Here is a sample of Jefery Levy’s diverse scripts and writings.


Man of God

Hate will give you power and make you strong, because what I’m telling you, what I am really telling you is…is… that we have only wanted one thing: to ease suffering. To ease suffering. To ease suffering in the world, not to cause it, and that has been my desire in life. The strangest thing I have ever known. And now, just now, something is happening to me, something…miraculous…a light…and I can feel it now in every cell of my body, destroying and re- creating myself at the same time, and why do I deserve this rapture? And why does anyone deserve anything, and why are you you and me me and…who knows. I do not. I know one thing though: I want to be good. I want to love. I just want…to…love.

Kung Fu Kids

A landscape as serene as a meditative scroll painting. A gentle river reflects a perfect blue sky. At the river’s edge, A BLACK SALAMANDER skitters across a rock. A RED LOTUS BLOSSOM floats by. A LARGE TORTOISE ambles along the riverbank. Suddenly…


IN A SUBURBAN LIVING ROOM, DEX, now 7 years old and dressed in a white suit, dances and “lip syncs” Disco Satisfaction. The audience: Dex’s mom, his two aunts, his grand mother and a couple of girls from he neighborhood. Dex flashes a killer smile. They all melt.

Et Tu Babe

Amazingly handsome, speaks to CAMERA. NOTE: During Mark’s “speeches/monologues” to camera (denoted by “INT. STUDIO”), we will see and hear all sorts of cool stuff, including but not limited to: rapidly changing, wildly kinetic/colorful animated/graphic/CGI backgrounds; “treated” stock footage; edge-of-the-frame translations of what Mark is saying into multiple languages {Chinese, Japanese, French, German, Italian — all our major foreign markets); ambient music (ala Joe Frank); and super-neato sound design. All of the aformentioned elements — dialogue, images and sound — will combine to create something akin to cinematic “conceptual art.”

Married & Dangerous

The proper evening wear is essential, especially when those evenings can last for several months. The ‘band’ using indigenous instruments – skin drums and bone flutes – play a crude version of “All Along The Watchtower”. Nanooka is wearing a twin set in Polar Fleece. Polar fleece is perhaps the first existential fabric: eminently useful, meaningless, weird. Although I vowed to never wear synthetics, I finally gave in because, in the chaos of nonseasonal seasons, an artificial, seasonless, all temperature fabric is essential.


JACK SMITH, late twenties/early thirties. Although very handsome, Jack is tired-looking — even for his young age, this is clearly a guy who’s been around. JACK wears a finely tailored suit, white shirt (open at the collar), tie — the whole ensemble is a bit crumpled as if he’s slept in it for a few days. As he drives, CITY LIGHTS pass over his face.


The Flintstones

Structurally, the episode of The Flintstones which I am going to discuss resembles both fairy tale and fable. In this cartoon episode, a wish is granted to the hero, red Flintstone, and as Fred Flintstone experiences the fantasy of hiR wish, he learns a contradictory, ideologically charged lesson, a lesson which attempts to validate both the individual’s place in society, and the dominant ideology of that society itself.

Bi-sociation in Annie Hall

From the most general level of form and content to the most minute level of the same, Annie Hall is a richly textured tapestry, woven from~ myriad of contradictory, paradoxical threads, creating a very essence that is in itself “bi-sociative.”

Team Dialectics and 48 Hours

Much of the comedy in 48 Hours arises out of the tension between~ialectical oppositions; indeed, the very nature of the relationship between tension and the catharsis of that tension is a dialectical one.

Archetypal Motifs, Icons and Antinomies in The Wild Bunch

The’purpose of this paper is to discuss archetypes, icons, and antinomies, and the way in ~1ich they are communicated through plot, imagery, and \”ariousstylistic devices (such as composition and editing) in The Wild Bunch.

The Persona of Harold Diddle…ah…er…Lloyd…

Toward the end of The Sin of Harold Diddlebock, we are given a quintessential shot which embodies all the desire and motivation that exists at the heart of the Harold Lloyd persona.

Some Comments on The Graduate and Tootsie

The Graduate and Tootsie are thematically similar but stylistically very different. In terms of thematic, both films deal with confusion about identity and sexuality, and both films depict a “rite of passage” or “inner awakening” of the character portrayed by Dustin Hoffman. in both The Graduate and Tootsie, then, Hoffman’s character undergoes a process of self-discovery.

Sexuality and Society in Le Empire De Sens

Le Empire De Sens is a film about the failure of two lovers’ attempt to secede from the communal realm of society into an isolated, private “realm of the senses.” Through composition, dialogue, and imagery, the film ultimately suggests that sexuality does not (and cannot) exist separate from society, but that it exists within society,~and, more importantly, is dominated by society.