BANKING
CHASE
These are chaotic scenes with the kind of energy our viewers might instantly relate to.
We’ll open wide to find our home, erect in the quiet of suburbia. This brief moment of silence suddenly broken by the laughter of kids running from outside being called in. As we follow their movements with the camera, details pass by the frame: chalk on the sidewalk of the garage, a netless basketball hoop that’s seen it’s shares of dunks, an eclectic mix of cars parked over the curb, a college flag planted in the front lawn.
From there we’ll move inside, stepping aside to let someone come out the front door, dodging the rows of shoes in a picture-filled hallway. There’s dad playing guitar in the living room, with the TV on mute in a corner, showing a replay of last Sunday’s football game. In the kitchen the aunts are busy prepping the food amidst the grocery bags and graduation gifts that clutter the counter. Another cousin enters with a huge present and a big smile. Someone comes down the stairs, passing us as we follow them into the backyard. They join the rowdy scene as everyone rallies together around grandma for a group photo. Giving us a shot of this big happy family – at home. In that moment our viewers will get a whiff of familiarity through the timing of each beat. Finding a little bit of their own family in the one on screen.
MASTERCARD
Let’s give a futuristic feel to our environment, making it look closer to space shuttle than airplane. The interior of the plane with the soccer field is the main piece that we’ll be creating. It needs to look truly epic while perfectly inscribing itself within our Zero G concept. Which is why I’m proposing not one field but two. That’s right, both the ceiling of our plane and the floor will be made of grass which will allow our players to switch from one to the other when playing in Zero G. The sidelines will be lines with Mastercard logos and futuristic lighting patterns that can be fully controllable and switch colors depending on the mode we’re in. When we’re in normal gravity we’ll get the typical bright white stadium lighting. When Zero G kicks our lighting grows more dynamic, a colorful dance of Matercard yellow neon lig[1] hts. And when we’re in Hyper Gravity our neon will switch to a Mastercard red that evokes the quieter mood of that moment. I love how you’ve imagined a circular goalpost and would keep it the same way. However as mentioned during the call, I believe it’s best to entirely discard a green screen area on the plane. To nail the epic effect of our film we need all the space we need for that soccer field.
U.S. BANK
The exciting part of documentary filmmaking is the discovery process we embark on as we find the nuances of each family. There’s a specific parents/children dynamic that’s established from the fact that they translate critical information to them. While this is already a fascinating subject matter, I’m most excited about the deeper stories we’ll uncover - in what ways are these kids depending on their parents? Practically? Emotionally? How are these kids handling the balance of wanting to be accepting and fitting into a culture that’s so different from their culture and responsibilities at home? The possibilities are endless, and we won’t know what they are until we are with these families because this film must be authentic to them. Let’s never lose sight of the fact we are here to document their story and not attempt to have them fit into ours.