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Recent Success Stories

Script Pipeline Screenwriting Contest finalist Matt Altman sold his sci-fi/action spec Sam & Liz: A Killer Love Story to Relativity Media.

Previously, Matt had signed with with APA and Parallax Talent Management, and in October 2014, he and co-writer David Matalon sold their feature script The Feud to Vandal Entertainment. Matt placed in the 2010 Pipeline competition with the action/thriller Dangerous Waters.

2015 Pipeline Fellowship

The Pipeline Fellowship offers writers an ongoing, exclusive opportunity to receive a one-year mentorship with Script Pipeline and industry professionals. Unlike our competitions, we’re not looking for a single great script–we’re searching for those who possess the most potential to launch a writing career and are dedicated to the intensive process of improving as a writer.

Once selected, Pipeline Fellows receive continuous mentoring with Script Pipeline staff, in addition to several personal consultations with screenwriter Will McCormack (Toy Story 4) and Pipeline co-founder Dave Kline. At the end of the Fellowship period, writers will be introduced to producers, managers, agents, and other influential representatives.

We select a minimum of four Fellows, and there is no maximum number of selectionsApplicants may submit up to two different projects, screenplays or TV pilots. As the review process is on-going, Fellows are notified of their selection immediately, prior to the December 15th deadline.

Submit Your Application

Sisyphus

When Is Your Screenplay Finished?

By Matt Misetich

Rather than spur a micro-analyzed philosophical debate impossible to win, allow me to first clarify: the process of writing a screenplay does end.

Because it has to.

A protege of Mario Puzo isn’t locked up in some Bronx basement still writing The Godfather in an eternal, Sisyphean loop of infinite futility. It was written, it was produced, and it was released. Script done. The End. Or “fin,” if you’re into that sorta thing.

This whole “you’re never done writing a screenplay!” nonsense is nothing more than buzzy seminar filler and pseudo-screenwriting advice to arouse, I guess, comradery amongst writers. But it’s easy for some to take this claim literally and sit stoic on the fallacy that no matter what they do, they haven’t “finished” their script. It’s one of the easiest ways to spoil a sense of accomplishment. 

So they edit, rewrite, tweak, polish. . . usually without professional guidance, erroneously making an educated guess at what needs work, and sometimes executing so many revisions they end up with nary a semblance of what was probably a pretty decent script to begin with. And the rewrites continue. They become. . . .

Read the full article

The Jetsons

January 2015 Script Sales

Oren Uziel (22 Jump Street) has been hired on to rewrite Zombies vs. Robots, based on the comic book by Chris Ryall and Ashley Wood. January was also a good mention for comedy with Barry Sonnenfeld signing on to direct Nine Lives by Dan Antoniazzi and Ben Shiffrin in which a businessman finds himself in the body of the family cat. Aaron Buchsbaum and Teddy Riley sold their comedy pitch Psych to Sony and Columbia. Bobby Farrelly has signed on to direct the comedy One Night Stan, written by Kevin Barnett, Chris Pappas, and Mike Bernier. 2015 started out strong for Pipeline Finalist Matt Altman, who sold his sci-fi/action spec Sam & Liz: A Killer Love Story to Relativity Media. And finally, Benderspink and CBS Films are producing Senior Year by Andrew Knauer and Arthur Pielli, a comedy about a high school cheerleader who wakes up from a coma after twenty years and decides to go back to school to become the prom queen. 

Read more script sales

Music Pipeline Launch

Over the past 15 years, Script Pipeline has discovered hundreds of writers for film and television, giving them crucial connections to leading executives and helping establish successful careers.

This proven formula of exposing new talent to Hollywood now transitions to the world of music:

Music Pipeline is searching for artists in all genres and introducing a select few musicians to producers, managers, and music supervisors. The songwriting competition, now open for entries, aims to cultivate emerging artists and prepare them for the entertainment industry, with an emphasis on placement in filmtelevision, and video games

Competition finalists are awarded:

• Featured placement in our exclusive song library for industry review

• $1,000 cash prize to each finalist (at least $4,000 awarded)

• Circulation for considered placement in film, television, and video games

• Mentorship by Music Pipeline’s executive team and partners

• Recording studio time with an LA producer

Visit the site for more info and to submit your song

The Grand Budapest Hotel Screenplay

If ever there was a writer/director who audiences share a love-hate relationship with. . . .

Wes Anderson established a unique approach to storytelling and style early in his career (although “unique” doesn’t exactly express how distinct this technique has become, compared to the current studio-level landscape), and The Grand Budapest Hotel serves as the next iteration of his brand. But the screenplay isn’t exactly a primer for beginning writers. It’s rather long, rather wordy, and rather low-key as far as plot, even for the genre, a dramedy that, like many of his other films, almost defies a specific categorization. Novel-like in its execution.

So why should you read it, especially if you’re a long-standing member of the “Wes Anderson Makes No Sense and is Terrible” club? Because of the writing. Imagine that–a screenplay worth reading because of the writing. Believe it or not, though, not all great screenplays feature great writing. Some nail the mark in plot, or an extraordinary structure. Or dialogue and character, solo. With Grand Budapest, you could argue it’s not the most engaging storyline, yet Wes’ ability to draw us in through character and dialogue is nothing short of remarkable.

Read The Grand Budapest Hotel screenplay

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