TO Whom it may concern
A NOTE FROM THE FILMMAKER...
Like the characters in my film, I am not a native of Los Angeles, but this city has become my home in recent years. Its interplay between captivating allure and raw, painful reality continues to intrigue me, making it the perfect canvas for an introspective, character-driven dramedy. The film follows two women in their forties walking various neighborhoods in L.A while engaged in revealing conversations between themselves and with others. It’s a heartfelt and often funny exploration of adulthood, connection, time and friendship as well as a tribute to the city’s own intricate and complex character.
‘To Whom It May Concern’ draws inspiration from childhood friendships of my own that have weathered the storms of time, circumstance, history and adversity. The story also tackles grief and aging, themes that became real to me through a personal loss as I entered my forties - a time when I had hoped to have everything neatly figured out. Instead, parenthood, financial stability and career success remained elusive. Yet this painful time also brimmed with stories, observations, unanswered questions and possibilities, ultimately giving birth to my screenplay.
I want to direct a film that exudes raw, cinematic beauty and embraces its narrative drift while remaining firmly rooted in character. Candid and refreshing dialogue will be the vessel through which I explore timely and challenging themes. My filmic inspirations are 'Tangerine,' which charms with its immediacy and vivid portrayal of real locations in L.A., 'The Bicycle Thief,' a classic walk-and-talk that delves into socio-economic themes, and the 'Before' series, particularly 'Before Sunset' for its mature and introspective dialogue - often captured in long, uninterrupted shots. All these films create a cinematic experience that encourages self-examination in its audience.
Creativity combined with Practicality is paramount.
I intend to shoot during a city lull, potentially over a holiday season, to grant us greater freedom while filming on the streets of our urban setting. Shooting scenes in chronological order whenever possible will support actors’ performances and align with the script's timeline, while serving as a way to allow for script adjustments as creative revelations unfold during production. A skeleton crew will ensure nimbleness and an intimate, immersive atmosphere on set, as well as allow us to navigate the streets of Los Angeles in such a way that both scripted and real-life moments can be captured, ensuring the city itself is a character in the film. Think 'Dog Day Afternoon' establishing New York in its opening sequence. This streamlined approach extends to equipment and logistics - prioritizing natural light over big lighting setups, utilizing location holding instead of trucks, eliminating the video village in favor of a hands-on approach with actors and employing a dedicated team rooted in the community.
I will work closely with my Director of Photography and Assistant Director to craft a schedule designed around optimal natural light and working with minimal gear. Filmmakers like Richard Linklater (Before Sunrise), Sean Baker (Florida Project), and Jean-Marc Vallée (Dallas Buyers Club), known for their minimalist approaches with handheld cameras and/or Steadicam, are able to achieve 360-degree shots, do longer takes, get stronger performances, and integrate seamlessly with their environments. The Production Designer and I will work with existing locations, enhancing them as needed to match the script's vision. The Script Coordinator and myself will ensure narrative continuity and work closely with makeup and hair, which will be minimal yet essential for maintaining continuity and achieving a naturalistic look. Think ‘Frances Ha’ and ‘Before Sunrise’.
While a few well-chosen needle drops play a role in my script, they remain predominantly obscure or easily interchangeable. The film is quiet, and music is only woven into the script to grant the characters and the world around them an additional layer. Most important in a character-driven film is cast. I will cast actors with a proven track record for commanding an entire piece. Theatre actors who also work in film and television are excellent options, as talent and gravitas should take precedence over celebrity status. My strategy is to identify rising talents, poised to become stars, and could potentially make draw attention to the film without distracting from the story.
I love collaborating with actors and am accomplished at getting great performances. I intend to engage in script workshops to garner cast input ahead of our prep and rehearsals, refining emotional beats and narrative arcs. Drawing inspiration from the Dardenne brothers, I’ll want to conduct rehearsals on location, record them, and utilize the insights gained to inform blocking and execute scenes in long, almost documentary-like takes.
In crafting this deck and seeking representative films and photographs with which to illustrate my vision, I've come to realize a glaring void in the industry: adult women remain vastly underrepresented as leading characters and even more-so as filmmakers, and finding stories of friendship among grown women – let alone ones that bridges racial lines - is virtually impossible. The landscape is dominated by narratives that are overly high-concept and predominantly driven by younger, often white male protagonists. There are a lot of dudes. Also, few films dare to venture into the terrain of life's quieter, more relatable scenarios and explore the challenges that resonate with most of us.
Simonee Chichester
Like the characters in my film, I am not a native of Los Angeles, but this city has become my home in recent years. Its interplay between captivating allure and raw, painful reality continues to intrigue me, making it the perfect canvas for an introspective, character-driven dramedy. The film follows two women in their forties walking various neighborhoods in L.A while engaged in revealing conversations between themselves and with others. It’s a heartfelt and often funny exploration of adulthood, connection, time and friendship as well as a tribute to the city’s own intricate and complex character.
‘To Whom It May Concern’ draws inspiration from childhood friendships of my own that have weathered the storms of time, circumstance, history and adversity. The story also tackles grief and aging, themes that became real to me through a personal loss as I entered my forties - a time when I had hoped to have everything neatly figured out. Instead, parenthood, financial stability and career success remained elusive. Yet this painful time also brimmed with stories, observations, unanswered questions and possibilities, ultimately giving birth to my screenplay.
I want to direct a film that exudes raw, cinematic beauty and embraces its narrative drift while remaining firmly rooted in character. Candid and refreshing dialogue will be the vessel through which I explore timely and challenging themes. My filmic inspirations are 'Tangerine,' which charms with its immediacy and vivid portrayal of real locations in L.A., 'The Bicycle Thief,' a classic walk-and-talk that delves into socio-economic themes, and the 'Before' series, particularly 'Before Sunset' for its mature and introspective dialogue - often captured in long, uninterrupted shots. All these films create a cinematic experience that encourages self-examination in its audience.
Creativity combined with Practicality is paramount.
I intend to shoot during a city lull, potentially over a holiday season, to grant us greater freedom while filming on the streets of our urban setting. Shooting scenes in chronological order whenever possible will support actors’ performances and align with the script's timeline, while serving as a way to allow for script adjustments as creative revelations unfold during production. A skeleton crew will ensure nimbleness and an intimate, immersive atmosphere on set, as well as allow us to navigate the streets of Los Angeles in such a way that both scripted and real-life moments can be captured, ensuring the city itself is a character in the film. Think 'Dog Day Afternoon' establishing New York in its opening sequence. This streamlined approach extends to equipment and logistics - prioritizing natural light over big lighting setups, utilizing location holding instead of trucks, eliminating the video village in favor of a hands-on approach with actors and employing a dedicated team rooted in the community.
I will work closely with my Director of Photography and Assistant Director to craft a schedule designed around optimal natural light and working with minimal gear. Filmmakers like Richard Linklater (Before Sunrise), Sean Baker (Florida Project), and Jean-Marc Vallée (Dallas Buyers Club), known for their minimalist approaches with handheld cameras and/or Steadicam, are able to achieve 360-degree shots, do longer takes, get stronger performances, and integrate seamlessly with their environments. The Production Designer and I will work with existing locations, enhancing them as needed to match the script's vision. The Script Coordinator and myself will ensure narrative continuity and work closely with makeup and hair, which will be minimal yet essential for maintaining continuity and achieving a naturalistic look. Think ‘Frances Ha’ and ‘Before Sunrise’.
While a few well-chosen needle drops play a role in my script, they remain predominantly obscure or easily interchangeable. The film is quiet, and music is only woven into the script to grant the characters and the world around them an additional layer. Most important in a character-driven film is cast. I will cast actors with a proven track record for commanding an entire piece. Theatre actors who also work in film and television are excellent options, as talent and gravitas should take precedence over celebrity status. My strategy is to identify rising talents, poised to become stars, and could potentially make draw attention to the film without distracting from the story.
I love collaborating with actors and am accomplished at getting great performances. I intend to engage in script workshops to garner cast input ahead of our prep and rehearsals, refining emotional beats and narrative arcs. Drawing inspiration from the Dardenne brothers, I’ll want to conduct rehearsals on location, record them, and utilize the insights gained to inform blocking and execute scenes in long, almost documentary-like takes.
In crafting this deck and seeking representative films and photographs with which to illustrate my vision, I've come to realize a glaring void in the industry: adult women remain vastly underrepresented as leading characters and even more-so as filmmakers, and finding stories of friendship among grown women – let alone ones that bridges racial lines - is virtually impossible. The landscape is dominated by narratives that are overly high-concept and predominantly driven by younger, often white male protagonists. There are a lot of dudes. Also, few films dare to venture into the terrain of life's quieter, more relatable scenarios and explore the challenges that resonate with most of us.
Simonee Chichester
