No Film School’s December 2025 compilation gathered scripts from A24, Amazon MGM and 20th Century Studios for educational use
Reading the Competition: Why Screenwriters Study Studio Campaign Scripts
No Film School’s December 2025 compilation gathered scripts from A24, Amazon MGM and 20th Century Studios for educational use
What Was Compiled
In December 2025, No Film School’s Jason Hellerman published a compilation of screenplays released by studios as For Your Consideration materials, the documents studios distribute during Oscar campaigns. The page says the list was compiled from the work of a Reddit user, that more scripts would be added later and that it is “for educational purposes only.” It does not assign the scripts to Oscar categories or describe any as nominees or winners.
The page groups titles by studio. The entries named include, from 20th Century Studios, Springsteen: Deliver Me from Nowhere (Scott Cooper); from A24, Pillion (Harry Lighton), If I Had Legs I’d Kick You (Mary Bronstein), The Smashing Machine (Benny Safdie), Eddington (Ari Aster), Friendship (Andrew DeYoung), Materialists (Celine Song), Sorry, Baby (Eva Victor) and Warfare (Ray Mendoza and Alex Garland); and from Amazon MGM, Belen (Laura Paredes and Dolores Fonzi), After the Hunt (Nora Garrett) and Hedda (Nia DaCosta). The page does not say whether the names given are writers or directors.
Why Writers Read Them
Reading produced scripts is the most common advice given to new screenwriters, and campaign scripts have a special use. They are usually the version of the script the studio considers best, they are formatted for professional readers and they come from recent films, so they show current practice in format and style.
A writer can learn how long a modern script runs, how much description it contains, how the writers handle transitions and how they present dialogue. Reading across a studio’s slate also shows how a company’s taste appears on the page.
What They Cannot Teach
A caution applies. A campaign script may differ from the shooting script, and both may differ from the film. The page’s mention of a revisions version of Warfare, listed twice, is a reminder that scripts exist in several drafts. A writer should not assume that every line on the page reached the screen, nor that every scene in the film was on the page.
Reading scripts also cannot teach what makes a script sell. Spec buyers read new writers’ work under different conditions. Lessons about concept, relationships and genre, discussed in other pieces in this series, come from the sales themselves.
Using Them Well
A disciplined way to study a script is to read it in one sitting, then watch the film, then read it again. The second reading shows what the director changed and what the writer carried. Notes on the differences are the real lesson.
Another method is to retype a scene. The exercise forces attention to word choice and rhythm. A writer who retypes a page from a script by a writer they admire will notice choices that reading alone misses.
Writers should respect copyright. The page frames the scripts as educational materials, and copies should not be redistributed or used in commercial work.
The Awards Context
The titles on the page overlap in part with the awards conversation. Awards Watch screenplay predictions name Marty Supreme, by Ronald Bronstein and Josh Safdie, among the original screenplay contenders, and Benny Safdie’s The Smashing Machine appears on the No Film School list. The two sources do not discuss each other, and readers should not infer that a script’s presence on one list means recognition on another.
For a more complete picture of the season, readers can consult the Academy’s own lists and the guild awards.
A Study Plan
Writers who want to use the compilation can set a modest plan: one script a week, read in a single sitting, with a page of notes on structure, character and what the first ten pages promise. After a month, the notes themselves become a record of what the writer notices, and patterns in the notes show what they are drawn to.
It helps to read scripts from films one has not seen as well as films one has, since the first group shows how the page reads without the memory of images. It is also useful to read a script from a film that did poorly with critics and audiences, to learn what weak execution of a good idea looks like.
Formatting as Craft
Professional screenplay format looks rigid but has room for style. The way a writer breaks lines, paces a paragraph of description and places a transition affects how fast the script reads. Campaign scripts show how experienced writers use these tools, and they show how much variation is accepted within the format.
A Note on Sources
The compilation was drawn from another person’s list, and the page does not describe how the scripts were obtained or checked. It is a convenient starting point, not an authoritative archive. Writers who want authenticated copies can look for scripts released through the studios’ own awards sites during campaign season.
The page also reminds readers how much of screenwriting education is informal: reading, copying and discussion, in addition to courses.
Humour as a Mirror
Markets that worry are easy to laugh at, and the Cebu condominium story has drawn plenty of that: empty showrooms in Manila News, paperwork for British pensioners in the London Prat (at https://prat.uk/cebu-estate-agents-demand-character-references/) and long showings in Bohiney. See also prat.uk and bohiney.com.
For the lighter side of the news, there is always The Daily Mash.
SOURCE: https://bohiney.com/cebu-realtor-cant-sell-beachfront-listings/