This Director Helped a Communications Company Dance Its Way Into the Hearts of Canadians
It can be a real challenge to sell telecommunications offerings in a way that truly grabs consumer attention. Sure, the product might be to their benefit, but actually trying to convey that in memorable fashion is something far easier said than done.
Of course, the stakes only get bigger when your campaign is guaranteed to be in front of the eyes of thousands. Case in point, ahead of the most recent Super Bowl broadcast in Canada, creative agency LG2 found itself facing this precise trial when tasked with creating a national campaign advertising Bell’s 5G network. So, what did the team do? Emphasise the freedom the network grants… with a completely original dance routine.
Working alongside choreographer Shanie Blais and ROMEO director JP Chartrand, the agency emphasised colour, fun and style over product placement, depicting a diner filled with spontaneously grooving people, all set to Andrea True’s ‘More, More, More’. The task required the construction of an original diner set, the participation of a food stylist, and some strong technical shooting ability; it all came together in a challenging, albeit brilliant, fun and memorable way – certainly one worth talking about.
So, to break down the process a little further, LBB’s Jordan Won Neufeldt sat down with JP for a chat.
LBB> From the top, what was the brief for this project, and why was this something you were keen to be involved in?
JP> LG2 approached me with the task of creating an ad that felt more like a music video than a traditional commercial. The idea was to capture a lighthearted and dynamic experience, blending the energy of dance and music with an iconic North American diner setting.
What drew me to this project was the opportunity to experiment with both the visual and emotional aspects of storytelling, particularly how dance can express the narrative. The creative freedom and the challenge of making something both artistic and commercial is always exciting, and this was an opportunity to do just that.
LBB> Creating an ad that's more like a music video is no small task! Where did you start in your storyboarding process?
JP> My process always starts with a lot of listening – to the song, the concept, and the brand’s vision. I knew that dance and movement would be the core of the ad, so I started by imagining the flow of the music and how it could translate into physical movement and emotional beats. From there, I sketched out the key scenes that would drive the narrative: the diner, the dancers, and the interplay between the food and the music. The storyboards evolved with each step, but I wanted the visuals to be both nostalgic and modern, reflecting the vibe of a classic diner while also fresh and dynamic.
LBB> Moving into the pre-production phase, what was the planning process like? How did things come together?
JP> Pre-production was intense but incredibly rewarding. We’ve got an awesome production team at ROMEO, and everything was planned meticulously. From creating the diner set and overall look and feel, to developing the choreography and finding the right dancers to perform it, every detail mattered.
With a tight timeline, we also had to coordinate the dancers’ schedules, set the choreography, and plan out the complex camera moves, practical effects and light setups. It was a lot of juggling, but the collaboration, trust, and good vibes within the team made it all come together smoothly.
LBB> Notably, you had to build a diner set from scratch for the shoot. What was the process like, and how did you capture that authentic diner feeling?
JP> It was quite an undertaking, but for me, it was crucial to have a customisable environment that allowed full control to achieve the in-camera effects and level of lighting details I had in mind.
To make this happen, I teamed up with the highly talented production designer Louisa Schabas (widely known for her previous collaborations with Arcade Fire, Björk, Celine Dion, and Nintendo, among others). We had to bring the diner’s essence to life – it had to feel real, authentic, yet a little elevated for cinematic impact, while still being a perfect backdrop for the ‘normal life’ beat as well as the elevated vibrant dance sequences.
All in all, it took about five weeks from my initial sketch to completion, entailing a mix of set design, custom furniture selection, and choosing the right colours, textures, materials, and lighting to achieve the mood.
As for the feeling, we used neon signs, vintage booths, and warm lighting to transport people into that nostalgic diner atmosphere, while adding modern touches to keep it fresh. Every corner had to feel like a place you'd want to spend time in.
LBB> Let’s talk about the main attraction – the dancing. What was the casting process like, and how did you get multiple famous Canadian dancers involved?
JP> The casting was key because we needed dancers who could not only perform, but also capture the emotional range of the music while contributing to various storytelling beats. I wanted dancers with energy and personality – ones who could add a layer of storytelling to the choreography. We held auditions and worked with agents, but we also relied on Shanie Blais, our amazing choreographer who had connections with top Canadian dancers. I’m so proud that we got some of the best talent from across the country, but mostly from Quebec. Each dancer brought their own unique style and flair to the project.
On top of that, the dancers brought a level of visibility to the spot due to their established reputations. But what really made the process so special was the fact that most of them were friends who already knew each other. Their camaraderie and the genuine fun they had together translated to the set and the dance itself. This made the whole atmosphere full of good vibes. It wasn’t just about executing choreography; it was about creating something that felt natural and connected, which was such an important part of the process.
LBB> Building on this, what was choreography like? How did you come up with a routine that conveyed the right tone for the creative, and worked with the song that had been chosen?
JP> The choreography had to be in perfect sync with the music, allow the dancers to shine, and create a sense of continuous flow throughout the spot. The song had a catchy, upbeat vibe, so Shanie designed routines that were playful, fluid, groovy, and full of personality. It needed to feel spontaneous, like the dancers were just having fun and letting go. But at the same time, we had to ensure the movements were tight and precise to match the song’s rhythm and the length of the various narrative moments.
LBB> What sort of equipment did you use for the shoot? And what inspired these decisions?
JP> We used a mix of traditional and modern look-centric equipment. After several tests and discussions with my DP Simon-Pierre Gingras (also known as SPG), we decided to shoot most of the spot using Canon K35 lenses for their unique ability to create nostalgic cinematic texture, and paired it with an Alexa Mini LF camera, which allowed us to shoot large format while being small enough for fluid movement in tight spaces. We shot all of the wides and group shots out of a TechnoCrane to allow for fluid traveling movements.
For the more dynamic shots, we used a Steadicam to capture the dancers’ movements in a way that felt both intimate and expansive. The decision to use this equipment was inspired by the need to balance high-quality visuals with a sense of movement and fluidity. We wanted the viewers to feel like they were right there in the diner, watching the action unfold.
LBB> As a whole, what was the shooting process like? Do you have any anecdotes from the experience?
JP> The shoot itself was two days, and was intense but incredibly fun. There was a real sense of energy on set, especially when the dancers came together.
One anecdote I’ll always remember is when we asked one of the cast members to throw in some random ad-libbed ‘robot dance’ moves and turn it into part of the performance. The whole crew was in awe of how smoothly it turned into a part of the routine. The unpredictability of working with live performances is always exciting, and it’s moments like those that make shoots memorable.
LBB> Of course, shooting in a diner, you had to have some pretty cool shots of food, like flipping pancakes into a stack. How did you bring these elements to life?
JP> I love to shoot food, so these shots were a lot of fun to capture. We worked closely with a food stylist to make sure everything looked just right. For the pancake shot, we used a slow-motion camera to capture the isolated moments of the pancake flipping in the air and landing perfectly.
Timing, lighting, and a bit of magic were key; I wanted the food scenes to look somehow decadent but also infused with musicality and movements that supported the pace and the flow of the choreography. The right lighting paired with dynamic movements brought the food to life, and of course, we had to make sure everything was done at just the right angle to get the perfect shot.
LBB> Were there any particularly tricky sequences to get right? Tell us about these!
JP> One of the trickiest sequences was the extended dance shot where the camera moves between the dancers and food prep. We had to choreograph both the dancers and the camera to make sure they didn’t overlap or miss any beats. It took a few tries to get everything synchronised just right. The timing had to be flawless – there were a lot of moving parts, both literally and figuratively!
LBB> When it came to aesthetics, what were your main aims and ambitions, and how did you achieve them through lighting and colour?
JP> I wanted the first phase of the ad to have a ‘real life’ cinematic morning light, which would eventually evolve into a look that feels vibrant, nostalgic, and alive in the second phase. We used a combination of motivated warm light sources and rich wooden tones to give the diner a classic feel, but played with cool accents, neon highlights and infinity mirror flooring tiles to modernise it.
Lighting was key to achieving the balance of warmth and energy. We designed the space to ensure our set had fully-customisable in-camera light sources such as ceiling fixtures, and neon lights that pulsed to the beat of the music. This created a cozy yet dynamic atmosphere.
The colours were also carefully chosen to evoke a sense of fun and familiarity but also to match and complement the blue hue from Bell’s brand colour in an organic way.
LBB> What lessons have you learned in the making of this campaign?
JP> One key lesson was the importance of flexibility. Sometimes things don’t go exactly as planned on set, but embracing those changes and adapting to the moment can lead to something even better.
The other lesson was just how much dance and movement can add to a commercial. It’s not just about the choreography, it’s about using movement to tell a story. I’ll definitely take that with me for future projects.
LBB> Finally, are there any elements of the project you’re particularly proud of? And why?
JP> I’m really proud of how we managed to merge the music video aesthetic with the commercial format. We captured that balance of energy and craft, and it felt like the perfect blend of storytelling and fun. The dancers were incredible – they brought so much life and personality to the piece. The light moods and diner set also came together beautifully, and seeing it all come to life on screen was immensely satisfying. It's one of those projects where everything clicked perfectly, and I’m proud of how it turned out.
Special shoutout to LG2 for trusting us and working hand-in-hand with us throughout the entire process. The team’s collaboration and support was crucial in bringing this vision to life, and it made the entire experience even more rewarding!
