Screenwriter, director and producer Walter Hill will receive the 2024 Laurel Award for Screenwriting Achievement from the Writers Guild of America West.
Per the guild, the award is bestowed upon members who have “advanced the literature of motion pictures and made outstanding contributions to the profession of the screenwriter.” A few of Hill’s writing and co-writing credits include “The Getaway,” “48 Hrs.,” “Last Man Standing” and “Dead For A Dollar.”
“Walter Hill’s impact on our industry is undeniable,” said Wgaw president Meredith Stiehm. “His unique style influenced and educated generations of screenwriters who followed. He has had an enduring, renowned career, and the Guild is honored to present him with the Screen Laurel Award.”
In the early 1970s, Hill kicked off his writing career with “Hickey and Boggs,” “The Getaway,” “The Mackintosh” and “The Drowning Pool.” He stepped in the director’s chair for the first time with the 1975 Depression-era film “Hard Times.
Per the guild, the award is bestowed upon members who have “advanced the literature of motion pictures and made outstanding contributions to the profession of the screenwriter.” A few of Hill’s writing and co-writing credits include “The Getaway,” “48 Hrs.,” “Last Man Standing” and “Dead For A Dollar.”
“Walter Hill’s impact on our industry is undeniable,” said Wgaw president Meredith Stiehm. “His unique style influenced and educated generations of screenwriters who followed. He has had an enduring, renowned career, and the Guild is honored to present him with the Screen Laurel Award.”
In the early 1970s, Hill kicked off his writing career with “Hickey and Boggs,” “The Getaway,” “The Mackintosh” and “The Drowning Pool.” He stepped in the director’s chair for the first time with the 1975 Depression-era film “Hard Times.
- 3/19/2024
- by Jaden Thompson
- Variety Film + TV
My Darling Clementine
Directed by John Ford
Written by Samuel G. Engel and Winston Miller
USA, 1946
In John Ford’s The Man Who Shot Liberty Valance (1962), it is remarked that, “When the legend becomes fact, print the legend.” This seems especially apt when it comes to the treatment of the Arizona city Tombstone and the historic western yarn of the gunfight at the O.K. Corral, the renowned confrontation between the Clantons on one side and the Earps with John “Doc” Holliday on the other. This famous battle, lasting all of about 30 seconds, took place the afternoon of Oct. 26, 1881, and in recalling this skirmish, multiple variations and interpretations have resulted in a cinematic legend in the making, with repeated appearances of its setting, characters, and actions. When the dust settles, one of the greatest depictions of the event, its decisive individuals, and the surrounding area and occurrences (true or false...
Directed by John Ford
Written by Samuel G. Engel and Winston Miller
USA, 1946
In John Ford’s The Man Who Shot Liberty Valance (1962), it is remarked that, “When the legend becomes fact, print the legend.” This seems especially apt when it comes to the treatment of the Arizona city Tombstone and the historic western yarn of the gunfight at the O.K. Corral, the renowned confrontation between the Clantons on one side and the Earps with John “Doc” Holliday on the other. This famous battle, lasting all of about 30 seconds, took place the afternoon of Oct. 26, 1881, and in recalling this skirmish, multiple variations and interpretations have resulted in a cinematic legend in the making, with repeated appearances of its setting, characters, and actions. When the dust settles, one of the greatest depictions of the event, its decisive individuals, and the surrounding area and occurrences (true or false...
- 10/20/2014
- by Jeremy Carr
- SoundOnSight
Stagecoach Directed by: John Ford Written by: Dudley Nichols Starring: John Wayne, Claire Trevor, John Carradine, Andy Devine With comic book movies and fantasy films ruling the box office, it's safe to say that the 'B movie' is now 'the A movie'. While the idea of the blockbuster is nothing new, there seems to have been a shift in the quality of talent that have attached themselves to films that years ago might have been considered substandard (actually, most of it still is substandard). Similarly, the western was once considered pure pulp filmmaking until John Ford's Stagecoach set a standard that legitimized the American western and turned a B movie actor (John Wayne) into a legend. While the plot of Stagecoach is pretty straightforward, the characterizations are fairly subversive considering this was Ford's first 'talkie' western. The first act of the film takes its time setting up the multitude...
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- by Jay C.
- FilmJunk
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