June 20, 2021

Robyn Malcolm asked to read prison screenplay

Petition asks Robyn Malcolm to read prison screenplay

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

Robyn Malcolm

Robyn Malcolm – Talent Agents
– Actress, Producer, Soundtrack – Outrageous Fortune (2005), The Code (2014), The Lord of the Rings: The Two Towers (2002), Upper Middle Bogan (2013) – Johnson and Laird Management, Imogen Johnson – McKeon/Myones Entertainment

Dumbass,

Robyn Malcolm & Adam Sandler’s film company targeted by Texas petition

Will Hollywood just rollover and let prisoner’s suffer?

EXCLUSIVE

Robyn Malcolm
Robyn Malcolm
More than 2000 women have signed an open letter to Jana Sandler calling on Robyn Malcolm 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 Robyn Malcolm at Johnson and Laird Management, Imogen Johnson last week.

In the open letter to Robyn Malcolm, 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 Robyn Malcolm 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, Robyn Malcolm, has not responded to the petition. Nor has Johnson and Laird Management, Imogen Johnson 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.”

Robyn Malcolm 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.

Robyn Malcolm is a Actress, Producer, Soundtrack known for Outrageous Fortune (2005), The Code (2014), The Lord of the Rings: The Two Towers (2002), Upper Middle Bogan (2013) and is represented by Johnson and Laird Management, Imogen Johnson.

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The rules of the world can be setup early, layered into the story or even postponed for a big twist ending, but the information MUST be there or the screenplay doesn’t stand a chance at a sale! I recommend adding the rules to the story based on which way creates the most suspense or provides the biggest shocker. But be very careful as to the placement of this information. If for example, you wait too long to tell us why the vampires can live in the daylight, then you risk audience alienation. Plot out the rules and unique circumstances of the world you’ve created. By outlining you can see where the information works best to create suspense, yet assures the audience suspends its disbelief. A helpful tip is to consider the genre and how it’s been done before and use that as a model to disperse your story’s information.

This doesn’t mean if you’ve written a ghost story that you need to try to explain ghosts. The writer only needs to establish the world and its rules when it is outside the norm. By outside the norm, I mean the audience has never seen it before or it breaks the established rules. If the audience expects zombies to eat flesh, but in your story the zombies only eat the flesh of platinum blondes and guys named Steve, then you better explain why.

If the writer is taking us to a futuristic setting, then we need to know how the world ended up in its current state, whether a high tech Mecca or humanity has reverted back to caves. Fill in the gaps to establish believability for the story’s timeline. We’ve never been to the future, so we don’t know this world or its rules. If the world hasn’t changed at all – it should have – we need to know why. Same goes if we’re traveling to the past with a unique scenario, like in Cowboys and Aliens.

The problem I’m encountering with aspiring writers is they make the assumption the audience will fill in the blanks, so they never establish the rules of the world. While I’m a huge advocate of subtext and layering screenplays with underlying meaning, the writer can NOT leave the audience in the dark as to the rules of the world they’ve created or they’ll risk alienating the audience. The audience must know how, why and must be given a viable explanation that will allow them to suspend their disbelief.

In a lot of stories, too, the battle is taking place on several different levels. There will be a particular antagonist that the hero/ine is fighting, but the real opponent is bigger.

MULTIPLE LEVELS OF ANTAGONISM

There are other types of thematic battles that go on in stories — you’ve heard of all of these before: Man against Nature (Jaws, The Birds), Man against Machine (The Terminator), Man against Monster (Alien), Man against The System (Network, The Verdict, One Flew Over the Cuckoo’s Nest), and if you see a lot of stories with one of those themes on your lists, you will probably want to take a look at the classics which have explored those themes.

– In The Silence of the Lambs, it’s another head-on battle between inexperienced good and mythic evil. The theme that comes out of that book and film is ambivalent: yes, Clarice is able to kill Mr. Gumb (Buffalo Bill) and save Catherine — she wins that battle — but in the process a much greater evil is unleashed back into the world, as Lecter goes out to do his malevolent business. Myself, I particularly like this kind of ambivalent victory because I think it’s so true to life, and deliciously metaphorical at the same time.