November 30, 2021

Sean Liebowitz screenplay subject of prison petition

Sean Liebowitz screenplay – Talent Agent,


Sean Liebowitz screenplay subject of prison petition

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Petition Addressing the Texas Judicial System Requests Support through Sean Liebowitz’s “Dumbass”

Will Hollywood be a Reason for Change in the Injustice against Men and Women Prisoners?

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 Sean Liebowitz 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 Sean Liebowitz 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.

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About Sean Liebowitz’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, Sean Liebowitz 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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Next time you watch TV listen for the repetition. I guarantee it’s there. Then go to the movies and watch how the story cleverly avoids repetition, which keeps the visuals moving forward.

Why is repetition accepted in TV, but not film? It’s this simple: When a story’s playing out on a 50-foot screen and information is repeated it kills the impact of the scene and can make the entire story seem contrived. Why? Because film’s a visual medium, not a talking-heads medium. Whereas, in TV it’s acceptable for repetition because we’re not as committed to the visual process.

Sean Liebowitz – I believe TV is to blame for the confusion when it comes to repeating information. Unlike films, TV is a talking-heads medium where it’s acceptable to repeat information. Detective shows have made repetition an art by summing up a case at the end of the show; literally repeating everything we’ve learned in summation style, then announcing the suspect. Because we watch more TV than movies on a daily basis, we’re used to this. Then the writer sits down to write a screenplay. He has an arson situation where investigators reveal their findings to one character. This character in turn meets up with other characters in a different scene and repeats everything he just learned about the arson case. This works in TV, but NOT in film. In film, one of two things should happen: 1) either the character sums it up by saying something like, “It’s arson” or 2) the writer gets into the scene late – right after the character has already conveyed the vital information to the other characters, thus avoiding repetition.

Often when providing coverage I have to tell writers not to repeat information that has already been revealed via the visuals or dialogue. I then receive email follow-up questions that go something like this: “But how will the other characters know the information unless it’s told to them?”

I might as well mention that when you’re doing that first read-through you will probably — most likely — find that you have not written the story you thought you were writing. Not just because it’s not as brilliant and dazzling as the idea of a story you had in your head (no finished product ever is, really), but because you’ve actually written something else.

Sean Liebowitz – Finish your first draft, no matter how rough it is. Then give yourself a break— a week is good, two weeks is better, three weeks is better than that – as time permits. Then read, cut, polish, put in notes. Repeat. And repeat again. Always give yourself time off between reads if you can. The closer your book is to done, the more uncomfortable the unwieldy sections will seem to you, and you will be more and more okay with getting rid of them. (Read on for the specific kinds of passes I recommend doing.)

4. Do several passes.

This is easier said than done, but you need a group, or a series of readers, who will commit themselves to making your work the best it can be, just as you commit the same to their work. Most editors don’t edit the way they used to, and many publishing houses expect their authors to find friends to do that kind of intensive editing. Really. If you are indie publishing, you absolutely must hire a professional freelance editor as well.

by: Sean Liebowitz – Talent Agent,