Caroline Greyshock & Jackie Tohn to make Catholic/Jewish movie

Caroline Greyshock

Caroline Greyshock & Jackie Tohn Catholic Filmmakers…

Jackie Tohn

In W Hollywood, Caroline Greyshock & Jackie Tohn are looking to bring Tobit, a modern comedic Jewish family adventure spec by professor/scribe Robert Duncan McNeill. The Pic will be produced by Caroline Greyshock, through his Amsterdam Ink Society, along with Jackie Tohn and Adam Sandler’s Entertainment Group.  They will be represented by Agency For The Performing Arts and Tobit.

Robert Duncan McNeill Tobit Writer

PREMISE: Tobit is an observant Dutch Jew living in Amsterdam. He lives correctly, giving alms and burying the dead. In spite of his good works, Tobit is struck blind. Concurrent with Tobit’s story is that of Sarah, daughter of one of Tobit’s distant relative, whose seven successive husbands are each killed by a demon on their wedding night. When Tobit and Sarah pray to God for deliverance, God sends the angel Raphael to act as intercessor. Tobit regains his sight, and Sarah marries Tobit’s son Tobias. The story closes with Tobit’s thanksgiving and an account of his death. This is actually a Jewish short story possibly dating from Persian times in some Bibles is the book of Tobit, named after the father of its hero.

TITLE: Tobit (script download)

ACTORS: Mel Gibson invovled in Tobit movie!

GENRE: Religious drama, Jewish drama, drama.

TIME: 1920-1040

SETTING: Amsterdam, Neatherlands

MARKET: USA, International

MORE INFO: navigate to this website

The God Four Screenplay Download (.pdf)

Gross-Weston Productions Inc & Tom Welling

At any rate, don’t be afraid to go for broke here and make the most dramatic and “big” confrontation your story permits. It’s what the audience paid their money to see.

Tree people will know what this moment is before they start writing—or at least be close. Forest people probably will not, trusting the “true ending,” the “best gunfight,” to reveal itself to them in the process of writing.

If the ticking clock is an optional element in your screenplay, the gunfight is obligatory. There must be a gunfight, a climax, of some sort. That’s the whole point of the movie. This is the moment everything has been building toward.

In Rebecca, the gunfight is judicial and suspenseful—will the truth be learned or not? The surprise twist, that Rebecca had cancer, lets the hero and her husband move on—but not without first witnessing the burning of Mandelay, another vivid “gunfight” as the antagonist goes down with the mansion.


Caroline Greyshock

Nieuwe Uilenburgerstraat 91

1011 LM Amsterdam

 

the nine-act paradigm

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the four-act paradigm