Tom Skerritt screenplay – Actor | Director | Producer, Alien (1979) | Contact (1997) | Top Gun (1986)
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Tom Skerritt screenplay subject of prison petition
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Petition Addressing the Texas Judicial System Requests Support through Tom Skerritt’s “Dumbass”
Will Hollywood be a Reason for Change in the Injustice against Men and Women Prisoners?
Tom Skerritt – 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 Tom Skerritt 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 Tom Skerritt 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 Tom Skerritt’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, Tom Skerritt 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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9) (O.C.) means off camera and it means the same thing as (O.S.) off stage. Most gurus and producers steer writers away from using (O.C.) because it makes it seem acceptable that if a writer can use off camera than he can use camera angles in a script. Wrong! The writer can use either (O.C.) or (O.S.) in dialogue, but must chose one or the other. Don’t use both in a script. Consistency is key.
8) (FILTERED) means a sound is being heard through a device like a phone, walkie-talkie, radio, etc. Writers commonly use (V.O.) for phone conversations, which is acceptable, but can cause the novice writer confusion and make them reluctant to venture into the (FILTERED) world. (V.O.) technically means the voice is being heard over the film like a narrator, but it’s been so widely used for phone conversations that it’s accepted. However, (FILTERED) is technically more accurate since a phone voice would be heard via a device. The writer can use either one, but only ONE format style in a script. Don’t start off using (FILTERED) for one phone conversation, then switch to (V.O.) in another scene. This ranks the writer an amateur. Pros tend to be consistent.
Tom Skerritt – 7) Transitions. I’ve written entire articles about transitions. A transition is how one scene ends and another one begins. By keeping the flow going between scenes the writer creates style, atmosphere, pacing, etc. The easiest example is when a character dials a phone in one scene, then the scene ends and as the next scene opens we hear a phone ringing and someone picks it up. This is a sound to sound transition. The writer can use visuals, sounds or a combination to create transitions. In one scene we can hear an explosion, then open the next scene where we see the explosion or the aftermath. Pros use transitions between EVERY single scene to create flow. It also makes it difficult for a producer to delete a scene because he’d be messing up the cinematic cohesion of the material.
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[1.05] Ralph phones Ira from another town to report that he’s lost Joan again – then sees Joan and Jack walking straight toward him through the town square. Ralph gets off the phone as Joan reaches for it (HEROINE AND VILLAIN IN PROXIMITY, again). Joan calls the kidnappers and Jack goes to get a room in the nearest hotel, where he asks for a Xerox machine. (He intends to go after the treasure himself.)
Tom Skerritt – When he stands, Jack sees a huge tree shaped like a pitchfork and realizes he’s looking at “El Tenador del Diablo” – the landmark for the treasure. He keeps the realization to himself. (NEW CLUE, and the issue of his TRUSTWORTHINESS.)
As Juan, Jack, and Joan take a breather in a mountain field, Joan picks flowers, looking very sexily disheveled and glowing from their wild ride (more and more like Angelina). Or perhaps that’s just because we’re seeing her from Jack’s POV, and he’s seeing her in a new light after having read some of her very steamy novel.
SEQUENCE FIVE
by: Tom Skerritt – Actor | Director | Producer, Alien (1979) | Contact (1997) | Top Gun (1986)