ALLEGRA | JB CARLIN
LIVING THEIR GREATEST
by JB Carlin
INTRODUCTION
I saw this smiling dad the other day in Venice (California), 50's, artist type, get out of his beat up minivan with a handful of young kids, his gray hair a tousled mess, and he was wearing a tee-shirt that said, "Health is Wealth". I harkened back to this campaign right away and the characters in it and imagined that that's exactly how they feel -- wealthy and healthy. That's what "Living Their Greatest" means for those who used to suffer from allergies and now are able to fly in the face of their triggers.
That's our aim with this campaign. To create an inspirational, gritty, authentic, and empowering anthem for allergy sufferers everywhere by showing them not suffering, but rather trigger-free, and for that they’re grateful, defiant, and living their lives to the fullest. It’s a campaign about people, about humanity, about the joys of living a healthy life. It’s about people striving to be better, healthier, stronger -- all thanks to Allegra.
OBJECTIVE
We’re creating four :30 second spots for “Fighting Talks” -- one master for the US market (plus 3 variants), two versions for Brazil, and one version for Mexico. These versions will work across the various climates for their different allergy triggers. Each :30 will also have a :15 second cutdown, plus numerous digital assets as well.
In each spot, we will feature a diverse cast ideally consisting of real allergy sufferers. Each character we feature will be heard saying short poignant phrases through their voiceover. We will intercut their stories and their voiceovers in such a way that connects these people, so they appear almost as one unit, together, fighting their allergy triggers, all with the help of Allegra.
For their short-form cut-downs for TV, we will focus on just one character and their individual trigger for the US and Mexico versions, and two characters for Brazil.
For US TV, we have three individual :15’s, one for each character from our :30 that are direct-lifts, plus two original brand claim bundles that will be optimized for YouTube as well.
For Brazil TV, we have four :15’s that feature two of our characters and will be direct-lifts from their :30 second versions. We are also creating four :15 second cutdowns and a :6 second bumper for YouTube as well.
For Mexico TV, we have three individual :15’s and three individual :10’s that are direct lifts from their :30.
For most of our short form films for TV will be utilizing the footage we capture from their :30 second versions. However, throughout our shoot days, we will make great use of our time and resources so we capture an abundance of additional footage that will give you some nice added choices when you get to the edit.
For our US and Brazil Instagram stories, we are shooting a variety of short films that will be under :15 seconds in length. These films will feature short clips and quick cuts to optimize time and hold our viewer's attention. Concise, minimal supers will not only allow us to get our point across quickly and efficiently but will also bring life and personality to our ever-important claims. These films will be brandied from start to finish with the Allegra logo and our purple frame. We will also look at options to open the films with our packshot as well.
For all of our digital assets, we will shoot clean lock-off plates in each of our character's scenes so you can easily integrate the individually branded packs for the various markets in post-production.
For example, we'll shoot an empty locked off plate of the coffee table in front of Gamer, or a clean plate of a nearby table for Plank Guy, or a clean plate on an angle of the park bench for Tree Girl, or a clean plate of Temperature Girl’s bag that sits on the bar/table, etc. By shooting these clean plates for the placement of our pack shots in our natural environments we are in turn creating higher interaction with our characters and their world.
There’s a lot to discuss and the following pages are just a jumping-off point. As we move along through this process, through numerous conversations and discoveries, we will work together to flesh these films out even further so we make them the very best they can be. But, in the meantime, here are some initial thoughts and ideas I have on how I see these spots playing out.
Production Approach
Lean and mean. Our team will be comprised of fast and efficient experts. A single-purposed photographic beast. I work a lot with real people and I’ve learned through experience that there are several factors to getting great performances. I often avoid putting lights up around real people. I try to use practical lighting and natural daylight to light them. While we’re shooting, I like to be open to moments of spontaneity, in‐the‐moment inspiration and acting on surprising realities. These spots will be extremely planned out. But we will allow time in each set up to work freely and capture additional coverage so you have an abundance of footage once you get into the edit.
With a single purpose camera, the cinematographer and I stay focused on the look we are creating and we get into a rhythm with the talent. Because we are shooting all our assets with the same talent and in the same location it will be faster for us to stay in that rhythm, change the angle, change the action, and shoot it again. This is how we capture an abundance of super-premium, beautifully photographed footage that will not only work well across all the different assets for this campaign but will give you an abundance of creative choices once you get into post-production. For an image campaign like this, coverage is king...and queen.
US MARKET
FIGHTING TALKS
US TV :30 (Master)
We open on the Allegra pack and hashtag…
We cut to TREE GIRL walking briskly, confidently down a tree-lined street in the city. Morning sunlight cuts through the trees, creating shafts of lights that catch the pollen that floats through the air. She has a defiant grin on her face as she takes in a deep fresh breath of air. We hear her voiceover:
Allergies, just try to stop us being the greatest versions of ourselves.
We cut to a time-lapse portrait of her sitting on a park bench looking to camera, the same defiant smile on her face, as day magically changes to night, yet she remains calm and relaxed at regular speed. She could lean back in this shot, fold her legs or arms. We’ll add a camera move so the image widens slightly during the time-lapse, showing more of her, the trees, and the city. I love this shot. It’s visually stunning, shows Allegra lasting longer, and is a powerful metaphor for how she remains grounded and feeling healthy while surrounded by her trigger -- all thanks to Allegra. We hear her say:
Allegra lasts six times longer than Benadryl.
We cut into a close up of her on this bench as she looks around at the trees -- at her triggers -- with a confident and knowing smile. We hear her voiceover:
So trees, you won’t take us down.
From inside a dark garage, we see BIKE GUY opening his garage door. Morning sunlight pours in, again, picking up the dust so we visualize his trigger. We cut to a close up on his exercise bike as he blows the dust off the seat. We cut into a graphic slow-motion image of the dust, his trigger, floating through the air. We cut to him in mid-workout, cycling as fast as he can, his lungs sucking air. Through a slight heavy breath, we hear his VO:
Allegra starts working two times faster than Claritin.
He rises in his seat, shifting up a gear, and we hear his VO:
So dust, you won’t wipe us out.
We cut to PLANK GUY in his living room. We’ll find a highly visual location, one with lots of windows, and shoot this at the right time of the day so the sunlight pours in from behind him. The camera floats around him, starting at a wide shot on one side, then moving across the front of him, to the other side as we move into a closer shot of his face. The whole time he holds his plank, fiercely determined, as we hear his voiceover:
And unlike Zyrtec, Allergra won’t make us drowsy.
We cut to a shot in front of him as his cat appears and walks between him and the camera, just inches from his face. As the cat passes, he stares directly at camera, with a deviant grin, and we hear his VO:
So fur, you won’t phase us.
As much as I like the idea of using their dialogue as voiceovers all the way through, allowing them at times, and used sparingly, to break the fourth wall and speak directly to camera, may heighten the impact of a phrase or line so it really resonates with the audience. The plan would be to shoot it both ways for certain lines so you have the choice to be able to experiment in the edit.
We cut to our pack sequence and hear:
When allergies attack, take Allegra before your symptoms take over you.
One can easily assess that these bits of dialogue are to be read by a voiceover talent and not our hero characters. However, I’d like to suggest that we have our hero talent say these lines. You may even elect in the edit to intercut their VO’s so they replace each other's words while saying the same line. This will unite them so it appears as if they are almost one voice, one unit, fighting their allergy triggers together like a team...and winning. This approach would be a unique, gritty and authentic way to execute these lines.
For an alternative ending, I could see us cutting back to heroic portraits of each character while we intercut their VO’s saying…
And live… Your… Greatness.
Again, creating unity and the feeling of community as if they are in this fight together.
After our pack shot, we cut back to our Tree Girl to see her sitting on the bench, spinning a flower in her hand, staring at the camera, victorious, with pride in her eyes. We hear…
And live your greatness…
Cut to Super and out.
TREES A :15
Bundle C&Z YouTube
We open on Allegra pack and hashtag.
We cut to a graphic close up of Tree Girl running. We see her defiant smile. Wider framing reveals she’s in a park. We hear her VO:
Trees won’t bring me down.
We cut to a tracking shot on her to see trees whipping by as we stay focused on her. We hear her VO continue:
Allegra starts working 2x faster than Claritin.
We cut into a profile close up on her as she laughs with Joy. We cut to a wide profile shot to see her leap over a tree stump in front of her. We hear her VO:
And unlike Zyrtec, won’t make me drowsy.
We cut to a portrait of her, looking to camera, hands on hips, feeling strong, eyes bright, full of confidence.
Packshot and hashtag.
TREES B :15
Bundle C&Z YouTube
Open on pack shot and hashtag.
We cut to a graphic close up of Tree Girl running. We see her defiant smile. Wider framing reveals she’s in a park. Birds chirping. Looks quiet, peaceful.
We cut to a medium shot on her in mid jog. She appears bright and alert with her defiant grin on her face. We hear her VO:
Unlike Zyrtec, Allegra is non-drowsy.
Just then, out of nowhere, a frisbee flies into frame directly at her face, but she scoops it out of mid air with lightning reflexes and in mid run.
We cut to a close up on her with a triumphant grin on her face.
We cut to a wide shot as she stops and checks her watch. As she does this, while she remains in normal speed, the scene around her and the city in the background magically time-lapses from day to night. Let's shoot her in slow motion here and add a horizontal move across while the city goes from day to night. This will be a striking image that really grabs the audience's attention. We hear her VO:
And last up to 6x longer than Benadryl.
We cut to her heroic portrait with her hands on her hips.
Packshot and hashtag.
DIGITAL MEDIA
ASSETS US
We’re creating :15 second (or less) Instagram stories as well as :15 second YouTube videos that feature only one character and their trigger.
For our digital assets, and for all of our short-form content, to visually grab the viewer's attention in the first :3 seconds, let’s start the telling of our stories close to each character, then widen out to reveal the scene. This places the viewer immediately in our characters world. As their stories progress, wider framing will allow the videos to open up and breathe. This adds mystery and intrigue to our films, grabbing the viewers' attention, making them want to know more.
Moment #1
Everyday Life US
GAMER
Insta Story (US and Brazil)
For our vertical framing, we’ll rotate our cinema camera and shoot the images vertically so you have the highest quality images for all your assets.
We open on a foggy, almost dirty image on Gamer Guy. He’s looking at the screen as if to notice its filthiness. He moves in closer and we see him wipe a layer of dust off the screen revealing a cleaner, fresher image of him behind it. We now clearly see him in his gamer chair with his controller. He goes back to playing his game.
We cut into tighter framing to see close up’s on his face, his defiant grin, his fingers working the buttons on the controller playing at lightning speed.
We cut to graphics and packshot.
We come out of our packshot to see Gamer Guy win his game in a night scene now. He jumps up, punching the air victoriously, controller in hand.
Logo.
We come out of our pack shot to see Gamer Guy win his game in a night scene now. He jumps up, punching the air victoriously, controller in hand.
Logo.
Moment #2
Explore US
FUR :15
YouTube
Open on a close up of Plank Guy looking to camera. He’s focused, in control, determined. After a few seconds, we cut to wider framing to reveal he is holding a plank.
Super.
Then his cat walks in front of his face, his tail brushing his nose. As the cat clears frame, we can clearly see his eyes, alert and clear.
Super.
Then his smartwatch illuminates and beeps, but Plank Guy remains focused and ignores the distraction.
Super.
Hashtag.
Then the cat jumps on his back! He breaks into a smile, even laughs, but holds his plank. Again, let's not tell him about the watch going off. Let’s just set it and time it to go off live as we’re rolling.
CTA.
FUR :6
YouTube
Plank guy looks to camera while holding his plank. Cat climbs up onto his back, perhaps lays down this time, or starts stretching.
Super.
We cut into a close up on his eyes.
Super.
The cat meows and he breaks into a smile but holds his pose.
CTA.
For Plank Guy’s reaction to his cat on his back, because we are working with real people (hopefully), to help get the most authentic reactions from them, I like to give the actors the least amount of information as possible. So for instance, while on set, we don’t tell him that the cat is going to climb onto his back so his reaction will be real, priceless, and even charming. I like to keep the actors fresh by surprising them in ways like this so their performances remain authentic and real.
Moment #3
Pre/Purchase
Tree Girl/4th Wall
Insta Story US
We’ll shoot a variation of Tree Girl’s footage from her :30, only we’ll shoot this with a wider lens so it appears like it’s shot from her point of view from her phone -- as if she’s on Insta Live. We see her flower spinning full frame. She then sits back or lowers the flower to reveal her defiant face. Behind we see a time-lapse of the surrounding trees and a beautiful cityscape as day turns night.
Note: we will want to be locked off for this shot for our time-lapse gag.
Super.
We cut to a low angle looking straight up toward the trees as they sway slightly in the breeze.
Super.
Packshot.
Super.
We cut to a medium close up on her face, her chin slightly raised, her gaze triumphant, as we move in tighter on her.
Packshot and CTA.
Fur Plank/4th Wall
Insta Story US
This is a direct lift from Plank Guy’s Moment #2, only we’re seeing it through the TV. To create this effect of seeing this scene through the TV, we will shoot this with a wide-angle lens with our cinema camera. We can then control the look and even downgrade the footage in post if we wish to help create the look and feel of seeing this scene through Plank Guy’s smart TV.
Moment #4
Evaluate Treatment
Trees/BENADRYL US :6, Trees/ZYRTEC US :6,
Trees/CLARITIN US :6 are cutdowns from their :15 second versions. We will shoot slight variations for these as well, so you have options.
BRAZIL MARKET
FIGHTING TALKS
Brazil :30 Mold, Dust, Fur
We open this spot on our Allegra pack and hashtag.
Cut to a dimly lit closet as a light flicks on to reveal MOLD GUY. He reaches into his expansive row of hanging wardrobe. We will have a lot of fun styling this closet. We’ll create an intriguing angle where the camera is deep inside the closet looking past a portion of the clothing, creating depth and intrigue to the image. Mold guy looks to camera with a knowing, defiant smile as we hear his voiceover.
Allergies, just try to stop us being the greatest versions of ourselves.
An alternative opening for Mold Guy would be to start on a heroic portrait of him in his closet, surrounded by his wardrobe, as we hear his VO. Either way works.
We then cut to him pulling out his leather jacket to reveal the back is covered in mold. He sniffs the mold before wiping it off. Let’s cut into an extreme slow motion image of the mold particles in the air, showing his trigger. We hear his defiant VO:
Mold won’t bother us in any way.
We cut to GARAGE DUST WOMAN opening her garage door. Sunlight floods in and illuminates her. She dusts off a layer of dust from her every day, well-used exercise bike seat.
Cut to her cycling fast with a determined look on her face. We hear her say, slightly panting:
Dust won’t leave us behind.
We cut to PLANK GUY in his living room. In the middle of his pose, his cat walks in front of him again, only this time, the cat's tail brushes across his nose! He says to camera with his defiant grin:
And fur won’t stop us. (Same line as the US version, only slightly different.)
We cut to our packshot and we intercut their voices saying…
When allergies attack, take Allegra before your symptoms take over you.
We come out of our packshot to find Garage Dust Woman just finishing her workout in the garage. She sits up on her bike and leans forward on its handlebars, trying to catch her breath, exhilarated from her workout. We hear her VO:
It’s fast relief.
We cut back to Fur Plank Guy in his living room. Warm sunlight beats in through the windows behind him as he still holds his plank! Sweat drips off his skin. His arms slightly shaky as if his body is feeling the burn. Just then…his cat climbs onto his back! It would be great to get the cat to sit down on his back. He stays completely composed and focused as we hear him say:
And won’t make you sleepy.
Wardrobe guy picks up his keys. We hear his VO:
...because you’ll never stop us...
We cut to a heroic close up of Garage Dust Woman as we hear her finish the statement:
...being our best.
Again, might be really nice to intercut close-ups on the three of them as they stare down the camera with grit.
Cut to super and pack and out…
FIGHTING TALKS
Dust, Fur, Temp Brazil TV :30
We open on the Allegra pack and the hashtag.
We cut to GARAGE DUST WOMAN opening her garage door. Sunlight floods in and illuminates her. She dusts off a layer of dust from her every day, well-used exercise bike seat (footage from above).
Allergies, just try to stop us being the greatest versions of ourselves.
Cut to her cycling fast with a determined look on her face.
Dust won’t leave us behind.
We cut to PLANK GUY in his living room. In the middle of his pose, his cat walks in front of him again, only this time, the cat's tail brushes across his nose! He says to camera with his defiant grin:
And fur won’t stop us.
We cut to TEMPERATURE GIRL walking down the street in a strappy top and shorts, a shirt tied around her waist, on a scorching hot summer day. Her skin slick/shiny, as if the sun is so hot it causes her skin to perspire. She looks definitely to camera and we hear her VO:
The temperature can change suddenly.
We follow her through the doors of a bar. We cut inside as she passes an old AC unit that blasts ice cold air at her, hitting her in the face, blowing her hair wild as we hear:
But it won’t change our plans.
Another idea to help sell the hot to cold environments would be to see her take a seat at a bar or table with the AC only a few feet away. She looks right at camera and delivers her line, only she has to raise her voice to talk over the loud AC unit. In this way, we’re utilizing audio and visuals to help sell the idea that we’re going from a hot environment to a cold one.
Either way we go, she throws her shirt on without effort and looks at camera with a cool and casual confidence.
Cut to pack sequence. We hear their VO:
When allergies attack, take Allegra before your symptoms take over you.
Cut back to our bike woman, just finishing her spin, looking triumphant as if beating a personal best. We hear her say:
It’s fast relief.
Cut to our plank guy. He’s still in plank position. The cat has climbed onto his back but he is still totally focused. We hear him say:
And won’t make you sleepy.
Cut to a medium close up of Temperature Girl at the bar, smiling, knowingly looking to camera. We pull back as her friends roll up. We intercut their VO’s, one after another, saying:
So go ahead allergies, try to catch us. Because you’ll never stop us being our best.
Super and pack.
Dust+Temp
Fur+Mold
Brazil TV :15’s
The footage for “Dust & Temp Change” Version A and B, and “Fur & Mold” Version A and B are direct lifts for their longer form :30’s. Again, we will shoot additional footage for each character so you have options in the edit. Our structure for these :15’s are:
--Scenes of trigger #1
--Scenes of trigger #2
--Packshot
--End on at least one if not both of our heroes living their life to their greatest.
DIGITAL MEDIA
Assets Brasil
YouTube Videos
Brasil
We’re creating four :15 second YouTube videos for Dust, Fur, Temp, and Mold, plus one :6 second bumper for Plank, that features only one character and their specific trigger. All of these videos will be direct lifts from their :30 second films. Again, we will shoot additional assets for these films with slight variations so you have some additional options later.
Insta Stories
Brasil - MOLD
We open on a close-up of Mold Guy looking to camera for a few seconds while we slowly pull out. As our image widens we reveal we’ve been looking into a mirror and seeing his reflection. He reaches for his leather jacket and puts it on. But the front is clearly moldy. He sniffs the mold, grimaces.
Super.
He brushes the mold off.
Super.
He takes the jacket off and we cut to quick, fleeting images of him trying on a few different options. But then, he comes back to his leather jacket.
Super.
With his hand, he brushes off the last bit of mold off his jacket, defiantly.
Packshot comes in.
Super.
We cut back to our guy in front of the mirror donning his beloved jacket and throwing down a few dance moves.
Logo.
Insta Story
Brasil - Temp
This is Temperature Girl’s story but told from the point of view of security and CTV cameras. We will rig small cameras like CTV camera’s only higher quality, and recreate her original footage/scenes. It could be cool here to film perhaps a few shots from her phone here as well, like she’s recording it. Or this could be her friend's phone as they walk up. Just an idea. Either way, this could be a really cool way to tell her story.
MEXICO
FIGHTING TALKS
Mexico :30 Dust, Fur, Temp
We will cleverly establish their allergies, their triggers, upfront in a visually interest way. That’s where the tension comes from in this campaign, with their allergies and how they are not being affected, thanks to Allerga.
Our :15’s and :10’s will be direct lifts from our :30’s and will feature only one character and their trigger. We will shoot additional footage and heroic portraits of each character for these films as well.
We open on the pack and hashtag...
We cut to a portrait of a colorful Food Truck on the side of a city street. Bright morning light bathes the image in warmth while catching a haze of exhaust fumes that floats in the air around it. The truck's window shutter pushes up as we meet its proud owner: FOOD TRUCK GUY.
Another interesting alternate opening would be to show a wide establishing shot of an unrecognizable city with a view of its hazy pollution hovering in the low morning sun. Over this image, we hear his VO:
Just try, pollution.
We then cut to a heroic portrait of Food Truck Guy standing in the window of his truck. The camera moves in closer to him as he stares defiantly, chin raised slightly, as his voiceover continues:
Try to aggravate our allergies. You’ll never stop us being our greatest selves.
We cut to customers lined up at his food truck.
We cut to a rear tracking shot of a car or truck with exhaust smoke puffing into the cities already dingy air. Over the street noise we hear his voice. Defiant.
Smoke won't get in our way.
The camera floats over moving pavement before we TILT UP to reveal YOUNG BUSINESS EXEC riding a scooter on a hazy city street with the morning sun rising between the surrounding buildings. The camera cuts in close on his face and we hear his voice, full of confidence:
Dirty air doesn't hold us back.
He pulls ahead.
We tilt back down to see the pavement whipping by.
We cut to a dolly shot looking down at the hardwood floor and we use this as a match cut. We then TILT UP to reveal a WORK OUT WOMAN doing an online dance/workout class in her home. Large French doors open to her patio that overlooks a beautiful, hazy vista of the city. The woman is sweating, trying to keep up with the beat of the music. She’s a bit off beat, but she’s having a blast regardless. We hear her VO:
Fumes won't bring us down.
We cut to the pack shot.
We hear Workout Woman say:
Because Allegra lets us break free from our allergy symptoms.
We cut to Workout Woman now on her balcony with the hazy city behind her. She’s showered, refreshed, sipping coffee with a reassured smile. We hear her say:
Even those aggravated by pollution.
We cut back to our Young Business Exec on his scooter as he moves through a hazy cloud of exhaust smoke, his dark hair flying in the wind. We hear his VO:
It’s the first treatment proven to do that.
Just then, he turns down a street and cruises off while we pan over.
We match cut that pan by panning over to see we’re inside of our food truck. Flames igniting, smoke billowing. We see Food Truck Guy smiling as he passes an order through the window to a customer. We hear his VO say:
And the only one.
We cut to him over the grill or burner as he leans forward, savoring the smell. His voiceover says:
So take Allegra and live your greatness.
Cut to pack shot, illuminated by the morning sun, then logo and hashtag.
There’s a lot of potential with this spot.
CINEMATOGRAPHY
The life and energy of our subjects in their natural environments will guide us. The cinematography of this campaign will capture the mood and tone essential for each poignant beat. The unifying look and feel will be personal, gritty, raw and authentic. Its handheld realism—only more cinematic, which is what I call, “cinematic realism”.
An important aspect of my approach is to capture very close, oftentimes, macro details within each scene. These graphic details tend to speak to the characters personalities and in turn, enrich the telling of their stories. Capturing these details are usually part of my approach and I tend to capture them organically, with in-the-moment inspiration, improvisation, while acting on surprising details on our shoot days. These images will help provide a sense of scale, aid in creating visual diversity, and will give you some nice additional options for further creativity in the edit.
I’m honestly obsessed with cinematography. I am always looking for new perspectives, new unexpected angles and compositions, and I’m excited to do that with you on this project.
CINEMATOGRAPHY
REFERENCES
Hyundia “Live Loud” has a great energy and attitude for us for cinematography, but also for edit, music and sound design:
Nike “Da Da Ding”. This is a great reference for portraits and attitude and playfulness. Music as well. The song makes this:
Converse “Forever Chuck” is on the far end of our spectrum, but is a great reference for the sort of poetic realism and creativity I think we can play with, and even has some great sound design ideas, too:
It's important to mention our photography as well. Nearly all productions today work in tandem with a photographer on set.
Our Social Media (SM) Photographer is a fast and nimble photographer who will work alongside our production team. At times he/she will shoot over my shoulder to capture a still moment. Other times, after we have filmed the motion portion of our assets in each scene, we will step away and allow the SM Photographer to come in and spend 5 to 10 minutes with each talent to get some additional assets for social. Again, creating a single purposed photographic beast allows us to capture as much creative imagery and assets as humanly possible.
In addition to our SM Photographer, we will work in tandem with our Key Visual (KV) Photographer as well to create the 18 key photographs. It's important to note that these 18 photographs will be extensions of the scenes we are already shooting. As our production team and our SM Photographer wraps each scene, our KV Photographer will step in and shoot the same talent in the same location for approximately one-hour to capture roughly 5-10 photographs.
EDIT
+ TRANSITIONS
The edit should pop with slightly unexpected rhythms so it engages the viewers. Some of our subjects will call for a slightly high energy approach to the edit to help us convey their micro stories and move them through time.
As for transitions, I say we play it straight for the most part so we don’t take away from anything that’s real and authentic. However, utilizing a few clever and interesting transitions, like the Scooter transition into the Workout Woman’s home, can add intrigue and further engage the viewers. Transitions like these can be fun, creative and unexpected when done properly and sparingly.
Here is a great example for the fast and loose energy that stands on the far end of our spectrum, however it’s important in our discussions of construction and pacing for the telling and intercutting of our stories. There are also a few clever transitions throughout the film and is a good example how just a couple transitions can work really well. You may want to turn the volume off as it can be distracting.
CASTING
+ PERFORMANCE
In a campaign rooted in authenticity and diversity, casting is clearly a huge part of getting this right. The cinematic imagery we capture has to mix seamlessly with honest humanity. For our ex-sufferers, we need to connect with them. It’s all about being authentic – real faces and body language that triggers something true in ourselves. It’s really about finding a diverse cast of real allergy sufferers and playing these scenes straight. And it’s my job to keep their performances honest and real. In my experience, we’ll know them when we see them.
As far as casting goes, like we spoke about on our call, I suggest we do both a real people casting and a traditional casting as well so we cast the widest net possible and find the very best cast we can for this campaign.
LOCATIONS
I think we live and die with our locations. This can’t feel staged -- they have to be real and authentic in every way. I think Rio de Janeiro is the ideal location to shoot this project. It’s a kind of place that will allow us to go from a tree-lined road, to modern skyscrapers, to a small quaint town, to a rural blacktop road, without really breaking a sweat. With what will be an ambitious schedule, and with our diverse locations, we will need a place like Rio de Janeiro to help us get all the footage we want in our three days. Instead of restricting our ideas, it’s the type of locale that will empower us to design the most striking vignettes possible, and I look forward to figuring out how best to take advantage of everything the city has to offer with you guys.
MUSIC
+ SOUND DESIGN
Music and sound design are obviously very important to the success of this campaign, especially when talking about anthems. Finding just the right music for film is really a process of exploration and discovery for me that starts from concepting and continues into the edit. It’s really one of my favorite parts of the filmmaking process. Obviously, for these films, we’re instrumental and without lyrics. We want a powerful track that moves and inspires. The use of natural sounds will also be a nice touch. It’s a technique that really brings out humanity and realism. The audible cues will serve to fill in the blanks and paint a fuller picture of the character's personalities.
This Run DMC song isn't right because of it's lyrics, but perhaps there's something we can draw from as inspiration. Makes me want to scream in the face of adversity!
"Harder Than You Think"
Here's another reference for music and tone.
PURPLE FRAME
We’ll use the Allegra purple frame around the images to help brand the films throughout. Our frame will be interactive so our characters actions will happen around it, as if it really lives in their world.
OUTRO
I am super excited about this project. These films have so much potential. For me it all starts with the ideas. Then comes the visualization. Followed by the process. And along the way we’ll have tons of discoveries, spontaneous reactions and creative collaborations together. I love living and breathing this process from start to finish, from concept to color correction – fixating on every detail to make sure we deliver something truly outstanding, effective and memorable.
Thanks for the opportunity!
--JB
Because to succeed today we can’t be the thing that interrupts what people want to watch – we have to be the thing they want to watch. My process, my approach, because we are open to discoveries, open to spontaneous reactions and willing to collaborate creatively, we allow for this to happen, and we will create the work people will connect with. That’s how we move the needle, that’s how we make this work for your client, that’s how we help to build the Allegra brand.
ABOUT
DIRECTOR
JB is a visual storyteller who plays in a variety of mediums and strives to push the possibilities of any given script, both long and short. His style is real, intimate and raw. He has the unique ability to develop relationships with talent quickly, which allows him to capture beautiful human moments that go beyond what’s on the page. The end results are always emotional.
JB has worked with numerous high-profile actors such as Morgan Freeman, Regina King, Alfred Molina, Ving Rhames, Kyra Sedgwick, Ray Romano, Simon Baker, Jason Lee, George Lopez, Cindy Crawford, Kid Rock, Bob Seger, Sheryl Crow, Eminem, to name a few.
He's created campaigns for clients such as Nike, Alfa Romeo, Jeep, U.S. Navy, Chevy, TNT, tbs, Champion, Foot Locker, Comcast, Cox Communication, Hyatt, Chrysler, Dodge, Lincoln, Aldi Grocery Stores, American Family Insurance, plus many more.
JB has also written numerous TV Series and Feature Films. Most recently, he created a TV series called, THE FOREST, which was bought by USA NETWORK and UNIVERSAL. Ryan Reynolds will be producing through his company, Dark Trick.
JB lives in the Pacific Palisades, CA with his wife Laura and their two kids, Finn (7) and Hadley (5).
