Churchs Treatment

8/12/2019 Churchs Treatment

1/16

dadgrandpa

treatment by danny leiner


2/16

Put simply, these concepts/scripts are great. What I love about them is that they not only are funny, but they explore realhuman dynamics.

Each allows the product to become the catalyst to the situation.

With food in particular, you are hitting home or the stomach!everyone is out for themselves when it comes to Churchschicken. This is what makes the humor real and relatable.


3/16

CASTING

For me everything begins with good casting. I build the ensemble like I would a movie or a TV series, figure out the dynamics,create the right backstories, and even the immediate stories. Again, use the situation to develop the characters. Because we

are dealing with intimate relationships (family), I like to focus on their individual chemistry and their history.

These are not cookie cutter families, instead they have their own unique ways, their quirks, and distinctive personality

traits.

I love that the dad is forgetful, goes into his own world in DAD. I love the reaction of the family. The mother/wife might justgive him that look of what are you thinking and we know instantly what their relationship is all about. Spouses have a way ofputting up with and understanding each others ticks. They can be slightly annoyed and amused at the same time. They can

roll their eyes, or just simply stare. You feel what is going on behind the eyes.

The teenager in GRANDPA is testing his boundaries. Maybe he just naively pushes it, but not in a disrespectful way. Hes agood kid. The grandfather is a no nonsense kind of guy. Nothing gets by him, yet he isnt a hardened type either. Think ofRobert Duvall. They have the light side, but they are tough. You just know that they have lived a full life and they are very to

the point. I like that the grandfather is the teenagers fathers dad. You see that the apple has not fallen far from the tree.

Each scene has to feel individually tailored to each person and the situation. This is important to get the reality of theindividual scenes to surface in a genuine way on screen.

While I like to shoot ranges and different types of takes, I am never relying on the edit to create any performance or story arc.I want to cast actors who can work off of each other, in a way that feels completely natural. Body language furthers their

performance or accents a specific moment.

I know we are working with a non-union cast and that is fine. I do it all the time within films, commercials and television. It

doesnt mean that you dont get great talent, just means that you have to dig a little deeper. What I find to be the general ruleis that people either feel comfortable in front of a camera or they dont. Personally what I like about non-union is that it gives

you a fresh pool of talent to reach into.


4/16

DAD

This is all about Dads being totally transported by both the anticipation and the reaction to the chicken. Its as if the smellhas already set in, and now he has just been given the goods. Just before he gets his order, he might tap his right hand

on the counter. We see his expression change as the tray of food appears (we dont have to see the food just yet, but hisperformance must telegraph what we dont see). A good reference might be Jason Sudeikis.

The dad stands there and literally goes into his world or bubble as he nonchalantly takes the chicken into his handsand begins to bite. We can play with his reactions. How he internalizes the moment is important. He literally forgets

everything around him. The chicken and he become one. Its completely out of character as this guy is a father and hisfamily is at close range. Yet for those split seconds, he is alone. He has been compromised and allowed his stomach tolead.

His eyes tell us as much as the way he takes his first bite. The bite is personal. Its not some overly romanced action,

instead its about wanting the bite, taking it and then we see the payoff. If the payoff comes too soon, or the bite feels topremeditated, we will lose the reality of the situation, which ultimately effects the humor. We can toy with what feels themost credible. The one thing I want to make sure is that this bite never feels like the dad is sneaking it. Instead it is an

innocent moment where the dad has forgotten his family.

We rack focus and reveal the family. The wife gives her husband a look of really?. She might contain it to just her eyesso that she doesnt let on too much with the kids, although with kids, they just pick up on everything. The kids mimic their

mother or they can take it to another level so you really feel it. Maybe one of the kids has a blank stare. The other kidmight turn away. Maybe you have three kids instead of two so you really feel the stakes. The family has their ownpersonality, little details immediately surface. We just have to try different things and see what feels to be funny, but real.

For tags/buttons I think we have to see what people do in the casting to further play with ideas. I do like having the familyat the table, all blissed out and dad trying to score another piece, yet is being completely ignored. Or maybe dad

continues to be blissed out and we realize that the rest of the family is already out the door? Lets keep exploring this.


5/16


6/16


7/16


8/16

GRANDPA

Again, this all starts with the casting and creating great performances.

The family dinner is in progress, maybe slowly winding down. Its that early evening meal. There is activity at the table. We see little bits of

family interaction.

We see the serving dish, which once held the chicken, is empty or at the other end of the table. Maybe the father of the teenager (the son of the

grandfather) is finishing up his chicken, as is the mother and other younger sibling.

The teenager spies on his grandfathers plate.

The grandfather has dozed off. Not snoring, just heavy eyes, and now is leaning back to take a beat. I really think we can have some fun with

grandfathers character. I like what we touched upon during the call. Have the grandfather feel ex-military, tough, rough around the edges, yetyou know hes one hell of a stand up guy. Hes lived. He still has a military watch (or tattoo?). He has his routine. He still cleans up for dinner.

Napkin on his lap. Fork and knife next to his plate. We know he will finish his meal with a strong cup of coffee. He believes in family. Believes

that sparing the rod really does spoil the child. He still has yet to get his handle on his own sons fathering techniques. Nor does he understandhis teenager grandson (earbuds, tweets or music). He isnt some old fart, just likes what he likes. Again, think Robert Duvall.

He is a simple but good man.

So when he dozes, its because he is taking an honest break.

We need to play up the lead up to the teenager scoping the chicken, and sizing up his opportunity. Use camera angles, POVs of grandfather andhis plate. We see the growing anticipation of the teenager. The grandfather calmly dozes. Hes at peace.

The teenager takes a look around and then goes for it. The grandfathers reaction is as described, catlike. He literally doesnt miss anythingeven if his eyes are closed. Its like that 6thsense. As the teenager tries to snag the chicken, the grandfather grabs the teenagers incoming

hand. Again this has to be a one shot deal, and the save has to be precise, but again so spontaneous that we just dont see it coming. Even withthe setup it has to be surprising.

We should cover the teenagers reaction, which is like a deer in the headlights. We see the grandfathers reaction (a small satisfying grin thatonly his own son picks up?). Maybe a couple of the family members take notice. A younger sibling looks up or even a baby in a high chair turns

his head in the direction of his big big brother. Just to punctuate the moment more.

Again we can see what feels the most natural and gives the comedy the most juice.

With this spot I want to see the casting to work out what might be a fun button. Its about the interaction/chemistry between the teen and the

grandfather, which I want to explore more. I like that the grandfather might give the teenager a wink. Or maybe there is an innocent shrug.


9/16


10/16


11/16


12/16


13/16

LOOK/TONE

I want this whole campaign to feel effortless, as if we are catching real moments in real life. I want to see both reactions in thesame frame. There is no need for anything to feel overly cutty or staged. The scene should flow. We want to feel like we are

in on these little dynamics. This is what will make the campaign funny.

The camera has to feel almost non-existent. As if we are a fly on the wall, yet at times we allow the camera to reveal or

punctuate. Again, keep it simple. The compositions always allow the actors enough freedom to live within the scenes. Thelighting has to feel realistic. Its not moody or drama ridden. I want to feel like there is a depth to some of these, even if we are

shooting people in a dinning room or store environment. We have to feel the world beyond. Whether it is through a door,window, or just activity within the space.

Some of the DPs that I have worked with and would want for this project include: Bob Elswit (Michael Clayton, Punch DrunkLove), Larry Sher (Garden State, Hangover), Phedon Papamichael (Nebraska, The Descendants), Mauro Fiore (Avatar,

Training Day), Rodrigo Prieto (Babel, Argo), Tim Suhrstedt (Little Miss Sunshine).

What I like about these guys is that they understand performance and they get how to move fast and make things look good. I

want to be able to try different things and that means having a solid crew that runs on all cylinders.

The art direction has to be credible. A dinner table that isnt overly perfect, but instead feels like a family is having a mealtogether. Its already in progress, so things have been passed around, shared and eaten. The furniture isnt hip; instead itstrue and practical. The Churchs location is clear of clutter, tables are clean. We see other people, but that is more to show

activity inside the store. I know we may have to dress things at the location and that will give us a little more control as to how

we frame and stack things in camera.

For me the wardrobe plays a huge role, as it establishes who the people are. The family at the table in GRANDPA are casual,but the grandfather looks a little cleaned up. He has a clean, crisp button down on and isnt as relaxed as the teenager who

might wear a tee shirt. The father (grandfathers son) might mirror his dad a little. With the dad in DAD, maybe he has justtaken the family to a ballgame or some outing that ultimately ended with getting a bite after. He might have on a jacket etc.

The family waiting might have already made their space by hanging their jackets on the Churchs chairs. I like using thewardrobe to create subtle detail that we can use to further the characters.


14/16

FOOD

While I know we are not shooting the beauty shots of the food, it needs to still feel appetizing and look delicious. I want peopleto relate to why the father cant help himself and why the teenager wants to snatch another piece.

One thing I do think is important with GRANDPA is to show that the dinner table is user friendly as if we are coming upon ascene already in progress. Food has been passed around, eaten, shared so there has to be true interaction. At the same time

we have to make sure it still looks good and again, aspiring. I love that there are crumbs of chicken left on the serving plate, sothat you feel its once glory. You see the family enjoying their chicken and the teenager who has already devoured his and

now is eyeing the piece that is on his grandfathers plate. This just sets the right stakes. With DAD, you want to completelyidentify with his forgetfulness. We see the drumstick and we get it. The bite is bliss, but its also real and personal.


15/16

EDIT

With everything I do, I shoot with an edit in mind. I like to board and discuss things, leaving no stone unturned. Yet at thesame time, I want us to be open for the unscripted, the unexpected. I find that the boards are our map, as they are good to

make sure that we are getting what is needed, and the other stuff is extra gravy and gives us the ranges we want for each. Ilove giving the actors freedom to riff and explore. It allows for better performances, as they dont feel weighted down, and itallows us to see what else we might want to get in the can.

The editorial process, which I love being involved in, is the place we can enhance and play. It is not where we will build any

performance or create any arcs, as those must be established in advance, in camera.


16/16

I know there is more to discuss and to toss back and forth. I love the process and I love working to make things the best

they can be. This just gives you an idea of where we might begin to take things. I really think these can be prettyspecial and funny.

Danny

Churchs Treatment

Documents

Transcript of Churchs Treatment