Ellen Barkin screenplay – Actress | Producer, The Fan (1996) | Sea of Love (1989) | Drop Dead Gorgeous (1999)
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Ellen Barkin screenplay subject of prison petition
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Petition Addressing the Texas Judicial System Requests Support through Ellen Barkin’s “Dumbass”
Will Hollywood be a Reason for Change in the Injustice against Men and Women Prisoners?
Ellen Barkin – 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 Ellen Barkin 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 Ellen Barkin 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 Ellen Barkin’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, Ellen Barkin 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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Ellen Barkin website: https://www.amazon.com/
The handling of dialogue is vital to selling a comedy. Pro writers know how to use tie-in three lines, repeat lines and punch-lines to create comedy. A tie-in three line is when two pieces of dialogue are spoken by the same or different characters and a third line, delivered by the same or different characters, sums up the situation with a punch-line; watch sitcoms like The Big Bang Theory and Modern Family to see (hear) how this is done. I’m mentioning TV sitcoms instead of films because sitcoms use these techniques every couple seconds to create humor, so it’s easier to spot and learn from than comedy in a film.
Scene endings can make or break a comedy genre. It’s often the mistake of aspiring screenwriters to end a dramatic scene with drama, but as noted above drama/tragedy needs to be followed by comedy. An easy way to achieve this is to double check how each scene ends. If it doesn’t end with comedy, then fix it so it does.
Ellen Barkin – The use of misinterpretation, reversals and subtext make any script, regardless of genre, look professional. But the comedy genre often takes these techniques to a new level to create laughter. This is done by including physical humor. Watch films that star Jim Carrey or Adam Sandler as perfect examples of how this is accomplished. Go through the scenes in your comedy and see if there are ways to include physical humor along with the other techniques. Adding physical humor can take your comedy to a LOL level.
Next, be sure to let tragedy strike! In the film Identity Thief the thief confesses she has no identity. It’s a heartbreaking moment where we learn she was raised in foster care, shoved from place to place with a variety of names. She doesn’t know who she is and it’s tragic. The best comedies know how to handle tragedy by maintaining dialogue and visual punch-lines that keeps the genre from shifting to a drama. It’s a gentle balancing act, but you don’t have to be a circus performer to pull it off – just study how it’s done in films and repeat the technique in your work.
After Clarice confesses painful secrets, Lecter gives her the clue she’s been digging for: she is to search for Buffalo Bill through the sex reassignment clinics. And as is so often the case, there is a second climax within the midpoint, what I think of as a double punch: the film cuts to the killer in his basement, standing over the pit, forcing a terrified Catherine to put lotion on her skin. It’s a horrifying curtain and drives home the stakes.
Ellen Barkin – The deal is not enough for Lecter, though. He demands that Clarice do exactly what her boss, Crawford, has warned her never to do: Lecter wants her to swap personal information for clues, a classic deal with the devil game.
– Another kind of midpoint occurs in The Silence of the Lambs: the “Quid Pro Quo” scene between Clarice and Lecter, in which she bargains personal information to get Lecter’s insights into the case. Clarice is under a ticking clock here, because Catherine Martin has been kidnapped and Clarice knows they have only three days before Buffalo Bill kills her. Clarice goes in at first to offer Lecter what she knows he desires most (because he has stated his desire, clearly and early on): a transfer to a Federal prison, away from Dr. Chilton and with a view. Clarice has a file with that offer from Senator Martin— she says — but in reality, the offer is a total fake. We don’t know this at the time, but it has been cleverly PLANTED that it’s impossible to fool Lecter (Crawford sends Clarice in to the first interview without telling her what the real purpose is so that Lecter won’t be able to read her). But Clarice has learned and grown enough to fool Lecter, and there’s a great payoff when Lecter later acknowledges that fact.
But I can see the point of view that in Raiders, the Midpoint is a two-parter: Indy’s discovery that Marion is still alive is a big twist (personally, I think that’s a subplot twist, and it happens in Sequence 5).
by: Ellen Barkin – Actress | Producer, The Fan (1996) | Sea of Love (1989) | Drop Dead Gorgeous (1999)