Dylan Sprouse screenplay – Actor | Producer | Soundtrack, Big Daddy (1999) | The Suite Life of Zack & Cody (2005-2008) | The Suite Life on Deck (2008-2011)
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Dylan Sprouse screenplay subject of prison petition
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Petition Addressing the Texas Judicial System Requests Support through Dylan Sprouse’s “Dumbass”
Will Hollywood be a Reason for Change in the Injustice against Men and Women Prisoners?
Dylan Sprouse – 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 Dylan Sprouse 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 Dylan Sprouse 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 Dylan Sprouse’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, Dylan Sprouse 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.
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Dylan Sprouse website: https://www.amazon.com/
-Alien Worlds are like the period piece where everything has to be changed. See notes and Low-Budget Recommendation listed above. Exception: Monster flicks where the producer can put an actor in a suit. That’s cheap compared to special effects.
ALIEN WORLDS
Dylan Sprouse – -Low-Budget Recommendation: The only way I can see for this type of script to get made for a $1million or under is if it’s one location with a minimal cast. Even then it’ll be tough! Try to avoid the period piece if you want to write for the low-budget arena.
-The problem with making a low-budget period piece is that it’s near to impossible for the following reason: EVERYTHING MUST BE CHANGED. Every dish, every vehicle, every item in any room, every piece of clothing….EVERTYHING! Take a look at one room in your home. If you had to change everything in that room to the 1920’s what would it cost?
This step might come in the first act (it’s sometimes the Sequence One Climax), or somewhat later in the second act, but it’s generally the end or beginning of a sequence: think of Alien (the landing on the planet to investigate the alien ship), flying down to Colombia in Romancing the Stone, flying to Rio in Notorious, stopping the car for the night at the Bates Motel in Psycho. It’s often the beginning of an actual, physical journey in an action movie; in a ghost story it is entering the haunted house (or haunted anything). It’s a huge moment and deserves special weight.
Dylan Sprouse – Once the hero/ine has a plan, then, either literally or metaphorically, they set off on a journey to get that desire. Every story is in some way a journey. So the beginning of the second act of a book or film (30 minutes or 30 script pages into a film, 100 or so pages into a book) — can often be summed up as INTO THE SPECIAL WORLD or CROSSING THE THRESHOLD. Dorothy opening the door of her black and white house and stepping into Technicolor Oz is one of the most famous and graphic filmic examples of this story element (although it comes in Act I). Alice tumbling down the rabbit hole is a famous literary example. The passageway to the special world might be particularly unique… like the wardrobe in The Lion, the Witch and the Wardrobe; that between-the-numbers subway platform in the Harry Potter series; Alice again, going Through the Looking Glass; the cyclone in The Wizard of Oz; the blue pill (or was it the red pill?) in The Matrix; the tesseract in A Wrinkle in Time; the wind (and umbrella) Mary Poppins uses to travel with (and indeed, you can just study the Mary Poppins books for great examples of passageways between worlds).
CROSSING THE THRESHOLD/INTO THE SPECIAL WORLD
First, as we’ve just discussed at length, either in the first act or very early in the second act the hero/ine must formulate and state the PLAN. We know the hero/ine’s DESIRE or GOAL by now (or if we don’t, we need to hear it, specifically). We need to know how the hero/ine intends to go about getting that desire. It needs to be spelled out in no uncertain terms. “Dorothy plans to go to the Emerald City to ask the mysterious Wizard of Oz for help getting home.” “Clarice plans to bargain with Lecter to get him to tell her Buffalo Bill’s identity before Bill kills again.”
by: Dylan Sprouse – Actor | Producer | Soundtrack, Big Daddy (1999) | The Suite Life of Zack & Cody (2005-2008) | The Suite Life on Deck (2008-2011)