By Scott Essman and John Davis.
Assistance and Research by Chelsea Beebe.
<div id="attachment_9399" style="width: 160px" class="wp-caption alignright"><img aria-describedby="caption-attachment-9399" class="size-thumbnail wp-image-9399" src="http://creativescreenwriting.com/wp-content/uploads/2015/03/philippa_boyens-150x150.jpg" alt="Philippa Boyens" width="150" height="150" srcset="https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/philippa_boyens-150x150.jpg 150w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/philippa_boyens-250x250.jpg 250w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/philippa_boyens-50x50.jpg 50w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/philippa_boyens.jpg 475w" sizes="(max-width: 150px) 100vw, 150px" />Philippa Boyens</div>
No one could deny that Peter Jackson&#8217;s double trilogy of The Lord of the Rings and The Hobbit, based on the novels of J.R.R. Tolkien, have been hugely successful. In fact, they are one of the biggest movie franchises in history, grossing over $5 billion worldwide, whilst the latest release, The Hobbit – Battle of the Five Armies, has taken over $250 million box office gross in the US alone.
However, the films have often been criticized for the liberties they have taken with Tolkien&#8217;s novels, and their increasing departure from his much-loved characters and stories. Now, as The Hobbit trilogy reaches its conclusion, Philippa Boyens – the Oscar-winning screenwriter who has worked with Peter Jackson and co-writer Fran Walsh throughout the franchise – talks candidly about the writing and adaptation process, and explains why changes were necessary.
<div id="attachment_9400" style="width: 610px" class="wp-caption aligncenter"><img aria-describedby="caption-attachment-9400" class="size-full wp-image-9400" src="http://creativescreenwriting.com/wp-content/uploads/2015/03/philippa_boyens_peter_jackson.jpg" alt="Philppa Boyens and Peter Jackson" width="600" height="338" srcset="https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/philippa_boyens_peter_jackson.jpg 600w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/philippa_boyens_peter_jackson-150x85.jpg 150w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/philippa_boyens_peter_jackson-250x141.jpg 250w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/philippa_boyens_peter_jackson-500x282.jpg 500w" sizes="(max-width: 600px) 100vw, 600px" />Philppa Boyens and Peter Jackson</div>
From the start, the task of adapting Tolkien&#8217;s novels for the screen presented unique challenges. Not only did Boyens and the writing team have to bear the massive responsibility of adapting source material that was precious to so many, but that source material rarely conformed to conventional story-telling forms and structures. Crucial information, key to understanding the plot, may only ever be hinted at, or discovered in appendices. Main characters may not appear until late into the books, if indeed at all. Important events frequently occur &#8216;off screen&#8217;, tantalizingly referred to by characters but never fully described, whilst so far from adhering to any conventional narrative structure, the pace of the novels accelerates and slows according to its own internal rhythms, with Tolkien thinking nothing of spending an entire chapter describing a conversation, or conversely describing a vital battle in little more than a paragraph. Meanwhile, the multiple plotlines are not always presented chronologically, but rather with frequent leaps both forward and backwards.
All of which somehow work in the novels, creating a unique tapestry of unparalleled richness and depth. But it meant that any sort of &#8216;direct&#8217; adaptation was out of the question.
&#8220;Multiple story lines and characters, huge periods where things you didn&#8217;t know before are picked up&#8230;&#8221; Boyens illustrates. But as she is quick to add, &#8220;as a screenwriter, that&#8217;s a great privilege.&#8221;
<div id="attachment_9402" style="width: 610px" class="wp-caption aligncenter"><img aria-describedby="caption-attachment-9402" class="size-full wp-image-9402" src="http://creativescreenwriting.com/wp-content/uploads/2015/03/HBT3-067906.jpg" alt="Director Peter Jackton with Martin Freeman and Ian McKellen on the set of The Hobbit: The Battle of the Five Armies" width="600" height="338" srcset="https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/HBT3-067906.jpg 600w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/HBT3-067906-150x85.jpg 150w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/HBT3-067906-250x141.jpg 250w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/HBT3-067906-500x282.jpg 500w" sizes="(max-width: 600px) 100vw, 600px" />Director Peter Jackson with Martin Freeman and Ian McKellen on the set of The Hobbit: The Battle of the Five Armies</div>
Tone and Aesthetics
As well as Lord of the Rings films, Boyens has collaborated with Jackson on the two films he released midway through the series, King Kong and The Lovely Bones. Having worked consistently on so many projects with Jackson has been a great gift, she says. “As a director, he is incredibly collaborative and secure in his own talent. He embraces good ideas without ownership. Nothing is set in stone, and everything is doable.”
Before writing the script, then, the writers first discussed the aesthetic landscape of Middle-earth – the books&#8217; iconic setting, which is arguably as important as the characters and stories that populate it. “We tried to get a sense of the tone,” says Boyens. And of The Hobbit in particular; “There was a children’s book quality that we did want to keep. Tonally, it would shift towards the darker Lord of the Rings throughout the films.&#8221;
History Not Fantasy
Tolkien did not approach his work as if writing &#8216;mere&#8217; fantasy. He sought nothing less than to present a fully-realized and realistic world, complete in all its aspects, from its history to its geography, from its languages to its mythology. And this, too, then, was important to translate to the big screen.
“Being able to make these films as if they were a piece of history and not a piece of fantasy was the key,” Boyens explains.
<div id="attachment_9408" style="width: 610px" class="wp-caption aligncenter"><img aria-describedby="caption-attachment-9408" class="size-full wp-image-9408" src="http://creativescreenwriting.com/wp-content/uploads/2015/03/HTBOTFA-TRLR-0013.jpg" alt="Ian McKellen as Gandalf in The Hobbit: The Battle of the Five Armies" width="600" height="338" srcset="https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/HTBOTFA-TRLR-0013.jpg 600w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/HTBOTFA-TRLR-0013-150x85.jpg 150w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/HTBOTFA-TRLR-0013-250x141.jpg 250w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/HTBOTFA-TRLR-0013-500x282.jpg 500w" sizes="(max-width: 600px) 100vw, 600px" />Ian McKellen as Gandalf in The Hobbit: The Battle of the Five Armies</div>
Language
Tolkien was not primarily a writer, let alone a novelist, but a philologist, concerned with the study of language. Indeed, he often said that he created the world of Middle-earth as a setting for his invented Elven languages – it had to exist because they did. And it is not surprising then that his writing style, and the way his characters speak, are uniquely rich. Another aspect of his works, then, that it was crucial for Boyens and the writing team to capture. Where possible, they used Tolkien&#8217;s own words, if not always in the mouths of the characters who originally spoke them. But beyond that, Boyens explains, &#8220;in terms of adapting Professor Tolkien, your ear gets attuned to the way he wrote and speaking that language. People mistake lines of ours for his.”
<div id="attachment_9401" style="width: 610px" class="wp-caption aligncenter"><img aria-describedby="caption-attachment-9401" class="size-full wp-image-9401" src="http://creativescreenwriting.com/wp-content/uploads/2015/03/HBT2-059415c.jpg" alt="Lee Pace and director Peter Jackson on the set of The Hobbit: The Battle of the Five Armies" width="600" height="338" srcset="https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/HBT2-059415c.jpg 600w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/HBT2-059415c-150x85.jpg 150w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/HBT2-059415c-250x141.jpg 250w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/HBT2-059415c-500x282.jpg 500w" sizes="(max-width: 600px) 100vw, 600px" />Lee Pace and director Peter Jackson on the set of The Hobbit: The Battle of the Five Armies</div>
Adaptation
Boyens embraced Jackson’s practice of writers working with the actors throughout production, to help them better understand their characters, and their part in the sometimes bewildering tapestry of storylines. An understanding that should, in turn, transmit itself to the audience through the actors&#8217; performances. “We’re always writing these films all the way through production and working alongside the actors,” Boyens explains. “I don’t know why all screenwriters don’t get to do that. It’s your job to explain the character you’ve written. If the actor can’t connect to it or access it, you’re a fool to ignore or blame the actor. They are the ones who bring those words to life and sell the ideas.”
To craft The Hobbit scripts, Boyens first read Tolkien&#8217;s book all the way through. But perhaps surprisingly, having done so she would then reference the text only to recall specific story or character details. A literal translation, she explains, was not something she believed would work well on film. “The Hobbit [the novel] is episodic. It introduces all the dwarves multiple times, and you get so many moments throughout the book that are not inherently cinematic. Then there’s a lack of female characters, which is why we created Tardil. But we never changed anything lightly. We did it, I hope, for the right reasons. It’s just as you see an adaptation of Hamlet. And there are a million different ways to play Macbeth. Tolkien’s material can withstand it.”
Collaboration
Tolkien wrote alone, often late at night, and though he sometimes sought the advice and approbation of fellow Inklings such as C.S. Lewis, his novels are entirely his own. In contrast, Boyens worked closely with Fran Walsh and Peter Jackson throughout the films.
&#8220;We genuinely work all together,&#8221; she says. “We do the draft together – there’s not one single scene where we don’t work together, and each has a say on it and has thoughts on it. Often, once Pete starts filming, it’s left to Fran and I for fine-tuning. We get the draft written, and Peter is part of the process to see if it’s working in terms of the storytelling. Literally, it does come down to me and Fran. We are neighbors in Wellington; I cross the lawn, then we sit up in bed with laptops writing.”
The Result
And what does Boyens think of the films, now that they are finished?
&#8220;The Hobbit films were our toughest films to sell;&#8221; she says, &#8220;as they were set against the success of The Lord of the Rings films. We were realistic in never being able to fulfill everybody’s expectations. We just had to trust ourselves and our own vision, not what other people thought we should do…Nearly 17 years, with a few movies in between; it’s been fun, every single one. I’ve learned something new every single time.”
Boyens looks upon the series with fondness and satisfaction. What has been most important to her? “As a writer, I hope it’s been finding those characters and staying true to the heart of the storytelling,” she says. “Creating these moments that I hope are memorable and stay with people. It’s the best fun you can have on film – to go in there and have that blank page and play the story out in your mind: infinite possibilities.”
<div id="attachment_8224" style="width: 160px" class="wp-caption alignright"><a href="http://creativescreenwriting.com/its-just-a-movie-peter-jackson-on-the-lord-of-the-rings/"><img aria-describedby="caption-attachment-8224" class="wp-image-8224 size-thumbnail" src="http://creativescreenwriting.com/wp-content/uploads/2014/11/peter-jackson-cameo-150x90.jpg" alt="Peter Jackson Cameo" width="150" height="90" srcset="https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2014/11/peter-jackson-cameo-150x90.jpg 150w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2014/11/peter-jackson-cameo-300x180.jpg 300w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2014/11/peter-jackson-cameo-500x300.jpg 500w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2014/11/peter-jackson-cameo.jpg 600w" sizes="(max-width: 150px) 100vw, 150px" /></a>Peter Jackson on The Lord of the Rings</div>
If you enjoyed reading this article, why not check out our in-depth interview with Peter Jackson: <a href="http://creativescreenwriting.com/its-just-a-movie-peter-jackson-on-the-lord-of-the-rings/">&#8220;It&#8217;s Just a Movie&#8221;</a>?

Philippa Boyens on Adapting Tolkien

Big Eyes: “A Parable for the Role of Women”

By Scott Essman.
<blockquote>&#8220;Very often screenwriters are like shadows passing through the history of cinema.&#8221;
Jean-Claude Carriere</blockquote>
The Academy Nicholl Fellowships in Screenwriting is an international screenwriting competition established to identify and encourage talented new screenwriters. The Academy has 17 different branches, but screenwriting is the only branch with a dedicated fellowship.
“Over the years, The Academy Nicholl Fellowship has become the screenwriting prize,&#8221; Academy president Cheryl Boone Isaacs tells us, &#8220;opening doors for emerging writers and providing a meaningful stipend that allows them the time and space to write. Each winner will receive a $35,000 prize, with the understanding that he or she will complete a new feature film screenplay during their fellowship year. The Academy seeks to cultivate the next generation of filmmakers who represent the future of our industry.”
Since 2013, the Nicholl Fellowship committee has selected excerpts from the winning screenplays to be read aloud by a group of Hollywood actors at the Academy’s prestigious Samuel Goldwyn Theater. Screenwriter-director Rodrigo Garcia, who attended the Nicholl ceremony and presided over live readings, reflects on the nature of contemporary cinema. “The screenplay is still the number one building block. You go to see these movies that can have all the visual effects in the world, and when the script doesn&#8217;t work, the movies don’t work. It doesn’t matter whether it is digital this or that if the story isn’t good and compelling. You can run as fast as you can with all the money, with all the visual effects, with all the billboards, but if the story is not good, it’s going to suck. I need to feel a personal connection with the story and the themes.”
<div id="attachment_9512" style="width: 610px" class="wp-caption aligncenter"><img aria-describedby="caption-attachment-9512" class="size-full wp-image-9512" src="http://creativescreenwriting.com/wp-content/uploads/2015/03/use-rodrigo_garcia_nicholl1.jpg" alt="Rodrigo Garcia at the Academy Nicholl Fellowships Screenwriting Awards Live Read" width="600" height="338" srcset="https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/use-rodrigo_garcia_nicholl1.jpg 600w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/use-rodrigo_garcia_nicholl1-150x85.jpg 150w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/use-rodrigo_garcia_nicholl1-250x141.jpg 250w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/use-rodrigo_garcia_nicholl1-500x282.jpg 500w" sizes="(max-width: 600px) 100vw, 600px" />Rodrigo Garcia at the Academy Nicholl Fellowships Screenwriting Awards Live Read</div>
The five 2014-2015 fellows — who were selected from 10 global finalists by the 16 members of the Nicholl Fellowships committee — include a wide range of screenwriters.
Melissa Iqbal
<div id="attachment_9504" style="width: 160px" class="wp-caption alignright"><img aria-describedby="caption-attachment-9504" class="size-thumbnail wp-image-9504" src="http://creativescreenwriting.com/wp-content/uploads/2015/03/melissa-iqbal-150x150.jpg" alt="Melissa Iqbal" width="150" height="150" srcset="https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/melissa-iqbal-150x150.jpg 150w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/melissa-iqbal-250x250.jpg 250w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/melissa-iqbal-50x50.jpg 50w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/melissa-iqbal-500x500.jpg 500w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/melissa-iqbal.jpg 600w" sizes="(max-width: 150px) 100vw, 150px" />Melissa Iqbal</div>
Melissa Iqbal, from London, United Kingdom, submitted The Death Engine, chosen as a winner from among 7511 entries which were scrutinized by a team of 200 readers (145 of them Oscar nominees) drawn from every branch of the Academy. “I graduated in March from the National Film &amp; Television School. The script that I chose is my grad script from school. I listened to my friend who said, ‘Enter!’&#8230; I wasn’t going to, because it is one of the more expensive screenwriting competitions to enter!”
The Death Engine is a sci-fi love story. Iqbal spent weeks notetaking and constructing an outline, before writing ten pages a day until the script was complete. “I re-drafted about five times. It was definitely challenging: I had to work on it and refine it, and that was quite a process. It’s set in a world where people can live forever, and when you live too long, a disease called The Melancholia sets in, which is a sort of depression that affects our main character, who has been living for a very long time. And within this world, death is taboo, so what she does is she calls The Death Engine, which is a company that will sell you your perfect death for the right price. Basically, her agent falls in love with her and wants to re-invigorate her desire to live, rather than kill her.”
In the future, Iqbal sees herself engaging in fantasy and medieval material, though she says “I’m quite happy in sci-fi at the moment.”
Scott Miles and Alisha Brophy
<div id="attachment_9507" style="width: 160px" class="wp-caption alignright"><img aria-describedby="caption-attachment-9507" class="size-thumbnail wp-image-9507" src="http://creativescreenwriting.com/wp-content/uploads/2015/03/scott-miles-150x150.jpg" alt="Scott Miles" width="150" height="150" srcset="https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/scott-miles-150x150.jpg 150w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/scott-miles-250x250.jpg 250w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/scott-miles-50x50.jpg 50w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/scott-miles-500x500.jpg 500w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/scott-miles.jpg 600w" sizes="(max-width: 150px) 100vw, 150px" />Scott Miles</div>
<div id="attachment_9502" style="width: 160px" class="wp-caption alignright"><img aria-describedby="caption-attachment-9502" class="size-thumbnail wp-image-9502" src="http://creativescreenwriting.com/wp-content/uploads/2015/03/alisha-brody-150x150.jpg" alt="Alisha Brody" width="150" height="150" srcset="https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/alisha-brody-150x150.jpg 150w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/alisha-brody-250x250.jpg 250w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/alisha-brody-50x50.jpg 50w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/alisha-brody-500x500.jpg 500w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/alisha-brody.jpg 600w" sizes="(max-width: 150px) 100vw, 150px" />Alisha Brody</div>
Scott Miles from Austin, Texas, and his writing partner Alisha Brophy from Silver Lake, Los Angeles, were chosen for their script United States of Fuckin’ Awesome, where Thomas Jefferson, George Washington and Ben Franklin misplace the Declaration of Independence after a night of debauchery.
Both Scott and Alisha worked for six months, at nights and weekends, to finish their 99 page script. Of their unique partnership, Alisha says, “Scott writes really funny jokes, and then I laugh at them, and it’s the perfect team.”
“There’s a little more to it than that,&#8221; Scott says. &#8220;We pretty much write everything together at the same time. We outline together and then write pages together. We don’t do the trading back and forth. Since I’m in Texas and she&#8217;s in Los Angeles, we do everything over Skype. And we just go scene by scene, page by page together.”
Scott and Miles make use of computer software called Writer Duet, which allows two writers to work on the same script at the same time. “You get that real time feedback,” Miles explains, “especially with comedy, to know if the joke worked or not.”
Sallie West
<div id="attachment_9505" style="width: 160px" class="wp-caption alignright"><img aria-describedby="caption-attachment-9505" class="size-thumbnail wp-image-9505" src="http://creativescreenwriting.com/wp-content/uploads/2015/03/sallie-west-150x150.jpg" alt="Sallie West" width="150" height="150" srcset="https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/sallie-west-150x150.jpg 150w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/sallie-west-250x250.jpg 250w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/sallie-west-50x50.jpg 50w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/sallie-west-500x500.jpg 500w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/sallie-west.jpg 600w" sizes="(max-width: 150px) 100vw, 150px" />Sallie West</div>
Sallie West of Charleston, South Carolina, wrote the screenplay Moonflower. An experienced writer, this was her first attempt at writing a screenplay, and she greatly appreciated the award. “It was the best night of my life. I met an incredibly talented group of people, and it has just been overwhelmingly fun. I researched the form [and] applied what I had done in my job for 25 years as a writer to the screenplay.”
Writing in fits and starts, it took Sallie a year and a half to finish her script. West describes 24-hour writing binges followed by not writing for long periods. “It’s just crazy because you get lost in the story,”.
Sam Baron
<div id="attachment_9506" style="width: 160px" class="wp-caption alignright"><img aria-describedby="caption-attachment-9506" class="size-thumbnail wp-image-9506" src="http://creativescreenwriting.com/wp-content/uploads/2015/03/sam-baron-150x150.jpg" alt="Sam Baron" width="150" height="150" srcset="https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/sam-baron-150x150.jpg 150w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/sam-baron-250x250.jpg 250w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/sam-baron-50x50.jpg 50w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/sam-baron-500x500.jpg 500w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2015/03/sam-baron.jpg 600w" sizes="(max-width: 150px) 100vw, 150px" />Sam Baron</div>
Sam Baron, from Cambridge, United Kingdom, was honored for his script The Science of Love and Laughter, a very personal story which is based on events from Sam&#8217;s own life. “They always say, ‘Write what you know. I’d started a whole bunch of other screenplays prior to this, half drafts of this and failed drafts of that, but this was the first one where I felt such a strong personal connection to it. I think that was the most important thing for me in writing this project: I had that core idea and personal connection to the story that I really wanted to get right.”
After two years spent on the script, sometimes writing on his bus rides home from working full-time as a production assistant, and many drafts, Baron finally felt like he had arrived in a useful place with the material. “I knew where the finish line was in terms of the emotional response and where it needed to be in terms of the script. I had to keep doing it and doing it again until it was there. It was probably the most difficult thing I’ve ever done, at least in a creative sense. I didn&#8217;t want the script to be out there in the world unless it was as good as I wanted it to be. There was a period of several months where I put it in a drawer and I said, ‘To hell with that one! That’s just not working, and it’s too deep, and it’s too complex.’ But when you have such a personal connection to a story, you can’t leave it in a drawer forever; you inevitably come back to it.”
The Academy of Motion Picture Arts and Sciences 2015 Nicholl Fellowships in Screenwriting has opened its website to new submissions, with a regular deadline of April 10th 2015, and a late deadline of May 1st 2015. 
<a href="http://www.oscars.org/nicholl">http://www.oscars.org/nicholl</a>

Philippa Boyens on Adapting Tolkien

Big Eyes: “A Parable for the Role of Women”

The Academy Nicholl Fellowship: Opening doors for Emerging W...

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