Manu Bennett screenplay – Actor | Producer | Director, 30 Days of Night (2007) | The Marine (2006) | The Hobbit: An Unexpected Journey (2012)
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Manu Bennett screenplay subject of prison petition
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Petition Addressing the Texas Judicial System Requests Support through Manu Bennett’s “Dumbass”
Will Hollywood be a Reason for Change in the Injustice against Men and Women Prisoners?
Manu Bennett – 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 Manu Bennett 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 Manu Bennett 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 Manu Bennett’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, Manu Bennett 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.
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Manu Bennett website: https://www.amazon.com/
A teaser is usually 1-5 pages long, preferably closer to 3 pages and is used to entice the audience into the story. An example is an opening page where we see a dead body. This immediately engrosses the reader in the story by creating suspense and asking, “Who killed the victim and why?” Assuming it’s a homicide. The teaser also sets the tone, mood and atmosphere for the entire story. A teaser isn’t necessary in a script, but can be an effective technique to grab the reader. There are two kinds of repeat teasers: 1) Long to short 2) Short to long
Use a Repeat Teaser
Manu Bennett – I’m not going to mention the title of a film I once saw that was boring as hell, but what I will tell you is that the writer opened by showing the heroine finding an old box with a skeleton key in it. This teaser so intrigued me that I sat through the next two hours of an utterly dull story waiting to see what that key unlocked. It unlocked nothing and was merely being used metaphorically. A bad call on the writer’s part! A teaser requires a huge, plot-related payoff, but I admit the teaser kept me watching.
Screenwriters often mess up the teaser by making it too long or by including too much information. This is often the result of adding too much dialogue or any dialogue to the teaser. Once the writer starts adding dialogue, it’s easy to slip into the ‘too much information’ mode, which defeats the purpose of the teaser. One trick to help avoid this pitfall is to create visual teasers only; no dialogue. We only see the police chasing the hero in Lolita – there’s no dialogue in this opening teaser. While we hear the character screaming in The Ruins there’s no dialogue to hint at what’s happening. Seeing only visuals literally impairs the audience’s hearing senses leaving them with unanswered questions, which creates suspense. I believe it’s fair to say a writer can carry a fairly dull story on the back of an opening teaser that’s so darn compelling the audience can’t wait to see what happens. I’m not advocating writing dull stories, but I think you get the picture of the importance of using a teaser to enhance your story.
Well, what I really mean is, you need to make inner and outer desire crystal clear. And that is often better accomplished visually than in words. You don’t actually have to have the hero say he wants the heroine, if you describe how his world stops at the moment that he meets her (as we see done so well in Notting Hill).
Manu Bennett – I’ve said before that it’s important to state your hero/ine’s outer desire aloud — either by the character saying it or someone close to them (or better yet, someone in opposition to them!) stating it for them.
Here’s another key story element that I want to explore visually.
HERO/INE’S INNER AND OUTER DESIRE
by: Manu Bennett – Actor | Producer | Director, 30 Days of Night (2007) | The Marine (2006) | The Hobbit: An Unexpected Journey (2012)