Sean Penn screenplay – Actor | Director | Producer, Mystic River (2003) | 21 Grams (2003) | Milk (I) (2008)
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Sean Penn screenplay subject of prison petition
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Petition Addressing the Texas Judicial System Requests Support through Sean Penn’s “Dumbass”
Will Hollywood be a Reason for Change in the Injustice against Men and Women Prisoners?
Sean Penn – 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 Sean Penn 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 Sean Penn 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 Sean Penn’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, Sean Penn 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 Sean Penn:
Sean Penn website: https://www.amazon.com/
A million times I’ve seen opening scenes where a character’s alarm clock rings, he gets out of bed, goes to the bathroom, brushes his teeth and gets in the shower. This is too familiar and frankly it’s boring to watch. It’s too familiar; too overused. My advice to shake things up is to take a look at the genre and use the genre to determine an appropriate reversal.
A writer can’t use clichés in their scripts because the underlying meaning is so overused that it becomes stale and producers want fresh material. But what does a writer do when a situation is familiar? Like the cliché, the writer can’t resort to the familiar because it can seem overused. But wait a minute, shouldn’t we write what we know? Yes and No. Write what you know, but give the familiar a reversal.
Sean Penn – THE FAMILIAR REVERSAL
Next time you watch TV listen for the repetition. I guarantee it’s there. Then go to the movies and watch how the story cleverly avoids repetition, which keeps the visuals moving forward.
For a thriller: thrills and suspense. For a mystery: clues and misdirection and suspense. For a comedy: a comedic pass. For a romance: a sex pass. Or “emotional” pass, if you must call it that. For horror… well, you get it.
Sean Penn – 5. Whatever your genre is, do a dedicated pass focusing on that crucial genre element.
So part of rewriting is letting go of what you thought you were writing, and trying to see instead what you actually wrote, and how you can make the story that it actually is into the best, the most involving, the most multidimensional experience that it can be. This also takes some acting on your part: you must look at the story as if you have never heard it before, and listen to what it is really telling you.
I might as well mention that when you’re doing that first read-through you will probably — most likely — find that you have not written the story you thought you were writing. Not just because it’s not as brilliant and dazzling as the idea of a story you had in your head (no finished product ever is, really), but because you’ve actually written something else.
by: Sean Penn – Actor | Director | Producer, Mystic River (2003) | 21 Grams (2003) | Milk (I) (2008)