Black Bear Pictures and Bristol Automotive acquired Graham Moore’s spec script The Last Days of Night. The legal thriller will dramatize Thomas Edison’s lawsuit against rival George Westinghouse, whom Edison sued for one billion dollars in 1888, and will be based on Moore’s novel. Sony acquired a thriller pitch from Lori Evans Taylor about a couple whose new tenant begins to invade their lives. Akiva Goldman to produce. Emily Carmichael to write Powerhouse for Amblin Entertainment, based on an original story by Colin Trevorrow--Carmichael to direct, and Trevorrow, Steven Spielberg, and Simon Winberg set to produce. Archer Gray Productions acquired Sebastian Silva’s family thriller Captain Dad; Silva to also direct, and Catherine Keener and Michael Cera to star, with Will Ferrell in negotiations. Finally, CBS Films is moving forward with Tamara Chestna’s romantic comedy Revenge Wedding, in which a woman (with the help of her best friend) decides to turn her perfectly planned wedding into a giant disaster after she discovers her fiancé has been cheating.
Other script sales include:
– Diablo Cody, director Jason Reitman, and Charlize Theron to collaborate again on Tully, a dramedy about a mother of three who develops a unique bond with a young nanny named Tully.
– Bill Murray to star in and produce James Sclafani’s crime drama The King of Counterfeit. Josh Hutchinson and Linda Cardellini to also star.
– STX Entertainment is partnering with Happy Madison to produce an untitled animated comedy written by Adam Sandler.
– Dawson Marshall Thurber’s (Dodgeball, We’re the Millers) action script Skyscraper was purchased after a bidding war, with Legendary Pictures, Flynn Picture Company, and Seven Bucks Entertainment winning out.
– Whitney Cummings to direct and star in The Female Brain, a romantic comedy to be based on the book by Louann Brizendine, M.D.
– Bob Saget to direct Jake, a dark comedy comedy written by Joshua Turek.
The Library – Produced Scripts
Alfonso Cuarón’s Gravity is a big movie--breathtaking in its scope and impressive in its vision. Most of the praise Gravity received upon its release focused on its visual effects and cinematography. (All of which undeniably deserved. . . the amount of work put into bringing Alfonso and Jonás Cuarón’s script to life is a feat unto itself.) The technical complexity overshadowed the screenplay, which is much simpler in comparison, but nevertheless an excellent example of suspenseful, cinematic writing.
The Cuaróns’ story is stripped down to its essential elements: three named characters, not too many more speaking roles, a 70-page script turned into a 90-minute movie. Dr. Ryan Stone (Sandra Bullock at her best), an astronaut who gets stranded in space after the Explorer shuttle is unintentionally destroyed, just wants to survive and make it back to Earth alive. The narrative is broken up into smaller goals: get to a nearby space station, reestablish communication with Earth, and make it to the International Space Station, to name a few. Like most survival narratives, it’s easy to root for a Dr. Stone and hope she makes it to safety, and even without the visuals, the script works remarkably well--in fact, the words by themselves almost help the story feel even more claustrophobic.
At the very least, Gravity is one of the greatest visual spectacles ever made. But along the way, Alfonso and Jonás Cuarón created a decidedly human story with an unassuming but nevertheless impressive narrative.
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