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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.

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Script Sales

February 2018 Script Sales

By | Script Sales

Michael De Luca Productions picked up two sci-fi specs this month: Infinitum by Marc Guggenheim, which is described as a sci-fi love story similar to Memento, and Varietal by Adam Bloom, which is a psychological sci-fi thriller centered on a married couple. Infinitum landed at Sony while Varietal went to Universal. Legendary Pictures has teamed with LeBron James’ SpringHill Entertainment for Taylor Materne’s sports drama spec Hustle. The story follows a basketball scout who travels to China and brings back a Chinese streetball phenomenon. Annapurna Pictures and Will Ferrell and Adam McKay’s Gloria Sanchez Productions have picked up Booksmart, a teen comedy written by Katie Silberman. Booksmart follows two friends on the eve of graduation who set out on a night of fun after realizing they spent their entire high school years focused on their educations. Olivia Wilde is set to direct. Finally, Studio 8 and Scoop Productions picked up Naked Is The Best Disguise, a sci-fi spec written by Graham Moore (Oscar-winning writer of The Imitation Game). Moore is set to direct as well.

Other script sales:

– John Logan to adapt Walter Isaacson’s Leonardo da Vinci biography for Paramount and Appian Way. Leonardo DiCaprio to produce, possibly star.

– Simon Farnaby will write the Action Man adaptation for Paramount Players and Hasbro Studios.

Game of Thrones show runners David Benioff and D.B. Weiss will write and produce a new trilogy of Star Wars films for Disney and Lucasfilm.

– Scott Rosenberg and Jeff Pinkner have been tapped to script the sequel to Jumanji: Welcome to the Jungle, which they also cowrote.

Atlanta writers Stephen Glover and Jamal Olori are set to write the House Party remake for New Line Cinema.

– Stephen Chbosky to direct Dr. Seuss, a biopic written by Jonathon E. Stewart and Eyal Podell.



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

Get Out and Call Me by Your Name – Screenplays

By | Essential Reading - Screenplays and Pilots


The Oscars took place over this past weekend, and Get Out and Call Me by Your Name walked away with the screenwriting prizes, for Best Original Screenplay and Best Adapted Screenplay respectively. Although the scripts couldn’t be more different—the first, a horror movie with a deeply disturbing commentary on racism in America, and the second, a heartfelt tale of first love and first heartbreak—both provide valuable lessons for any writer.

Written and directed by Jordan Peele, Get Out follows a young black man on a weekend trip to meet his girlfriend’s parents. Although the script begins as a humorous satire in the vein of Guess Who’s Coming to Dinner, things quickly escalate, and the parents’ true motives are slowly revealed in a plot reminiscent of The Stepford Wives. Peele expertly blends horror and social commentary—it’s a movie with something to say, and the message makes the horror more horrifying and vice versa. Grounding the story is main character Chris Washington (Daniel Kaluuya in an Oscar-nominated performance), who is an empathetic center to the story. The success of a horror movie hinges on whether the audience cares about the characters, and the awkwardness of the comedic early scenes help create an endearing protagonist (shortly after Chris meets the parents, Peele wrings a lot of laughs from awkward lines like “I would’ve voted for Obama a third term if I could’ve”). Once the insidiousness lurking underneath the parents’ smiles is revealed, the audience legitimately fears for Chris and his life, which is a hard feat in the horror genre, especially for a first-time director.

As great a horror script as Get Out, Call Me by Your Name is an equally great romantic drama, though the scripts couldn’t be more different. Adapted by James Ivory (director of such classics as A Room with a View, Howard’s End, and Remains of the Day) from André Aciman’s novel and directed by Luca Guadagnino, Call Me by Your Name follows the 17-year-old Elio who falls for his father’s older male research assistant in Italy in the 1980s. Like Get Out, this story is firmly grounded in character, and the chemistry between the leads (played by Armie Hammer and Oscar-nominated Timothée Chalemet) leaps off the page—and the screen. Although the stakes aren’t as high, the scenes of flirtation and seduction build with the characters’ emotions always at the forefront. It’s a bittersweet story of first love, and the story’s larger moments, particularly a third-act monologue from Elio’s father (a brilliant Michael Stuhlbarg), feel earned because of the care Ivory, Aciman, and Guadagnino put into these characters.

So if there’s one takeaway from these two very different stories, it’s character. Strong characters and strong relationships give audiences something to connect with and help make narratives compelling, whether the story is a bittersweet love story set in the 80’s or a disturbing racial horror movie with tinges of science-fiction.

Read the Get Out Screenplay

Read the Call Me by Your Name Screenplay