MAMOS Βeer

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We’re incredibly excited to share our ideas with you in this treatment, where we’ve had a great time brainstorming original shots to capture the essence of the project in the best possible way.

In the following pages, we’ll walk you through how we envision the realization of the film.

We really love how you’ve structured the story into three chapters. It effectively builds the narrative, showcasing how Greek people dare to break the rules in order to enjoy life with maximum passion.

We’d love to integrate these three chapters within the gastrobar setting, rather than transitioning to a more "theatrical" space each time a new chapter is introduced. This will give continuity to the main film, getting full attention from the audience. This won't comprise the narrative as three different films, as you will see later.

We also love the idea of Petros as the catalyst for Greek passion. This means presenting the plate with the proverb, followed by a scene that visually represents it, before returning to the plate where we see Petros modifying the proverb—triggering the shift into fun and passion.

We’ve ensured that this approach, while working as a seamless narrative, also functions as three standalone films. In the next slides, we’ll first outline the main film, which includes all three plates, and then explain how we can divide them into three independent and self-contained films, one for each plate.

Direction and narrative approach

We envision the presentation of each chapter by seamlessly integrating the plate into the scene, creating a more immersive experience within the film.

To achieve this, we like the idea of using a frame hold effect to introduce each plate/chapter. For example, as a waitress carries a plate, the image suddenly freezes, revealing the proverb written on it. This effect would be enhanced with sound design and subtle graphics to emphasize the moment.

Once the proverb is introduced, the image unfreezes, and the film continues naturally into the next scene.

Frame Hold Effect

Scene 01 When we eat, we don’t talk.

EXT. OUTER SPACE – THEATRICAL BLACK BACKDROP

V.O. They say: "When we eat, we don’t talk."

A plate floats in the darkness. A dynamic light reveals only its edges as it slowly moves into a frontal position facing the camera.

The CAMERA GRADUALLY PULLS BACK.

A HAND enters the frame and pulls a small string. A light switches on, revealing that the plate is actually hanging on the wall of a Greek gastrobar.

FREEZE FRAME – Accompanied by a sound effect, possibly with added graphics.

The camera reveals the plate mounted on the wall. Inscribed on it is the Greek saying:

"WHEN WE EAT, WE DON’T TALK."

UNFREEZE.

The CAMERA CONTINUES TO PULL BACK, revealing a WAITRESS in a MEDIUM SHOT, drying a glass. The glass squeaks. The atmosphere is eerily silent. The camera feels serious, almost dull.

Scene 01 When we eat, we don’t talk.

INT. BAR

The CAMERA CONTINUES TO PULL BACK, revealing a WAITRESS in a MEDIUM SHOT, drying a glass. The glass squeaks. The atmosphere is eerily silent. The camera feels serious, almost dull.

INT. BAR – WIDE LOW-ANGLE SHOT

A bar in complete silence. A ceiling fan spins slowly above.

Scene 01 When we eat, we don’t talk.

CUT TO:

INT. BAR – CLOSE-UP of the previous plate hanging on the wall.

Inside the plate, PETROS' figure comes to life in STOP MOTION. With a disapproving expression, he crosses out the word "DON’T" and then looks at the camera with a smile.

The CAMERA EXECUTES A DOLLY OUT from the plate, across the entire bar in a dynamic but elegant fly-through shot, weaving between beer glasses and showcasing the product from a fresh perspective. As the camera moves through the space, select elements of the bar come to life, animating magically in our collage paper effect.

We see the figure of Petros walking among the crowd as one more. He made it happen. The bar is coming to life.

The movement culminates as the camera exits through the window, revealing the terrace, where a group of friends laugh, talk loudly, and enjoy their meal.

Scene 01 When we eat, we don’t talk.

EXT. BAR TERRACE – NIGHT

V.O. "But we say a lot. Because that way, we hear more."

As the camera transition through the window, we find a group of friends laugh and talk loudly as they eat.

A series of VARIED MEDIUM SHOTS capture them enjoying their meal.

SCENE 02  "YOU SHOULD EAT FROM YOUR OWN PLATE"

A WAITRESS walks past the table, crossing the frame. The CAMERA TRACKS HER in a MEDIUM SHOT.

CUT TO:

EXT. BAR TERRACE – NIGHT – CLOSE-UP to INT BAR

The CAMERA, RIGGED TO THE WAITRESS'S ARM, keeps the plate perfectly centered as she moves.

V.O. "They say: You should only eat from your own plate."

FREEZE FRAME – A sound effect, possibly with added graphics.

On the plate, we read: "YOU SHOULD EAT FROM YOUR OWN PLATE."

UNFREEZE. The camera remains rigged to the plate.

SCENE 02  "YOU SHOULD EAT FROM YOUR OWN PLATE"

UNFREEZE. The camera remains rigged to the plate.

PETROS begins to move in STOP MOTION as the WAITRESS moves swiftly through the bar. She places the plate on the counter just before food is served.

At the last moment, PETROS manages to cross out "YOUR OWN PLATE" and write "THE TABLE", then JUMPS out of the plate to avoid being crushed by the food.

INT. BAR – MEDIUM SHOT

V.O. But we eat from the middle of the table. Because if we don’t put everything in the middle, how do we know that we’re talking about the same things?"

The WAITRESS serves the plates at the table. PETROS image inside the plate starts moving and start going from one plate to another.

INT. BAR – OVERHEAD SHOT OF THE TABLE

All the plates are served. The diners eagerly dig into their food. Mini PETROS dodges forks, jumping as a texture from one plate to another.

INT. BAR – CLOSE UP SHOT PLATES

A camera follows the figure from Petros going from one plate to another.

INT. BAR – MEDIUM SHOT

One of the DINERS moves their arm, knocking a plate to the floor.

SCENE 02  "YOU SHOULD EAT FROM YOUR OWN PLATE"

INT. BAR – LOW-ANGLE SHOT OF THE PLATE

The plate falls off the table toward the floor, heading straight for the camera.

INT. BAR – CLOSE-UP SPINNING PLATE

The plate is spinning and rolling on the floor. The camera follows it dynamically.

FREEZE FRAME – A sound effect, possibly with added graphics around it.

V.O. "They say: Take a big bite. Avoid big statements/words."

On the plate, we read: "TAKE A BIG BITE. AVOID BIG STATEMENTS/WORDS."

DEFREEZE

The CAMERA follows the plate as it spins.

SCENE 03  "TAKE A BIG BITE. AVOID BIG STATEMENTS/WORDS"

INT. BAR - DOLLY IN TABLE

Group of friend hanging in a table, at the end of table we see one of them nervous. Dolly in to MEDIUM SHOT of this friend. Petros is standing close to the table observing the scene interested. The nervous man look at Petros looking for help.

INT. BAR – CLOSE-UP PETROS

Petros looks at the nervous man right to the eyes, giving him confidence.

INT. BAR – CLOSE-UP FROM ABOVE

The nervous man, wanting to say something but hesitating, takes a sip of beer. We see the plate rolling toward him on the background.. The man notices the plate, rack focus to the plate. He makes a move as if to grab it.

INT. BAR – CLOSE-UP OF THE SPINNING PLATE

A HAND enters the frame and lifts the plate.

INT. BAR – CLOSE-UP SHOT – V.O.

The hand lifts the plate into the air. There’s complete silence in the room. At that moment, PETROS figure inside the plate erases the word "AVOID."

SCENE 03  "TAKE A BIG BITE. AVOID BIG STATEMENTS/WORDS"

INT. BAR – MEDIUM SHOT DOLLY OUT

MEDIUM SHOT of our protagonist. He holds the plate up high, nervous about speaking. They raised the plate to grab the attention of the crowd, and it worked. For a moment, the bar falls into an uncomfortable silence. Everyone is watching. Including Petros.

V.O. "But you should dare to do it."

Nervously, he lowers his arm and begins to speak. The group listens and laughs.

DOLLY OUT – We reveal the table filled with plates, each carrying the same statement and leftover food. People enjoy the speech.

SCENE 03  "TAKE A BIG BITE. AVOID BIG STATEMENTS/WORDS"

CRANE UP – HIGH-ANGLE SHOT of the bar.

Now, the atmosphere is lively, with people laughing and enjoying themselves. It's a shot similar to the beginning, but this time, it’s tilted downwards. The camera is no longer on the floor; it’s higher up, reflecting the rising energy of the environment.

Animated elements with our collage effect rise around the bar.

Petros figure walks towards the bar.

V.O. "Guys. I’ve made up my mind. I’m going to do it. Where everything is shared. That’s where passion is brewed. Mamos beer. Brewed with passion."

SCENE 03  "TAKE A BIG BITE. AVOID BIG STATEMENTS/WORDS"

FINAL PACK SHOT

CUT TO: 

A medium shot of the wall. Now, three plates hang, each displaying the proverbs corrected by Petros.

Suddenly, camera pulls out to reveal Petros figure drinking a Mamos beer at the bar. In the background the three plates remain hanging, subtly reinforcing the narrative.

The tagline appears: "MAMOS BEER. BREWED WITH PASSION."

SCENE 03  "TAKE A BIG BITE. AVOID BIG STATEMENTS/WORDS"

Cutdown Films

The main film needs to be divided in three independent films, that need to work on their own.

In the following slides you will see how we can cut and rearrange the main film in order to get the three films from the main one.

film 01

Cutdown Films

We could start this film as seen in the main version. However, instead of placing us in a theatrical black backdrop, we start from black to a hand turning on the light, revealing a plate hanging on the wall with the original proverb. As soon as the light switches on, we hit a freeze-frame, enhanced with graphic elements and sound design.

Cut to.

INT. BAR – WIDE LOW-ANGLE SHOT

A bar in complete silence. A ceiling fan spins slowly above. We see the bar almost empty, a father tells his son to be quiet. In the background a waitress cleans a glass.

Cut to.

INT. BAR – CLOSE-UP of the previous plate.

Inside the plate, PETROS' figure comes to life in STOP MOTION. With a disapproving expression, he crosses out the word "DON’T" and then looks at the camera with a smile.

The CAMERA EXECUTES DOLLY OUT, racing across the entire bar and exiting through the window. It’s a fly-through shot, weaving between beer glasses, showcasing the product from a new perspective. The camera crosses a window and transition to the terrace.

EXT. BAR TERRACE – NIGHT

V.O. "But we say a lot. Because that way, we hear more."

A group of friends laugh and talk loudly as they eat.

A series of VARIED MEDIUM SHOTS capture them enjoying their meal.

Cut to. Packshot.

​

film 02

Cutdown Films

INT. BAR - MEDIUM / AMERICAN SHOT

We start with a MEDIUM SHOT of a waitress carrying an empty plate. She’s headed to the bar. CAMERA tracks her through the space.

Cut to.

The CAMERA, RIGGED TO THE WAITRESS'S ARM, keeps the plate perfectly centered as she moves.

FREEZE FRAME – A sound effect, possibly with added graphics.

On the plate, we read: "YOU SHOULD EAT FROM YOUR OWN PLATE."

UNFREEZE. The camera remains rigged to the plate.

PETROS begins to move in STOP MOTION as the WAITRESS moves swiftly through the bar. She places the plate on the counter just before food is served.

At the last moment, PETROS manages to cross out "YOUR OWN PLATE" and write "THE TABLE", then JUMPS out of the plate to avoid being crushed by the food.

INT. BAR – MEDIUM SHOT

The WAITRESS serves the plates at the table. PETROS hangs from the edge of one of the plates.

INT. BAR – OVERHEAD SHOT OF THE TABLE

All the plates are served. The diners eagerly dig into their food. Mini PETROS dodges forks.

INT. BAR – MEDIUM SHOT

Friends on the table enjoying the meal.

Cut to. Packshot.

film 03

Cutdown Films

INT. BAR - DOLLY IN TABLE

Group of friend hanging in a table, at the end of table we see one of them nervous. Dolly in to MEDIUM SHOT of this friend.

INT. BAR – CLOSE-UP OF THE SPINNING PLATE

Plate starts to roll in the ground. Mini PETROS lands on the plate, making it spin faster, running around its edge like in a circus.

FREEZE FRAME – A sound effect, possibly with added graphics around it.

V.O. "They say: Take a big bite. Avoid big statements/words."

On the plate, we read: "TAKE A BIG BITE. AVOID BIG STATEMENTS/WORDS."

DEFREEZE

The CAMERA follows the plate as it spins.

INT. BAR – CLOSE-UP FROM ABOVE

The nervous man, wanting to say something but hesitating, takes a sip of beer. We see the plate rolling toward him on the background.. The man notices the plate, rack focus to the plate. He makes a move as if to grab it.

INT. BAR – CLOSE-UP OF THE SPINNING PLATE

A HAND enters the frame and lifts the plate. Mini PETROS hangs from the edge.

INT. BAR – CLOSE-UP SHOT – V.O.

The hand lifts the plate into the air. There’s complete silence in the room. At that moment, Mini PETROS erases the word "AVOID."

INT. BAR – MEDIUM SHOT DOLLY OUT

MEDIUM SHOT of our protagonist. He holds the plate up high, nervous about speaking. They raised the plate to grab the attention of the crowd, and it worked. For a moment, the bar falls into an uncomfortable silence. Everyone is watching.

V.O. "But you should dare to do it."

Nervously, he lowers his arm and begins to speak. The group listens and laughs.

DOLLY OUT – We reveal the table filled with plates, each carrying the same statement and leftover food. People enjoy the speech.

Cut to. Packshot





 

Cinematography

The cinematography should actively support the narrative, emphasizing the juxtaposition of worlds between the plates before and after Petros' intervention.

For example, when the first plate displays the original proverb, the camera movement and lighting should reflect its rigid, traditional nature—static framing and subdued lighting will establish this tone. However, as soon as Petros alters the phrase, everything should transform: the camera becomes dynamic, guiding us energetically through the space, while the lighting shifts, illuminating the scene with warmth and vibrancy—visually embodying the passion and liveliness that Mamos beer represents.

Overall, the cinematography should capture and reflect Greek values of sharing—thoughts, conversations, and food—in a spontaneous and natural environment.

Product

To capture the Mamos bottle on camera, we aim to showcase the product's freshness and purity. Close-up shots of the bottle will highlight its elegant design, utilizing the ochre color palette to enhance the desired aesthetic throughout the film. Soft and precise lighting will accentuate the beer’s bright golden hue, while a minimalist background keeps the focus on the bottle, ensuring it remains the star.

Introducing a person taking a sip, enjoying the experience in a relaxed manner, will emphasize the authenticity of the flavor. A close-up of the protagonist’s face, capturing an expression of satisfaction and pleasure, will serve as the final touch—conveying a complete and deeply enjoyable beer experience.

Location

We want to film in a single location, but it must be a spacious venue with different areas to capture a variety of moods and take full advantage of both indoor and outdoor spaces. This will allow us to create depth and contrast throughout the film.

Above all, we are drawn to the idea of an authentic, believable setting—not something artificial or staged. We believe that capturing realism is what truly brings authenticity to a project. The more backgrounds and nuances we can incorporate, the richer the atmosphere will be, ultimately enhancing the storytelling and the overall cinematic experience.

We envision a lively space, filled with people enjoying a great beer with family and friends. A place that feels real—where you can easily imagine laughter, conversation, and the warmth of shared moments.

Editing

The camera’s always moving, catching every action in a tight choreography where each move triggers the next. No pauses, just a constant flow of energy. It feels like one long take, but the cuts are seamless, tricking you into thinking it’s all continuous. The location feels real, the camera isn’t just observing; it’s part of the chaos, driving the rhythm, capturing every burst of action.

SOUND DESIGN

The sound design of the space is key, it has to capture every nuance of what we see on camera. We want it to dramatize the moments, to emphasize the contrast when the space feels empty, almost lifeless, and then shift when it’s packed with people, alive, buzzing. The goal is to accentuate every action we capture, pulling you into the moment through sound. It’s about feeling the pulse of the scene, even amplifying the acting making the sound an integral part of the experience, so that when you watch it, you’re not just observing, you’re living it.

Thanks

We hope you’ve enjoyed our creative approach, and we’re eager to bring these ideas to life.