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

August 2017 TV Pilot/Spec Screenplay Winners

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

Watch the 3 TV Screenplay Winners for August 2017:

ACTORTV SPEC Screenplay – RICK & MORTY
August 2017 Reading
by Daniel Richardson
 

ACTORSTUDENT TV PILOT Screenplay – EVERHART
August 2017 Reading
by K. Wayman Dodd
 

ACTORLGBT TV PILOT Screenplay – THE DISAPPEARANCE
August 2017 Reading
by Jess Harris Distefano
 

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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

July 2017 TV Pilot/Spec Screenplay Winners

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

Watch the 3 TV Screenplay Winners for July 2017:

ACTORFAN FICTION TV PILOT Screenplay – D FOR DEXTER
July 2017 Reading
by Jessi Thind

ACTORWESTERN TV PILOT Screenplay – SIRINGO
July 2017 Reading
by Nathan Ward

ACTORANIMATION TV PILOT Screenplay – CHICKEN COP
July 2017 Reading
by Bryan Cahill

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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

January 2017 TV Pilot/Spec Screenplay Winners

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

Watch the 2 TV Screenplay Winners for January 2017:

 

ACTORTV PILOT Screenplay – DOWN WITH THE BUREAUCRACY
January 2017 Reading
Written by Dimitry Pompee

ACTORTV SPEC Screenplay – MODERN FAMILY “Relax, I Got This”
January 2017 Reading
Written by Edward Pronley

ACTORFAN FICTION Screenplay – UNIVERSAL SAINT BATMAN
January 2017 Reading
Written by Nathan Trumbull

 

 

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

Editor: John Johnson

Casting Director: Sean Ballantyne

2016 TV SPEC Winners (13)

ACTORTV SPEC of the show RICK & MORTY
December 2016 Reading
Written by Matthew Feldman
ACTORTV SPEC Screenplay – UNBREAKABLE KIMMY SCHMIDT
November 2016 Reading
Written by Sarah Cassell
ACTORTV SPEC Screenplay: UNBREAKABLE KIMMY SCHMIDT Kimmy is a VIP
October 2016 Reading
Written by Mike Miller
ACTORTV SPEC Screenplay: MODERN FAMILY
September 2016 Reading
Written by Chai Karve
ACTORTV SPEC Screenplay – RICK & MORTY “The Rickgotiator”
August 2016 Reading
Written by David Cryan
ACTORFAN FICTION Screenplay – STAR TREK: DEEP SPACE NINE
July 2016 Reading
Written by Jennifer Renner
ACTORTV SPEC Screenplay – BROOKLYN NINE-NINE
June 2016 Reading
Written by Linsen Oyosa
ACTORTV SPEC Screenplay – THE MINDY PROJECT “Culture Club”
May 2016 Reading
Written by Katie Bero
ACTORFan Fiction Screenplay – TWILIGHT ZONE “Punchline”
April 2016 Reading
Written by Jaime Medina
ACTORFan Fiction Screenplay – MAGNUM P.I.
March 2016 Reading
Written by Lew Ritter
ACTORFan Fiction – DOCTOR WHO “The Time Cuckoo”
February 2016 Reading
Written by David Gilbank & Paul Renhard
ACTORTV SPEC Screenplay – THE BIG BANG THEORY
February 2016 Reading
Written by David Minaskanian
ACTORTV SPEC – UNBREAKABLE KIMMY SCHMIDT
January 2016 Reading
Written by Jen Turriff

2016 TV PILOT Winners (19)

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

ACTORTV PILOT – MIDLIFE CRISIS
December 2016 Reading
Written by Erica Barfield Peterson
ACTORTV PILOT BEST Scene Screenplay – ARMS OF MORPHEUS
November 2016 Reading
Written by John Christopher Thomas
ACTORTV PILOT Screenplay: WILLOWWOOD
October 2016 Reading
Written by Christopher Locke
ACTORTV PILOT Screenplay: EMMETT IN PEOPLELAND
October 2016 Reading
Written by Larry Hankin
ACTORTV PILOT Screenplay: THE VISA
October 2016 Reading
Written by Conrad Haynes
ACTORTV PILOT Screenplay – OYMPUS RISING
September 2016 Reading
Written by C M Landrus
ACTORTV PILOT Screenplay – DIGITAL NATIVES
August 2016 Reading
Written by Adam Preston
ACTORTV PILOT Screenplay – SURVEILLANCE
August 2016 Reading
Written by Chris Gebhardt & Jenn Russi
ACTORTV PILOT Screenplay – THE SPECTRAL CITY
July 2016 Reading
Written by Arthur Vincie
ACTORTV PILOT Screenplay – WILD MAGIC
June 2016 Reading
Written by Julie Nichols
ACTORTV PILOT Screenplay – CIVILIAN
June 2016 Reading
Written by Gina Scanlon
ACTORFAN FICTION Screenplay – SPACE 2099 (based on Space 1999)
June 2016 Reading
Written by Kevin D Story
ACTORTV PILOT Screenplay – THE REAPER: REBELLION “AFTERLIFE”
May 2016 Reading
Written by Mark S. MacDonald, Darsey Meredith
ACTORTV PILOT Screenplay – SMITHEREENS
May 2016 Reading
Written by Hershel D. Rephun
ACTORTV PILOT Screenplay – MAILROOMIES
April 2016 Reading
Written by Jacques Edeline
ACTORTV PILOT Screenplay – REC’D
March 2016 Reading
Written by Chris Courtney Martin
ACTORTV PILOT Screenplay – MINDWALKER
February 2016 Reading
Written by Thorsten Loos
ACTORTV PILOT – LACIE BIDWELL
January 2016 Reading
Written by Jameel Khan
ACTORTV PILOT – LIFE IN THE FAST LANE
January 2016 Reading
Written by Debi Calabro

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

Editor: John Johnson

Casting Director: Sean Ballantyne