A SHORT FILM
WHITE FERRARI is a short action film currently in development.
A woman tracks down her ex-lover after he absconds with their ill-gotten gains to finally take back what rightfully belongs to her, in this action short.
STATEMENT OF PURPOSE:
WHITE FERRARI is a short ACTION film that explores the theme of pay equality. In today's economy women take home only 80% of what our male counterparts make, and for women of color it's even worse- the pay gap for African American women is 63%, and Latino women earn only 54 cents on the dollar. As the progress towards equality has slowed over the last thirty years, some experts argue we won't reach pay parity until 2119. From Lily Ledbetter's groundbreaking fight against Goodyear, to the Women's Ice Hockey National Team's battle with USA hockey, to the revelations about the pay disparity faced by actors Tracee Ellis Ross, and Michelle Williams, this is an issue that crosses all industries and regions. As a filmmaker, I'm using the action genre to MAKE PHYSICAL the FINANCIAL FIGHT all women face in today's workplace. In addition to pay equality, the ending of White Ferrari also acts as a metaphor for how many of my female friends, family, and colleagues feel, on a visceral level, about the result of the 2016 presidential election.
SETTING / TIME / PLACE:
Part Western, part Film-Noir, part Romantic Thriller, White Ferrari mixes several genres and aims to create a time and place that is both past and present. In dealing with the theme of pay equality, it is a timeless issue that has taken place throughout history, everywhere. The wardrobe, props, and locations will all support the idea of an ambiguous time and place.
Shooting anamorphic (2.40:1) to take advantage of the vistas and wide open spaces, visually we also want to create a dusty sun-drenched desaturated image, highlighting orange and blues (the desert floor and sky - as well as opposing colors on the color wheel) and deep blacks. The audience should feel the heat and oppression of the environment, especially as our characters move physically from indoors to outdoors for the climax of the story.
White Ferrari is also part noir - so the interiors will employ deep shadows and silhouettes and atmosphere to express the ambiguity of the characters and their actions. The camera will largely remain stationary, unless motived by action, to allow the actors to carry the scene. The Coen Brother's No Country for Old Men and both Blade Runner films are certainly influences on how we want to approach the visual texture of White Ferrari.
The fight sequences will feel grounded and real, with practical and found objects, not stylized. For choreography, we look to the first fight sequence of Blade Runner 2049, the diner fight in Steven Soderbergh's Haywire, the kitchen fights in Atomic Blonde, and The Bourne Supremacy - but the violence will also erupt with the shock and surprise found in No Country for Old Men, and the minimal violence found in Roman Polanski's Chinatown.
Because of the timeless nature of the story, we will utilize a score that feels both past and present. The electronic music of SUZANNE CIANI does just that. This genre also creates both a tension and a texture that sonically expresses the inner workings of Winnie's mind as she methodically moves towards her goal of getting her money back. Also, Vangelis's score of the original Blade Runner, with its retro, yet futuristic synths is an additional inspiration for the music.