Petition asks Larry Wilcox to read prison screenplay
More than 2000 women sign petition demanding a firm commitment from Larry Wilcox (film producer) to read screenplay addressing Texas judicial system
Larry Wilcox – Talent Agents
– Actor, Producer, Director – CHiPs (1977), The Ray Bradbury Theater (1985), Death of a Centerfold: The Dorothy Stratten Story (1981), The Dirty Dozen: Next Mission (1985) – First Class Talent Agency, Cynthia Barry – Advanced Management
Dumbass, Beyond Legend Johnny Kakota, Vickie, Southern Cross
Larry Wilcox & Adam Sandler’s film company targeted by Texas petition
Will Hollywood just rollover and let prisoner’s suffer?
EXCLUSIVE
More than 2000 women have signed an open letter to Adam Sandler calling on Larry Wilcox and 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 Larry Wilcox at First Class Talent Agency, Cynthia Barry last week.
In the open letter to Larry Wilcox, 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 Larry Wilcox for a ‘firm film commitment’ to tackle the issue of operating the Texas prison system for profit.
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.
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.”
Actor, Producer, Director, Larry Wilcox, has not responded to the petition. Nor has First Class Talent Agency, Cynthia Barry responded with a comment.
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.
During the winter’s deep freeze, the The Marshall Project, exposed the horrible prison conditions, “Inside Frigid Texas Prisons: Broken Toilets, Disgusting Food, Few Blankets.”
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.”
Larry Wilcox has not commented on the script, thus far. 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.
Adam Sandler of Happy Madison Productions has expressed interest in the screenplay.
Larry Wilcox is a Actor, Producer, Director known for CHiPs (1977), The Ray Bradbury Theater (1985), Death of a Centerfold: The Dorothy Stratten Story (1981), The Dirty Dozen: Next Mission (1985) and is represented by First Class Talent Agency, Cynthia Barry.
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According to Wikipedia, a subplot is a secondary plot strand that is a supporting side story for any story or the main plot. Okay, but how does a subplot work in a screenplay? In my opinion, it serves two purposes in a feature-length screenplay:
HOW TO WRITE A SUBPLOT
Okay, you’re no longer a novice writer because you’ve learned a pro technique. You’ve learned how to conquer the sagging points in the story by creating three individual stories, while you learned techniques to tackle the story as a whole. It might seem hard at first, but once you get the hang of it, I bet you’ll use this technique for all your screenplay.biz/top-screenplays/" 786 target="_blank">screenplays. It’ll help the writer avoid the pitfall of a lackluster story after Act I.
This is the Act where most aspiring screenwriters fail in terms of pacing. They just treat it like the other Acts. Wrong! Act III’s scenes should be shorter and faster to give the sense that the story is wrapping up. Remember the last time you were at the movies. Didn’t the end feel like the end? Why? I bet if the writer thinks about it, he’ll discover it wasn’t just the story, but the pacing that provided this feeling. Even big, epic battles in Act III will be broken up with INTERCUTS, action, subplots, different scenes, etc. to give a faster feel to the story. Remember, this Act is shorter than the other Acts. Oh, I know it technically has a 30-page, acceptable spread to it, but most writers never use these 30-pages. Realistically, Act III in most scripts is around half this length (or up to 20 pages). Like the Act itself, the scenes should be shorter and faster. Break up longer scenes, as needed. And watch things like lengthy dialogue – keep the lingo short too. I’d even encourage the writer to use shorter description and keep the description/action more toward the left margin. This left-margin look really makes the read fly by and gives a sense of the story moving fast and wrapping up. This technique can apply to all genres and it shows that the writer understands pacing.
I hope this little exercise gives you an idea of how it can be really enlightening and useful to focus on and track just the plans of all the main characters in a story and how they clash and conflict, especially how they FAIL. Because every time a plan fails, it requires a recalibration and a new action, which builds tension, suspense, emotional commitment, and excitement.
Brody is now on his own against the shark, and in one last, desperate Hail Mary PLAN (the most exciting kind in a climax), he shoves an oxygen tank into the shark’s jaws and then fires at the shark until the tank explodes, and the shark goes up in bloody bits. As almost always, it is only that last ditch plan, in which the hero/ine faces the antagonist completely on his or her own, that saves the day.
Hooper takes over now and proposes a new PLAN: he wants to go down in a shark cage to fire a poison dart gun at the shark. But the shark attacks the cage, and then as the boat continues to sink, the shark leaps half onto the deck and eats Quint.
Brody’s PLAN at that point is to radio for help and get the hell off the boat. But in the midst of the chaos, Quint suddenly turns into an opponent himself by smashing the radio — he intends to kill this shark on his own.