Twentieth Century Fox picked up Stuber, a comedy spec from Script Pipeline Screenwriting Contest Winner Tripper Clancy for mid-six figures. Jonathan M. Goldstein and John Francis Daley (Horrible Bosses, Spider-Man: Homecoming) will produce. Two biopic specs are moving forward: Cliff Hollingsworth’s Done It All, based on the life of Merle Haggard, at GMH Productions, and Hayley Schore and Roshan Sethi’s Exposure, centering on Rosalind Franklin whose contributions to the discovery of DNA went uncredited before her death, at Entertainment One Films International. Lionsgate acquired Joshua Friedlander’s dramedy spec Couple Up, which centers on an unhappily married couple who see what life would be like if they had never met. Finally, Benderspink and Fox will produce Joe Greenberg’s elevated sci-fi spec Man Alive.
Other script sales include:
– Ben Jacoby to write The First Omen, prequel to The Omen, for Fox. David Goyer to produce.
– Sam Esmail’s 2008 Blacklist script Sequels, Remakes and Adaptations has found a home at STX Entertainment and Anonymous Content.
– Stacey Menear to write the Dennis the Menace adaptation for Warner Bros.
– Darren Lemke to write the sequel to 2015’s Goosebumps for Sony.
– Sean Anders and John Morris to write the sequel to the Will Ferrell/Mark Wahlberg comedy Daddy’s Home. Anders to also direct.
The Library – Produced Scripts
One of the highest paid screenwriters of all time, Shane Black burst onto the scene in 1987 with the quintessential buddy cop movie Lethal Weapon and went on to write The Long Kiss Goodnight, Iron Man 3, and the underrated Last Action Hero. However, his greatest success thus far is his directorial debut Kiss Kiss Bang Bang (although based on its trailers, spiritual sequel The Nice Guys could certainly usurp that position).
Kiss Kiss Bang Bang is a self-aware satire of noir and crime movies, and it’s easy to understand how Black grew to justify his paycheck. The script is filled with witty, fast-paced dialogue, a fourth wall–shattering narrator, and entertaining action sequences and suspense, and it somehow maintains and ratchets the suspense and tension while remaining hilarious throughout. The script itself is an entertaining read that embraces all of Black’s narrative quirks. Take, for example, the bottom of page 54:
In another script, that could prove distracting, but it fits perfectly with the world and tone Black has established.
The story, partially based on Brett Halliday’s novel Bodies Are Where You Find Them, follows Harry Lockhart (Robert Downey, Jr.), a petty thief who stumbles into a movie audition to escape police and finds himself as a potential lead in a Hollywood film. The producers hire private detective Gay Perry (Val Kilmer) to give him real-life experience for the role, and the pair quickly finds themselves investigating a series of seemingly disparate criminal plots that, as the hardboiled detective genre mandates, are related in a complex manner. It’s a script that relies on coincidence, but the script’s many twists and turns help elevate it above its pulp novel influences. Ultimately, Black’s voice and a trio of spot-on performances from Downey, Kilmer, and Michelle Monaghan as Harry’s love interest make Kiss Kiss Bang Bang a wildly entertaining ride and required viewing.
Script Pipeline develops writers for film and television, connecting them with top producers, agents, and managers. This process has thus far resulted in over $6 million in writer spec sales and several produced films, including Universal’s Snow White and the Huntsman and The Living Wake, starring Academy Award Nominee Jesse Eisenberg (The Social Network).
For over 16 years, the company has bridged the gap between up-and-coming writers and influential executives. Through services, research tools, and annual writing and idea contests, Script Pipeline continues to offer writers worldwide unprecedented access to the industry. View recent success stories and notable alumni.