Elisabeth Röhm screenplay – Actress | Director | Producer, American Hustle (2013) | Joy (I) (2015) | Angel (1999-2001)
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Elisabeth Röhm screenplay subject of prison petition
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Petition Addressing the Texas Judicial System Requests Support through Elisabeth Röhm’s “Dumbass”
Will Hollywood be a Reason for Change in the Injustice against Men and Women Prisoners?
Elisabeth Röhm – 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 Elisabeth Röhm 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 Elisabeth Röhm 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 Elisabeth Röhm’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, Elisabeth Röhm 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 Elisabeth Röhm:
Elisabeth Röhm website: https://www.amazon.com/
The second trick to this genre is to create red herrings. Creating other suspects takes the focus off the real culprit. Three rules: 1) make sure the suspect is a strong suspect. If the audience can eliminate the suspect then he’s not strong enough to keep the audience from guessing who the real culprit is. Remember: the audience is trying to guess the identity of the real culprit. The writer’s job is to keep them guessing and guessing in the wrong direction. After giving them one suspect, introduce another one. Keep them guessing. 2) make sure the audience has a number of suspects to keep them busy while the real culprit lurks in the shadows. The writer wants the audience to be surprised when the real culprit is revealed. 3) the hero MUST be directly involved in solving the “Who did it and why?” mystery or the red herrings are irrelevant and the plot has no through-line conflict. What good are red herrings if the hero isn’t looking for a killer? The hero must be the one who figures out who the culprit is or provide a wicked twist where the hero is the culprit!
How does the writer accomplish this? The hint should NOT be out of the ordinary. For example, in the film Along Came a Spider the female Secret Service agent tells the hero’s character what happened up to the point where the girl was kidnapped. This seems routine (ordinary) since he’s been put on the case to help her investigate. However, we later learn that this is what leads him to her (she’s the conspirator) because her timing was off and he knew she was too good to make such a mistake. This fact is in our faces the whole time, but it isn’t obvious until her identity as the culprit is revealed. The goal is to drop the hints, but keep them too ordinary to seem relevant at the time, then later use them to reveal the culprit.
Elisabeth Röhm – The first trick to this genre is to mislead the audience. If the audience guesses who did it and why before the writer reveals the culprit, then the writer hasn’t done his job as a screenwriter! Even though the culprit shouldn’t be revealed until the end, the culprit and his motive should be in their face the entire time. In addition, subtle hints should be dropped as to the culprit’s real identity, but the hints shouldn’t be so obvious that the audience guesses it the moment the hint is dropped.
A thriller asks the question, “Who did it and why?” If the audience knows who did it when the story opens and are waiting for the culprit to get caught, then it isn’t a thriller, it’s a crime drama. Adding the “Who did it and why?” question creates the genre known as suspense thriller.
Here are some examples:
Elisabeth Röhm – As I said earlier, Act II, Part 1 is the section of a story that will really deliver on THE PROMISE OF THE GENRE. What is the EXPERIENCE that we hope and expect to get from this story? Is it the glow and sexiness of falling in love, or the adrenaline rush of supernatural horror, or the intellectual pleasure of solving a mystery, or the vicarious triumph of kicking the ass of a hated enemy in hand-to-hand combat?
The writers just have the characters say flat out what we’re supposed to be afraid of. Spell it out. It works.
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by: Elisabeth Röhm – Actress | Director | Producer, American Hustle (2013) | Joy (I) (2015) | Angel (1999-2001)