WHO SHOULD PAY
TREATMENT BY
DYLAN MARANDA
and
WILD GIFT
It’s so lovely to be back in touch
I’m really excited to dive into these ideas with you. I also want to take a moment to say that the Union Dads project we made together has been a highlight of my career, and your collaborative approach to the filmmaking process was a huge part of that — it hasn’t gone unnoticed.
As you know with me, everything’s up for discussion. If an idea or plan of attack doesn’t feel quite right here, let’s talk it through when we connect again.
All that said— let’s dive in…
You’ve got a really effective idea here.
One that I think will stick with people while walking that bi-partisan line. The message will cut through the noise, but what will make it truly land comes down to one word:
EMPATHY
We need to feel for the people on screen — to build an emotional connection with them. The quickest way to get there is through story.
My approach is to weave in small moments of storytelling alongside the letter reads, so that a connection forms quickly. By the time we reach the emotional gut punch of their reaction to the “Who pays for this?” question, we’ll already be invested — because we’ll know more about who they are as people.
Combine that with a distinct visual approach that immediately sets us apart from the vanilla “speaking-to-camera” talking head — and I think we’ll have another special project on our hands.
Let’s dive into how we do that.
😎✨🎬
Think with me a moment...
What would be the one or two objects you would grab from your house if it were in the line of a wildfire?
What are some precious things that might be denied any insurance coverage?
What are those priceless things you would be devastated to lose?
What would be the one or two objects you would grab from your house if it were in the line of a wildfire?
What are some precious things that might be denied any insurance coverage?
What are those priceless things you would be devastated to lose?
We really only have two defined sections of dialogue:
The reading of the letter, and the answers to the question of “Who should pay?”
That structure is powerful on its own, but it doesn’t leave much room to explore the backstory of our subjects. This is where objects come into play.
Family albums, heirlooms, keepsakes, sentimental belongings — I want to show these on screen as our subjects read their letters. Beyond the loss of coverage and the rising cost of insurance, we need to see what these people stand to lose, or may have already lost.
Little things like this reveal a lot about a person without them having to say it outright. I’d love for our subjects to bring these objects to the shoot, or to bring photos that show the homes and memories they’ve lost — or are at risk of losing.
The Leica that I bought with my first directing cheque.
The cards from the first year of my relationship with Andrea.
The fountain pen my brother gave me after graduating.
The cards from the first year of my relationship with Andrea.
The fountain pen my brother gave me after graduating.
I’m glad we’re on the same page after our call. We need to cast across perspectives, political backgrounds, and walks of life.
The effects of climate change touch everyone, and our cast should reflect that.
When it comes to “asking the question” as part of the casting process, I think there are ways we can lead through callbacks without asking it explicitly — approaches that will still give us a sense of where they might go on the day. For example:
Do you feel like this letter is fair? Why or why not?
Who do you think is most responsible for the situation you’re in right now?
When you think about this letter, who comes to mind as being at fault?
Who do you feel has the power to fix this problem but isn’t?
If you could sit across from the people who set these rates, what would you say to them?
Questions like these give our potential cast the chance to speak their mind and share their perspective in a non-judgmental way, while giving us valuable insight into who they are. That will allow us to think broadly and intentionally as we build the ensemble.
I’ll speak to next steps in a later section, but it goes without saying: casting has the potential to make or break this film.
I can’t wait to dig in with you and start helping as soon as possible.
💫