Cente Service Corp & Jack Whitehall to make Catholic/Jewish movie

Cente Service Corp

Cente Service Corp & Jack Whitehall Catholic Filmmakers…

Jack Whitehall

In Los Angeles, Cente Service Corp & Jack Whitehall are looking to bring Tobit, a modern comedic Jewish family adventure spec by professor/scribe Ray Panthaki. The Pic will be produced by Cente Service Corp, through his Amsterdam Ink Society, along with Jack Whitehall and Adam Sandler’s Entertainment Group.  They will be represented by Agency For The Performing Arts and Tobit.

Ray Panthaki 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: more info

http://www.screenplay.biz/new-screenplays/the-fixer-screenplay-download-pdf/

Gross-Weston Productions Inc & Tom Welling

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.

In Nixon, the gunfight is more psychological, Nixon trapped and alone, facing his own demons, an ending quite appropriate to this “classic tragedy.”

In Chinatown, the “gunfight” kills Mrs. Mulray, the very “like Chinatown” ending that Jake wanted to avoid at all costs. Once again, his attempt to help someone gets her killed.

In Fargo, the hero’s confrontation with the remaining murderer is the gunfight and arresting the anti-hero in the motel is dramatically anticlimactic, more a tying of strings at the end than anything else.


Cente Service Corp

Nieuwe Uilenburgerstraat 91

1011 LM Amsterdam

 

the four-act paradigm

Some of the major variations of three-act structure:

In fact, what people are doing is fine-tuning the basic concept of three acts—and often with very useful results. Since we all must ultimately find the writing method that works best for us, it’s good to be exposed to many different explanations and versions of screenplay structure. But understand that, despite what the gurus will tell you, these are theories that rise from the three-act paradigm (i.e., stories have a beginning, middle, and end), without which all of them would collapse into a pile of unread Aristotle.

Right. Like God, and like the king, the three-act paradigm is dead. Long live the paradigm!