poseidon & the sea h u g o b o s s i k a r i m h u u d o i c av i a r i c o t y

h u go b o ss

POSEIDON
c o ty

cav i ar
&
THE SEA

k a r im h u u d o
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poseidon & the sea h u g o b o s s i k a r i m h u u d o i c av i a r i c o t y

introduction

A man facing the sea… With each wave a feeling

is brought to the surface… That’s what the ocean
symbolizes for me; the depth of intense passions and a
peaceful calmness that we chase after…

A great writer once described the sea as “the accomplice

of human restlessness”—and those words have really
resonated with me. That’s how I picture the ocean
in this film, not just a destination, but a partner for
our protagonist: the man of today on a quest to find
balance and a sense of peace in the chaos of life. And
Poseidon by Hugo Boss is the fragrance that embodies
with its notes the charisma, the confidence, and the
sensitivity of this hero and his passionate journey.

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CONTENTS

Chapter One x
Chapter Two x
Chapter Three x
Chapter Four x
Chapter Five x

INDEX x

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A p p r oa c h

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 poseidon & the sea
Poetic, elegant, always in movement our film captures
the essence of our hero’s journey—a quest for balance.
Therefore our imagery has to have emotional depth and
meaning, a tactile quality and a way of involving all of
our senses.
I see this film as a cinematic effort to capture the
intensity of our hero’s feeling, celebrating his unique
connection with the sea. And it’s precisely that special
bond between Chris and the ocean,that I want to
explore in more depth with the images I’ll create.
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I love the idea that our story won’t be a linear narrative,
but that beautiful fragments will help us create a
complex picture of who this character is and how his life
intertwines with the ocean. We walk the line between
reality and abstraction, creating a movement forward
that goes from quick, dynamic cuts to longer, ecstatic
takes.
We stay close to our hero’s emotions, and with flashes
that move us back and forth in time we catch glimpses
of a larger story; the only place that allows our hero to
re-center and reconnect is the ocean. And its presence is
felt throughout the film, snippets reveal an underlying
narrative…man and nature as one.
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working with
chris hemsworth
I look forward to the chance of working with Chris
Hemsworth. My goal is to create the right conditions on
the shoot so that Chris’ natural and effortless charisma
shines through.

After finding that Chris is involved in the protection

of the world’s oceans from marine pollution, I knew
we couldn’t have a better fit for this project. In the
interview I came across Chris said, “If I had anxieties
or worries, I’d head to the ocean and it was always the
place where I could reset and be 100% present,” and
that really resonated with my vision of the film.

The idea that being close to an imposing body of water

is a way of resetting, informs the idea of creating a
visual and sensorial voyage. And this unique journey
will also allow us to challenge the assumptions we make
about somebody like Chris, whom we always see cast
in action-packed leading roles. Here we’ll have the
chance to unveil a different side of Chris Hemsworth.

We’ll surprise our audience by showing the two souls

of a man—one driven, passionate, forceful like the
crashing waves of an ocean and the other more sensitive
and thoughtful—the man of today.

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c i n e m at o g r a p h y

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Breathtaking locations captured with a strong

Rhythm, variety, the feeling that we are pushing
POV, an intense focus on beautiful details, a
forward, that we are progressing towards
feeling of being in the moment, close to the
something meaningful is what drives the camera.
emotions of our protagonists, in a very natural
and spontaneous way.
Whether capturing the very small or the epically
big, staying intimate or going wide, static or
These are the elements that will elevate visually
traveling, the camera is seeking contrast and
our film. The approach is eminently cinematic,
creating rhythm.
possibly shot in 35/16mm to add an impressive
texture and capture the action with the beautiful
As always, I like to strike a good balance
color variations of an East Coast beach.
between carefully thought-out frames and the
unplanned, harnessing the power of instances
Camera moves are organic, sophisticated,
that are completely of-the-moment.
composed, and yet they convey the breadth and
depth of moments and sensations that feel lived,
experienced.

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s t o ry
As you’ll see in my treatment of the script
I’ve taken the liberty to add some thoughts
and reframe the story a bit. What you’ll find
here is intended for a longer edit, although
I am confident that a 30” cut will retain
the same emotional impact and strength.

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“p o s e i d o n”

As I mentioned earlier the film will be mainly

Flash cut to his bare feet, the refreshing foam
built on a quick edit made of flash moments.
from the sea waves laps them gently.
Some will have a more elliptical component
to them, like a projection of Chris’s emotions.
Cut to Chris running fast into the ocean with a
Others will be showing snapshots of past and
few friends, surfboards in their hands.
present time of Chris at the beach.
Cut back to the elevator, this time we zoom out
We open on a wide shot of Chris in a big hall.
from outside the elevator to show the cinematic
A pile of pages floats in the air, they are flying
architecture that surrounds our hero.
around as Chris walks, looking at them.
Quick subliminal cuts of Manhattan—tall
Cut to Chris in a glass elevator, squeezed
buildings closing into the sky, traffic. We hear
between people. Chris looks down at his hand,
the indistinct buzz of city crowds subtly mixing
we cut to his POV. We still hear the crowd but
with the sound of the ocean, the sound grows
we’re not in the elevator anymore… we see
until…
Chris’ hand touching the sand on the beach.

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Silence. We move slowly towards Chris floating on his

surfboard with his young daughter on his back, both are
contemplating the faraway waves, sharing a strong and
peaceful father/daughter moment.

Cut to a POV of a wave that grows, its movement is

delicate and calm at first.

The edit goes fast again here, some of the shots are so
brief that the eyes almost don’t catch them.

Cut to an aerial of the car, driving through a stunning

rocky landscape.

Cut to the wave, we see the silhouette of a surfer riding

it at full speed. We don’t reveal whether that’s Chris, the
camera movement is very nervous, creating an abstract
motion blur.

Flash cut on Chris, rain showers are hitting his face and
body as if he was inside the barrel of the wave.

Quick flash cuts on the beach. Chris laughing with his

friends, they play around fake-wrestling each other, one
of them tries to put Chris down but just before he hits
the sand…

We cut to Chris in a very quick and surreal shot

underwater. It’s as if he was washed off by a strong wave
for a second.

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 poseidon & the sea
Cut to a wide top shot of a wave break. The sound
of rumbling water fills the scene.
We cut abruptly this heavy soundscape and this
fast-paced edit and we find ourselves suddenly in
Chris’ house, in a close-up, his wife’s elegant hand
enters the frame and touches gently his shoulder.
Our hero looks up out of frame as if he has suddenly
understood something.
Cut to Chris, we capture him in the same position
as the earlier frame, what has changed is what
surrounds him. We are now back on the beach
and we can see his car in the background. There’s
peacefulness and gratitude in Chris’ expression.
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h u g o b o s s i k a r i m h u u d o i c av i a r i c o t y
On the reverse shot we reveal that the beach
is completely empty, undisturbed, no sound or
movement. It’s twilight; the sky is a beautiful
symphony of pastel colors.
Chris enters the frame and walks towards the water,
a light breeze plays with his shirt. Our hero is being
reunited with the sea.
We hear the relaxing sound of the ocean as we
cut to the packshot—the Poseidon bottle appears
suspended in an inky blackness.
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music + sound design

At this stage of the project I feel that music
may not be necessary, however, I’d want
to keep this an open conversation once we
have a first edit. If we were to use a track
I’d want it to be something absolutely
minimalistic, a single note, almost a sound
that takes us from the frenzy of the opening
to the moment when Chris reaches the beach.

Think of what Hans Zimmer has done

in Nolan’s “Dunkirk.” Sound will play a
large role, helping us ground the action,
and I would definitely want to make our
soundscape a strong presence in the film.

Whether it is the sound of the city in the

distance or the wind sweeping over the dunes
of a beach, or the majestic crashing of waves, we
feel immersed in the space in a profound way.

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Thank you again for thinking

of me and for taking the time to
read through this. I look forward
to the chance of discussing
further with you my take on your
concept.

Merci,

Karim

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