pistol-revolver-gun-barrel.png
american_muscle_car_wallpaper_hd_quality.jpg
boy-photography-smoke-weed-Favim.com-342139.jpg
Criminology.jpg
kid with gun still.jpg
bullet in gun still.jpeg
King of sting poster image.jpg
Page_22.jpg
glazer2.jpg
craig pic.jpg
don craig pic 1.jpg
craig and don 2.jpg
craigcoversm.jpg
Page_07.jpg
painted desert.jpg
arizona city.jpg
Page_04.jpg
Page_05.jpg
craig sits.jpg
Page_15.jpg
don image.jpg
Page_17.jpg
karen lee.jpg
karen lee images.jpg
dj bio pic.jpg
9411a181e0a982a3be81f6dd1e463097.jpg
IMG_3304.JPG
fast-bullet-wallpapers_27781_1680x1050.jpg
dance-club.jpg
lie dept badge.jpg
pistol-revolver-gun-barrel.png

Title page


the

king

of

sting

SCROLL DOWN

Title page


the

king

of

sting

american_muscle_car_wallpaper_hd_quality.jpg

Logline


a true story

 

In 1970, in order to pay for college, 18-year-old ASU student Craig Glazer, teamed up with Don Woodbeck, a reckless Vietnam Veteran.

They posed as undercover cops, DEA, FBI, Border Patrol, and IRS Agents in order to stage elaborate "stings" and rip-off drug dealers, the Mexican Mafia, and the Colombian Cartel for millions.  

One of them went on to become the youngest Special Agent in US history.

The other, did not survive. 

Logline


a true story

 

In 1970, in order to pay for college, 18-year-old ASU student Craig Glazer, teamed up with Don Woodbeck, a reckless Vietnam Veteran.

They posed as undercover cops, DEA, FBI, Border Patrol, and IRS Agents in order to stage elaborate "stings" and rip-off drug dealers, the Mexican Mafia, and the Colombian Cartel for millions.  

One of them went on to become the youngest Special Agent in US history.

The other, did not survive. 

boy-photography-smoke-weed-Favim.com-342139.jpg

What does it take?


do

you

have

what

it

takes?

What does it take?


do

you

have

what

it

takes?

Criminology.jpg

To be an outlaw?


to

be

a

real

outlaw?

To be an outlaw?


to

be

a

real

outlaw?

kid with gun still.jpg

kid with gun


"I gotta tell you, there is nothing more exhilarating than being that close to bullets and realizing none of them hit you. Seriously, it's better than sex."

-Craig Glazer 

kid with gun


"I gotta tell you, there is nothing more exhilarating than being that close to bullets and realizing none of them hit you. Seriously, it's better than sex."

-Craig Glazer 

bullet in gun still.jpeg

bullet in gun


"Always leave the first chamber empty. You get jumpy, pull the trigger, you don't accidentally blow your dick off."

-Don Woodbeck

bullet in gun


"Always leave the first chamber empty. You get jumpy, pull the trigger, you don't accidentally blow your dick off."

-Don Woodbeck

Page_22.jpg

News articles


Craig Glazer and Don Woodbeck pulled over 35 stings.

News articles


Craig Glazer and Don Woodbeck pulled over 35 stings.

glazer2.jpg

New Page


They posed as drug dealers, and undercover operatives from just about every US agency.

New Page


They posed as drug dealers, and undercover operatives from just about every US agency.

craig pic.jpg

New Page


They followed scripts that Craig would write.

New Page


They followed scripts that Craig would write.

don craig pic 1.jpg

Don quote 2


And got "into character" for their roles in each sting.

Don quote 2


And got "into character" for their roles in each sting.

craig and don 2.jpg

New Page


Craig loved the theatrics.

 

Don loved the adrenaline.

New Page


Craig loved the theatrics.

 

Don loved the adrenaline.

craigcoversm.jpg

New Page


Don didn't survive to tell the story.

New Page


Don didn't survive to tell the story.

Page_07.jpg

a modern day western


a

modernday

western

a modern day western


a

modernday

western

painted desert.jpg

Arizona desert


set against the backdrop of Arizona's painted deserts

Arizona desert


set against the backdrop of Arizona's painted deserts

arizona city.jpg

New Page


and the vibrant underbelly of it's cities

New Page


and the vibrant underbelly of it's cities

Page_04.jpg

New Page


with fast cars, hot girls, drugs, money...

New Page


with fast cars, hot girls, drugs, money...

Page_05.jpg

New Page


and non-stop action

New Page


and non-stop action

craig sits.jpg

Craig Glazer


craig glazer

WITTY - INTELLIGENT - DETERMINED - KINDHEARTED

This is a coming of age story for Craig, a kid that feels like he has to prove himself in the eyes of a father that's raised him on the principles of tough love. Like Frank Abagnale Jr. in Catch Me if You Can, Craig is sadly in way too deep when he finally realizes the error of his ways, and the price he's inevitably going to have to pay. The tragedy is that he truly discovers a passionate outlet for himself, in law enforcement, but it's one that he will never again be able to pursue. 

Craig was seemingly born with the gift of gab, and can talk his way out of just about anything if given the opportunity. In this respect, he's much akin to William Goldman's version of Butch Cassidy, always full of ideas, the brains behind the operation. What he's lacking is the confidence to carry out his ambitions. 

Throughout the course of the movie, and Don's tutelage, we're going to watch Craig transform into a man that encompasses the best attributes of both he and Don. In many respects, he enters this story as a child, and emerges at the end as a complete man, one that's ready and able to take on the world. But having paid a terrible price to do so. 

Craig is also the moral compass, that at times, reigns in Don's fast and loose attitude. He's full of heart, and for him, this is a tale of innocence lost. 

Craig Glazer


craig glazer

WITTY - INTELLIGENT - DETERMINED - KINDHEARTED

This is a coming of age story for Craig, a kid that feels like he has to prove himself in the eyes of a father that's raised him on the principles of tough love. Like Frank Abagnale Jr. in Catch Me if You Can, Craig is sadly in way too deep when he finally realizes the error of his ways, and the price he's inevitably going to have to pay. The tragedy is that he truly discovers a passionate outlet for himself, in law enforcement, but it's one that he will never again be able to pursue. 

Craig was seemingly born with the gift of gab, and can talk his way out of just about anything if given the opportunity. In this respect, he's much akin to William Goldman's version of Butch Cassidy, always full of ideas, the brains behind the operation. What he's lacking is the confidence to carry out his ambitions. 

Throughout the course of the movie, and Don's tutelage, we're going to watch Craig transform into a man that encompasses the best attributes of both he and Don. In many respects, he enters this story as a child, and emerges at the end as a complete man, one that's ready and able to take on the world. But having paid a terrible price to do so. 

Craig is also the moral compass, that at times, reigns in Don's fast and loose attitude. He's full of heart, and for him, this is a tale of innocence lost. 

Page_15.jpg

New Page


"My buddy Don once told me, the history books, they only remember the winners. You wanna write a page in that book, you gotta do something special. Something nobody else has the balls to do. Because in the end, we're all gonna die anyway."

-Craig Glazer

New Page


"My buddy Don once told me, the history books, they only remember the winners. You wanna write a page in that book, you gotta do something special. Something nobody else has the balls to do. Because in the end, we're all gonna die anyway."

-Craig Glazer

don image.jpg

Don Woodbeck


don woodbeck

GUTTY - RASCAL - INVINCIBLE - SLICK

Don is the kind of guy that lights up a room from the moment he enters it. He's Craig's larger than life partner, mentor and big brother figure. He's a classic anti-hero. The embodiment of rebellious scoundrels like Han Solo, Clint Eastwood's "Man With No Name" character, or Charles Bronson's "Harmonica Man" in Once Upon A Time in the West. If Craig is Butch Cassidy, Don is the Sundance Kid. He's a gunslinger, the guy that walks with enough bravado and confidence to take out an entire room full of thugs. 

Don is like a big brother to Craig, a big brother that he never had. He helps Craig to overcome all of the uncertainties and apprehensions that Craig's father instilled in him. Through Don, Craig learns to stand up for himself, and to have the confidence to back his convictions. Don helps him become a better, more rounded man.

But Don is certainly not without his own flaws. His outward braggadocio and swagger only serve to mask his own inner fears and shortcomings. When he was younger, his parents abandoned him. Don came home one day and they were just gone. Picked up and left, and never told him where. That betrayal left Don with incredibly deep-seated abandonment issues that he's carried with him his entire life. Because of this, he doesn't allow himself to really get close to anyone. He keeps up his guard, because deep down inside, he's terrified of getting hurt again.

Don is the classic western anti-hero. He's a loner that primarily thinks of himself. But somewhere inside him, he desperately wants to do the right thing.   

Don Woodbeck


don woodbeck

GUTTY - RASCAL - INVINCIBLE - SLICK

Don is the kind of guy that lights up a room from the moment he enters it. He's Craig's larger than life partner, mentor and big brother figure. He's a classic anti-hero. The embodiment of rebellious scoundrels like Han Solo, Clint Eastwood's "Man With No Name" character, or Charles Bronson's "Harmonica Man" in Once Upon A Time in the West. If Craig is Butch Cassidy, Don is the Sundance Kid. He's a gunslinger, the guy that walks with enough bravado and confidence to take out an entire room full of thugs. 

Don is like a big brother to Craig, a big brother that he never had. He helps Craig to overcome all of the uncertainties and apprehensions that Craig's father instilled in him. Through Don, Craig learns to stand up for himself, and to have the confidence to back his convictions. Don helps him become a better, more rounded man.

But Don is certainly not without his own flaws. His outward braggadocio and swagger only serve to mask his own inner fears and shortcomings. When he was younger, his parents abandoned him. Don came home one day and they were just gone. Picked up and left, and never told him where. That betrayal left Don with incredibly deep-seated abandonment issues that he's carried with him his entire life. Because of this, he doesn't allow himself to really get close to anyone. He keeps up his guard, because deep down inside, he's terrified of getting hurt again.

Don is the classic western anti-hero. He's a loner that primarily thinks of himself. But somewhere inside him, he desperately wants to do the right thing.   

Page_17.jpg

New Page


"I'm not going to partner up with a guy that's not comfortable shooting at other human beings."

-Don Woodbeck 

New Page


"I'm not going to partner up with a guy that's not comfortable shooting at other human beings."

-Don Woodbeck 

karen lee.jpg

New Page


KAREN LEE

PURE - SHARP - INDEPENDENT - DEEP

At first, Karen is the embodiment of everything that Craig thinks he wants. She's beautiful, popular, and comes from a well-to-do family. But the more he gets to know her, the more he discovers who she really is, and that she's much more than a pretty face. 

She is a woman of incredible moral depth and integrity, and she ultimately makes Craig strive to be a better man. 

An only child, Karen lost her mother when she was young, and was raised primarily by her father, Attorney General Warner N. Lee, an old-fashioned thinking man who's outdated concepts on women's rights and their place in the work force have pushed Karen to fight her whole life, going against the grain of her own father, to make her place in the world. 

Karen is bold and feels the need to prove herself in a male dominated society. But it's something her father has learned to admire and respect about her, and has only strengthened their relationship over the years. 

Karen sees the true potential in Craig. She sees some of the same determination and struggle in him that's she's faced her whole life, and she's drawn to him because of it. But she's crushed when she learns the truth about him and what he's been doing. Through Karen, we're given the brief glimpse of a bright future that Craig came so close to achieving. 

New Page


KAREN LEE

PURE - SHARP - INDEPENDENT - DEEP

At first, Karen is the embodiment of everything that Craig thinks he wants. She's beautiful, popular, and comes from a well-to-do family. But the more he gets to know her, the more he discovers who she really is, and that she's much more than a pretty face. 

She is a woman of incredible moral depth and integrity, and she ultimately makes Craig strive to be a better man. 

An only child, Karen lost her mother when she was young, and was raised primarily by her father, Attorney General Warner N. Lee, an old-fashioned thinking man who's outdated concepts on women's rights and their place in the work force have pushed Karen to fight her whole life, going against the grain of her own father, to make her place in the world. 

Karen is bold and feels the need to prove herself in a male dominated society. But it's something her father has learned to admire and respect about her, and has only strengthened their relationship over the years. 

Karen sees the true potential in Craig. She sees some of the same determination and struggle in him that's she's faced her whole life, and she's drawn to him because of it. But she's crushed when she learns the truth about him and what he's been doing. Through Karen, we're given the brief glimpse of a bright future that Craig came so close to achieving. 

karen lee images.jpg

New Page


"C'mon, they were outlaws. They had to die in the end. It's the tragedy of the lifestyle. Anything else would have been a false ending."

-Karen Lee

New Page


"C'mon, they were outlaws. They had to die in the end. It's the tragedy of the lifestyle. Anything else would have been a false ending."

-Karen Lee

dj bio pic.jpg

DJ pic


david

jung

DJ pic


david

jung

9411a181e0a982a3be81f6dd1e463097.jpg

Director's Statement


director's statement

 

The King of Sting is not just another project for me. This story is special. It's one that I've wanted to bring to the screen ever since I read the book and had the pleasure of sitting down with the author, Craig Glazer, the man that lived this incredible life, almost ten years ago.

While the story takes place in the 1970s, it could easily be present day. It's one of the rare breeds of stories whose themes and characters are timeless.

There's something so universally relatable in both Craig and Don. Craig, a fast talking, ingenious kid, full of ideas, that out of pure desperation and necessity, finds himself doing something extraordinary; and Don, so cool, charismatic, larger than life, and full of courage, but lacking any real guidance or direction in life - a stray bullet, that becomes addicted to the adrenaline.

This is a coming of age story about two young men that form a partnership, which turns into a friendship, one that teaches both of them important life lessons. Had they walked a slightly different path, had some other outlet for their skills, they may have ended up in quite a different place, instead of succumbing to the tragic outcome that befell them both, and claimed one of their lives.

This movie is going to be an epic emotional thrill ride, filled with action, drama, character, romance, heart, and tragedy. It's a modern-day western, with two modern-day outlaws at it's core; two men that are both complex and flawed, in a story that's destined to become a cinematic classic. 

Director's Statement


director's statement

 

The King of Sting is not just another project for me. This story is special. It's one that I've wanted to bring to the screen ever since I read the book and had the pleasure of sitting down with the author, Craig Glazer, the man that lived this incredible life, almost ten years ago.

While the story takes place in the 1970s, it could easily be present day. It's one of the rare breeds of stories whose themes and characters are timeless.

There's something so universally relatable in both Craig and Don. Craig, a fast talking, ingenious kid, full of ideas, that out of pure desperation and necessity, finds himself doing something extraordinary; and Don, so cool, charismatic, larger than life, and full of courage, but lacking any real guidance or direction in life - a stray bullet, that becomes addicted to the adrenaline.

This is a coming of age story about two young men that form a partnership, which turns into a friendship, one that teaches both of them important life lessons. Had they walked a slightly different path, had some other outlet for their skills, they may have ended up in quite a different place, instead of succumbing to the tragic outcome that befell them both, and claimed one of their lives.

This movie is going to be an epic emotional thrill ride, filled with action, drama, character, romance, heart, and tragedy. It's a modern-day western, with two modern-day outlaws at it's core; two men that are both complex and flawed, in a story that's destined to become a cinematic classic. 

IMG_3304.JPG

DJ BIO


writer | director | producer

 

David Jung is a visionary writer | director | producer, and veteran of the entertainment industry. Born in Gloversville New York, and a graduate of Ithaca College, Jung has been passionate about filmmaking since he was a boy. He began his entertainment career working for Roger Corman, and completed six films for the legendary producer. Jung moved to Walt Disney Studios where he served as an executive at Mandeville Films, served as a Vice President of the feature film division of Film Roman Studios, then ran Lynda Obst's Production Company at Paramount Pictures. He’s written feature films and television for just about every studio in Hollywood, including a video game based on the Dirty Harry franchise for Clint Eastwood and Warner Brothers Interactive. The King of Sting will be his second feature as a writer/director, his first being the indie hit, The Possession of Michael King.

 

DJ BIO


writer | director | producer

 

David Jung is a visionary writer | director | producer, and veteran of the entertainment industry. Born in Gloversville New York, and a graduate of Ithaca College, Jung has been passionate about filmmaking since he was a boy. He began his entertainment career working for Roger Corman, and completed six films for the legendary producer. Jung moved to Walt Disney Studios where he served as an executive at Mandeville Films, served as a Vice President of the feature film division of Film Roman Studios, then ran Lynda Obst's Production Company at Paramount Pictures. He’s written feature films and television for just about every studio in Hollywood, including a video game based on the Dirty Harry franchise for Clint Eastwood and Warner Brothers Interactive. The King of Sting will be his second feature as a writer/director, his first being the indie hit, The Possession of Michael King.

 

fast-bullet-wallpapers_27781_1680x1050.jpg

Cinematography


cinematography

 

This film is going to be extremely compelling not only on a narrative level, but on a visual level as well. I want this movie to have the look and feel of a modern western. The story takes place in Arizona, and I want to take full advantage of the colorful painted skies, and sweeping expanse and panorama of the endless desert landscape, off-set with the claustrophobic hustle and bustle of the city and the vibrant college life. I am a huge fan of Michael Mann's use of framing and color, especially in some of his earlier films, and would like each location to have it's own base color temperature to use as a foundation from which to build the scenes color tapestry. For example, I would like to highlight the orange and yellows of the desert, against the deep blues and greens of the city. I would also like to incorporate some of the frenetic camera movement Michael Mann is known for, specifically when shooting action sequences. I want to bring his style of hyper-realism specifically to the sting sequences, so that they feel as real, gritty, and dangerous as possible. I will counteract the furious pace of the stings with a more operatic and grandiose approach to the rest of the film. I am a tremendous fan of Martin Scorsese's epic steady-cam shots, and the rhythmic sequencing he so skillfully and delicately executes in most of his pictures. I find that this heightens the scope and feel of a story, especially when you're walking with a character into a new location, and introducing us to a new environment for the first time.   

Cinematography


cinematography

 

This film is going to be extremely compelling not only on a narrative level, but on a visual level as well. I want this movie to have the look and feel of a modern western. The story takes place in Arizona, and I want to take full advantage of the colorful painted skies, and sweeping expanse and panorama of the endless desert landscape, off-set with the claustrophobic hustle and bustle of the city and the vibrant college life. I am a huge fan of Michael Mann's use of framing and color, especially in some of his earlier films, and would like each location to have it's own base color temperature to use as a foundation from which to build the scenes color tapestry. For example, I would like to highlight the orange and yellows of the desert, against the deep blues and greens of the city. I would also like to incorporate some of the frenetic camera movement Michael Mann is known for, specifically when shooting action sequences. I want to bring his style of hyper-realism specifically to the sting sequences, so that they feel as real, gritty, and dangerous as possible. I will counteract the furious pace of the stings with a more operatic and grandiose approach to the rest of the film. I am a tremendous fan of Martin Scorsese's epic steady-cam shots, and the rhythmic sequencing he so skillfully and delicately executes in most of his pictures. I find that this heightens the scope and feel of a story, especially when you're walking with a character into a new location, and introducing us to a new environment for the first time.   

dance-club.jpg

music sound theme place


music | sound | theme | place

Music and sound often play an important part in amplifying the true heart and soul of a film. My desire is to make a deep emotional impact on the audience that will continue to resonate with them long after they've left the theater. For this particular story, set against the backdrop of the 1970s, music should also help to convey a specific place in time. The raw overdriven rock and roll sound of the 70s that conveyed a pivotal moment of change in our countries history.

Though music I want to feel the economic upheaval, the rebellion against an unpopular war, the fight for women's liberation. This uprising and sense of dissidence that was sweeping though the country should echo the actions and outlaw nature of nonconformity that Don and Craig represent.

There should be a seminal soundtrack for this film that's instantly recognizable, the likes of Dazed and Confused, Boogie Nights, and Almost Famous, but that also really speaks to the time period and core thematic elements that are driving the characters.

This is a story about rebellion, and the music surrounding it should help to enforce that argument. I think there is also an opportunity here, as Craig and Don are such young characters, to attract and introduce a whole new generation of listeners to these songs that were so influential and crucial to this time period.

I want the audience to leave this film with the soundtrack still resonating in their heads, and every time they hear a specific song afterwards, they are reminded of the moment in this film where they heard it.

For example, "Tiny Dancer" in Almost Famous, "Layla" in Goodfellas, "Stuck in the Middle With You" in Reservoir Dogs, or "Sister Christian" in Boogie Nights.

I love the operatic way that Scorsese cuts scenes to music, and I think there are some really powerful places to do something similar in this story. I would love to collaborate with a seminal music producer the likes of Glyn Johns or Eddie Kramer, someone that has produced some of the most influential music that has come out of the 1970s, acts like Led Zeppelin, The Who, Jimi Hendrix, The Beatles, The Rolling Stones, The Eagles, Eric Clapton, to help create a soundscape that reflects the modern style and feel of the film, while still retaining the structure and resonance of these classic songs. 

My desire is for this story to introduce a modern audience to the culture and feel of the 1970s in a way they haven't been exposed to. 

music sound theme place


music | sound | theme | place

Music and sound often play an important part in amplifying the true heart and soul of a film. My desire is to make a deep emotional impact on the audience that will continue to resonate with them long after they've left the theater. For this particular story, set against the backdrop of the 1970s, music should also help to convey a specific place in time. The raw overdriven rock and roll sound of the 70s that conveyed a pivotal moment of change in our countries history.

Though music I want to feel the economic upheaval, the rebellion against an unpopular war, the fight for women's liberation. This uprising and sense of dissidence that was sweeping though the country should echo the actions and outlaw nature of nonconformity that Don and Craig represent.

There should be a seminal soundtrack for this film that's instantly recognizable, the likes of Dazed and Confused, Boogie Nights, and Almost Famous, but that also really speaks to the time period and core thematic elements that are driving the characters.

This is a story about rebellion, and the music surrounding it should help to enforce that argument. I think there is also an opportunity here, as Craig and Don are such young characters, to attract and introduce a whole new generation of listeners to these songs that were so influential and crucial to this time period.

I want the audience to leave this film with the soundtrack still resonating in their heads, and every time they hear a specific song afterwards, they are reminded of the moment in this film where they heard it.

For example, "Tiny Dancer" in Almost Famous, "Layla" in Goodfellas, "Stuck in the Middle With You" in Reservoir Dogs, or "Sister Christian" in Boogie Nights.

I love the operatic way that Scorsese cuts scenes to music, and I think there are some really powerful places to do something similar in this story. I would love to collaborate with a seminal music producer the likes of Glyn Johns or Eddie Kramer, someone that has produced some of the most influential music that has come out of the 1970s, acts like Led Zeppelin, The Who, Jimi Hendrix, The Beatles, The Rolling Stones, The Eagles, Eric Clapton, to help create a soundscape that reflects the modern style and feel of the film, while still retaining the structure and resonance of these classic songs. 

My desire is for this story to introduce a modern audience to the culture and feel of the 1970s in a way they haven't been exposed to. 

lie dept badge.jpg

Thank you page


Thank you page