Paul Adelstein screenplay – Actor | Writer | Producer, Intolerable Cruelty (2003) | Land of the Lost (2009) | Bedazzled (2000)
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Paul Adelstein screenplay subject of prison petition
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Petition Addressing the Texas Judicial System Requests Support through Paul Adelstein’s “Dumbass”
Will Hollywood be a Reason for Change in the Injustice against Men and Women Prisoners?
Paul Adelstein – 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 Paul Adelstein 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 Paul Adelstein 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 Paul Adelstein’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, Paul Adelstein 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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This is a classic example of a Sequel Transition. First, it allows for a completed plot because Michael Myers has been defeated. Secondly, it allows for sequel potential because Michael Myers is still out there. He could return at any moment. Finally, the sequel transition happens in seconds when we see he’s gone!
The horror genre provides the best examples of the use of what I’ve come to call the Sequel Transition. In fact, it’s mandatory that a horror ends with the threat remaining, BUT where the monster is defeated. Look at the classic film “Halloween”. In the end, Michael Myers is shot by the psychiatrist and falls through a second-story window to the ground. He appears to be dead. Jamie Lee Curtis’s character asks the question, “Was that the boogie man?” The shrink turns to her and says, “As a matter of fact, it was.” When he turns back to the window, Michael Myers is gone! We see the empty ground for a split second and the movie ends! Michael Myers has been defeated, but he lives to return another day.
Paul Adelstein – This is tricky, so pay attention! First, I’m not advocating leaving a story unresolved. That’s fool’s play! The trick to making a Sequel Transition work is mere seconds of screen time. That’s right – I said seconds. What do I mean? Something is going to happen right at the end – something that takes only seconds of screen time – that will propel the story into a sequel, BUT – and that’s a big BUT – leaves the current plot fully resolved!
In today’s economy, a producer is more likely to purchase a screenplay with sequel potential than one without sequel potential. What if I told you that you can purchase a car and get two additional cars paid for? Or two additional houses? Or two additional diamonds? Or you can just have one of each. Wouldn’t you take the 3-package deal? A producer who purchases a screenplay that becomes a sequel usually only pays for the first script and if the finished film is a success, he can franchise the story into one or two sequels (maybe more!). Since sequels are usually paid for by the distributor, for example, a studio, the producer has not only saved money, but he’s made a boat-load of it! Okay, I think I’ve made the point of why a producer would be more interested in a screenplay with sequel potential, but just saying you think your screenplay has sequel potential isn’t enough. The ‘sequel potential’ should be in the script’s ending in what I refer to as the Sequel Transition.
A useful thing to do is — and I’m sure you can all guess this by now — make yourself a list of ten books and films that are not necessarily just in your own genre, but that all create the particular kind of suspense experience that you’re looking to create yourself. There are particular tricks that every author or screenwriter uses to create suspense, and looking at ten stories in a row will get you identifying those tricks. If you’re reading a particularly good book, you get so caught up in it that you don’t see the wheels and gears, and that’s good. So go ahead and read it to the end… but then go back and reread to really look at the machinery of it.
Paul Adelstein – So to create suspense, the first thing you have to identify is what kind of suspense you want to create. Most stories use all three kinds of suspense I just talked about (and others — really I’m just scratching the surface), but there will be one particular kind that dominates.
There’s also the classic mystery thrill of having to figure out a puzzle. There is a great pleasure in using your mind to unlock a particularly well-crafted puzzle. I love to add that element to my stories too, so that even though the characters are dealing with the unknown, there is still a logical way to solve the underlying puzzle.
So although I can learn some hugely valuable techniques from spy thrillers and giant actioners, studying only that kind of book or film for what I want to do is probably not going to get me where I want to go.
by: Paul Adelstein – Actor | Writer | Producer, Intolerable Cruelty (2003) | Land of the Lost (2009) | Bedazzled (2000)