May 12, 2021

Dee Wallace screenplay subject of prison petition

Dee Wallace screenplay – Actress | Producer | Additional Crew, E.T. the Extra-Terrestrial (1982) | Cujo (1983) | The Howling (1981)


Dee Wallace screenplay subject of prison petition

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Petition Addressing the Texas Judicial System Requests Support through Dee Wallace’s “Dumbass”

Will Hollywood be a Reason for Change in the Injustice against Men and Women Prisoners?

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 Dee Wallace 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 Dee Wallace 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.

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About Dee Wallace’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, Dee Wallace 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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Don’t kill the hero! This is one of the toughest sells on the spec market. I know movies have been made where the hero dies, but unless you know Leonardo DiCaprio (Blood Diamond) or Joaquin Phoenix (Gladiator and Ladder 49), then I’d refrain from this approach because it’ll take a big, A-list actor attached to get made and in today’s economy, audiences don’t want downer stories! Plus, it’s unlikely this type of script would sell from a writer without a track record.

Give the hero the last scene and the last line. Big, name actors want the big moments and there is no bigger moment than closing a film. Give the hero the last scene and the last line. Another tip is to use a repeat-line to reinforce the hero’s arc. This is when we hear him say something he said earlier, but it now has new meaning. We’ll be discussing all of this in more detail in the chapter on CHARACTERS.

Dee Wallace – Here’s the next hero issue with scripts in regards to Act III: The hero should NOT get what he wants exactly how he wants it or the story fails! If he wants a certain girl in the beginning, he should fall for another girl by the end – he still gets the love he wanted in the beginning, but it’s with a different female. He may want a big promotion in the beginning only to learn (grow into an arc) that what he really wanted was more time with his family. The hero should get what he wants, but in a different way than he wanted.

Everyone has probably seen the first Die Hard movie. Let’s imagine in the end, instead of Bruce Willis taking out the main terrorist by killing him – his wife does it! After all, Holly (the wife) was mistreated and her family threatened by the terrorists – doesn’t she deserve her due? Yes, and she gets a ‘revenge’ moment, but it MUST be Willis who takes out the main terrorist or the movie fails. Those 4 out of 10 scripts I read actually have Holly taking out the main terrorist. Does the writer really expect to sell a movie where the hero doesn’t take on the bad guy? I guarantee it will NOT sell.

This continual opposition of the protagonist’s and antagonist’s plans is the main underlying structure of the second act.

Dee Wallace – Also throughout the second act, the antagonist has his or her own goal and plan, which is in direct conflict or competition with the hero/ine’s goal. We may actually see the forces of evil plotting their plots (John Grisham does this brilliantly in The Firm), or we may only see the effect of the antagonist’s plot in the continual thwarting of the hero/ine’s plans. Both techniques are effective.

Now, if the hero/ine were able to carry out the plan without a hitch, it wouldn’t make for very good drama, would it? So once you’ve got your initial plan, you need to be constantly blocking that plan, either with your antagonist, or the hero/ine’s own inner conflict, or outside forces beyond her or his control.

· ASSIGNMENT QUESTIONS: Have you identified the CENTRAL ACTION of your story? At what point in your book does the reader have a clear idea of the protagonist’s PLAN? Is it stated aloud? Can you make it clearer than it is?

by: Dee Wallace – Actress | Producer | Additional Crew, E.T. the Extra-Terrestrial (1982) | Cujo (1983) | The Howling (1981)