Video TV PILOT PITCH: The Irish Retribution, by Bruce Cooke

WATCH VIDEO PITCH

Title: THE IRISH RETRIBUTION

Written by: Bruce Cooke

Type: TV SERIES

Genre: POLITICAL, DRAMA, CRIME

Logline: Carrie Sanderson, a foreign correspondent receives some photos from an IRA Uncle and a note saying her father killed her mother, a women she never knew and the woman he expressed as the love of his life. She seeks revenge. But what she discovers is her father’s life filled with intrigue, love,and horror that takes him through Vietnam , Bosnia and Ireland. Dark secrets are revealed before she can find the truth. Tully works tirelessly at his job and discover the stark truths of wars and what they do to civilians. He meets and falls in love with Kate Armatige, an Australian doctor in Vietnam but she leaves him carrying his child. He meets Soo Ling, a young Vietnamese girl with a baby but she is not what he thinks. He marries Soo Ling for her safety but she falls into the world of drugs and prostitution servicing American servicemen. He falls into despair and the only thing that keeps him going is Carrie but she seems not to want anything to do with him. His life of booze, womanising brings him closer to destruction and he wonders why he is still here.

Will he survive and will he be reconciled with Carrie?

Video TV PILOT PITCH: SHRINK PROOF by Stephen Potts

WATCH VIDEO PITCH

 

Title: SHRINK PROOF

Written by: Stephen Potts

Type: TV PILOT

Genre: Drama

Logline: Psychiatrist Kyra Winston leads her team against all the mental health crises that the medical wards and ER of staid old St Christina’s can throw her way, while battling resentment from a passed-over colleague, and doubts in her put-upon boyfriend.

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VIDEO PITCH for The Shade Riders Series by Beth Zurkowski (half hour pilot for TV series)

Title of Story: The Shade Riders Series: Pirates and Power Chairs (half hour pilot for TV series)

Written by: Beth Zurkowski

PITCH: “The Shade Rider Series” is a fantasy comedy in which an eleven-year-old hybrid-vigor girl, Nova, and her misfit friends struggle to figure out by using science what monsters are made of and finally get rid of them.
Genre: Comedy, Fantasy, Family.
Type: TV pilot

WGA Registration Number: I262012

Video Pitch for State Secret, Feature Screenplay by Doug Kissock

Watch the Video Pitch Logline for STATE SECRET:

Get to know writer Doug Kissock:

1. What is the theme of your story?

Politics is a dirty business; one where perception is everything. It’s more important to be seen to be on the winning side than to be right. But whose side is right? Whose agenda can you trust? Where does the truth lay?

2. Why do people need to know about your story?

Because it’s inspired, in part, but a vein of truth. Everybody loves a good paranoid thriller — whether it’s THE PARALLAX VIEW, ENEMY OF THE STATE or THE MANCHURIAN CANDIDATE, we all root for the innocent hero battling overwhelming odds and attempting to solve the mystery of the conspiracy itself. But every so often, people need to be reminded that from time to time, some conspiracy theories are rooted in truth. And as we all know — truth can be stranger than fiction…

3. How long have you been writing stories?

20 years

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

The Usual Suspects

5. What artists would you love to work with?

Robert Redford. Donnie & Mark Wahlberg. Antoine Fuqua. Peter Jackson. Roland Emmerich. Peter Dinklage. Halle Berry. Erica Tazel. Chris Hemsworth. Will Smith. Kevin Spacey and several hundred others.

6. How many stories have you written?

Not sure… 30?

7. Ideally, where would you like to be in 5 years?

Somewhere hot and dry with a glass of something cold!

8. Describe your process; do you have a set routine, method for writing?

No. No set routine but I prefer to write at night when the world is quiet. But I always write my main character into corners and then write myself/him/her out of those corners. That way I think the narrative becomes less predictable and more illustrative of the main character’s resolve and resources. I think it is possible (and destructive) to overplan a story in the same way a racing driver can overdrive a car. Sometimes the seat of yer pants and yer gut instinct are the best controls you can have.

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

Landscape photography. Music. And dogs! John Lennon (I think) said something like, “God is dog backwards,” and I so agree. Dogs are a gift to enrich all our lives. They offer unconditional love and trust so don’t betray them by mistreating them.

10. What influenced you to enter the WILDsound Festival?

I thought it was a great idea. Fresh. Unique and a great use of technology.

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

Two things: write what motivates you. If it’s important to you — tell us all. Don’t write a clone of a superhero movie or a romcom just because of the box office success of the original. Tell us about something that makes you mad. Makes you passionate. Makes you cry with joy. Or makes us feel fear, curiosity, excitement, guilt or disgust. Just make sure it makes us feel something. And secondly: first drafts are always weak. Always. If the art of good writing is re-writing, then prepare to go through 6 – 8 drafts before it starts to take shape. Seriously. If you don’t have the patience/dedication or enthusiasm — don’t start draft one because you’ll just be wasting your time. And time is life’s most valuable resource.

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Video Pitch for GRACE, Feature Script by Doris B. Gill

Get to know writer Doris B. Gill:

1) What makes your story unique and also engaging?

This is a story of a Mother’s love and devotion.

2) Why does the world need to know about your story?

Inspiring, even today about not giving up.

3) What type of music do you see in your story if it was made into a movie?

Music true to the era.

4) What film have you seen the most in your life?

Some Like It Hot.

5) What artists would you love to work with?

A female like Jennifer Morrison and a male such as Christian Bale.

6) Other than writing and movies, what else are you passionate about?

Astrology, politics, swimming, gardening and reading great books like The Secret Of The Power, Pillars of The Earth and The Gift Of Rain.

7) Do you have a set writing routine?

I write when I can, with no set schedule. I love doing research which usually gives me ideas. I write when my characters talk to me or I hear snippets of conversation that I can reword. I’m always rewriting my scripts and find it exciting when I can say less and tell more.

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Feature Screenplay VIDEO PITCH for MOTHER & SON, by David Serra

Title: MOTHER & SON

Written by: David Serra

Type: Feature Script

Genre: Apocalyptic, Survivor, Drama

LOGLINE: A mother and her autistic son are stuck in a bunker in a post-apocalyptic world after it was overrun by huge sea monsters. Things intensify when an injured woman soldier arrives.

This touches base with how far a mother would go to protect her child no matter what the odds whether it’s a mysterious soldier or a huge monster.

Logline Basics (Or, how to write the best logline)

The easiest way to phrase your logline is to state the genre, an attribute of the main character, and what the character needs to achieve to meet a challenge. Of course, you may see your script as a slice of life or a series of vignettes or something else that doesn’t lend itself to a clear statement in this form, but attempt it.

LOGLINE BASICS

Brevity is an absolute necessity of creating a good logline. You should go through many drafts to make sure every adjective is the most perfect and evocative and above all accurate. Get out your thesaurus find the best words for the job. You can’t afford a single extra character.

Choose your focus carefully. You need to pinpoint the most important through-line of your story. What you pick must be dynamic: you need to describe action, conflict, challenge.

The easiest way to phrase your logline is to state the genre, an attribute of the main character, and what the character needs to achieve to meet a challenge. Of course, you may see your script as a slice of life or a series of vignettes or something else that doesn’t lend itself to a clear statement in this form, but attempt it.

For example:

“The Last Thing She Did” is a romantic comedy in which a ditsy writer struggles to overcome her reliance on a dead friend’s advice in order to meet a deadline.

Try to avoid generalities. You want to nail what makes your script unique, so don’t waste your time comparing it to previously made films. Save that for your marketing pitch.

Your logline doesn’t need to tell the ending of the story. It just needs to impel a producer or reader to make the effort to open it up. Show you have an interesting and unusual protagonist who must meet an unusual and interesting challenge, and you’re already ahead of the game.

So you say your script doesn’t fit into an easy category of genre or have a single or readily defined hero or heroine. That may be the way you think of your story, but another reader might have a different impression. Try describing the action of your script to a friend and see what shakes loose. It’s fine to know you’re written a masterwork that defies description, but you won’t have much luck getting it made unless you can find SOME way to explain it.

A Word about Plot and Character Vs Theme

The best loglines focus on character with an emphasis on the major conflict or challenge that forms the central arc of the plot. It’s good to include whatever details make your story the most unique: an unusual setting or antagonist for example.

You may be tempted to make your logline about the script’s theme instead but I recommend against this. Producers are interested in the practical matters of who, what, where, when and why. They are less interested in your philosophy on the nature of life or the specific demon that drives your hero’s quest.

In my opinion, the easiest way to write a good logline is in the form of:

[Film Title] is a [genre] IN WHICH a [protagonist] struggles to [challenge to overcome].

Problematic loglines often use passive language and the word about, which can find you expressing your intentions instead of the action. Something you want to avoid at any cost is a logline that focuses on how you intend the viewer to feel instead of what they’re going to see.

For example (don’t do):

“The Last Thing She Did” is a transcendent human comedy about the way we connect through laughter and memories.

Nice, but it doesn’t tell us a single thing about the script. We don’t know who the characters are, what it’s about, where it’s set, and we’re vague on the genre. When you use a logline, remember you are pitching your story to practical people who want to know if they can make your script into a film that they can sell. Save your beautiful writing for your dialogue, and your writer’s commentary