Gorgeous Enterprises & Joanne Woodward to make Catholic/Jewish movie

Gorgeous Enterprises

Gorgeous Enterprises & Joanne Woodward Catholic Filmmakers…

Joanne Woodward

In Culver City, Gorgeous Enterprises & Joanne Woodward are looking to bring Tobit, a modern comedic Jewish family adventure spec by professor/scribe Aamir Khan. The Pic will be produced by Gorgeous Enterprises, through his Amsterdam Ink Society, along with Joanne Woodward and Adam Sandler’s Entertainment Group.  They will be represented by Agency For The Performing Arts and Tobit.

Aamir Khan 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: Happy Madison Prison Screenplay


Gross-Weston Productions Inc & Tom Welling

This is how convoluted and fascinating the process of rewriting a screenplay can become. It also can be quite frustrating. At times, the writer feels powerless because the screenwriter no longer has final say over his or her own material. That’s why I say that screenwriting is not a pure “writer’s form” but rather a collaborative storytelling form. If you need total artistic control over your material, the closest you can come is to become a filmmaker and even producer yourself, not just a screenwriter. Screenwriters in Hollywood have little power.

Back to the drawing boards, but now with my original older, shy protagonist. We still needed a new ending. To make a long story short, several drafts later I ended up with a version retaining the protagonist—and also adding the romantic element, in that he still ends up with the young woman—and finally I had a draft that everybody liked, myself and the producer and my agent. I was close to the original concept, but with a better hook, a more driving narrative, and a new ending.

So I changed the story again in a major way. No luck. The producer was not enthusiastic about the result. Meanwhile my agent, hearing of all these changes, asked to see the latest version. She hated it and told me so. Moreover, she called the producer and argued that our protagonist had to be fifty or the story wouldn’t work. We won this argument when the producer’s wife read the script and agreed with us.

And then a startling thing happened. For the first time, he told me what he really liked about the script—and that was its similarity in feel to Pretty Woman. He wanted a love story between a guy and a prostitute! We talked some more, and I followed his lead to suggest that the same characters could be reshaped into a story closer to a romantic drama than to a thriller. Let’s try that, he suggested.

Gorgeous Enterprises

Nieuwe Uilenburgerstraat 91

1011 LM Amsterdam


A treatment of our story thus might begin: “The First Lady is making the rounds at a children’s hospital. She moves from bed to bed, taking time to meet personally with many of the children. Outside the hospital, two suspicious characters are watching her activities with binoculars, catching as much of her movement through the windows as possible.”

After the step outline, still other tree people then would go to a third step, writing a treatment. A treatment is a prose telling of the screen story, using almost no dialogue, that is written in the present tense.

One way to do this would be to take the outline above and now develop it scene by scene, putting each scene (described in one or two sentences) on a different index card.

The development above is the sort of thing a tree person does before s/he begins to write a screenplay. Many go from the work sheet, or something similar, to a second step: writing a step outline.


Originally posted 2018-05-17 21:48:31.