Debra Messing screenplay – Actress | Soundtrack | Producer, Will & Grace (1998-2020) | The Wedding Date (2005) | Hollywood Ending (2002)
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Debra Messing screenplay subject of prison petition
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Petition Addressing the Texas Judicial System Requests Support through Debra Messing’s “Dumbass”
Will Hollywood be a Reason for Change in the Injustice against Men and Women Prisoners?
Debra Messing – 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 Debra Messing 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 Debra Messing 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 Debra Messing’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, Debra Messing 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 Debra Messing:
Debra Messing website: https://www.amazon.com/
I’m not going to spend much time boring the writer by reminding him that Act III is the story’s resolution, just like Act I is the setup and Act II is the confrontation. What I am going to spend time discussing is the hero. In this Act, the hero MUST resolve the conflict. This should be obvious, but time and again I see a secondary, supporting character take on the nemesis and do the dirty work for the hero. I literally see 4 out of 10 scripts that do this! Let me provide an example of how this is career suicide so those 4 out of 10 writers will stop wasting their money on reviews when they’ll never get a recommend for a script where the hero doesn’t act like the hero.
Act III is technically the shortest Act. Even if it runs from page 90 to 120, it’s still the shortest. How can it be the shortest if it runs roughly the same length as Act I? Because it isn’t a matter of page length, it’s a matter of pacing. This Act should move shorter and faster, in terms of scene length, dialogue and description, than the other Acts to give a sense that the story’s coming to a close. Even if Act III involves a long chase sequence, break it up into bite-size pieces. Keep dialogue short. If there’s a long speech, then it better be reserved for the hero and his words better be so compelling they’ll resonate for years to come. Otherwise, edit it down to match Act III’s pacing.
Debra Messing – FOOLPROOF ACT III
While Act II is all about the hero and his arc, don’t forget the antagonist! In order for the audience to root for the hero to change, the hero must be up against a tough opponent. Far too often, I read antagonists who are equal to the hero. Wrong!!!! The antagonist should be smarter, cleverer, more devious, cunning, etc.! He should be a formidable foe! The only way the hero will outsmart the antagonist is to change! This is important because it FORCES the hero to change! I can’t tell you how many times I’ve read a script where the antagonist is introduced in Act I and doesn’t show up again until Act III. If he’s not around, then the hero isn’t being challenged and this is a sure pass. Also, the writer doesn’t have to create an internal conflict for the bad guy. We don’t need to know he was abused as a child and that’s why he’s a monster now. Worry about the hero’s internal conflict and let the bad guy be the bad guy.
I give you these last two examples to show how helpful it can be to study the specific structure of stories that are similar to your own. As you can see from the above, the general writing rule that the protagonist drives the action may not apply to what you’re writing, and you might want to make a different choice that will better serve your own story. And that goes for any general writing rule.
Debra Messing – I would venture to guess that most of us know what it’s like to be swept up in a ripping good love entanglement, and can sympathize with Jane’s desire just to go with the passion of it without having to make any pesky practical decisions. It’s a perfectly fine — and natural — structure for a romantic comedy, as long as at that key juncture, the protagonist has the realization and balls — or ovaries — to take control of her own life again and make a stand for what she truly wants.
Jane decides at that point to go along with Jake’s plan (saying, “I forgot what a good lawyer you are.”). In terms of action, she is essentially passive, letting the two men in her life court her (which results in bigger and bigger comic entanglements), but that makes for a more pronounced and satisfying character arc when she finally takes a stand and breaks off the affair with Jake for good, so she can finally move on with her life.
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by: Debra Messing – Actress | Soundtrack | Producer, Will & Grace (1998-2020) | The Wedding Date (2005) | Hollywood Ending (2002)