BEELINE
I WILL SURVIVE
director's treatment by Saman Kesh
OVERALL
The music has always been something more than just a rhythmical chain of sounds.
Apart from working as a universal language, which people all over the world can share and understand, it's a huge global charger for the humanity, as it is able to transform our mood and state of minds just within a few seconds.
That's why I really like your idea: to offer all Beeline people another great chance to get connected to the endless music resource, and thus, be able to survive the damp and spine-tingling Moscow winter.
A simple "way out", which really works!
To tell about that in more interesting way, we need to enwrap the generous proposal into a bunch of colorful images, which you accurately chose for the story, wittily combining both - the idea of unfriendly weather and a whole lot of fanciful actions.
Dear friends, I will be happy to conduct all these things for you!
And here is my way to do that.
BEELINE WINTER
SURVIVORS' KIT
The winter is coming; we all are getting ready for that. And the only way to do it properly is to energize ourselves!
Our main guy Revva – contemporary protagonist of Beeline brand – has already proved himself as the man of no sorrows and doubts. Through multiple pages of previous Beeline campaigns, he has slowly turned into some kind of super hero, who can stand out any difficulties or weird things, and all while, always have fun on that.
To do this, the first and foremost thing would be - to find the right manner of telling this story without being too chaotic, misleading, or unclear. Here, on the contrary, we need to stay precise, picturesque and funny.
In order to save time, "squeeze" all the actions and fill out video with a good portion of strong and catching energy, I suggest we narrate this story in 'Bourne Identity' action style, but this time, our hero will withstand (or "fight with smile") the bad weather conditions. Or, to point even closer – let's stick to the unique manner of Edgar Wright, who is famous for his ability to narrate any kind of story within the shortest series of "roomy" close-ups and quick track-ins, keeping them exclusively funny, substantial and beautifully cinematic.
Just imagine, how Edgar Wright would be directing the Michael Bay's moments!
Keeping in mind this manner of speaking, we will aim for a bit different intonation, which is funny and positive, and with nice degree of absurdity.
And then spice it with some light touch of a modern musicale about a funny hero, who acts in a bit absurd way, but at the end, comes out to be a winner!

This is how our story will look like.
Here are few good examples of such rich action-stories, filmed in a cinematic and funny way.
When the whole world is in some "magic" mood. The decorations here are also a bit unreal.
Good reference for dynamics and transition between the scenes. Despite of the fact that it's a dance, also looks like an action.
Great communication of the hero with the city. He moves his own way, still remaining an integral part of the environment, using it, creating it. Nothing comical here, but we want Revva to be the same "master" of the space.
And let's recall once again the Edgar Wright's style.
But our own final formula, after all, will be pretty authentic.
To support the ideas named above in a more specific way, let me now guide you through the story, describing it from my point of view.
THE STORY
[ EXT. MOSCOW AUTUMN STREET ]
We'll start with a wide-mid shot of a typical Moscow traffic jam (not too wide, as from the very beginning, we are creating our authentic "Beeline world" exterior), with the camera approaching one of the cars. The car we are aiming for attracts the attention from the first second – it's a posh convertible, which makes a great contrast with the weather conditions (it actually looks ballsy to ride the car like that when it's raining cats and dogs!).

This is where the music begins.
Tracked-in close enough, we catch up with our outstanding protagonist, who has just begun singing. And the next second, we move further with him: Revva jumps out of his cool car, which obviously stuck in the middle of the jam, and continues his way already on foot.
Here I would not just show his step into mud, but include it into a short sequence of his energetic moves through the jam.
For example, he slides along a sloppy hood of a vehicle, which stands on his way, then we cut to a tasteful step into a muddy puddle, and then back to his happy and confident face (here he could even make a nice "dance" spin, as if has just won some lottery).
We cut to a window of another car, with a very attractive girl (a real fashionista!). She is about to have a sip of coffee from a hipsterish paper cup. Suddenly, the hand enters the frame, and our hero elegantly grabs the coffee.
The girl gets astonished! But in a very filmic manner.
While our camera is in a hurry, to keep up to the Main guy's pace.
Now we are in front of him, observing from the face. We see how wet and annoying falling leaves are turning gradually into the flakes of snow (as if the weather changes right in front of our eyes). At the same time, the blurred background starts changing its colors: from autumn to snowy white.
The furry flow of wind suddenly hits the face of the hero.

He makes a turn, as if he wants to hide...
..BUT, we change the camera angle, and reveal his trick – the put on a pair of super-fashionable sunglasses! His cool look is a bit comical, as the wind is really strong.
[ EXT. SNOWY DOWNTOWN STREETS ]
To enforce the feeling of this losing fight, we cut wider and reveal that Revva is no longer on foot, but makes his way through the fresh snow heaps on a delightfully colorful scooter.

The next bunch of actions (with snowy obstacles and huge icicles) I would combine into one single sequence, presented in an action-style manner.
And here we can really play with the camera, making even dynamic and even a bit dramatic close-ups about our hero's overcoming of obstacles.
POV of the moving scooter, observe from the lower angle, quick and dexterous camera, traveling through the snow icicles, or breaking its way through the show.
We will need to shoot few funny tricks on scooter, in order to make a dynamic edit of this comical (and successful!) "fight" with winter!
Finally we cut to the line of janitors, who are throwing the show. The next second, our hero disappears under a shower of snow, created by the janitors.
We cut to the pile of snow – our hero quickly sticks out snow, but it still look a bit late – as we see him almost frozen to death.
[ EXT. THE SAME SNOWY STREETS,
BUT THIS TIME, WITH CHRISTMAS LOOK
]

Despite of the state of his frozen face, Revva is fighting his way out of the drift. We energetically tracks back, revealing the new background action: it's some Christmas Eve celebrations!
Santa (or, it's better to say, Father the Frost) is going to turn on all the light in the neighboring streets. While his cheering assistants are making a synchronous modern vogue dance.
Their cortege is moving along the street, like a crazy Brazilian parade.
We cut and show how Father the Frost gives his hand to Revva, and skillfully takes him out of the snow.
Now Revva is on the cortege. This guy is a "quick study", plus the music is playing aloud! So the next moment, he already joins the hilarious Christmas vogue dance.
At the end they make up a victorious composition, which we then decorate with "fountain" fireworks in the background.
THE VO: The winter is coming – get through it with the music! Are you a Beeline subscriber? Then download the YouTube Music app and listen to the tracks for any mood or weather for 6 months for free!
VISUAL LANGUAGE
Our camera is always dynamic, as we are picturing the energy. Most of the time, it is moving, but if not, then we create this feeling through the movement within the frames, always keeping focus on the main guy or his funny and inspiring actions. This way, we will be able to catch the viewers' attention and then immediately draw them into the very heart of our action.
To do this, we'll use Dollies and Steadicams. Apart from the very first and may be the very last shot, where we might need to use crane.
As for the image, we are aiming for a rich, stylish and contemporary picture, with a vivid cinematic texture upon it. While our light is changing gradually from an Autumn-ish mid-day to a pre-Christmas night, which will make the viewers feel that they have watched a long story within a short period of time.
COLORFUL BEELINE WORLD
& ITS' INHABITANTS
Actually, the inner space of this story is not just colorful, but unusual. We are filling the story with a notable degree of absurdity. And this gives us the opportunity to exaggerate here and there, for the sake of a humorous effect. Due to this, the sudden change of weather, which then turn into a real passthrough the time, will look "natural" and will work as an interesting twist in the story.
The only thing, which we should bear in mind – is that we are eager to keep up to the stylish manner we chose, both visually and conceptually.
To support this direction, I want to cast some truly interesting and unique people, who will make our Beeline world look a bit "ideal", compared to the reality.
This way, we will keep up to the pace of previous Beeline campaigns, and at the same time, will make our video outstanding.
And one more thing here to add is about the star-hero.

Despite of a "concentrated" edit, we'll have a great lot of different actions to shoot. And some of them are even not that easy to perform.
That's why I propose to use Double, who will back up Revva for some close-ups and action scenes, in the scenes where we'll shoot not the acting, but the very performance: close-ups with "jumping" scooter and other tricks, a drowning in the snow, and so on.

This will help us to have more "extreme" material for the edit, and to keep our brand-star in a proper condition during the shoot.
MUSIC & SOUND DESIGN
We have the main song, which enters the story from the very beginning, and then becomes not just a leading tune, but also the key leitmotiv, as our hero "survives" really harsh weather conditions. The song corresponds to the inner direction of the story, leading the hero through the obstacles, making him keep on smiling and playing "fool". It supports the idea. While the main energy comes from the action itself, and the way we build it up.
So, I won't aim for a rhythmical camera or the pace of the story, which is subdued to the tune. But it's rather the music that aligns oneself with the action.
Since, there is some growth of dynamics by the end, and the action intensifies, I would think of developing the tune into more triumphant and winning melody at the end. The style is still "to be considered", as we have the song, borrowed from one epoch, and the overall action (including dances at the end) with a vivid sense of contemporaneity. But looking at the story, I am sure we will invent something original and inspiring.
As for the sounds, we will definitely need all those punctuations that will tie the score with the imagery, saturated with actions. While the overall approach here should resemble some unique musical, shot in the action style.
AFTERWORD
As a very collaborative person I enjoy the creative process between the agency and the director. Keeping an open dialogue always fosters the best solutions. With that in mind, I look forward to working with all of you.

Let's heat this winter!

S A M A N K E S H