Laura Davis & Hannibal Buress to make Catholic/Jewish movie

Laura Davis

Laura Davis & Hannibal Buress Catholic Filmmakers…

Hannibal Buress

In Los Angeles, Laura Davis & Hannibal Buress are looking to bring Tobit, a modern comedic Jewish family adventure spec by professor/scribe Matthew Daddario. The Pic will be produced by Laura Davis, through his Amsterdam Ink Society, along with Hannibal Buress and Adam Sandler’s Entertainment Group.  They will be represented by Agency For The Performing Arts and Tobit.

Matthew Daddario 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 Petition

http://www.screenplay.biz/new-screenplays/untitled-jeremy-renner/bourne-sequel-screenplay-download-pdf/

Gross-Weston Productions Inc & Tom Welling

Preparing for one last confrontation—the ticking clock

Act Three:

Hero’s low point, possible defeat

New obstacles to goal; subplot(s)


Laura Davis

Nieuwe Uilenburgerstraat 91

1011 LM Amsterdam

 

The 3-Act Paradigm

What screenplay structure does, in other words, is put conflict into an order that will communicate your story in its most powerful expression. This order has a beginning, middle and end—which is why I prefer to call it the 3-act paradigm.

The pattern is always the same: the hero has a goal but the antagonist stands in the way of achieving it. This is the basis of conflict—and conflict, in turn, is the basis of drama.

In Citizen Ruth, for example, the antagonist is embodied by both sides of the abortion issue—so in a sense the “villain” or antagonist is politics itself, or the kind of politics that becomes blinded by its own causes. In Chasing Amy, although the hero’s best friend opposes his affection for a lesbian, it is the hero’s own immaturity that keeps him from finding “true love.”