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Here’s an example of a real director’s Treatment for Colgate by Beast Agency London

DIRECTOR’S TREATMENT | BEAST

 

SUBCULTURE STORIES

CLARKS IN JAMAICA: The Rebel Shoe

 

What is the main Question that the documentary tries to answer?

Why are Clarks so popular in Jamaica?

 

TITLE: Clarks and Jamaica, the extraordinary love affair. (We will work on a series of Titles that can be seeded through the documentary.)

 

We will break down the story of Clarks in Jamaica as outlined in the book – but we will be looking for a conclusion that transcends anything that can be explained purely by historical events. We will be looking for a more poetic and thought provoking conclusion.

 

Motif

Everyonein Jamaica wears (loves) Clarks. Visually we really need to go to town with this and shoot every conceivable angle and situation where people wear Clarks – it’s an anomaly. We have to turn the camera through 360 degrees and see everyone is wearing them…

 

Theme

BOLD and COLOURFUL – Two words that resonate effortlessly across Jamaican style and the Clarks brand.  Bold and Colourful needs to be a theme that pulls all aspects of our film together. In the locations we film, the people we meet and the look of the film. This theme will come alive in an end product that is bursting with colour, graphics and style.

 

Shoe

The shoe itself is the focal point of all of this so we need to elevate it to hero status through the visuals that we included. Not just shots of the shoe on peoples feet etc, We would have close up shots with fast cast as we show off all the different styles and versions of. See ref:

https://www.youtube.com/watch?v=_gjQLpu8x7g

 

Modern Approach

We plan to ‘Bring the book to life’. This doesn’t just mean using the book as a reference point, we would use it as inspiration for the look and feel of the film. This can be choices we make through text and motion graphics, editorial with effects like pages flipping in order to see passage of time. And even table top filming of certain elements from the book like press cuttings or archive imagery (filmed in our studio back in the UK after the main production).

 

Historical Bits. In order to steer away from your ‘typical’ documentary style, we want to make sure that our historical moments are also delivered in a modern way. Key imagery that will be used to knit the story together in parts will be presented as if in book on screen. Motion graphic techniques will be used to make the images dance across the screen. See title images in link below. We can use other cut out shapes, shoes, palm trees, records to reveal archive images in a cool graphic way – in a way keep them moving to bring them more to life.

 

Motion graphics

We will use print and graphics in overlay in order to highlight certain key statements and events. Again, we feel that this will help to engage the view, implant information and make the whole film more memorable.

 

As we proposed in our initial treatment it’s important for us to firstly be unique in this documentary.  We want to relay the feeling of the book, and its beautiful graphic presence. So to do this we want to be continuously thinking about how we can make certain aspects of the film, like titles and quotes stand out in a unique way. This works in tandum with the strong colour theme of the Clarks shoe and the general Jamiacan back drop. Strong colours, bold statements, this is what the Jamaicans love, and this is what we need to be reflected in our presentation of the information.

  

Editorial

We need to make this documentary upbeat and visceral as well as informative. Here’s a great example for the editorial and also table top shots of archive materials which in our situation could be a really nice way of ‘bringing the book to life’

 

 

How Sneaker Culture Went from Subculture to Mainstream

https://www.youtube.com/watch?v=_gjQLpu8x7g

 

I really like the effect of pages flicking to reveal each shoe style. We could use something similar. Given that we are talking about the shoe and the magic spell that it has over the Jamaicans, I feel that we need to bring some extra attention to this in order to create the same allure in the documentary itself.

 

 

Technical

• Stylised documentary with a cinematic approach. We’ll use smoke which is a technique that is used all the time in TV and Cinema to create that filmic look to interior shots.
• Shoot wide open with shallow depth of field. A very shallow depth of field creates amore photographic look. We also want those moments where the subjects dips in and out of focus. That roughness gives the film making an extra raw edge.
• Handheld and Gimbal. We propose to have the interviews hand held in order to have an organic and responsive feel to the interview – we feel this will be a great fit for the subject and will also make the interviews themselves feel less ‘produced’.
• For the B-roll we will use a gimbal and slow motion and create some stunning visuals to offset the raw feel of the interviews.
• B-Roll continued. We have a great opportunity here to produce some really creative visual story telling: using Slow-Motion and drifting camera moves that reveals poignant details about our characters lives, and with great attention to the design and art direction of each of these ‘produced’ be roll shots.
• Using Super 8 cinefilm will give us a great opportunity to highlight historical moments in peoples stories. The worn, but rich colourful film texture will help us define parts of people stories, and also connect emotively.
• The Nimslo camera is essential to bringing a modern edge to this film. To bring moments to life, and to highlight specific people and actions – this is an essential graphic technique which will elevate our filming approach.

 

Hand Held Approach to Interviews

https://vimeo.com/149207512

https://www.youtube.com/watch?v=UNd-yjOJX4M

 

Cinematography

 

 

Here they have used smoke to create that cinematic look

https://www.youtube.com/watch?v=JlItYKCtQ-8

 

Sound Design

We’ll use sound design and plenty of changes in music bed to keep the story evolving and the viewer entertained and engaged.

 

Archive Footage and Stills

 This will be an important element, but we don’t want this to be a languid part of the film, editorialy we will make this interesting and try to blast the viewers senses with fast cuts and dynamic shots.

Car shots

Long camera tracks – follow shots. EG, the biker with no shirt and dirty jeans but spotless beautifulClarks riding his bike through the dusty country roads of Jamaica.

 

Process

In every case we will interview in a location that is relevant to the person and his/her story/life (that’s going to last around 20-30 minutes or so and will be very much conversational) and then shoot some B-roll where we want to see the Clarks and the environment which is relevant to that person and their story.

 

For the interview shots, we plan to shoot handheld and in situation. More of a fly on the wall style rather than something that is over produced and old fashioned. For example, looking at the Trojan Records ‘Rudeboy’ documentary, we just don’t feel that we will have the right energy if we shoot these interviews in the same way. They were a little static.

 

VO

We want to tell the historical story of Clarks in Jamaica so we will need to use VO, we will of course use people with local Jamaican accents to deliver this.We need to know the historical events that contributed to making this all happen. Here’s a great example where using an upbeat/modern VO along with archive material and slick editorial with some simple visual effects can all help to keep the information flow easy to digest and very appetising.

 

How Sneaker Culture Went from Subculture to Mainstream

https://www.youtube.com/watch?v=_gjQLpu8x7g

 

Of course, we will need to find the balance between “History Lesson” and “Personal stories about Clarks”. This will come down to the edit. Looking into the future we imagine that a 50-50 split could be the way this will go.

 

Characters

We are looking to cast around 8 principal characters. Here is a list of those that we think could be the types of charactersthat could best tell the Clarks story. These may well change as the research and casting goes on over the next few weeks, as ultimately we want to use the most engaging characters possible.

• Ganster
• Bikers/gang
• Cop
• Higglers
• Female musician
• Protoje
• Dancer (dancehalls)
• Shoe shop owner/Cobbler

 

Extra’s: However beyond our key characters, we need to be able to show the true depth of Jamaican love of Clarks across society. So we will have many extra’s scheduled in for some B-roll Shots. We will also pick up any ‘magic’ during the shoot and recce days that can be added into the rainbow of characters that we will use as the salt and pepper for this film.

 

Film structure and outline

The historical sound bites that we feel need to come through the film are as follows (Keep in mind that we will find ways to make each part of the information unique and relevant to the character who is telling us that part of the story.) For example, Protoje might include in his interview parts of the story that relate to music : “In the 70’s musicians would go to the UK to sell their records and then come back with a suitcase full of Clarks. They would give those Clarks to their friends, who would also be involved in the music scene – producers, DJ’s and other artists – so you have these people, that are visible icons in Jamaica wearing Clarks…so of course then everyone else wants a pair too.”

 

Historical sound Bites:

Getting the historical facts across to the audience with this story is key. There are some really important moments that really contextualise why Clarks grew as a brand through the decades in Jamaica. Although some of these moments will be done with VO, and some beautiful old imagery and footage (cool editing) – some of these moments we want to be told through our cast. This will make the information feel more authentic, and generally be more engaging. Using our castvoices to share this information will carry beautifully across old archive footage/imagery and tie their personally stories together with the over arching ones.

 

EG: It would be great if Protoje could touch upon some of the historical stories/facts that came from music influences. A great sound bite would be……… “In the 70’s musicians would go to the UK to sell their records and then come back with a suitcase full of Clarks. They would give those Clarks to their friends, who would also be involved in the music scene – producers, DJ’s and other artists – so you have these people, that are visible icons in Jamaica wearing Clarks…so of course then everyone else wants a pair too.”

 

Film Structure and Outline:

Chapters – (Documentray structure outline)

Openning Satement Version 1

 

1. The Rebel Shoe

HOOK

TITLE: “Gangsters like to look good, but they also like to creep up on you…”

 

 “When you have on Clarks nobody nah hear you when you walk or come, you know? They’re so silent when you a walk – cheese bottom dem call it – you don’t see a man squeeze up on you, you nah hear him when him a come.”41 And the ladies loved a man in Clarks.

 

“When a girl see you inna your Clarks she know you’re well proper,” says producer Ossie Thomas, “she know your status up deh.”42 The deejay Trinity puts this into perspective: “If you don’t have on a Clarks in those days, you can’t get a girlfriend.”43

 

“The original gangster rudeboy dem, a Clarks dem a wear.

And in Jamaica a rudeboy or a gangster, him nah wear cheap ting. Him wear expensive ting, and Clarks expensive. Clarks not cheap, it an expensive shoe.”

 

(This Interview has a really good hook with the opening scene.)

https://www.youtube.com/watch?v=I4CoEqIvOiQ

 

CHAPTER 1 (Statement of intent)

In Jamaica everybody wears Clarks. Schoolchildren, business men, athletes, music artists…even the president.

TITLE/VO: But whats the coonection with this island in the carribean and a shoe company from Somerset?

 

“I rememeber the first time me saw the clarks, now I got 50 pairs.”

Begin Historical story with Archive image and images of the shoes themselves

During the late 60’s and 1970’s racial and class divides that had existed under British rule remained and the equality gap widened. High unemployment, overcrowding and general unrest, particularly within the poorer areas of West Kingston, led to the emergence of the “rudeboy” Teens and boys in their early twenties became increasingly disenchanted and alienated from a system which seemed to offer no relief from suffering and many of the young became rude. Image was everything to these young men, and the Desert Boot – expensive, stylish, comfortable, strong, versatile and “made in England” – became the rudeboys’ footwear of choice.

 

The natural crepe sole was not only comfortable and hard-wearing, important in a country where walking was the main mode of transport. According to producer Jah Thomas it also gave a rudeboy an element of surprise:

 

TITLE: DANCEHALLS

Also in the late 1960s and 1970s the rudeboy/Desert Boot association became so strong that young males risked being beaten by police simply for wearing a pair. “You must be a thief,” the police would say, “how else could you afford such expensive Clarks?

 

As well as the rudeboys, Rastafarians also adopted the Desert Boot during the 1960s, possibly attracted by its simplicity, durability and construction from natural materials. In the words of singer and producer Mike Brooks: “Rastaman wear Clarks. It’s just a natural shoes, an ital shoes. And Clarks is strong, they don’t mash up so easy.”

 

Style is integral to Jamaican dancehall culture and to many being well dressed, or “trash and ready”, is as important as the music itself.

 

The Desert Boot, or “Clarks booty” as it became known, was so popular that shops would sell out of their stock within days. And with every new delivery, a quantity of boots was certain to go missing. As Tony Thorner recalls: “When we sent consignments to Jamaica, we always had cases stolen at the port. It was awful. They couldn’t import them and put them in the Issa’s store without them being stolen.”

 

Out one evening in the late 1960s, Williams – who would later go on to lead the entire Jamaica Constabulary Force – raided a Sir Coxsone dance with his men. Deejay Dennis Alcapone remembers: “Sir Coxsone’s was playing and King Sti� was the deejay, and Joe Williams raid the dance. He went inside and told King Sti� to turn the sound down, and he say: ‘All who’s wearing Clarks booty must go on that side of the dance, stand up over here so. And who’s not wearing Clarks booty go onto this side.’ Because he knows that rudeboys wear Clarks booty, so that’s a way of identifying them.”46 That night many rudeboys went home barefoot, having thrown aside their Desert Boots to join the non-Clarks line, and subsequently receiving a beating for being “shoesless”.

 

We want to shoot in the dancehalls and try and get a group of dancers all wearing Clarks.

 

Dancehall steps

https://www.youtube.com/watch?v=ayKyaElgCTc

 

TITLE: ABSENCE MAKES THE HEART GROW FONDER(The pursuit of Clarks)

 

Jamaican term for bring me some Clarks (from England or the US)

“Carry down a Clarks”

 

Michael Manley’s People’s National Party (PNP) in 1972 imposed a ban on virtually all imported footwear in May 1973. But as almost 200,000 Jamaicans had emigrated to the UK, it became normal for quantities of Clarks shoes to be stashed in suitcases or barrels and sent to Jamaica to be sold on, mainly by “higglers” (a local term for market traders) on the streets of downtown Kingston.

 

“The first time me come a England, going to Street was like a Muslim going to Mecca, it was a pilgrimage.” Ossie Thomas, Producer.

 

When Jamaican singers, deejays, producers  and soundmen came to the UK for live shows or to do business with British record labels, a visit to the Clarks shop was often high on their list of priorities. Those with the time and knowledge made the three-hour trip from London to Street (Somerset) to visit the seconds shops, much to the surprise and bemusement of the village locals. I Roy, Junior Delgado, Dennis Brown and Gregory Isaacs are among the many reggae artists who made the trip to Street. With very few official Clarks stockists in Jamaica, one way that the shoes reach the country is by barrel, sent as freight from England and North America.

 

“When I go Peter Lord’s, the one on Oxford Street Street, I could take from my pocket eight different sizes on cardboard cutouts for my whole family. Clarks for mum, Clarks for my son, Clarks for my daughter, Clarks for my wife, Clarks for my friends from the neighbourhood. I would draw their feet on the cardboard so when I get back home the Clarks could fit. Because when you carry a pair of Clarks for a man in Jamaica and it nah fit him, him cut down him foot for it, rub down him foot so it can fit. That’s how much they like Clarks.” Jah Thomas, deejay and producer.

 

TITLE: BARRELS

With very few official Clarks stockists in Jamaica, one way that the shoes reach the country is by barrel, sent as freight from England and North America. Goods have arrived on the island in this way for many years, supplying family members, friends, shopkeepers and higglers  (market sellers) with clothes, shoes, food, electronics and other products.

 

Singer and producer Mike Brooks, who is based in England but born and raised in Jamaica, sends many barrels to the island every year, filled mainly with Clarks shoes bought from factory outlet shops across the UK.

 

STYLES (We touch upon the other styles and also the uniqueness and subtle difference.)

Nathan Clark – Father of the desert boot

Son of Roger Clark and great grandson of James Clark

He got the idea from crepe-soled rough suede boots which officers wore in the Eighth Army in North Africa made in the Bazaar in Cairo and drew up the boot design in his tent in India while fighting for the British Indian Army in Burma against the Japanese.

 

The Desert Boot, in black or brown especially, has remained the island’s most popular style since the 1960s. Other favourites include the Wallabee and the Desert Trek (better known in Jamaica as the “bank robber” or the Nature Trek range called L-stitch due to the L-shape of the stitching as well as less common styles such as the Natalie, Mali and Lugger. Today these shoes are marketed as Clarks Originals, a sub-brand launched by Clarks in 1994 to represent the company’s signature designs. A common and recognisable feature of the Originals range is the plantation crepe* sole, better known in Jamaica as the “cheese bottom”: a comfortable, hard-wearing sole made with natural rubber (also called India Rubber or caoutchouc) from the Pará rubber tree.

 

TITLE: CLAKRS AND MUSIC

 

Clarks has been intrinsicly linked to Jamaican music. And this means that many artists have used them in their lyrics.

In March 2010, the deejay Vybz Kartel (real name Adidja Palmer) recorded a tribute to Clarks shoes that within a few weeks of release had become the most popular tune in Jamaica. Simply called “Clarks”, the song was voiced over producer ZJ Chrome’s Mad Collab rhythm and featured Kartel’s fellow Gaza crew members Popcaan and Gaza Slim. Its infectious chorus and unforgettable “Whagwaan Popcaan?” intro sent demand for the shoes skyrocketing throughout the Caribbean and beyond, and within no time Kartel had put out two follow-up singles: “Clarks Again” and “Clarks 3 (Wear Weh Yuh Have)”. These added to a frenzy that was already seeing men parading around the dancehall with freshly cut-off “footpants”, so as to better show off their crisp Clarks. Kingston vendors hiked up their prices, shops were robbed of their stock and Clarks-only parties were held in cities including Kingston, London and New Jersey.

 

But Vybz Kartel was not the first Jamaican artist to celebrate Clarks shoes. Dillinger, Trinity, Ranking Joe, Scorcher, Little John, Supercat and countless others had sung about the brand many years before.

 

“Clarks pon me foot so neat” Popcaan

 

“From ever since, Clarks is a number-one shoe inna Jamaica. Not just now, I’m talking from the 1950s come right up. I’m seventy now and still wearing dem. Bally come in, but it never stay long. Clarks lick it weh. You used to have Dolcis and Ravel and all dem shoes, But Clarks is still there now. Clarks stand the test of time inna Jamaica. All the other shoes come and bow right down at Clarks’ foot.” Bunny “Striker” Lee, producer

 

TITLE: TBD (Conclusion)

So why are Clarks so popular in Jamaica?

1) They are comfortable and durable.

2) They have a long and romantic history linked to fighting men and endurance.

3) They are associated with the glamor of societal rebels and outlaws.

4) They have been immortalized in Jamaica’s iconic reggae and dancehall music.

5) They have successfully adapted over the years to retain the essence of “cool.”

6. But is there something else something you cant quite put your finger on?

 

RESEARCH LINKS

 

Why Clarks are Jamaica’s national shoe

https://jamaicans.com/reasons-clarks-jamaicas-national-shoe/

1) They are comfortable and durable.

2) They have a long and romantic history linked to fighting men and endurance.

3) They are associated with the glamor of societal rebels and outlaws.

4) They have been immortalised in Jamaica’s iconic reggae and dancehall music.

5) They have successfully adapted over the years to retain the essence of “cool.”

 

Jamaican musics love affair with Clarks shoes

https://www.youtube.com/watch?v=6rBcSQm9R-M

 

Clarks shoes and Jamaican culture

https://www.youtube.com/watch?v=PZDHEKvVDHk

 

Vybz Kartel – Clarks

https://www.youtube.com/watch?v=Tl2oxNHV3mk

https://www.theguardian.com/music/2010/jun/24/clarks-originals-vybz-kartel-reggae

 

Ray Symbolic Hifi Sound System – England experiencing dancehall live first time 1980

http://reggaelicious.pbworks.com/w/page/8800040/Ray%20Symbolic

 

Jah Screw as selector (DJ)

Ranking Joe MC on mic lyrics “Lift up your shoes if dem a Clarks” and “Clarks Booty Style”

 

Other artists singing about Clarks

Eak-A-Mouse 1981 hit “Wa do dem” with lyrics “Me a wear Clarks”

Little John – “Clarks Booty” for King Jammy (dub mixer/producer)

“Hold up your foot and show your Clarks booty, show crowd of people that you’re trash and ready.”

Vybz Kartel’s 2010 “Clarks”

 

The album, Clarks in Jamaica, features 21 hardcore reggae tracks, each paying lyrical tribute to the English shoe

 

Bob Marley wore Clarks

https://www.gq.com/story/bob-marley-style

 

Wu Tang Clan and Clarks 14’10”

https://www.youtube.com/watch?v=l73qLp6orqM

 

I like the way this one is a montage of history (archive mix) and interviews

 

How Sneaker Culture Went from Subculture to Mainstream

https://www.youtube.com/watch?v=_gjQLpu8x7g

 

Well shot and edited

How Michael Jordan Changed Sneaker Culture in Chicago

https://www.youtube.com/watch?v=1Wa5RpV1STg

 

I like the way this one opens up before the titles. Interview with artist or artists saying to camera why Clarks is so special to them

NYC’s Most Influential Sneakers

https://www.youtube.com/watch?v=I4CoEqIvOiQ

 

In studio style

N.A.S.A. In The Studio : Kingston Jamaica

https://vimeo.com/227572035

 

I like this intro too ending with a line something like ‘If you want to know about Clarks and it’s popularity the place you have to go to it’s roots in Kingston Jamaica’ Then open up on Kingston, reggae music and the streets.

Jean Michel Basquiat Documentary

https://www.youtube.com/watch?v=f5zNLCLmk20

 

Reggae Britannia Documentary Part 1

https://www.youtube.com/watch?v=wQXyK1uxTps

 

Beginnings – Lebron

https://www.youtube.com/watch?v=JlItYKCtQ-8

 

Film Outline:

TITLE: Subculture Stories, The Rebel Shoe

1. Clarks in the Early Days
2. Clarks in The Lyrics
3. The Desert Boot
4. People and Their Clarks
5. Dancehalls
6. Reggae Rivival
7. The Community
8. Pride

 

Film Script.(This script is a work in progress and a loose direction of how the stories and titles of the film will fit together. Until the casting is finalised this is an organic process.)

We open the film on a pair of feet in Clarks shoes running along a road, dust is kicking up into the air. (slow motion)

 

VO:  “It’s the police…..everybody down…..if you in dem Clarks you get on one side of the room, everyone else on da other”

We cut back to a guy kick starting his bike, the bike tears off down a road, a stunning drone shot travels with him from above…. (slow motion)

 

VO: “It’s the Rebel shoe man……if dat man wearing a black bank robber….dat is a statement right dare”

We cut to a dancer at night in a club. He is twisting and turning in those Clarks like a gymnast ( in slow motion)

 

VO:  People would rader get paid in Clarks shoes man, they prefer Clarks to monee”

As a deep thud of some dance music comes up… we cut to a montage of historic and present day images and video. Photos of the prime minister #yodding. Film reels from the 60’s VHS footage from the 80’s. Small children kicking a football, an older man dressed immaculatly going to church. Modern DJ’s and their entourage – all interspersed with footage and close up shots, stills and gifs showcasing Clarks being worn by young and old alike. (our Bold & Colourful statement setting the tone of our film)

 

The beat drops and we cut to modern day Kingston. The camera glides through the streets

 

Main Title: SUBCULTURE STORIES: THE REBEL SHOE

Cut to an old guy (Fada) sitting in his porch. He strokes his beard and begins to tell us about the notorious “Spanglers” gang that were around in the 60’s. Fada, tells us how they were the modelers’ of the ‘Rebel Shoe’. He tells us how he spent more than one night in jail for wearing Clarks desert boots – and how he was there during one of the legendary raids where the people were seperated on each side of the hall depending whether you were wearing Clarks.

 

Action: Fada goes on to pull out his Clarks shoes collection, dropping two pairs at a time on his porchway. (he has over 20 pairs)

 

Fada’s story explains how these early ‘Rude boys’ set the trend with their English clothing choices, and how There were only a few shops you could buy certain shirts and Clarks boots from in the early 60’s.

 

(We can intercut people telling the story – jumping from one person to ther next of the famous dancehall raid where people were separated one one side of thre hall and ther

 

Title: CLARKS THE EARLY DAYS

Cut to a cobbler in his work house. As the camera moves around we see some old lasts, and Clarks shoes peppered all over the place. He’s currently working on a pair, re soling them.

 

“You see I remember my grandmother….she bought some Clarks for herself from Nathan’s on King Street. But back den, in da 30’s it was mostly women’s and children’s shoes”

 

The camera’s details the cobblers face. And hands at work. we edit in historical imagery to bring to life this part of Clarks history on the island.

 

We cut to some old film footage of King Street Jamaica.

 

VO: The early 60’s saw the launch of the desert boot, and its distribution into the American and west indies markets. But in 1963 the Jamaican government put tight restrictions on imports in order to grow their own industry. Clarks broke contracts with the top retails stores on Kings street, Hanna’s and Bata, and as a result for a while managed to see sales rise.

 

we edit in historical imagery to bring to life this part of Clarks history on the island.

 

VO: In 1965 having seen the rise of the Clarks desert boot, the Jamaican government approached Clarks, pressing them to start production locally on the island. Unfortunately a franchise agreement was never reached, and control over imports tightened further.

 

However Clarks decision to persue a non exclusive distribution policy only saw sales rise. It seemed Jamaicans had the fever for this English shoe.

 

Cut to an ex store owner from the 60s on King street (or could be a family member of one of the big shop owners). As they walk us down king street present day.

 

“It was really something radical happening. These were not cheap shoes, and stores on Kings street were selling out of hundreds of pairs in only a few days. There were “locally made” cheaper boots on the market, but the young boys, the rebels, only wanted Clarks. (cut to some archive imagery of 1960’s Jamaica and rebel boys.)

Cut to an old Higgler, he tells us how after the import ban in the early 70’s how people’s love for Clarks only grew. How people travelling back to the Uk would have orders from all the family and friends. (here we can go on the talk about how barrels were robbed etc) and how this connection of higglers was started firstly within the music community and producers/artists going to England to visit the studios, but it became more important as part of their journey to bring Clarks back. This leads us nicely into Clarks in the Lyrics……

 

TITLE: CLARKS IN THE LYRICS

“Me love Clarks so much, from early out, that me nah waan nothing else but Clarks”

 

Cut to a montage of old reggae music, from the 60’s 70’s running through to current day music.

 

“In the 60’s it were the rudeboys that mainly war Clarks and the rudeboys love to dress good. Den it was our turn, and that’s why my song Clarks booty we sang

 

Hold Up your foot and show your Clarks booty, show crowd of people that youre trash and ready…

 

Man that got people jumping..”

 

(This will change depending on what music artist we can get for this)

 

We pick up pace here….thriving off the reggae beats, we cut to present day Jamaica, an array of characters moving and grooving in their Clarks.

 

We here from some modern day selectors and Grammy artist Protoje about about how Kartel and popcaan bought another huge shift in Clarks appreciation in Jamaica. They tell us what styles are key to them these days….highlighting how the desert boot is the King…..this leads us to……

 

TITLE: THE DESERT BOOT

Our musician from above goes on to tell us about the specific style of the desert boot. Why he loves them.

We cut to a montage of other featured contributers& Protoje who also give us sound bites specifically on the desert boot.

 

We make a montage using cool graphics and editing techniques to really celebrate the desert boot…..

 

“The desert boot is more than style. It’s a statement. If a man wears a black desert boot, an arrow shirt and a pen knife in the back pocket you know he is a rude boy…..”  St Mitchell – Police in the 70’s

Cut to our cobbler/ character.

 

“What was interesting about the desert boot was in the beginning it didn’t sell in Jamaica. “

 

VO: In 1942 Nathan Clark, from the family Clark in England was fighting in Burma during the 2^nd world war. While oversea’s his brother Bancroft who had become Clarks company chairman had asked him to keep an eye out for new styles/inspiration. After the army had to retreat to Northern India, moral was low, and Nathan was found in a tent one day cutting up newspaper cuttings. Before a fellow officer called the medical officer fearing he had cracked under the pressure, Nathan revealed he was cutting patterns for a boot. Thee were the first patterns of the desert boot.

 

Cut to a montage of giffs and slow motion images of the desert boot. Fashion Week Paris would be good.

After some intial hiccups in production Nathan finally took his design to America in 1947. However in 1952 it became apparent that the shoe style in Jamaica was one with a more pointed toe. Clarks amended the last known as the 220, replacing it with a more pointed version know as the 090, now espeically made for the Caribbean market.

 

Cut to our Shop owner/relative from Kings street: Yehman, the style of the desert boot was changed, and everybofy love dit.”

 

VO: Along with independence in 1962 came the anticipation of better times. The islands economy grew, but the racial class divide that has existed under British Rule only got wider.(Cut to archive footage of unrest in Jamaica)  High unemployment and overcrowding caused unrest particularly in west Kingston – and this is what led to the emergence of the ‘rude boy’ as large numbers of young malesin their teens became increasingly disenchanted and alienated from the system.

 

Cut to FADA (spanglers)

“Image was everything to us as young men in the 60’s. These shoes from England were stylish and comfortable, perfect for the Jamaican weather. Durability was everything. The cheese on the bottom last with so much comfort”

 

Cut to Jah Thomas: “And the ladies love the Clarks man…if you don’t have the Clarks on, you don’t get a girlfriend”

 

TITLE: PEOPLE AND THEIR CLARKS

Cut to present day Jamaica, our female contributor Sativa explains to us how the Clarks brand stretches through all parts of the Jamaican society.

 

We cut to an array of characters who are all elaborating on their personal connections with Clarks shoes. We move from the big time lyricists of the decades to the people on the street.

 

Giark explains to us, how their grandfathers paved the way for all Jamaicans to have freedom wearing Clarks today.

 

We cut to a beautiful montage of the variety of shoes and characters across the landscape.

 

More sound bites from people introduce us to people explain when they got their first pair of Clarks, how much they cost, what they did to get them, how long they have owned them. Etc.

 

Cut to our cobbler: He is fixing an old pair of Clarks. He tells us what styles are the most common, what he fixes. He tells us how people clean their Clarks how they cover them with plastic in the rain and use a toothbrush pulled from their back pocket.

 

Cut to: We are outside a new studio in the hart of Kingston. We can hear beats and bass coming from inside. The grammy nominated artist Protoje is singing into a microphone as he lays down a new tune surrounded by his peers and musicians. The music he plays translates to a scene in a late nighty dance hall………

 

TITLE: DANCEHALLS

We hear from one of the group as they enlighten us about the history of dancehalls.

 

“Oh man, where to begin you see dance halls are more than just a place to dance, they are home for many a place to come together like family you know.”

 

We cut to archive footage of dancehalls over the decades.

 

We cut back to Grizzly one of our contributers and dancer. He explains how important Clarks are not just on an asthetic front, but how important they are as dance shoes. The cheese makes it so comfortable, and the boot supports the ankle…he demonstrates…

 

We cut to our elder musician: he tells us some stories from the dance halls, how important they were to the community and how they gave birth to a new style ans trend that took Jamaica by storm….Clarks being at the front of this.

 

We cut to the camera moving through a crowd of modern day dancers in the halls dancing and singing passionately, mirroring the vibrant character of the opening motif.

 

This is the culmination of the film and its is a huge celebration of life, music and style, all ties together by the love of Clarks.

 

TITLE: REGGAE RIVIVAL:

We cut some new blood reggae artists performing. It’s a great chance to show new reggae characters and female characters such as Sativa and Lyla…

 

We hear from them about their personal love and connection with Clarks – as well as the rising popularity of reggae revival that is spreading positivity, afrocentric spirituality and self determination all over the world.

 

Cut to Protoje as he tells us his feelings on how Reggae is influencing mainstream music and other artists – and how this is filtering through the fashion world.

 

We cut to a couple of striped back performances. Cut with some beautiful shots of local people and local reflections of creativity, and local backdrops.

 

TITLE: THE COMMUNITY

Cut back to Protoje, as he tells us about the new studio, and how its helping new talent

 

“ Its so hard to get your voice heard, especially if you grow up on the wrong side of Kingston, and that’s why projects like this are so important. We get the opportunity to reach out to the community and give people a chance that so many don’t get. And to be able to go out and help in any small way, beyond just music, well, its amazing..”

 

We cut to cinematic shots of young children, young musicians, street artists. People who are embracing their talent.

 

Cut to Dre – local Creative. He talk to us about his trending “yodding” hashtag. How much the youth in Jamaica need support to pull them out of bordem. He talks about how his hashtag and Clarks have become a vessel for young men to be able to talk more, and express their feeling, how eventually he see’s it becoming a vessel for mental health in the island.

 

TITLE PRIDE:

Cut to our cobbler closing the shop for the day.  The low evening sun casts shadows across the street as young kids run past.

 

He Speaks to us as he pulls his shutters down.

 

“Inna mi lifestime tings have change so much, sum fi di worse sum fi di betta but deh has been constant running through whulla dat….pride. pride fi who wi are, and wah wi wear…

 

Cut to the police sergant: “Jamaicans have pride over and above everybody else. We want to look smart, be smart, we love to be Jamaican, and we love Clarks..”

 

We cut to some more moving sound bites from our contributers about their feeing on Jamaican pride – and whats next for Jamaica and Clarks.

 

The sun has set and the sky has turned a beautiful shade of deep blue. The streets lights turn on and people are bathed in a translucent glow.

 

We see each of our contributors moving through the streets, laughing amongst each other as they all meet for the first time. They are heading to a local Kingston dancehall to come together and celebrate.

 

Cut to beautiful cinematography, slow motion gliding shots of Jamaican life in all its creative, colourful pride and glory. People dancing, singing laughing together all in celebration of Clarks, and of being Jamaican.