Original Script Reading of BOJACK HORSEMAN TV Show, by Cameron Chapman

Set at the end of Season Three, BoJack takes his new philosophy of isolation literally when he’s accidentally kidnapped by a health and wellness cult.

Genre: Comedy, Animation

CAST LIST:

Narrator: Laura Kyswaty
BoJack: Rob Notman
Kevin Spacey: James Boutcher
Buzz: Luke Robinson
Ethan: Brandon Knox
Olivia: Lindsay Rolland Mills
Sabrina: Premika Leo
Lizzie: Julie McCarthy

 Get to know the writer:

What is your screenplay based on the TV show about?

This BoJack Horseman Spec Script picks up right at the end of Season Three when BoJack is accidentally kidnapped by a health and wellness cult and their charismatic leader, Kevin Spacey. While unknowingly trapped in their desert compound he explores his newfound philosophy of isolation while deep-diving into an old episode of his former sitcom “Horsin’ Around”.

I tried to connect BoJack closer with his character from “Horsin’ Around” through the idea that they both manage to surround themselves with a supporting cast, mainly, to not allow themselves to be truly alone. When he flees to the desert at the end of the third season I think there’s this notion that BoJack needs to work on breaking down all the emotional barriers he’s built up over the years but I liked the idea that, in true BoJack self destructive style, he decides what he needs is the opposite. That he needs the isolation and maybe in his own BoJack way, he’s not wrong?

How does this screenplay fit into the context of the TV series?

When I wrote this I envisioned it as essentially Episode 13 of Season 3 of the series, picking up right where we left off, BoJack in the desert, alone, watching the herd of wild horses running off in the distance. Of course since then Season 4 has been released so I would have assumed it’s context within the full arc of the series would be obliterated, however with a couple tiny tweaks I can still see it slipping in quite nicely between the first and second episodes of Season 4 which starts off with BoJack still AWOL.

How would you describe this script in two words?

Alone together, (question mark)…

What TV show do you keep watching over and over again?

Obviously BoJack Horseman, I usually crush it in a hurry the day it’s released but they created such a rich, fast paced show and it’s wall to wall jokes so it’s always worth going back over again and again to pick up more details. I also love Man Seeking Woman, Rick & Morty and Silicon Valley. This past year Search Party, Fleabag and Catastrophe were especially great. There’s so much great TV on right now in all genres, on so many platforms, I’m just devouring it all!

How long have you been working on this screenplay?

I wrote this in 14 days, start to finish. Hahaha! I received an email about applying to a writing program at an animation studio and part of the application process was to write a Spec Script off their list of approved shows. I saw BoJack on there and thought, yup, this is happening! Unfortunately the deadline to apply was in 14 days but somehow I finished and submitted in time. It was the first Spec I’ve ever written but it all came together fairly quickly.

How many stories have you written?

I’ve written several short and full length screenplays and am currently about six episodes into a Series that, I suppose, would fall into the 1 hour drama category. I work full time in the Film Industry mainly as a Production Coordinator so I try to write as much as I can. Of course, anyone familiar with the hours we work in film might question my sanity but this is why we do it. Right?! We’re here to tell stories no matter how self destructive, Hahaha!

What is your favorite song? (Or, what song have you listened to the most times in your life?)

I’ve always said that “Rainbow Connection” by Kermit the Frog is my favourite song of all time. There’s a beautiful cover by Willie Nelson too.

What obstacles did you face to finish this screenplay?

Well as I said above, I was working full time, 12-14 hour days on a Series for SyFy called Wynonna Earp when I wrote this and I remember being on the ice at hockey one night thinking, “Oh what if this happened in BoJack or what if that happened” or whatever. Hahaha! I also have an amazing Wife and two incredible Children so I would say the hardest part was not sleeping for two weeks.

Apart from writing, what else are you passionate about?

I’m Canadian so naturally I’m a huge Hockey fan but I love Baseball, Music and Film, anything Star Wars… I love Comedy and Animation. My Family is the most important thing in the world to me so every chance I get to share one of my passions, including my writing, with them is very special.

What influenced you to enter the festival? What were your feelings on the initial feedback you received?

I had entered this same Spec Script into a different contest and it luckily performed quite well, making it to the semi-finals. There was only one other Spec in that group of scripts and I noticed it was one that had previously won this Festival. When I saw that the reward for winning was a live reading I couldn’t not enter it. The value as a writer of hearing your script read aloud in the hands of professional actors is too immense and can’t be overstated. It was a no brainer. Plus I was really looking forward to seeing who got cast as a man with the head of a horse.

The feedback was unexpectedly thoughtful. I was bracing to get raked a bit for writing such a BoJack-centric BoJack episode which I assume is not the best way to tackle a Spec Script but I feel like the feedback I received understood most of the themes and what I was going for. That was a pleasant surprise which really helped me to push forward on some other projects I’m working on and to trust myself going forward.

Any advice or tips you’d like to pass on to other writers?

Share! Don’t be overprotective of your ideas or your writing. You’re not alone in the universe, you’re not the only one scratching out crappy dialogue at 3:00am on a Sunday. Find like minded people either in your hometown or online and share, work together, go away and write, come back together and give feedback. Talk about it, work it, be open, make it better.

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Producer: Matthew Toffolo http://www.matthewtoffolo.com

Director: Kierston Drier
Casting Director: Sean Ballantyne
Editor: John Johnson

Camera Operator: Mary Cox

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Original Script Reading of QUANTICO TV Show, by Leslie Lyshkov

Watch the September 2017 Winning Screenplay:

In the present day, both Alex and Ryan are assigned to the American Southwest. Alex to offer security to a fringe gubernatorial candidate. Booth to infiltrate a dangerous alt-right militia. In the flashback, Owen’s CIA trainees are assigned to launder money out of foreign country back to the United States.

Genre: Crime, Drama, Thriller, Mystery

CAST LIST:

Narrator: Laura Kyswaty
Alex Parrish: Premika Leo
Ryan: James Boutcher
Harry/Putin: Rob Notman
Eddie: Brandon Knox
Popeye: Luke Robinson
Abigail Torres: Julie McCarthy
Shelby: Lindsay Rolland Mills

Get to know the writer:

What is your screenplay based on the TV show about?

Because my teleplay uses the flashback/flash-forward format of season one and two Quantico, my A-story and B-story occupy separate time lines. The flashback B-story is a “typical” episode at The Farm where Owen Hall tasks the CIA trainees to complete a training mission within a single episode. The A-story conforms to the series multi-episodic format for the flash-forward sequence. In this case, a new setup for a new flash-forward sequence. I saw no other way to write a Quantico spec within the second season format.

How does this screenplay fit into the context of the TV series?

Quantico’s format and principal cast are expected to change for Season 3. However this spec remains a continuation of Season 2. Because no Season 3 episodes have aired yet, I have no idea how this spec will fit within the series after (S3:E1) airs.

How would you describe this script in two words?

Documentary-Fiction. Fictional setups written months earlier are being caught up by current events. The WILDsound Festival can attested to this. This teleplay was submitted in May and Charlottesville occurred the month AFTER the teleplay was selected by WILDsound.

What TV show do you keep watching over and over again?

I like the original UK version of Life on Mars for its over-the-top characters. At present, I am binge-watching The Wire in preparation of tackling my first pilot teleplay.

How long have you been working on this screenplay?

Six months total. I began to binge-watch Quantico a year-ago because it seemed a good prospect for a spec teleplay. I spent two months outlining a story, three months writing the teleplay’s first draft, and one month rewriting and polishing its second draft. All writing was done in spare time. The script reflects somewhat under 200 actual hours labor. It could’ve been finished in four weeks if it had been a full-time project.

How many stories have you written?

Not enough. My portfolio consists of two feature length screenplays, an under-feature length 60-some page thriller, and this spec episodic. My goal for 2018 is to write a pair of 1-hour television pilots.

What is your favorite song? (Or, what song have you listened to the most times in your life?)

George Gershwin’s Summertime. It’s not my all time favorite song but I do like it a lot and I’ve heard so many cover versions by so many artists that there couldn’t be a song I’ve heard more often. For anybody unfamiliar with jazz, the rock band Sublime’s Doin’ Time is a cover of Gershwin’s Summertime.

What obstacles did you face to finish this screenplay?

This was easy. Character and tone are the toughest things for me to write. In this episodic spec, rather than create characters and create a tone, I mimicked Quantico’s characters and its tone. Regrettably, my talent for mimicry clearly exceeds that for creativity.

Apart from writing, what else are you passionate about?

Bicycling and swimming. I am not particularly passionate about what a writer should be passionate about such as: reading, film, or television. My favorite part of writing is typing THE END at the very bottom of the last page.

What influenced you to enter the festival? What were your feelings on the initial feedback you received?

I figure that a spec teleplay exists only to get exposure and that WILDsound’s table reading is that kind of exposure.

You entered your screenplay via Withoutabox. What has been your experiences working with the submission platform site?

Withoutabox is the easiest-to-navigate submission platform for the technically challenged, such as myself.

Any advice or tips you’d like to pass on to other writers?

I’m convinced that, for the vast majority of us, writing a feature script is an exercise in futility. Although I don’t share the same pessimism toward television writing at this moment, I have no idea how ‘ll feel about it a year from now.
Don’t be in too big a hurry and wait until you have a polished draft before submitting to a writing competition. The worst thing that can happen with a script is to have a rough-draft make the finals or place third when a polished draft might have actually won.

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Producer: Matthew Toffolo http://www.matthewtoffolo.com

Director: Kierston Drier
Casting Director: Sean Ballantyne
Editor: John Johnson

Camera Operator: Mary Cox

TV PILOT Screenplay – Digital Natives by Adam Preston

Watch the August 2016 Winning TV PILOT screenplay.

Digital Natives  by Adam Preston

Genre: Comedy, Sitcom

When it all goes wrong for Phil Burrows he moves to London’s trendy Shoreditch district to reinvent himself as an on-the-pulse hipster in the place where it’s all happening. Not so hip or on-the-pulse is the fact that this involves moving in with his gran, Alice, who has lived there since year dot. To his horror Phil finds that a strange, vain, deluded twentysomething vlogger has wormed his way into her affections and now occupies the spare room. But horror turns to hope – could the technologically savvy Sam Fazackalee hold the secrets to his success?

CAST LIST:

NARRATOR – Becky Shrimpton
PHIL – Lorne Hiro
ALICE – Susan Wilson
SAM – Rais Muoi
QUILLON – David Straus
GEORGE – Stephen Flett
JOHN – Adam McNamara
VERA – Laura Darby

Get to know the winning writer Adam Preston:

What is your TV Pilot screenplay about?

Three characters from three different generations are shacked up in a house in Shoreditch, East London, the UK’s hotbed of innovation and new-tech. There they try to pursue their various dreams by doing what everyone is doing around them – using technology and the internet – but for them it never quite works out…

Why should this screenplay be made into a TV show?

There’s this assumption that everyone is comfortable with the rapid rate of technological development – but we’re human beings not robots and a lot of innovation leaves people feeling anxious or baffled. Digital Natives will be a release valve for all this pent up anxiety – meanwhile the age of robotics is only just getting started…

How would you describe this script in two words?

New-tech farce

What TV show do you keep watching over and over again?

Seinfeld

How long have you been working on this screenplay?

About a year. I made a short in 2015 called The Last Post – you can watch the trailer here: https://youtu.be/WjYFg1biT8Q This pilot expands on those themes

How many stories have you written?

Too many to count but I am very proud of a screenplay called The Second Coming which now has an Oscar nominated director attached.

What motivated you to write this screenplay?

There’s this huge gulf between my parents generation with their total bafflement with new technology and people in their 20’s who don’t even think of themselves as living in an age of technological development – for them it is just life. Then stuck in the middle is the generation (now in their 30s) who saw all this stuff come in. They have one foot in and one foot out of it. These disparities struck me as offering that essential ‘comic gap’ where world views collide to create laughs. I wanted to write a comedy that enabled me to have fun with that disparity of experience and understanding.

What obstacles did you face to finish this screenplay?

It’s hard to justify spending time writing stuff on spec but I felt very inspired and just made the time.

Apart from writing, what else are you passionate about?

I’m fiercely passionate about directing too.

What influenced you to enter the festival? What were your feelings on the initial feedback you received?

The same organization selected my screenplay Misprints for a reading and the intelligent feedback I got from that was very valuable. Whatever you are writing you need feedback but with comedy it is absolutely essential. The LA TV Festival feedback on Digital Natives was right on the money – offering some great ideas and a wonderful boost of encouragement. The draft I did following the feedback was a substantial improvement.

Any advice or tips you’d like to pass on to other writers?

I’m reluctant to give advice at this stage of my career but one thing I can say for sure is that it helps to network and develop good contacts in the indust

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Director/Producer: Matthew Toffolo http://www.matthewtoffolo.com

Casting Director: Sean Ballantyne

Editor: John Johnson

TV Pilot Sitcom Reading – REC’D by Chris Courtney Martin

In the pilot, we meet our hero Petey and her friends. Petey has to deal with training this guy who broke her heart. Her best friend, Leya, has to prepare an assignment while on her shift. We get sucked into this bizarre Twilight Zone that is work-study. It’s like a half-step between being a kid and an adult because you’re balancing school and work. When you’re a kid, school is always supposed to come first. When you’re an adult, other than your family, work is top priority. The pilot introduces us to that world. We also get to see Petey make an adult decision in how she handles Ryan, this guy she slept with last year. She can be petty or she can be professional, that’s where this decision-making comes into play again.

Watch the March 2016 TV Festival Winner

Watch REC’D TV PILOT:

CAST LIST:

NARRATOR – Sean Ballantyne
RYAN – Rob Notman
LEYA/PETEY – Alicia Payne
LINDA – Val Cole
DAMIAN – Kari-Michael Helava
GUY – Ucal Shillingford

Get to know writer Chris Courtney Martin:

1. What is your TV Pilot screenplay about?

In the pilot, we meet our hero Petey and her friends. Petey has to deal with training this guy who broke her heart. Her best friend, Leya, has to prepare an assignment while on her shift. We get sucked into this bizarre Twilight Zone that is work-study. It’s like a half-step between being a kid and an adult because you’re balancing school and work. When you’re a kid, school is always supposed to come first. When you’re an adult, other than your family, work is top priority. The pilot introduces us to that world. We also get to see Petey make an adult decision in how she handles Ryan, this guy she slept with last year. She can be petty or she can be professional, that’s where this decision-making comes into play again.

2. Why should this screenplay be made into a TV show?

I think it’s important to show black girls getting to be silly and have fun. Just about all the media surrounding black women is very serious and intense. It feels like we’re expected to grow up faster than everyone else. There really is no Broad City or Two Broke Girls for us. Why can’t we have crazy shenanigans and learn from our stupid mistakes? I feel like it would be refreshing and maybe a little therapeutic for us to get a show where we’re just living life and no one is getting murdered or having extramarital affairs and all that other heavy stuff.

3. This story has a lot going for it. How would you describe this script in two words?

Millennial shenanigans.

4. What TV show do you keep watching over and over again?

There are very few shows I can watch over and over but Bob’s Burgers is so fun that I can just chill out and watch it while I’m having a meal, even if I’ve seen the episode before. I can’t even do that with some of my other favorite shows because I usually can’t stand seeing re-runs.

5. This is a very tight, emotionally engaging and fun screenplay. How long have you been working on this screenplay?

Conceptually? Since my first year of college, which started in 2010. This is semi-autobiographical and some of the characters really aren’t too far off base from the people who inspired them. My Freshman year roommate and I both worked at the Rec Center and there were so many unique personalities we loved to lampoon that we were like, “This could be a show!” The first time I put anything down on the page was last year.

6. How many stories have you written?

So many. I’ve been writing since I was a kid. As far screenplays that I consider ready-to-sell, I have one pilot, two features and a short. But I’ve got countless other things in various stages of completion.

7. What motivated you to write this screenplay?

This was actually meant to be my entry for the HBOAccess Writing Fellowship last year, but the submissions capped before I could send it in.

8. What obstacles did you face to finish this screenplay?

Time. Before I decided to move to California to pursue screenwriting full-time, I was emotionally sapped from my day job. Finding the energy to get something on the page was the hardest part.

9. Apart from writing, what else are you passionate about?

I care a lot about activism, social justice. I really enjoy any opportunity to mentor and teach people, especially when it comes to screenwriting.

10. What influenced you to enter the festival? What were your feelings on the initial feedback you received?

I actually did the First Scene festival not too long and my scene got picked. I loved the festival’s style of feedback, and the entry fees are very reasonable. I figured I’d try my luck again.

11. Any advice or tips you’d like to pass on to other writers?

I like to say, “Write a script you could marry.” That’s how I answered this question when Loveless was picked, but I realized that was extremely vague. What I meant was, find a story that means so much to you that you have to tell it no matter what. No matter how many re-writes, no matter how long you’ve had writer’s block. Write a story that you’ll be willing to work on as long as it takes.

Director/Producer: Matthew Toffolo

Editor: John Johnson

Casting Director: Sean Ballantyne

Submit your TV Pilot to the Festival Today: https://tvfestival.org/

TV SPEC of the show THE BIG BANG THEORY by David Minaskanian

Being able to see the script performed by professionals. The feedback was very helpful and I highly recommend others enter the festival.

The Big Bang Theory was the February 2016 Winning TV Spec Screenplay

Watch THE BIG BANG THEORY by David Minaskanian

CAST LIST:

NARRATOR – Sean Ballantyne
PENNY – Kelci Stephenson
SHELDON – Jarrid Terrell
LEONARD – Chris Reid-Geisler
WOLOWITZ – Sean Kaufmann
KOOTHRAPPALI – Sasha Rajamani
MARY COOPER/AMY – Allison Kampf

Get to know writer David Minaskanian:

1. What is your screenplay based on the TV show “Big Bang Theory” about?

Sheldon’s mom visits for his birthday and accidentally reveals that his grandmother Meemaw passed away. Needless to say, Sheldon does not take it well.

2. How does this screenplay fit into the context of the TV show?

Sheldon’s grandmother had been mentioned for years but never made an appearance, so I wanted to keep in line with that. But now that she was just on the show, I think the script still works if you imagine it as a future episode.

3. This script has a lot going for it. How would you describe this script in two words?

Required reading

4. What TV show do you keep watching over and over again?

Saturday Night Live

5. This is a very tight, emotionally engaging and fun screenplay. How long have you been working on this screenplay?

I wrote the script in 2013. It took about three weeks, and I’ve been entering it in contests since then. It’s placed at the Austin Film Festival, the Final Draft Awards, and ScriptapaloozaTV, among others.

6. How many stories have you written?

Many sketches, screenplays, TV pilots, and spec episodes. One of my TV pilot scripts was recently optioned by producer John Murlowski.

7. What motivated you to write this screenplay?

I’ve been a big fan of “The Big Bang Theory” since it started. This was the third “Big Bang” spec that I wrote. Sheldon is a very unique character and I enjoy writing in his voice.

8. What obstacles did you face to finish this screenplay?

I spent a lot of time on Sheldon’s speech at the end to make sure it was how I wanted it.

9. Apart from writing, what else are you passionate about?

Mrs. Fields Cookies

10. What influenced you to enter the festival? What were your feelings on the initial feedback you received?

Being able to see the script performed by professionals. The feedback was very helpful and I highly recommend others enter the festival.

11. Any advice or tips you’d like to pass on to other writers?

For comedy, write what amuses you. If others like it, great. If they don’t, it’s not the end of the world.

 

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Director/Producer: Matthew Toffolo
Casting Director: Sean Ballantyne
Editor: John Johnson

 

TV PILOT Table Reading – MINDWALKER by Thorsten Loos

Andrew Kinderman, a loner and scifi geek without any friends, witnesses the murder of his neurobiology professor and is shot by the killers as well. His mind is catapulted out of his now comatose body and is ‘anchored’ to the only person he really cares about: The actress of his favourite mystery TV show, Australian beauty Anna Chastings. She is terrified when Andrew’s spirit manifests in her villa and thinks he’s a hallucination caused by too much work, but soon realizes this guy is really in trouble. When he accidentially overhears her boyfriend who is cheating on her, he manages to convince her that he is real by telling her about it. She starts to feel sympathy for him and agrees to fly back to New York to help Andrew return back to his body. As soon as they start to call hospitals in order to find Andrew’s body, they catch the attention of the FBI which is investigating the case and Anna ends up as a major suspect. Meanwhile, we learn Andrew’s professor had been working on some kind of mind control / precognition technology. A mysterious organization has stolen his research and is trying it on test persons. Part of the conspiracy is senior FBI agent William Curtis who doesn’t like the extra attention caused by a celebrity involved in the case he is trying to cover up.

MINDWALKER is the winning TV Pilot screenplay from February 2016.

MINDWALKER by Thorsten Loos

CAST LIST:

NARRATOR – Sean Ballantyne
ANNA – Allison Kampf
ANDREW – Sean Kaufmann
SAMANTHA – Kelci Stephenson
WILLIAM – Sasha Rajamani
LEROY – Chris Reid-Geisler
ETHAN/THOMAS – Jarrid Terrell

Get to know writer Thorsten Loos:

1. What is your TV Pilot screenplay about?

Andrew Kinderman, a loner and scifi geek without any friends, witnesses the murder of his neurobiology professor and is shot by the killers as well. His mind is catapulted out of his now comatose body and is ‘anchored’ to the only person he really cares about: The actress of his favourite mystery TV show, Australian beauty Anna Chastings. She is terrified when Andrew’s spirit manifests in her villa and thinks he’s a hallucination caused by too much work, but soon realizes this guy is really in trouble. When he accidentially overhears her boyfriend who is cheating on her, he manages to convince her that he is real by telling her about it. She starts to feel sympathy for him and agrees to fly back to New York to help Andrew return back to his body. As soon as they start to call hospitals in order to find Andrew’s body, they catch the attention of the FBI which is investigating the case and Anna ends up as a major suspect. Meanwhile, we learn Andrew’s professor had been working on some kind of mind control / precognition technology. A mysterious organization has stolen his research and is trying it on test persons. Part of the conspiracy is senior FBI agent William Curtis who doesn’t like the extra attention caused by a celebrity involved in the case he is trying to cover up.

2. Why should this screenplay be made into a TV show?

Because I’d love to watch it! Seriously, I think my screenplay provides a lot of opportunities for a long running TV show. Andrew’s character development from a zero to a hero, the development of his relationship with Anna which should be both funny – given their entirely different backgrounds, as well as conflict-driven as Anna is a celebrity with a lot of liabilities which stand in conflict to Andrew’s need of her help. There is the mystery part of the story, circling around that mysterious organization which is doing all kinds of borderline-tech experiments to people which will make a good bunch of investigation cases for Anna, Andrew and their FBI allies and the more they progress towards the root of the evil, the stakes are constantly rising as they slowly begin to realize the extent of the conspiracy behind all that.

3. This story has a lot going for it. How would you describe this script in two words?

unlikely allies

4. What TV show do you keep watching over and over again?

There are quite a few, I love rewatching old 80ies / 90ies scifi series like for example (list is not intended to be exhaustive):
Quantum Leap, Star Trek – TNG, The X-Files, Earth2, Sliders, Seven Days, Farscape, Earth Final Conflict, Roswell, Stargate SG-1.

Most recent shows I loved and watched every episode at least once were Fringe and Haven.

5. How long have you been working on this screenplay?

I got the first draft down in about four weeks and kept rewriting, submitting, taking feedback and rewriting again for at least about a year.

6. How many stories have you written?

Three of my own, original TV show pilots, a good bunch of shorts and a sci-fi / horror feature. Besides that I’m currently writing parts of episodes for an independent TV show project.

7. What motivated you to write this screenplay?

I guess the initial motivation / kick-off idea was to have a team of protagonists with completely contrary characters and backgrounds. Combine that with a scifi-plot, a lurking conspiracy and a bag full of ideas for supernatural / paranormal phenomena-like cases Mulder and Scully would have loved to investigate, and at the end of the day, I had Mindwalker in my hands.

8. What obstacles did you face to finish this screenplay?

As I’m a non-native english speaker (and writer), language details, nuances in the usage of the language, are always an obstacle I have to overcome. Hopefully you come to the conclusion I finally made it with this draft. Another obstacle and big part of the work is research. For example: You think you can just write a hospital scene with a realistic dialogue between an emergency doc and the clinic staff without researching? Good luck.

9. Apart from writing, what else are you passionate about?

Unlikely for a German, I’m a big fan of the Major League Baseball. Maybe it’s the prejudice about Germans which says they love statistics which sticks here, I don’t know. Besides that, I’ve been studying computer science in my earlier life, so I’m a natural tech geek and still do some coding here and there.

10. What influenced you to enter the festival? What were your feelings on the initial feedback you received?

I don’t really remember how I ended up on the Wildsound page, but once I’ve been there, I watched some of the table reads and thought about how cool it would be to see my own scripts performed by those actors. My feelings about the initial feedback I received were devastating – I had just completed the early 5th or 6th draft of Mindwalker and was really happy with it, and then these people tell me it wasn’t ready yet.

Thankfully, the feedback included loads of helpful notes, and when I read through them I wondered how I could have missed these flaws in the first place. Numerous drafts later, I decided to resubmit the script and Wildsound accepted it. That was a great feeling, similar to placing in a contest. It’s a very rewarding feeling to get positive feedback and the acknowledgement.

11. Any advice or tips you’d like to pass on to other writers?

The best advice I can give is to never take any feedback personal, be honest to yourself, read as many scripts as possible and most important: Always keep writing.

 

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Director/Producer: Matthew Toffolo
Casting Director: Sean Ballantyne
Editor: John Johnson

 

TWO EMPERORS, Best Scene TV PILOT Reading by Paul Gross

The six-part miniseries traces the parallel lives of Beethoven and Napoleon, their formative years, their loves, their interrelationships via music and their passages to their final years.

Watch the Best Scene Reading of TWO EMPERORS:

CAST LIST:

NARRATOR – Amaka Umeh
LUDWIG – Isaac Alfie
NEEFE – Julian Ford

Get to know the writer Paul Gross:

Matthew Toffolo: What is your TV Pilot screenplay about?

Paul: The six-part miniseries traces the parallel lives of Beethoven and Napoleon, their formative years, their loves, their interrelationships via music and their passages to their final years. 

Matthew: Why should this screenplay be made into a TV show?

Paul: The two lives have been the subject of many feature films and TV productions. This is the first six-part series that attempts to link their lives in a dramatic fashion. It is also the first to show the genius of the two men, their flaws and their attempts to deal with love and adversity.

Matthew:  This story has a lot going for it. How would you describe this script in two words?

Paul: Scrutinising greatness.

Matthew:  What TV show do you keep watching over and over again?

Paul: House of Cards

Matthew: This is  a very tight, emotionally engaging and fun screenplay. How long have you been working on this screenplay?

Paul: Two years

Matthew:  How many stories have you written?

Paul: Four books, one feature screenplay, one TV miniseries, one thriller.

Matthew:  What motivated you to write this screenplay? 

Paul: The music of a flawed genius, the flaws of a powerful ruler and the possibility that they might have met and liked one another fleetingly.

Matthew:  What obstacles did you face to finish this screenplay? 

Paul: Converting  dry accounts of two histories into a drama that reveals motivations, passions and tragedies.

Matthew: Apart from writing, what else are you passionate about? 

Paul: Classical music

Matthew:  What influenced you to enter the festival? What were your feelings on the initial feedback you received?

Paul: I like competition and I am very happy with all feedback, particularly negatives that I can turn into a better script.

The feedback in this festival was valid and had the desired impact as the revised script is now short-listed in four festivals or competitions

Matthew: Any advice or tips you’d like to pass on to other writers? 

Paul: Scriptwriting is hard, even when you love it.

Stepping back from many beloved drafts and ditching them is the price of acceptance by those who read them.

Producer/Director – Matthew Toffolo
Casting Director – Sean Ballantyne
Editor – John Johnson