feels as essential to understanding the DNA of California as Robert Towne\u2019s\u00a0<em>Chinatown<\/em>. Anderson told interviewer Henry Rollins that he began writing&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/inglourious_basterds.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">8\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/inglourious-basterds\">Inglourious Basterds (2009)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Quentin TarantinoQuentin Tarantino wrote the story years before revisiting it as a script, he told\u00a0<em>Filmmaker<\/em>\u00a0magazine. \u201cI thought,\u00a0<em>Okay, maybe I could do it as a miniseries, but let me try to tame this, to make it into a movie<\/em>.\u201d Tarantino\u2019s World War II characters&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/almost_famous.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">9\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/almost-famous\">Almost Famous (2000)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Cameron CroweThe quintessential rock \u2019n\u2019 roll coming-of-age film is based on Cameron Crowe\u2019s experiences as a 17-year-old correspondent for\u00a0<em>Rolling Stone<\/em>. In reliving his home and road life, Crowe captures both the times and his heady place in it with heartfelt aplomb&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/memento.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">10\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/memento\">Memento (2000)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by Christopher Nolan, Based on the Short Story by Jonathan NolanIn an old YouTube video, Christopher Nolan stands at a chalkboard and diagrams the plot of his film for an interviewer. He explains where the \u201cbackward\u201d narrative structure goes, alongside co-existing timelines told from objective and subjective points of view&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/adaptation.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">11\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/adaptation\">Adaptation (2002)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by Charlie Kaufman and Donald Kaufman, Based on the Book\u00a0<em>The Orchid Thief<\/em>\u00a0by Susan OrleanCharlie Kaufman shared screenplay credit with his imaginary identical twin brother: Have we mentioned that\u00a0<em>Adaptation<\/em>\u00a0is a painfully funny illustration of writer\u2019s block? In the script, the fake Kaufman brother pitches a serial killer script, while the \u201creal\u201d Kaufman&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/bridesmaids.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">12\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/bridesmaids\">Bridesmaids (2011)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Annie Mumolo &amp; Kristen WiigAt long last, Hollywood was inclined to believe that a studio comedy fronted by female characters who were\u00a0<em>not<\/em>\u00a0in active pursuit of a man and\u00a0<em>not<\/em>\u00a0trying desperately to have a baby could work. The screenplay, presumably minus the infamous bridal dress sequence&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/brokeback_mountain.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">13\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/brokeback-mountain\">Brokeback Mountain (2005)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by Larry McMurtry &amp; Diana Ossana, Based on the Short Story by Annie Proulx\u201cThey were raised on small, poor ranches in opposite corners of the state.\u201d So begins Annie Proulx\u2019s 1997\u00a0<em>New Yorker<\/em>\u00a0short story, set in Montana, about modern-day cowboy lovers Jack Twist and Ennis del Mar. In an interview with the American Film Institute&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/royal_tenenbaums.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">14\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/the-royal-tenenbaums\">The Royal Tenenbaums (2001)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Wes Anderson &amp; Owen WilsonThree child prodigies; a father, Royal, devoted to dissipation; and a memoirist\/archeologist mother, Etheline\u2014these are the broken pieces of the family Tenenbaum. The movie, a kind of comic novel in the visual language of film&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/sideways.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">15\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/sideways\">Sideways (2004)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by Alexander Payne &amp; Jim Taylor, Based on the Novel by Rex PickettThe story of two friends on a road trip through wine country is also an examination of the male ego in crisis. Miles is a broken-hearted unpublished novelist and wine connoisseur, Jack is a washed-up actor, living off the fumes of a career in daytime soaps&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/lady_bird.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">16\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/lady-bird\">Lady Bird (2017)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Greta Gerwig\u201cI let all of these characters talk to me, and talk to each other. I overwrite,\u201d Greta Gerwig told\u00a0<em>Written By<\/em>\u00a0of the genesis of her screenplay for\u00a0<em>Lady Bird<\/em>, about 17-year-old Sacramento Catholic schoolgirl Christine McPherson, aka \u201cLady Bird&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/her.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">17\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/her\">Her (2013)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Spike Jonze\u201cThere\u2019s definitely ways that technology brings us closer and ways that it makes us further apart\u2014and that\u2019s not what this movie is about,\u201d Spike Jonze told\u00a0<em>The New York Times<\/em>\u00a0about the film that won the 2014 Writers Guild Award for Original Screenplay&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/children_of_men.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">18\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/children-of-men\">Children of Men (2006)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by Alfonso Cuar\u00f3n &amp; Timothy J. Sexton and David Arata and Mark Fergus &amp; Hawk Ostby, Based on the Novel\u00a0<em>The Children of Men<\/em>\u00a0by P.D. JamesSome of the most celebrated shows in the so-called \u201cbleak TV\u201d era (<em>The Handmaid\u2019s Tale, The Leftovers, The Walking Dead<\/em>) seem to owe a debt to\u00a0<em>Children of Men<\/em>. Co-screenwriter Timothy Sexton told Colorado Public Radio that it was the post-9\/11 zeitgeist&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/lost_in_translation.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">19\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/lost-in-translation\">Lost in Translation (2003)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Sofia CoppolaArguably the best role ever written for Bill Murray, in terms of capturing his ineffable qualities\u2014the goofball, the empath, the ironist. Sofia Coppola has said she based her 2004 Writers Guild Award-winning Original Screenplay on trips she took&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/michael_clayton.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">20\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/michael-clayton\">Michael Clayton (2007)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Tony GilroyTony Gilroy proved that great legal thrillers needn\u2019t take place in the courtroom. The titular character is a \u201cfixer\u201d at the white-shoe defense firm Kenner, Bach &amp; Ledeen\u2014a \u201cjanitor\u201d sweeping others\u2019 malfeasance under the rug. Until he isn\u2019t&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/little_miss_sunshine.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">21\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/little-miss-sunshine\">Little Miss Sunshine (2006)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Michael ArndtMichael Arndt\u2019s first produced screenplay won the 2007 Writers Guild Award for Original Screenplay and an Oscar. The Hoovers, a family on the waitlist for the American dream, head out from Albuquerque in their creaky VW bus. Destination: a child beauty pageant&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/once_upon_a_time_in_hollywood.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">22\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/once-upon-a-time-in-hollywood\">Once Upon a Time in Hollywood (2019)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Quentin TarantinoRevisionist history doesn\u2019t get more audacious and satisfying than the Manson family killers going to the wrong house on Cielo Drive and meeting their own spectacularly grisly fate. For all the biographical appearances, your Manson and Squeaky Fromme&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/promising_young_woman.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">23\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/promising-young-woman\">Promising Young Woman (2020)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Emerald FennellOn the surface, Emerald Fennell\u2019s 2021 Writers Guild Award-winning Original Screenplay is a kind of feminist riff on the\u00a0<em>Death Wish<\/em>\u00a0franchise: At bars, Cassandra feigns near-blackout drunkenness to lure and then punish \u201cnice guy\u201d predators who are one opportunity&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/juno.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">24\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/juno\">Juno (2007)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Diablo CodyThe jokes\u2014\u201cIt\u2019s probably just a food baby. Did you have a big lunch?\u201d\u2014mixed with the tender and the awkward catapulted Diablo Cody\u2019s script to a 2008 Writers Guild Award for Original Screenplay. Christopher Orr of\u00a0<em>The Atlantic<\/em>\u00a0praised\u00a0<em>Juno<\/em>&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/grand_budapest_hotel.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">25\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/the-grand-budapest-hotel\">The Grand Budapest Hotel (2014)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by Wes Anderson, Story by Wes Anderson &amp; Hugo GuinnessThe Austro-Hungarian Empire-infused\u00a0<em>Grand Budapest Hotel<\/em>, winner of the 2015 Writers Guild Award for Original Screenplay, pays homage to both the interwar fiction of Stefan Zweig and the movies of the Marx Brothers. Far from needing no introduction&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/dark_knight.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">26\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/the-dark-knight\">The Dark Knight (2008)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by Jonathan Nolan and Christopher Nolan, Story by Christopher Nolan &amp; David S. Goyer, Based Upon Characters Appearing in Comic Books Published by DC Comics,\u00a0<em>Batman<\/em>\u00a0Created by Bob Kane\u201cSome men just want to watch the world burn.\u201d More than summarizing the anarchic nature of the Joker, this observation by butler\/confidant Alfred Pennyworth challenges the worldview of his employer, Bruce Wayne, aka Batman&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/arrival.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">27\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/arrival\">Arrival (2016)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by Eric Heisserer, Based on the Story \u201cStory of Your Life\u201d Written by Ted ChiangIn the same way the aliens at the center of\u00a0<em>Arrival<\/em>\u00a0travel unimaginable distances to reach Earth, Eric Heisserer took a long journey bringing Ted Chiang\u2019s \u201cStory of Your Life\u201d to the screen. First came the industry\u2019s chilly reception to a heady narrative about linguistics&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/jojo_rabbit.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">28\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/jojo-rabbit\">Jojo Rabbit (2019)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by Taika Waititi, Based on the Book\u00a0<em>Caging Skies<\/em>\u00a0by Christine LeunensSpringboarding from dramatic source material, Taika Waititi offers an irreverent take on World War II in\u00a0<em>Jojo Rabbit<\/em>, audaciously presenting Hitler as a young boy\u2019s idiotic imaginary friend. (Not since Mel Brooks has a satirist razzed the F\u00fchrer so mercilessly&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/inside_out.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">29\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/inside-out\">Inside Out (2015)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by Pete Docter, Meg LeFauve, Josh Cooley, Original Story by Pete Docter, Ronnie Del CarmenOriginating with Pete Docter\u2019s observations about the emotional life of his preteen daughter,\u00a0<em>Inside Out<\/em>\u00a0attempts nothing less than mapping the psychological makeup of a human being still in the process of being formed&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/departed.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">30\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/the-departed\">The Departed (2006)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by William Monahan, Based on the Motion Picture\u00a0<em>Infernal Affairs<\/em>, Written by Alex Mak and Felix ChongJournalist-turned-novelist-turned-screenwriter William Monahan won the gig to adapt a Hong Kong thriller into an American star vehicle by transposing the story to his native Boston, and the authenticity of his script\u2019s local color\u2014tethered, of course, to black humor&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/spotlight.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">31\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/spotlight\">Spotlight (2015)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Josh Singer &amp; Tom McCarthyEverything about the project was daunting\u2014grim subject, massive scope, painstaking research. But after resisting overtures for months, Tom McCarthy signed on to direct a movie detailing how the\u00a0<em>Boston Globe<\/em>\u2019s investigative team spent six months uncovering&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/whiplash.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">32\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/whiplash\">Whiplash (2014)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Damien ChazelleA blistering two-hander about the costs of pursuing greatness to the exclusion of everything else,\u00a0<em>Whiplash<\/em>\u00a0was drawn from Damien Chazelle\u2019s experiences as a drummer in an elite jazz band during high school. The band\u2019s conductor was a taskmaster&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/up.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">33\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/up\">Up (2009)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by Bob Peterson, Pete Docter, Story by Pete Docter, Bob Peterson, Tom McCarthyAs a child, Pete Docter accidentally let go of a balloon that soon disappeared from view. \u201cThat feels very much like what life is,\u201d he mused in 2009. \u201cIt\u2019s fleeting.\u201d\u00a0<em>Up<\/em>\u00a0forefronts aging and grief while telling an exhilarating story that celebrates human connection&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/mean_girls.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">34\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/mean-girls\">Mean Girls (2004)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by Tina Fey, Based on the Book\u00a0<em>Queen Bees and Wannabes<\/em>\u00a0by Rosalind WisemanWhile working as\u00a0<em>Saturday Night Live<\/em>\u2019s head writer, Tina Fey read Rosalind Wiseman\u2019s\u00a0<em>Queen Bees and Wannabes<\/em>\u2014a nonfiction examination of aggressive behavior among teen girls\u2014and pitched\u00a0<em>SNL<\/em>\u00a0producer Lorne Michaels&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/wall_e.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">35\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/wall-e\">WALL-E (2008)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by Andrew Stanton, Jim Reardon, Original Story by Andrew Stanton, Pete DocterThe poetic storyline of\u00a0<em>WALL-E<\/em>, Pixar\u2019s love story\/cautionary tale about a lonely robot on a futuristic Earth crammed with garbage, didn\u2019t come easily. According to Andrew Stanton, the concept emerged during a lunch with cowriter Pete Docter&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/pans_labyrinth.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">36\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/pans-labyrinth\">Pan&rsquo;s Labyrinth (2006)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Guillermo del Toro\u201cEvery story has already been told,\u201d Guillermo del Toro told a crowd at Comic-Con in 2011, \u201cso the only variations I find are the voice of the storyteller and the context in which it\u2019s told.\u201d Inspired by literature, mythology, symbolism, and the dark wilderness&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/inception.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">37\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/inception\">Inception (2010)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Christopher NolanFew modern endings linger as powerfully as that of\u00a0<em>Inception<\/em>, a sci-fi epic about thieves invading victims\u2019 dreams. In protagonist Dom Cobb, Christopher Nolan found a fresh take on the archetype of a criminal damaged by the moral ramifications of his work&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/slumdog_millionaire.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">38\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/slumdog-millionaire\">Slumdog Millionaire (2008)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by Simon Beaufoy, Based on the Novel\u00a0<em>Q&amp;A<\/em>\u00a0by Vikas SwarupFaced with adapting Vikas Swarup\u2019s episodic novel about an Indian teenager who wins big on a TV quiz show and gets accused of cheating, Simon Beaufoy faced massive challenges\u2014beyond imposing a filmic structure, Beaufoy wanted a different emotional hook&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/before_sunset.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">39\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/before-sunset\">Before Sunset (2004)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by Richard Linklater &amp; Julie Delpy &amp; Ethan Hawke, Story by Richard Linklater &amp; Kim Krizan, Based on Characters Created by Richard Linklater &amp; Kim KrizanPerhaps no single line perfectly distills the iridescence of\u00a0<em>Before Sunset<\/em>, the second film in a trilogy chronicling a romance across decades, but there\u2019s a lot to unpack in this remark: \u201cMemories are wonderful things if you don\u2019t have to deal with the past&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/in_bruges.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">40\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/in-bruges\">In Bruges (2008)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Martin McDonagh<em>In Bruges<\/em>\u00a0opens with a murder inside a church and gets nervier with each successive scene. The tenebrous tale of two British hitmen on the lam in Belgium,\u00a0<em>In Bruges<\/em>\u00a0brazenly mixes farce with tragedy. The younger killer, Ray, despairs because he\u2019s not yet numb&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/mulholland_drive.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">41\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/mulholland-dr\">Mulholland Dr. (2001)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by David LynchArguably the apotheosis of David Lynch\u2019s surreal style,\u00a0<em>Mulholland Dr.<\/em>\u00a0presents a seductive riddle that\u2019s deliberately impossible to solve. Superficially, it\u2019s the story of wannabe actress Betty trying to help sultry accident victim Rita recover her memory&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/a_serious_man.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">42\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/a-serious-man\">A Serious Man (2009)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Joel Coen &amp; Ethan CoenIn a 2009 interview, Ethan Coen described the approach that he and his brother, Joel, took while writing this darkly comic period piece about a professor who endures multiple crises. \u201cThe fun of the story for us,\u201d Joel said, \u201cwas inventing new ways to torture&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/amelieg.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">43\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/amelie\">Am\u00e9lie (2001)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by Guillaume Laurant and Jean-Pierre JeunetThis offbeat confection tracks the melancholy story of Am\u00e9lie Poulain, a young Parisian woman striving to find the happiness that has evaded her since childhood. (In a prologue, a man leaps off the roof of the Notre-Dame cathedral and lands on Am\u00e9lie\u2019s mother&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/toy_story_three.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">44\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/toy-story-3\">Toy Story 3 (2010)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by Michael Arndt, Story by John Lasseter, Andrew Stanton, and Lee Unkrich<em>Toy Story 3<\/em>\u00a0defied expectations for threequels by adding a necessary beat to a beloved ongoing story, earning more than $1 billion worldwide, and giving countless viewers serious feels. The hook, which never changed throughout the years-long development process&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/favourite.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">45\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/the-favourite\">The Favourite (2018)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Deborah Davis and Tony McNamaraTwenty years before it reached the screen,\u00a0<em>The Favourite<\/em>\u00a0began as a first draft by aspiring screenwriter Deborah Davis, who extensively researched the story of two women who battled for position in the court of Queen Anne circa 1711. As Anne drifts into derangement&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/zodiac.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">46\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/zodiac\">Zodiac (2007)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by James Vanderbilt, Based on the Book by Robert GraysmithJames Vanderbilt first read Robert Graysmith\u2019s best-selling book about the Zodiac Killer when Vanderbilt was in high school, so by the time he met Graysmith in 2002, Vanderbilt had history with the material. The immersion showed in the 158-page script&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/gladiator.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">47\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/gladiator\">Gladiator (2000)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by David Franzoni and John Logan and William Nicholson, Story by David Franzoni<em>Gladiator<\/em>\u00a0uses a huge canvas to tell a small story. \u201cIt is about a man just trying to get home,\u201d David Franzoni said in 2020. For protagonist Maximus, however, getting home is complicated. Initially, he\u2019s a revered soldier serving a noble emperor&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/incredibles.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">48\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/the-incredibles\">The Incredibles (2004)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Brad BirdBoth penned by Brad Bird,\u00a0<em>The Incredibles<\/em>\u00a0and its 2018 sequel are, to date, the only Pixar movies with solo writing credits. Influenced by Cold War-era pop culture that Bird consumed as a child,\u00a0<em>The Incredibles<\/em>\u00a0blends elements that shouldn\u2019t mesh&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/knives_out.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">49\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/knives-out\">Knives Out (2019)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Rian JohnsonSimultaneously exemplifying and satirizing a narrative form is risky, but Rian Johnson does so with flair throughout this playful riff on whodunnits. By exploring the death of mystery writer Harlan Thrombey, a man connected to so many&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/ex_machina.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">50\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/ex-machina\">Ex Machina (2015)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Alex Garland\u201cWe don\u2019t understand how our cellphones and our laptops work,\u201d Alex Garland told NPR in 2015, \u201cbut those things seem to understand a lot about us.\u201d Long fascinated by society\u2019s relationship with machines generally, and artificial intelligence specifically&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/birdman.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">51\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/birdman-or-the-unexpected-virtue-of-ignorance\">Birdman or (The Unexpected Virtue of Ignorance) (2014)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Alejandro G. I\u00f1\u00e1rritu, Nicol\u00e1s Giacobone, Alexander Dinelaris Jr. &amp; Armando B\u00f3Fittingly for a script that blends farce, satire, tragedy, and a host of other narrative textures,\u00a0<em>Birdman<\/em>\u00a0hatched from a m\u00e9lange of provocative ideas. Seeking a break from the angst of straightforward melodrama, cowriter-director Alejandro G. I\u00f1\u00e1rritu imagined&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/lives_of_others.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">52\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/the-lives-of-others\">The Lives of Others (2007)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Florian Henckel von DonnersmarckWhen he was a film student, Florian Henckel von Donnersmarck read about a conversation between Lenin and Gorky. \u201cLenin said he didn\u2019t want to listen to his favorite piece of music anymore, Beethoven\u2019s \u2018Appassionata,\u2019 because, he said, \u2018If I listen to that music&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/nightcrawler.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">53\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/nightcrawler\">Nightcrawler (2014)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Dan GilroyIf it bleeds, it leads, and it led Dan Gilroy to create an amoral TV news stringer whose study of the business combines with his ambition to horrific, successful ends. As Gilroy said in\u00a0<em>Film Comment<\/em>, the script clicked into place when he stopped trying to&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/twelve_years_a_slave.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">54\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/12-years-a-slave\">12 Years a Slave (2013)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by John Ridley, Based on the book\u00a0<em>Twelve Years a Slave<\/em>\u00a0by Solomon NorthupIn adapting Solomon Northup\u2019s searing memoir of enslavement, John Ridley was challenged to find and develop \u201cthe moments in those twelve years that stand in the starkest relief,\u201d he told\u00a0<em>Filmmaker Magazine<\/em>. \u201cYou don\u2019t want a film that is all pain and suffering&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/big_short.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">55\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/the-big-short\">The Big Short (2015)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by Charles Randolph and Adam McKay, Based on the Book by Michael LewisTaking a book about the elements that coalesced into the 2008 financial crisis and turning it into a wild ride as well as an informative film, Charles Randolph and Adam McKay broke the fourth wall, helping the audience understand every twist&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/moneyball.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">56\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/moneyball\">Moneyball (2011)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by Steven Zaillian and Aaron Sorkin, Story by Stan Chervin, Based on the Book by Michael LewisIn another great adaptation of another great Michael Lewis book, the use of statistical analysis to evaluate baseball players morphed into the compelling story of an underdog taking a swing against the system. The project endured a changing rotation&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/black_panther.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">57\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/black-panther\">Black Panther (2018)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Ryan Coogler &amp; Joe Robert Cole, Based on the Marvel Comics by Stan Lee and Jack KirbyRyan Coogler and Joe Robert Cole knew the significance of the universe they were creating, with a Black superhero and a futuristic African utopia, untouched by colonial rule, that entered the words \u201cWakanda Forever\u201d in the lexicon&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/you_can_count_on_me.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">58\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/you-can-count-on-me\">You Can Count on Me (2000)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Kenneth LonerganTerry and his sister Sammy lost their parents at a young age, and it affected them both deeply in diametrically opposed ways: Sammy became as responsible as Terry is undependable. But their love and their history bonds them nonetheless&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/boyhood.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">59\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/boyhood\">Boyhood (2014)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Richard LinklaterCreating the story of a child growing up from age six to 18, Richard Linklater\u2019s film takes on the unforced cadence of a boy\u2019s life. \u201cSo many movies have a structure that\u2019s built around satisfying plot, and leave no room, or very little, for these real moments&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/finding_nemo.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">60\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/finding-nemo\">Finding Nemo (2003)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by Andrew Stanton, Bob Peterson, David Reynolds, Original Story by Andrew StantonFor Andrew Stanton, the surprisingly moving animated tale of an overprotective clownfish searching for his missing son was rooted in his own experience as a father. Busy working on one movie after another at Pixar, Stanton felt he wasn\u2019t seeing enough&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/hurt_locker.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">61\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/the-hurt-locker\">The Hurt Locker (2008)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Mark BoalThis contemporary war movie centers on the members of an EOD (Explosive Ordnance Disposal) unit at work in war-torn Iraq. Screenwriter Mark Boal, formerly a journalist, embedded himself with a bomb squad to get a feel for their experience&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/roma.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">62\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/roma\">Roma (2018)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Alfonso Cuar\u00f3nAlfonso Cuar\u00f3n never expected a film about his childhood, from the point of view of his family housekeeper (Libo in real life, Cleo onscreen), to strike such a nerve. \u201cI was making a very specific film, about a very specific character&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/wolf_of_wall_street.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">63\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/the-wolf-of-wall-street\">The Wolf of Wall Street (2013)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by Terence Winter, Based on the Book by Jordan BelfortIn discussing the riotously unreliable narrator at the center of the film about Wall Street shenanigans, Terence Winter told David Erlich at\u00a0<em>MTV News<\/em>, \u201cPart of the fun and the charm of the book is in hearing Jordan\u2019s voice, in hearing his take on things&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/hell_or_high_water.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">64\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/hell-or-high-water\">Hell or High Water (2016)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Taylor Sheridan\u201cI like to wrap a socially aware film in a genre,\u201d Taylor Sheridan told\u00a0<em>Written By<\/em>, as he did with this story of two brothers who rob banks in order to save the family farm from, well, the bank, and the two Texas Rangers out to stop them. \u201cI love playing with the idea&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/manchester_by_the_sea.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">65\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/manchester-by-the-sea\">Manchester by the Sea (2016)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Kenneth LonerganIn another entry from Kenneth Lonergan, his protagonist suffers after making a mistake from which he can never recover, but must somehow come to accept. But the film isn\u2019t simply bleak; as in real life, there is lightness and humor mixed in with the sorrow&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/A-Separation.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">66\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/a-separation\">A Separation (2011)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Asghar FarhadiThis tense, riveting, morally complex film looks at two disparate and troubled Iranian families, the choices that decent people make out of fear, and the part that culture plays in it all. Writer Asghar Farhadi offers no easy solutions&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/spirited_away.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">67\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/spirited-away\">Spirited Away (2001)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Hayao MiyazakiThe animated Japanese fantasy drops ten-year-old protagonist Chihiro in a surreal spirit world, where she must survive and try to save her parents and return to the world of the living. As Hayao Miyazaki said in\u00a0<em>Midnight Eye<\/em>, \u201cIt was through observing&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/mad_max_fury_road.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">68\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/mad-max-fury-road\">Mad Max: Fury Road (2015)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by George Miller, Brendan McCarthy, Nico LathourisSome films have great chase sequences. This long-awaited entry to the\u00a0<em>Mad Max<\/em>\u00a0franchise IS a great chase sequence, one that was blocked out on over 3,500 storyboard panels. Co-writer George Miller said in the\u00a0<em>Hollywood Reporter<\/em>, \u201cThe approach to this film&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/booksmart.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">69\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/booksmart\">Booksmart (2019)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Emily Halpern &amp; Sarah Haskins and Susanna Fogel and Katie SilbermanTwo teenage overachievers realize they\u2019ve wasted their youth on schoolwork, and decide to have one epic night before graduation, in classic buddy-movie tradition. And this time, in a delightful update to the genre, the buddies are girls&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/City-of-God2.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">70\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/city-of-god\">City of God (2002)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by Br\u00e1ulio Mantovani, Based on the Novel by Paulo LinsThe favelas (slums) of Rio are lightyears away from the glittering city they overlook. Areas like Cidade de Deus (City of God) have been abandoned to criminal gangs and corrupt officials, and life is lawless and brutal\u2014but also filled with music and exuberant joy&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/spiderman_into_the_spiderverse.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">71\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/spider-man-into-the-spider-verse\">Spider-Man: Into the Spider-Verse (2018)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by Phil Lord and Rodney Rothman, Story by Phil Lord, Based on the Marvel ComicsSuperheroes take many forms, and endure many reboots, but this was one of the most inventive, as Spider-Man comes back into animated life\u2014in parallel universes\u2014with young Miles Morales at the helm. It didn\u2019t come easily. As co-writer Phil Lord shared&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/inside_llewyn_davis.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">72\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/inside-llewyn-davis\">Inside Llewyn Davis (2013)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Joel Coen &amp; Ethan CoenLlewyn Davis is a sad sack of a folk musician, working his way down the ladder of success in the \u201860s. \u201cIt\u2019s more interesting for me as an audience member to see a movie about a loser,\u201d co-writer Ethan Coen told the\u00a0<em>Guardian<\/em>. \u201cWho wants to make a movie about Elvis&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/kings_speech.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">73\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/the-kings-speech\">The King&rsquo;s Speech (2010)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by David SeidlerPrince Albert was horrified to find greatness thrust upon him when his brother, King Edward, abdicated the throne. A gentle man with a profound stutter, he was unprepared for the role of King, but he had no choice in the matter&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/django_unchained.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">74\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/django-unchained\">Django Unchained (2012)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Quentin TarantinoThe Western, Southern, revenge fantasy follows an enslaved man as he frees himself and his family, wreaking fiery havoc on all oppressors. \u201cI wanted to tell the story as a genre movie, as an exciting adventure,\u201d writer Quentin Tarantino told Terry Gross&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/oceans_eleven.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">75\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/oceans-eleven-2001\">Ocean&rsquo;s Eleven (2001)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by Ted Griffin, Based on a Screenplay by Harry Brown and Charles Lederer and a Story by George Clayton Johnson &amp; Jack Golden RussellWriter Ted Griffin made a startling admission to\u00a0<em>Free Film University<\/em>: \u201cI don\u2019t like the original\u00a0<em>Ocean\u2019s Eleven<\/em>. It may be iconic but it\u2019s not good, as fascinating as the Rat Pack is to watch. But I liked those types of movies growing up\u2014groups on a mission&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/lord_of_the_rings_the_fellowship_of_the_ring.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">76\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/the-lord-of-the-rings-the-fellowship-of-the-ring\">The Lord of the Rings: The Fellowship of the Ring (2001)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by Fran Walsh &amp; Philippa Boyens &amp; Peter Jackson, Based on the Book\u00a0<em>The Fellowship of the Ring<\/em>\u00a0by J.R.R. TolkienIn discussion with\u00a0<em>Looking Closer<\/em>, co-writer Peter Jackson was as interested in Tolkien\u2019s inspiration as his writing, when it came to recreating that fantastic world onscreen. \u201cHe was just a guy who was profoundly irritated by things and annoyed&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/shaun_of_the_dead.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">77\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/shaun-of-the-dead\">Shaun of the Dead (2004)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Simon Pegg and Edgar WrightThis shaggy zombie comedy doesn\u2019t shy away from the horror it creates, and the combination is irresistible. Writers Simon Pegg and Edgar Wright were obsessed with George Romero\u2019s\u00a0<em>Dawn of the Dead<\/em>. As Wright said in the\u00a0<em>Guardian<\/em>, \u201cOne evening&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/erin_brockovich.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">78\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/erin-brockovich\">Erin Brockovich (2000)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Susannah GrantThe moment screenwriter Susannah Grant first learned about Erin Brockovich, she knew she wanted to tell her story. It wasn\u2019t just true, it was good: a twice-divorced single mother exposed and helped bring to justice Pacific Gas&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/call_me_by_your_name.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">79\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/call-me-by-your-name\">Call Me by Your Name (2017)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by James Ivory, Based on the Novel by Andr\u00e9 AcimanIn a list crowded with scripting elites, James Ivory stands alone\u2014the only one of the lot to become half the namesake for an entire new genre of indie period dramas (along with longtime partner Ismail Merchant&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/three_billboards_outside_ebbing_missouri.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">80\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/three-billboards-outside-ebbing-missouri\">Three Billboards Outside Ebbing, Missouri (2017)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Martin McDonaghWhisky, cursing, and the truth are central to British playwright Martin McDonagh\u2019s stage and screen work.\u00a0<em>Three Billboards Outside Ebbing, Missouri<\/em>, has them all in spades. He wrote the script for his ideal muse, Francis McDormand&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/lobster.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">81\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/the-lobster\">The Lobster (2015)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Yorgos Lanthimos and Efthymis FilippouIf you ever imagined what would happen if Paddy Chayefsky\u2019s 1955 classic Marty was reimagined by George Orwell and punched up by Judd Apatow,\u00a0<em>The Lobster<\/em>\u00a0would get you pretty damn close to the answer&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/prestige.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">82\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/the-prestige\">The Prestige (2006)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by Jonathan Nolan and Christopher Nolan, Based on the Novel by Christopher PriestIn this dexterous Nolan brothers\u2019 screenplay, two magicians in Edwardian London are driven into a dark rivalry over their shared obsession with creating the ultimate illusion. Adding to the pleasures of this script, the Nolans included Nikola Tesla&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/midnight_in_paris.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">83\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/midnight-in-paris\">Midnight in Paris (2011)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Woody AllenWoody Allen racked up his sixth Writers Guild Award and third Original Screenplay Oscar\u2014more than anyone in history\u2014in an entirely Woody Allen way; with a story that would be many screenwriters\u2019 fantasy&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/master.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">84\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/the-master\">The Master (2012)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Paul Thomas AndersonNo modern writer-director has an oeuvre as pointedly divergent, eclectic, and successful as Paul Thomas Anderson, who seems, at each new turn, to be making the point that, no matter the trappings, the same themes of human existence reign&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/argo.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">85\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/argo\">Argo (2012)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by Chris Terrio, Based on a selection from\u00a0<em>The Master of Disguise<\/em>\u00a0by Antonio J. Mendez and the\u00a0<em>Wired Magazine<\/em>\u00a0Article \u201cThe Great Escape\u201d by Joshuah BearmanIts Oscar win for Best Picture might have overshadowed the strength of this script, which took home both the 2013 Writers Guild Award and Oscar for Adapted Screenplay. Chris Terrio\u2019s script is a marvel of narrative construction&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-resized is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/y_tu_mama_tambien.jpg\" alt=\"\" width=\"145\" height=\"215\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">86\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/y-tu-mama-tambien\">Y tu mam\u00e1 tambi\u00e9n (2001)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Carlos Cuar\u00f3n &amp; Alfonso Cuar\u00f3nPart road trip, teen movie, erotica, and art film,\u00a0<em>Y tu mam\u00e1 tambi\u00e9n<\/em>\u00a0changed everything for Alfonso Cuar\u00f3n, his brother Carlos, and Mexican cinema, which it helped reemerge after decades in the shadows. The logline may be simple&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/phantom_thread.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">87\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/phantom-thread\">Phantom Thread (2017)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Paul Thomas AndersonPaul Thomas Anderson knows his way around a taut, slow narrative burn, but none are more retrained and razor sharp than\u00a0<em>Phantom Thread<\/em>, which stars Daniel Day-Lewis as fastidiously controlling dressmaker par excellence, Reynolds Woodcock&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/superbad.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">88\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/superbad\">Superbad (2007)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Seth Rogen &amp; Evan GoldbergSeth Rogen and Evan Goldberg started writing\u00a0<em>Superbad<\/em>\u00a0when they were still living it\u2014as 13-year-old 12th graders at Pointy Grey Secondary School in Vancouver, Canada in the \u201890s. Years later, under the tutelage of comedy&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/little_women.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">89\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/little-women\">Little Women (2019)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by Greta Gerwig, Based on the Novel by Louisa May AlcottLouisa May Alcott\u2019s iconic novel\u00a0<em>Little Women<\/em>\u00a0is so beloved it\u2019s been adapted no less than seven times. The seventh go fell, with great results, to actress, writer, and director, Greta Gerwig. She did an ingenious thing no one else had before&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/blackkklansman.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">90\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/blackkklansman\">BlacKkKlansman (2018)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Charlie Wachtel &amp; David Rabinowitz and Kevin Willmott &amp; Spike Lee, Based on the Book by Ron StallworthCharlie Wachtel and David Rabinowitz were next to nowhere as screenwriters when they stumbled across a copy of memoir titled\u00a0<em>Black Klansman<\/em>\u00a0by Ron Stallworth, via Police and Fire Publishing. Stallworth was the first Black detective&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/farewell.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">91\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/the-farewell\">The Farewell (2019)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Lulu WangThough Lulu Wang had already written and directed her first feature,\u00a0<em>Posthumous<\/em>\u00a0in 2014, it was NPR\u2019s\u00a0<em>This American Life<\/em>\u00a0that proved her big break when, in 2016, she wrote and narrated the autobiographical story&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/la_la_land.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">92\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/la-la-land\">La La Land (2016)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Damien ChazelleDamien Chazelle\u2019s debut feature\u00a0<em>Whiplash<\/em>\u00a0put him on the map, but\u00a0<em>La La Land<\/em>\u00a0was the film he first wrote and dreamed of making. After meeting rejection everywhere, he wrote\u00a0<em>Whiplash<\/em>\u00a0as an easier film to sell on an indie budget. When it was a hit&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/borat.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">93\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/borat-cultural-learnings-of-america-for-make-benefit-glorious-nation-of-kazakhstan\">Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (2006)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by Sacha Baron Cohen &amp; Anthony Hines &amp; Peter Baynham &amp; Dan Mazer, Story by Sacha Baron Cohen &amp; Peter Baynham &amp; Anthony Hines &amp; Todd Phillips, Based on a Character Created by Sacha Baron CohenSome eyebrows, and possibly a few bushy mustaches, might have been raised when the WGA nominated this first-of-its-kind reality-meets-mockumentary for Adapted Screenplay back in 2006. But time has been a friend to\u00a0<em>Borat<\/em>&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/forty_year_old_virgin.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">94\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/the-40-year-old-virgin\">The 40-Year-Old Virgin (2005)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Judd Apatow &amp; Steve CarellWhile there are scores of movies that have plumbed the seemingly boundless comedic depths of the eternal drive to lose one\u2019s virginity (from\u00a0<em>Porky\u2019s<\/em>\u00a0to\u00a0<em>American Pie<\/em>, examples run into the dozens), this Judd Apatow\/Steve Carell classic&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/ratatouille.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">95\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/ratatouille\">Ratatouille (2007)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenwriter: Brad Bird, Original Story by Jan Pinkava, Jim Capobianco, Brad Bird, Additional Story Material by Emily Cook &amp; Kathy Greenberg, Bob PetersonIt\u2019s hard to overstate how, well,\u00a0<em>incredible<\/em>\u00a0it is to follow up a hit as massive as\u00a0<em>The Incredibles<\/em>\u00a0with another giant, commercial, critical smash as different and special as\u00a0<em>Ratatouille<\/em>. That\u2019s back-to-back Oscars for Best Animated Feature&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/lars_and_the_real_girl.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">96\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/lars-and-the-real-girl\">Lars and the Real Girl (2007)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Nancy OliverThis film stars Ryan Gosling as Lars Lindstrom, a shy, lonely 27-year-old who takes up a mail order sex doll as a girlfriend. It\u2019s a great example of a movie that is everything its logline is not\u2014while the plot description might lead one to expect a prurient&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/nomadland.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">97\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/nomadland\">Nomadland (2020)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written for the Screen by Chlo\u00e9 Zhao, Based on the Book by Jessica Bruder<em>Nomadland<\/em>\u00a0strikes like a jagged line of lightning on the Western plains, illuminating dark, painful, and beautiful complexities of modern American life\u2014from low-paying jobs, to unaffordable housing, poor eldercare and overconsumption&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/winters_bone.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">98\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/winters-bone\">Winter&rsquo;s Bone (2010)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by Debra Granik &amp; Anne Rosellini, Based on the Novel by Daniel WoodrellOptioned just before its publication, Daniel Woodrell\u2019s novel is a taut, highly detailed saga that unfolds deep in the Missouri Ozarks. Seventeen-year-old Ree is a protector for her destitute family\u2014two younger siblings and a mentally ill mother&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/o_brother_where_art_thou.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">99\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/o-brother-where-art-thou\">O Brother, Where Art Thou? (2000)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Written by Ethan Coen &amp; Joel Coen, Based Upon the\u00a0<em>Odyssey<\/em>\u00a0by HomerThere\u2019s a compelling argument to be made that\u00a0<em>O Brother<\/em>\u00a0is the most \u201cCoen brothers\u201d of Coen brothers movies, not necessarily the best\u2014just the most \u201cCoen brothers.\u201d Aside from all the usual elements\u2014crime, a vivid ensemble, heaps of comedy&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/legally_blonde.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">100\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/legally-blonde\">Legally Blonde (2001)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by Karen McCullah Lutz &amp; Kirsten Smith, Based on the Book by Amanda BrownAmanda Brown didn\u2019t just write the book upon which\u00a0<em>Legally Blonde<\/em>\u00a0was based, she lived it, attending Stanford Law school while, indeed, being blonde. On the heels (designer, no doubt) of their breakout, eve-of-the-millennium hit&#8230;<\/p>\r\n\r\n\r\n\r\n<figure class=\"wp-block-image is-style-default\"><img decoding=\"async\" src=\"https:\/\/www.wga.org\/uploadedimages\/news_and_events\/101_screenplay_21st_century\/silver_linings_playbook.jpg\" alt=\"\" \/><\/figure>\r\n\r\n\r\n\r\n<h3 class=\"wp-block-heading\">101\u00a0<a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/silver-linings-playbook\">Silver Linings Playbook (2012)<\/a><\/h3>\r\n\r\n\r\n\r\n<p>Screenplay by David O. Russell, Based on the Novel by Matthew QuickWith\u00a0<em>Playbook<\/em>, David O. Russell was able to do an exceedingly difficult thing, grappling with serious mental illness while making a winning, even uplifting rom-com. Pat Solitano is living with his parents and hoping to reconcile with his ex-wife&#8230;<\/p>\r\n<p>&nbsp;<\/p>\r\n<div class=\"wp-block-image is-style-rounded\">\r\n<figure class=\"aligncenter\"><span style=\"font-size: 8pt;\"><em>Source : <a href=\"https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/list\">https:\/\/www.wga.org\/writers-room\/101-best-lists\/101-best-screenplays-of-the-21st-century-so-far\/list<\/a><\/em><\/span><\/figure>\r\n<\/div>\r\n","protected":false},"excerpt":{"rendered":"<p>1\u00a0Get Out (2017) Written by Jordan Peele\u201cI realized early in the writing that\u00a0Get Out\u00a0is so much more than simply what happens when you have a black male protagonist at the center of a horror film,\u201d Jordan Peele told\u00a0Written By.\u00a0Get Out, which won the 2018 Writers Guild Award for Original Screenplay&#8230; 2\u00a0Eternal Sunshine of the Spotless [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":258,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[9],"tags":[27],"class_list":["post-257","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cinema","tag-lart-des-listes"],"_links":{"self":[{"href":"https:\/\/joubjoub.fr\/didasko\/wp-json\/wp\/v2\/posts\/257","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/joubjoub.fr\/didasko\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/joubjoub.fr\/didasko\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/joubjoub.fr\/didasko\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/joubjoub.fr\/didasko\/wp-json\/wp\/v2\/comments?post=257"}],"version-history":[{"count":1,"href":"https:\/\/joubjoub.fr\/didasko\/wp-json\/wp\/v2\/posts\/257\/revisions"}],"predecessor-version":[{"id":259,"href":"https:\/\/joubjoub.fr\/didasko\/wp-json\/wp\/v2\/posts\/257\/revisions\/259"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/joubjoub.fr\/didasko\/wp-json\/wp\/v2\/media\/258"}],"wp:attachment":[{"href":"https:\/\/joubjoub.fr\/didasko\/wp-json\/wp\/v2\/media?parent=257"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/joubjoub.fr\/didasko\/wp-json\/wp\/v2\/categories?post=257"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/joubjoub.fr\/didasko\/wp-json\/wp\/v2\/tags?post=257"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}