Dance-Driven Spot ‘Make Life Brighter’ Is a Viral Hit
Michelle Nicholson, founder and executive producer at FARMUSE, gets in touch to tell me about its latest work on a Pella Windows commercial. I didn’t know what exactly to expect – there’s only so much you can do with an ad about windows, right?
Wrong. This infectious and visually-stunning feel-good journey through the seasons had me combing through Missy Elliott’s back catalogue and pining for floor-to-ceiling windows.
On the other hand, Michelle knew right away, given the agency players involved and the renowned talent of Contentus Maximus’ Charlie Di Placido, that they were about to embark on something remarkable."
The spot in question – Make Life Brighter – is a vibrant, movement-driven campaign directed by Charlie Di Placido (known for his kinetic music video work with Jungle and ads for GAP) and anchored by a showstopping performance from young dancer Zoey Zanai.
Shot in FARMUSE’s hometown of Nashville, Tennessee, the ad is a dazzling fusion of style, story and craft. As Zoey dances through a home framed by massive windows, the seasons shift around her – from stormy rain to crisp sun – all set to Missy Elliott’s iconic ‘The Rain (Supa Dupa Fly)’. It’s not every day a windows commercial goes viral, but Make Life Brighter struck a chord: its 30-second cut aired across the US, while the full-length version has racked up thousands of fans online, prompting glowing YouTube comments like, ‘Super Bowl level commercial!’ and ‘There may have never been a better commercial made.’
For FARMUSE founder Michelle Nicholson, the success of the campaign is rooted in its seamless collaboration. Led by agency Singlethread, and in close partnership with production company Contentus Maximus, edit house Arts Academy, and VFX partner Parliament, FARMUSE brought deep local knowledge, standout casting, and on-the-ground production expertise to the table. in close partnership with production company Content Maximus, edit house Arts Academy, and VFX partner Parliament - FARMUSE brought deep local knowledge, standout casting, and on-the-ground production expertise to the table.
To get the full scope of the project, LBB’s April Summers sat down with EP Michelle (FARMUSE), EP Matt Craig (Content Maximus), and ECD Amber Justis (Singlethread).
LBB> This is a surprisingly fun and free-flowing ad, it caught me off-guard! Can you tell us how each team brought their specific strengths to the table to elevate the final product?
Michelle> This project worked because it was a true collaboration, with each team bringing their A-game and trusting each other to own their part. Singlethread led the creative vision with clarity and guts. Contentus Maximus brought its production prowess and technical excellence. And FARMUSE was the connective tissue – the team making sure that vision could be fully executed.
As always, there were moments throughout production where we had to pivot; weather, SFX considerations, etc. But everyone had a shared commitment to making it great so the energy remained throughout.
Matt> From day one, Content Maximus’ mission has been to produce iconic work that reflects our shared aesthetic and stays true to the values behind our campaigns. We naturally gravitate toward partners who align with us creatively – Singlethread and Jarett Hausske were exactly that from the very first outreach. They presented dream creative that we were excited to build on and pushed hard to support the vision Charlie laid out in the treatment.
Amber Justis, Rob Katzenstein and Marni Beardsley brought a wealth of experience, and as a team, we were fully aligned across music, location, and casting all of which helped elevate the final product.
Michelle and her team at FARMUSE were our boots on the ground in the States. They made me and my key camera crew feel right at home and supplied additional crew who really delivered for us, they were incredible throughout the process, no matter how many spanners were thrown at them, including recording breaking snowstorms!
LBB> Michelle, how did FARMUSE’s expertise in production and talent sourcing influence the unique tone and energy of the commercial?
Michelle> Our approach is always to ask: how can we make it better at every stage of the process. For this project, that started with casting. We approached it from all angles, combining traditional routes with outreach to local dance studios across Nashville, and expanding the search online. Our trusted partner, Jennifer Walker, led the charge, casting a wide net while also combing through social media to find someone truly special.
The creative brief called for a star, a gem. And that mindset really reflects how we work – we’re not afraid to look beyond the usual suspects. We found Zoey through Instagram. As soon as we saw her, we knew she was absolute magic. Finding the right talent shaped the entire emotional tone of the piece. It elevated everything.
LBB> How did discovering Zoey this way shape the overall feel of the commercial and contribute to the emotional impact of the spot?
Michelle> Discovering Zoey was a defining moment for the film. She brought so much more than dancing: presence, spirit, and incredible energy that is 100% authentic. Her performance gave the piece emotional depth and spontaneity.
LBB> Amber, as the ECD and head of creative, can you tell us a bit about the core message you wanted to communicate? And how did you see that come to life through the talent and visuals?
Amber> The strategy was simple and universal. Every family wants their home to feel safe. The core of the idea was to remind people what it feels like to create more than just a safe sanctuary at home, but a haven. A place where you and your kids can be your most authentic, expressive and joyful selves. Everything that happened next fell to craft, in order to really move people. Both literally and emotionally.
We had the song and the idea of a child dancing along to the weather like no one’s watching, no matter how crazy things outside got. Zoey, our muse in the story, became our superpower. Without her extraordinary gifts, none of this would have landed the same way.
LBB> The music plays a huge role in this spot, and in cases like this I can't help but wonder, what came first - the music or the idea? It is the ideal song for the creative, with the lyrics serving as pitch perfect choreo cues. I’d love to hear a bit more about the story behind this sonic selection?
Amber> It was one of those pinch me moments. Rob Katzenstein, my brilliant writer and collaborator, first shared the idea of ‘The Rain (Supa Dupa Fly)’ song. The lyrics and the vibe of that track felt bulletproof right from the jump. But, full disclosure, being able to secure the rights to one of the most iconic Missy Elliott tracks of all time felt like a far-fetched, ‘delulu’ notion in the beginning. If it wasn’t for our clients and their belief that the track was essentially unbeatable, we could never have secured the rights to a long-form version to make this film.
We tried to beat it, as with all due diligence, and we launched an exhaustive search in partnership with our expert EP, Marni Beardsley and We Are Walker. There were hundreds of contenders that all had merit, but nothing came close to the track that started it all.
LBB> Singlethread is known for its innovative approach to creative direction. How did you use your agency's expertise to ensure the balance between movement, music, and the visual storytelling in this piece?
Amber> There is so much about Singlethread that is one-of-a-kind. It's uncomplicated and unburdened by bloated processes and layered, sluggish teams. Where Singlethread is bullish is on building an expression of the strategy that doesn’t just work right now, but can win the long game. All of that stems from the founder, Jarett Hausske, who built the company with such a well-considered vision for casting the perfect partners to support the clients whose trust he’s earned over a long career prioritising people over profit. It’s a beautiful thing to witness. And receiving an invitation to be part of it was just a tremendous gift.
LBB> Matt, considering this was such a dynamic, movement-driven commercial, how did you ensure the technical aspects of the production – lighting, camera work, set design – enhanced the fluidity of the dancer's movements and complemented the shifting weather and seasons outside the windows?
Matt> One of the most crucial aspects of building worlds for our continuous 'one shot' pieces is creating a 360-degree lighting environment. This ensures that the choreography and camera movement aren’t restricted by dead zones or unusable angles. It’s a massive technical challenge, which is why we only work with a very specific, trusted team. Peter Bishop (DOP) and Gary Kent (AR operator) are long-time collaborators of ours. They are absolute masters at giving us and our choreographers the freedom to create magic.
This project came with the added challenge of incorporating a unique VFX brief. Both the creatives and I were adamant that the fluid visual style remain sacred. Udesh Chetty at Parliament was the perfect collaborator, working closely with Peter to blend real-world lighting setups with otherworldly weather effects outside the windows.
It was essential to me that everything felt grounded and real, in order to elevate the magical realism in Zoey’s interaction with the shifting weather elements. Careful blocking through the house and using angles that complemented Zoey’s frame helped us get the most out of our incredible location.
The real magic lies in getting all these top-level creative professionals to work together toward a single, unified vision, collaboration from start to finish is key. Choreographer Ysabelle Capitulé worked closely with Charlie and our camera teams from the moment we stepped into the rehearsal room to start the blocking process – it’s vital that everyone has a voice and contributes to those conversations. That level of collaboration is what allows the work to truly sing.
Find out more about FARMUSE here…
Read more from April Summers here…
