Sandra M Stewart & Kane Hodder to make Catholic/Jewish movie

Sandra M Stewart

Sandra M Stewart & Kane Hodder Catholic Filmmakers…

Kane Hodder

In Venice, Sandra M Stewart & Kane Hodder are looking to bring Tobit, a modern comedic Jewish family adventure spec by professor/scribe Corey Haim. The Pic will be produced by Sandra M Stewart, through his Amsterdam Ink Society, along with Kane Hodder and Adam Sandler’s Entertainment Group.  They will be represented by Agency For The Performing Arts and Tobit.

Corey Haim 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 writes

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

Gross-Weston Productions Inc & Tom Welling

Rhetoric. Look at your language. Are you writing in an adjective-heavy writing style? Don’t. Let “power verbs” do the work. Verbs are about action. Your screenplay is about action. Use the right verb, one word where several were doing the job before.

White space. Make sure your script is reader-friendly, that you don’t have large blocks of text anywhere in the script. Break it up with a blank line, adding paragraphs, adding white space.

Dialogue. Read your script aloud and listen to it. Are you writing believable dialogue? Not realistic dialogue necessarily because many, perhaps most, of us are boring most of the time. Write dialogue that sounds like interesting people are talking. But not too much of it. Don’t get talky. Don’t tell exposition when you can show it, revealing it visually. Don’t tell anything that you can show just as well.

Transitions, which are related to the above—but also look at the dramatic and emotional rhythm of your story that is communicated by your transitions. Pacing is a consequence of the series of your transitions.


Sandra M Stewart

Nieuwe Uilenburgerstraat 91

1011 LM Amsterdam

 

The barge draws closer to the bridge. Closer. Closer still.

She idly taps a cellular phone’s keypad with one perfectly manicured nail as she stares through the parking level’s open struts at a distant bridge—and an approaching river barge.

EMILY ROSE T. HOPE cut her teeth on a million dollar teething ring, and it was bitter—too bitter. It left her an old woman’s attitude in a young woman’s body.

INT. PARKING GARAGE/UPPER LEVEL—DAY