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|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? Star Wars underwater? Die Hard on a space station? Perfect. Go epic.
All subgenres or variations of action and adventure included, such as mystery, martial arts, and crime, as well as any mix of genres (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 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 entirely 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. Either way, 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 unadulterated fright (i.e. The Exorcist).
The key is catching us off-guard with plot twists that stray from the cliché, characters we can still relate to–well, usually–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.
This category 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.
|Original half-hour sitcoms, one-hour pilots, TV movies/mini-series, and pitches for television series. Live-action or animation. No "rating" limitations, as entries can be intended for network or cable television. So don’t hold back for the sake of appropriateness (you've seen Game of Thrones, right?). 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.
|Includes fiction, non-fiction, and graphic novel adaptations for film and television. This could be your personal published or unpublished work, or another piece of material (as long as you legally own the rights). We'll also accept treatments and proposals for adaptations based on any of the aforementioned material. Any length of synopsis or type of pitch presentation is fine--whatever best illustrates your project.
Public domain stories (i.e. Shakespeare, anything by Mark Twain, the Wizard of Oz series) are an option, too. Surely, there are a few unknown Grimm fairy tales or an incredible true story begging to get made. . . .
|For this category, it’s not entirely about the writing alone--visuals and directing ability are taken into consideration as well. Accepted submissions include any type of narrative or documentary web series or short, including director reels. Live-action or animation, all genres accepted.
Anything unique and compelling will fare well–something grabbing the viewer’s attention, whether it’s funny, dramatic, inspiring, or simply has amazing special effects and visuals.
Only restriction: no full-length feature films. All 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, media content, and adaptations.
ABOUT THE FESTIVAL
The First Look Project, presented by Script Pipeline, is intended to fulfill the current requests of studios and top-tier production companies by finding new, high-concept material that can be adapted for film or television among four categories: Feature Screenplay (4 genre divisions), Teleplay, Media, and Adaptation.
With the support of Vinson Films, Green Hat Films, Lakeshore Entertainment, Vertigo Entertainment, Benderspink, and Paradigm, the goal of the competition is to present the best scripts and ideas to major companies. The winner in each category receives personal development assistance from Script Pipeline’s executive team, followed by meetings with producers to discuss potential production.
Regarding judging criteria, all entries must be considered “studio-level”–in other words, concept, writing ability, and a stellar understanding of genre will take precedence. Any genre, any budget, and anyone can enter—both amateur writers and those who have been produced or published.
This is also an international competition, and writers worldwide are welcome to submit.
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 projects Divergent, Ninja Turtles, and GI Joe 3. His script Killing Season (formerly Shrapnel) was produced and released last year, starring Robert De Niro and John Travolta.
Pipeline contest alum Tripper Clancy (Benderspink) sold The Ambassadors to 20th Century Fox, as well as the pitch Winter Break to QED International. Tripper is currently writing the animated comedy Shedd for Paramount and has multiple projects in development with studios.
In recent years, numerous writers have found representation with companies such as Benderspink, Madhouse Entertainment, WME, CAA, 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, in addition to discovering new talent and scripts that would otherwise have limited chance for exposure.
To view recent success stories and other Script Pipeline competitions and services: ScriptPipeline.com.
Chadwick Clough (Contest Director)
; Matt Misetich (Contest Coordinator)
- The material is not CURRENTLY under a representation, option, or purchase agreement.
- 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.