Oscar preview coverage turns its spotlight to the scribes, with a trio of stories, starting with Bob Verini’s exploration of the relationship between stage and screen:

Now that the curtain’s gone up on key Awards Season films “Anna
Karenina,” “Lincoln,” “Les Miserables” and “Quartet,” all from
world-class playwrights, age-old questions about the relationship of
stage and screen have returned to the fore.

“Anna Karenina” and
“Lincoln” are demonstrably “cinematic” in their visual flair and
richness. Yet each is also redolent of the legit playhouse, as if
greasepaint were being sold in the lobby instead of butter-flavored
topping. They beg the question: What happens when the screenwriter wants
to make a movie, while the director has his eye fixed on the stage?

writers of “Les Mis” and “Quartet,” meanwhile, faced another question:
How much should they draw on their own stage roots while transplanting
their stories to the screen? …

Also today, Addie Morfoot looks at this year’s collection of newcomer writing contenders, while Randee Dawn and David S. Cohen catch up with the current generation of auteurs.