One of Gods gifts to us are our children, and being able to see ourselves in them is the greatest pleasure of all! Being a parent is a great challenge, but the biggest reward of it is seeing them grow inheriting your looks, your habits and your characteristics.
This film is about the emotional roller coaster that each parent enjoys having with his own babies and the celebration of the reality of being a parent and a family man. It's about real life and the memories that we encounter in raising our own children.
Vodafone Red will be there introducing one of their Red Families with all their real moments, emotional experiences through the Father figure that will be presented through our celebrity.
Building up on the Red Persona that was made in the earlier Vodafone Ahmed Ezz copy, we can say that here we introduce another generation or angle of our Red Man Persona; which is his family life.
People usually mix between the celebrity's seen life and the off screen life. They tend to forget that he is a normal human been and might actually have an intimate private life with his own family. In this film I intend to show the off screen life of Hazem Imam, and introducing him as the father figure rather than the usual football player. We will shed the life on his emotional life and his character as a father of three young beautiful girls, whom he cares for and sees a lot of himself in them.
It needs to be real. An authentic story, that we can all appreciate. This isn't drama, rather than an off screen real emotional story. I am not going to exaggerate or force these moments, but find true emotion and genuine experiences of a father's everyday life. The film has to be emotional yet very elegant to match our era of Vodafone Red films.
This is a slice of life. We're entering the doors of a family man's life and capturing natural beauty and emotion in a dynamic and cinematic way. I want this film to feel real and connect with our audience at an emotional level. I also believe it's important to capture one of Vodafone Red's modern Egyptian fathers. Show that Vodafone Red is current and in touch with the contemporary consumer.
The narrative and concept are fantastic. I believe that it already hits the important notes, but I want to accent these notes and highlight the importance of what this story's message is. The vital factor is to make the key role of the father true and the concept of in heritage be visually clear and true to the emotions of the audience.
We'll achieve this through fully realized moments containing all the natural elements combined to form a real genuine scenario. As if captured from reality, the family members, settings, music, sound, camera, rhythm and emotional beats will all factor in. They make the story real and make us attached to the family while building towards the heroic climax of the father's main role and effect on his family.
My vision is to have a voiceover of Hazem Imam without any direct communication with the camera to have a more powerful feel of the narrator and not distract ourselves from the moments, giving them time and space to breathe and feel real. The key is to keep the audience entertained and attached to a relatable, plausible storyline and characters.
We will start by him entering a long path way to the sea, not revealing who he is at start while his VO gets in and we see his face looking somewhere on the beach and we start seeing his family at the end of this passage.
He approaches his kids and we see the family playing on the beach and he carries one of his daughters. The girls start splashing water and we see the water cover the shot and we use this as a transition to our next scene.
Here the red elements could be treated in the swimsuit of Hazem Imam or through fine icons on the family's clothes whether on the t-shirt or beach dresses, not to seem imposed rather natural not to take too much attention from our real story here.
The key in this story is to make use of the black and white and let it add to our visuals and emotional feel because the picture is always more in emotional in black & white, let's face it!
I really feel that a smart way to do this copy is to balance between humor and emotions, contrasting this RED FAMILY copy from the earlier RED HIM and RED HIM & HER copies, that use to depend mostly on stylized shots, advanced techniques and celebrity's gaze and fame. This one is completely different, dealing mostly with real and emotional everyday life stories of a father.
We will cut to see the family in the car or on a yacht while he is looking from the mirror on his younger daughter whistling to the song just like the way he's whistling.
We start seeing sequences that will show similarities between the father and his kids, whether sleeping on the coach the same way...
Or even watching TV where a football game is playing and the little girl starts kicking with her legs as if she's shooting the ball and we see Hazem Imam doing the same thing or with their heads while the player is shooting the ball.
We will then have the quick shots where similarities are being shown real quick one with Hazem Imam brushing his teeth and his younger daughter imitating him and posing in the mirror.
We can also explore some little moments to match the modern Egyptian man. Let's have him playing football with his girls wearing his jersey or another sequence where they are playing around the house with their dog around.
We will have sequences that show the details, show the behavior of their everyday life. From the smallest sequences like wearing his shoes and how his daughter comes next to him steals his shoe and tries them out in a funny way, to other sequences where they share activities around the house together.
Vodafone Red elements will be subtle but distinctly placed within selected scenes. We need to make sure we find the balance in this copy as it differs from the previous Red films as mentioned above. Yet, we do not want to break the style of Vodafone Red, with its special flow and tone. This will be achieved by delivering the product in a natural way to not distract our viewers from the narrative. The red elements will sit comfortable within the action to make them genuine and feel as though they are a vital part of our everyday lives.
The stadium scene, we will have the family enter from the gates of the stadium and we see them all carrying the Egyptian Flag and cheering for the team and they all scream and celebrate one our team scores.
The red color of the Egyptian color will be our main red element as well and the player's shits. We will also have the family dressed up in the same jersey of the Egyptian team with different numbers on them.
We will end with the last shot where we see a frame of Hamada Imam and Hazem is looking at it while holding the frame in his hands, he puts the frame down so we see his family playing in the background and end with a slight smile on Hazem's face with his eyes shinning as if he's close to tears.
The physical aspects in the frame will add character and truth to the story. The house, the clothes, and the art direction will all contribute to the depth of the story and the believability of the scene.
The house should definitely feel like a family home. Contemporary, aspirational, but nothing extreme. No advertising "quirkiness"; just a real, recognizable, domestic setting. The home needs to feel lived in with minimal clutter and a warm, light welcoming aesthetic.
The interior should also adapt, evolve with each stage of time. Subtle differences that keeps moving with the trends and conditions in that period. This is a family home, with a three little girls so there will most likely be a lived in feel. Be it a few toys lying around, small notes to show the natural state of a lived in home.
Our red elements should sit naturally within our settings, blending seamlessly within the narrative as to not break the emotion or tone. This can be done by keeping things as organic as possible. Always placing props and angles in a way that doesn't stand out from the rest of the film's style. Simple additions to the surrounding area will help avoid anything flat, but we should also keep the Red elements clearly defined in frame.
Look & Cinematography
We need to connect to the viewer. I would suggest a very naturalistic look. The film will be highly cinematic, and the lighting very photographic, but it will not be contrived or feel like studio lighting. It will be organic. We'll get in and intimate with the family and the action with soft subtle handheld camera work.
The light will all come from natural sources. This means all the daylight scenes will be lit from outside the windows, with a soft glow coming from the window. Night-time scenes will be lit almost entirely by practicals, giving the house a naturally moody realism.