Children's movies have always had something for adults, but the rule has always been "kids first."
Scott Cooper's decade of experience in front of the camera as an actor came in handy when he sat down in late 2006 to adapt Thomas Cobb's novel "Crazy Heart" into a screenplay.
Tom Ford -- fashion designer-turned-screenwriter-director -- is garnering attention for his adaptation of Christopher Isherwood's "A Single Man."
Thirty-six-year-old journalist-turned-screenwriter Mark Boal didn't always cover the military.
It's funny because I'm considered a first-time screenwriter, but I feel like a veteran," Geoffrey Fletcher laughs.
Over the past two decades the screenplay categories have become something of a consolation prize for acclaimed, yet offbeat, movies that fell outside the traditional definition of best picture.
Some screenplays make an impression by finding drama -- or comedy, for that matter -- in the everyday, or at least something that looks like it.
Argentina's Haddock Films and Spain's Tornasol Films, producers of the country's foreign Oscar hopeful "The Secret in Their Eyes," have partnered again to produce thriller "Criminal."
Many impressive actors never won an Oscar. How much will sentiment count with voters this time?
For Jeremy Renner, the experience of filming "The Hurt Locker" wasn't nearly as grueling and death-defying as the actual defusing of improvised explosive devices would've been.
Nine" director Rob Marshall describes the impact of two-time Oscar winner Daniel Day-Lewis' opening number, "Guido's Song," as akin to the famous selling point MGM used to herald a silent movie…