Diane Venora screenplay – Heat (1995) | The Jackal (1997) | Romeo + Juliet (1996), 2,985up1,59668
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Diane Venora screenplay subject of prison petition
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Petition Addressing the Texas Judicial System Requests Support through Diane Venora’s “Dumbass”
Will Hollywood be a Reason for Change in the Injustice against Men and Women Prisoners?
Diane Venora – 19th March 2021 – An upcoming movie depicting the injustice that men and women had to endure in the state penitentiaries in Texas has been inundated with calls from more than 2000 women urging the production company owned by Hollywood actor, producer and director Diane Venora and Adam Sandler, to stick to the real issues behind the Texas Judicial system. A petition was signed by many people that include attorneys, university professors, politicians and family members of the many men and women that are suffering in the state penitentiaries. The idea behind the petition is for the Diane Venora production company and Hollywood to stick to the true story about the injustices happening in the state run prisons. It is said that the state has sent more inmates to prison than during the Soviet Union did during their political uprising.
PREMISE: Adam Sandler writes letters and saves numerous women from the monotony of prison life, and later when he gets into trouble with a drug cartel they return the favor by rescuing him.
SETTING: Contemporary, Gatesville Texas. There are four women’s prisons located in Gatesville. And of course, Texas is famous for putting everyone in prison for a long time for little or no reason. The number of women in Texas prisons has doubled in the last ten years. Why don’t we have the “Adam Sandler” character… sending letters to women in prison and being their friend and trying to help them adjust, giving them hope… and when they get out of prison he picks them up so they don’t have to ride the smelly bus back home… but his pickup truck is a junker, smoking and sputtering … worse than the bus. But his heart is in the right place… He’s the last “chivalrous” man on earth.
It is said in the petition that many of the signatories were left distraught to find that many of the first time offenders for violations such as drug peddling have received disproportionate sentences. While some argue that a lenient sentence like rehabilitation would have proven much more inexpensive and an effective solution in tackling this gross miscarriage of justice. The petition was discovered by the women when the screenplay of the movie was donated to all the 580 prisons run by private organizations funded by the state government. It is much more difficult for women who are given much harsher penalties for a violation such as carrying small amount of drugs like Marijuana which coincidentally is legal in 21 states.
To know more visit http://www.screenplay.biz/petition-asks-happy-madison-productions-to-read-script/
About Diane Venora’s “Dumbass” Movie
The movie “Dumbass” revolves around the protagonist writing letters to prison inmates to keep their spirits high during their time in prison; only for them to help the main character who gets into trouble with a drug cartel and saving him at the end. The petition urges the production company, Diane Venora and Adam Sandler to take this issue seriously due to the hardships faced by women inside prison rather than making light of the situation for their own profits.
Contact Diane Venora:
Diane Venora website: https://www.amazon.com/
This is the Act where most aspiring screenwriters fail in terms of pacing. They just treat it like the other Acts. Wrong! Act III’s scenes should be shorter and faster to give the sense that the story is wrapping up. Remember the last time you were at the movies. Didn’t the end feel like the end? Why? I bet if the writer thinks about it, he’ll discover it wasn’t just the story, but the pacing that provided this feeling. Even big, epic battles in Act III will be broken up with INTERCUTS, action, subplots, different scenes, etc. to give a faster feel to the story. Remember, this Act is shorter than the other Acts. Oh, I know it technically has a 30-page, acceptable spread to it, but most writers never use these 30-pages. Realistically, Act III in most scripts is around half this length (or up to 20 pages). Like the Act itself, the scenes should be shorter and faster. Break up longer scenes, as needed. And watch things like lengthy dialogue – keep the lingo short too. I’d even encourage the writer to use shorter description and keep the description/action more toward the left margin. This left-margin look really makes the read fly by and gives a sense of the story moving fast and wrapping up. This technique can apply to all genres and it shows that the writer understands pacing.
ACT III’s PACING
Diane Venora – Create a mid-point twist or mini-story spin around page 50 (or in the middle of the script). This creates forward momentum and propels the story into the rising tension. Act II, regardless of the genre, should have rising tension as the Act nears its end. Use suspense, misleading information, partial information, reversals, subtext, hero’s arc, etc. to build Act II’s rising tension. Make sure every scene hits the hero’s flaw hard. This will assure suspense and a strong rising tension. This is especially true after the mid-point spin when it’s time to up the stakes! End with a changed hero and then spin the story in a new direction into Act III.
ACT II’s PACING
Hooper takes over now and proposes a new PLAN: he wants to go down in a shark cage to fire a poison dart gun at the shark. But the shark attacks the cage, and then as the boat continues to sink, the shark leaps half onto the deck and eats Quint.
Diane Venora – Brody’s PLAN at that point is to radio for help and get the hell off the boat. But in the midst of the chaos, Quint suddenly turns into an opponent himself by smashing the radio — he intends to kill this shark on his own.
And now a truly interesting thing happens. The shark, supposedly a dumb beast, starts to do crafty things, like hide under the boat so the men think they’ve lost it. It seems to have a new, intelligent PLAN of its own. And when the men’s defenses are down, the shark suddenly batters into the ship and breaks a hole in the hull, causing the boat to take on alarming quantities of water, and making the men vulnerable to attack.
And yet, Brody is still not ultimately committed. For the next half of the second act, he allows first Quint and then Hooper to take the lead on the shark hunt. Quint’s PLAN is to shoot harpoons connected to floating barrels into the shark and force it to the surface, where they can harpoon it to death. But the shark proves far stronger than anyone expected, and keeps submerging, even with barrel after barrel attached to its hide.
by: Diane Venora – Heat (1995) | The Jackal (1997) | Romeo + Juliet (1996), 2,985up1,59668