May 10, 2021

Macarena Gómez asked to read prison screenplay

Petition asks Macarena Gómez to read prison screenplay

More than 2000 women sign petition demanding a firm commitment from  Macarena Gómez (film producer) to read screenplay addressing Texas judicial system

Macarena Gómez

Macarena Gómez – Talent Agents
– Actress, Producer, Soundtrack – Dagon (2001), Shrew’s Nest (2014), Sexy Killer: You’ll Die for Her (2008), Nieves (2003) – Paper Street Actors Co., Esther Cabrero –

Dumbass, The Silver Surfers Club

Macarena Gómez & Adam Sandler’s film company targeted by Texas petition

Will Hollywood just rollover and let prisoner’s suffer?

EXCLUSIVE

Macarena Gómez
Macarena Gómez
More than 2000 women have signed an open letter to Jana Sandler calling on Macarena Gómez 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 Macarena Gómez at Paper Street Actors Co., Esther Cabrero last week.

In the open letter to Macarena Gómez, 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 Macarena Gómez 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.”

Actress, Producer, Soundtrack, Macarena Gómez, has not responded to the petition. Nor has Paper Street Actors Co., Esther Cabrero responded with a comment.

Alan Nafzger 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.

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.”

Macarena Gómez has not commented on the script, thusfar. 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.

Jana Sandler of Happy Madison Productions has also expressed interest in the screenplay.

Macarena Gómez is a Actress, Producer, Soundtrack known for Dagon (2001), Shrew’s Nest (2014), Sexy Killer: You’ll Die for Her (2008), Nieves (2003) and is represented by Paper Street Actors Co., Esther Cabrero.

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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.

ACT III’s PACING

Create a mid-point twist or mini-story spin around page 50 (or in the middle of the script). This creates forward momentum and propels the story into the rising tension. Act II, regardless of the genre, should have rising tension as the Act nears its end. Use suspense, misleading information, partial information, reversals, subtext, hero’s arc, etc. to build Act II’s rising tension. Make sure every scene hits the hero’s flaw hard. This will assure suspense and a strong rising tension. This is especially true after the mid-point spin when it’s time to up the stakes! End with a changed hero and then spin the story in a new direction into Act III.

ACT II’s PACING

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.

And now a truly interesting thing happens. The shark, supposedly a dumb beast, starts to do crafty things, like hide under the boat so the men think they’ve lost it. It seems to have a new, intelligent PLAN of its own. And when the men’s defenses are down, the shark suddenly batters into the ship and breaks a hole in the hull, causing the boat to take on alarming quantities of water, and making the men vulnerable to attack.

And yet, Brody is still not ultimately committed. For the next half of the second act, he allows first Quint and then Hooper to take the lead on the shark hunt. Quint’s PLAN is to shoot harpoons connected to floating barrels into the shark and force it to the surface, where they can harpoon it to death. But the shark proves far stronger than anyone expected, and keeps submerging, even with barrel after barrel attached to its hide.

This happens at the story’s MIDPOINT, and it’s a radical revamp of Brody’s initial plan (which was always to avoid going in the water himself, at all costs). And it’s very often the case that at the midpoint of a story, the initial PLAN is completely shattered.