Financing Short Scripts for Production

$5,000 awarded to winner - register today


Film Pipeline Winner "Little Brother" Produced

Spencer Mandel and Dikega Hadnot wrap an incredible short. Read their Film Pipeline interview.


Animated Short Script "Blank" Wins 2019 Season

From writer/director Bernardo Duran. Currently in pre-production. Read Bernardo's Film Pipeline interview.


Allison Mattox's "Echappe" Wins Short Film Contest

Superbly composed drama/thriller captures top prize in 2019


Connecting Directors with Industry

$5,000 awarded for short films - register soon


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Promoting new writers and directors to industry - SIGN UP


Film Pipeline Co-Produces “Biophilia”

Marina Michelson's short film won at the Brooklyn Film Fest


Indie Film “Bindu” Makes 2019 Debut

Co-written by Pipeline contest winner Kay Tuxford


"Mudpots" Wins Inaugural Film Pipeline Shorts Contest

Drama written and directed by Cate Smierciak praised by execs


Script Pipeline Contest Winner “Standoff” an Indie Hit

Henry Dunham's debut feature released in 2019


Fox's "Stuber" Written by Pipeline Contest Winner

Tripper Clancy sold multiple specs to studios and wrote for Netflix series


Contest Winner Sold “Snow White” to Universal for $3 Million

One of the biggest feature spec sales of all-time


“The Living Wake” Stars Oscar-Nominee Jesse Eisenberg

Pipeline's first produced feature praised by Variety


Indie Romcom Written by Pipeline Finalist Produced

Stars Santino Fontana (Frozen) and Dania Ramirez (Once Upon a Time)


Robert De Niro Stars in Winning Screenplay

"Killing Season" won the Script Pipeline Screenwriting Competition


Action-Comedy Produced by Pipeline's Chad Clough

Zach Galifianakis, Adam Scott headline an ensemble cast


Michael Madsen Drama “Strength and Honour” Wins Multiple Awards

Pipeline execs helped Marc Mahon develop the script


“Between" Premieres at Sundance

Poppy Montgomery thriller developed by Pipeline


Launched in January 2018, Film Pipeline spotlights both a short script and short film competition intended to find extraordinary directors as well as distinguished projects that merit financing and production. Contest selections are circulated to agencies, producers, and managers looking for emerging directors, proof-of-concept or standalone shorts, and filmmakers across a broad spectrum of backgrounds. Unlike a typical festival, Film Pipeline promotes individual directors and plays an active role in getting content produced and distributed.

Film Pipeline joins Script Pipeline (est. 1999) and Book Pipeline (est. 2014) as part of Pipeline Media Group’s suite of platforms connecting creatives with the film and TV industry. Through Script Pipeline, numerous writer/directors have produced their work, sold over $6 million in screenplays and pilots to studios, and found representation due to the guidance of PMG’s development staff–a team always on the lookout for up-and-coming talent.

Next Deadline

September 1st, 2020 Short Script Competition

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Essential Viewing

Ozark: Season 3 Review

By Essential Viewing

The hour-long crime drama. It’s a genre of television as timeless as chocolate cake—there are countless amounts of them made every year, but when you get a taste of a truly spectacular one? There’s nothing more delicious. The third season of Ozark, Netflix’s tentpole series starring Jason Bateman and Laura Linney, is a perfect example of this. It’s not another Betty Crocker—this, my friends, is a masterpiece worthy of a Michelin star chef. Ozark’s first season premiered on the juggernaut streaming service in 2017 and is an increasingly rare instance in “Peak TV” where every season has been better than the previous. Not only has its viewership and industry prestige increased with each installment, but so has its critical acclaim. Season 1 clocked in at a 70% on Rotten Tomatoes with 5 total Emmy nominations, while Season 2 arrived with a 76% and 9 total Emmy nominations (including Best Drama…

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Allison Mattox

By Interviews

Writer/director Allison Mattox won the 2019 Film Pipeline Short Film competition with her beautifully composed drama Échappé, which she’s developing into a feature. Échappé is practically a masterclass in how to write a slow-burn drama without it feeling like a slow-burn drama. The two leads—flawless. While character is a major reason we get so invested in the story so quickly, the plot structure and the composition of the film should be given equal credit. Was this meticulously planned in the script stage, or was a lot of the cohesion of the film brought together in editing? It all seems remarkably unified, not unlike, ironically, the pacing of a ballet performance itself. Curious how this was achieved and if this poetic sort of tempo was intentional. I love this idea that the film somehow matches the pacing and build of a choreographed ballet. I should probably take credit for that but, in all…

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