Hey everyone - this is Charlie, the director of Everything You Didn’t Say. Together with a brilliant team, I’m making a short film that aims to make you all feel really damn uncomfortable.
Stooped in drama and laced with dark comedy, Everything You Didn’t Say is a stylistic study of the cutting, crude and conflicting dynamics of an otherwise comfortable, long-term relationship. Inspired by films such as Eyes Wide Shut and My Dinner with Andre, I want to address the deepest, darkest truths within us all – the feelings that often simmer inside us but never quite boil over. It’s time to put EVERYTHING on the table.
Personally, I’m fascinated by the reality of relationships. Why do we all hold things back from the person we trust most? Can two people be perfect for each other? We’re all flawed, after all.
During preliminary concept development, I spoke to many different people about their private feelings; their taboos, insecurities, and unspoken thoughts within past or present relationships. For those who didn’t immediately respond with: “I’d rather not talk about that, Charlie… and how did you get into my flat?”, this process alone was enough to make them squirm. But when I tested this list of (anonymous) admissions on people of the opposite sex, the uneasy reaction was even stronger. And so, whilst wary of making yet another film about a conflicted relationship, I felt it was time to tell a story that finally confronts these inner conflicts head-on.
This is a compelling, human narrative about identity, compromise and confrontation; it’s a story I don’t feel I’ve seen told on screen in a truly honest way. In a sense, elements of the script's dialogue have been crowd-funded – seeing as they're based on real-world discussion and admissions. This will be a truly universal film, where you (the viewer) will recognise some uncomfortable truths about yourself, your friends and your loved ones.
We need your help to make this film!
Our target is £10,000 – in film terms this is a tiny budget and we'll be pulling a lot of favours from a lot of kind people. But everyone involved is passionate about getting the film made. (You can read more about our crew below). We know how important it is to explain how your money will be spent, so check out the pie-chart below for a breakdown:
We will of course be piling our own money and insurmountable time into making this film the best it can be, but we can’t do it alone! After many months of working with production company, COMPULSORY – drafting, developing, finessing and recruiting, we’re so close to being able to shoot. But we need the Kickstarter community to help realise this into a production that you all can enjoy. Any contribution will be massively appreciated, and to entice you a little more we have a brilliant selection of rewards on offer to donors. These include film artwork, credits, special events and a unique opportunity to visit the set!
Check them all out on the right hand side.
Synopsis: A couple voice the deepest doubts they have about their relationship over a pleasant meal at home.
We're thrilled to have the brilliant Olga Kurylenko onboard as the female lead, Reyes.
Having read the script during its draft phase some months ago, Olga is looking forward to playing Reyes, a 33-year-old accounts manager from Murcia, Spain. Reyes knows exactly who she is, and she’s impatient of others who aren’t the same; she believes life is too short, and always wants to make the most of a moment. That said, she’s career-focused and has high expectations of herself. Feisty, outspoken and energetic, with a self-aware sense of humour, she still has that compulsive spark, and a touch of self-destruction.
Her partner, Dylan, 32, is a partially employed photographer from London. He's happy to work late, work hard, and sacrifice personal life for his art. He often overspends, and lives beyond his means; It was this spontaneous, free-spirited behaviour that Reyes initially found attractive. Nowadays it drives her insane. He’s been less than half-heartedly (quarter-heartedly?) attempting to learn Spanish since 2008, using various tapes / online guides, and, most recently, apps. He thought that going out to Spain for six weeks – 'a photographic sabbatical' – would help cement the dialect. It didn't.
We're yet to lock in a Dylan, but our casting director has some exciting names in mind!
More about the couple's dynamic:
Reyes came to the UK with Dylan, having uprooted her life in Spain on a romantic whim, with no clue what she’d do for work or a social life. She blossomed quickly, connecting with other Spanish expats in London and earning a steady income at twice the rate of Dylan, with a simpler pattern of office hours. Struggling to understand Dylan’s working habits, deep down Reyes doesn’t fully respect his profession. As she sees it: she’s making a difference, paying her taxes and helping build London’s economy. And Dylan? Well, he’s taking a few pretty pictures and refreshing his tumblr. Reyes has come to represent stability for Dylan because his work is always up in the air (or in the bin). Having initially been terrified that she’d become reliant on her one connection to England, Reyes has flourished whilst Dylan festers at home.
This is a story built upon drama and tension, entwined with dark humour. Inspired by films such as I Am Love and A Single Man, we will speak through the language of classical cinema with sweeping camera movements, purposeful composition and intricate, intimate cinematography that sustains the tension throughout. This isn’t an upper-class couple dining within their luxurious Milan estate, but we’ll shoot it as if it is. The intention isn’t to be pretentious but to develop the themes of the film further – the idea of an act, a show, a performance. The film essentially takes place within a mundane setting: dinner in a normal house in London, but with a stylised look of heightened beauty. We then have this mise-en-scene – cinematic and beautiful in presentation – coupled with a brutal, crude dialogue that is shocking and unexpected, all coming together to enhance the tension and comedy of the film.
The cinematography will be tightly coupled with a detailed sound design that enhances all of the small but important moments caught by the camera.
We want you to be on the edge of your seat for the duration!
Sound will play an absolutely crucial role in this film, elevating details and carrying the narrative to build a truly unsettling, tension-filled environment. Sounds that might otherwise go unnoticed will be amplified, enhanced and abstracted; drips from a wine bottle that sound as if they’re splashing into a vast lake; wine gushing into a glass with a deep rumble; a knife scratching across a china plate becomes a thunder clap of texture; Dylan rubbing the back of his neck becomes sandpaper over wood. We’ll play with the disconcerting sound of their chairs creaking below them like a sinking ship, and the disgusting slurping of messy food across hungry lips.
This is a London-based home – small, a little cluttered and well-lived in. We want to feel a sense of the characters’ lives around us, so we’ll avoid scarcity or minimalism. In fact, it should feel warm and welcoming in order to lull the audience into a false sense of security. This isn’t a film about an icy relationship set in a cold, bare room. It’s about a relationship that is quite pleasant, but still riddled with doubts, fear and questions. The home will embody that complexity: objects, pictures and souvenirs that represent different areas of the couple’s personalities; subtle physical tokens that hint at what’s within them both; the elements which both conflict with and compliment each other.
We have an incredibly talented team – find out more about who’s bringing this film to life below, beginning with me (excuse me for a moment whilst I jump into third-person!):
After studying at Bournemouth University’s Media School, Charlie’s graduation film Lantern screened at the Screentest Film Festival alongside his piece Famous, which won the award for Best Music Video. After being featured on Promo News’ list of Top New Directors of 2014, Charlie has been busy shooting commercial content for the likes of Belstaff, Vodafone and Canon as well as music videos for artists such as Peace, SG Lewis and Dan Croll. Charlie is now bringing his focus back to narrative, with a number of short and long-form film projects in development. Everything You Didn’t Say will be his next narrative endeavour, written with multi-award winning screenwriter Peter Fellows (Veep), and being made with award-winning production company, COMPULSORY. Watch this space!
Peter Fellows has been a close friend of mine since university and he’s an incredibly talented screenwriter. He has written and produced numerous short (and not-so-short) films over the last nine years. He was part of the writing team on HBO's Veep, winning a Writers’ Guild of America award for "Outstanding Comedy" on season 4. He was also a contributing writer on a special short film for the White House Correspondents’ Dinner 2014, starring Julia Louis-Dreyfus, Joe Biden and Michelle Obama, which has now had over 2 million views on YouTube. Lately, Peter has been writing additional dialogue for Armando Iannucci's feature film The Death of Stalin, due to be released in Autumn 2017. He's currently in post production with a short comedy film,YEAR 9 HOUSEPARTY, and a six-part web-series following a sociopathic vlogger's rise to the top of the YouTube community, Prime Cut. In April 2017, Peter picked up a BAFTA Rocliffe New Writing Award for his screenplay DRY.
Paul Özgür studied Fine Arts for two years at the School of Arts. After discovering his passion for moving images, he applied to the Netherlands Film School (NFA) in Amsterdam to attend a 4-year BA programme with a specialisation in Cinematography. In 2013 his graduation film Magnesium premiered at the 2013 Sundance Film Festival and won the Best Cinematography at the 2013 Camerimage Film Festival. After graduating in 2011, he decided to attend the Master-program in Cinematography at the National Film and Television School (NFTS) in the UK, graduating in 2014. His first feature film, Prince, was the opening film of the Generation section at the 2015 Berlinale Film Festival; it received a ‘Special Mention’ by the 14Plus Jury and got a limited US release. Paul shot his second feature, The Wound, in South Africa for director John Trengrove. The film recently had its US premiere at the 2017 Sundance Film Festival were it was nominated for the World Dramatic Competition. It will have its European premiere and be in competition this year at the 67th Berlinale Film Festival, where it will open the Panorama main programme.
To cut this bad-boy, we have the talented Kat Janes. Kat and I have developed a seamless collaborative process, having worked together many times.
Kat studied Stop Motion Animation at UCCA and after briefly working on Harry Potter and the Order of the Phoenix and Michael Winterbottom's Killer Inside Me, she joined the Editorial team on Wes Anderson's Fantastic Mr Fox for over two years.
Kat has a keen interest in real-life stories and she has since worked with BAFTA award-winning documentary directors, Christine Cynn, Molly Dineen and Amanda Blue. She recently won a LIA and a Silver Shark for Editing Amanda’s Dove, A Mother's Body, and she’s had shorts win for Best UK Comedy in Discover Film Festival and Best Doc at the BC Film Festival.
Kat works on a range of documentaries, commercials, promos and film. Her clients include Burberry, Cancer Research, MAC, Mind, Helman’s, Water Aid, MaxFactor, Dementia Friends, Paul Smith, Capital One, Sony, Victoria's Secret, Garnier, Lidl, Tesco, Steve Madden, Facebook, Samsung and many more.
I’ve been working with a creative production company for a few months developing this film. COMPULSORY are handling all elements of production for this film. They represent a roster of international directors that work in music, commercials and film. They’ve worked with some great clients including Chevrolet, Hugo Boss, Castrol and MTV and have received acclaim from their music video and film work at festivals such as SXSW, TIFF, Berlinale and the UKMVAs. With experience in narrative and concept driven filmmaking, they couldn't be better suited to be my production team!
We have got a super strong post-production team behind the film.
Thankfully we have The Mill, who are known for epic films such as Gladiator and the most memorable ads for Google and Adidas, to handle the colour grade.
Sound will be handled by the legendary Mike Tehrani, who came up through Goldcrest Films, working on movies such as T2 Trainspotting, Kingsman, The Danish Girl and Ex Machina. Mike will supervise the post sound and mix, and act as dialogue editor.
We would love to share the entire script with you but unfortunately we can't :( Below are some cheeky extracts to give you a taste of what you're getting into...
Thank you so much for your time. We really hope that you’ve enjoyed reading about Everything You Didn’t Say, and we hope to have you as one of our backers!
All imagery used on this page is for illustratory purposes to show the mood and tone of the project, and not our own. We have tried to credit all imagery where the origin is known but please let us know if a credit is missing and we will amend!
Banner Imagery: A Single Man, Tom Ford, 2010. Jumper, Justin Anderson, 2014. Come Undone by Silvio Soldini, 2010. Purple Noon, René Clément, 1960. Eat Pray Love, Ryan Murphy, 2010. Unknown Origin. Unknown Origin.
Risks and challenges
There are inherent risks in the filmmaking world that can be scary for the filmmakers and the people helping to finance the film - which is you!
Thankfully we have built a support network around the project that will always help to mitigate any serious issues. If we do incur any problems we'll be the first to let you know via our Message platform which emails you directly, giving you updates on what's going on during the production - which includes all the good stuff ;)
Post production is often a place where films get delayed and where audiences get frustrated. We have some amazing teams onboard to help us with Post but this still means we need to work to a schedule that might change. These can effect the rewards - for example the soundtrack or public screenings - but we will always be in conversation with our backers to let you know the latest news.Learn about accountability on Kickstarter
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