Tip-Top Films Inc & Joseph D. Reitman to make Catholic/Jewish movie

Tip-Top Films Inc

Tip-Top Films Inc & Joseph D. Reitman Catholic Filmmakers…

Joseph D. Reitman

In Pacific Palisades, Tip-Top Films Inc & Joseph D. Reitman are looking to bring Tobit, a modern comedic Jewish family adventure spec by professor/scribe Bruce Dern. The Pic will be produced by Tip-Top Films Inc, through his Amsterdam Ink Society, along with Joseph D. Reitman and Adam Sandler’s Entertainment Group.  They will be represented by Agency For The Performing Arts and Tobit.

Bruce Dern 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

The wonderful thing about rewriting is that you now face the story with a security blanket in place—the first draft itself. The process of writing a first draft is so fragile (and for tree people the “real” first draft is the creation of the paradigm chart and step outline) because you are creating something from nothing. You are playing God, creating the clay from which the earth will be formed.

So when you look at your script during rewriting, try to see what a forest person can be strong at, in writing scenes that are fresh and spontaneous, and transitions that are surprising and even daring.

Tree people have the danger of doing so much planning that the story is too pat. Remember, the urgency to know “what happens next?” must also lead to genuine surprises—and if everything is mapped out too carefully, too logically, the reader/viewer may be right in step with you and not be surprised at all.

I like to encourage my students to put on a different hat during the rewriting process. If you are a tree person, for example, try to look at the script through the eyes of a forest person.

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What tree people can learn from forest people is to trust the story over the paradigm. This does not mean the paradigm doesn’t “work,” though certain interpretations may be less useful when applied to some movies than to others. What it means is that the paradigm—which at root is beginning-middle-end storytelling—is a tool for planning and later analyzing a movie story. It is not a formula but a set of guidelines.

What keeps The Graduate moving forward, then, is not so much the “paradigm perfect” hero-villain confrontation that is much clearer in many other movies but the pervasive suspense in wanting to know what happens next. In this movie the antagonist is shifting between different representations—finally it becomes a kind of social force, the middle-class values that Benjamin is bored with (what leads him to want a “different” summer in the first place, which is his initial goal).

“American Movies Are About What Happens Next”

Each representation of “the Robinson villain” is more menacing than its predecessor.