美国电影导演亚历山大·佩恩的《留校联盟》被指控抄袭，原作者称剧本与他的“完全相同”

One day before Alexander Payne’s heartwarming dramedy The Holdovers potentially wins the award for Best Original Screenplay at the 2024 Oscars, the film has been accused of plagiarism. 

就在亚历山大·佩恩执导的暖心喜剧片《留校联盟》有望获得2024年奥斯卡最佳原创剧本奖的前一天，这部电影被指抄袭。

Simon Stephenson, whose previous work includes Pixar’s Luca and Paddington 2, accused Payne and Holdovers writer David Hemingson of the “line-by-line” theft of his 2013 screenplay Frisco in emails and documents sent to the Writers Guild of America, which Variety has reviewed and published.

西蒙·斯蒂芬森之前的作品包括皮克斯的《卢卡》和《帕丁顿熊2》，他在发给美国作家协会的邮件和文件中指控佩恩和《霍尔多夫》的编剧大卫·海明森“逐行”窃取了他2013年的剧本《弗里斯科》，《综艺》杂志看过并发表了这些邮件和文件。

Stephenson’s script, which appeared on The Black List, follows a disgruntled children’s doctor who gets stuck looking after a 15-year-old patient, while Hemingson’s Holdovers tells the story of a disgruntled boarding school teacher who is left in charge of a 15-year-old student over the holidays. 

斯蒂芬森的剧本曾出现在《黑名单》上，讲述了一位心怀不满的儿童医生因照顾一名15岁的病人而被困的故事，而赫明森的剧本则讲述了一名心怀不满的寄宿学校老师在假期期间被迫负责一名15岁学生的故事。

Stephenson emailed WGA senior director of credits Lesley Mackey on Jan. 12 to set up a time to discuss a “credits-related issue on quite a high-profile WGA-covered project," Variety reports. In a follow-up email sent after their conversation, he added, “The evidence The Holdovers screenplay has been plagiarized line-by-line from Frisco is genuinely overwhelming — anybody who looks at even the briefest sample pretty much invariably uses the word ‘brazen.’”

据Variety报道，1月12日，Stephenson给WGA的高级制片总监Lesley Mackey发了一封邮件，约定了一个时间来讨论“一个备受WGA关注的项目的制片相关问题”。在他们谈话结束后的一封后续邮件中，他补充说，“《霍尔多夫》的剧本被《旧金山》逐行抄袭的证据确实是压倒性的——任何人看到哪怕是最简短的样本，几乎都会用‘厚颜无耻’这个词。”

Representatives for Payne, Hemingson, Focus Features, Stephenson, and the WGA did not immediately respond to EW's request for comment. Payne and Hemingson declined to comment to Variety, and though Stephenson confirmed the authenticity of the emails, he declined to further comment to the outlet.

Payne、赫明森、Focus Features、斯蒂芬森和WGA的代表都没有立即回应EW的置评请求。佩恩和赫明森拒绝对《综艺》杂志发表评论，尽管斯蒂芬森证实了这些邮件的真实性，但他拒绝进一步置评。

Since then, Stephenson has been engaged in months-long discussions with the WGA in order to address his claims, Variety reports. Further muddying the waters is the fact that Stephenson alleges that Payne had previously received the script for Frisco in 2013 and in 2019, shortly before the director tapped Hemingson to collaborate with him on what would become The Holdovers. 

据Variety报道，从那以后，斯蒂芬森与WGA进行了长达数月的讨论，以解决他的索赔问题。更让人困惑的是，斯蒂芬森声称佩恩在2013年和2019年就收到了《旧金山》的剧本，就在导演邀请海明森与他合作拍摄《老友传》前不久。

Variety shared portions of two 2013 emails that two Hollywood agents sent to Stephenson, including one from United Talent Agency’s Geoff Morley that seemed to suggest that Payne had read the script. The email read, “I spoke to Alexander Payne’s exec Jim Burke directly a while back, and he said that Payne did like it but was not interested in prod [producing] or directing it.”

《综艺》分享了2013年两名好莱坞经纪人发给斯蒂芬森的两封电子邮件的部分内容，其中一封来自美国联合人才经纪公司的杰夫·莫利，似乎表明佩恩读过剧本。邮件中写道:“不久前，我直接和亚历山大·佩恩的主管吉姆·伯克谈过，他说佩恩确实喜欢这部电影，但对监制或导演这部电影不感兴趣。”

In 2019, Stephenson alleges that Frisco wound up on Payne’s radar for a second time after the screenplay was taken to Netflix, who then passed it on to Payne. John Woodward, cofounder of the U.K. production company Brightstar, sent an email to Stephenson and fellow cofounder Tanya Seghatchian that read in part: “Sorry to say that Alexander has now read but says it is not quite what he is looking for.”

2019年，斯蒂芬森声称，在剧本被送到奈飞公司后，弗里斯科第二次引起了佩恩的注意，奈飞公司随后将剧本转交给了佩恩。英国制作公司Brightstar的联合创始人约翰·伍德沃德给斯蒂芬森和另一位联合创始人塔尼娅·塞加奇安发了一封电子邮件，其中部分内容是:“很抱歉，亚历山大已经读过了，但他说这本书不完全是他想要的。”

In a separate email to the WGA board sent in February, Stephenson wrote that he could “demonstrate beyond any possible doubt that the meaningful entirety of the screenplay for a film with WGA-sanctioned credits that is currently on track to win a screenwriting Oscar has been plagiarized line-by-line from a popular unproduced screenplay of mine.” 

在2月份发给WGA董事会的另一封电子邮件中，斯蒂芬森写道，他可以“毫无疑问地证明，一部获得WGA认可的电影的完整剧本，目前有望赢得奥斯卡编剧奖，却被逐行抄袭了我的一个受欢迎的未制作剧本。”

“I can also show that the director of the offending film was sent and read my screenplay on two separate occasions prior to the offending film entering development,” he continued. “By ‘meaningful entirety’ I do mean literally everything — story, characters, structure, scenes, dialogue, the whole thing. Some of it is just insanely brazen: Many of the most important scenes are effectively unaltered and even remain visibly identical in layout on the page.”

“我还可以证明，在违规影片进入开发阶段之前，违规影片的导演曾两次被派去阅读我的剧本，”他继续说道。“我所说的‘有意义的整体’指的是一切——故事、人物、结构、场景、对话，所有的一切。其中一些简直无耻至极:许多最重要的场景实际上没有改变，甚至在页面上的布局看起来都是一样的。”