Exclusive: TV writer and producer Nancy Miller is set to pen the script for the feature adaptation of The Shepherd Who Didn’t Run: Father Stanley Rother, Martyr from Oklahoma novel by Maria Ruiz Scaperlanda. Miller will also produce the spiritual thriller with James Presnal (The Bet) and Jonathan de la Luz (Harbinger).
The project is a Film Fluent and Luzworks production, in association with Takashi Entertainment. It centers on the story of Father Stanley Rother’s journey from small-town farm boy, to flunking out of the seminary, to achieving his dream of the priesthood. He volunteered to go to Guatemala, a dangerous assignment in the midst of the bloody civil war waged against the Mayans.
When Stan learned he was marked for death, he was ordered back to Oklahoma, where he talked the Archbishop into sending him right back to Guatemala. He knew he was prey to those hunting him,...
The project is a Film Fluent and Luzworks production, in association with Takashi Entertainment. It centers on the story of Father Stanley Rother’s journey from small-town farm boy, to flunking out of the seminary, to achieving his dream of the priesthood. He volunteered to go to Guatemala, a dangerous assignment in the midst of the bloody civil war waged against the Mayans.
When Stan learned he was marked for death, he was ordered back to Oklahoma, where he talked the Archbishop into sending him right back to Guatemala. He knew he was prey to those hunting him,...
- 11/6/2018
- by Amanda N'Duka
- Deadline Film + TV
By Amanda Natiello
When I heard about last month's screening of Agenda, a film meant to "pay homage to another era of storytelling, the film noir genre," I was thrilled. Film noir offers so much for consideration: the aesthetics, the complex plot structures, hard-boiled detective characters and the debate about what makes a film noir. I see noir as both an aesthetic and a narrative style that evokes a certain era of movies, specifically the period immediately following World War II, and a specific genre of film, usually of the mystery or detective varieties.
In channeling what I knew of film noir and what I had read in James M. Cain's novels, I began to play detective, listening to conversations as patrons trickled in, and piecing together what information I could gather about filmmaker Jonathan de la Luz in the cocktail hour before the screening. He had at least one friend in the audience,...
When I heard about last month's screening of Agenda, a film meant to "pay homage to another era of storytelling, the film noir genre," I was thrilled. Film noir offers so much for consideration: the aesthetics, the complex plot structures, hard-boiled detective characters and the debate about what makes a film noir. I see noir as both an aesthetic and a narrative style that evokes a certain era of movies, specifically the period immediately following World War II, and a specific genre of film, usually of the mystery or detective varieties.
In channeling what I knew of film noir and what I had read in James M. Cain's novels, I began to play detective, listening to conversations as patrons trickled in, and piecing together what information I could gather about filmmaker Jonathan de la Luz in the cocktail hour before the screening. He had at least one friend in the audience,...
- 8/22/2012
- by Contributors
- Slackerwood
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