OPEN CALL FOR ENTRIES • Select a Category of Entry to continue.
|Feature Screenplay - Action/Adventure
|No budget restrictions, so the bigger the better. Have the next Raiders of the Lost Ark? A multi-layered adventure that would make a fantastic “tentpole” project? Perfect. Go epic. All variations of action and adventure included, such as mystery, period, and crime, as well as any mix of genres where action/adventure is the primary genre (family adventure, action/comedy, etc.) are accepted.
|Feature Screenplay - Comedy
|Originality in premise can make a huge difference. Combine that with great writing, and the script will certainly stand out from the pack. Naturally, dialogue has to be funny, but think fresh even with the jokes. Something unique and humor that will appeal to broader, international audience gets huge bonus points. Subgenres can include romantic comedies, black comedies, parodies and satire, musical comedies, and dramedies. Anything where humor is the driving force behind the plot.
|Feature Screenplay - Science Fiction / Fantasy
|Bring out your inner Tolkien or JK Rowling and go way, way outside the box–or outside this planet. Fantasies tend to ditch Earth in favor of extraordinary new settings and characters, whether it’s mythological, supernatural, or simply a fantastic spin on an otherwise normal set of circumstances.
As long as the story primarily features Fantasy or Sci-fi elements, any subgenre is possible. For instance, a sci-fi/comedy like Back to the Future. Keep it completely unreal and limitless in scope.
|Feature Screenplay - Horror / Thriller
|Wide open. Gore, ghosts, monsters, insane ax-wielding maniacs, or a combination of all. Anything provoking a quick scare, or like some horrors, a lasting impression of creepiness (i.e. Rosemary's Baby). Also accepts horror/sci-fi like Alien, thriller/crime such as Prisoners, and other hybrids of the genre, as long as the central plot sticks to horror or thriller.
The key is catching us off-guard with plot twists that stray from the cliché, characters we can still relate to, and most importantly, an overarching idea that preys on natural fears. Execution (no pun intended) is also key. One of the easiest genres to conceptualize, but one of the toughest to make stand out.
|Original half-hour sitcoms, one-hour pilots, TV movies/mini-series, and pitches for television series. Live-action or animation. Entries can be intended for network or cable television, so don’t hold back. Conceptually “big” series ideas and pilots will be your best bet.
If you’re submitting a pitch or idea, we require a complete package–either a detailed treatment of the show, or a series bible. Submissions more than a page or so, therefore, are preferred. Spec scripts of existing shows or reality concepts will not be accepted. MUST be for an original, scripted series.
|Accepted submissions include any type of narrative or documentary web series or short. Live-action or animation, all genres accepted.
For this category, it’s not entirely about the writing alone. Visuals and directing ability are taken into consideration as well. Anything unique and compelling will fare well--something that catches the viewer’s attention, whether it’s funny, dramatic, inspiring or simply has amazing special effects. Only restriction: no full-length feature films. Submissions to this category must be “short-form,” as judging will focus exclusively on the content’s potential for film or television adaptation.
MISSION & OBJECTIVE
To discover innovative, marketable, high-concept projects for studio-level development, including feature screenplays, original TV material, and media content.
ABOUT THE FESTIVAL
The 5th Annual First Look Project fulfills the requests of major studios, leading Hollywood production and management companies, and agencies by finding fresh, high-concept material across three main categories:
Screenplay – four genre divisions
Teleplay – original pilots, any genre
Media – short films and reels
Supported by Benderspink, Energy Entertainment, Darko Entertainment, Lakeshore Entertainment, UTA, and Paradigm, the competition presents the best scripts and filmmakers to major companies. One winner in each category receives personal development assistance from Script Pipeline’s executive team, followed by meetings to discuss potential production. We will also select up to 5 finalists for each division.
Unlike Script Pipeline’s other main screenwriting and TV writing competitions, entries for First Look must be considered “studio-level.” So the originality of the concept, writing ability, and a strong understanding of genre and the marketplace will take precedence.
Over the past 16 years, numerous Script Pipeline contest alumni have found elite representation and gained crucial introductions to otherwise impossible-to-reach execs. The result: $5 million in specs sold from Pipeline competition finalists and “Recommend” writers since 2003, in addition to several produced scripts in the past few years.
Our intent with The First Look Project is to circulate exceptional material to studios, support our writers in the long-term, and help launch careers.
ABOUT SCRIPT PIPELINE:
Launched in 1999, Script Pipeline has since become an industry leader in connecting writers with studios, producers, agents, managers, and entertainment executives, resulting in spec sales totaling $5 million over the past decade.
The company helped launch the career of Evan Daugherty, writer of Snow White and the Huntsman, and most recently, adaptations of major studio franchises Divergent, Ninja Turtles, and GI Joe 3. His script Killing Season (formerly Shrapnel) was produced and starred Robert De Niro and John Travolta. Evan is writing and directing a feature for Dimension Films, the new Tomb Raider reboot, and has multiple TV projects in development at ABC, NBC, SyFy, and other networks.
Script Pipeline contest alum Tripper Clancy (Benderspink) sold two projects to studios and is currently writing the animated comedy Shedd for Paramount, as well as the comedy/adventure Stranded for Sony. His Script Pipeline contest-winning script Henry the Second is set for production and will be released in 2017.
In recent years, numerous writers have found representation with companies such as Benderspink, Madhouse Entertainment, UTA, and other major agencies and managers as a direct result of Script Pipeline’s facilitation.
Through The First Look Project, Script Pipeline continues to serve a crucial role in funneling quality film and TV material to Hollywood, discovering new talent and scripts that would otherwise have a limited chance for exposure.
To view recent success stories and other competitions: ScriptPipeline.com.
Chadwick Clough (Contest Director); Matt Misetich (Contest Director)
- The material is not CURRENTLY under a representation, option, or purchase agreement. Work that was formerly optioned, but not produced, is accepted.
- Preference may be given to material that has not seen wide circulation.
- Multiple submissions to the same category or additional categories is accepted.
TERMS AND CONDITIONS
- Entries must fall into one of the categories specified and be intended for a broad, studio market.
- The material is wholly original, or you retain the rights to the work submitted and can submit proof of such.
- Must be at least 18 to enter.