PAST WINNERS

Max Mayer's 2006-winning script Adam was recently picked up by Fox Searchlight at the 2009 Sundance Film Festival! The film was released in theatres July 29, 2009.
Mike Murphy's 2007-winning horror script Javelina (formerly "Clackers") was directed by Barry Hubb and is scheduled for an 2010 release.
Frank Baldwin landed three writing assignments -- one with Sony, one with Warner Bros. and the other with DreamWorks/Paramount -- after we signed him with the William Morris Agency and Leverage Management. The DreamWorks project, "The Art of Making Money" will be directed by Phillip Noyce. The Sony project -- a remake of House of Flying Daggers -- will be directed by Sam Raimi and a Paramount project to be directed by Pierre Morel (Taken, District B13).
Grant Jerkins' haunting manuscript An American Crime was adapted by Nicholas Kazan (Reversal of Fortune, At Close Range) and Terry Curtis Fox. Barbet Schroeder (Reversal of Fortune) is directing. Retitled A Very Simple Crime, Jerkins' book will be published this November by Penguin/Berkley.
Soren Paul Petrek landed a book deal in 2009 for his winning manuscript, Cold Lonely Courage.
Robert Vaughn entered his screenplay into the 10th Annual Writers Network Competition and now has Dakota Fanning and Laura Dern attached to his Stephen King adaptation, "The Girl Who Loved Tom Gordon."
As a result of the Awards, Quentin Hidalgo is now developing his project, "Deadslinger," with Hollywood's foremost creature-maker, Stan Winston.
New! "Three Blind Mice" by Kevin Frech and Marcus Spiegel -- finalists in 8th Annual Competition -- optioned.
Jon Bokenkamp (see interview below) entered his thriller Preston Tylk, we signed him with ICM, he was hired to write a feature for director William Friedkin, has since directed Tylk and sold his documentary After Sunset to AMC. His follow-up spec sold to Revolution for Julia Roberts to star. He also wrote Angleina Jolie-starrer Taking Lives and another film for Halle Berry.
Josh Gordin and Will Speck entered their short Culture, both signed with ICM, Culture was nominated for an Academy Award™, and they’re directing their first feature featuring Will Ferrell entitled “Blades of Glory!”
Darryl Wimberley entered his noir Kaleidoscope, we signed him with ICM. He now has a two-book deal with St. Martin’s Press.
George Olson entered his script Tesla, we signed him with Endeavor. Now Barry Sonnefeld is attached to direct.
Matt Healy’s winning script Clay Pigeons debuted in theatres nationwide in 1998! The film was produced by Ridley and Tony Scott, distributed by Gramercy and starred Vince Vaughn, Joaquin Phoenix and Janeane Garofalo. Since we signed Healy with ICM, he’s finished two writing assignments (one for Richard Donner) and landed a two-picture deal with Warner Bros.
Mike Walsh optioned two of his projects after we signed him with Ken Sherman
Haven Turleygood sold his pitch to Joel Silver and landed a writing assignment with Arnold Kopelson at Fox after we signed him with Endeavor.

AN INTERVIEW WITH FADE IN AWARD-WINNER JON BOKENKAMP

How long had you been writing screenplays prior to entering the Fade In Awards? I was writing what I considered to be scripts all through high school, but they were all pretty awful and I really had no clue as to what I was doing. I would then go off and shoot the script with a van full of buddies. In retrospect, the whole process was just an excuse to take a road-trip. When I started film school at USC, I took a few screenwriting classes because they were required. I was a production major and never even knew [one could get] a screenwriting degree. However, I did love those classes and that’s the first time I really started to understand format and character. So all through college I was writing short films and little scenes for assignments.
My last semester at USC, I quit taking film classes and decided to focus on developing one of my short film ideas into a feature length script. I had one idea that I originally shot as a super-8 movie. I then stretched it out into a twelve-page short and then finally decided to try it as a feature. That’s the project that ultimately became Preston Tylk. I had worked on the screenplay for Tylk for nearly three years before a buddy convinced me to enter it in the Fade In competition. That script was actually the first real “screenplay” I had ever written.
Did you think you had a chance at being chosen as a finalist? I didn’t think I stood a chance, but I also didn’t have much of a choice. At the time, I was working as a valet parking attendant at Universal Studios (which I don’t recommend) and I didn’t know a soul. I had given the script to a few friends that I thought were connected, but didn’t have anybody else to turn to. I had this script that I felt was pretty good, and absolutely nobody to read it. That’s a horrible feeling. I would send query letters and make cold calls to agents and studio executives, but nobody would read the material because they hadn’t heard of me. That’s when I finally heard about the Fade In competition. I was thrilled to find someone that was actually willing to read an unproduced writer.
Where were you and how did you react when you found out that you had been chosen as a finalist? I definitely remember being at home and getting the phone call. The only other competition I had ever won before was an ugly tie contest, so I couldn’t have been more thrilled. More than anything, it was an incredible shot of confidence. Right after the results were announced, I was signed with ICM and introduced to my lawyer, Kevin Morris. Within a couple of months, I had my first studio gig writing for director William Friedkin (The Exorcist). Friedkin loved the script and was actually going to direct Preston Tylk, but my agents and I ultimately decided that it was something I should wait and direct myself.
What happened in the months that followed? It took us two years to get the movie packaged, but we ultimately got the movie made. Luke Wilson and Dennis Farina starred, and I got my shot to direct. The picture was released by Artisan in July, of 2001.
Now you’re writing for Julia Roberts and Halle Berry. That must be a surreal experience...How have you handled all of your newfound success? Things did happen quickly — however, it was, and continues to be, a lot of very hard work. The most difficult part of the transition was not just taking any old job that came along. I’ve had stretches where my agents get a little itchy because I won’t take a job, but the fact is I really want to wait and find a project that feels right for me. I’ve tried to make a point of being selective and, as a result, I’ve been fortunate enough to write for actresses like Julia Roberts and Halle Berry. It’s harder to get those movies made because there are only a handful of actresses that a studio is willing to take a chance with. The politics of what actually gets a movie made baffles me, so I just try to write the best script I can.
What advice would you give to your fellow writers thinking of entering the Fade In Awards this year? I’d just recommend to keep writing. If you have a script that you love, you should enter. Expect the process to make your work better. I went through a really refreshing process [with Fade In] of getting notes that ultimately made the script much better. That process was very exciting. I remember several phone conversations where Fade In walked me through the script, made suggestions, and really tried to make the material the best it could be before sending it out to anyone in town. I hadn’t expected that, but I remember finding the objectivity quite helpful. Within a few months, I was introduced to the people that I’m still working with today. And not only did it open doors, it gave me a greater confidence. It was really the first time I felt recognized for my work.
So what’s up next for you? I just started working on the adaptation of a Michael Connelly novel called “Chasing the Dime.” It’s an MGM project and I believe the book comes out sometime in October. It’s a story story about a scientist who starts getting strange phone calls on his new line. He comes to realize that the woman who had his number last might be missing. This guy then becomes obsessed with finding a woman he’s never met. It’s a really great book. After that, I’d like to try my hand at a spec. Preston Tylk is the only “original” script I’ve ever written. It’s about time to go back and try to originate something of my own.

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