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The 2019 First Look Project - Register by February 20th

The 8th Annual First Look Project fulfills the requests of studios, production companies, agencies, and top managers by finding unique, high-concept material across two main categories:

• Screenplay - divisions for Action/AdventureComedyDramaHorror/Thriller, and Sci-fi/Fantasy

• TV Pilot - divisions for Hour and Half-hour original pilots, any genre

One winner in each division receives a share of $17,500, industry circulation, and long-term development assistance from Script Pipeline’s executive team.

Supported by QC Entertainment (Get OutUs), Good Fear Film + Management (Mulan), Panay Films (Masterminds), Lakeshore Entertainment (Age of Adaline), Zero Gravity Management (Ozark), Silent R Management (reps the Academy Award-winning director of Moonlight Barry Jenkins), Madhouse Entertainment (Prisoners), and other Script Pipeline partners, the competition introduces the best scripts to major companies.

Unlike Script Pipeline's main Screenwriting and TV writing competitions, entries for First Look are judged equally on writing ability and commercial potential. The originality of the concept and a strong understanding of genre and marketplace trends will take precedence, as well as overall writing ability.

Register by January 15th 

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The 2019 Script Pipeline TV Writing Season - March 1st

Winner Receives:
$25,000 | long-term industry circulation | script development

The 12th Script Pipeline TV Writing Competition is searching for extraordinary television writers and fresh, compelling pilots for exposure to production companies, agencies, and managers. Launched in 2008, the competition is an established outlet for emerging writers looking to shop their series for production, or get staffed on shows. 

Finalists receive immediate circulation to Script Pipeline partners, in addition to the following:

• $25,000 to winner, $2,500 to runner-up

• Introductions to managers, producers, agents, directors, and others searching for TV writers

• Long-term script circulation to industry and continual guidance connecting with companies

• Development assistance from Script Pipeline's senior execs

• Additional script reviews and consideration of other material for industry exposure

• Invitations to writer and industry events hosted by Pipeline Media Group

Submit a TV Pilot

Screenplays accepted to the 2019 Screenwriting Competition.

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January 2019 Script Sales

January was unfortunately a lighter month for script sales (you can blame holiday recovery and Sundance for that), so here’s a list of the most notable stories:

- Unburdened Entertainment and SB Projects have tapped Alyssa Hill to adapt Elaine Brown’s memoir A Taste of Power. The story follows Brown’s time as the first and only female leader of the Black Panthers from 1974–77.

- Lisa Joy (Westworld) is set to direct Reminiscence from her 2013 Black List screenplay. Her Westworld co-creator Jonathan Nolan is set to produce.

- Universal Pictures optioned Kim Liggett’s novel The Grace Year, set to be published this fall. Elizabeth Banks is set to direct.

- Pete Davidson, Judd Apatow, and Dave Sirus’s untitled comedy script has been picked up by Universal and Apatow Productions. Based on Davidson’s own life, the film is set to star Davidson and will be directed by Apatow.

- Amblin Partners and Anonymous Content picked up Anya Kochoff’s Rich Old Broads. The comedy follows a group of 60-year-old friends on a weekend getaway.

- Oren Uziel has been tapped to script the Detective Pikachu sequel, which sounds pretty awesome, to be honest.

- C. Robert Cargill and Scott Derrickson will return to write the Doctor Strange sequel, and Derrickson will direct again. It’s probably safe to assume that Benedict Cumberbatch will return as well.

- Blumhouse and Universal have tapped Saw’s Leigh Whannel to write and direct the Invisible Man remake. Based on how fun Whannell’s directorial debut Upgrade was, this should be a good one.

- And in other Saw alumni news, Patrick Melton and Marcus Dunstan will write the Final Destination reboot.

- Seth MacFarlane’s Fuzzy Door Productions is producing the female ensemble comedy Fairy Tale Ending with Universal, which was picked up based on Jim Hecht and Tracy McMillan’s pitch.

- Disney’s doing a live-action Hunchback of Notre Dame movie with David Henry Hwang writing.

Read More Script Sales

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Russian Doll - Pilot

Romantic comedy can be one of the most difficult genres to write. Sure, the ubiquity of mediocre romcoms might imply otherwise, but truly great movies in the genre are rather rare. For a good romantic comedy, the audience needs to not only care about the characters but also care about the stakes and believe that those stakes have real weight and real consequences. Over the summer, Crazy Rich Asiansburst into theaters and became an immediate sensation—in equal parts because it provided much-needed representation of a group Hollywood often underrepresented and because it’s a damn good story.

Directed by Jon M. Chu and written by Peter Chiarelli and Adele Lim from Kevin Kwan’s novel, Crazy Rich Asians, the story follows Rachel Chu (Constance Wu) who travels to her boyfriend Nick Young’s (Henry Golding) hometown in Singapore to attend his best friend’s wedding and meet his family, who are crazy-rich and also crazy. From the moment she lands, Rachel is a fish-out-of-water and constantly at-odds with her boyfriend’s family. She tries to earn their respect but comes short at every turn, and Nick’s family drives a wedge between the formerly happy couple.

What Crazy Rich Asiansgets right where other romantic comedies fail is that it cares deeply about the characters, and each scene and every conflict is rooted in character. The greatest source of conflict is Nick’s mother Eleanor (Michelle Yeoh in a brilliantly cold yet emotional performance), who disapproves of Nick and Rachel’s relationship because of Rachel’s family history. To contrast with others in the genre, there are no hijinks-heavy set pieces or interminably long scenes that don’t advance the plot, featuring “jokes” and nothing else (perhaps romantic comedy’s most common sins). Crazy Rich Asianseven allows the story’s dramatic elements to take over at times, providing a moving commentary on race, class, and motherhood. (Although very funny—thanks Awkwafina!—the movie leans into dramedy more than laugh-a-minute comedy.)

Ultimately, it’s easy to see why audiences (and critics) fell in love with this film and why Warner Bros. has already greenlit adaptations of the book’s two sequels. And hopefully, the Oscars will be kinder to it than the Golden Globes.

Read the Russian Doll Pilot

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Producing and Financing Short Scripts - Film Pipeline 2019

Special Entry Deadline: February 20th

Winner Receives:
$5,000 | script development | production assistance

The 2nd Annual Film Pipeline Short Script Competition provides an opportunity for writers and directors to get their material produced. Long-recognized by the industry as an avenue to scout unique, diverse voices, short-form content has become a vital calling card in attracting representation or seeing a proof-of-concept adapted into a feature. Film Pipeline eases the immense challenge of making a short by collaborating with selected entrants from development to production. Open to any genre, experimental or narrative, the contest supports imaginative storytellers in carrying their vision to screen.

After almost two decades of discovering new projects through screenwriting, TV writing, and pitch competitions, Pipeline Media Group (PMG) brings a dynamic, hands-on process of industry facilitation to Film Pipeline. This allows both emerging and seasoned filmmakers a shot at financing and producing their work, as well as spotlighting their talents to garner interest from execs capable of advancing careers.

Submit a Short Script

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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 the suite of Script Pipeline 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

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Upcoming Competition Deadlines & Dates

2019 First Look Project (screenplays and pilots) - February 20th

2019 Screenwriting Competition - Early Deadline: March 1st

2019 TV Writing Competition - Early Deadline: March 1st

2019 Great Movie Idea Contest - Early Deadline: April 15th

2019 Great TV Show Idea Contest Early Deadline: April 15th


Other Pipeline Competitions:

Book Pipeline - Fiction, Non-fiction

Film Pipeline - Short Films and Scripts

Script Pipeline is a division of Pipeline Media Group, LLC