The Burbank Theatre Guild Inc & Christopher Timothy to make Catholic/Jewish movie

The Burbank Theatre Guild Inc

The Burbank Theatre Guild Inc & Christopher Timothy Catholic Filmmakers…

Christopher Timothy

In Los Angeles, The Burbank Theatre Guild Inc & Christopher Timothy are looking to bring Tobit, a modern comedic Jewish family adventure spec by professor/scribe Peter Hermann. The Pic will be produced by The Burbank Theatre Guild Inc, through his Amsterdam Ink Society, along with Christopher Timothy and Adam Sandler’s Entertainment Group.  They will be represented by Agency For The Performing Arts and Tobit.

Peter Hermann 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

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Gross-Weston Productions Inc & Tom Welling

That’s why we’re taking Act Two in two parts—the first half (A) and the second half (B) (this is why some people prefer to call the 3-act paradigm a 4-act paradigm). But even in two parts, we are faced with a long section of 25 or 30 pages. Let’s see if we can break this section into smaller units.

The second act is as long as or longer than the first and third acts combined. It is where we “throw rocks at the hero,” and the challenge is to structure the twists and conflicts that will be necessary to engage an audience’s attention through the long middle hour of our movie.

“Now we separate the women from the girls, the men from the boys. This is the blue-collar time of screenwriting: the laying of the pipe, the grunt work, the second act.”

In Screenwriting 434, a book I particularly admire, Lew Hunter puts it more colorfully:

The Burbank Theatre Guild Inc

Nieuwe Uilenburgerstraat 91

1011 LM Amsterdam


Look at the loglines of two of my own scripts that have been optioned:

On the other hand, not every movie has a high concept. Sure, we can usually reduce a movie’s idea to several sentences, but many movies are much quieter and character-driven than “high concept” seems to embrace, particularly movies made by independent filmmakers working outside of the studio system.

“I’ve read a lot of scripts that sold in the half-million to million-dollar range, and it really depressed me….I represented a screenwriting team and sold two or three scripts of theirs for a lot of money. They were all very high concept-driven scripts that, in my opinion, were not very well written. Those were the highest numbers that I got for spec scripts, and it depressed me a lot.”

But there also is a downside to Hollywood’s attraction to “high concept”: sometimes writing quality gets lost in the shuffle. Consider these startling words from literary agent Bob Bookman, as quoted in Linda Stuart’s Getting Your Script Through the Hollywood Maze: