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(The Black List: Read about tomorrow’s J.
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The Playlist, a blog on the website IndieWire, reported yesterday that, “as was widely expected,” the most popular script on this year’s list is The Imitation Game, a biopic of Alan Turing, “the mathemetician and computer pioneer who helped to crack codes during World War Two, but found himself ostracized afterwards for his homosexuality”-which could be great, but doesn’t sound much different from other prestige pictures that come out every year. It can even distinguish in cases where a single server with a single IP runs for example a blacklisted and whitelisted domain at once. The huge benefit of this option is to have the finest level of control. Of course, we now play it so well that, if you follow the right blogs, you not only know the Black List is coming, you know what’s likely to be on it. A proxy server like Squid can be used to block access to websites.
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With Hollywood, as with professional sports, we’re all general managers now, and the Black List is yet another way for us to play “ inside baseball.” So while hearing about films that may hit screens in the near future is always fun (at least to me), the Black List is not much different than all the other industry-insider news I now read-not only in trade magazines like Variety and The Hollywood Reporter but also in New York Magazine and The New York Times.
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The Beaver, the odd and ill-fated movie that eventually starred Mel Gibson, topped the list in 2008, adding to the impression that the scripts on the Black List were beloved but challenging, precisely the kind of screenplays that needed the sort of underground championing that the Black List seemed to do. But because the scripts on the list had not yet become movies-and some were not even terribly close to doing so-when the list reached the general public, it had the feel of privileged information (aided, perhaps, by the clever name: The scripts have not, in fact, been blacklisted in any fashion).Īnother factor in the Black List’s early reputation: In 2006, two of the top three scripts- Juno and Lars and the Real Girl-were fairly quirky by Hollywood standards. “It became a thing very quickly,” that executive, Franklin Leonard, has said: He created the first such list in 2005, and it was in EW by March of the following year. In truth, it was the idle creation of a “ midlevel studio executive” who wanted to read some good scripts, and so emailed other Hollywood executives to ask for suggestions.
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