A Feature Film Project

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An average Joe who would disappear in a crowd. Average height and weight, he’s quiet, clean-cut and dresses well. He tends to slouch, is the last to volunteer and you’d never hear him complain. He lost his purpose and has been trying to find a sense of worth. He was diagnosed with sever chronic depression and severe anxiety after a suicide attempt.

She’s made a good life herself, never needing a hand out or a hand up. She is business savvy with career hopes. But, maybe a soft spot for troubled men, until Simon broke up with her.

She has a pull-no-punches attitude and a wit that never apologies. She’s bi-polar and never fit in either heritage of her mixed family. She is in group therapy with Simon. They have a bond.

Simon’s mother was 17 when he was born. His father skipped town soon after and she never really trusted another man. She dated a lot while he was growing up, but now lives alone.

Simon’s uncle is a hard working guy with a wife and two young daughters. He has a busy life and never took the time to think about emotions and stuff. He and Simon used to be very close.

Simon’s psychiatrist’s nurse has been a confidant since the diagnosis. She cares for him and has seen great improvement. But, she suspects he is becoming complacent in his treatment.

A vicious business man, Simon’s boss takes no prisoners watching his employees like a hawk. He dated Dorothy for a while and gave him a chance, but he’s on think ice at the warehouse.

The HR Manager at the warehouse, Kate is a sexy career-minded woman who isn’t afraid on stepping on a man or two to exhort her domination over the more suggestable sex.

Simon’s father who spilt after he was born to go back to his wife and kids. Only for his marriage to end and his daughters forget his existence. He lives alone. Broken and beaten down by life.

With over 30 years of experience in services industries, Kerry anticipates needs and solves problems. Leveraging her creativity, experience, and skills she supports the development of great, visually compelling stories that provoke discussion. From producing indie shorts to working on big production sets. Kerry also enjoys nature, is a fitness enthusiast, and talented in marketing, design, finance, and healthcare.

Everyone has experienced some form of mental health issues throughout life. This is an important story to open up a conversation about men’s mental health, family dynamics and support. What invisible support and pain might look like.

As a former mental health and forensic psychiatric nurse, am very familiar with the limitations of our Healthcare System in Canada. There is space to grow family and community mental health services. It may seem unrelated yet there is a high incidence of co-occurring mental disorders with addiction, and violent crime.

Finding Simon will be visually influenced by the “Dogma” movement, using natural lighting and simple design. Coen Brothers style use of camera movement: only moving when motivated by action, will be our guiding principle.

When we find Simon, he is isolated and lost, disconnected from his feelings, from his family, even from his loving partner. No one can penetrate the shield he’s built around himself. To reflect this our camera will be still, framing Simon on the edge, pushed aside, isolated. When he interacts with people we won’t connect them except for the occasional wide shot. His close ups will push him to the edges of the frame. When Simon descends into despair, we’ll get very close, darker, hand-held and even more isolated.

Colours will be limited and muted until Simon crashes the pallet. We’ll see splashes of colour in the background at Dorothy’s and Richard’s as a reminder of the love that exists, but Simon can’t see or feel. When Simon begins to feel the love of Cindy and Nathan, colours inspired by melding Chinese and Indigenous cultures. Lighting will be as natural as possible including the fluorescent blue of the warehouse and flat grey of the group therapy room contrasted by the warmth of Dorothy’s, Richard’s and Cindy and Nathan’s homes.

Pacing will be slower and deliberate with a select few frantic moments motivated by Simon’s state of mind and emotional instability. As our time with Simon comes to an end and he finds hope we’ll emphasize sunlight, wider lenses, framing him with the loving humans all around him. Our camera movement will maintain its minimalism and pacing will reflect the love and light Simon will finally feel and allow in.