Peter Brooks screenplay – Talent Agent,
FOR IMMEDIATE RELEASE
Peter Brooks screenplay subject of prison petition
FREE: download the script by Peter Brooks today!
Petition Addressing the Texas Judicial System Requests Support through Peter Brooks’s “Dumbass”
Will Hollywood be a Reason for Change in the Injustice against Men and Women Prisoners?
Peter Brooks – 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 Peter Brooks 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 Peter Brooks 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 Peter Brooks’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, Peter Brooks 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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Peter Brooks website: https://www.amazon.com/
He walks in and picks up the gun.
INT. HOUSE – DAY
Peter Brooks – WRONG
When a writer opens a new scene with He, She or They, the reader is left to guess who the writer is talking about. I once read an entire 3-page sequence thinking the ‘He’ was the story’s hero only to discover it was the antagonist! NEVER open a scene with a pronoun, even if it’s continuing from the previous scene. DO NOT ASSUME the reader knows who He, She or They are.
LAYER IN ALL SIX SENSES.
Peter Brooks – Now, all of the above are suspense techniques on the meta-level. Once you’ve created a story that has the elements of suspense built into the overall structure, you have to start working suspense on the scene level, moment-by-moment. And here’s where I find a lot of books really lacking in the kind of suspense I personally crave, which is about making me feel the physical and mental effects of wonder and terror. And that you have to do by working a scene over and over and over again. You need to direct it, act it, production design it, cast it, score it. What is scary in the physical environment, in the visual and in the symbolism of the space? How can you use sound to create chills? What is going through the character’s head that increases the danger of the experience? How do you use pace and rhythm of language to create the equivalent of a musical soundtrack (the prime purpose of which is to manipulate emotion in a viewer)?
WORKING SUSPENSE ON THE SCENE LEVEL
Again, a ticking clock is manipulative, and you can make an argument that it’s a less effective technique these days because it’s been overused, but that just means you have to be more clever about it. Make it an organic clock, as in the examples above. In Red Dragon, for example: having the killer be on a moon clock is very creepily effective, because not only is this a real characteristic of some serial killers, Harris has built a whole symbolic image system into this story — he uses animal imagery to depict this killer: describing him as a baby bat (with his cleft palate), emphasizing his biting, giving the character a desire to become a dragon. The moon clock is part of the image system, and the killer seems much more monstrous.
by: Peter Brooks – Talent Agent,