For the second month in a row, Script Pipeline alums have made some waves: Evan Daugherty has signed on the write the Tomb Raider reboot, and Tripper Clancy will pen Hasbro’s Hacker Camp, each adding another script to their growing slates of projects. In other news, February was a rather busy month. Sony made a few purchases: Sniper Elite, a thriller based on the Gil Shannon novels by Scott McEwen and to be written by Sheldon Turner; Michael Finch and Alex Litvak’s Medieval, which is described as The Dirty Dozen set in the Middle Ages; and Steve Conrad’s adventure/comedy pitch about a driverless car race from Paris to Beijing, Gore Verbinski helming. Brendan O’Brien and Andrew J. Cohen’s comedy The House was part of a bidding war, eventually finding a home at New Line. John Hamburg, Nicholas Stoller, and Ian Helfer sold their comedy Why Him?, a comedy about a feud between a father and his daughter’s internet billionaire boyfriend. James Franco in negotiations to star.
Other script sales:
– The first Pee-Wee Herman movie since 1988, Paul Reubens and Paul Rust’s Pee-Wee’s Big Holiday has been snagged by Netflix and Apatow Productions.
– Christopher Cosmos will write a Red Sonja adaptation for Millennium Films.
– Max Yaney and Luke Goltz’s spec crime-drama Smoke found a home at Relativity. The script is based on the true story of Joey Ippolito, socialite and speedboat racer who also smuggled cocaine.
– District 9’s Neill Blomkamp to develop and direct a new Alien sequel.
– Warner Bros. picked up a Space Invaders movie, with Daniel Kunka attached to write.
The Vault - Produced Scripts
This gem of a series seemed to fall under the radar early on. No fault of Showtime or the series creators—the cable TV landscape is, shall we say in no uncertain terms, incredible. Add this one to your list as a superlative example of how to infuse a compelling structure into a very straightforward dramatic series. Not-so-much-of-a-spoiler alert: two married people have an affair, and things eventually go bad.
Note that the writing itself in the pilot script, based on by-the-book fundamentals, could be better. In theory. But then you get deeper with dialogue and character, and suddenly it becomes clear why Sarah Treem (plus whoever else had their hand in penning the series) may be one of the best TV writers out there. You could write a dissertation on how well the series is structured, how it keeps us guessing without falling into the trap of blatant on-the-nose plotting. The Affair draws a fine line between ambiguity and full transparency, as evidenced by the first episode, and lingers in your head well after the season finale.
And it’s steamy. . . . Very steamy. Ruth Wilson / Dominic Wilson fans, clear your schedule.