Dear viewer, based on our marketing research and your concerns, we have concocted 5 scenarios-in-progress for the shooting of the ‘eco-aesthetic comm(un)ercial’
We ask for your feedback in choosing and shaping the scenario we will shoot and edit August 27th - September 2nd. Please choose from the scenarios below, the one you think would be most effective in communicating our environmental crisis and the collective and individual responsibility for change. You may make alterations to the scenario of your choice that we will try to incorporate in the final script. We hope that the final result will reflect a communal aesthetic and not be the vision of any one person. We ask for your feed back by August 19th.
You are invited to take part directly in the final revision process on august 21st Please contact guerrillaoptimists@gmail.com for more informationΑγαπητέ θεατή, βασιζόμενοι στην έρευνα αγοράς που πραγματοποιήσαμε καθώς και στους προβληματισμούς σας, επινοήσαμε 5 σενάρια, τα οποία βρίσκονται υπό διαμόρφωση, για τα γυρίσματα του ‘eco-aesthetic comm(un)ercial’
Ζητάμε την συμβολή σας στην επιλογή και διαμόρφωση των σεναρίων που θα γυρίσουμε και θα μοντάρουμε μεταξύ 27 Αυγούστου και 2 Σεπτεμβρίου. Παρακαλούμε επιλέξτε από τα παρακάτω σενάρια αυτό το οποίο θεωρείτε ότι θα επικοινωνήσει πιο αποτελεσματικά την περιβαλλοντική κρίση καθώς και την ατομική και συλλογική ευθύνη για αλλαγή. Μπορείτε να κάνετε αλλαγές στο σενάριο που θα επιλέξετε τις οποίες θα προσπαθήσουμε να ενσωματώσουμε στο τελικό κείμενο. Ελπίζουμε ότι το τελικό αποτέλεσμα θα αντανακλά μια κοινή αισθητική και όχι την ματιά ενός μόνο ανθρώπου. Περιμένουμε τις σκέψεις σας μέχρι τις 19 Αυγούστου.
Είστε καλεσμένοι να συμμετέχετε στην τελική διαδικασία αναθεώρησης στις 21 Αυγούστου. Παρακαλούμε επικοινωνήστε
guerrillaoptimists@gmail.com για περισσότερες πληροφορίες.
scenario 1
A small clautrophobic room with no windows. In the center is a table.
Camera circles around a table to reveal a family (MOTHER, FATHER, LITTLE BOY, TEENAGE GIRL). They are finishing a meager breakfast of a small piece of fruit and biscuits. The mother and father get up in a rush to prepare for their day. The boy finishes eating. The girl holds a knife and watches her brother’s plate.
CU: brother’s plate has an apple core and some crumbs of biscuit
In a shot of a mirror on the wall, We see the faces of boy and girl still seated at the table, as the parents self-absorbedly bustle about in the background. The boy looks into the mirror, but the girl is intent with something she’s doing at the breakfast table with the knife.
CUT TO:
The children are at the front door about to go out. They each put on a mask, some protective eyewear and some ear-protectors and gloves. Kids complain about wearing all this stuff. Parents look at them sadly.
MEDIUM WIDE (from behind the child): The little boy opens the door to outside and the quiet is shattered by the tremendous roar of traffic and construction sounds.
Outside shot of enourmous dirty, grey, oppressive building dwarfing it’s tiny entrance.
We see the kids standing in the doorway. Then we see the sidewalk in front of them besieged by a sea of roaring vehicles shimmering in the heat.
MEDIUM WIDE: (from behind the children) A car slows, in a flurry of garbled voices and self-absorbed laughter, to hurl cigarrette ends and trash towards an overburdened bin. It narrowly misses the kids.
CU on a SAD CHILD’s face and hand pressed against the glass of the back window inside the car. The child’s mouth moves to say
sorry.CU: the boy raises his gloved hand in a silent wave
WIDE: car speeds loudly away in a plume of black fumes.
CU: of the girl’s hand placed awkwardly in her glove, she raises her hand protectively to her chest
To the other side of the children a door is flung open causing them to jump out of the way as boxes and slopping liquids in buckets are dragged toward the rubbish pile. We don’t see who has taken the rubbish out but hear a woman’s voice say
sorry children in a friendly but careless way.
CU: on gunk from the buckets being dumped unceremoniously in the roadside drain and half-eaten
sea-produce piled up by the bins.
MEDIUM CU: profile of boy’s face. The boy stares at the disgusting garbage blankly. Behind him, the girl looks determined.
CUT TO:
WIDE: Walking off the main street to bounce a ball listlessly on a scrap of waste ground, the children pass a sign announces that a new mall will be developed instead of the park promised and “sorry’ for the inconvenience
As the boy goes off to play with others and their mound of plastic toys, the girl nods at their invitation but disappears behind yet another mound of garbage. It looks almost as if she has disappeared into the mound.
CU shot of her face emerging on the other side of the garbage. She takes off her mask, protective eyewear, ear-protectors. She removes one glove to reveal a hand clenched, holding something, and bends to the ground.
CU (POV of the ground looking up at girl) Girl reaches gently down (
towards the camera) opening her fist palm up, with seeds in her hands. We see the breakfast apple seeds. Her face is thoughtful.
Zoom-out reveals a substantial garden in vast area of grey.The beautiful garden fills the entire screen
σενάριο 1Παρακολουθούμε μια οικογένεια -μητέρα, πατέρας, αγοράκι και έφηβη- την ώρα που τελειώνουν το πρωινό τους. Η μητέρα και ο πατέρας συγυρίζουν βιαστικά για να ξεκινήσουν τη μέρα τους.
Τα παιδία είναι ντυμένα με προστατευτικές μάσκες και γάντια. Βγαίνοντας από τη θαλπωρή του σπιτιού τους έρχονται αντιμέτωποι με μια τρομακτική ηχορύπανση από οχήματα και μια εγκατάλειψη του περιβάλλοντος καθώς και έλλειψη κοινωνικής ευθύνης. Ο δρόμος είναι βρώμικος και αφρόντιστος, τα κτίρια είναι άσχημα.
Μερικά δευτερόλεπτα μετά, σκουπίδια πετιούνται στο δρόμο μέσα από ένα αυτοκίνητο που περνάει και παρά λίγο να πέσουν πάνω στα παιδία. Προχωρώντας στο πεζοδρόμιο, τα παιδιά βρίσκονται αντιμέτωπα με άλλα εμπόδια από σκουπίδια. Αρχίζει να γίνεται ολοφάνερη η αναγκαιότητα του εξοπλισμού που φοράνε.
Αργότερα, καλούνται να παίξουν με κάποια άλλα παιδία με ένα φοβερό βουνό από καινούρια πλαστικά παιχνίδια. Το κορίτσι αρνείται και εξαφανίζεται πίσω από ένα τεράστιο λόφο σκουπιδιών για να φυτέψει μια χούφτα σπόρους.
Στο τέλος, κάνουμε ζουμ-άουτ και βλέπουμε τη δουλεία που το κορίτσι έχει κάνει. Μέσα σ’ όλη την ασχήμια που υπάρχει, εμφανίζεται ένας κήπος πανέμορφος και πλούσιος.
scenario 2
Static EXTRAWIDE SHOT
Split screen shows a continuous city view of uniform grey appartment blocks with the balcony doors shut.
The left hand screen remains undisturbed, grey and grim, but, (at the same time) on the right-hand side the whole block opens at once and a person emerges from each door, each carrying one big plant. They leave it on their balconies, go back inside, and close the doors again.
The immediate visual effect is that the left-hand side of the screen is dramatically lacking in colour while on the right-hand side the city is suddenly transformed into a beautiful lush garden bathed in green.
CAPTION
(please choose one!):
Free oxygen for all!
(or)
Small gestures make a better city
(or no captions at all)
(or suggest something else)
σενάριο 2
Μία οθόνη χωρισμένη στα δύο παρουσιάζει συνεχώς την όψη της πόλης με μονότονα γκρι κτίρια και μπαλκόνια. Η μπαλκονόπορτες είναι κλειστές.
Ξαφνικά, στη δεξιά οθόνη, ανοίγουν οι πόρτες και βγαίνουν οι κάτοικοι, ο καθένας κρατώντας από ένα μεγάλο φυτό. Αφήνουν το φυτό στο μπαλκόνι και επιστρέφουν μέσα στα διαμέρισμα.
Το αποτέλεσμα είναι φανερό. Η δεξιά οθόνη έχει μεταμορφωθεί σε μια ευχάριστη εικόνα ενός πλούσιου κήπου, σε σχέση με την άλλη μισή οθόνη που εξακολουθεί να δείχνει γκρι.
Λεζάντα:
‘δωρεάν οξυγόνο για όλους!’ ή ‘ατομικές πρωτοβουλίες κάνουν μια καλύτερη πόλη’
scenario 3
The ‘family-dinner-table’ is the archetypal setting for a consciousness-raising development and change of behavior. Using this motif we hope to establish the fact that Greece’s example is just a smaller version of what is happening to the World’s resources.
¾ MEDIUM WIDE SHOT OF MOTHER, FATHER, GIRL, YOUNGER BROTHER, OLDER BROTHER sit around a dinner table. In the first shot they wear costumes that exemplify their social roles.
It is paramount that this is manufactured in a precise way in accordance with Greek family life in order to firmly establish this in it’s brief (10 seconds) appearance as a motif for the family being the basis of a society. For this reason we initially adopt the recognized (safe)language of TV with the intention of dismantling it in an alarming fashion.
CU
GIRL:
Dad, What will happen to us in the future?
CU
DAD:
Every generation has to deal with it’s own problems my love
MEDIUM CLOSE shot zooms out over the rest of this shot to reveal increasingly strange things.
-costumes begin to over-exagerate their social functions.
GIRL:
“What do you mean?”
-mother arrives with a tray of garbage and starts placing it on everyone’s plate.
DAD:
“Well people tend to think about what’s good for themselves in the short-term-”Dad takes a big piece of garbage for himself
-costumes change again, characters have become stranger, clown-like- with funny noses and hats, other figures are sitting passively in the background, blurry. Its unclear who they are or why they are there.
GIRL:
If you really love me so much why don’t you stop them ruining my future? 
CAMERA FREEZE
Camera swings from a theater view to an overhead view- as if from space- to directly above the table-top
(paint tabletop green and ‘blue-screen’ rising seawaters)
-sound of lapping waves accompanies gradual covering of table and its food/plates which by now resemble small islands sinking beneath the water.
(5seconds)-family hangs onto their little islands of food/garbage, the hands of the other figures also reach to those islands to grab on. While no struggle for those few objects above the water level occurs- it lurks in this moment.
CU Hands are tense and straining. They hang on tightly to what they can.
CUT TO
¾ MEDIUM WIDE SHOT same angle as the first shot
the whole table again with the original family unit without funny costumes. The table is covered in a mixture of food, garbage, and gadgetry. Everyone is eating what they can find or setting off the electronic devices
The mother returns with a sculpture of food and garbage with a candle lit on top.
MUM
Happy birthday my baby!
EVERYONE
Happy birthday!
GIRL
Stop it! Stop it! I don’t want anything else
Tight CUs of family members shot from below or with strange distorting angles. Everyone is outraged.
DAD
Come now, your mother’s prepared this for you special
GIRL
But where will we put it?
MEDIUM WIDE: dad pushes trash onto the floor around them to make space on the table, everyone except daughter looks very pleased about this.
MEDIUM CLOSE: of floor where there are still puddles of water that gather around the trash
Frontal MEDIUM CU of girl – she speaks to the television audience directly
GIRL
Please stop! I already have enough.
σενάριο 3
Το οικογενειακό τραπέζι είναι μια αρχετυπική εικόνα. Εδώ, την χρησιμοποιούμε σαν βάση για να ξεκινήσουμε μια συζήτηση γύρω από τις αντιλήψεις της οικολογικής μας στάσης και της αλλαγής της συμπεριφοράς μας. Ξεκινάμε με αυτό το μοτίβο, θεωρώντας ότι η Ελλάδα αποτελεί αντιπροσωπευτικό δείγμα αυτού που συμβαίνει στα αποθέματα ολόκληρης της Υδρογείου.
Την ώρα που τα μέλη της οικογένειας ετοιμάζονται να φύγουν από το σπίτι, το ένα από τα δυο παιδιά ρωτάει τον πατέρα του τι θα γίνει με το περιβάλλον και με το μέλλον τους. Ο πατέρας δίνει στην κόρη του μια τετριμμένη απάντηση και την απογοητεύει.. Την ίδια στιγμή, το περιβάλλον στην τραπεζαρία αλλάζει ξαφνικά, με τρομακτικές καιρικές συνθήκες, πλημμύρες κλπ. και άλλες αλληγορικές, περιβαλλοντικές καταστροφές.
Στο τέλος το κορίτσι φωνάζει:
“Σταμάτα πια έχω ήδη πολλά περισσότερα απ’ αυτά που χρειάζομαι”
scenario 4
WIDE SHOT: PEOPLE busy sweeping in an open area covered in trash. At first it seems like they are cleaning together
CU from below (POV of trash...): individual people’s faces while they are busy sweeping
MEDIUM CLOSE SHOT: the broom pushes trash over a taped line (the red and white warning tape) on the sidewalk.
MEDIUM WIDE: reveals multiple lines on the ground. People are busy pushing trash over the lines away from themselves
WIDE SHOT: reveals that the lines on the ground form a grid of little squares. There is a person in each square- pushing trash into the squares of others.
An alarm goes off and lights flash. Everyone stops and turns eagerly toward the sound
WIDE SHOT: A car pulls up with stuff
MEDIUM WIDE: the car with lots of shiny new stuff in packaging, and the faces of people crowding round
various CU shots: shiny stuff and eager hands and money
WIDE: everyone rushing back to their squares, smiling and carrying shiny stuff in their arms
MEDIUM WIDE SHOTS: of different people unwrapping things
MEDIUM CLOSE: things being thrown on the ground – in the distance blurry other figures unwrap and throw stuff on the ground
WIDE SHOT: everyone pauses to contemplate the stuff on the ground all around them. Then all at the same time they jump for their brooms and begin shoving the stuff into their neighbor’s squares again
The whole sequence repeats using slightly different shots 2 more times.
(edits of each shot are very short and rapid- they are rhythmic, like a dance sequence with music)
WIDE: mid-sequence of the 3rd repetition everything freezes and a PERSON enters the screen. He/she is dressed like a singer in the skiladiko
CU: He/she says/sings the following as a rhyme or a vaudeville song
(something like this- your help is needed to write it!)PERSON
Oh do you know where the materials for that stuff you just bought comes from?
What part of the world was mined and what chemicals were used?
Did you think where it goes when its time has past?
Is there room enough for trash? Is there sea enough? Is there land enough?
Did you use it more than once?Did you really need it?
σενάριο 4Βλέπουμε κόσμο να κρατάει σκούπες και να σκουπίζει ο καθένας μια μικρή περιοχή που τον περιβάλλει. Οι άνθρωποι σπρώχνουν τα σκουπίδια από την περιοχή τους προς την περιοχή του διπλανού. Παρ’ όλα αυτά, εξακολουθούν να «σκουπίζουν», σαν να μην μπορεί να γίνει αλλιώς. Μετά από λίγο, ένας συναγερμός σημαίνει την ώρα της κατανάλωσης, κατά την οποία ο κόσμος ανοίγει τα πακέτα των νέων αγορών. Κατά συνέπεια, δημιουργούνται καινούργια σκουπίδια και πολλαπλασιάζουν τα ήδη υπάρχοντα. Στο τέλος, εμφανίζεται ένας τραγουδιστής, ο οποίος, σε ρεπερτόριο τύπου σκυλάδικου, περιγράφει το πως αυτά που αγοράζουμε καταλήγουν σιγά-σιγά στα σκουπίδια.
scenario 5
‘ Dejeuner sur l’omaterie ‘
Picnic in the open: Is it somewhere nice?
3 HUMANS lounge in the undergrowth exchanging pleasant conversation apparently oblivious to their surroundings
In a series of medium close shots of the humans where the background is revealed in fragments- little by little- the viewer becomes aware of the fact that the picnic is taking place in a rubbish disposal pit or ‘landfill’
A comment is passed in the conversation on the general quality of the surroundings.
The scene and costumes change to an absurd pseudo-opera of Wagnerian proportion.
σενάριο 5
‘ Dejeuner sur l’omaterie ‘
Παρακολουθούμε ένα πικνίκ τριών ανθρώπων οι οποίοι φαίνονται να μην ασχολούνται με το που βρίσκονται. Σταδιακά διαπιστώνουμε ότι βρίσκονται σε μια χωματερή. Παράλληλα με τη διαπίστωση αυτή, τους παρακολουθούμε να αλλάζουν κοστούμια, τα οποία είναι όλο και πιο σουρεαλιστικά, και αρχίζουν να τραγουδάνε σε στυλ βαγκνερικής όπερας.
With production of an informative television advertisement, guerrilla optimists probe media receptivity and response to the urgency of our global environmental predicament. We feel the need to test society’s systems of communication, with a little help from the public. By infusing passers-by with guerrilla optimism, we invite people to express their concerns on the future of our environment, and to consider how to communicate that concern to a TV audience. Museum visitors, and passersby can join in the conception and production of a comm(un)ercial that both inhabits the forms and codes of the media but also bypasses them. Everything in the ad must be made within the museum premises*. An effective aesthetic communication must be made for society’s most powerful medium without any budget and with found objects and donations of time and interest from people. A bulletin board tracks our on-going interactions with people, their revisions to our scripts, their aesthetic involvement. It also tracks our subsequent communications with Media powers and the relative success of our attempts to be televised - questioning the effectiveness and speed of mass communication when it could be critical to our future survival.
