Pitch presentation for my short film.

1. Pitch
for
Short Film
By Adam Kalabiska
A Level Media Studies

2. Introduction
In the following presentation I have taken a close look at each phase of the
filmmaking process, dedicating an extensive period of time into creating a deep
analysis and deconstruction which is simultaneously meant to serve a pitch that
can be given to actually sell the idea and subsequently allow for a smooth
transition into the three stages of production. This was done primarily by focus on
the key elements that first highlight the strongest aspects of the film both on a
technical and storytelling level, whilst at the very same time, serving as
information which it crucial for each crafts department. The reason why I took
such an approach was because, upon taking a step back it became evident to me
that filmmaking is purely a collaborative experience and one that thrives on
effective communication. It is this exact transparency and general love for the
format as a whole on which this presentation was based on.
Paris, Texas
1984

3. Synopsis
The story follows a young man wandering the lonely city
streets, with the sun slowly setting on a cold late
afternoon. He’s running away from the unavoidable truth.
He feels lost. Not only feeling outside of this world, but
also outside his own body as well. Some would call him an
outcast, but not in the traditional sense. Perhaps he's the
cause of that outside perception and finds solitude in
loneliness. Throughout his journey, he occasionally
catches quick glimpses of a mysterious passing figure.
Looming in the shadows and disappearing in an instance
upon a second look. He follows it in an attempt to find
answers, as he desperately longs for emotional/human
connection. What follows can only be described as an
absolute downfall, one for which he is responsible. It
begins to rain and the street lights begin to bleed into the
dark night sky. The rain washes off the bruises of the past,
however scraping him down to the core in return and
exposing the deep truth that he’s been searching for this
entire time.

4. Mood board

5. Themes explored
• Loneliness
• Isolation
• Regret
• Self-reflection
• Emotional detachment
• The searching for meaning
• Desperation
• Downfall
• Obsession
• The fear of loosing someone you love (and realising when it’s already too late)
First Reformed
2017

6. Influences / Inspiration
• Wim Wenders (Director)
• Roby Muller (DP)
• Martin Scorsese (Director)
• David Lynch (Director)
• Jane Campion (Director)
• Lynn Ramsay (Director)
• Michael Chapman (DP)
Films focusing on the themes of obsession
and loneliness, simultaneously serving as
deep character studies.

7. Personal Note
I am to some extent writing about my past self,
who I used to be and who I want to leave behind
here. Not as a memory or signature, but instead a
something that stands for my past failures and
mistakes. Something that can stay here and let
time rot away on it as I move forward, finding
myself further away from it with every passing day.
I as perhaps I needed to see that, my fears and
insecurities in full display. A self-reflective study of
sorts. A self-portrait. It is simultaneously meant to
survey as an homage to a city in which I’ve lived
for nearly 5 years and yet can’t escape the feeling
of strange whilst walking its streets at times, as a
barely know them in reality.
Wings of Desire
1987

8. Character profile
(Inner and Outer motivations)
The main character in its entirety is completely engulfed in mystery, no past, and we as
the audience, in contrast to Alfred Hitchcock’s ‘Bomb Theory’, are never one step ahead
of the character and instead all information is being revealed to them at the same rate
as for the character. Though it is indeed a mystery and the key themes of the genre are
deeply imbedded in the core of the not just the character, but his journey as well, this in
my opinion creates a significantly more united experience. As a rather introspective
individual, he spends a lot of his time living in and exploring the depths of his own mind.
This however leads him to rather dark corners and generally results in him being
somewhat of an outcast in society, as he may seem absent minded. One would be
forgiven for thinking that he simply doesn’t have much interest in the world and people
around him, but you couldn’t be more wrong. The reason however for him being such
way, though not clear and being explored throughout the course of the film, may actually
be due to his past, which is haunted with dark memories and painful experiences. And
yet he tries to keep moving forward. That in and of it self, is a key theme present in this
film, represented by the constant forward moving momentum of the story which is
obviously being informed directly by his actions, as story is action and action is
character. Nevertheless, what we witness in this film is very much him reaching his
limits, as his past has come back to haunt him to his core one last time.
12 Angry Men
1957

9. Filming Locations
(part I.)

10. Filming Locations
(part II.)

11. oStoryboardso

14. Crew
• Adam Kalabiska - Director / Writer / Editor / Cinematographer (DP)
• Milos Jejinic – Cast (lead role)
• Violette Maris – Cast (supporting role)
Following some inconveniences which delayed production I was forced to heavily simplify the
story, but with that came an opportunity to re-focus my attention to the key elements that are at
the essence of this film. Small crew along with equally small collection of props, each serving as a
separate motive, holding hidden meaning or even symbolism. Which is for example the case of
the red umbrella, creating a direct connection to the colour theory, which states that the colour red
stands for love and desire. Each props not only sculps the character, but also informs their
actions. My decision to specifically Milos in the lead role, was one that came quite easily to me,
as he is one of the very few people who can at least to some extent relate to my experiences and
since it’s autobiographical piece to some extent, that was something which was beyond essential.

15. Equipment
• Camera (Nikon D7200)
• Tripod
• Battery
• SD card
• Microphone (Røde VideoMic Pro)
• Camera lens (AF-S Nikkor 18-105mm,
f/3.5-5.6G ED VR)
• Camera top handle grip • Fake blood
• Bandages
• Red umbrella
• Paper with phone number
• Raincoat
Props

16. Character Profiles
Full name: Milos Jejinic
Age: 18
Date of birth: 03/10/2003
Nationality: Serbian
Residence: Belgrade, Serbia
Full name: Violette Maris
Age: 17
Date of birth: 09/08/2004
Nationality: Belgian
Residence: Belgrade, Serbia
Personality:
 Lonely
 Desperate
 Tenacious
 Introspective
 Anxious
Personality:
 Smart
 Mysterious
 Mystical
 Curious
 Kind

17. Camera (cinematography)
• Not only reflecting, but most importantly directly putting the audience into the main character’s psychological
state of mind. This is achieved by using handheld camera movement and POV (point of view shots)
• Creating contrast by the usage of complimentary colours
• Using carefully constructed compositions to emphasis the feeling of loneliness, focus on the architectural
design of the city
• Using low shutter speed to create a surrealist painting of the outside view, as all the coloured lights reflecting
in the rain mix together. All this combined should result in a transformative experience for the audience
Editing
• Sudden cuts to reflect the main character’s psychological state of mind
• A circular narrative structure which begins by posing a question to the
audience on which much of the story stands

18. Genre
The most popular genre shared by 80% of all the candidates was drama. That could be associated to the
fact that there are codes and conventions that drama shares with other genres and serves as a good
middle ground when it comes to genre blends as well. A potential interpretation for this result may come
from the sense of realism that dramatic storylines hold. Relatability with the characters, authentic
reflections of daily human experiences may emotionally resonate with many audiences who have gone
through the same thing at one point or another in their own life. At the end of the day, people can’t get
enough of stories, as they connect them in some way to themselves and we all love hearing about
ourselves. So long as the people in the stories are us, but not us.
The Piano
1993

19. Audience / Release /
Marketing
Question 5 was aimed at figuring out what platform would be most appropriate
for the distribution of my future short film. The question itself was design in
such a way where it tried eliminating any sort limitations, giving a wide range
of all plausible options. This type of research generally helps the director to
distribute his/her short film to a place where his audience’s attention already
sort of is, but it is a completely different thing to actually capture that attention.
The sad truth is that, modern day audience simply don’t have long attention
span. You may think that this exact mindset is perfectly fit for short films,
which don’t take up nowhere near as much time as feature films, but I’m afraid
that’s where you’re wrong. Unlike with feature films, which are viewed in a
dark and (hopefully) silent room, known as the theatre, short films are most
commonly distributed online. A world of its own where nearly everything else
is fighting for your attention and the only thing preventing you from watching
something completely else is the mere click of a button. As a result, keeping
the viewer engaged in what you’re presenting is essential and this is one of
the many questions designed to figure how to do so.