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Los Angeles Times Interviews Script Pipeline’s CEO Chad Clough – 2018

By | Press, Slider

In the January 19th, 2018 edition of the LA Times, Chad Clough, Script Pipeline Executive and CEO of Pipeline Media Group, was quoted on the state of the spec market: “Right now, the industry wants original voices. . . . There’s still a need for an excellent script.”

Writer Chris Erskine, gleaning interviews from Clough, screenwriter Nicholas Kazan (Reversal of Fortune), and producer Elizabeth Cantillon, commented on the decline of the spec script and how a resurgence may be forthcoming:

“Clough, of Script Pipeline, says the spec market could be—like old vinyl or vintage guitars—a thing of the past and the future. He cites an increasing voracious marketplace, as evidenced by Netflix’s pledge to produce 80 new original movies in 2018. So could the corpse soon rise from the dead, for a surprise Hollywood ending, even a fresh life?”

Read the full LA Times article

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Script Pipeline’s Chad Clough Interviewed with “Snow White” Scribe

By | Press, Slider

Script Pipeline CEO and producer Chad Clough alongside writer Evan Daugherty discuss how Script Pipeline helped launch Evan’s career, leading to the sale of Snow White & the Huntsman and Evan co-writing the 2014 hit films Divergent and Teenage Mutant Ninja Turtles.

The two were interviewed by The Script Reporter’s Joshua Stecker.

Watch the full video here.

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Creative Screenwriting Reviews Script Pipeline Competition in 2006

By | Press

CSArticle

by Peter Clines
April, 2006

SCRIPT P.I.M.P. (aka Script Pipeline) SCREENWRITING COMPETITION

Now heading into its third year, the Script P.I.M.P. (Pipeline Into Motion Pictures) Screenwriting Competition sprung out of a recurring complaint Chadwick Clough was hearing in his online community. “Our writer clients continued to express their frustration with smaller screenplay competitions and we set out to do it right,” says Clough, who also writes CS’s “Production Co. Spotlight” column. Clough’s experience with script consulting and production companies, along with his management position at Script P.I.M.P., convinced him he could also be a contest director.

“Before launching the Script P.I.M.P. Screenwriting Competition, I entered dozens of ‘screenwriting contests’ as a test of the entire process,” he explains. “We approached A-level production companies and agencies to not only consider the finalists but become involved in the judging process of the competition. Each of the last three years, Script P.I.M.P. has had over twenty A-level companies reviewing submissions. Few other contest provide this much exposure to this many writers.”

Recognized as a cutting-edge competition, Script P.I.M.P. allows for online submissions and guarantees that each script will receive at least two reads from a judging panel of agents, development directors, and managers. All finalists become part of the extensive Script P.I.M.P. online community and get a free, five-year membership to their Writers Database (a massive collection of contact information, production company listings, and general industry facts). A Writers Workshop is also available to help develop scripts even further.

Script P.I.M.P. winners have been doing as well as the contest itself. One of 2003’s winning scripts, Slammin’, by Aaron Metchik and Joseph Garner, was purchased less than six months later by Warner Bros. for six figures. Over the past two years, another half-dozen finalist scripts have been optioned. “If you look at our winners over the past three years, the material has been diverse, eclectic, and, in our eyes, fresh and original. We are not simply looking for the big commercial movie script that we can peddle to the studios,” says Clough. “In a nutshell, good writing is good writing.”