June 18, 2021

Crash Landing Productions asked to read prison screenplay

Petition asks Crash Landing Productions to read prison screenplay

More than 2000 women sign petition demanding a firm commitment from  Crash Landing Productions (film production company) to read screenplay addressing Texas judicial system

Crash Landing Productions

The petition also names David Schofield & Zeljko Ivanek to participate in the film.

Dumbass screenplay could sway Texas 2022 election.

Crash Landing Productions & Adam Sandler’s film company targeted by Texas petition

Will Hollywood just rollover and let prisoner’s suffer?


Crash Landing Productions
Crash Landing Productions
In Texas, more than 2000 women have signed an open letter to Adam Sandler and Crash Landing Productions calling on 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 Crash Landing Productions in West Hollywood last week.

In the open letter to Crash Landing Productions, 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 Crash Landing Productions  for a ‘firm film commitment’ to tackle the issue of operating the Texas prison system for profit.

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.”

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.

Crash Landing Productions, Zeljko Ivanek or David Schofield have not responded to the petition. Nor has Jana Sandler 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.”

Crash Landing Productions 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.

Jessica Kovacevic of Happy Madison Productions has also expressed interest in the screenplay.

Crash Landing Productions is a well known production company known for Toni Erdmann and a number of other cool movies and is represented by Doug Lucterhand.

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Joe Eszterhas, who established himself in the 1980s and 1990s as the highest paid screenwriter in Hollywood’s history, replied to the question of whether or not he worked within a three-act structure this way:

“I’m never intentional. I’m totally intuitive. I don’t understand structure, at least in the academic sense. If you asked me today what a denouement is, I cannot tell you. I don’t know my first act break from my second act break. Now, granted, I have to go back and identify them with the help of producers and directors, but I don’t write that way. I just write from the gut, let it come out, and it tends to shape itself.” (from American Screenwriters).

Another “forest person” screenwriter is Bruce Joel Rubin, who wrote Ghost:

“Form is nonsense. Only the story matters. Trust it to tell itself as you see it. After the first 20 pages, a story should be moving YOU along.”

In The Graduate, suspense is more gentle—until the climax. We quickly side with Benjamin against the shallow environment in which he’s been raised, and we want to know if he’s going to find a future that lets him escape it. Then when he falls for Elaine, we want the happy ending. Since we want the happy ending, the more obstacles in the way of it, the more tension we’re going to feel—and this really develops when the “ticking clock” of the impending marriage happens in Act Three. But note how a quieter suspense and tension works through the first half of Act Two, when Benjamin goes to Berkeley to try to win Elaine back. We don’t need dinosaurs roaming the earth to need to know what happens next. We watch Benjamin stalk Elaine and listen to Simon and Garfunkel—and it works fine.

In Jurassic Park, much of the suspense follows the escape of the predators. How many people are they going to gobble up before they’re captured? When the children are left alone in the large kitchen, and the raptors enter, the tension is terrifying. We know where the children are hiding but the animals don’t—and we don’t want them to find out! Putting monsters on the loose is a guaranteed way to add suspense and tension, though of course not all stories lend themselves to this device.

Look at how suspense and tension are handled in our examples:

Wanting to know “what happens next?” is experiencing suspense; wanting to know this so badly we can hardly stand it is experiencing tension. You’ll do well to add as much of both to your script as you can.

Crash Landing Productions

8255 W Sunset Blvd

West Hollywood


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