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2018 TV Writing Contest Results

By | TV Writing Contest Finalists

Quarterfinalists

20,000 Leagues by Cody Pearce
American Made by Samuel Tofsted
Apostate by Lee Kunz & Katherine Montgomery
Atlanta – “Stockholm” by Jovan Robinson
Atlanta – “Ring Ring” by Jose Chavez
Banshees by Elizabeth Daly
Bastards by Erin Muroski
Better Call Saul – “Queso” by Jimmy Prosser
Binary by Eric Shahinian
Bitch by Gary Sewell
Black & White by Richard McGovern
Black Circle by Nathan Wilcoxen
Black Hostel by Jovan Robinson
Black Mirror – “Contest Kid” by Idil Tabanca
Bob’s Burgers – “Burga-Lounger” by Gregory Henn
Book of Ruth by Claire Newman
Broad City – “Eat Pray Run” by Molly Kiernan
Brooklyn Nine-Nine – “Sidetracked” by Michael Gene Conti
Brother’s Keeper by Jacqueline Wright
Child of Rage by Shoshana Sachi
Clearwater by Jenny Raftery
Days of Infamy by Saiya Floyd
Deadline by Tyler Chatham
Double Time Dames by Davia Carter
Drop Zone by Megan Wilson
End of Life by Sean Collins-Smith
Fargo – Spec by Valiantsin Balanovich
Filii Familias by Christopher Lastrapes
Flesh + Blood by Emily Eslami & Jeffrey Nieves
Galapagos by Lukas Hassell
Girl Arrested by Linda Davidson
Glitter Gulch by Scott Root
God Damn by Luke Mones
Hallelujah Baptist by Maggie Calton
Hazmat by Capucine Berney
Honest to God by Alyssa Lerner
Hooch by Gabrielle Meyer
In Irons by Sommer Rusinski
Inhereit-ly Gay by Michael Preston
Inner Beast by Greta Harrison & Matthew C. Vaughan
John Q by Jason Jung
LARP by Sean Frasier
Lionhearts: The Hawk and the Lion by Tobin Addington
Lost Time by Jenny Raftery
Lyre by Amanda Prentiss
Magical Girls by Eric Dietel
Mindfullness by Daniel Rivera
Nellie by Alice Packard
NPCs by Andrew Golder
Passé Blanc by Ron Huett
Powerhouse by Justin Daries
Priceless by Joshua Faulkner
Psycho Spa by Allison Rose Phelan
Radium Girls by Kelsey O’Brien
Rick and Morty – “Rick to the Future” by Michele Dahl
Rivers of Blood by Mario Theodorou
Road Kid Max by Nicole Feste
Seamstresses by Margarita Rozenbaoum
Shanda by Jillian Lauren
Simonology by Grant Pardee
Sins by Jason Walter Vaile
Stand Your Ground by LE Neal
Stringer by Elaine Loh
Sugar Land by R.B. Ripley
Ten Thousand Islands by Peter Short & Sue Batterton
Tested by Lisanne Sartor
The Chords of War by Samuel Gonzalez Jr.
The Crown – “Bad Mother” by BettySullivan
The Fourth Wall by Zac Loy
The High Priest by Guido Segal
The Institution by Christopher Crane
The Lucy Gray Agency by Pamela Jones & Anna-Lisa Jones
The Machiavellis by Tony Dunoyer
The Marvelous Mrs. Maisel – “Try Me” by Sean Hetherington
The Rapture by Shalini Adnani
Thirty Ought Six by Scott Honea
Time Raptors by Simon Taylor
Unbreakable Kimmy Schmidt – “Kimmy Gives a Speech!” by Adam Pasulka
Vaudeville by Kevin Engelking
Vectors by Timothy Bacon & Grant Fraggalosch
Wasteland by Adam Tinius
When in Rome by Rob Thorman
White Power Barbie by Joshua Berman & Janelle Goforth
Zero Tolerance by Nick Coviello

2018 Screenwriting Contest Results

By | Screenwriting Contest Finalists

Quarterfinalists

…’Scape the Lightning Bolt! by Gary Morra
A Minor Rebellion by Lorraine Devon Wilke
A Writer’s Acts by Sam Wright
A Writer’s Pitch by Sam Wright
About Face by Brian Cox
Afrodeutsche by Gabrielle Gozo
Alieu the Dreamer by Quincy Ledbetter
All Living Things: The Story of Derek Black by Ben Lear
ARK Sleep by Thomas Anderson
B1 by Allison Begalman
Baggage by Ryan Elkins
Between the Raindrops by Jori Richman
Beyond Revolution by Neda Davarpanah
Bitter Cold by Noelle Roso
Blindsight by Benjamin Carroll
Blood Relative by Kevin Bachar
Blue On Blue by David Dasilma
Conspiracy by Zachary Wolff
Darryn the Bold and the Sword of Boldness by Justin Best
Dream Girl by Alexander Bradley
Duck on the Pond by Niki Sharirli
Dying Breeds by Lauren Fitzgerald
Easy Out by Melissa Osborne
Eden by Jean Barker
Encounters by Gary King
Face the Color by Matthew Viscuse
Family Secrets by Neda Davarpanah
Fiasco by Edward Klau
Final Girl by Hans Rodionoff
Follow the Leader by Devon Gillingham
Foreclosed by Alexandra Swenson
Fuck New Rome by Erik Sternberger
Germ by Niki Sharirli
Grand Theft Audio by Simon Fitzpatrick
Hailey by Shington Lamy
Heel by Edwin Mangassarian & Andrew Gray
Henchmen by Andrew Wood
Highway 83 by Anthony Rainone
Holy Days by Raanan Hershberg
Homegrown by Abhishek Raghavan
Junior by Peter Malone Elliott
Kindred by Kate Young and Kim Walker
Ladies and Gentlemen, Miss Ida Walker by Christopher Csont
Light in the Storm by Diana Densmore
Little Miss of Darke County: The Secret Origins of Annie Oakley by Gary Krebs
Long Road to Ruin by Zach Smith
Madrigal by Chance Muehleck
Me & Kip by Carlotta Harlan
Method by Louis Paxton & Laurie Nunn
Mnemovore by Hans Rodionoff
Molly by Justin Kwon
Murderabilia by Neil Krolicki
No Man’s Land by Michelle Davidson & Jeffrey Field
No Particular Place to Go by James Madejski
Numbers and Words by Grace Sherman
Panehaven by Josef Lemoine
Peter and the War by Katie Ennis
Picture You There by Matthew Marder
Put Your Hands In by Warner Wood
Red Velvet by Tom Radovich
Requiem by Daniel Abatan & Thomas R. Burke
Ritual X by Jonathan Chamis
Roger by Brendan Cleaves & Stuart Foreman
Rosie by Emily Prescott
Safe Word by Ariel Ehrlich
Shine a Light by Jordan Blilie
Sir Kevin by Randall Greenland
Sistahs 4 Lyfe by Sarah Lampert
Six Letter Word by Lisanne Sartor
Soul Doll by Mya Baker
The Aviatrix by Stephen Kelly
The Billings LP by Vandon Gibbs
The Body by David Brame
The Bums Next Door by Justin Krickovich
The Colt by Mason McEwen
The Crossing by Roger Hadfield
The Fight After by Gunnar Garrett
The Fool’s Errand by John Murphy & Chris Bramante
The Lean by Pearse Lehane
The Machiavellis by Tony Dunoyer
The Most Important Thing by Daniel Kuhlman
The Nighthawks by Tobin Addington
The Pixel Edge by Michael Felker
The Traveler by Jameel Saleem
The Witch of Pungo by J Darin Wales
This Close by Marc Messenger
Those Who Hear by Jerome Velinsky
Three Blind Mice by Kerry Dye
Treblinka by Andrew Knopp
Treed by Staci Greason & Joe Gironda
True Patriots by Valerie Bischoff
Truth Against the World by Denise Meyers
Unadorned by Adam Kamien
Unbalanced by Kerry Dye
Uncanny Valley by Tara Everhart
Uncanny by Niki Sharirli
Velocity by Tom Doganoglu
Willowport by Jess Ansik
Young, Black by Marcus Stricklin
Zero Dark Christmas by Michael Egan
Zero Visibility by Damon Furberg

“Stuber,” Written by Script Pipeline Winner, in Production with A-List Stars

By | Slider, Success Stories

The action-comedy Stuber, written by Script Pipeline Screenwriting Contest winner Tripper Clancy, attached Dave Bautista (Guardians of the Galaxy) in December 2017, Kumail Nanjiani (The Big Sick, Silicon Valley) in March 2018, and later added Iko Uwais (The Raid. Jonathan Goldstein (Horrible Bosses) and John Francis Daley (Bones) producing. The film began production in May 2018.

20th Century Fox picked up the script, based on a pitch developed by Tripper and manager Jake Wagner (Good Fear).

Tripper was one of the Grand Prize Winners of the 2010 competition. Soon after, Script Pipeline execs linked him with Jake, initiating a long working relationship that has led to projects set up at Sony, Fox, Hasbro, Paramount, and Mandalay, where he’s adapting the acclaimed novel The Art of Fielding.

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May 2018 Script Sales

By | Script Sales

Tom O’Connor’s Cold War spy spec Ironbark has found a home with FilmNation Entertainment. The true story follows Greville Wynne, a British businessman, as he helps the CIA end the Cuban Missile Crisis and avert disaster. Benedict Cumberbatch is set to executive produce and star. Another historical spec landed at Gran Via Productions. This one: Alex Cramer’s Rawhide Down. The screenplay follows the immediate aftermath of John Hinkley’s assassination attempt on Ronald Reagan in real time. Paramount Pictures picked up Cory Goodman’s horror spec The Oberline Incident. The plot is being kept under wraps, but it’s been described as high-concept with a female lead. Sam Raimi’s Ghost House Pictures has picked up Crawl, written by Alexandre Aja, Shawn Rasmussen, and Michael Rasmussen. The story follows a young woman trapped in a flooding house with fierce predators during a Category 5 hurricane. Aja will also direct.

Other script sales:

– Dueling Leonard Bernstein projects are a go. First up is Michael Mitnick’s adaption of Leonard Bernstein’s biography written by Humphrey Burton. Cary Fukunaga to direct, Jake Gyllenhaal to star. Next up is Josh Singer’s script Bernstein. Bradley Cooper, Steven Spielberg and Martin Scorsese will produce, Cooper will direct and star. Life rights were acquired for this one.

– Bill and Ted are finally getting a sequel. Excellent! Chris Matheson and Ed Solomon are back to write, Keanu Reeves and Alex Winter are back to star, and Dean Parisot is set to direct. Party on, dudes.

– J.J. Abrams and his company Bad Robot picked up Daniel Casey’s subversive superhero script The Heavy. Julius Avery will direct.

– Guy Ritchie to direct Toff Guys from a script he co-wrote with Marn Davies and Ivan Atkinson. The story follows an English drug lord as he tries to sell his business to Oklahoman billionaires.

– Gabriel Sherman is writing a Trump movie for Gidden Media. It’ll be called The Apprentice.

– Nicol Paone’s Friendsgiving has not only found a home at Red Hour Films but has also found an amazing cast: Malin Akerman, Kat Dennings, Jane Seymour, Aisha Tyler, Deon Cole, Ryan Hansen, Chelsea Peretti, Christine Taylor, Wanda Sykes and Margaret Cho are set to star. Ben Stiller and Akerman will produce, Paone will also direct.

Pride – Screenplay

By | Essential Reading - Screenplays and Pilots

We’re deep in June, which is officially Pride Month, so why not catch up on a recent LGBT flick that may have flown under your radar?

Pride, written by Stephen Beresford and directed by Matthew Warchus, didn’t receive much attention here in the States despite receiving almost universally positive reviews, and that’s a shame because this movie has it all—comedy, romance, drama, tragedy, and even history. Yes, Pride is based on a true story, a seemingly unlikely one at that. Set in the early ‘80s, the film follows gay activists from London as they raise awareness for striking coal miners in South Wales. The group (the aptly named Lesbians and Gays Support the Miners) reasoned that, since both the miners and the LGBT community faced oppression from the British government and police forces, they could form an alliance of sorts. The enemy of my enemy is my friend, so to speak. However odd the pairing may sound, what resulted was a strong friendship between two communities linked by similar experiences of marginalization.

Like the creative team behind Hidden Figures, Beresford found a compelling real-life event that few had heard of, one that seemed almost too unusual or anachronistic to be true, making it the perfect story for a film adaptation. Working-class coal miners and gay rights activists aren’t exactly the most natural of allies, and that serves as an amazing source of tension. Since the mineworkers’ union is initially reluctant to accept the LGSM’s support, the LGSM limits their activism to one small town desperate for help. The men of the village aren’t the most welcoming (the women and children are more inviting), and some are outright homophobic. With the men on strike, the women are supporting their families, and having gays help as well was yet another source of emasculation. At first. Charity and kindness in times of crisis go a long way.

The screenplay juggles a large ensemble, effortlessly blending historical figures with characters who feel just as real. Some notable real-life characters include Mark Ashton, gay rights activist and founder of LGSM who ultimately died from AIDS shortly after the events of this movie; Jonathan Blake, one of the first men in London diagnosed with HIV and who is still alive; and Hefina Headon and Siân James, members of the Women’s Support Group for the striking miners (the latter of whom eventually became a Member of Parliament, the first female MP to serve her constituency). And although the characters deal with the bleak realities of the time and their circumstances—homophobia, HIV/AIDS, poverty, police harassment—the screenplay and the movie never lose their sense of humor. Both are hilarious throughout.

“Crowd-pleasing” gets tossed around a lot, almost to the point that it’s an empty advertising buzzword, but that descriptor certainly applies here. The movie works towards those “crowd-pleasing” moments and earns each of them, with the final scene feeling legitimately triumphant. Not to give too much away (though, I mean, this is based on a true story—the rules against spoilers in movies shouldn’t apply to history, but whatever), the National Union of Mineworkers ends up unequivocally supporting gay rights in the United Kingdom, thanks in no small part to the work of LGSM. It’s a story of two disparate communities coming together to forge an alliance and fight for their rights. A story that’s still relevant today.

(And if for some reason none of that sold you, Imelda Staunton and Bill Nighy are in it. Everyone loves them, right?)

Read the Pride Screenplay