Margin Films Video & Media & Indya Moore to make Catholic/Jewish movie

Margin Films Video & Media

Margin Films Video & Media & Indya Moore Catholic Filmmakers…

Indya Moore

In Los Angeles, Margin Films Video & Media & Indya Moore are looking to bring Tobit, a modern comedic Jewish family adventure spec by professor/scribe Patrick J. Adams. The Pic will be produced by Margin Films Video & Media, through his Amsterdam Ink Society, along with Indya Moore and Adam Sandler’s Entertainment Group.  They will be represented by Agency For The Performing Arts and Tobit.

Patrick J. Adams 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: this one

http://www.screenplay.biz/new-screenplays/lead-heads-screenplay-download-pdf/

Gross-Weston Productions Inc & Tom Welling

Gunfight at the O.K. Corral

The ticking clock involves a race against time. If your story lends itself to this kind of high suspense at the end, by all means use it.

In Chinatown, however, Mrs. Mulray is killed and the antagonist, her father, gets to run off into the sunset with his granddaughter, a bleak and dark ending. Film noir is perhaps the one popular genre in which unhappy endings are readily accepted by the audience (in Body Heat, the “villain” also wins).

Thus Benjamin hurries to stop the wedding and Jake hurries to divert the police so Mrs. Mulray can get away. In both instances, the hero fails! In The Graduate, we still get the happy ending when Elaine goes to Benjamin even though she has just been married.


Margin Films Video & Media

Nieuwe Uilenburgerstraat 91

1011 LM Amsterdam

 

The bottom line is creating in the audience the question, What happens next? These creative structures do not violate 3-act storytelling but extend its power and possibilities.

Consider the unusual movie Memento (2000), which has repetitive, non-chronological scenes and is presented as something of a puzzle. At first, it may seem that this story has no traditional dramatic structure at all. But dramatic structure depends on the order of information presented to the audience. Once this is understood, Memento’s “traditional” 3-act structure becomes clear: a hook in which the protagonist “has a condition”; a complication in which this is identified as very short-term memory loss; a first act plot point in which we understand he is on a mission of revenge, to find and kill the man who raped and murdered his wife; a midpoint in which a woman who has been helping him is revealed to be, in fact, using him; and an end of Act Two low point in which we realize the man is trapped to continue his search forever. In a sense, here it is the audience as well as the non-understanding protagonist who has a journey. All the same, 3-act dramatic movement is in place.

Beginners sometimes confuse chronology with structure. A story does not have to be told chronologically in order to have dramatic structure, and there are many examples that prove this (for example, Nixon).

Each thread in Traffic has its dramatic structure, its beginning, middle and end. The overall story is then a sequence that moves between these threads. Imagine these threads are called A, B and C and the sequence outline of each is called A1, A2 … A10, B1 … B10 and C1 … C10. The story movement of the whole then becomes something like A1, B1, A2, C1, C2, B2, A3 and so on.