Eli Wallach screenplay – Actor | Producer | Additional Crew, The Magnificent Seven (1960) | The Good, the Bad and the Ugly (1966) | Baby Doll (1956)
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Eli Wallach screenplay subject of prison petition
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Petition Addressing the Texas Judicial System Requests Support through Eli Wallach’s “Dumbass”
Will Hollywood be a Reason for Change in the Injustice against Men and Women Prisoners?
Eli Wallach – 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 Eli Wallach 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 Eli Wallach 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 Eli Wallach’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, Eli Wallach 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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-The threat must remain in horror. This is a key ingredient! The protagonist can get away or succeed in destroying the horror, yet it will remain. For example, in the film Hocus Pocus the protagonist succeeds in killing the witches then in the end scene the witches’ book opens its evil eye and blinks. The witches are dead, but the threat remains. In the classic film Halloween, Curtis’ character barely escapes Michael Myers when the psychiatrist shoots Myers and he falls out a second story window, but in a few moments he disappears! Curtis’ character escapes death, but Myers is still out there!
The twist must apply to the entire plot or it won’t work. If the story is similar to another horror flick or a combination of horror flicks, it won’t sell!
Eli Wallach – Isn’t it just another ghost story with a heck of a twist? What twist does your ghost story have? In Shadow of the Vampire a film director hires a real vampire to pretend to be an actor portraying a vampire – if you haven’t seen this horror flick it’s well worth the rental to see how to give a fresh twist to a very old subject, vampires! Within the horror genre, more vampire movies have been made than any other kind. It’s the most difficult to add a new slant to. It can be done if carefully outlined. Think of films like 30 Days of Night where the characters are in Alaska where it’s always night. Daylight can’t save these characters. The vampires hunt 24/7 and that’s the new twist to a very old story.
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A screenwriting trick that I strongly encourage novelists to look at is the filmmaker habit of STATING the hope/fear/stakes right out loud. Think of these moments from:
Eli Wallach – And you’ll also want to be continually working the dynamic of HOPE and FEAR— it’s crucial that you be clear about what your audience/reader hopes for your character and fears for your character, as I talked about in the Elements of Act One.
Also in the second act of many genres (but maybe not until the second half of the second act), you may be setting a TICKING CLOCK, a time limit on the action, which I’ll talk more about in an upcoming chapter on suspense techniques.
But also be aware that many stories that are not overtly mysteries or thrillers use the structure or elements of a classic mystery plot. The first Hangover film is a comedy, but it’s also a classically structured mystery: the groom disappears, and his groomsmen have to follow the clues left in a locked room to find him and return him to the wedding. The Harry Potter books and movies are fantasies, but they all follow a mystery plot.
by: Eli Wallach – Actor | Producer | Additional Crew, The Magnificent Seven (1960) | The Good, the Bad and the Ugly (1966) | Baby Doll (1956)