Movie pitch

I could not sleep so I decided to publish the pitch of my movie. The title is: “The Great Escape”. I register this pitch with ADAGP. No copies and no use are allowed. This is a film I am planning to make.


Tyler is an architect. The first scene shows him walking in circles on a labyrinth in a garden. He is dressed in white. Other people in white are seen in the background, walking in the garden. A large building seams like an institution. It is a psychiatric hospital.

Dyson is an architect. The second scene shows him inside the TV room. While all other people seem agitated, he is calm and focused on TV while the screen shows violence. He is in a yoga position, meditating.

Albert is an architect. The third scene shows him lying down on his bed the harms large open like a Christ. He is crying eyes open while watching the ceiling. A nurse enters and then exists without even noticing him. Obviously, he has been crying for a long time.

Dinner time, the three meet in the dinning room. They are plotting their escape with same determinations and different ideas. What to do next. How to be rehabilitated. When to escape. Is it worth to be a fugitive, what do they expect.

Fifth scene Tyler is talking with his doctor, like a child in a school asking for permission to leave, maybe permanently, maybe temporarily, maybe for a few days or a few months. He does not mention that he plans to escape with the others.

Sixth scene, Dyson is talking with his doctor, but in the corridor, in a very unofficial manner. He caught him there after waiting and he is not willing to give over the conversation. The doctor listens in between visits to patients in their rooms. Dyson mentions that he is feeling better and he would like to go home. His wife is waiting for him. She is also an architect.

Seventh scene, Albert is talking with a doctor on a bench in the garden. It is not sure if it is a real doctor or just a nurse or someone sick in disguise. The doctor agrees on everything and wants to let Albert escape. He is even plotting with him how to steel a form in the office, sign it and help Albert to board an ambulance.

Eight scene, the three architects meet for dinner and everything seems almost normal, like friends meeting in a restaurant after a long day in the architectural studio. We know from their calm that something is going to happen soon, maybe that night.

We don’t know how they escaped, but we know how they feel to have escaped. They are all three sat on the sea side somewhere on the West coast of the United-States, watching the sun rise, the crabs on the beach, the birds flying, a horse passing and showing content, the wind in one’s face, the grass slightly bending. All nature seems in harmony but fragile. They all three have each other and they remember Dr Shawn about happiness. They decide to plot how to make the people happy, starting there on the beach, by building something together.

Tenth scene is playing classical music, there is no dialogue. The free architects build and rebuild with sand. It lasts for several days. They walk along the beach looking for the bests spots then one has an idea and the others help him. People give them food. People sit to watch them. Children come to help. Sometimes, they fix a beach house, putting back a nail on a deck or a mosquito net back on a window. The scene is like landing in a new world where there are people who are spectators, where there was a life that is broken, where everything looks gray until those men in white come into the contrast. They are still dressed with the cloth of the psychiatric hospital and they wear it like archeologists would wear linen, with tremendous class and as they become dirty, their cloth take a shade of beige almost fading with the sand and the grass of nature. The scene ends with all three sitting on the terrace of a house. It is dawn. They are going to sleep.

Eleventh scene, the owner of the house is a woman. Her name is Annah. She does not seam surprised to see them. She prepared breakfast and bring it on the terrace. They talk of the beauty of the beach, the sea, the dunes, the house. She is an architect. Her husband left her when building the house. She talks to the three men as if they were doctors, how she wanted to put her perspectives as a woman architect in the house, her space, her working at home, having kids at home, being a house wife and still be an architect. She brings a very new perspective in the picture, herself, her well being.

Twelfth scene, all three men are clean with their white cloth sitting around the dinner table with the woman. The table is round, large, open, close to the window. All four have pens and paper, towels, sketch books, brushes and they draw their ideas. They are talking in pictures with laughters and recklessness while still very serious. They are talking of changing something in the world, they draw a new city, a city with spirituality where kindness, happiness and trust are the rule. It is like a large temple, but there are houses, there are shops and offices, there are also churches, mini temples and community buildings, there are parks and roads, but this large temple has something else. It has a soul.

Thirteenth scene, the camera is floating in and out the house. The large bay windows are open and we can see the inside with the blurred outside from the windows. It is shinning like stained glass. Tyler and Annah are dancing, talking about the soul of the city. Dyson and Albert are dancing, also talking about the soul of the city.

Fourteenth scene, it is early in the morning and the police knocks at the door. They come to arrest the three architects. Annah opens the door, lets the police in. She advocates for the men, that they are not dangerous. The wife of Dyson arrives in a vintage sport car, a scarf on her head. She runs into the house and in the harms of Dyson. He is protecting her, and the police watches the scene. Their costumes are light blue. Dyson’s wife is wearing a light blue dress. Annah is wearing white pants with a white and blue blouse. The cops are confused, they see the drawings, the intensity of the scene. There is a spot of red wine on the table mixed with the flesh of some grape and the sun shinning from the window. One cop sits down to give a phone call, why not those men shall be free? What was their crime ?

Fifteenth scene, the camera flies away from the house then all along the beach where the men have been building with sand and we see the design of a city, more than that, almost a country. Around each of the men’s sculptures, other people have built their parts, children, adult men and women, elderlies. People have put their dreams in motion, what this sandy architecture inspired them. There is no dialogue in this scene, but we see that people are talking, sometimes with anger, sometimes in ecstasy, sometimes with cries and always with emotions. We hear the music and get caught with the emotions, the words, the music, the imagery.

The sixteenth scene is the last. We see that master planning does not really mean “anticipating” but rather having a soul that will guide us and by looking at the same direction, people are able to be guided by the same soul as the soul of the architects. Architecture is an instrument. Architects are an instrument. Either they can be the instrument of profits and businesses. Either they can be the instruments of politicians and lawyers. Either they can be the instrument of an ideal such a religious or a spiritual ideal. The psychiatric institution has shown how coercion from a group has removed the soul of the architects from the city, how spirituality and art where incarcerated to control business and control the politics with fears, violence and terror. The very last image is in the street of a commercial city, with disorder, noise, uglyness, trash, people swearing, sirens, cops, everywhere cops in dark blue. The dawn is falling and the disorder never ends while the screen cast is scrolling.

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