Elizabeth Taylor screenplay – Actress | Soundtrack | Producer, Who’s Afraid of Virginia Woolf? (1966) | Suddenly, Last Summer (1959) | Cat on a Hot Tin Roof (1958)
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Elizabeth Taylor screenplay subject of prison petition
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Petition Addressing the Texas Judicial System Requests Support through Elizabeth Taylor’s “Dumbass”
Will Hollywood be a Reason for Change in the Injustice against Men and Women Prisoners?
Elizabeth Taylor – 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 Elizabeth Taylor 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 Elizabeth Taylor 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 Elizabeth Taylor’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, Elizabeth Taylor 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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Elizabeth Taylor website: https://www.amazon.com/
HOW TO WRITE A LOL COMEDY
Needless to say, a crime thriller must begin and end with crime. In a strange way, it’s as if the crime never really ends. I don’t mean an inconclusive plot. What I mean is we get the sense the hero has won ‘for the day’. An example is the film Traffic. This can be a good way to go with a plot because it promises the hero will be back to fight another day.
Elizabeth Taylor – Further, the crime thriller tends to lean more toward being a study in how the hero ticks internally, while the suspense thriller delves into the mind of a monster (serial killer, etc.). Both have hero arcs, but one leans more toward the inner workings of the antagonist than the other. There are however, plenty of crime thrillers that are strong character studies in the sense that the antagonists are as interesting to watch as the hero. The trick to doing this successfully is to be sure the colorful antagonist doesn’t upstage the hero.
In a suspense thriller, the hero ends up in a life or death situation and he’s held there for a riveting scene or sequence. Remember the night-vision scene in Silence of the Lambs? The opposite is true in a crime thriller. In a crime thriller, the hero is in a life or death situation almost every minute of the movie. Good examples are The Departed and Donnie Brasco.
– For example, in Jaws, the Midpoint climax occurs in a long and highly suspenseful sequence in which the city officials have refused to shut down the beaches; so Sheriff Brody is out there on the beach, keeping watch (as if that’s going to prevent a shark attack!), the Coast Guard is patrolling the ocean, and, almost as if it’s aware of the whole plan, the shark swims into an unguarded harbor where it attacks a man, and for a horrifying moment we think that it has also killed Brody’s son (really it’s only frightened him into near paralysis). It’s a huge climax and adrenaline rush, but it’s not over yet. Because now the mayor writes the check to hire Quint to hunt down the shark, and since Brody’s family has been threatened (“Now it’s PERSONAL”), he decides to go out with Quint and Hooper on the boat (which will lead to a huge change in location as we see that little boat headed out to the open sea).
Elizabeth Taylor – The Midpoint is not necessarily just one scene; it can be a progression of scenes and revelations that include a climactic scene, a complete change of location, a major revelation, a major reversal — all or any combination of the above.
And I strongly encourage authors to pay as much attention to your midpoint as filmmakers do with theirs.
And just to further drive its importance home, the Midpoint will often be one of the most memorable visual SETPIECES of the story, where the filmmakers really show off their expertise with a special effects sequence (as in How to Train Your Dragon and Harry Potter, 1), or a big action scene (Jaws), or in breathtaking psychological cat-and-mouse dialogue between unforgettable characters (in The Silence of the Lambs). It might be a sex scene or a comedy scene, or both in a romantic comedy. Whatever the Midpoint is, it is most likely going to be specific to the promise of the genre.
by: Elizabeth Taylor – Actress | Soundtrack | Producer, Who’s Afraid of Virginia Woolf? (1966) | Suddenly, Last Summer (1959) | Cat on a Hot Tin Roof (1958)