Albert’s feature-length sci-fi drama screenplay Incarnations has been chosen as a quarterfinalist for the 2021 Finish Line Script Competition. Semifinalists will be announced on October 12, 2021.
The Finish Line Script Competition redefines the screenwriting competition; embracing the rewrite as an essential component in any successful screenplay and incentivizing every entrant to dig deeper, find their best draft and win. Finish Line’s winners and runners-up will receive extensive notes (and have the opportunity to rewrite and resubmit new drafts at no additional cost) from industry professionals, as well as getting valuable facetime with 35 mentors from the film & TV industry. This year’s mentor list includes Head of Television Caitlin Foito Bleiweiss of John M. Chu’s Chu Studios, writer/producer/director Bradley Bredeweg of The Fosters (Freeform) and Good Trouble (Freeform), SVP of Comedy Jim Donnelly of NBC Universal, co-producer David Gambino of Perry Mason (HBO), executive producer Ron Golenberg of Your Honor (CBS/Showtime), President of Berlanti Productions David Madden, and SVP of Drama Series at HBO Chris Salvaterra.
Incarnations, written by Albert, is about a grieving biologist who discovers startling scientific evidence revealing the fate of his deceased four-year-old son, launching him on a spiritual quest where life meets death. The project was previously named a finalist for the Launch Pad Feature Competition, Creative Screenwriting Unique Voices Screenplay Competition, and Screencraft Film Fund.
“THE WRITER DOES A GREAT JOB OF KEEPING THE READER OFF KILTER FROM THE VERY BEGINNING… FROM THAT MOMENT ON, THE READER IS FULLY INVESTED IN THE SCRIPT AND WON’T STOP READING TILL THE END… THE DIALOGUE IN THE SCRIPT ABSOLUTELY CRACKLES… THE WRITER DOES SO WELL TO WRITE SOMETHING THAT SOARS EMOTIONALLY WITHOUT EVER FEELING SENTIMENTAL, CLOYING, OR FALSE… THE SCRIPT IS TRULY UNIQUE. IT’S UNLIKE ANYTHING THE READER HAS SEEN BEFORE: A FASCINATING PREMISE WITH AN ENTHRALLING WORLD.”
“INCARNATIONS DELIVERS ON ALL THE BEST PARTS OF A GOOD CEREBRAL SPECULATIVE FICTION PIECE. IT DOESN’T SHY AWAY FROM THE HUMAN QUESTIONS RAISED BY THE PREMISE, INSTEAD USING THE CONCEPT TO GROUND A COMPELLING CHARACTER-DRIVEN NARRATIVE FRONT TO END… A WELL-CRAFTED AND DEEPLY INTELLIGENT PIECE OF FICTION, THOUGHT-PROVOKING IN ALL THE RIGHT WAYS.”
“THE CHARACTERS AND RELATIONSHIPS ARE THE STRONGEST PART OF THIS STORY AND IT SETS A STRONG FOUNDATION FOR PLOT… SO MUCH OF THE DIALOGUE IS POWERFUL… REFRESHINGLY HONEST… THE ENDING WAS INCREDIBLY EMOTIVE… THERE ARE MEANINGFUL MESSAGES THAT WE’RE LEFT WITH, THAT WE’VE LEARNT ALONG THE JOURNEY WITH THE CHARACTERS.”
“CLEVER, ORIGINAL, INTELLECTUALLY STIMULATING, AND GRIPPING, A HIGH CONCEPT IDEA THAT TRANSLATES INTO A SMART CHARACTER- AND IDEA-DRIVEN STORY… THE PLOT TWISTS ARE CONSISTENTLY SURPRISING… THE KIND OF LOW-BUDGET, INTELLECTUAL THRILLER THAT PLAYS AT SUNDANCE… BELONGS TO THE SAME GENRE AS PRIMER, TIMECRIMES, AND OTHER ARTHOUSE SUCCESSES. THE IDEAS ARE KING HERE.”
“THE SCRIPT’S BEST ASSET IS THOMAS: A CAPABLE, SYMPATHETIC PROTAGONIST WITH A TRAGIC PAST WEIGHING HIM DOWN AND DRIVING HIS OBSESSION, EVEN AS HIS COLLEAGUES AND FRIENDS TRY TO GET HIM BACK ON TRACK — THE PUSH-AND-PULL BETWEEN CHARACTERS GIVES THE SCRIPT MUCH OF ITS HEART.”
