THE MARTINI SHOT PRESENTS
TOYOTA HIGHLANDER HYBRID
DIRECTOR'S TREATMENT
by Bram Coppens
OVERVIEW
Whether that's with a renewal of marriage vows or a celebration
of professional success, the new Highlander is the perfect
companion for hitting the road!
of professional success, the new Highlander is the perfect
companion for hitting the road!
You can't connect the dots looking forward, you can only connect them looking backwards.
A road trip is always exciting, because it suggests a specific destination and because of the unexpected pleasures you encounter along the way. The thing that can put the
brakes on that enjoyment is buying gas. Thankfully, the 2020 Toyota Highlander Hybrid
takes the sting out of long trips.
As these entertaining family-oriented films demonstrate, this vehicle can travel well
above 300 miles on a single tank of gas. Combine that with its extensive modern features
brakes on that enjoyment is buying gas. Thankfully, the 2020 Toyota Highlander Hybrid
takes the sting out of long trips.
As these entertaining family-oriented films demonstrate, this vehicle can travel well
above 300 miles on a single tank of gas. Combine that with its extensive modern features
Aside from this first shot, it's important that both films share a similar style so that they are recognizable as part of the same overall campaign.
We could come out of the last shot of the vehicle array and begin our stories by starting on a close-up of the badge and shoot another angle. For instance, if they end up straight-on to the badge, we could shoot a shot of the same badge and do a camera move out of it to reveal the car.
In my mind, the best way to establish that common thread is to create a visual language that works for both films. I would describe that language as having two distinct stylistic elements — epic driving shots combined with more intimate, emotional, slice-of-life moments that are "close to the skin" or "fly on the wall" moments. This puts us there with the characters, as if we are experiencing the journey with them. Seeing the same sights, hearing the same sounds, feeling the same emotions.
In my mind, the best way to establish that common thread is to create a visual language that works for both films. I would describe that language as having two distinct stylistic elements — epic driving shots combined with more intimate, emotional, slice-of-life moments that are "close to the skin" or "fly on the wall" moments. This puts us there with the characters, as if we are experiencing the journey with them. Seeing the same sights, hearing the same sounds, feeling the same emotions.
STORIES
"Sweethearts"
The premise of this story is really beautiful and also very human — to renew your vows and do a road trip for your wife. Because the kids are involved too, we need to find the perfect balance between epic shots that show the grandness of the car traveling on the
road and close to the skin shots that capture the emotions within the family. Sort of like a cinematic documentary of these events.
The narrative is very linear, which is fine, but I would like to add another dimension that shows how the kids are in on the surprise. That the father made them his allies so he could successfully pull this off without the mother knowing. Besides the flowers, I would add little stolen moments between the father and the kids to show they are helping each other to keep the surprise a secret from the mother. In other words, we want to show how the kids mislead the mother.
road and close to the skin shots that capture the emotions within the family. Sort of like a cinematic documentary of these events.
The narrative is very linear, which is fine, but I would like to add another dimension that shows how the kids are in on the surprise. That the father made them his allies so he could successfully pull this off without the mother knowing. Besides the flowers, I would add little stolen moments between the father and the kids to show they are helping each other to keep the surprise a secret from the mother. In other words, we want to show how the kids mislead the mother.
Within the world of this journey, it's important that we create enough of a setup so the payoff is strong. So in that key moment when the mom wants to open the trunk as they are leaving the flower filed and the daughter presents her with a floral crown, it's as though the gift distracts the mother. This will be even more powerful if we see the father take the kids aside when the mother isn't looking and give them a little "pep talk," as if to say, "I'm counting on both of you to help me do this for your mother."
Another good moment is with the teddy bear. Again, the mom wants to put the large stuffed animal in the trunk. The son can look at the father, who subtly nods his head towards the car's cabin. In the next shot, we see the bear in the back seat, between the kids. Small, organic moments like this will build a little suspense and show the dynamics of the family and their interaction.
Another good moment is with the teddy bear. Again, the mom wants to put the large stuffed animal in the trunk. The son can look at the father, who subtly nods his head towards the car's cabin. In the next shot, we see the bear in the back seat, between the kids. Small, organic moments like this will build a little suspense and show the dynamics of the family and their interaction.
I think it's important that we see more of the family's road trip experience, the fun they have. We can do this with a series of jump cuts — a small montage of different moments they have. See them on the ferris wheel, eating cotton candy, playing a game, then cut to the teddy bear to show they've had a good time. We would shoot this in selfie mode, like little "snapshots" they might post on Instagram. We could even incorporate moments like this at the flower field and in the car, the way kids take pictures of making funny faces or of their parents looking serious or silly in the front seat.
"Arrival"
The narrative here is straightforward, but I think we need a bit of a setup/payoff structure. Maybe our main character is a not-yet-recognized designer in her own right and this is her big shot because she designed the specialized Indian garments in the
film. She is a powerful woman and this is her big night to shine. We know this because we see the invitation to the event in the car, either on the dashboard or with one of her grown kids in the back, as she is driving.
This gives the story a goal and a stronger sense of direction for the ending. I feel the story also needs some suspense.
film. She is a powerful woman and this is her big night to shine. We know this because we see the invitation to the event in the car, either on the dashboard or with one of her grown kids in the back, as she is driving.
This gives the story a goal and a stronger sense of direction for the ending. I feel the story also needs some suspense.
All we know is that they are going to this event and where
it is. That way, when the car exits the freeway we are unsure about what's going on.
it is. That way, when the car exits the freeway we are unsure about what's going on.
It will help the narrative if we see a sign that tells us how far it is to San Francisco just before the mother says, "We have to stop at my office." Then we can create more tension with a passage of time from morning to night. The dialogue will not only make it feel authentic it also nails down the fact that it's her design studio. Otherwise it could just come across as them going shopping.
There is a bit of Bollywood in this story, and I think we should stay with that tone to keep it close to real life. So when we see the beautiful, modern design studio, we see silhouettes of a minimal 6 or 7 outfits on racks instead of mannequins, like at St. Laurent. Then, when they all enter, it's all about montage: close-ups of a foot going into a nice heel, a dress being zipped up, the folds of a sari being wrapped around. Playing it out more suggestively so we can create a build.
There is a bit of Bollywood in this story, and I think we should stay with that tone to keep it close to real life. So when we see the beautiful, modern design studio, we see silhouettes of a minimal 6 or 7 outfits on racks instead of mannequins, like at St. Laurent. Then, when they all enter, it's all about montage: close-ups of a foot going into a nice heel, a dress being zipped up, the folds of a sari being wrapped around. Playing it out more suggestively so we can create a build.
Casting is crucial to any film, and that's particularly true here. Aside from acting ability, the most important thing to me is that the actors are authentic. That they resonate with the audience because they look and feel real and response in genuine ways.
LOCATIONS
We will shoot in and around Los Angeles, perhaps through in Angeles Crest Forest, the desert around Joshua Tree, in and around Lancaster and the Antelope Valley, and possibly Malibu.
We will maintain the same shooting style in both films, with the addition of a more
editorial, rhythmic tone in "Arrival." Aside from that difference, both films will employ epic shots in the running footage, with a perfect mix of drive-by, drone, and car-to-car shots.
Arm and crane to shoot from nature to car and vice-versa. This is important because the
tag line is "Go Places," and we want to incorporate that into our visual language.
editorial, rhythmic tone in "Arrival." Aside from that difference, both films will employ epic shots in the running footage, with a perfect mix of drive-by, drone, and car-to-car shots.
Arm and crane to shoot from nature to car and vice-versa. This is important because the
tag line is "Go Places," and we want to incorporate that into our visual language.
MUSIC
"Sweethearts" is a road trip, so it should have a more epic, emotional score. Something action-driven, with shifts in tone and volume to build suspense. We can bring the story full-circle with the music by ending on a note similar to the leitmotif used at the beginning.
"Arrival" is a story of success and all that implies: the hard work, the struggle, and finally the recognition. Due to the Bollywood-feel, we should consider a score that incorporates Indian-inspired tones/instruments into the score.
"Arrival" is a story of success and all that implies: the hard work, the struggle, and finally the recognition. Due to the Bollywood-feel, we should consider a score that incorporates Indian-inspired tones/instruments into the score.
Music is such an important element in driving the narrative, rhythm and choreography of a film. Since these films have very different tones, I recommend using different music for each one.
CLOSING THOUGHTS Embarking on a road trip of any variety is cause for celebration, especially in a Toyota Hybrid Highlander, which combines environmental mindfulness with comfort, style, and the latest in-cabin technology. These are my initial thoughts about these two exciting films, and I'm looking forward to speaking with you again and to collaborating with you to make them the best they can possibly be. |
THANK YOU FOR INVITING ME TO SHARE MY THOUGHTS
By Bram Coppens
on October 12, 2019