Welcome to Greatest Scripts. Or, as we aptly refer to them …
“The Greatest Scripts Never Made”.
Hollywood and Broadway are littered with amazing original stories that never found their way to the movie theater, television screen or the theater stage.
We’re acquiring these brilliant film/TV scripts and stage plays and turning them into top-tier audio-dramas with cinematic music and sound effects.
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We work with writers and creatives to find alternative means to bring their brilliant works to audiences!
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Our latest production!
FREQUENTLY ASKED QUESTIONS
1. What is Greatest Scripts?
These are a collection of audio-drama podcasts we produce based on top-tier un-produced Hollywood and Broadway screenplays, tele-plays, and stage-plays. Our goal is to bring audiences these amazing stories.
2. What makes these stories a Greatest Script and not others?
Simply put, the story behind the story. These are not just great stories as written on the page, but rather these are the best-of-the-best in vast graveyard of broken dreams and failed film, TV, and Broadway attempts. Each one of these stories was on its way to becoming a hit, and then the winds-of-Hollywood (or Broadway) blew against the project — be it a director took another gig, the studio changed its mind (or worse, lost its financing), key cast/crew decide to leave the project, a pandemic changed the world, whatever it is, the reasons are varied and many — and the project is now halted and the likelihood of all these necessary creative and financial elements coming back together at the right time to make it again happen are very, very slim.
Ask anyone of note in either Hollywood or Broadway, and they’ll tell you the story of the ONE project that got away …
3. Who decides that these particular stories should be a Greatest Script?
Our reviewers and nominating/deciding committees are made up of a diverse group of filmmaking, television and live-stage veterans, all with decades of experience in major-studio and independent development and production. Every one of us has experienced the frustration of having a project on its way into production, only to have it all come apart and end up not getting made. We all wholeheartedly believe in the power of original voices and stories and that they are the creative engine that fuels our industry.
4. Where do these “Greatest Scripts” come from?
We only request submissions from experienced talent/literary agents and managers, producers and production companies, studio executives, and certain other individuals and organizations that have a proven track record within the mainstream film, TV and live-stage industries. We do not accept unsolicited material.
To be considered a Greatest Script, such project MUST meet all these requirements:
FIRST — Have been represented in the mainstream film, television and/or live-stage industries by an established producer, production company, agent, manager, writer, director, or other established 3rd-party representative, or have been commissioned and developed by a mainstream production company, studio or streamer.
SECOND — If a film or television script, have been pitched to at minimum of two established mainstream studios and/or streamers who have the capacity to bankroll the production cost, or had been developed by a mainstream studio or streamer. If a live-stage play, have been pitched to a minimum of two established live-stage producers or financiers, or had been developed by an established live-stage producer or financier. Unsolicited submissions to such persons and entities referenced in the previous two sentences are not considered pitches. We must be able to verify that the project was pitched during a pre-scheduled meeting between the project’s representative and an established development executive, or other similar titled/positioned employee or principal of the studio/streamer/financier, and where the reason for setting the meeting was specifically to present a pitch of the story.
THIRD — There must be a clear and verifiable chain of title to all materials, including the script, and any associated underlying rights (e.g. life story rights, book or other IP adaptation rights, etc.) and all exploitation rights must be unencumbered and free-and-clear for any possible production and exploitation (e.g. podcast, film, TV, stage-play, etc.) and assignment. We will consider scripts with turnaround costs or carry-along costs from previous development work by others, however all such obligations must not hinder any production and/or exploitation.
5. Why not consider a script submission from anyone? Couldn’t a great story come from someone outside of the established Hollywood and Broadway industries?
Yes, a brilliant story can most definitely (and often does) come from someone who isn’t yet part of the mainstream Hollywood and Broadway industries. We believe in these writers and creators and fully encourage their efforts to get their works read. However, we must maintain a meaningful selection process in order for us to deliver on our promise to the audience that we have done our job to curate the best stories we can. We trust the deeply experienced minds that read thousands of scripts each year and who diligently work to shepherd them into films, television shows and stage-plays If these are the best-of-the-best that they believe should be made into one of our audio-dramas, then those stories deserve to have our attention.
If you are truly looking to have your story made into a film, TV show or play, then we highly suggest you start by first submitting to those agents, managers, directors, producers and companies to have your works considered for their efforts. For film and TV scripts, we also highly suggest you have professional coverage and notes performed by an experienced reader and/or coverage company. We recommend the ScreenplayMechanic.com — we read anything they send our way!
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