It's a beautiful day in awards season when I wake up, rub the sleep from my eyes, scurry down the stairs and discover not one, not two, but three new screenplays have magically appeared for my consideration and the consideration of screenwriters the world 'round. I'll never know how jolly ol' Harvey gets down that chimney, but I do know I'll enjoy reading the screenplays for Silver Linings Playbook, The Master and Quartet courtesy of The Weinstein Company.
First, here's the trailer for Silver Linings Playbook, now playing in the U.S.:
Video is no longer available: youtu.be/J_ZitHzsS1s
And here's the trailer for The Master, still playing in a few theatres in the U.S.:
Video is no longer available: youtu.be/ssue5_BfI2E
Finally, here's the trailer for Quartet, Dustin Hoffman's directorial debut, opening Dec. 28 in the U.S.:
Video is no longer available: youtu.be/6AGqPQr-1x4
Finding the right tone in a screenplay is so important, and if the tone is inconsistent, a reader will likely want to pass on the script. Tone is a big reason why I'm excited to read David O. Russell's screenplay for Silver Linings Playbook, adapted from Matthew Quick's novel, as the story finds humor in incomfortable yet very human moments. The screenplay for The Master may illuminate certain elements of P.T. Anderson's film, or may obfuscate it that much more, but will likely make an interesting read. And Quartet? Learning how to adapt a stage play into a screenplay from Oscar-winner Ronald Harwood (The Pianist) sounds pretty good to me.
Here are the links to the screenplays:
- Silver Linings Playbook, screenplay by David O. Russell, based on the novel by Matthew Quick
- The Master, written by Paul Thomas Anderson
- Quartet, written by Ronald Harwood, based on his play
As always, please use these screenplays for your educational purposes only, and don't wait to download them as we never know when they will be taken offline. Several more screenplays available for legal download for your consideration can be found at the end of our previous post on award-contending screenplays.
And yes, I was purposely avoiding writing references to Harvey Weinstein being the master of awards campaigns or writing the playbook on awards campaigns. Until now.
What do you hope to learn from reading these screenplays? Let us know in the Comments.