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Matt Joseph Misetich

Reviewing Screenplays and Pilots – Learn More and Submit

By | Slider

Winners Receive:

$10,000 (Screenplay), $5,000 (TV)
Studio-level exposure | Development assistance | Long-term industry circulation

The 7th 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/Adventure, Comedy, Drama, Horror/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 $15,000, industry circulation, and long-term development assistance from Script Pipeline’s executive team.

“The First Look Project was an awesome experience. From our first phone call, they became our personal champions and proceeded to surprise us again and again with the extent of their support. Thanks to them, we had meetings with a manager and production companies and are now developing our pilot with Mandalay Entertainment. Entering this contest moved our careers forward in an unprecedented way and was the smartest thing we did all year!”

-Ben and Tyler Soper, First Look Project Winners (The Devil in Evelyn)

Supported by Good Fear Film + Management (Rings), 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), CAA, 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.


Tripper Clancy (Part 2)

By | Exclusive Interviews

Tripper won the 2009 Screenwriting Competition with his comedy Henry the Second. Soon after, he signed with manager Jake Wagner, leading to several studios projects sold and writing assignments with major companies. His action-comedy Stuber stars Kumail Nanjiani, Dave Bautista, and Iko Uwais. As his career continues to burn a path through Hollywood, he’s juggling multiple projects in both film and TV.

It’s been almost 10 years (…I know—that went fast) since you won the 2009 Screenwriting Competition with what was, and still is, one of the best grounded comedies we’ve read in Henry the Second. A lot has happened over that span, but everything seemed to get rolling when you signed with manager Jake Wagner. What was it that clicked? What do writers, of all levels, need to keep in mind when considering representation? 

The goal with representation—and this applies to a manager or an agent—is finding someone who actually wants to represent you as a writer and not just one piece of material you’ve written that might have a chance of selling. Unfortunately, when you’re starting out in the industry, you don’t have much choice in who reps you. You take anyone you can get, and oftentimes that person doesn’t share your vision for what your career path should look like.

I’ve enjoyed working with Jake because we have a very candid relationship, so even when I disagree with his opinion, we can have a healthy debate about it. The cold truth about representation is that when you book projects and generate income, your reps work harder for you. So the trick is finding reps that will work their ass off for you even if you’re in a slump because they know you can write your way out of it.

After winning the contest, you took part in the Fox writing program. The Ambassadors and Winter Break followed. Both were picked up. How did the program help push you forward, both in your development as a writer and your knowledge of the industry?

The Fox Writers Studio was an unbelievable experience, and I’m still friends with (and even working with) several people from that program. I’d say the most educational part of that job was working directly with studio execs at Fox, pitching them feature ideas, developing the script with them, getting their insights on a weekly basis. . . . When you’re writing a spec, you’re alone on an island, and you have no idea what producers or studio execs will think of your work. So at Fox, getting a constant window into their thought process was invaluable and definitely changed the way I think about movie concepts from a macro level.

Regardless of the fact you’re able to make a living off of writing, there’s surely a bit of frustration when a project is sold but goes unproduced, even if that’s a reality every writer recognizes. Is it easy to brush it off and move on?

No. It’s never easy to brush off a project that dies on the vine. You spent an extraordinary amount of time writing and rewriting it. A lot of times it can be really heartbreaking because there are a million ways for a feature project to fail and it’s almost never for the reason you might think. The only thing I can do is remind myself how fortunate I am to get to do this for a living, so if/when a project gets a green light, I can consider it a huge bonus. I also find it helpful not to dwell on projects after you hit send on the email and turn it into the studio. At that point, it’s out of your hands and up to the movie gods, so all you can do is move on and focus on the next thing.

Henry the Second has had some veterans (Shawn Levy and 21 Laps) shepherding it for years. What have been the diversions in getting it made?

21 Laps is still on board. It’s been a long, strange trip and I’m still hopeful that it’ll get made one day. I can’t tell you exactly why it hasn’t been made yet. We’ve come very close several times, but I think it has a lot to do with the tetris game of finding the right piece of talent for the right price who’s available at the right time and that has the right potential upside for the marketplace. Any original project that’s not based on IP has a tough road ahead, so the obstacles we’ve faced on Henry are not that uncommon. Some pretty amazing films took forever to get made, so who knows?

You sold the feature action-comedy Stuber to Fox, starring Kumail Nanjiani, Dave Bautista, and Iko Uwais. What was the process like from idea, to finished script, to getting such stellar talent attached?

Around December of 2015 my manager, Jake, sent me an email with a title (Stuber) and all he knew was maybe there was a comedy version of Collateral about an Uber driver named Stu. I have a deep love of 80s action comedies, and the characters, storyline and structure hit me immediately.

The next morning, I put together a three-page treatment and then a month or so later I had a draft of the script. It took a minute to find the right producers, and then in April of 2016, the script went out to every buyer in town, which led to Fox buying the script. After that, I did a couple of passes for the studio, and then our director, Michael Dowse, came on board, had some more notes, and then it was a matter of finding the right cast for it, which is its own rollercoaster.

I give all the credit to Dowse, the producers, and our exec at Fox for believing in the project and helping Kumail, Dave, and the rest of the cast see how much fun this movie could be. Most things in development at studios will never make it into production, which really makes you beyond grateful when it actually comes together.

Adapting a book to a screenplay with The Art of Fielding: is it a different beast, or not necessarily? How closely do you work with the author of the material, if at all?

Adapting a book is a slightly different process than working on an original idea. For starters, you have to determine how much the producers/studio execs love the material. Sometimes a place might own the rights to a book, but they’ll tell the writer: “All we really like is the basic concept, so feel free to use creative license for the rest.” The Art of Fielding is one of my favorite books of all time—I read it several years before it even became a potential job—so the producers and director and I all agreed that we’d try to stay as true to the novel as possible.

Novels don’t always have a traditional three-act structure, which is more common in features, so the first major decision is figuring out how to structure it as a movie. I spoke with the author a few times during the outline phase, which was super helpful, but then with each draft, I found myself needing to distance myself from the source material. At some point you have to ask yourself: “Am I writing the best adaptation or the best movie?” And that might mean cutting things you adore from the book or creating an extra scene here or there to bridge a storyline.

With a novel like The Art of Fielding, the characters are so rich and so layered that the most challenging obstacle for me was figuring out how to keep the thing under 125 pages.

There have been a number of other scripts—Hacker Camp with Hasbro, Stranded for Sony—all features. All comedies or a variation thereof. Is TV on the horizon? Directing?

I think every screenwriter hopes to direct one day. I will likely cross that bridge down the line, but director jobs don’t grow on trees, so I will have to wait for the right opportunity. I actually feel like producing is a kind of a parallel skillset to screenwriting, since you’re almost always wearing a producer hat, asking yourself if a particular assignment is a good fit for you, or if a spec idea has a strong enough concept to find a studio home, having to interface with studio execs, managing expectations, etc.

TV is definitely something I’d like to get into and I have one project now that’s in its early stages, but just like features, it’s not easy to get a project off the ground, so we’ll just have to see how it goes.

Dream project to write. . . .

I love writing comedies, but I always find myself gravitating toward more serious subject matter. I’m currently writing a spec that’s pretty much a dream project. It’s based on a true story and it’s not remotely funny. Will it be any good? I’d like to hope so, but who the hell knows? It’s pushing me out of my comfort zone, which is something all writers should try from time to time. Be willing to suck every once in a while!

I guess for me a “dream project” is defined as anything that I’d be pumped to see on screen, so it’s a bit of a moving target as my tastes change.

Million dollar question—and we probably know the answer. There’s no real secret to all this, right? Part timing, part skill, part luck? Should be noted, too, that you’ve always been the most gracious and modest writer we’ve come across, and that truly goes a long way in maintaining and growing a flawless reputation in Hollywood.

However, beyond the intangibles, how does a writer get noticed and stay noticed? Meaning, we always hear about the ways writers can break in, whether it’s through a discovery platform like Script Pipeline or by catching the attention of someone in an influential position, but how do you keep the fire going once you have that spark?

No simple answer here. Work ethic is a huge part of it. There’s that famous quote: “I hate writing, but I love having written.” I’ve seen that with a lot of aspiring screenwriters. They fall in love with the romantic notion of being a screenwriter more than actually being a screenwriter. It’s a job. It’s a grind. And if you aren’t willing to generate new ideas and write new pages, you’re susceptible to having a short career.

Another part of the equation that helps is if you can avoid being an asshole. I know that sounds obvious, but the notes process on a script can be daunting and exhausting, and you’ll feel like people are trying to tear down all the great work you’ve done, but you have to keep your composure and keep the debate constructive. Remind yourself that everyone involved wants the best version of this script, so if there’s a disagreement, find a polite way to get to the heart of it without making enemies and burning bridges.

Lastly, I’d say you have to find a way to put yourself in a mental state where you’re willing to absorb the ups and the downs of the job. Don’t celebrate too hard on the highs, and don’t get too depressed with the lows. Be humble and recognize that anyone who’s willing to cut you a check is helping you extend this absurd fantasy of being a screenwriter.

Tripper Clancy

After working in the Fox Writers Studio in 2011, Tripper has gone on to write comedies and dramas of all shapes and sizes for Columbia Pictures, 20th Century Fox, Fox Animation, Paramount Animation, Hasbro, Amazon, and studios abroad. His original spec script, Stuber, sold to Fox in April of 2016 and stars Kumail Nanjiani and Dave Bautista. He is also adapting the New York Times’ bestselling novel, The Art of Fielding, for producer Mike Tollin and Mandalay Sports Media, with Craig Johnson directing. Tripper has written two foreign language films, including Wolfgang Petersen’s German bank heist comedy, Four Against the Bank, which released in 2016.

Tripper lives in Los Angeles with his wife, Maggie, and their daughters, Olive and Ruby.

Follow Tripper: Twitter

Dan Perlman

By | Exclusive Interviews

Winner of Script Pipeline’s 11th Great TV Show Idea Competition with the animated comedy pitch Pro Losers, Dan is a multifaceted talent–a writer, director, and stand-up comicScript Pipeline reviewed the pilot script based on the Pro Losers concept and gave it a Recommend, later circulating the material to industry partners. Dan’s pilot episode for his award-winning series Flatbush Misdemeanors also received high marks, with Script Pipeline execs calling it “a low-key comedy carving its own road within the genre. . . a sort of dry, eccentric hybrid of High MaintenanceAtlanta, and Louie.”

As a writer and comic, how did you first get involved in the entertainment industry? Was it writing first, then stand-up comedy? In either case, how have both of them fueled or shaped the other?

Since I was a kid, I wanted to do stand-up. Just took a while to work up the courage. I was more comfortable writing early on, because you didn’t have to be in front of people, but stand-up’s always been the goal. I started writing sketches in college, then post-college. It was just a way to work a different muscle and put out jokes that didn’t work in a stand-up context. I’d been doing stand-up for a couple years when I had an idea for a narrative show, That’s My Bus!, and just started writing it on spec, then worked on it with a friend, before a network took interest. Stand-up’s my favorite thing—that’s what I do every night. I love writing and making projects, too, so hopefully they can continue to complement each other at higher levels. It’s fun as you gain confidence to sorta cut the bullshit and get to what you actually want to talk about and want to spend time figuring out how to talk about—in both stand-up and in writing. You also get funnier, sharper, more present. . . they’re very different skill-sets, but each one helps the other, just keeping your mind active and creating.

You’re a Script Pipeline contest winner, so we’re obviously fans of your writing and soon became fans of Flatbush Misdemeanors, the series you co-wrote, co-directed, and co-produced. The challenges in content creation—whether it’s a short film, a pilot episode, or a feature—are clear. Budget and time being perhaps the most important. What did you learn from creating Flatbush? What were the “niche” hurdles that up-and-coming writer/directors might not realize? How do you best prepare?

Having no budget is obviously a huge hurdle, but it sorta forced us to be more creative. A lot of the elements that have become some of our favorite features of Flatbush—the chapter divides, the subtitles—came from us having to scrap other ideas that would’ve required a budget. Working with people you trust is so important. Kevin Iso (my collaborator, co-everything, on Flatbush) and I are both stand-ups. Every adult we cast is a stand-up, friends we know and love and have a sense of their voices, which helps with the writing. Stand-ups know who they are, so if you make them comfortable, they’ll make the end product better. Kareem Green, Aparna Nancherla, Drew Dowdey, Yamaneika Saunders, Kerry Coddett, Jeffrey Joseph, and more. They all did that. People we trust helped make the vibe on-set more comfortable as well, which just ups everyone’s performance.

There are going to be a million challenges, especially when you’re doing an independent thing on no budget. People’s schedules changing, location issues, all that. We write, direct, star, and produce it—it all leaves you spread very thin, handling the logistics in particular. The more help with that producing aspect, the more present you can be pre and during filming. Otherwise, you’ll realize on the way home an alt line that would’ve made the scene better, but you don’t have money or time for reshoots, so that’s it, onto the next. Heavily scripting the scene, running it with the actors as much as time allows before shooting, letting the lines settle into the actors’ voices so it feels natural, and making the vibe for the crew and cast comfortable on set. It’s all good experience. The more stuff I make, the more confident I feel in the process, because you’ve been through it before. Yeah, I’m just excited for that to continue.

The pilot you sold to Fox, That’s My Bus!, didn’t make it to series, however it must have represented a big step forward in your career. Did hitting a wall with a network (which, let’s be honest, is entirely common given the nature of television) change your approach at all with regards to the type of stories you write and develop? Or did this reaffirm that you were indeed on the right path?

It just gave me more motivation and direction. It meant a lot to get it to that pilot stage. That was the first pilot I’d ever written. To have FOX buy it—when no one knows who I am—was unexpected and cool, then to get to co-executive produce it as well. If/when I’m fortunate to be in a spot like that again, I’ll have gone through all of the steps before, so I’ll keep getting better at that side of it. The whole experience made me a better writer, creator, collaborator, and the fact that it didn’t go to series helped continue to motivate me in stand-up.

The only “change approach” sorta thing was co-creating/releasing Flatbush after that. When you work on a pilot for a network, you clear all these hurdles and work through all of these steps, and then, if it doesn’t go, no one gets to see the thing. It doesn’t exist. Putting out Flatbush, there was some feeling of, even if only 20 people see it, that’s something. We’re putting something out there and people can react to it and interact with it. It’s something that’ll exist. We’ve been fortunate to get some attention with Flatbush, awards and stuff [the first episode of Flatbush Misdemeanors became Oscar-qualified after winning the Grand Jury Award for Best Narrative Short at the Florida Film Festival]. The goal for this project is to make it a narrative half-hour for television, so we’ll see.

When coming up with new ideas and developing a series (or film), how much consideration do you give to the current marketplace? Do you pay attention to what’s selling, what’s thriving, what’s not getting picked up, and alter your course to suit the environment? Is it crucial for a writer to stick with the trends or try and, more or less, create a new trend?

The trends seem to change quickly and no one really knows what they want until everyone else wants it. If I altered course every time there was a new hit everyone was telling me to watch and tried to write a watered-down version of that, I don’t think I’d enjoy that process or grow much in terms of finding and honing my own voice.

I’d feel pretentious as hell if I said what writers should or shouldn’t do. All I can really speak to is my (limited) experience. I make the stuff I find interesting, that I’d want to see, stuff that I hope is funny and distinct and has its own feel. I like hitting different notes and pushing myself, both in stand-up and in writing/creating stuff. There’s so much I want to do and a lot of ’em will feel different, but hopefully it’ll all mesh together over my career. That’s the hope. And that I can build an audience of people who are into what I’m doing, as a stand-up who makes things. I don’t know. I have a lot more specific thoughts on this. . . if you’re reading this, nice reader, feel free to reach out if you’d like to talk about it more, otherwise we can just leave it here with me speaking vaguely on Script Pipeline’s site.

From your perspective—living in NYC, which, like Los Angeles, is one of the most competitive cities for creativity and talent—how does one make themselves seen and heard? No doubt you’ve seen uber-artistic people fall by the wayside. What’s the common denominator in the ones who succeed? How important is it to attract champions for your work and use that as both motivation and another stepping stone forward?

I’m not sure there is much of a common denominator. Sometimes it feels like complete anarchy out here. I just keep doing stand-up and making things and pushing myself to go further and not get complacent. Yeah, like you said, there are so many crazy funny, talented people who fall off. Talent feels kinda meaningless. It’s just relentlessness and some internal drive that can put you in a better position, maybe. And ideally you can find some enjoyment in the process from internal growth rather than external validation only. That’s easier said than done, but I give it a shot. Feeling that I can articulate an idea in stand-up better than I could have a year ago, fleshing out a premise on-stage or in a script, getting a better reaction for something that actually feels relevant to you—that’s all fuel.

I set goals, short and long-term, internal and external. That might be a cliche answer. If someone else said that to me when I was first starting, I’d probably think they were blowing me off, but that’s really all there is to do. Finding people who really believe in what you’re doing is rare and hugely beneficial, and I’m grateful whenever I’ve found that.

Oftentimes it can feel like no one’s listening. If you find people who listen and hear what you’re saying and seem to get you, don’t take that for granted.

Dan Perlman

Dan is a stand-up comedian and writer from New York City, performing stand-up every night at some of the top clubs and alternative rooms in the city, headlining Caroline’s on Broadway in 2018. Dan created and wrote an animated series, That’s My Bus!, which received a pilot order from FOX after winning 1st place at the Montreal Just For Laughs Festival. Dan has appeared on TruTV, MTV2, and as a cast member on MTV’s Vidiots. As a writer-filmmaker, he has had four projects featured in the New York Television Festival, most recently the award-winning comedy series Flatbush Misdemeanors in which he co-stars and co-writes/directs. On radio, Dan was a writer for SiriusXM’s Bennington and Comedy Contributor for Neil deGrasse Tyson’s StarTalk Radio. Dan wrote for the 2017 WGA Awards, hosted by Lewis Black, and the 2018 WGA Awards, hosted by Amber Ruffin. As a stand-up, Dan’s festival credits include New York Comedy Festival, SF Sketchfest, Boston Comedy Festival, Limestone Comedy Fest, and Finger Lakes Comedy Competition (2015, 1st place).

View the first episode of Flatbush Misdemeanors on Vimeo.

Follow Dan: Twitter | Instagram

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.

Follow Jay: Twitter