PROJECT Wheat
It’s funny. In film school I always felt like I stood out for the wrong reasons. All of my peers were focused on character arcs and when the resolution occurred in the plot’s timeline. Meanwhile I was filming sports, trying to make the viewers’ palms sweaty… I was chasing a feeling.
That’s not to say that inherent (and massively important) storytelling mechanics should be cast at the wayside, however this story, isn’t an overly complex one. It’s not a Christopher Nolan film in reverse.
It’s a bite of life. The warmth of memories dusted with the greatness of the Fairfield once born of nature.
It’s a feeling.
And that feeling is the story I want to explore.
If you wanted a little background ambience as you read through, feel free to click THIS SPOTIFY LINK.
While there isn’t a singular song in here that I’d say perfectly captures Project Wheat, I’m hoping the playlist as a whole serves as a palette of tonal representation.
THIS PROJECT Is Special
I meant it when I said this on our briefing call but I genuinely couldn’t be much more excited about a project. All of the personal work that I shoot on my own time outside of the commercial sphere has immense overlap with this script.
It’s not every day that you’re presented with, in my opinion, the core essence of being human, and then asked to weave it into this medium; poetically no less. Even just by describing how I interpreted your script sounds pretty amazing as I read it back.
While there are so many attractive dimensions I’d love to get lost in I want to never stray from the task at hand: we are representing arguably the most personal brand of Marriott International.
JW and Alice’s spirit — their love, vigour, and warmth — deserve to be honoured. We need to do all of this in a big yet sensitive way that pays homage as we near Marriott’s centennial, setting a bountiful path of prosperity with our visual acquisitions.
BREAKDOWN
The waking song of birds’ floats along a breeze. Crickets or frogs add a quiet drone. A summer lull.
We came for the fresh air.
A river gently begins to emerge in our soundscape.
For the open space…
The river suddenly grows to a roar.
A large whoosh pulls us from the river until a rich blanket of wings or the thunderous gallop of a horse eclipses our soundscape.
The rush of sound snaps back to silence.
An escape from the hustle.
A rising airy sound underscores the sequence, pointing to its place in time.
The riser continues growing until it sharply drops out, bringing us back to the here and now.
Quiet stillness once again with a warm buzz as the world wakes. Music softly begins to sweep in from underneath. A warm rumble begins to grow.
We welcomed our family…
The fire continues to crackle filling the room with a warm ambience.
Our music continues to sweep inward. Not fighting, but intertwining.
A delicate breeze arrives.
The soft creak of the farmhouse doors opening.
Our friends…
Light footsteps echo from up the staircase.
A deeper creaking is heard. This time from down the hallway.
Inviting kitchen sounds immediately surround us. The monotonous charm of a pot boiling. Something sizzles upon the stove. A knife patters against a cutting board bringing a nostalgic rhythm to the moment.
The letter flutters open, A whisper so barely heard reads the note. If anything, only the kind breath of the speaker can be felt.
Then so many more…
We start to hear voices from outside. The clatter of porcelain and glasses clinking as they’re placed on the table. The murmur of those arriving continues to grow as more and more people show.
Another one of our subliminal risers percolates upward from underneath until it releases us into a breath of calm.
We came for the fresh air.
Birds chirp in the distance.
we created something bigger…
Traffic sounds can be heard in a muffled hum.
Dining ambience brings a cheerful tone as walla of an international language hovers into our audio.
Everyone laughs sweetly as the child mutters under their breath.
The jumping sounds are dampened softly by the weight of the cozy bedding. The child giggles.
Pigeon wings flutter in unison as a church bell rings out over the plaza.
Calming nature ambience sustains. Perhaps a distant dog barking or a horse’s trot exists quietly. Bird songs float upon the light wind. The wind grows slightly to…
A bus passing by. A laugh from our photographer as they go to snap the shot. Suddenly a rising noise overtakes all other ambience leaving nothing but the faintest of whistles and a delicate breeze.
TO SHARE WITH YOU.
Despite being on the outside of the car, what we hear is that muffled interior audio. The one that put us to sleep when we were young.
SCRIPT
A man’s hand lays upon the heart of his woven shirt. Long locks of hair rest between blades of grass.
Fairfield Farm, Hume, VA
His eyes look over with a question. Her eyes are shut. Swiftly, but softly, she lifts her gaze to his. It’s an answer. Their heads come together in embrace before a snap of light rips us away.
Rapids crash as whitecaps in a show of force. Trees bend overhead as we move past, tipping backwards to stare from below. A flock of birds take flight. Their proximity to one another abstracted by the long lens turning their flight into a speckled pattern of fleeting movements. Or perhaps the gallop of a horse’s legs stampedes through our frame.
A hand reaches outward into frame. Her hand reaches out to grab it and just as the fingers make contact…… we flip through an ethereal, dreamlike sequence of quick emotional beats: they playfully roll in the grass, Alice smiles and laughs, a hand reaches out to the bark of a tree, as another hand presses through the grass, they run through the field hand-in-hand.
JW and Alice are seen walking towards the farmhouse from a high, wide angle frame. Something that exposes the countryside giving us our first real look at Hume.
A fire crackles sending a burst of embers into a beautiful bokeh of sparks. A boy leans his head against his mothers’s neck. He’s falling asleep. Mom picks a brownie crumb from off of her shirt. We see the daughter, also asleep, on the other side. Alice places a stack of blankets to the edge of the sofa. The mom silently lips, “Thank you” with a smile. We see the plate of brownies with the family behind. One has been ripped in half. Meant to be shared.
A curtain gently moves in the breeze. Sunlight pours in against the ground. Out front, a couple arrives at the farmhouse. JW welcomes them. Suddenly a linen bedsheet ripples and billows in a wave, filling our frame with undulations of texture. We’re focused on the handrail of the foyer as JW and the couple ascend the staircase in the background. We can feel the history in the rail’s woodgrain. Many have felt the warmth of the farmhouse before. Looking through a slightly ajar door, we see Alice placing a note on the guest room pillow. Shadows move beneath the door along the floor’s weathered surface. Close up on the note. It’s folded and simply reads, “Welcome” on the front.
Fresh produce is chopped upon a wooden cutting board, a kid runs with bread, another gingerly follows behind with a stack of plates. The couple, back in the room, lift the note up to read. Hands position silverware on the table as bodies move in the background. In a tight close up, the couple opens the letter to read,
‘We are so pleased that you are joining us. - JW & Alice’
JW walks past camera with a chair. From a shot inside of the house looking out the front door we see JW exit with the chair heading towards a long table. A few people are still placing the table while kids run around. More people are entering frame from the side while a couple laugh, already sat eagerly waiting. Our moments feel busy and vibrant as guests take seats, greeting one another. Alice looks proudly out the farmhouse door at the crowd gathering together. She opens the door…
Match cut to the same action of a different woman entering a modern Fairfield location. She looks as though she may be travelling for business.
Close-up of eyes opening in the gentle morning light.
Feet hit the floor. Sunlight pools next to them.
A disheveled yet cozy bed.
The curtains are pulled back as NYC’s inimitable urban texture becomes visible.
Food from a target international destination covers the table. We foreground the shot with some soft flora accents. A menu written in the local dialect is gently placed to the side.
A hand lays motionless upon a book. Dappled sunlight dances upon their hand. Someone must have dozed off.
An associate, with one knee on the ground, hands over a stack of pillows. A young child turns as the pillows go crashing down. The parents and associate laugh.
Small feet jump up and down on the bed. The legs of parents patiently remain close by.
Birds scatter as our talent looks around in awe at the magnificent buildings around them. The camera orbits in a sense of wonder.
The hand of an associate places a card against a fluffed pillow. On the front it reads, “Welcome”
We cut from an architecturally driven shot, highlighting design, to a captivating landscape scene; bridging the two worlds.
A tourist goes to take a photo. The moment flashes in a brilliance of light and is suspended on a closeup of long hair slowly billowing in the wind.
We see the back of a head. The sun sets in the distance. She begins to turn when we suddenly cut to JW. He smiles. We cut back, Alice returns the look. It’s a look of comfort as though she knows what the future holds.
We cut straight to a Marriott sign reflected in the window of a car. Our frame is slightly distorted adding a feathered sense of warm mystery. The focus racks from the sign as we see a young girl looking out; her eyes wide.
WHAT WE SEE
WHAT WE HEAR
APPROACH
While my approach will continue to unfurl the further into this treatment we go, I can say succinctly that we are looking to weave a tapestry of moments to capture the right energy. However this shouldn’t play as some ‘90s montage of getting ready to help set the stage or quickly pass time. This is careful, considered connection we’re talking about.
Seemingly benign actions, shot with a curated sensitivity bring an emotive understanding to our primary storyline. The textured inclusion of everything in between our plot points gives rise to something new and different — something greater than the sum of its parts.
In tying moments together and finding fluidity in this cross hatch, jumping from past to present and inadvertently even nodding ahead with various editing techniques, we’ll pay respect to JW and Alice and the way of living that became both tradition and legacy. The tradition and legacy that’s now felt by all of those who stay with the Fairfield brand.
‘FROM A TAPESTRY OF MOMENTS’
CASTING
I’m completely aligned with the desire to move away from a catalogue aesthetic and into something more editorial. We want faces that draw us in; people we recognize throughout the film’s undulating timeline and remember long after it ends. Faces with stories.
Rather than prescribing exactly who that is now, I’d prefer we cast a wide net, exploring a diverse range of non-union talent before refining our selection to a group that feels intriguing, authentic, and dynamic. While dialogue may not be the focus, self-tapes remain invaluable in understanding subtle performance qualities and screen presence.
I’d offer prompts that allow for expressive performances without the need for dialogue or pure action such as, “You’re decorating a Christmas tree.” Instead, we should prompt them emotionally for still moments we can study. Moments like, “You’re at the altar watching your beloved walk towards you / you see your beloved standing at the altar as you walk closer and closer”. Prompts like these ask that the performance is carried out through the eyes — and the eyes are the most honest way to tell a story. From there, we can work together to find talent that succeeds both creatively and from a brand perspective.
Within the story itself, I’d like to see a broad mix of people represented to surround JW and Alice with; creating a world that feels welcoming, relatable, and reflective of the audiences Fairfield serves. That variety also helps reinforce the sense of growth throughout the film, ensuring each location feels populated by its own community rather than recycling familiar faces.
As for JW and Alice’s place in the film, it’s my belief that they should remain exclusively at the farmhouse. Keeping them rooted to this singular location reinforces Marriott’s origin story while helping establish a subtle but clear distinction between timelines.
CINEMATOGRAPHY
Cinematography is one of the film’s most important storytelling tools. Beyond capturing events, it should guide us through memory, place, emotion, and time.
A visual technique I’m particularly excited about is the use of practical in-camera distortions through glass, prisms, and other optical elements. Not in a gimmicky way, but as a subtle warping of reality that introduces organic light leaks, gentle bends in the frame, and an ethereal quality. It elevates everyday moments beyond observation turning them into something more expressive; something more interpretive. By doing so we engage the audience to feel the moment rather than simply watch it.
This approach becomes especially valuable when we're challenged to make familiar subjects feel fresh. Whether it’s the orange juice machine at Stony Creek or the Marriott sign at the film’s conclusion, these techniques push a visual intrigue into the subject. Imagine the sign captured through a car reflection, softened by this optical style, before a rack focus reveals a child’s gleaming eyes beyond it. The bending of light here offers a new way to visualize signage as we tie emotion to it with an orchestrated choreography.
Visually, I want the film to live in a space of warmth and brightness. Sun-soaked, inviting, and full of intentional light. One thing that stood out in your creative was a strong consideration of both light and shadow, and I’d love to continue that thinking throughout the film. Not being scared to add that slash of light in the background or a pooled sunbeam on the bed helps tell us where to look with contrast among the imagery. As well, this style of lighting works wonders if we’d like to push the aesthetic towards more of a film look in the end — which would be my recommendation for a strong sense of timelessness across.
Compositionally, I’m drawn to negative space and anti-framing techniques that allow moments room to breathe. Equally important is a variety in shot scale. We begin intimately: dew on a blade of grass, the texture of the farmhouse table, a hand on a cheek, water rippling across a stream. As the story grows, so too does the frame. Close-ups give way to rolling hills, sweeping vistas, and elevated perspectives. The resulting evolution of scale reflects the growth of JW and Alice’s vision.
…WE emotionally engage’
‘by elevating the everyday...
‘WARM TEXTURES AND THAT LIVED-IN FEEL’
PRODUCTION DESIGN
A critical component of our world is in the art seen in front of camera. Warm textures that bring about a cozy lived-in feel will be key to blanketing (pun intended) the film with that soft touch. Let’s look at sunlit sheers, woven throws, linen cloths, accent pillows, and comfortable wardrobe to bring that tactile component.
Our palette should be cognizant of Fairfield’s brand identity while offering variety within. Analogous blues are encouraged so we have a sense of depth across the color that’s complementary to skin tones. Additionally I’d like to expand from blues and greys by incorporating elements of earth tones. Creams, sage greens, and terracotta hues imbue a pleasant combination that continues our nod in connecting Fairfield to nature; a subliminal breath of fresh air in every frame.
Beyond the textures and colors, I’m adamant that our choices feel reflective of Fairfield’s brand and will work closely with the production designer in order to ensure that we’re putting ample thought into this so we can smoothly find alignment.
FOOD & BEVERAGE
While the farm table can be more loosely curated with crumbs around a baguette, Stony Creek should reflect the similar warmth but with more accurate dining wear, plating, and so on.
To execute this I imagine us juxtaposing the natural farmhouse setting directly with Stony Creek’s offerings. That way we can capture plainly the ingredients and dishes in a more raw way at the farmhouse - like an egg sizzling over a skillet in the morning light. We then would cut to a stylized frame of scrambled eggs and sausage atop a plate in Stony Creek. By intercutting the two timelines here we bring the authenticity and ‘homemade’ feel without saying anything too directly.
Another important thing I want to highlight is the fact that these are not just quick moments to cross off of our checklist. These are key aspects that need a considered approach so the experience is present. To do this I want to employ specific cinematography choices depending on the shot. For instance, fresh oranges are plucked from a tree or sliced into halves on a wooden cutting board and then we see our orange juice cascade into an empty glass in slow motion. The choice of employing slow motion here is so that we punctuate the moment as an answer so our viewer can feel the richness of its flavour. Similarly when we spread jam on toast, this isn’t a lacklustre moment to be captured like a documentary. Rather I want the knife to glint in a beam of sunlight, flaring the camera momentarily as the vibrant hue of marmalade is spread across the bread’s surface.
Lastly, and this is another point to be made later regarding international locations, but let’s continue discussing the capture of the breakfast spread that’s committed to another region. Whether it be Japan or Chile, I see us prepping a bespoke tabletop moment that features a menu or greeting card in the native tongue of our target location, indicative flora as decor, and unique and singular breakfast items that may be found on offer. Shooting on a long lens, we’ll bring the same style of cinematography in but dress it in a way that immerses our viewer in the global reach of the Fairfield brand; letting them know that no matter where they are, Fairfield is there too.
While every element of this treatment matters, the edit is where the film truly comes to life. Production gives us a collection of moments, emotions, and details; the edit is what shapes them into something meaningful. It’s where rhythm, flow, and narrative intention converge.
I want the edit to feel fluid and purposeful. No shot should overstay its welcome, but equally, there’s no interest in cutting purely for pace. Every moment should be held just long enough to be felt before carrying us forward. The fragile balance between contemplative passages and more energetic sequences will be critical, ensuring the film always feels like it’s progressing — even if we’re looking backwards..
One technique I’m keen to employ is step-printing. Unlike traditional slow motion, it introduces subtle stutters in time, creating a dreamlike disruption that blurs the line between past and present. Used sparingly at key transitions and within the climax, it allows us to question whether we’re witnessing memories, imagined futures, or something in between.
The edit also gives us the opportunity to create visual connections that reinforce the film’s themes without ever stating them outright. The texture of tree bark cutting to the grain of a farmhouse table, or the movement of water transitioning into the veining of a stone surface. These associations quietly connect nature, heritage, craftsmanship, and place, helping us move freely between moments and timelines while maintaining a clear sense of direction. Many of these connectors can start to be found early in pre-pro as locations are scouted.
EDIT
MUSIC
Music will be one of the primary drivers of tone throughout the film.
There’s something inherently grand about this story. Whether it’s the legacy of JW and Alice, the scale of their vision, or simply the emotional weight carried through generations, my mind immediately gravitates toward cinematic scores rather than contemporary commercial music. This isn’t a film that wants a trendy beat drop. It wants soul.
I’m drawn toward rich ambience that carries a sense of pleasant melancholy. Music that feels emotive without becoming too sentimental or overtly emotionally-charged. Reflective without becoming heavy.
If you’ve been listening along to the playlist linked before then you’re probably getting a sense of some of these sonic ideas. Granted, some of what’s found in there carries a slightly more sombre tone than I’d like. There should always be a thread of hope running through this film — an uplifting quality that quietly reassures us we’re heading somewhere meaningful.
The opening would emerge organically from the natural soundscape. The music shouldn’t arrive and suddenly demand attention. Instead, it should grow out of the environment itself, weaving into the sounds of nature before gradually lifting us toward the film’s emotional peak. At that climactic moment I envision the music having swelled to the top — not swallowing the sound design, but certainly lifting the experience to another level.
Then, as we move beyond that peak, we need to feel a sense of resolve. This story may not have a clear villain or oppressive force to overcome, but it still deserves that sense of resolution. We want the audience to feel the answer even if before they fully understand it.
‘IT NEEDS SOUL —
— AND RESOLVE’
SOUND DESIGN
If cinematography is what the audience sees then sound design is what they feel.
Someone once told me if a horror movie ever becomes too frightening, simply mute it. Suddenly, fear is stripped of its power. Sound has an extraordinary ability to shape emotion, often without us even noticing it. For this reason, sound design should play a significant role in bringing this world to life.
The film should begin with a sense of serenity. Natural ambience like crickets gently chirping in unison, a cow’s moo warped by the distance of rolling hills between, or the trickle of time as we hear the moving waters of a nearby creek. These subtle environmental details give way to a feeling of calmness. This mirrors the origins of JW and Alice’s vision — a simple, grounded beginning from which everything else grows. Starting from this place also gives us something we need: contrast.
As the story expands, so too should the soundscape. Layers can gradually build beneath the surface. Even sounds that may not exist literally within the scene can be included to help deepen its emotional impact. These additions should never feel obvious however. The audience shouldn’t consciously notice them. Their job is to quietly pull viewers deeper into the experience.
Sound also becomes incredibly valuable in our international moments. It’s quite likely that we can only dedicate a handful of shots to this broader representation. It’s this very reason that where a single frame can suggest location visually, sound is what makes it understood: a church bell ringing across a European square. Pigeons scattering through a plaza. The distant murmur of another language. A local instrument drifting through the streets.
These details immediately transport us. They provide context, scale, and authenticity, helping the audience feel the place rather than hoping they quickly recognize architectural cues.
BEYOND THE FILM
While the vast majority of this treatment is dedicated to the hero film, I want to make sure we touch on the additional assets and cutdowns required beyond.
For that reason, I see a double benefit here for intending to capture everything in a 4:3 aspect ratio. While it would be fun to shoot this in cinemascope like a good ol’ Spaghetti Western, the truth is, 4:3 is just right. Not only is there an inherent nostalgia to it that reflects our nod to legacy, but it leaves us with a much more dynamic frame to work with across different exhibitions. Be it via socials on your phone, the iPad at check-in, or web banners, our crop ability is much cleaner from a frame that’s closer to a square; meaning everything we shoot has a higher chance of retaining a strong graphical aesthetic no matter the end format.
In terms of the approach here, this is something I know firsthand. Having been hired before as a socials director for a McDonald’s production, a socials shooter for a celebrity Nivea spot, and a specialty shooter for a massive Walmart campaign, I know the value in both quality and quantity.
Making sure we approach the shoot with an independent shot list of additional moments is critical. This is something that we keep in our back pocket, as truthfully, opportunities arise outside of the scheduled windows we’ll commit and we need to be ready. Ready for that slash of light on the floor when the sun pokes out or ready for that bird that’s returned to her nest. These moments are all around and I want them to be a constant consideration for us.
As a stylistic reference — and I’m sure you know these names already — I’d love to aim to envision many of these moments as moving postcards similar this style:
VIRGINIA
(AND ONE THOUSAND SEVEN HUNDRED AND NINETY NINE OTHERS)
The international component presents an exciting opportunity to broaden the scale of the story while remaining efficient and intentional. As much as I’d love to direct Marriott’s first Bond film - and please let me know if the opportunity to pitch on that ever comes up - this approach keeps us grounded in what delivers the most value on screen.
Rather than manufacturing global reach through VFX, stock footage, or AI, my preference is to capture it authentically. Real locations bring a level of production value, ownership, and credibility that’s difficult to replicate. More importantly, Marriott retains a unique library of assets that belong entirely to them so that we’re not licensing footage available to a myriad of other brands.
Following principal photography, I see an opportunity for a minimal crew extension involving the cinematographer and myself. One option would take us from VA to New York City, leveraging a Fairfield location overlooking Midtown Manhattan. This offers immediate visual recognition and access to arguably one of the most iconic urban skylines in the world.
Alternatively, we could head west to Zion National Park. The landscape feels almost otherworldly, providing a dramatic contrast to properties around the world. It offers a sense of scale, wonder, and adventure that broadens the visual language of the piece.
Beyond the United States, but still thinking lean, I also see value in capturing select European moments. For myself, now based in London, most cities here in Europe can be reached round-trip for approximately $250 USD or less.
Copenhagen’s Fairfield location situated in their Århusgadekvarteret district — say that ten times qui… ok anyways! — potentially offers the most distinctive European setting of any Fairfield location. Alternatively, and provided we’re okay basing this off of Marriott and not specifically a Fairfield location, Budapest would provide perhaps the single most unique skyline in the world. I have ideas and preferences but would look to you for help in navigating the value here because with a single day of shooting could come a catalogue of additional assets.
If we did want to expand continentally, we have direct lines of contacts to trusted cinematographers based in both Tokyo and Seoul — the latter of which I just worked with some months ago on a skincare campaign — if we wanted to capture the essence of either locale with a vetted filmmaker.
Ultimately, these moments don’t need extensive screen time. In fact, their power may lie in their brevity. Small glimpses that suggest a much larger world beyond the frame. By investing in genuine locations rather than manufacturing them digitally, we create imagery that feels authentic, memorable, and impossible to mistake for anything else and allows for a notable expansion in the assets for a relatively fractional portion of the budget.
THANK YOU
Unless I’ve poorly captured my tone above, I am quite excited by this project. The poetry of life — ethereal moments of human connection, our place in nature, and the experiences grounded in the walls of living; whether that be our home or one we find along the way.
I mean, come on!
And while I believe in every idea of this treatment, please note that nothing has to be set in stone. All aspects are up for discussion as I am a proponent of collaboration so that we can best shape this towards a harmonious balance together.
Looking forward to looking back with you,
Brock
