USC Scripter Awards Nominations: ‘The Wild Robot’ Surprises Alongside ‘Nickel Boys’ and ‘Sing Sing’

The USC Libraries have unveiled the finalists for the 37th-annual Scripter Awards, spotlighting the writers behind 2024’s most celebrated film and television adaptations and the authors of the original works that inspired them.

Among the film finalists, noteworthy Oscar hopefuls are among the nominees, each based on acclaimed literary works:

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• James Mangold and Jay Cocks for “A Complete Unknown,” adapted from Elijah Wald’s nonfiction book “Dylan Goes Electric! Newport, Seeger, Dylan, and the Night That Split the Sixties”

• Peter Straughan for “Conclave,” based on the novel by Robert Harris

• RaMell Ross and Joslyn Barnes for “Nickel Boys,” an adaptation of Colson Whitehead’s Pulitzer Prize-winning novel “The Nickel Boys”

• Clint Bentley and Greg Kwedar (screenplay and story) and Clarence Maclin and John “Divine G” Whitfield (story) for “Sing Sing,” drawn from John H. Richardson’s Esquire article “The Sing Sing Follies”

• Chris Sanders and Peter Brown for “The Wild Robot,” based on Peter Brown’s beloved children’s book of the same name

The nod for “The Wild Robot” marks only the second animated movie nominated after “Guillermo del Toro’s Pinocchio,” which won the Academy Award. Could be a good sign for the DreamWorks Animation feature hoping to nab multiple mentions outside the animated feature race.

The USC Scripter Awards have distinct eligibility rules that often result in significant exclusions. This year, Jon M. Chu’s musical “Wicked” failed to secure a nomination, continuing the Scripter’s historical trend of never recognizing musicals. Not even “Chicago” (2002) or “Les Miserables” (2012) were recognized during their respective years. However, Jacques Audiard’s Spanish-language musical “Emilia Perez” was ineligible due to the rule that doesn’t allow non-English language movies. That also explains why Walter Salles’ Brazilian drama “I’m Still Here” was also omitted.

Remakes and sequels to original movies are also not eligible, which made films like “Inside Out 2” unable to nab recognition.

Still, some notable snubs are worth pointing out which include Denis Villeneuve’s sci-fi sequel “Dune: Part Two,” Richard Linklater’s crime comedy “Hit Man,” Robert Eggers’ gothic horror “Nosferatu,” Pedro Almodóvar’s English-language debut “The Room Next Door” and Marielle Heller’s black comedy “Nightbitch.”

For television, five episodes from standout series were recognized, including Emmy darlings “Baby Reindeer” and “Shōgun.”

• Richard Gadd for the sixth episode of “Baby Reindeer,” adapted from his stage play

• Steven Zaillian for the fifth episode of “Ripley,” based on Patricia Highsmith’s “The Talented Mr. Ripley”

• Joshua Zetumer for “The People in the Dirt” from “Say Nothing,” inspired by Patrick Radden Keefe’s nonfiction book “Say Nothing: A True Story of Murder and Memory in Northern Ireland”

• Rachel Kondo and Justin Marks for “Anjin,” the premiere episode of “Shōgun,” based on James Clavell’s novel.

• Will Smith for “Hello Goodbye” from “Slow Horses,” adapted from Mick Herron’s novel “Spook Street”

A strong bellwether for the Oscars’ adapted screenplay category, previous Scripter winners that have matched the Academy in the last decade include “The Imitation Game” (2014), “The Big Short” (2015), “Moonlight” (2016), “Call Me by Your Name” (2017), “Nomadland” (2020), “Women Talking” (2022) and “American Fiction” (2023). Spike Lee’s “BlacKkKlansman” (2019) is the only Scripter-eligible film to win the Academy Award without being nominated by the organization.

Since its inception in 1988, the USC Scripter Awards have honored both screenwriters and the authors of original works. This year, the selection committee, chaired by USC professor and Academy Vice President Howard Rodman, reviewed 42 films and 66 episodic series adaptations to determine the finalists.

The ceremony will take place on Saturday, Feb. 22, 2025, at the University of Southern California’s Town & Gown ballroom.

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