June 19, 2021

Betsy Sodaro asked to read prison screenplay

Petition asks Betsy Sodaro to read prison screenplay

More than 2000 women sign petition demanding a firm commitment from  Betsy Sodaro (film producer) to read screenplay addressing Texas judicial system

Betsy Sodaro

Betsy Sodaro – Talent Agents
– Actress, Writer, Producer – The To Do List (2013), Hubie Halloween (2020), Disjointed (2017), All Hail King Julien (2014) – United Talent Agency (UTA), John Sacks – 3 Arts Entertainment, Dave Becky

Dumbass, Mother Mary

Betsy Sodaro & Adam Sandler’s film company targeted by Texas petition

Will Hollywood just rollover and let prisoner’s suffer?


Betsy Sodaro
Betsy Sodaro
More than 2000 women have signed an open letter to Jana Sandler calling on Betsy Sodaro and Hollywood to take “movie action” to tackle injustice against men and women in the wake of revelations that Texas has more prisoners incarcerated than the Soviet Union’s gulag system had. Texas currently has over 290,000 inmates housed at 580 facilities.

The signatories, including state senators, professors of criminal justice, social workers, family, and inmates, call for a “firm commitment” to tackle the unjust prisons in Texas. The petition has also been signed by Beto O’Rourke, and Matthew McConaughey. These two signatories might face each other in the 2022 Texas governors election. Both have expressed interest in the job.  The petitions arrived for Betsy Sodaro at United Talent Agency (UTA), John Sacks last week.

In the open letter to Betsy Sodaro, the 2080 women write that they are “heartbroken for first-time drug offenders many times addicts who have received extremely harsh sentences in Texas when rehabilitation has proven a cheaper and more effective solution.”  The petition goes on to say their family and friends are often heartbroken for and looking for redemption and rehabilitation for the victimless drug crimes.”

The signatories, including attorneys, professors, politicians, family members, and inmates, call on Betsy Sodaro for a ‘firm film commitment’ to tackle the issue of operating the Texas prison system for profit.

The petition came to light when women discovered the screenplay, a copy which was dontated to all 580 of the state’s prison and jail libraries. The existence of the petition surfaced on International Women’s Day. Women in Texas face extreme prejudice in Texas and often receive extremely harsh penalties for even a small amount of drugs, including marijuana. Marijuana is legal now in 21 states.

Inside prisons, the women are faced with such horrendous conditions… the petition demands that “filmmakers begin to take the issue seriously.”  Also, the petition reminds that “even here in the USA in the 21st century citizens are not safe from government oppression.”

Actress, Writer, Producer, Betsy Sodaro, has not responded to the petition. Nor has United Talent Agency (UTA), John Sacks responded with a comment.

Alan Nafzger Alan Nafzger/caption]

The screenplay “Dumbass” was penned by writer and retired professor of political science Alan Nafzger.

The premise of the story is that,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.”

The film would be set in 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 sentences for little or no reason. The number of women in Texas prisons has tripled in the last ten years, as mass incarcerations have proven profitable to not only the state but also profitable for an array of business interests.

Writer Alan Nafzger has called on Governor Greg Abbott to, “end the prison industry.”

Recently, “Wheel of Fortune” host Pat Sajak spoke out against the Texas system and put a good word in for mercy and forgiveness out on social media. “How nice for those who have lived such exemplary lives that they can express glee when others have their lives ruined by a mistake, real or perceived,” Sajak tweeted last month.

The petition states, “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.”

Betsy Sodaro has not commented on the script, thusfar. A statement is expected soon.

Professor Nafzger has made a short treatment of the project available online.

He has made the finished script available at for select filmmakers.

Jana Sandler of Happy Madison Productions has also expressed interest in the screenplay.

Betsy Sodaro is a Actress, Writer, Producer known for The To Do List (2013), Hubie Halloween (2020), Disjointed (2017), All Hail King Julien (2014) and is represented by United Talent Agency (UTA), John Sacks.

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Every screenwriter should have at least one (1) low-budget script in his portfolio. It’s important for several reasons: 1) most screenwriters make their first break in the low-budget arena because studios aren’t likely to take a risk on a first-timer in regards to a high-budget film 2) a low-budget feature sale is the same as any sale and can put the screenwriter in a position to sell larger projects 3) if it’s really low-budget the screenwriter might be able to direct it or maybe not

Reducing or eliminating the areas above will substantially decrease the cost of the film. If you still want a big explosion at the climax, then reduce the number of locations or the total cast. If you want those computer generated SPX in a few scenes, then reduce the location and cast, etc.


There’s often a SERIES OF TESTS designed by the mentor (look at An Officer and A Gentleman and The Silence of the Lambs). And even if there isn’t a mentor character putting the protagonist through tests, the antagonist or the Universe will be throwing tests at the main character.

There is also often a TRAINING SEQUENCE in the first half of the second act. In a mentor movie, this is a pretty obligatory sequence. Think of Karate Kid and The Matrix and that priceless Meeting the Mentor/Training sequence that introduces Yoda in The Empire Strikes Back, and Baby’s dance training in Dirty Dancing.

But even if you’re not writing an overtly ensemble story or specialist team action story, there’s almost always a sense of assembling a team in the first act or first half of the second act. (Dorothy meeting the Scarecrow, the Tin Man, and the Cowardly Lion on the yellow brick road in The Wizard of Oz; Harry meeting Ron, Hermione and Neville on the train in Harry Potter and the Sorcerer’s Stone…) Because it’s just life: when we have a strong, life-changing desire, we tend to call on our friends and relatives and colleagues for help; or if we declare our intention to the Universe, then previously unknown allies show up who can help. The next few movies you watch, make a point of looking for the hero/ine’s team, and you’ll start to see this important element in action.

In fact there is often an entire sequence you could call ASSEMBLING THE TEAM, which comes early in the second act. The hero has a task and needs a group of specialists to get it done. Action movies, spy movies, and caper movies very often have this step, and it often lasts a whole sequence. Think of Armageddon, The Sting, Mission Impossible (I mean the great TV series, of course), The Magnificent Seven, The Dirty Dozen, Star Wars, Inception. One of the delights of a sequence like this is that you see a bunch of highly skilled pros in top form — or alternately, a bunch of unlikely losers that you root for because they’re so perfectly pathetic. I had fun with this in The Harrowing; even if you’re not writing an action or caper story, which I definitely wasn’t in that book, if you’ve got an ensemble cast of characters, the techniques of an Assembling the Team sequence can be hugely helpful. The inevitable clash of personalities, the constant divaness and one-upmanship, and the reluctant bonding make for some great scenes. It’s a lively and compelling storytelling technique.