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Script Pipeline

Recent Success Stories

The Standoff at Sparrow Creek, winning screenplay of the 2015 Script Pipeline Competition, screened at TIFF in September, where it was picked up by RLJ Entertainment. The film made its West Coast premiere last week at Beyond Fest in Hollywood. Written and directed by Henry Dunham, Standoff spotlights an ensemble cast that includes James Badge Dale (Rubicon), Brian Geraghty (The Hurt Locker), Chris Mulkey (Whiplash), Happy Anderson (Mindhunter), Robert Armayo (Game of Thrones), and Gene Jones (The Hateful Eight). Dunham's feature debut has earned wide praise from critics thus far. Theatrical release is set for January 2019. 

The crime/thriller joins Killing Season as the second Script Pipeline winner produced since 2013.

Script Pipeline

Pitch a Film or TV Series by October 15th

Early Deadline: Monday.

The 15th Great Movie Idea and 13th Great TV Show Idea contests are searching for original feature film and television series concepts. Ideally, unique stories a global, diverse audience can connect with.

Accepted entries include loglines, synopses, and video pitches. Completed screenplays are not reviewed, nor are entrants required to have a screenplay. You only need one spectacular idea. Any genre, studio-level or indie.

For the winner, Script Pipeline provides additional, long-term assistance to refine the pitch, or help the writer draft a polished screenplay. Our execs review the project and offer feedback at all stages of development. When the work is ready for circulation, we send the material to specific producers who would be a good match--a network of over 200 companies that includes partners at Good Fear Film + Management (Mulan), Madhouse Entertainment (Slender Man), QC Entertainment (Get Out), Lakeshore Entertainment (Age of Adaline), and others looking for relevant, high-concept, marketable films.

All entrants retain the rights to their pitch, and development assistance for the winner is entirely optional, as we recognize some projects may be "circulation-ready," in which case Script Pipeline would consider the work for targeted industry exposure only.

Since 1999, Script Pipeline has established relationships with hundreds of production companies, managers, and agents, resulting in $6 million in specs sold from previously undiscovered writers.

The Great Movie and TV Show Idea Competitions aim to continue this successful process by working one-on-one with burgeoning writers to fine-tune their writing skills and push worthwhile stories into production.

Awards & Prizes

- $5,000 (each winner for Movie and TV receives $2,500)

- Development sessions with Script Pipeline executives to get your concept ready for circulation

- Assistance in completing a screenplay or TV pilot script (depending on the writer’s experience level)

- Exposure to producers and other companies for potential development

- Review of additional pitches and material

Pitch a Movie | Pitch a TV Show


September 2018 Script Sales

September was a lighter month for script sales, but here’s a bunch of notables:

– Halle Berry will direct and star in Bruised, written by Michelle Rosenfarb, about a disgraced female MMA fighter. Thunder Road Pictures and Entertainment 360 are producing.

– Playing House stars/creators Jessica St. Clair and Lennon Parham sold an untitled comedy pitch to Universal. Gina Rdoriguez is attached to star. That’s all we know about it, but St. Clair and Parham are amazing so of course we had to mention it.

– Sony picked up Simon Rich’s (Man Seeking WomanSell Out. The story, based on Rich’s New Yorker novella, is a a Rip van Winkle-style comedy in which immigrant falls in a vat of pickles in 1918 and is perfectly preserved in the brine for a hundred years. Seth Rogen is set to produce and star.

– Blackmaled Productions has picked up Real Talk, written by Radha Blank and based on an idea by Malcolm D. Lee (Girls TripUndercover Brother). The comedy follows an old-school rapper who attempts to bring his group back together. Lee will produce and direct.

– Isaac Aptaker and Elizabeth Berger are set to adapt Meg Wolitzer’s novel The Female Persuasion for Amazon. Nicole Kidman is set to produce.

– Mel Gibson and Bryan Bagby will write (and Gibson will direct) an adaption of Sam Peckinpah’s Wild Bunch for Warner Bros. This writer will leave it at that, but I definitely have things to say about this.

– Wendy Molyneux and Lizzie Molyneux will adapt Grant Ginder’s amazingly tilted The People We Hate At The Wedding for FilmNation Entertainment and Michael De Luca Productions.

– Platinum Dunes and Paramount picked up Holly Brix’s dark comedy Happy Anniversary. The story follows an anniversary gone awry when the happy couple undergoes a home invasion.

– Atomic Monster, Vertigo Entertainment, Good Fear Film + Management, and New Line have teamed for Milk, based on the short film by Santiago Menghini. Sawand The Conjuring’s James Wan will produce, and Menghini will direct. Ben Collins and Luke Piotrowski (Super Dark Times) will write.

– Justin Benson’s sci-fi/thriller script Synchronic is moving forward at Rustic Films. Benson will produce and direct with Aaron Moorhead, and Anthony Mackie and Jamie Dornan are in talks to star.

– Rian Johnson is teaming with Daniel Craig again for Knives Out. Johnson is writing and directing, Craig is starring, and the movie is a detective mystery.

Read More Script Sales


American Vandal - Pilot

American Vandal has no right being as good as it is. Created and written by Tony Yacenda and Dan Perrault, the show ostensibly parodies true crime shows (most predominantly fellow Netflix series Making a Murderer), but like any good comedy, it aims to satirize contemporary life.

For the first season, the show’s central mystery revolves around an act of graffiti in which a student draws phallic imagery on every faculty car at their high school, and it seeks to answer, to quote the show’s constant refrain, “Who drew the d*cks?” Is it crude? Most definitely. But despite how crude American Vandal is (and it is—even more so its second season), the show somehow transcends its sophomoric humor and becomes one of the most compelling mysteries on television.

The pilot mostly presents the characters and the list of potential suspects and establishes the tone. Like Making a Murderer, the show’s “documentarians” posit that the person who’s been labeled guilty might actually be innocent, and they attempt to present his case. The entire mystery and investigation is played completely straight—even though the mystery is “Who drew the d*cks?” But this tone is what sells it, and the mockumentary style allows Yacenda and Perrault to slip in valid commentary about today’s youth culture and how they interact with online life. The second season even forgets to tell jokes for the last five episodes and instead offers a unexpectedly moving commentary about how the internet has supplanted everyday life. And the second season’s villain is the “Turd Burglar.” (It’s much more disgusting than it sounds.) It takes a deft hand to pull that off.

Even if juvenile humor isn’t your thing, American Vandal is worth checking out. If you’re reading this, you’re either on a computer or a smart phone. And if you’re anything like me, you probably spend a large portion of your day staring at a screen of some kind, and a large portion of your interactions with humans are on one of those screens. Our real lives are becoming more and more intertwined with our virtual personalities, and who we are online is who we are. American Vandal is one of the first shows to explore the actual implications of that, and as a result, it’s more compelling than it has any right to be.

Read the American Vandal Pilot


Script Pipeline Workshop Notes - Screenplays and Pilots

Established in 2000, the Script Pipeline Workshop is one of the longest-running notes services in the industry, offering feedback on screenplays, pilots, and pitches for film and television. Hundreds of writers each year, from beginners to professionals, benefit from the expertise of a small, seasoned group of development execs, many of whom are active writers and producers themselves.

Any genre or format accepted. We review everything from partially completed scripts to production-ready final drafts. Writers may also request a critique on supplemental materials (such as a TV show bible, synopsis, or logline), as well as follow up with their reader with additional questions on the feedback.

Together with our competitions, the Workshop is another outlet to funnel upper-echelon projects to an array of industry contacts and shepherd scripts into production.

*contest entrants receive a discounted rate on General Reviews; add-on notes available during registration for any competition

Development Notes | General Review


Upcoming Competition Deadlines & Dates

2018 First Look Project (screenplays and pilots) - Extended Deadline: October 13th

2018 Great Movie Idea Contest - Early Deadline: October 15th

2018 Great TV Show Idea Contest - Early Deadline: October 15th

2018 Screenwriting Competition - Pre-register by December 31st

2018 TV Writing Competition - Pre-register by December 31st

Other Pipeline Competitions:

Film Pipeline - Short Films and Scripts

Book Pipeline - Fiction, Non-fiction, Plays

Script Pipeline is a division of Pipeline Media Group, LLC