Imaginary Forces Llc & Evan Spiliotopoulos to make Catholic/Jewish movie

Imaginary Forces Llc

Imaginary Forces Llc & Evan Spiliotopoulos Catholic Filmmakers…

Evan Spiliotopoulos

In Los Angeles, Imaginary Forces Llc & Evan Spiliotopoulos are looking to bring Tobit, a modern comedic Jewish family adventure spec by professor/scribe Graham Patrick Martin. The Pic will be produced by Imaginary Forces Llc, through his Amsterdam Ink Society, along with Evan Spiliotopoulos and Adam Sandler’s Entertainment Group.  They will be represented by Agency For The Performing Arts and Tobit.

Graham Patrick Martin 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: a company that offers

300: The Resurgence Screenplay Download (.pdf)

Gross-Weston Productions Inc & Tom Welling

In E.T., the humans have captured E.T., and both he and Elliot are very sick.

In Atlantic City, Lou kills the drug lords—and finally feels like a criminal big shot.

In North by Northwest, Thornhill learns the truth—but also learns that he has put Eve, an American spy, into great danger and takes it upon himself to rescue her against great odds.

In Rebecca, Maxim tells his wife the truth about Rebecca’s death—but now may go to prison for it. The second Mrs. de Winter stands behind him to the end.

Imaginary Forces Llc

Nieuwe Uilenburgerstraat 91

1011 LM Amsterdam


The three-act paradigm, in other words, works. Wherever it appears in the writing process, when we use it as a tool to analyze how stories are told, how their dramatic moments are ordered, we see its influence everywhere. This is more than enough reason to master it.

One reason screenplay structure is so important is that three-act organization can be found even in the scripts of forest people who deny using it. There are successful Hollywood writers who do not embrace the three-act paradigm you will learn here. They deny its importance. At the same time, when we analyze their own scripts, we can see the three-act paradigm at work. Where does it come from? Clearly not through conscious planning. This, it seems to me, is the best argument that the paradigm is something basic to storytelling in our culture, so that even those who deny using it, even those who abhor mention of it, end up telling stories that model the three-act paradigm (or whatever other name we call it – remember, what we really are talking about, as you’ll learn in detail later, is a story with dramatic movement and a beginning, a middle, and an end).

Forest people, on the other hand, are apt to give little or no conscious thought to structure at this early part of the writing process. This is not to say that structure does not concern them (though many claim it doesn’t) but that structure appears later in the process and often less consciously than how it appears to a tree person. For forest people, structure comes naturally as the grammar of storytelling—or it had better. If it doesn’t, they will find themselves becoming more like tree people in order to give their stories more dramatic order and power.

Here tree people and forest people approach the problem differently. For tree people, structure is a careful, thoughtful exercise in planning, an essential tool in the writing process. Many make outlines or use index cards to organize parts of the story and to order them in a way that strengthens dramatic structure.