01 - ‘Commencement’
by Navy Blue
Treatment by Nic Boozang
Stills from ‘Fever Pitch’ (1997).
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CONCEPT
‘Sir Render’ – a semi-autobiographical retelling of Sage’s life, where he moves past his trauma into the uncertain future.
Track 01 ‘Commencement’ is a prelude – yet it sets the stage while looking back on the hero’s journey.
It’s filled with sadness and relief.
It feels like the first bit of sun peaking through the clouds after a long, violent storm.
A rallying cry for what’s to come.
That’s exactly the feeling of every Arsenal fan this last week. Sage – a longtime Arsenal fan – is traveling to the parade to celebrate the team’s first Premier League championship trophy in 22 yrs; the same week ‘Sir Render’ releases.
‘Commencement’ will capture that wistful euphoria of North London, as Sage walks the streets of Islington, featuring celebrating Arsenal fans and loved ones from the UK. And this video aims to announce his final odyssey, and kick off the momentum, as he moves on from telling this chapter of his life.
‘Sir Render’ – a semi-autobiographical retelling of Sage’s life, where he moves past his trauma into the uncertain future.
Track 01 ‘Commencement’ is a prelude – yet it sets the stage while looking back on the hero’s journey.
It’s filled with sadness and relief.
It feels like the first bit of sun peaking through the clouds after a long, violent storm.
A rallying cry for what’s to come.
That’s exactly the feeling of every Arsenal fan this last week. Sage – a longtime Arsenal fan – is traveling to the parade to celebrate the team’s first Premier League championship trophy in 22 yrs; the same week ‘Sir Render’ releases.
‘Commencement’ will capture that wistful euphoria of North London, as Sage walks the streets of Islington, featuring celebrating Arsenal fans and loved ones from the UK. And this video aims to announce his final odyssey, and kick off the momentum, as he moves on from telling this chapter of his life.
TECHNIQUES
RUN AND GUN, DOCUMENTARY STYLE WITH REAL PEOPLE
Shooting style will be largely handheld – running through London with small, mobile crew. We’ll use available lighting, to give it a docu-style, gritty feel. Preferably shot on 16mm.
The energy will be there on the day. And the Arsenal win is just as big for the people as it is the club. The goal is to capture a moment of unadulterated populism.
Prioritizing Black and Brown faces is key – as much of Arsenal’s visual history (i.e. movies, photos, magazine) omits these people despite the demographics of the team and sheer amount of Black and Brown Arsenal fans.
This finally brings everyone into the Arsenal “canon”.
EXTREME WIDES vs. EXTREME CLOSE-UPS
Like our references, we’ll use a wide-angle Lens for close-ups of Sage; the idea is to capture the energy of him meandering thru the day and meeting new people. The camera moves with him, and the lens makes us feel that.
The contrast comes from extreme wides of fans and people on the street: faces, arms, flags, etc. We’ll use a telephoto lens here.
FAMILIAR FACES
This video will feature appearances by Sage’s friends in London, with whom he’ll be celebrating already. Giving a sense of community.
Native Son’) in the song, will show an older lifelong fan, perhaps one who is a noteable Arsenal Fan in a Direct-To-Camera address, appearing stoic.
Another rallying cry for Arsenal fans everywhere.
RUN AND GUN, DOCUMENTARY STYLE WITH REAL PEOPLE
Shooting style will be largely handheld – running through London with small, mobile crew. We’ll use available lighting, to give it a docu-style, gritty feel. Preferably shot on 16mm.
The energy will be there on the day. And the Arsenal win is just as big for the people as it is the club. The goal is to capture a moment of unadulterated populism.
Prioritizing Black and Brown faces is key – as much of Arsenal’s visual history (i.e. movies, photos, magazine) omits these people despite the demographics of the team and sheer amount of Black and Brown Arsenal fans.
This finally brings everyone into the Arsenal “canon”.
EXTREME WIDES vs. EXTREME CLOSE-UPS
Like our references, we’ll use a wide-angle Lens for close-ups of Sage; the idea is to capture the energy of him meandering thru the day and meeting new people. The camera moves with him, and the lens makes us feel that.
The contrast comes from extreme wides of fans and people on the street: faces, arms, flags, etc. We’ll use a telephoto lens here.
FAMILIAR FACES
This video will feature appearances by Sage’s friends in London, with whom he’ll be celebrating already. Giving a sense of community.
Native Son’) in the song, will show an older lifelong fan, perhaps one who is a noteable Arsenal Fan in a Direct-To-Camera address, appearing stoic.
Another rallying cry for Arsenal fans everywhere.
1.1 - Examples of real people - ’Fever Pitch’ (1997)
Inspiring B-Roll and Docu-style moments of the parade.
Inspiring B-Roll and Docu-style moments of the parade.
1.2 - ‘Song to Song’ by Terrence Malick
Inspiring color, lens choice, and camera movement
Inspiring color, lens choice, and camera movement
1 - Temple Church Intro
Goal: To set up the album imagery of the effigy’s and ground in some reality
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2 - Introduction
Real People, Real Crowds
- Extreme Wides and Extreme Close-Ups
Goal: Show many vignettes of real people, and establish how intense this feeling of joy and pride is.
Will continue throughout the video
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Focus on:
- People with Black and Brown skin
- Joy, Celebration, Spur of the Moment
- Filled Streets
- Rich Color, specifically Reds
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3 - Then, Navy Arrives to the Parade the Crowd
(References include: ‘Song to Song’ by Terrence Malick, and ‘MOSHPIT’ by Baby Keem):
- Low-angle, handheld, ultra-wide lens
- Mixture of slow motion and regular speed
- Sage to be joined by a friend (or friends) that is a noteable Arsenal fan (ex. Benji B)
Goal: Feel the energy as Sage moves thru the crowd. He goes from left to right across frame.
Sometimes interacting with the people.
Sometimes singing the song, as he travels.
Here are some examples of small moments he’d run into, and how they’d be framed:
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‘Song to Song’ by Terrence Malick is a great example of real moments, interacting with passerby and extras. The camera movement also has bliss
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The ending of ‘Another Round’ is a great
reference for indulgence. The main character lets loose one last time.
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Baby Keem’s ‘MOSHPIT’ – while too energetic for this reference – is a perfect example of a bottle video. And the excitement when two communities celebrate together
Shotlist for Crowd/B-Roll:
- Kids playing soccer, maybe Sage joins.
- Crowd surf/lifting Sage or another man.
- Sage near people cracking open champaigne and shaking it, taking a swig in crowd.
- Strangers huddled/arms around each other, chanting, swaying together.
- Group hug with strangers...
4 - Scripted Moments + Ending
Goal: To give some story + structure to the chaos, and add ‘wow’ moments.
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*Crowd and Statue be found on Day
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Reference to ‘Fever Pitch’ (1997) ending
Where Colin Firth’s character reflects on what Arsenal meant to him, growing up around the team, through this child.
Told in two shots.
C-1:
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Ex. Narrator reveal (ECU > M) (above)
C-2:
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Ex. Long Shot of Sage in Crowd - more celebratory
’When We Were Kings’ (1996)
C - Final Shot: Lifelong fan + Crowd Zoom
C-1 - Lifelong Fan
- Featuring a old man from London, a lifelong Arsenal fan
- Start tight on the face, zoom out, while the words of James Earl Jones’ ‘Native Son’ narration play, then slowly reveal environment
- Stoic
--
C-2 - Other shot is Sage in the crowd, Zoom Out
- Start from CU and end in a W
- Sun reveals at the end (done in VFX)
- Both shots pull back at same speed for duration of final Monologue
Final Shot is an Ultra Wide of Sage amongster the a crowd, with the sun shining on him (done in VFX)
With a cut back to a face reveal of the narrator’s identity.
5 - The Next Day - Leftover Trash
Goal: To land the plane after seeing a rush of big images.
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Goal: To set up the album imagery of the effigy’s and ground in some reality
Location Preference: Temple Church in London
- Priority is the Effigy Knight Statues and a Shot of Sage Interacting with Them, before seeing the crowd
- See References Left.
This is where we introduce Sage.
- Priority is the Effigy Knight Statues and a Shot of Sage Interacting with Them, before seeing the crowd
- See References Left.
This is where we introduce Sage.
2 - Introduction
Real People, Real Crowds
- Extreme Wides and Extreme Close-Ups
Goal: Show many vignettes of real people, and establish how intense this feeling of joy and pride is.
Will continue throughout the video
Focus on:
- People with Black and Brown skin
- Joy, Celebration, Spur of the Moment
- Filled Streets
- Rich Color, specifically Reds
Examples from during and after Arsenal’s Premier League win on Tuesday, when fans rushed to Emirates and celebrated.
3 - Then, Navy Arrives to the Parade the Crowd
(References include: ‘Song to Song’ by Terrence Malick, and ‘MOSHPIT’ by Baby Keem):
- Low-angle, handheld, ultra-wide lens
- Mixture of slow motion and regular speed
- Sage to be joined by a friend (or friends) that is a noteable Arsenal fan (ex. Benji B)
Goal: Feel the energy as Sage moves thru the crowd. He goes from left to right across frame.
Sometimes interacting with the people.
Sometimes singing the song, as he travels.
Here are some examples of small moments he’d run into, and how they’d be framed:
‘Song to Song’ by Terrence Malick is a great example of real moments, interacting with passerby and extras. The camera movement also has bliss
The ending of ‘Another Round’ is a great reference for indulgence. The main character lets loose one last time.
Baby Keem’s ‘MOSHPIT’ – while too energetic for this reference – is a perfect example of a bottle video. And the excitement when two communities celebrate together
Shotlist for Crowd/B-Roll:
- Kids playing soccer, maybe Sage joins.
- Crowd surf/lifting Sage or another man.
- Sage near people cracking open champaigne and shaking it, taking a swig in crowd.
- Strangers huddled/arms around each other, chanting, swaying together.
- Group hug with strangers...
4 - Scripted Moments + Ending
Goal: To give some story + structure to the chaos, and add ‘wow’ moments.
*Crowd and Statue be found on Day
A - Match Cut
- Arsenal fan cheering matched against a statue cheering
Cast: random Passerby
Location: Islington
Lyric:
“Open palms in the calm waves”
- Arsenal fan cheering matched against a statue cheering
Cast: random Passerby
Location: Islington
Lyric:
“Open palms in the calm waves”
Reference to ‘Fever Pitch’ (1997) ending
Where Colin Firth’s character reflects on what Arsenal meant to him, growing up around the team, through this child.
Told in two shots.
B - Baby Hoist
- Sage’s Moment of Revelation
- Honor for the journey before, and hope for the road ahead
- Reference to Fever Pitch (1997) ending
Cast: Sage & a Black Baby in an Arsenal Jersey
- Slow Motion
Location: Carlotta’ Street in Islington
Lyric:
“Reflecting, let the curve bend. It resembles an arc.
Protect my only sense of brevity, as I embark.”
- Sage’s Moment of Revelation
- Honor for the journey before, and hope for the road ahead
- Reference to Fever Pitch (1997) ending
Cast: Sage & a Black Baby in an Arsenal Jersey
- Slow Motion
Location: Carlotta’ Street in Islington
Lyric:
“Reflecting, let the curve bend. It resembles an arc.
Protect my only sense of brevity, as I embark.”
C-1:
Ex. Narrator reveal (ECU > M) (above)
C-2:
Ex. Long Shot of Sage in Crowd - more celebratory
’When We Were Kings’ (1996)
C - Final Shot: Lifelong fan + Crowd Zoom
C-1 - Lifelong Fan
- Featuring a old man from London, a lifelong Arsenal fan
- Start tight on the face, zoom out, while the words of James Earl Jones’ ‘Native Son’ narration play, then slowly reveal environment
- Stoic
--
C-2 - Other shot is Sage in the crowd, Zoom Out
- Start from CU and end in a W
- Sun reveals at the end (done in VFX)
- Both shots pull back at same speed for duration of final Monologue
Final Shot is an Ultra Wide of Sage amongster the a crowd, with the sun shining on him (done in VFX)
With a cut back to a face reveal of the narrator’s identity.
5 - The Next Day - Leftover Trash
Goal: To land the plane after seeing a rush of big images.
Location Preference:
Outside of Emirates
- Priority is getting shots of the grounds after they’ve fallen
- Static handheld wides that are as still as possible
- Morning after the Parade, Monday
Outside of Emirates
- Priority is getting shots of the grounds after they’ve fallen
- Static handheld wides that are as still as possible
- Morning after the Parade, Monday
TEAM
NIC BOOZANG
DIRECTOR
A producer/director based in NYC.
As a producer, he’s executed campaigns with brands such as Prada, Stone Island, Hermes, Gucci, Tom Ford Beauty, Salvatore Ferragamo; and worked with artists such as Yorgos Lanthimos, Mert Alas and Marcus Piggott, Ferdinando Verderi, and Drew Vickers, among others.
And as a director / editor, he’s made work for Moncler, Prada, Carhartt WIP, Creature World, Nike NYC, and Jenkem Magazine.
His docu-style, surreal approach has been featured in The New York Times, FADER, Remezcla, and Pitchfork.
Featured directing work:
DIRECTOR
A producer/director based in NYC.
As a producer, he’s executed campaigns with brands such as Prada, Stone Island, Hermes, Gucci, Tom Ford Beauty, Salvatore Ferragamo; and worked with artists such as Yorgos Lanthimos, Mert Alas and Marcus Piggott, Ferdinando Verderi, and Drew Vickers, among others.
And as a director / editor, he’s made work for Moncler, Prada, Carhartt WIP, Creature World, Nike NYC, and Jenkem Magazine.
His docu-style, surreal approach has been featured in The New York Times, FADER, Remezcla, and Pitchfork.
Featured directing work:
GEORGE BEATTIE
CINEMATOGRAPHER
George is a London-based DP who has worked with Sage before on ‘God’s Kingdom’ video in Scotland.
Clients: AMI Paris, Adidas, British Vogue, Byredo, Dazed, Ffern, Louis Vuitton, L’Occitane, Nike, Parnell Mooney, Puma, Re-Edition, Stone Island, Spotify, Lululemon
Collaborators: Christopher Anderson, Alex Leese, Lara Angelil, Dave Lane, Jack Davison, David Black, Uncanny, Tais Sirote, Alex Webb, Aidan Zamiri, Ben Ditto, Samuel Bradley, Lewis Levi, Elena Heatherwick, Angus Dunsire, Oscar Foster-Kane
Selected credits:
- Navy Blue - ‘God's Kingdom‘
- Nike - After Hours Dark Tour
Featured Cinematography work:![]()
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CINEMATOGRAPHER
George is a London-based DP who has worked with Sage before on ‘God’s Kingdom’ video in Scotland.
Clients: AMI Paris, Adidas, British Vogue, Byredo, Dazed, Ffern, Louis Vuitton, L’Occitane, Nike, Parnell Mooney, Puma, Re-Edition, Stone Island, Spotify, Lululemon
Collaborators: Christopher Anderson, Alex Leese, Lara Angelil, Dave Lane, Jack Davison, David Black, Uncanny, Tais Sirote, Alex Webb, Aidan Zamiri, Ben Ditto, Samuel Bradley, Lewis Levi, Elena Heatherwick, Angus Dunsire, Oscar Foster-Kane
Selected credits:
- Navy Blue - ‘God's Kingdom‘
- Nike - After Hours Dark Tour
Featured Cinematography work:
Thank you for your time.