Logline: After spending another night in jail, two hot, beautiful madams who run the biggest escort service in town decide to “go legit” by opening a spa complete with sex therapists and a quirky staff. But can these two really reform?
Interested in this logline, please email us at info@wildsound.ca and we’ll forward your email to the writer.
Title: TRUE TO PHIIPS: BATTLE OF THE EMBITTERED ARTIST
Written by: Eric Vaughn Carter
Type: TV PILOT
Genre: Comedy
Logline: Japanese beetle documentarian, Kendo Sakaguchi, travels to the land of the setting sun to create his latest film about the American GOD AMONG DIRECTORS; David Stanley Philips!
Interested in this logline, please email us at info@wildsound.ca and we’ll forward your email to the writer.
SMITHEREENS is about freedom of choice and the fact that sometimes we have to reboot and consider another path. In the case of Harry Doe, the reboot comes in the form of amnesia. Faced with pieces of a troubling past, and an uncertain future, he gets to choose the kind of man he wants to be.
2. How should this Pilot be made into a TV show?
With so much content out there, even greater respect must be paid to the viewer in order to win their time and attention. SMITHEREENS is fresh, thoughtful, funny and poignant. It challenges the creators, performers and the viewers, which is the best way to start that relationship.
3. How would you describe this script in two words?
Distinctive and entertaining.
4. What TV show do you keep watching over and over again?
Mad Men. I’m on my third viewing of the complete series now. Even with so much stuff to watch, I always come back to quality and depth.
5. How long have you been working on this screenplay?
In one form or another, I’ve been working on SMITHEREENS for three years at least. And the influences that have brought me to the project have been working on me since birth.
6. How many stories have you written?
I really don’t know. At least twenty screenplays, three of which have been produced as features. And I write stories every day in one form or another.
7. What motivated you to write this screenplay?
I was moved to explore my own personality, and my ability to convincingly mimic virtually any person or dialect. I don’t just do impressions or voices, I create and inhabit characters. I wanted to figure out why I use that in real life and not just onstage. Is it an escape mechanism? Do I not like who I am? What’s the line between talent and self-deception and fantasy?
8. What obstacles did you face to finish this screenplay?
The challenge was to set up the story so that it could play out over several seasons. With a feature, you need three solid acts. A TV series needs much more.
9. Apart from writing, what else are you passionate about?
My children and fighting climate change, which are related issues.
10. What influenced you to enter the festival? What were your feelings on the initial feedback you received?
I loved the idea of the story being brought to life. I thought the feedback was wonderful. Very insightful and constructive!
11. Any advice or tips you’d like to pass on to other writers?
Finish what you start, even if it doesn’t meet your expectations. Writing fiction is not about setting and meeting goals, other than to start and finish a story. The story comes from your muse…and if you don’t respect it and follow through, the muse will move on to someone else.
The story of a man, in pieces: This one-hour episodic dramedy series chronicles the journey of a man fished out of Miami’s Biscayne Bay. He remembers only his first name (Harry) and his mother tongue (Cockney). Flashbacks paint a complicated picture of a man battling alcoholism and engaged in some dark pursuits.
Get to know writer Hershel D. Rephun:
1. What is your TV screenplay about?
SMITHEREENS is about freedom of choice and the fact that sometimes we have to reboot and consider another path. In the case of Harry Doe, the reboot comes in the form of amnesia. Faced with pieces of a troubling past, and an uncertain future, he gets to choose the kind of man he wants to be.
2. How should this Pilot be made into a TV show?
With so much content out there, even greater respect must be paid to the viewer in order to win their time and attention. SMITHEREENS is fresh, thoughtful, funny and poignant. It challenges the creators, performers and the viewers, which is the best way to start that relationship.
3. How would you describe this script in two words?
Distinctive and entertaining.
4. What TV show do you keep watching over and over again?
Mad Men. I’m on my third viewing of the complete series now. Even with so much stuff to watch, I always come back to quality and depth.
5. How long have you been working on this screenplay?
In one form or another, I’ve been working on SMITHEREENS for three years at least. And the influences that have brought me to the project have been working on me since birth.
6. How many stories have you written?
I really don’t know. At least twenty screenplays, three of which have been produced as features. And I write stories every day in one form or another.
7. What motivated you to write this screenplay?
I was moved to explore my own personality, and my ability to convincingly mimic virtually any person or dialect. I don’t just do impressions or voices, I create and inhabit characters. I wanted to figure out why I use that in real life and not just onstage. Is it an escape mechanism? Do I not like who I am? What’s the line between talent and self-deception and fantasy?
8. What obstacles did you face to finish this screenplay?
The challenge was to set up the story so that it could play out over several seasons. With a feature, you need three solid acts. A TV series needs much more.
9. Apart from writing, what else are you passionate about?
My children and fighting climate change, which are related issues.
10. What influenced you to enter the festival? What were your feelings on the initial feedback you received?
I loved the idea of the story being brought to life. I thought the feedback was wonderful. Very insightful and constructive!
11. Any advice or tips you’d like to pass on to other writers?
Finish what you start, even if it doesn’t meet your expectations. Writing fiction is not about setting and meeting goals, other than to start and finish a story. The story comes from your muse…and if you don’t respect it and follow through, the muse will move on to someone else.
LACIE BIDWELL is about a girl who’s father created a zombie virus that killed thousands. It’s twelve years later and she’s in college and still has to deal with being the daughter of one of the most hated men in the world.
In this spec of ‘Unbreakable Kimmy Schmidt,’ Kimmy quickly becomes addicted to an iPad game. As she discovers she unknowingly made in-app purchases, she has to find a creative way to pay her debts. Meanwhile, Titus battles his own obsession and Jacqueline struggles with her need to be accepted by Xan.
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.
Logline: A hotshot young politician pus his campaign on hold when he pleads insanity to escape jail time, but he spends more time trying to earn his career back than his sanity.
Interested in this logline, please email us at info@wildsound.ca and we’ll forward your email to the writer.
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.
