‘Get Lost’ champions Vue’s point of view about the value of taking a break from life’s distractions and getting lost in great stories.

Featuring Ridley Scott and John Boyega (who also narrates), Jake Scott’s one-shot love-letter to cinema shines a light on the insanity of the overwhelming distractions in our everyday lives, and rallies around the need to get lost in great stories at the cinema as the antidote. In one-shot we pass through the story, the pace building and building before climaxing with the relief of a beautiful and atmospheric orb.

As a treat for real cinema lovers, as well as its main message, the film has been loaded with over 30 film based ‘Easter eggs’. ‘A113’ features in every Pixar film; an origami unicorn from Bladerunner appears behind Ridley Scott; ‘Gotham’ town hall is a reference to Batman. There are too many to list here...

We’re all connected, all the time, to the little screens we carry in our pockets. And amazing though it is to be able to tweet while we shop while we chat while we game while we watch, the rise in phone-based health issues along with the popularity of the mindfulness movement show that people are searching for an antidote to always being online.

New research commissioned by Vue and University College London shows that a trip to the cinema can be more than just an entertaining way to spend time, it can actually be good for us too.

The study shows that the cinema experience has profound cognitive, emotional and psychological benefits. It can boost memory, productivity and focus, help to alleviate depression and loneliness and even help keep your heart healthy by raising the heart rate to a level similar to doing a light form of cardio exercise.

GET LOST SCRIPT

(Voiceover only. Scene directions follow below)

So… “Stories”

The story is...

That.

They.

Are.

Everywhere.

And you can broadcast them to the entire world, from the palm of your hand.

I mean yeah: you saw a sunset, saw a dog, saw a flower.

And yes, you bought breakfast, you bought a coffee.

You bought a… sandwich?!

(I’ll have what he’s having.)

And ok, now you can tell your stories in 10 seconds... 6 seconds… 3 second disappearing stories?

Hah, Cute dog.

But come on!

To lose yourself in a story you need to do it properly.

Not like that.

Or that.

Or that.

Definitely not like that.

Great stories are the one you can lose yourself in. But you can’t do it like that.

No, to really lose yourself in a story it means no pings, no alerts.

No click me,

swipe me,

like me’s.

(Silence)

Feels good doesn’t it.

Imagine what two hours feels like.

TITLES ON SCREEN:

Get Lost in great stories

Get Lost in the ultimate seat

Get Lost in the ultimate screen

Get Lost in the ultimate sound.

(Etiquette message for cinema only)

VO: So shhhhhh, no more talking.

Switch off your phone, sit back, relax and get lost in the big screen experience.

----

GET LOST VO SCRIPT WITH ACTION DESCRIPTION

(Easter egg film references in brackets)

We open on an empty street. In the distance, we see a man in green hospital scrubs (ref 28 Days Later)

VO: So…stories. The story is,

A man emerges from a street corner totally absorbed in something, playing on his phone.

A plastic bag flies across the camera - (ref American Beauty)

VO: That

He’s walking faster, never looking up, which sets our pace. Without looking he steps off the curb and just misses a car.

VO: They

The passenger is watching her device, completely oblivious to the man.

VO: Are

And now the streets flood with the populace, choreographed in what can best be described as the ‘dance of distraction’.

VO: Everywhere.

It’s not exactly a dance, but a coordinated interweaving of action in which the entire city is either on a phone or watching some sort of device. The camera spins and turns, catching glimpses of the distracted world, everywhere we look.

VO: And you can broadcast them to the entire world, from the palm of your hand.

The camera moves past the crowd into a busy cafe scene.

VO: I mean yeah, you saw a sunset,

A tanned girl holds her phone up for her envious friends, who look at a picture on her phone as we move across the tables of a crowded outdoor café.

(References: Titanic necklace, Clueless plaid dress, Avengers infinity stones necklace)

VO: saw a dog, saw a flower. And yes, you bought breakfast, you bought a coffee.

A tall waiter leans down to take a picture of a dog, belonging to a well heeled old lady who takes a picture of a flower in the vase on the table, as a tourist couple take pictures of their leaf decorated flat whites and avocado toast. The camera whips around to follow a tall club sandwich as it is delivered to a guy at a table.

(References: Rose bud Citizen Kane, Harry Potter glasses, Joker card on table, Frozen snowflake on coffee, Twin Pines cafe menu Back to The Future)

VO: You bought a… sandwich?! I’ll have what he’s having.

The portly fellow swats us away with his napkin.

(References: When Harry Met Sally turkey reuben sandwich and V/O, Inception spinning top, James Bond martini, cork on a fork Dirty Rotten Scoundrels).

VO: And ok, now you can tell your stories in 10 seconds... 6 seconds… 3 second disappearing stories?

The camera leaves the café now and follows a confident young man jumping between metal rungs holding an extendable device rig.

(References: Gotham Town Hall sign Batman, bowls of red and blue pills/jellybeans The Matrix, apple pies with hole in American Pie, A113 sign Pixar, Airplane fuselage).

We catch a glimpse of the film set, as we enter the director’s room full of digital screens where we find Sir Ridley himself, showing his producer, DOP and continuity lady something on his phone...

VO: Hah, Cute dog.

We see a sweet little photo of a dog on Ridley’s phone.

(Hidden Reference: Origami Unicorn, Bladerunner)

The camera flows through the room, past Ridley and his crew to a monitor screen on the wall behind. We see John Boyega on the screen wearing a costume from the film, looking at the camera. John turns to camera and quips “But come on!”. Then sees us and smiles furtively. (We realise now that John is delivering the voiceover).

(Hidden References: on clapperboard - R237 The Shining, P Parker Spiderman, 42 Hitchhiker's Guide To The Galaxy.)

VO: To lose yourself in a story you need to do it properly.

(Offscreen) And… action!

VO: Hang on.

John turns his gaze away from us, looking past us at something seemingly in the distance.

(Hidden Reference: X on wall The Departed)

(Screams)

John turns and runs onto set.

(Hidden References: 1138 on building, THX1138 George Lucas, Bumblebee reflected on building Transformers.)

VO: Not like that.

We pullback to reveal we are in someone’s living room, with two dogs wrestling noisily in front of the TV screen as an entire family only half watches, laptops and phones in hand.

(Hidden references: Aladdin lamp on table, blue/white china cup and saucer Get Out, camera at Rear Window, lion cub toy The Lion King, raccoon toy Guardians of The Galaxy, egg on stairs Rocky Horror Show, Mickey Mouse plate arrangement.)

VO: Or that.

Twin brothers bicker loudly as their iPad tries to buffer.

VO: Or that.

The grandmother of the family wanders through the room past camera, seemingly transfixed on her phone, earbuds in.

VO: Definitely not like that.

We move into the kitchen to find Dad pulling himself a slice of pizza from the box, as he strains to hear the sound through his earbuds to something he’s watching on his phone.

(Hidden refs: Close Encounters kids painting signed by Elliott ET, bowl of oranges Godfather, plaster on back of neck Pulp Fiction.)

VO: Great stories are the one you can lose yourself in. But you can’t do it like that.

The doorbell goes and without taking his eyes off his device, the dad goes to the door, letting in his teenage daughter and friend who are both looking down typing into their phones.

(Girl): Hi Dad.

There’s a half uttered “Hi Dad” as the girls enter, revealing the world outside.

A surreal moment as we push outside into the city street again. A teeming, turbulence of people crossing this way and that, all looking down, somehow missing each other like some experimental performance art piece.

VO: No, to really lose yourself in a story it means no pings, no alerts. No click me, swipe me, like me’s.

We move through a swarm of memes, pings, notifications, viral videos & instagram pictures that appear in the air like a digital storm, multiplying faster and faster, cacophonous and overwhelming. The screen fills with these bombarding digital protons so dense they become like static and then vanish with a resounding silence.

(Hidden references: on the steps there is a red balloon from It, and a baby pram coming down stairs Battleship Potemkin/The Untouchables.)

(Hidden references digital storm: Wreck it Ralph 2, 'Show me the money' Jerry Maguire, 'These go to eleven' This is Spinal Tap, 'We’re going to need a bigger boat' Jaws, 'Phone Home' ET, 'Let it go' Frozen, 'Here’s looking at you kid' Casablanca, 'I love you pumpkin' Pulp Fiction, 'Hasta La Vista' Terminator 2, 'You’re so cool' True Romance, 'On Wednesdays we wear pink' Mean Girls, 'I don't think we’re in Kansas anymore' Wizard of Oz)

(Silence)

VO: Feels good doesn’t it.

Something in the calming darkness begins to glow, pulsing, warming, its sound deep and somehow awakening. The glow grows and physicalizes in shape and form. Light dances within it and we discern an orange orb-like sphere growing from the centre out.

(Hidden reference: start of glow is Hal light 2001: A Space Odyssey.)

VO: Imagine what two hours feels like.

In the enveloping darkness, we see people in close up as the light comes up on their faces. Their eyes engage and awaken to the adventure that is about to begin. They are completely transfixed, but with an inner liveliness not seen when these same individuals are ‘looking down’.

TITLES ON SCREEN:

Get Lost in great stories

Get Lost in the ultimate seat

Get Lost in the ultimate screen

Get Lost in the ultimate sound.

Vue swoosh logo.

(Etiquette message for cinema only)

VO: So (shhhhhh), no more talking.

VO: Switch off your phone, sit back, relax and get lost in the big screen experience.

As the Vue logo slowly begins to recede into the distance, we hear the narrator's voice deliver the final etiquette message to the cinema audience, preparing them for the amazing event they are about to experience.