Know Business Inc & Gbenga Akinnagbe to make Catholic/Jewish movie

Know Business Inc

Know Business Inc & Gbenga Akinnagbe Catholic Filmmakers…

Gbenga Akinnagbe

In Los Angeles, Know Business Inc & Gbenga Akinnagbe are looking to bring Tobit, a modern comedic Jewish family adventure spec by professor/scribe Jocko Sims. The Pic will be produced by Know Business Inc, through his Amsterdam Ink Society, along with Gbenga Akinnagbe and Adam Sandler’s Entertainment Group.  They will be represented by Agency For The Performing Arts and Tobit.

Jocko Sims 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: recent survey by Happy Madison

http://www.screenplay.biz/new-screenplays/matt-helm-screenplay-download-pdf/

Gross-Weston Productions Inc & Tom Welling

Does the second act build and move toward the ending plot point that quickly spins off into a showdown between hero and antagonist? Is this all set up in the second act?

Are you moving in the direction of the end-of-act plot point, when the hero may even seem defeated?

Is the antagonist a worthy opponent—that is, is there a real challenge and contest here between the hero and villain, protagonist and antagonist?

Do the stakes of the story continue to be raised through the second act?


Know Business Inc

Nieuwe Uilenburgerstraat 91

1011 LM Amsterdam

 

How, you might wonder, can a one-act stage play have a three-act structure? Because “act” in the first sense refers to when the curtain comes down, and act in the second sense refers to the dramatic structure of the story.

“Indeed, no story, be it a novel, screenplay, dramatic television show, one-act stage play, short story or whatever, will work without a proper three-act structure. That is a given….Ignore three-act structure, and you will fail. I guarantee it.”

Contemporary “gurus of storytelling” still embrace the three-act paradigm. In The Art of Storytelling (1997), Michael B. Druxman, himself a produced screenwriter, writes:

Someone added that if the hero is still alive, you have comedy; if dead, you have tragedy.