BLOODSPORT FILM NOT FICTION!
BLOODSPORT FILM NOT FICTION! Screenwriter, Sheldon Lettich Lies To Take Credit Away
From Living Legend Film is Based on Frank Dux
By Marie White For Artvoice.com Magazine
The 1988 martial art cult Film Bloodsport is a favorite of President Trump and millions. Its popularity and message fills schools worldwide. The true story is the inspiration and foundation the multi-billion dollar MMA industry is built upon, catching the eye of the martial art media that historically invents or facilitates controversy as controversy sells.
Bloodsport’s film’s end credits read: “Based on true events in the life of Frank Dux.” Others have tried to stake a claim in Frank Dux life such as Sheldon Lettich, whom with the “Story By” and “Screenplay By” credits in his name, Sheldon Lettich, claims Bloodsport is just a “creative work” by him where “everyone involved just took Dux word for it.”
In lending credibility to his outrageously false claim the film’s screenwriter falsely accuses Frank Dux of misrepresenting his military history, references articles that attribute to Dux false statements about being a decorated Vietnam War Hero that hung on Dux martial art school wall. What is omitted from mention is how the articles were hung there by legal counsel, Michael B. Frankel, accompanied by warning signs disavowing these articles claims to prevent the allegation of false advertising by Dux.
Frankel states Lettich knew this. Further betraying how Lettich is being deceptive and operates with actual malice towards Frank Dux is his directing others to counterfeit Dux school handouts that also attribute to Dux false claims of military heroism. Used to hold Dux up to ridicule and inflame others by making the court proven false allegation of Stolen Valor appear true. Newsworthy, is how this same counterfeit pamphlet makes use of a headshot of Dux that Dux recognizes is taken by and thus, was under the control of Lettich, implicating him in manufacturing it.
This same counterfeit pamphlet is circulated on social media where Lettich and stolen valor con game blogs are making use of baseless allegations, commit fraud to trade libel and extort others to financially benefit them. An enterprise Frank Dux is made a target of in his daring to expose them, see Artvoice.com:
https://artvoice.com/2018/06/03/stolen-valor-vultures-murder-veterans-not-just-reputations-part-2/
https://artvoice.com/2018/09/08/pt-3-stolen-valor-vultures-invent-allegations-for-profit/
Military Phonies blogs, like Lettich, seemingly depend on directing people to media sources that are proven not credible in legal proceedings, as in case of libel and slander litigation of Frank Dux v Soldier of Fortune magazine, which Dux tackles head on.
https://artvoice.com/2018/09/09/frank-dux-how-stolen-valor-vultures-tried-to-destroy-my-reputation/
Like a snake eating its own tail media sources and certainly hater-Dux blogs create the illusion of being credible by corroborating each other’s findings. For the most part they only repeat the same falsehoods that appear in a Los Angeles Times, May 1, 1988 story Ninja Hero or Master Fake?
Published as an editorial this insulates the journalist, John Johnson Jr., and his newspaper the Times from civil actions of libel and slander by Dux. Hides behind others as it makes use of evidence that on its face is fraudulent; engaged in selective fact finding with deliberate omission of material facts that otherwise may exonerate Dux from the allegations they invent. Such as, its impartial martial art experts Benny Urquidez, Chad Minge, Shoto Tanemura and Chuck Corey all operate competing businesses to Dux business located within walking distance of his business and profit by disparaging Dux.
The May 1, 1988 LA Times newspaper reports no records can be found “by them” inferring they are nonexistent as it portrays Dux Ninja teacher, Senzo Tanaka, in Bloodsport, to be fictional character borrowed from Ian Flemming’s James Bond movie You Only Live Twice. Fully aware, travel documents and death certificate in Los Angeles Hall of Records was readily available to them just as it was to investigative reporter, Frank Parlato
The Times story is where Sheldon Lettich first held Dux up to ridicule by making false statements that makes the controversy surrounding Dux seem credible. Lettich having declared when it came to end credit roll listing Dux martial art accomplishments “everyone just took Dux word for it.” This contradicts the findings of Canon Legal and Producers made known to the LA Times, but omits from mention this important fact to protect its sensational narrative.
The trade libel of Dux by his competitors is so egregious they are suspect in possibly being responsible for how the otherwise publicly available exhibit evidence is certified as missing by Los Angeles County Clerks Office. This is material evidence that proves the Stolen Valor allegations are fraudulent and Bloodsport is a true story in the litigation of Dux vs. Soldier of Fortune magazine. This theft and destruction of evidence by his competitors caught in the act and convicted for it, enables the defamation and pigeon holing of Frank Dux by Lettich and others to continue for nearly four decades.
Sheldon Lettich has an incentive to lie when the REAL significance of his role in creating the classic cult film’s success amounts to being a glorified stenographer for his former writing partner Frank Dux. Not something Hollywood Studios look for in their selection of screenwriters. The defamation of Dux character and erroneous impression he facilitates — that Bloodsport is a creative work, this provides Lettich a competitive advantage over Dux when it comes to “paid for” personal appearances and other ancillary business opportunities they compete for.
There exist no rational reason to take anyone’s word for anything with regard to determining the authenticity and genesis of Bloodport when Written Agreements exist and were made with the foresight of creating a paper trail that leads those willing to follow it to the truth — BLOODSPORT COULD NOT BE A FICTION! Its producer Mark DiSalle never had any rights to fictionalize the Frank Dux story.
DiSalle entered into a “Life Story Option Agreement” with Frank Dux. The film’s fictionalized portrayal of how Frank Dux met his instructor had even generated an extemporaneous record in the form of a written addendum to Dux/Disalle June 15, 1985 Agreement to allow for that fictionalization.
UNITED STATES DISTRICT COURT FOR THE CENTRAL DISTRICT OF CALIFORNIA CaseNo.CV97-8409JSL (VAPX)] proves that after acquiring the Bloodsport Sequel Rights from Mark DiSalle, Alan Mehrez / FM Entertainment ended up in Breach of Contract litigation over the fictionalizing of Bloodsport sequels resulting in undisclosed cash payment and rights being returned to Frank Dux.
Canon Films Acquisition Agreement, Dux/ DiSalle June 15, 1985 Agreement and Sheldon Lettich/DiSalle Writing Services Agreement, individually, and together, prove Sheldon Lettich was a “WORK FOR HIRE” with a CONTRACTUAL OBLIGATION TO INVESTIGATE and revise/write a based on true events screenplay on a portion of Dux life. To do otherwise is a breach of contract by Lettich.
Lettich being a “Work for Hire” is all spelled out in its WRITING SERVICES clause, paragraph 1, and WRITER FOR HIRE clause, paragraph 4, of Lettich/DiSAlle June 15, 1985 employment agreement, that reads:
“You understand that the story has been acquired by us and assigned to you for the purpose of creating a screenplay (or teleplay) as provided hereunder and you agree that the results and proceeds of your services hereunder are “works for hire” as that term is defined within the 1976 Copyright Act.”
The Canon Films Acquisition Agreement for Bloodsport establishes Mark DiSalle was also contractually obligated to deliver a based upon true events Life story on a portion of Frank Dux life to the film studio — Dux winning the 1975 Kumite.
The Materials Clause in Dux June 15, 1985 Agreement, Paragraph 11, memorializes verification was a condition and took place. It obligates Dux to provide “access to all recorded materials (written works, memos, letters, books, articles, reviews and audio or audio visual recordings)” as it deals with producer and Canon Film’s legal department performing their fiduciary duty procedurally necessary to green light the investment financing of the film and meet the mandatory pre-condition for the issuance of an Error & Omissions policy where non-fiction claims are being made by a publicly traded company. Any marginalization or failure results in invalidating E & O policy protections as well as makes Canon legal counsel personally liable to the shareholders and the Justice Department with regard to violation of truth in advertising laws — Bloodsport developed, acquired and marketed as based on a true life story.
Lettich dismisses the significance of the E & O policy when the issue is raised publicly — inferring E & O verification is not a verification of the story. Doing so, he holds Dux up to public ridicule that benefits Lettich for reasons, as aforementioned.
Correspondence between Dux legal and Canon legal proves Dux took steps to prevent embellishments and, as aforementioned, produces addendums to the Agreements to allow for the fictionalization.
The original screenplay by Sheldon Lettich in need of correction had led to Mel Friedman and Christopher Cosby being hired who consult with Dux. They make enough significant changes to the Lettich script Friedman and Cosby’s names are added to Lettich’s as the Screenwriter’s of Bloodsport.
WGA registrations prove Frank Dux and Sheldon Lettich were an established writing team prior to Bloodsport, producing screenplays, titled: The Naked Kill, Alpha Deuce; and where the partnership and, individually, they were represented by same legal counsel, Michael B. Frankel, Esq.,
Sheldon Lettich representation that “everyone just took Dux word for it” is definitely not true. Lettich had no knowledge of what transpired between Frankel representing Frank Dux as an individual in his dealings with DiSalle and Canon Film studio’s Legal Affairs, says Frankel, whose written correspondence with Canon proves verification took place.
Frankel in his Mar 3, 2020 email to Lettich CC Frank Dux makes Lettich aware of the fact verification transpired by writing “DiSalles attorney and Canon requested an got tapes of Frank’s fight, documentation on Franks life, etc.” This seemingly does not deter Lettich from continuing to claim “everyone took Dux word for it.”
Frankel in his March 3, 2020 email (among others) confronts Lettich with how Bloodsport is NOT a creative work by Lettich when “Also all rights he (Dux) sold and had Frank now owns by settlement in Federal Court. Stating this after Frankel reminds Lettich Dux was first to take Bloodsport story to a concrete form.
A receipt of registration with the WGA memorializes Dux registered his screenplay version of Bloodsport, in 1980, under the then working title: Return of The Ninja (five years before Lettich registered his version in 1985) — shopped to film studios by Producer/Director, Peter Deyel and Frankel, in 1983 (two years prior the involvement of DiSalle and Lettich). Former Vestron Entertainment Group executive Anastasia Jenkins confirms this as does, Deyel and Frankel.
The Dux/Disalle June 15, 1985 Life Story Option Agreement memorializes this was Dux story as DUX LITERARY RIGHTS always REMAINED RESERVED by Frank Dux as per, paragraph 10, leaving Dux free to novelize and copyright Bloodsport without Lettich permission or being compensated.
The Agreements REVERSION OF RIGHTS clause, paragraph 22, promises ALL RIGHTS granted by Frank Dux will be returned to Dux.
With no copyright or literary claims to Bloodsport in Sheldon Lettich’s name but in Frank Dux name this definitively proves Bloodsport is NOT A CREATIVE WORK of Sheldon Lettich.
As aforementioned, Sheldon Lettich/ DiSalle Writing Services Agreement, WRITER FOR HIRE clause, paragraph 4, memorializes Lettich knew this as it reads: “You understand that the story has been acquired by us “ as well as the CREDIT clause, paragraph 9, limits Lettich to a “SCREENPLAY BY SHELDON LETTICH” film credit.
This raises the question how is it remotely possible Sheldon Lettich ends up with “Story By” credit for Bloodsport and not, Frank Dux?
According to, let me remind you, Lettich’s own legal counsel for Bloodsport, Michael B. Frankel Esq, Lettich secured promised financing for Bloodsport through Mark DiSalle and using the threat of taking this opportunity away as a form of leverage Lettich “negotiated away” from Frank Dux his entitled “Story By” and “Co-Screenplay By” credits.
Frankel express he still feels conflicted by being put in the awkward position of having to advise Dux on all the possible consequences of giving up his “Story By” and Screenplay co-writer credits for Bloodsport in the presence of Sheldon Lettich whose best interests Frankel also represents at the time — with them being a writing team.
Having negotiated away from Dux the “Story By” and “Co-Screenplay By” credit Lettich does not have to share with Dux the residual revenue paid writers based on their screen credit as well as this enabled him to secure future work without possibly having to include Dux.
For those unfamiliar with how Hollywood credits work the benefit of residual income is why it is custom and practice to negotiate in advance for film credits in the Entertainment Industry. Why it is people may end up with a screen credit for work they never performed while others like Dux must surrender them to get a project made or secure work. Producers, undeservedly, attaching their names to scripts in this way being the very reason screenwriters had to strike and establish the Writers Guild of America is in the literature of the WGA.
Dux intellectual property and writing services ended up absorbed under “Consulting Services” clause paragraph 15 and “Courtesy Screenplay Consultation” paragraph 16, in Dux/DiSalle June 15, 1985 Life Rights Option Agreement
The “Courtesy Screenplay Consultation” clause and verbiage like it historically appear in Dux employment contracts for Lettich film’s Lionheart, Double Impact and Only The Strong. Frankel states Dux had to agree to provide “script consultant services” in order to secure work as fight choreographer and Stunt Coordinator that end up infringed upon keeping Dux in a subservient position dependent on looking to Lettich for future work.
Frank Dux and Sheldon Lettich’s collaboration in writing the screenplay for Bloodsport did not go unnoticed by others. International press journalist, Gordon Richuisa, witness their collaboration on writing Bloodsport and is gifted by Dux, in 1985, Dux’s original copy of the revised screenplay that bares the extemporaneous notation of the work being adapted from Dux original version of Bloodsport.
The title page of revised script by Lettich memorializes Bloodpsort is registered with the WGA as a “Based On A True Story” written by Sheldon Lettich. This raises the question was Lettich lying to the WGA and Canon Films then or is he lying now – for his own financial gain and boasting rights? Either way, he incriminates himself as not being trustworthy.
Sheldon Lettich says “his idea” of doing a film on “the Kumite” came out of a discussion with Dux riding around in his pick up truck suggesting it was then written and then sold to DiSalle.
Frank Dux and Mark DiSalle state that after Disalle express interest in producing a martial art kickboxing film, Lettich arranged for DiSalle to meet his writing partner Dux at Dux Dojo (training center) where DiSalle heard the Bloodsport story from Dux for the first time. Given Dux script had already been shopped to studios DiSalle wanted a start fresh with DiSalle’s input and guidance — write an entirely new version. It was DiSalle and not Lettich who recognized the story value and is responsible for developing Bloodsport script that he sold Canon Films.
Legal proceedings of Frank Dux vs. Jean Claude Van Damme establish there exist an observable pattern of behavior where as what occurred with Bloodsport, Lettich swoops in to adapt Dux intellectual property contributions and make it his own.
It took Frank Dux lawsuit of Breach of Contract against Jean Claude Van Damme and WGA intervention for Frank Dux to be acknowledged with his deserved “Story By” credit for The Quest.
It is important to note Court TV produced a One Hour Special Report on the trial that expose Dux contract is kept out of evidence along with impeachment evidence; Dux rebuttal witnesses are not allowed to testify; the judge limits Dux witnesses testimony; closing arguments prove the defendant Van Damme repeatedly lied on the stand claiming he wasn’t the producer when he was; his perjury goes with redress; defendant Van Damme’s witnesses were allowed in the courtroom to hear each other testify and not sequestered like Dux’s; devices all making it possible for Jean Claude Van Damme to prevail under such conditions.
In his on camera interview with JBM films Sheldon Lettich displays actual malice towards Dux — interferes with Dux ability to find work by arbitrarily declaring, “no one in Hollywood will work with Frank Dux.”
To the contrary, Frank Dux turned down Ed Pressman’s offer with regards to Pressman’s announced intent to remake Bloodsport. Likewise, TV & Film mogul, Jerry Brucheimer / Disney unsuccessfully, pursued Frank Dux for two years offering half a million dollars in an attempt to enter into a film agreement with Dux at a time Dux served as Hollywood Pictures Company technical consultant for the Richard Marcinko’s film project adapted from his New York Times bestseller book, Rogue Warrior – the story of SEAL Team 6, US Navy’s elite anti-terror unit. Frank Dux is identified as the source contributor in creating US NAVY SEAL SpecWar manual K431-0097 relied upon by military elite forces around the globe.
Bloodsport’s written agreements, correspondence, Lettich’s legal counsel and court proceedings as well as Lettich own prior representations incriminating Lettich current claims is substantive evidence that proves the controversy surrounding Bloodsport and Frank Dux is manufactured –the result of omissions and misrepresentation of material facts, some attributable to Sheldon Lettich. BLOODSPORT IS REAL! BLOODSPORT IS NOT A CREATIVE WORK BUT BASED ON TRUE EVENTS IN THE LIFE OF FRANK DUX.