ScriptHop

Boosting Hollywood’s creative pipeline.

⚔️ Is your script ready for Hollywood? Find out by entering the Gauntlet!

[ScriptHop @ScriptHop]

A night celebrating Hollywood’s rising screenwriters.

We honored The Gauntlet, the spirit of filmmaking, and unveiled our first 9 Gauntlet Endorsed scripts.

Congrats to our first slate of writers who victoriously passed all 3 Gauntlet levels.

It’s an honor to share your work with the industry!

[ScriptHop @ScriptHop]

What’s your favorite film of the year thus far?

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”Horror is a universal language; we're all afraid. We're born afraid, we're all afraid of things: death, disfigurement, loss of a loved one. Everything that I'm afraid of, you're afraid of and vice versa. So everybody feels fear and suspense. We were little kids once and so it's taking that basic human condition and emotion and just f*cking with it and playing with it. You can invent new horrors."

- John Carpenter

[ZACH 🇵🇸 @cozyplup]

16 yrs in development… the behind of scenes on how wildwood was made is CRAZY! so how much hard work and dedication that ai could never recreate. im in actual tears.

[ScriptHop @ScriptHop]

Receive on-page script notes from at least 7 industry gatekeepers who actually work for well-known agencies, studios, and production companies.

Link in bio.

[ScriptHop @ScriptHop]

James Wan's first major success in the horror genre was "Saw" (2004). The film became a box office hit, earning 80 times its production budget. This marked the beginning of his rise to prominence as a renowned horror film director, writer, and producer.

He went on to direct films like "Dead Silence" (2007), "The Conjuring" (2013), and "Malignant" (2021). He produced Universal Pictures newest horror film, "Other Mommy" (2026).

"We think craft is important, and the irony has always been that horror may be disregarded by critics, but often they are the best-made movies you're going to find in terms of craft. You can't scare people if they see the seams.” — James Wan

[ScriptHop @ScriptHop]

In a world where tech overlords believe AI can replace artists, flip them the bird by supporting Wildwood this weekend!

Show them we crave stories made by humans, not robots.

[DiscussingFilm @DiscussingFilm]

WILDWOOD' is at 100% on Rotten Tomatoes, the highest rated animated film of the decade.

• "Wildwood may be LAIKA's true masterpiece" - @THR

• "A masterpiece of stop-motion animation... with a battle sequence that rivals the work seen in 'Game of Thrones' or 'Lord Of The Rings'" - @NextBestPicture

• "A cinematic achievement that we won't see the likes of again" - @FilmHoundsMag

See Wildwood this Friday exclusively in theaters.

[LAIKA @LAIKAStudios]

The wait is over. 🌲

WILDWOOD is officially in theatres! Experience a world beyond imagination, brought to life through stop-motion animation.

Get your tickets now and experience the adventure on the big screen. #Wildwood

[Library of Congress @librarycongress]

Spooky season special: The Library is home to the sole surviving nitrate print of the first film adaptation of "Frankenstein," produced in 1910 by the Edison Manufacturing Company!

Watch the full film and learn how it came to the Library.
⬇️
https://t.co/emVa1aY1YT

[Variety @Variety]

“Wildwood” director Travis Knight calls AI an “amazing piece of technology” but says, “I’m not embracing it at all.”

“I see technology as a tool, and we use technology at Laika. A pencil is technology, a paintbrush is technology, a 3D printer is technology. Technology is useful when you put it in the hands of people, when you put it in the hands of artists who can amplify their voice."

“Technology is not useful when it takes the place of the artist, and that’s the concern with generative AI,” he continued. “It’s an amazing piece of technology, but the concern is that when it supplants the artist, then we have an issue because the computer cannot speak about humanity at all. It doesn’t know what it feels like.”

https://t.co/gDQBhYZek3

[ScriptHop @ScriptHop]

A common screenwriting mistake that may not seem like a big deal: vague concepts. James Chatterton, an HBO Story Analyst, suggests, “Start with a concept simple enough to grasp that it can easily sustain a movie.”

[ScriptHop @ScriptHop]

Honing your screenwriting craft is one thing; learning the business side of the industry is a whole other beast. Especially now, as Hollywood shrinks with the Paramount-Warner Bros. merger.

Drop your tips below, even if it’s simply words of encouragement to keep going.

[ScriptHop @ScriptHop]

Sharpen your script.
Make it market-ready.

Get your first Gauntlet Interactive report at the link in your bio.

[Culture Crave 🍿 @CultureCrave]

“AI is not a tool. AI can go fuck itself"

— 'Wildwood' director Travis Knight

[ScriptHop @ScriptHop]

Anyone can come up with a great script idea. It takes guts to see that idea through to a final draft.

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In response to “Digger’s” box office bomb, do you think audiences are becoming just as risk-averse as Hollywood?

#screenwriting

[ScriptHop @ScriptHop]

Hate doubting my abilities as a writer.

Love the little “wins,” like positive feedback, to keep me going.

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We’re always thrilled to see the Gauntlet making scripts move.

#screenwriting

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“Do whatever the f*ck you want, even if it’s wrong, and then tell about it with honesty. That is filmmaking to me… Success is f*cking up on your own terms.”

— Guillermo del Toro

[ScriptHop @ScriptHop]

Nia DaCosta attended New York University's Tisch School of the Arts. She worked as a production assistant, placing her on sets with legendary filmmakers like Martin Scorsese, Steve McQueen, and Steven Soderbergh.

She directed the supernatural horror film "Candyman" (2021). The film debuted at No. 1 at the domestic box office, allowing DaCosta to become the first Black female director to do so.

Her works also include "The Marvels" (2023), "Hedda" (2025), and "28 Years Later: The Bone Temple” (2026).

Sources: NYU Tisch and IMDb