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About

Through annual competitions, Script Pipeline discovers and develops writers of all levels for film and television, connecting them to producers, agents, and managers. Since 1999, several produced films and over $6 million in screenplay and TV pilot spec sales are credited to Script Pipeline’s unique, intensive process of long-term writer-to-industry facilitation. Contest finalists work with Script Pipeline’s executives year-round, getting broader exposure for their work in addition to continuous, one-on-one development assistance.

Recent success stories include Screenwriting Competition winner Evan Daugherty selling Snow White and the Huntsman to Universal for $3 million and later taking the lead on studio films DivergentNinja Turtles, and the upcoming Rose Red from Disney. Evan was previously attached to write the limited series Esmeralda for ABC Studios, GI Joe 3 for Paramount, an adaptation of Myst for Hulu, and the Tomb Raider reboot. His contest-winning script Killing Season (formerly Shrapnel) was produced and starred Academy Award-winner Robert De Niro and John Travolta.

Tripper Clancy, the 2010 Screenwriting Contest winner, sold the road comedy The Ambassadors to 20th Century Fox and the pitch Winter Break, and was previously on board the comedy Stranded for Sony. Tripper is currently writing Hacker Camp for Hasbro and an adaptation of the bestselling novel The Art of Fielding. His action-comedy Stuber sold to Fox for the mid-six figures. Dave Bautista (Guardians of the Galaxy) attached to star.

Micah Barnett, whose work was developed through Script Pipeline’s Workshop, sold The Rabbit to Warner Bros. for six-figures and a TV pilot, Ricochet, to NBC. Screenwriter Brian Watanabe had his Script Pipeline “Recommend” action-comedy Rogue’s Gallery (later titled Operation: Endgame), also initially developed by Script Pipeline, produced by Script Pipeline’s Chad Clough and Sean McKittrick (Get Out). The film starred Zach Galifianakis (The Hangover), Adam Scott (Parks and Rec), Maggie Q, Ellen Barkin, Bob Odenkirk (Better Call Saul), and an ensemble cast.

In 2018, production will begin on the Script Pipeline contest-winning screenplay Militia, written by Henry Dunham. Henry will make his directorial debut with the crime-thriller. As of January 2018, the film is set to star Jeffrey Dean Morgan (The Walking Dead), Ralph Ineson (The Witch), and Jack Huston (Boardwalk Empire). Madhouse Entertainment signed Henry a few weeks after he was announced as the winner of the competition, with UTA following suit.

Screenwriting Contest finalist Jen Goldson saw her romantic comedy Off the Menu produced and released in 2018, starring Santino Fontana (Crazy Ex-Girlfriend) and Dania Ramirez (Devious Maids). Jen was introduced to director Jay Silverman at a Script Pipeline event—the screenplay went into production in less than a year. She has two other features in production, including her contest-placing dramedy Everything’s Gonna Be Okay, Andy Tennant (Hitch) set to direct.

The Devil in Evelyn, winner of the  First Look Project (Teleplay), was picked up for development by Mandalay Pictures in September 2017. Script Pipeline set up the co-writers, Ben and Tyler Soper, with meetings after extensive circulation to industry. Also in 2017: Howard Jordan Jr., runner-up in the Script Pipeline TV Writing Competition with the comedy Family Be Like, was staffed on the CBS series Superior Donuts. His first episode aired in January 2018.

Outside of its own writer successes, The Living Wake, Script Pipeline’s first produced film starring Academy Award-nominee Jesse Eisenberg (The Social Network) and comedian Mike O’Connell (Dr. Ken), received high praise when it made its festival debut in 2010. In conjunction with the newly launched Film Pipeline, Script Pipeline plans on producing more work in the future, both short-form content and feature films.

A number of original feature and TV projects are in various stages of development, and over 100 writers have signed with representation or had their scripts optioned as a result of facilitation. With execs actively expanding the Script Pipeline industry network on a weekly basis, Script Pipeline is continuously on the hunt for quality material. In 2017, 13,000 screenplays, pilots, and original pitches were submitted, making Script Pipeline the leading review outlet for writers worldwide.

*Industry requests to review material from Script Pipeline writers can be made here.

Recent Success StoriesOpen Competitions

Upcoming Contest Deadline

May 1st, 2018 Screenwriting Contest

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Testimonials

“In the few days after the competition announcement, we had a slew of terrific meetings. . . . Script Pipeline allowed us, two unknowns from Australia, to come to LA, meet people in the industry, and begin relationships.”

Penelope Chai and Matteo BernardiniScreenwriting Contest Winner

“I cannot overstate the impact that Script Pipeline has had on my writing career. Winning the contest directly led to new representation, which in turn led to working with studios like 20th Century Fox.”

Tripper Clancy (Stuber)Screenwriting Contest Winner

“Script Pipeline was actually something a friend (who's very high up in the industry) introduced me to, and having her recommend it speaks volumes about how highly regarded a contest it is, even within the upper echelon.”

Henry Dunham (The Incident at Sparrow Creek Lumber)Screenwriting Contest Winner

“Script Pipeline introduced me to a manager and helped launch my professional career as a writer.”

Evan Daugherty (Snow White & the Huntsman, Divergent, Rose Red)Screenwriting Contest Winner

“Script Pipeline’s First Look Project was an awesome experience. From our first phone call, they became our personal champions and proceeded to surprise us again and again with the extent of their support. Thanks to them, we are now developing our pilot with Mandalay Entertainment. Entering this contest moved our careers forward in an unprecedented way and was the smartest thing we did all year!”

Ben and Tyler SoperFirst Look Project Winners (The Devil in Evelyn)

“The dedicated Script Pipeline staff root for you and your writing career every step of the way. They champion your work and sing its praises to exciting industry contacts. I've never been so honored to win a contest and will carry this achievement to push me through those tougher days of writing.”

Kay TuxfordTV Writing Contest Winner (Queen of Thieves)

“When I relocated from NYC to LA to pursue sitcom writing, everyone I met in the industry said it wasn’t about entering competitions, it was about entering the right competition. Script Pipeline was a turning point.”

Howard Jordan Jr. (Superior Donuts)TV Writing Contest Runner-up

“No one has done more for our screenplay and our writing career than Script Pipeline. They've worked tirelessly in connecting us to industry professionals over the course of six years, ultimately resulting in our script getting optioned.”

Debbie Chesebro & Tyson FitzGeraldScreenwriting Contest Winners (Prom Queen)

“I can't thank Script Pipeline enough for all the hard work put into this competition and the followups. I only have a manager right now because of the work that they do.”

Tyler TheofilosScreenwriting Contest Finalist

“With their rapidly expanding network of industry connections, Script Pipeline has continued to champion my script long after the competition, giving me invaluable access to industry circulation and promoting my career in ways that would otherwise be out of my reach.”

Ashley LocherScreenwriting Contest Runner-up

“Script Pipeline helped me develop my pilot, found me representation, and played a key role in getting a very ambitious TV project to some of the top producers, showrunners, and even networks. Their continual support and guidance has been invaluable--they are second to none.”

Kevin JonesTV Show Idea Contest Winner / 2-Time Script Pipeline Screenwriting Finalist

“Script Pipeline has been a trusted and valuable resource for screenwriters seeking in-roads to the industry. Their staff is dedicated to finding talented writers and building careers.”

Shelly MellottFinal Draft

“There is no better place for writers than with Script Pipeline. Their attention and assistance on helping me guide my career is invaluable.”

Nir Paniry (Princesses)Screenwriting Contest Runner-up

“Couldn’t have signed with Mosaic without Script Pipeline. . . . Thanks for your help!”

Burke Scurfield & Adam LedererTV Writing Contest Finalists

“I've been amazed at the quality and depth of the development my idea has received since winning the Great TV Idea Contest. I know my concept in a richer, deeper way than I did before thanks to Script Pipeline.”

Bryce McLellanGreat TV Show Idea Winner (Verge)

“Script Pipeline's care and attention for their finalists is unparalleled. Their network is vast and their reputation stellar. Thanks to Script Pipeline, less than two weeks after the end of the contest, I signed with a manager. I couldn't be more grateful for all they've done to advance my writing career.”

Andrew Martin RobinsonScreenwriting Contest Finalist

“The constructive feedback I received allowed me to take my screenplay to another level--the film won over 22 awards worldwide. I would highly recommend Script Pipeline.”

Mark Mahon, Writer/Director (Strength and Honour)Script Pipeline "Recommend"

“The best part of being a contest finalist is what happens after--getting read by industry members I couldn't access on my own, feedback on future projects, and a priceless ongoing guidance.”

Romi MoondiScreenwriting Contest Finalist and "Recommend"

“Script Pipeline gives the best notes. Whenever I'm struggling with a project, their staff never fails to provide feedback that elevates the story. They take their commitment to "Recommended" writers, contest winners, and finalists incredibly seriously, and do an amazing job of getting those scripts out into the world.”

Greg WayneContest Winner and "Recommend" Writer

“Less than a week after the competition was over, I scored a meeting with a manager for my finalist script. We hit it off right away, and I am now signed with a smart and talented rep who takes this industry and my writing seriously. For someone like me from a no-name town, who doesn't have any contacts, this is a huge opportunity. I can't thank Script Pipeline enough for their dedication and the exposure they are able to provide for writers.”

Charles StulckScreenwriting Contest Finalist

“My idea led to a messy first draft with loads of promise. But now, by way of a systematic scene-by-scene approach, Script Pipeline is helping me tweak that draft toward its fullest potential.”

Jason VaughnGreat Movie Idea Winner (Interlopers)

“Winning Script Pipeline's First Look Project and being a finalist in their TV writing competition has been a huge boost to my career. The Script Pipeline staff goes the extra mile promoting and championing their winners' work and have gotten me opportunities I would never have been able to get on my own. It's wonderful being a part of the Script Pipeline family, and I am proud to be counted as one of their winners.”

Diana WrightFirst Look Project Winner

“I can't say enough good things about Script Pipeline. It's a contest that truly cares about the writer. When you're a winner or finalist, you really feel like you joined a special tribe or family. They are supportive and very meticulous about the scripts they select. If you only can enter a few contests, make Script Pipeline one of them.”

Colin CostelloScreenwriting Contest Finalist and "Recommend"

“My advice to aspiring writers is to keep getting (and incorporating) Script Pipeline Development Notes on the same script until it earns a Recommend. Why? Because there are certain techniques that won’t make sense until your writing skills and the script itself reach a certain level. I did this with 2011 Script Pipeline finalist screenplay Diamond Payback, and it was the best screenwriting “course” I ever took.”

Craig Weeden (Painkiller Jane)Screenwriting Contest Finalist

“I can’t speak highly enough about the Script Pipeline team. The support they provided throughout the evolution of my latest action/comedy screenplay was invaluable. Script Pipeline truly cares about my success, not only promoting my work at every opportunity but also challenging me to push the limits of my skills. Thanks to their efforts, I am now working with a great manager and have an exciting new project on the horizon.”

Kristi HallFirst Look Project Winner

“One of the finest contests around. . . a showcase for original, dynamic screenplays.”

Haji OutlawScreenwriting Contest Runner-Up

“It's a competition that not only promotes creativity, but offers unparalleled support in development.”

Kurt ConetyGreat Movie Idea Contest Winner

“In a vast sea of screenwriting competitions, Script Pipeline goes above and beyond. They don't view you as just another entrant, but a real person trying to get their voice heard in the industry.”

Melanie Schiele, Writer/Director (Butterfly Children)Screenwriting Contest Finalist

“Every time Script Pipeline announces contest winners and finalists, I put those scripts at the top of my reading list. It's one of the most well-respected contests around--the entire team does such an impressive job.”

Andrew KerseyManager

“Script Pipeline took a chance on an idiosyncratic script, and it quickly became apparent they had given my work thoughtful consideration. I'm honored to be associated with them.”

Morgan von Ancken Screenwriting Contest Winner

“Script Pipeline was integral in taking our screenplay to the next level through the Workshop. Their feedback and constructive insights were invaluable, and the exposure we had to industry after we placed in the finals of the Screenwriting Contest was unrivaled.”

Jen Badasci & Christopher PoeScreenwriting Contest Finalist

“The team at Script Pipeline has been and continues to be immensely supportive of my writing career, and has genuinely made me feel like I’m part of a writing community committed to helping everyone get one step closer to living their dreams.”

Josh CheslerScreenwriting Contest Finalist

Script Sales

March 2018 Script Sales

By | Script Sales

        

Last month in spec sales, David Koepp sold his feature supernatural thriller You Should Have Left to Blumhouse Productions. The script, which Koepp will also direct, follows a screenwriter and his family for a week in a house they’ve rented, but mysterious things happen as he tries to finish the script for a horror movie sequel. The H Collective and Busted Shark Productions have teamed to produce Aaron W. Sala’s horror script The Beast. After a woman is stranded alone on an island, she has to face her worst fears. Meanwhile, Warner Bros. picked up Madison Turner’s untitled WWII spec about the 761st Regiment, an all black regiment that paved the way for military desegregation. Michael B. Jordan will produce. Millennium Films and Electric Pictures have picked up Adam Alleca’s Michael Zero, a sci-fi action that follows a man who has to hunt down his own clones, who were created to be soldiers but have decided to go after the corporate state that made them instead. Tim Blake Nelson is set to direct. Finally, Platinum Dunes and Skydance Productions picked up Paul Wernick and Rhett Reese’s action spec 6 Underground. Michael Bay to produce/direct.

Other script sales:

– After tumbling out of bed, stumbling to the kitchen, and pouring themselves cups of ambition, Rashida Jones and Pat Resnick signed on to script the 9 to 5 remake. Resnick also wrote the original film.

– Stephen King’s The Tommyknockers is making it to the big screen, with James Wan and Roy Lee producing.

– Ashleigh Powell has been tapped to adapt Melissa Albert’s YA novel The Hazel Wood for Sony and Columbia.

– Paramount picked up James V. Simpson’s sci-fi script Intruders about a family defending themselves from alien home invaders.

– Tracy Letts to adapt A.J. Finn’s The Woman in the Window. Scott Rudin will produce, Joe Wright will direct.

Interviews

Jay Silverman

By | Exclusive Interviews

Script Pipeline met director/producer Jay Silverman (The Cleaner) in 2015 and connected him and producer Bethany Cerrona with Script Pipeline Screenwriting Contest finalist Jen Goldson (Everything’s Gonna Be Okay). Jay went on to produce Jen’s romantic comedy Off the Menu in 2017. The film premiered in 2018 and stars Santino Fontana and Dania Ramirez. It’s available on Amazon and iTunes.

You started your career as a photographer. How did you make the transition to the film/TV industry? Was it a logical next step given the types of connections you were making and the work you were doing, or did it take sort of a leap?

Yes, I started as a photographer doing advertising. My speciality was working with people and celebrity endorsements. The transition into film started in the 90s when I began doing what I called hybrid filmmaking. It certainly seemed natural to offer live action along with my photography when a famous person’s time on commercial sets are always so limited. It was a huge leap at the start, but my clients enjoyed the synergy and the creative control I gave them. I decided to make the move to feature directing with Girl on the Edge (2015), which was a very personal story. The motivation to make it  was one of wanting to share my experience of healing and to show others who have children who suffer trauma and PTSD that there are answers. . . there is hope. Everything I had done in my career and life up to this point prepared me for the opportunity to tell this story. It felt like such a natural transition, and now telling purposeful films has become my calling.

What were some of the early hurdles in becoming a director (for TV, commercials, or otherwise)? When crossing between different formats, which of course can be a challenge creatively speaking, what drew you to each? And now, with decades of experience, has a preference emerged? Or is directing just directing, no matter the medium?

I always enjoyed problem solving throughout my career, especially when a client would ask for the impossible. Universally, most challenges for TV and commercials involved trying to retain a focused creative vision while dealing with limited budgets and quick turnaround. In the 80s, I got my first studio and was fortunate to solve creative challenges without having to go outside of a studio. This control proved invaluable working in independent filmmaking and selling TV shows. Hence, the reason in 2000 I acquired my stages in Hollywood.

One huge hurdle I had was trying to sell The Cleaner to AMC after developing it for five years. It came as a shock to learn that even though this was my baby, I would never receive “created by” credits. The fact that we had offers for this show twice in two months proved it was a great idea, but not being treated fairly was a lesson I had to learn the hard way.

To be a good director in both TV or film, you need to be a good listener–so many creative people are involved in such detail on a film that it’s important to be open to their expertise and knowledge. It’s about taking all the best ideas to make the project better and to collaborate. Also, it was very helpful that I am knowledgeable in every trade on the set. I’m very hands-on and am never afraid to lift a hammer or hang a light or learn to compromise with budgets.

You met writer Jen Goldson at our 2015 Script Pipeline event, and it seemed like her screenplay Off the Menu was optioned instantly. What was it about the script that stood out? 

First,  I believe a person’s passion is the most critical to sell anything. Jen not only had a great pitch that made her stand out, but she totally displayed a desire to want her project in the hands of a filmmaker with equal passion. My producer Bethany Cerrona brought the script on the heels of my last film, which was a serious drama. Timing is everything, and I was excited to jump into this contemporary love story, as Jen’s writing style was very engaging, funny, and inspiring.

Off the Menu went from Jen’s initial pitch to you and exec Bethany Cerrona, to production, to finished film in about two years. Quick, certainly, relative to the frustratingly slow-ticking industry clock, where it can take a while get a project produced. Naturally, it’s easier for a lower-budget indie to hit that fast lane, however what were some of the crucial pieces that had to fall into place? Or was it fairly straightforward? If anything is ever “fairly straightforward” in filmmaking. . . .

Every film is different and presents its own set of challenges. After optioning the script, we met with Jen several times about small changes. Just coming off my last film with new wisdom and experience, we had to figure out a way to get this wonderful script produced affordably without sacrificing the story.

Will Newman, one of my producers, had warned about the cost of having too many characters and locations when making a indie. We mandated early on that to keep the authenticity of the story, it had to shoot, at least partially, on location in New Mexico, so that decision pushed many other decisions into the forefront. Being that Javiara’s kitchen was a character itself, our Production Designer Bonnie Bacevich was able to have full creative freedom on my stage. This decision not only saved us loads of time and money but helped me fulfill my creative vision without all the distractions of using a practical restaurant location. Careful thought and consideration was made to the changes needed to be made to the script to scale down for the budget, which kept faithful to Jen’s original story.

The cast of Menu really seemed to click on-screen. Especially the leads. How did Dania Ramirez and Santino Fontana come on board?

We had an amazing casting director, Nick Anderson. The script went out to Dania and we both met for coffee, and she was excited because she too loved cooking. I knew she would make a perfect fiery chef, and she loved the script, so the timing was perfect.

Around the same time, we were introduced to Santino via Skype from NYC and he also loved the script. And as luck would have it, he was able to fit us in between his show Crazy Ex Girlfriend and his Broadway opening. Once we had Dania and Santino, the rest of the cast fell into place fairly easily.

Every director and producer is different. Everyone leans toward certain themes. But what motivates you to continue directing and producing? What excites you most about the future of the industry?

I’m totally drawn into filmmaking by my desire to share inspiring stories. It’s beyond words how fortunate I was that my first film Girl On The Edge has changed so many young people’s lives.

I’m committed to working on purposeful films with social messages. It’s critical for me to make films that matter. Films have the ability to cross all borders, to bring hope and unite people. Off the Menu gave me the opportunity to tell a hopeful, sweet story about love and family that unites people from opposite worlds through food.

Along those same lines, where do you see us headed as an industry overall? Thanks to the emergence of more platforms seeking content, are you beginning to see a shift in the type of content distributed, or that has a strong chance at getting distribution on an indie level? 

I think all these new digital ways of sharing content are likely how most small films will survive, but it’s a bit of a wild west. . . with so many new films/TV shows getting made, it’s harder to cut through the clutter and get noticed. With Netflix and Amazon changing the game, we are seeing so many interesting voices that wouldn’t have been possible before in the traditional models.

I’m optimistic that if you have a good story and solid production values, your film will find an audience.


Jay Silverman

Jay has excelled as a leading director and producer specializing in award-winning film and television. In addition to directing and producing Off The Menu, Jay directed and executive produced the award-winning feature Girl on the Edge, starring Peter Coyote, Taylor Spreitler and Gil Bellows. The film premiered on Showtime. Jay also co-created and executive produced A&E’s The Cleaner, starring Benjamin Bratt, an hour-long drama based on a real life interventionist who uses unorthodox methods to save lives of those who battle addictions.

Jay lives and works in Los Angeles and has three daughters.

Essential Reading - Screenplays and Pilots

The Marvelous Mrs. Maisel – Pilot

By | Essential Reading - Screenplays and Pilots

Perhaps the most difficult part of creating a hit show is not only finding a unique story that could sustain (hopefully) multiple seasons of television but also anchoring the series on a protagonist audiences will continue watching. The best television shows (and oftentimes the most successful ones) strike a balance between those two criteria.

The Marvelous Mrs. Maisel hits both on the head. Created by Amy Sherman-Palladino of Gilmore Girls fame, the series follows a Jewish housewife, the eponymous Miriam Maisel (or Midge as everyone calls her), as her life falls apart and she begins a career as a stand-up comedian in the late 1950s. The pilot opens on her wedding as she gives her own toast. Midge effortlessly brings down the room as she recounts how she met her husband—and also offends half the mostly-Jewish attendees when she reveals the eggrolls contain shellfish. Three years later, Midge supports her husband Joel, a wannabe comedian who can get laughs only when he steals Bob Newhart’s routine, and helps him with his act from the sidelines, keeping track of which jokes get the most laughs in the most Type-A way possible. However, their marital bliss quickly evaporates when Joel reveals that he’s sleeping with his secretary. From there, Midge has a bit too much to drink, wanders onto the stand-up stage, and absolutely nails it.

Right away, the show earns points for originality. Although the show is ostensibly about the very real stand-up scene of the late 50s (Lenny Bruce is a frequent character), Midge is a fictional character, and that allows Sherman-Palladino more opportunities to explore the sexism of the era, among other things. Midge’s point-of-view is one we rarely see on television, especially in this setting. As strong as the writing is, perhaps the show’s greatest asset is Mrs. Maisel herself, Rachel Brosnahan. Brosnahan oozes charisma and sells each of Midge’s jokes. This is one of the rare depictions of stand-up where the stand-up is actually, you know, funny.

The show has already won awards for its first season (most notably the Golden Globes for best comedy series and comedy actress) and deserves all the praise it gets. As a comedy series and a character study, you couldn’t do better.

Read The Marvelous Mrs. Maisel Pilot