MATERIAL POWER

CAESARSTONE TREATMENT by Arturo Querzoli/ Lexique

INTRO

First of all, thank you for this pitch. It is very interesting to explore a project that's a mix between a design-based architecture film and an humanised, documentary project.

My overall take on this project is to highlight the power of the aesthetics into our lives, to dive deep into our characters lives and find a connection to the ambient they live. We, as humans, have a special connection to our environment. It drives us on our daily lives, or it's the fruition of our daily lives. Our character is built into the ambient we are surrounded by, a material personification of us, and Caesarstone will be a reflection of that.

LOOK + FEEL

I want this film to explore the connection between materials and life. Everything that surrounds us has an influence on our way to live, in our memories. The textures, colours and smells we love usually have a connection to our past, or an influence on our present experiences. It's a reflection of us that most people don't realize, and I find it very amusing to explore this relationship through film.

As you will see in this treatment, my intention is to combine the aesthetics of design scenes with the raw qualities of a documentary. I want to dive further in the beautiful creativity proposed by Tátil by creating scenes of architectural beauty that are juxtaposed by memories, feelings and actions that will be attached to the Caesarstone textures forever. It will be a sensorial journey led by design;-)

To highlight that concept I want to propose an idea: that our characters will be the ones narrating the film, lending their real emotions to the concept. Another proposal is to visually enhance the sensorial part of the film by cutting product scenes with 'personal memories' juxtaposition scenes - I will explain this concept further ahead.

PRODUCTION

This project's particular production design allows us to work on two fronts: on one side we'll have the casting/ research phase, where we will find the best characters for each one of Caesarstone's product profiles. I want to explore the interviews behind the casting; to know the real story of each one and bring forward memories, objects and feelings that we will replicate on set. I also want to capture old photos, footage and other personal 'memories' that we will use on the final edit, on our juxtaposition concept.

On the other side we have our studio build: the fact that we are building the spaces on set allows us to explore every aesthetic scene to its max. From a carefully executed art direction that brings real details of our characters to life to the possibility to play with the light creating instant timelapses,  we should be able to  highlight textures, work on perfect camera movements, the right framing.

SENSORIAL EDITING

I propose the use of this 'editing juxtaposition', where textures and objects bring back memories, to take us on a deep journey into the meaning of the materials. Used in a few key points through the film, along with sound design, this resource will accentuate the sensorial side of the products to its maximum.

CINEMATOGRAPHY

In this visual celebration of the power of the materials, cinematography is key. We will work with the iconic DoP and stills photographer                        in order to carefully show the textures, angles, the infusion of light, the subtle mix of colours...exploring the constructed ambients to the maximum. We will create 'fake timelapses' by moving the light slightly around the constructions to explore every nuance of our beautiful spaces, exploring the shadows as much as the light.

Although those descriptions seem to build upon a strictly visual film, the addition of the human factor will be present in every scene.  I don't want the scenes to feel extremely calculated, exhaustively programmed, heavily designed. The intertwined cuts should feel subtle, the pace of the film will have a nice flow, the reflection of light will feel natural. Our ultimate goal is to show beauty - material beauty - as part of our lives, not some unreachable design magazine cover.

TÁTIL

FILM REFERENCES • press play

THANK YOU.

Looking forward to work together,