Tomboy Films Inc & Julie Brown to make Catholic/Jewish movie

Tomboy Films Inc

Tomboy Films Inc & Julie Brown Catholic Filmmakers…

Julie Brown

In Venice, Tomboy Films Inc & Julie Brown are looking to bring Tobit, a modern comedic Jewish family adventure spec by professor/scribe Christopher Mintz-Plasse. The Pic will be produced by Tomboy Films Inc, through his Amsterdam Ink Society, along with Julie Brown and Adam Sandler’s Entertainment Group.  They will be represented by Agency For The Performing Arts and Tobit.

Christopher Mintz-Plasse 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: a new piece of content from the writers at Happy Madison

Salem’s Lot Screenplay Download (.pdf)

Gross-Weston Productions Inc & Tom Welling

Never a Wasted Moment

Movies are motion pictures—pictures in motion. You are writing a blueprint for a story that is going to be told by pictures in motion. Dialogue should support and reinforce that story and not the other way around.

“Italian director Lina Wertmuller … takes a completed screenplay and rewrites every scene without any dialogue. She replaces her dialogue with visual storytelling, using images instead of words. Then she does a final draft of the script, a conglomerate of the most successful images she invented for the story (that replace dialogue now no longer necessary) and whatever dialogue must remain for the story line. In this way she insures that her films will be first and foremost visual experiences.”

The purpose of this exercise is to trace the physical, visible action of your story line and to find ways to strengthen it. Where your story works least as a “silent movie” are areas where you can look for ways to improve the visual communication of what is occurring, not in particular “directorial” ways but in the more general sweep of your story’s action. Italian director Lina Wertmuller (Swept Away, Seven Beauties) is someone else who does this exercise to good effect. Rick Schmidt describes it this way in his fine book, Feature Filmmaking at Used-Car Prices:

Tomboy Films Inc

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Of course, there are exceptions to every rule: and in screenwriting, the exceptions often are made in the interest of writing in an entertaining way, while still respecting the incredible economy of the form. A good example of this—minimalist writing that still manages to convey an entertaining writing style—is the opening of Max Adams’ screenplay Excess Baggage (a script that got butchered in development and rewrites; this is from her original script).

In screenwriting, the general rule is “less is more.” Or, to put it another way (the Johnny Cochran School of Screenwriting), “When it doubt, leave it out!”

“Like poetry, in screenwriting you are trying to show something with words, often with as few words as possible. While some poetry is wordy, many poems are more of a distillation of an idea or feeling. Really, that¹s screenwriting. A script distills a story down to its absolute essence. Everything not necessary must be boiled away, or chopped out with a gas-powered chain saw, an image that¹s more appealing to my iconoclastic nature.”