ScreenCraft 2023 Spring Virtual Pitch Final Event

Watch ScreenCraft’s eight amazing finalists selected from almost 1,000 submissions pitch their projects virtually to an esteemed jury at the ScreenCraft Virtual Pitch Finale, and winners announcement.
Our incredible jury included Daniela Gonzalez (Literary manager, Good Fear Content), Kari Stringham-Drake (Co-EP, SEVERANCE), Tyler Tice (Writer, Netflix's DAYSHIFT), and Kim Dwinell (Co-EP and Author of SURFSIDE GIRLS).
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ScreenCraft Virtual Pitch Competition - screencraft.or...
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ScreenCraft is where passion leads to progress - where competition meets community - where writers come first. Period.
Through years of experience, we've cultivated a rich understanding of the film industry and identified which tools and resources will best serve writers in honing their skills and breaking into Hollywood.
We believe in making the career development process more transparent for writers, beginning with a clear path for them to reach their goals - that means hands-on career support for alumni and developmental training for those still refining their craft.

[@JacobStaudenmaierFilm]

Thank you for having us!!

[@ArranCrawley]

100% agreed with the Judges' Picks... and also the winning order!

[@kelvinreins6290]

Wow...these were the finalists...

[@eyesuckle]

Indeed. Some pretty awful pitches on display, here, most of them clearly chosen for their earnestness as attempts at social engineering than any ability to engage an audience.
That said, the judges seemed able to look past all that and in the end (IMHO) they chose the obvious diamond among the turds. I think The Last Supper is a brilliant idea for a movie that has the makings of a Pythonesque drawing-room murder-mystery/comedy, and I thought it was also very well pitched by the two writers, especially considering the time constraint. The organizers of this podcast clearly saved the best for last.
The lesson here for writers? I think it's the same lesson offered by most of these contests: While the final judging panel may be quite astute (I thought that, collectively, they gave each of the pitchers some very good notes) contest entrants will have to make it past the first-round readers who--judging by this selection overall--wouldn't know a good story if they found it in their soup. Or maybe they would, but believe that that is secondary to rounding out their list of finalists with writers carefully selected from the race and gender rainbow.
On the other hand. . . I suppose it's possible that these really *were* the best pitches submitted to this competition and the quality of entries is that bad.