was released, Chandler was disillusioned with the writers' lot in Hollywood; he published an angry piece titled "Writers in Hollywood" for The Atlantic Monthly in November 1945 in which he complained: "The first picture I worked on was nominated for an Academy Award (if that means anything), but I was not even invited to the press review held right in the studio." He neglected, however, to mention that the studio had kept him on salary during the eight-week shooting schedule and that no changes to the script were allowed without his approval – a very rare accommodation for screenwriters, particularly newcomers, in those days. Offended, Wilder responded by saying: "We didn't invite him? How could we? He was under the table drunk at Lucy's," a nearby watering hole for Paramount employees. This relationship with Chandler is what drew Wilder to his next film, The Lost Weekend, about an alcoholic writer. Wilder made the film, in part, "to explain Chandler to himself." Cain was impressed with the way his book turned out on the screen. After seeing the picture half a dozen times, he was quoted as saying "It's the only picture I ever saw made from my books that had things in it I wish I had thought of. Wilder's ending was much better than my ending, and his device for letting the guy tell the story by taking out the office dictating machine – I would have done it if I had thought of it." Wilder's and Brackett's estrangement during Double Indemnity was not a permanent one. Years later, Wilder characterized their time apart as just another kind of adultery: "1944 was 'The Year of Infidelities, he said. "Charlie produced The Uninvited ... I wrote Double Indemnity with Raymond Chandler ... I don't think he ever forgave me. He always thought I cheated on him with Raymond Chandler." Brackett spun the breakup in a decidedly different light, saying "Billy got so despondent at being without me that we did The Lost Weekend, a depressing film about a writer who has trouble writing." The Lost Weekend was a distinguished offspring for the reconciled partnership – they left Oscar night with three Awards: Best Picture for producer Brackett, Best Director for Wilder, and a shared pair of statuettes for both for Best Screenplay. They worked together through Sunset Boulevard in 1950, then split for good. Wilder and Chandler's Double Indemnity screenplay