June 19, 2021

Leon screenplay subject of prison petition

Leon screenplay – Actor | Producer | Soundtrack, Cool Runnings (1993) | Little Richard (2000) | The Temptations (1998)

FOR IMMEDIATE RELEASE

Leon screenplay subject of prison petition

download the script by Leon today! 

Petition Addressing the Texas Judicial System Requests Support through Leon’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 Leon 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 Leon 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 Leon’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, Leon 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.

Leon

Contact Leon:

Leon website: https://www.amazon.com/

Previously, we’ve discussed locations in depth and contrast, but let’s combine the two to show how they can be used to create subtext. The easiest example is from the film The Shawshank Redemption. During the prison scenes, the location is grey, dreary and dangerous. At the end there are actually two scenes I’ll use as examples of location contrast:

Use Location Contrast

Leon – For example, a scene opens with a young woman tying an older man to a bed. It appears to be foreplay for kinky sex with leather bondage. The older man is smiling until the young woman beats him to a pulp with the leather straps. She leaves him bloody and near death. Her brutal action is subtext that shouts the fact that she has an underlying motive. Later in the story we discover she was viciously raped by her grandfather. The underlying meaning behind her actions (subtext) isn’t revealed until late in the story. Done this way, the writer has used scene subtext to create a setup and a payoff.

Under the dialogue section, I talked about delivering the subtext meaning in dialogue when the meaning isn’t obvious. In scenes, the writer can set up subtext and let it ride until late in the story before revealing its meaning.

And a setpiece doesn’t have to cost millions or tens of millions of dollars, either, although as authors, we have the incredible advantage of an unlimited production budget. Did you authors all get that? We have an UNLIMITED PRODUCTION BUDGET. Whatever settings, crowds, mechanical devices, alien attacks, or natural disasters we choose to depict, our only budget constraint is in our imaginations. The most powerful directors in Hollywood would kill for a fraction of our power. Theoretically, they can’t even begin to compete.

Leon – The attention paid to these critical scenes is not all an ego thing, either. We are not doing our job as storytellers if we are not delivering the core experiences of our genre. Genre is a PROMISE to the audience or readers; it’s a pact.

And do not for a second think that directors aren’t putting excruciating thought and time and detail into designing and staging those scenes. There’s not a director out there who is not in the back of his (or her, but statistically mostly his) mind hoping to make cinematic history (or at least the Top 100 AFI Scenes of All Time list in whatever genre) with those scenes. These are scenes that often cost so much money that producers will not, under any circumstances, allow them to be cut, even if in editing they turn out to be clearly non-essential to the plot.

Filmmakers take that “six great scenes” concept very literally. These setpiece scenes are often called the “trailer scenes” or the “money scenes” (as opposed to “money shots,” which is a different discussion, with a different rating!). As incensed as I am personally about how trailers these days give every single bit of the movie away (I won’t even watch the trailer of a movie I’m interested in seeing), I understand that this is essential movie advertising: those trailer scenes have to seduce the potential audience by giving a good sense of the EXPERIENCE the movie is promising to deliver, the scenes that everyone goes into the theater to see, and that everyone comes out of the theater talking about, which creates first the anticipation for a movie, and then that essential “word of mouth” that will make or break a film.

by: Leon – Actor | Producer | Soundtrack, Cool Runnings (1993) | Little Richard (2000) | The Temptations (1998)