×

‘Armageddon’ credits set

Nine scribes worked on script, five get credit

Last week a Writers Guild of America arbitration committee determined that writing credits on Touchstone’s “Armageddon” should list the rare combo of “screenplay by” Jonathan Hensleigh and J.J. Abrams; “adaptation by” Tony Gilroy and Shane Salerno; and “story by” Robert Roy Pool and Hensleigh.

During the arbitration, nine scribes had been vying for credit on the July 1 release.

In addition to Pool, Hensleigh, Gilroy, Salerno and Abrams, the writers involved in the arbitration included Paul Attanasio, Ann Biderman, Scott Rosenberg and Robert Towne.

Originally, it was Hensleigh’s script, based on Pool’s original, that had been greenlighted by Touchstone. Then producer Jerry Bruckheimer hired the succession of scribes for rewrites and polishes.

When Touchstone originally submitted its proposed credits to the WGA, it listed Hensleigh as screenwriter with story by Hensleigh and Pool.

Because Hensleigh also serves as an executive producer on the project, the writers credits automatically were submitted for arbitration. Sources said it was unlikely any of the uncredited scribes would appeal the decision.

The ruling is unique because the WGA awarded the “adaptation by” credit, something to which the guild traditionally has been opposed. However, it is not unprecedented, being used last year for Warner Brother’s “Sphere.”

The Writers Guild’s credit manual states that “because of the strong feeling against a multiplicity of credits, the guild is opposed to the general use of the ‘Adaptation by’ credit. However, the guild recognizes that there are certain unusual cases where credit is due a writer who shapes the direction of screenplay construction.”

It goes on to state that “in those special cases, and only as a result of arbitration,” the “adaptation by” credit may be used.

While Abrams, Hensleigh (“Jumanji”), Gilroy (“The Devil’s Advocate”) and Pool (“Outbreak”) have multiple writing credits under their belts, the arbitration award gives Salerno his first feature credit.

And with less than a month before the film’s release, Disney had to race to alter the credits in print ads, trailers, new posters and other parts of the studio’s marketing campaign. As of Thursday evening the film’s official Web site (www.armageddon.com) had been updated with the new credits, as had a commercial that ran during Friday’s NBA finals broadcast.

(Nick Madigan contributed to this report.)

More Film

  • Pokémon Detective Pikachu

    China Box Office: Weekend Chart Dominated By Non-Chinese Films

    Unusually, all of the top five films at the China box office this weekend were non-Chinese. That’s a relatively rare occurrence, as audiences typically favor local films over foreign content. But it is one that may happen more often, as high-performing local titles become fewer and farther between due to production slowdowns. The lack of [...]

  • White Lie

    Playtime Boards Canadian Psychological Thriller 'White Lie' Starring Kacey Rohl (EXCLUSIVE)

    One of France’s leading sales companies, Playtime has boarded “White Lie,” a character-driven psychological thriller film from the promising new Toronto-based directors Yonah Lewis and Calvin Thomas. Now in post-production, “White Lie” is headlined by Kacey Rohl, who has been seen in hit TV series such as “The Killing,” “Arrow,” “Hannibal” and “Wayward Pines.” Rohl [...]

  • Cannes’ Focus CoPro’ Gives Push for

    Cannes’ Focus CoPro’ Gives Push for First-Time Features

    CANNES–Seven first-feature projects will be pitched to an audience of industry professionals at Focus CoPro’, an event hosted by Cannes’ Short Film Corner that will take place Tuesday May 21 at the Palais des Festivals. The pitching session, which is run in collaboration with Nisi Masa and the Pop Up Film Residency, was introduced last year [...]

  • Cannes: Star Alliance Movies Takes Wide’s

    Cannes: Star Alliance Movies Takes Wide’s ‘Blast’ for China (EXCLUSIVE)

    CANNES  —  Hong Kong’s Star Alliance Movies has pounced on all rights to China on “Blast,” a race against the clock thriller that marks the first full production from Wide, Loic Magneron’s Paris-based sales-production-distribution company. The deal, made against a background of slowing sales to China, represents the first pre-sale on “Blast,” which is now [...]

  • Brazil’s Cinemascopio, France’s Les Valseurs Team

    Brazil’s Cinemascopio, France’s Les Valseurs Team For Nara Normande, Tião’s ‘The Heron’ (EXCLUSIVE)

    CANNES — Recife-based CinemaScópio Produções and Paris’ Les Valseurs have teamed on “A Garça” (The Heron), the feature debut from Brazil’s Nara Normande, co-authored by Tião. Brazilian CinemaScópio is behind Kleber Mendonça Filho and Juliano Dornelles’ Brazilian Western-thriller “Bacurau,” in competition at Cannes. Les Valseurs is also presenting Qiu Yang’s short “She Runs” at Critics’ [...]

More From Our Brands

Access exclusive content