
hotline
A crisis counselor volunteers to work the suicide hotline’s most difficult holiday shift, but dealing with raging neighbors, relentless “jerkers” and her own traumas proves to be far more chaotic than the family dinner she was avoiding.

My dearest reader, you’ve made it here. I’m grateful you’d take the time.
I'm honored to note, Hotline was a quarterfinalist in The Academy’s 2024 Nicholl Fellowship, placing in the top 6.5%.
As you surely noticed, Hotline is more thriller than comedy.
To that end, our film will not look like a traditional comedy with flat overlit medium shots. Hotline is…
Cinematic. Textured. Layered. Frenetic.
Let’s explore…
creative

BPMs inform our editing style to create quick and dislodging cuts in Jenna's physical and mental space.
beats per minute
Butterfly Hugs set the framework of our Beats Per Minute (somewhere between 150 and 180).
In the beginning of the film, with Jenna in full control, the the BPMs are...
Calming. Meditative. Therapeutic.
Unfortunately for Jenna (an our audience), her control lapses as the neighbors raging party's music overtakes the BMP and our calm. We are thrust into...
Stressful. Haphazard. Infuriating.
Jenna's Apartment
Inviting. Simple. Muted.
Due to her recent breakup, there’s an emptiness to the space. Missing photos. Furniture pieces. This affords us more straight lines (ceiling, windows, shelves), helping our split screen conversations.
As the night amps, it feels tighter/more cramped. If we are shooting in a studio, the walls can tighten in on her. Subtle, it's not a gag. It should be felt, not seen.
The walls shaketh from the music and amped BPM.


Production note: Ideally, we build this set on a stage so we can litterally move the walls in on Jenna.
location
Tappy Places
Vibrant. Expansive. Epic.
A much needed breath of fresh air for both Jenna and the audience... but, when things get stressful, that stress invades these sancuaries as well.
Dark skies. Tumultuous waves.
We establish tranquility then destroy it.


website
Much like Jenna's apartment... inviting and simple.
Muted colors. Purposefully accessible.
The website aids helps to establish the split screen and crossing the callers more comfortably into Jenna's world.
The information on the website should be digestible with key items highlighted to enhance characters. It is also an opportunity to bolster Jenna's expertise.



physicality
Like John McClane’s tank top in Die Hard, Jenna will not be the same by the end of the film.
Hair will come up and down as she troubleshoots and stresses, leaving it less kempt. More flyaways.
Make-up fades as Jenna sweats, washes her face and pulls herself together.



Yes, unfortunately, those.
Lewd behavior is an unfortunate happening in all medical fields. Mental health professionals are not spared. We will not shy away from it. We will not glorify it.
The MPA does not allow a film to show an erect penis.
Our first lewd caller, we will see the outline of an erect penis under tighty whities. For our second, GashBlaster, his erect penis is not clothed.
Built into the film’s mental health site is a blurring feature to keep graphic images at bay, need be. There will be a fine line walked with what we can and cannot show. There is something to be said about the Jaws approach that less is more and to let the imagination make it more unsettling.
intromittent organs
suicide
Yes, we are making a dark comedy, but...
...the act or ideation of suicide will never be the butt of a joke.
A little levity brings us together. It helps break down taboos. Breaking down these taboos will allow us to more gracefully broach suicide as a conversational topic.
We must become capable of expressing any suicidal thoughts we may have, or be open to other speaking about their own so we may help them.
I’ve spoken with multiple crisis counselors and mental health professionals to ensure this film does its part in being additive to those conversations.
The conversation we start with our audience begins on set.
It’s vital we foster a safe and creative environment during production. The chaos of the film must not transfer over into our world. To that end, we’re partnering with MOTH, a mental health organization that trains company employees how to recognize and help those in need. They have offered to provide on-set training to help our team better recognize and those in need and help them, or ourselves, need be.
inspiration

visual
split screen / frames
transitions / movement
test edits



empathy windows
Jenna’s empathy for her callers manifests them into her space. We see what she’s focusing on, an eye about to tear, a quivering lip.
Calm: Control. Clean-edged split screens utilizing her environment. Picture frames, windows, walls, etc.
Stressed: Losing control. Edges muddle and pulse as the music and other distractions intrude into her environment.
Chaos: Helplessness. Split screen shatters. Conversations overpower her and force themselves into her world.

tappy transitions
Transition concepts connect to her ocean tappy place and Jenna's draw towards water and flow.
Calm: Rhythmic and flowing. Controlled and purposeful.
Stressed: Rhythmic, with a few hiccups. A tick might be missed on the left side as pieces of the real world spill over into the relaxing space.
Chaos: Arrhythmic. Focus is easily broken and some pieces may only come through slightly. There’s a glitch in the tappy matrix.



This is an exploration of tapping rhythm/BPM, split screen syncing and transitions that I put together.
I can’t wait to bring on an SFX/VFX creative to help hone these concepts and make them truly unique.
NSFW Full Video (spoilers; there’s an intromittent organ):



splits
the team

me, matt
During the pandemic I lost a close friend, Dave, to suicide. Growing up, I was taught suicide was a selfish act. The thought of Dave being selfish made me ill.
Through my grief, I pursued shedding that notion. I spoke with crisis counselors—many of whom have experienced similar loss—to learn how they connect with and help those in need.
Having collaborated with comedians through much of my career, I believe that comedy allows us to confront difficult truths and nurture growth.
My goal for our film is to help breaking down the taboo of discussing suicide. Those in need must feel comfortable talking. Those of us fortunate enough to not suffer from suicidal ideation must be open to listening and supporting.
IMDB: https://www.imdb.com/name/nm3004744/
Site: www.themattott.com
Links:
Clam Shack Blues (short, 2023): https://vimeo.com/707604092
scratch (short, 2023) https://vimeo.com/788883836
Train Gone Sorry (web series, ASL streaming service): https://vimeo.com/456322844
Ovum (feature, distributed by The Orchard)
Clip: https://www.youtube.com/watch?v=bTpRY4tkyio
Clip: https://www.youtube.com/watch?v=PJze0WsDW8o&t
Trailer: https://vimeo.com/107628081







Erika Alexander
Producer

SAG and Independent Spirit award nominated Erika Alexander is beloved for her iconic acting roles as Maxine Shaw (“Living Single”), Detective Latoya (GET OUT), and Cousin Pam (“The Cosby Show”). Erika wears many hats as not only an actress, but also a trailblazing activist, entrepreneur, creator, producer, and director -- an all-around boss. Erika most recently can be seen in AMERICAN FICTION, starring alongside Jeffrey Wright, Sterling K. Brown, and Tracee Ellis Ross. The film won the Academy Award for Best Adapted Screenplay and received five Academy Award nominations, including Best Picture. As a creator, Erika recognizes that stories, when socially conscious and carefully constructed, have the capacity to create impact and meaningful change. As co-founder of Color Farm Media and Board Member of VoteRunLead, Alexander is on a mission to bring greater equity, inclusion, and diverse representation to both media and electoral politics. Erika also recently co-founded Color Farm Impact, a non-profit organization focused on social impact and cultural narrative change. Erika’s company, Color Farm Media, self-described as the “Motown of film, TV, and tech,” develops and produces scripted and unscripted content for film, television, streaming, and podcast platforms. Color Farm has produced award-winning projects such as JOHN LEWIS: GOOD TROUBLE, FINDING TAMIKA, and THE BIG PAYBACK, which she also co-directed. Erika is a sought-after speaker who delivers keynotes on topics including leadership, communications & performance, and diversity & inclusion. She served as Hillary Clinton’s most traveled surrogate during her 2008 and 2016 election campaigns.
Amandla Crichlow
Producer

Crichlow began her career in the UK at Framestore (GRAVITY, HARRY POTTER) as part of the Branded and Original Content team. Within just a couple of years, her work ethic and creativity then led to her being appointed as a board member for the newly launched Framestore Ventures. Amandla then went on to work freelance, which included a year in the Drama Department at Tiger Aspect production company (PEAKY BLINDERS, RIPPER STREET). Having always been particularly valued for her taste and ability to spot and work with new creative talent early on, Amandla joined Daniel Kaluuyas newly formed 59% in 2019 as an Executive where she developed both film and TV projects on the slate. Amandla served as a producer on 59%’s first feature 'HONK FOR JESUS. SAVE YOUR SOUL' - written and directed by Adamma Ebo starring Regina Hall and Sterling K Brown. The film was selected for Sundance 2022 and subsequently sold to Focus Features in conjunction with Jordan Peele’s Monkeypaw with a nationwide theatrical release. Amandla recently sold a pilot to the BBC and is in development for 3 feature films.
Kate Geller
Casting Director

Kate Geller is a NY-based Casting Director, current projects include: BOB TREVINO LIKES IT (with Barbie Ferreira and John Leguizamo, SXSW 2024 Narrative and Audience Award winner), OMNI LOOP (with Mary Louise Parker and Ayo Edeberi, SXSW 2024), COLD WALLET (SXSW 2024), OH, HI! (with Molly Gordon and Logan Lerman), ON THE END (with Tim Blake Nelson), RISE AND SHINE, BARRON'S COVE (with Garrett Hedlund), THE GOOD HALF (with Nick Jonas, Tribeca 2023), CORA BORA (with Meg Stalter, SXSW 2023), MOLLI AND MAX IN THE FUTURE (SXSW 2023), SOMEWHERE QUIET (Tribeca 2023), THE FRONT ROOM (A24), DRUGSTORE JUNE (with Esther Povitsky), THE SECRET ART OF HUMAN FLIGHT (Tribeca 2023), WILDER THAN HER (with Sunita Mani and Danny Deferrari) and many more upcoming films. Recent projects include: SHIVA BABY, THE LIST, THE LAST THING MARY SAW, BRAZEN (Netflix), CANVAS, HOME FREE, THE GYMNAST, PUDDYSTICKS, MY GUY DIED (podcast), SORRY CHARLIE MILLER (podcast). Past projects include: MATERNA (Tribeca 2020), NINE DAYS (Sundance 2020), LONG WEEKEND, JOHN WICK + JOHN WICK 2, THE SUNLIT NIGHT, DIETLAND (AMC), OTHERHOOD, LOST TRANSMISSIONS, CHAINED FOR LIFE, THE INCREDIBLE JESSICA JAMES, LIZZIE (with Chloe Sevigny and Kristen Stewart, Sundance 2018), DON'T THINK TWICE, JONATHAN, SOLLERS POINT, AMATEUR, TULLY, THE SCOTTISH PLAY, THE GIANT, MARCEL THE SHELL WITH SHOES ON and many more.
Ben Arnon
Producer

Ben Arnon is co-founder of award-winning film and television company, Color Farm Media and also co-founder of its sister 501(c)(3) non-profit entity, Color Farm Impact. Ben’s professional background uniquely positions him to lead a 21st century, forward-thinking company that spans across media/entertainment, technology and social impact. As co-founder of Color Farm Media, Ben has produced award-winning projects including the documentary film “John Lewis: Good Trouble,” which was nominated for 3 Emmy Awards and won the NAACP Image Award for Best Documentary Film, as well as “The Big Payback,” a critically acclaimed documentary film focused on reparations for Black Americans. Ben also produced “Finding Tamika,” an Audible Original Series that won the prestigious duPont-Columbia Award for Excellence in Journalism as well as a Webby Award and Audible’s True Crime Audio Series of the Year. Prior to launching Color Farm, Ben was integral in scaling the Facebook-incubated tech startup, Wildfire, from 6 to over 400 employees and an acquisition by Google. In media, Ben has led business development for Yahoo! Music and worked in numerous roles at Universal Pictures, Universal Music Group, Jersey Films and Scott Rudin Productions. Ben is active in Democratic politics, social activism, community organizing, and photography. He represented the 36th Congressional District of California as a Delegate for Barack Obama in 2008, after having organized both Maxine Waters’ and Jane Harmon’s districts for the Obama campaign in 2007-2008.
Jameel Saleem
Executive Producer

Jameel is an accomplished writer and producer with an impressive career in television and film. His work includes contributions to beloved series such as SOUTH PARK, BOB'S BURGERS, and DISENCHANTMENT, as well as writing for the last two SOUTH PARK video games. Jameel is currently writing on the third season of Paramount+’s TULSA KING and writing both Trevor Noah and rapper Cordae’s highly anticipated animated Netflix series. Beyond his television achievements, Jameel is actively shaping the future of entertainment with exciting projects in development with Warner Bros., Amblin Entertainment, and Netflix.
Color Farm’s primary focus is on developing and producing premium-quality content for multiple platforms (motion pictures, television, streaming, podcast) that features multicultural characters and storylines for global, multicultural audiences. Tomorrow, we plan to finance content and to build technology that enables us to scale our mission of improving access and inclusion to mass media and entertainment storytelling platforms.

hotline (and you)
Again, thank you for allowing me to share this world and the important work crisis counselors do every day.
These professionals help myriads of people from all walks of life who struggle with their mental health.
Hotline aims to honor these counselor's work while sparking a conversation about suicide prevention.
We'd love to continue the conversation with you.
