James Garner (I) (1928–2014) screenplay – The Notebook (2004) | The Rockford Files (1974-1980) | The Great Escape (1963), AKA: Slick | Jimbo | Jim
FOR IMMEDIATE RELEASE
James Garner (I) (1928–2014) screenplay subject of prison petition
FREE: download the script by James Garner (I) (1928–2014) today!
Petition Addressing the Texas Judicial System Requests Support through James Garner (I) (1928–2014)’s “Dumbass”
Will Hollywood be a Reason for Change in the Injustice against Men and Women Prisoners?
James Garner (I) (1928–2014) – 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 James Garner (I) (1928–2014) 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 James Garner (I) (1928–2014) 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 James Garner (I) (1928–2014)’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, James Garner (I) (1928–2014) 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 James Garner (I) (1928–2014):
James Garner (I) (1928–2014) website: https://www.amazon.com/
The hero’s internal conflict MUST be introduced in Act I, preferably when the hero is first introduced. Here are two ways to introduce the hero and his flaw:
How to Introduce the Internal Flaw
James Garner (I) (1928–2014) – I’ve always believed that the most powerful stories I’ve read are ones that really push the hero to his limits and challenge his flaw. Ask the question, What is the hero most afraid of? The answer should happen to him. If he’s afraid he’ll lose his kids, then in the story he should lose his kids. If he’s afraid he’ll fail, then he should fail (but be given one last chance). If he’s afraid he’ll be alone then strand him on an island. If the hero’s worse-case scenario doesn’t happen, the story will seem incomplete, lackluster or could fail completely.
The hero’s arc happens when he changes, not a moment before. Most writers have mastered this technique, but I still see scripts where the arc doesn’t happen until the very end of the story. Most producers will ask, “How does a hero beat the nemesis if he hasn’t changed yet”? After all, he isn’t strong enough ‘emotionally’ to win. In order for the hero’s resolution to be believable, we need to see a changed man. A changed man can conquer anything! Therefore, the arc should happen around the end of Act II. Why here? Because Act III is the resolution and the hero MUST be changed in order to be strong enough (emotionally) to resolve the conflict. Be sure the arc doesn’t happen too soon in the story or the plot will flat-line, too late and the resolution isn’t believable.
· We see the protagonist’s CHARACTER ARC
James Garner (I) (1928–2014) – · The final battle takes place in a THEMATIC LOCATION: often a visual and literal representation of the HERO/INE’S GREATEST NIGHTMARE, and is very often a metaphorical CASTLE. Or a real one! It is also often the antagonist’s home turf.
· Then the hero/ine almost always goes into the FINAL BATTLE to face the antagonist alone, MANO A MANO
· We also get the DEFEAT OF SECONDARY OPPONENTS
by: James Garner (I) (1928–2014) – The Notebook (2004) | The Rockford Files (1974-1980) | The Great Escape (1963), AKA: Slick | Jimbo | Jim