TV SPEC Screenplay – RICK & MORTY “The Rickgotiator” by David Cryan

Watch the August 2016 Winning TV PILOT screenplay.

RICK & MORTY “The Rickgotiator” by David Cryan

SYNOPSIS:

Genre: Comedy, Animation

When Morty accidentally gets his family kidnapped while trying to stop an alien war, he and Rick must execute an elaborate plan to rescue their family and trick the aliens into calling a truce.

CAST LIST:

NARRATOR – Becky Shrimpton
RICK – Stephen Flett
MORTY – Adam McNamara
BETH – Laura Darby
JERRY – David Straus
BLECKAR – Lorne Hiro
GARY – Rais Muoi
SUMMER – Victoria Urquhart

Get to know the winning writer:

What is your Rick & Morty TV SPEC screenplay about?

My Spec is about Rick learning where he can get some Chromosome Infinity, an elusive and rare substance he’s been after for a while. Rick finds out that it is located in the neutral zone, and if he tries to get it, it could spark an alien war, but he’s selfish. Meanwhile, Jerry tries to get a job and deals with his overall lack of confidence.

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

It fits well into the context of the show because it has the big high concept sci-fi A story and a low key down to earth B story that collide at the halfway point.

How would you describe this script in two words?

I wouldn’t.

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

Oh boy, one? I have an obnoxiously long list including: The Simpsons, Arrested Development, The Larry Sanders Show, Seinfeld, 30 Rock, Unbreakable Kimmy Schmidt, Veep, Futurama, The Critic, Frasier, Community, The Wire, The Sopranos, Breaking Bad, and of course Rick and Morty. That’s me cutting my list short. Like I said it’s obnoxiously long.

How long have you been working on this screenplay?

I spent roughly two weeks on the outline, another two weeks on a first draft, and then did periodic rewrites over the course of a couple months.

How many stories have you written?

I have written lots of sketches. Two pilots, one of which goes in drawer marked as a learning experience and is to never see the light of day. As well as three specs of existing shows, including Veep, Rick and Morty and an Unbreakable Kimmy Schmidt which I just finished a first draft of and am beginning to rewrite.

What motivated you to write this screenplay?

Fear of failure.

What obstacles did you face to finish this screenplay?

Also fear of failure.

Apart from writing, what else are you passionate about?

Personal privacy.

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

I’m at a point where I have enough writing samples that I’m happy with. So I’ve begun actively trying to get my stuff read, be that by submitting to agencies or entering contests. As far as the feedback, some of it I agreed with some of it I didn’t, but it definitely helped make my next draft stronger.

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

No.

 

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

Casting Director: Sean Ballantyne

Editor: John Johnson

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TV Logline of the Day: FRONTAL BROTHERS, by Adam Santa Maria

Deadline for Television Pilot/Spec Screenplay Festival: https://tvfestival.org/

Deadline for Television Pilot/Spec Screenplay Festival: https://tvfestival.org/

LOGLINE PITCH:

ACTORTitle: Frontal Brothers

Written by: Adam Santa Maria

Type: TV PILOT

Genre: animated comedy

Logline: Frontal Brothers is an animated comedy series where the two heads of the brain’s Decision Department work with the erratic Sensory and Emotion departments so that they can guide their human to success.

WGA REGISTRATION: 1797274

Interested in this logline, please email us at info@wildsound.ca and we’ll forward your email to the writer.

Have a logline? Submit your logline to the monthly logline contest.

Watch TV PILOT Reading: VINCENT LOCKE: VILLAIN-AT-LAW by Christiaan Alexander Kutlik

I was mainly trying to find feedback on my script. After leaving college, I suddenly found myself in a void where I could no longer find critiques from peers. This festival felt like a great opportunity to find a professional critique, especially with the live table-read. Rarely does a screenwriter have a chance to hear their script performed live by actors.

Watch the November 2015 Winning TV PILOT Table Reading

Watch VINCENT LOCKE: VILLAIN-AT-LAW

CAST LIST:

NARRATOR – Becky Shrimpton
LOCKE – Adam Martignetti
FORD – Erynn Brook
BODYBUILDER – Allan Michael Brunet
PROSECUTOR/CHANG – Devin Upham
WHITE QUEEN – Lauren Toffan

Get to know writer Christiaan Alexander Kutlik:

1. What is your screenplay about?

Besides the super-hero aspect, what Vincent Locke: Villain-At-Law is about is average people trying to make their own mark in world where everyone else seems extraordinary.

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

There’s a real richness to the world I have created that can be explored only on TV: it plays on a ton of super-hero tropes, these characters have complex emotions towards the world they inhabit, and I have envisioned numerous stories and changes to put these characters through.

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

Chaotic fun.

4. What movie have you seen the most in your life?

Probably The Lion King or The Nightmare Before Christmas. I watched them so much as a kid!

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

I first came up with the idea about 3 years ago after I heard a joke about a “lawyer for super-heroes” on the internet. Around the same time I was working on a comedic scene to present in my Intro to TV class at NYU. I based a scene around that joke, but the scene wasn’t very funny. I couldn’t shake the idea of a “lawyer for super-heroes” though, so I workshopped the idea until the “joke” became Vincent Locke: Villain-At-Law.

6. There was a debate with the actors at the reading on whether this script is better suited for live-action or in animation. What are you intentions with this pilot? A cartoon show or a live-action show?

Funny enough, that was a debate I had myself. The very first drafts were written as live-action, but after a few discussions with classmates I finally settled to write the script as an animation. Peers often made reference to shows like Ugly Americans, Bojack Horseman, and Archer so it just made sense to write the show as an animation.

7. What motivated you to write this screenplay?

The current climate of endless super-hero movies and shows seemed ripe to be mocked, but no show seemed to be stepping up to the plate. I wanted to be the one to take a swing at super-hero satire. I’ve also been a big fan of super-heroes, sci-fi, and fantasy since I was a kid. This script seemed like the perfect opportunity to have some fun with the genres I love.

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

I had to re-write the script several times since its inception 3 years ago. Every re-write changed the story in some radical way as I searched for the core of the story. Starting the script was often the most difficult part, as was coming back to edit a new draft.

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

I’m a huge gamer and graphic novels fan. You find such immersive and rich worlds that don’t seem could be fully captured in film or TV without a massive budget. Two examples that come to mind is Xenoblade Chronicals and Neil Gaiman’s The Sandman. Both give you an incredibly atmospheric world with a deep, immersive history.

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

I was mainly trying to find feedback on my script. After leaving college, I suddenly found myself in a void where I could no longer find critiques from peers. This festival felt like a great opportunity to find a professional critique, especially with the live table-read. Rarely does a screenwriter have a chance to hear their script performed live by actors.

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

Sometimes you need to step away from a project for a while before you can see your writing for what it is. Speaking to other’s about your projects is also immensely helpful in finding holes and problems in your story.

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Deadline for Television Pilot/Spec Screenplay Festival:
https://tvfestival.org/