"A MODERN EPIC DIVING IN TO THE LIFE OF COREY JACOBSEN AS WE EXPLORE THE WORLD OF ELK HUNTING THROUGH HIS PASSION FOR CALLING ELK"
Sitka Athlete, Corey Jacobsen, finds no greater thrill in hunting than conversing with elk. It fuels his motivation throughout the year, and has led to nine World Elk Calling Championships, countless call-ins each season, and a continual supply of elk meat to feed his family. But for several years, there's been a growing problem. With increasing pressure from predators and hunters, the elk are more wary, and they aren’t responding to calling like they used to. Many hunters have abandoned calling altogether in favor of silently stalking these ghosts of the forest. Corey isn’t ready to abandon his calls just yet though, and he sets out on a roadtrip to visit the pioneers of modern elk calling. In his visits with the forefathers of elk calling, he hopes to unearth how they learned to commune with the elk back when there was no one to teach them or share experiences with them, and find out what drove them to pave the path for elk calling as it is today. Through this journey, he adds their experiences and knowledge to his own strategies, and sets out to test new vocabularies and tactics on public land elk hunts across the west. His passion for calling elk stirs within him a desire to pass the tradition on to future generations, and his season winds down with him sharing elk hunts with his children as the fire is lit for them to carry the elk calling torch.
Corey Jacobsen used to consistently call in and kill elk. He has for years, always on public land, always paid little attention to antler size. Why? It's the interplay that he loves, the back and forth, the conversation, the becoming one of them. It's like a fly fisherman who prefers the thrill of watching wild trout rise to tiny dries over sinking heavy streamers into the deep, hoping to bump into bigger fish. He likes the sense of finesse, of mastery, of control. Of communion.
This was all well and good. He had nothing to prove. He could have gone on like this for decades, killing half a dozen bulls a year as long as his knees would let him, teach calling seminars, win calling championships, and die a fulfilled man.
But in recent years, it hasn't been so easy. He's had fewer encounters. And it's not like he's practiced less or called less or been in the field less. He is the reigning Seven-time world elk calling champion. The problem? Elk are getting smarter. There are more predators than there used to be, more hunters blowing calls, and blowing them better. So the elk are learning. They've grown quiet, less willing to converse with each other and with Corey.
Corey is visited by Tyler Johnerson from Montana, who tells him, "look, I quit calling a long time ago. Now I go stealth, that's the only way you can really be successful. But look, it's still hard. I've gone on a lot of sheep hunts. Filmed the world record archery Stone and bighorn, and you know what? Hunting a mature bull on public land is way harder than sheep. It's always going to be hard. It's supposed to be."
Corey think about that and realizes calling, not just elk hunting, has always been hard.
For him, going stealth doesn't solve his problem. He doesn't hunt to kill, he hunts to talk to the elk. And he realizes if elk have always been getting smarter, if they are an adaptive species, then he must not be the first person to have hit a wall like this. There's always been something new to learn with elk. Not just their inflections and intonations, but new words, new ways of thinking, new ways of expressing the thoughts of elk.
A lot has happened in the last 40 years. The old ways were simple. Old timers still talk about the days you could call elk with a fingers-in-your-mouth whistle. And when that stopped working, a group of guys, the forefathers of modern elk calling, started building tools: reeds, diaphragms, tubes, squeezes.
You know a lot of their names: Larry D Jones, Will Primos, Mike Eastman, Rocky Jacobsen.
Corey realizes that to move forward, he has to go back. He has to learn how the forefathers thought, and try to apply their thinking to the elk of today.
So he goes on a road trip in the lead-up to his early season Idaho hunt. He visits two forefathers in the Pacific Northwest at their cabins, sits on their porches, huddles by their fires, eats in their kitchens, listens beneath their Bulls, and he learns. He tries to apply their teachings on his Idaho hunt, and we see what happens.
Then, he visits a few forefathers on the way south to New Mexico, where he'll hunt the Gila with Randy Newberg. Again he learns from their stories.
Before the hunt, Randy recommends he go visit with an old time caller Corey's never heard of. It seems like this could be the Yoda of elk calling, or maybe a crazy person. Corey tries to apply the lessons he's learned in the Gila, and we see what happens.
Talking to Randy on the hunt in NM, he expresses that elk calling is a way of life that he feels the need to preserve, to perpetuate, to pass on. He wonders what the future will be like, if hunters will stop talking to the elk, if the art and the language will be lost. He wonders if calling, really communicating with elk, new as it is, will be but a blip in the history of humans hunting elk, or if maybe if future generations will take the lessons from this rare period of relatively low pressure on the elk, and begin to build on them.
Randy recommends Corey introduce his son to the forefathers while they're still around.
So Corey invites the forefathers up to his place in Idaho, just days before his son Isaac's first archery elk hunt. Isaac has called in Bulls before, but he's still pretty green.
All to get her now, the forefathers tell stories of old, and Isaac is or isn't interested. We'll find out.
The missing forefather is Corey's dad, Rocky. He comes late, and he and Corey take a walk, alone. You can tell there's some tension, but as they talk, it melts and Rocky tells Corey he's proud of him, what he's accomplished, the mission he's on.
Corey takes Isaac on his hunt, teaching him the lessons he's spent a lifetime learning. We will see what happens.....
INTRO (2-3 minutes) 10/11-14/16 LOCATION: Idaho
-A mixture of natural sounds overlayed with 4 sceens (house, woods, under water river connecting together that leads to our cable shot. -Cable Cam 200ft pan out from close to far. Establishing character, gear effectiveness, and elk hunt setting. -High Intensity up close elk encounter. Goal to capture audience, proving intensity of an elk hunt. Goal to leave audience hanging on for more as the film unfolds -Overall montage of natural sounds mixed into a collection of environments transitioned into establing forest / pattern / hunting environment.
COREY'S STRUGLE AND ESTABLISHING THE JOURNEY WITH THE LEGENDS (3-5 minutes) 10/11-14/16 LOCATION: IDAHO
-Define Corey. His role in Elk Calling, his passion, his anticipation for the season and struggle ahead. Current and Old footage merged into these establishings shots. -Brief introduction define the mentors / legends from Corey. His journey to share his heart with these legends in the sport. -Seeing Eastmans on TV as one of the early inspirations -B-ROLL of Eastmans early calls and early super 8 footage of calling elk. (copper tubes, cow call invention) -Quick visit to the early contribution of the Eastmans early documentation of elk hunitng.
OPENING WEEK BOW HUNT (4 minutes) 9/1-10/16 LOCATION: WYOMING
-Home State hunt captured in entirety. -Goal to capture various season and weather shifts. -Proving calling and gear in changing seasons.
LEGENDS SHOOT 1: WILL PRIMOS 10/23-27/16 LOCATION: MISSISSIPPI
-Dinner Conversation between Corey and Will. -Will Primos hunting lease on MS River lifestyle shots. -Prototuypes and history of calling in old shop. -Call Factory and growth of calling and national influence.
2ND BOW HUNT (4 Minutes) 9/15-24/16 LOCATION: NEW MEXICO
-In field legend hunt with Randy Newberg -Capture new locaiton and diversity of elk hunting / calling -Behind the sceenes of Elk TV Episode Production. -In field converstion of current struggle in elk calling with Randy Newberg
LEGENDS SHOOT 2: WAYNE CARLTON 11/1-4/16 LOCATION: COLORADO
-Explore roots of Elk Calling steming from turkey calls. -Continued conversation capture between Corey and Wayne
3RD BOW HUNT (3 Minutes) 9/16-22/16 LOCATION: MONTANA
-A focus on elk noise and close up interaction. -Larry D Jones (legend b-roll) in field hunting. -Additional Elk country diversity.
LEGENDS SHOOT 3: Larry D Jones 11/13-16/16 LOCATION: OREGON
-Campfire conversation -Old casset elk calling tapes and explore teaching calling -Rosevelt Elk footage and variation calling / hunitng them -Incorperate elk hunt from Montana
LEGACY RIFLE / BOW HUNT (4-6 minutes)
-Father Son elk hunt. -Talk about passing the tradition of calling, elk hunting. -Conclude with the sharing of a hunt and the deep bond of a father and son / father and daughter hunting. -Creating a legacy of elk calling. -Hitorical subjects will touch on the future of elk calling and the goal to perserve the legacy. -the youth hunters will be a subtle embodiment of that as they learn the skill and exercise it on the hunts.
LEGENDS SHOOT 4: Rocky Jacobsen 11/27-30/16 LOCATION: IDAHO
-Father Son conversation. -Rocky's inventing of Elk calls and perfecting by Corey -Loosing of orignial shop to a fire in 2015, but passing on the legacy of memories and lessons. -Capturing roots of Corey's pasion for calling.
OVERAL FORMAT AND FLOW
-Corey's hunting season will be broken up by his journey starting of hunting elk and visiting the ealry pioneers of calling finishing with his own father. -The film will transition betweeen teh 2016 elk hunting season and visits with the four legends selected for the film. -The overall flow the edit would be semi-cronological. The film will break into the specific hunts Corey goes on, but with sharp transitions back to the elk calling historical pursuit.
"THE LINGUISTS EP" by Drew Barefoot
Drew Barefoot has been writing, recording, and producing his own music for the exclusive uses of CANA for several years. His music sets our work apart in this industry and sets a powerful tone for every film we produce.
With Linguists, Drew would write and produce 4-6 songs (depending on the editors needs) to work to tell this story with very fine attention the emotion and climaxes throughout the footage. A few benefits to this option:
- Sitka will have rights to have exclusive distribution of the music via online download for 1 year from the release date.
- Viewers can enjoy full raw tracks from the original score to complement their experience of the film.
- Music for Linguists will be exclusive to the film for 1 year from the release date.
The music and the film will follow each other with footage and music never experienced by the viewer before.
- 2x Trailers (45, 90 seconds) Due 2/1/17
- 6x Product Testimonials (1 min) Due 4/1/17
- 2x Film Teasers (2-4 min) Due 5/1/17
- Full Film (25-35 min) Due 5/1/17
- 4x 15 Second Instagram Trailers (2 film promotions, 2 product focused) Due 2/1/17
- 1000 Final Edits Due 2/1/17
- 50 selects with full commercial rights and distribution (Collateral, Public Display, Social Media)
- 10x Edit Revisions and Touch Ups