Minimalist music video meets ambitious choreography and the whirligig of modern life in a vibrant new campaign for the Samsung Gear s2 smartwatch. The creative was devised by RG/A New York, with ringmaster Michael Gracey keeping this mesmerising human kaleidoscope ticking along. Marshalling 120 performers from all walks of life and skill levels with the help of choreographer Cheyenne de Miranda was no small feat. Thankfully Michael is no stranger to the theatre or, for that matter, combining ambitious dance numbers with humanising details and observations; he was behind the seminal 2009 T:Mobile ‘Flash Mob’ spot and is currently in pre-prod for the PT Barnum biopic ‘The Greatest Showman on Earth’. Laura Swinton caught up with him to find out more about this zesty new ad.
LBB> What was it about the script from the agency that caught your eye? And
how did you approach the treatment?
MG> I
thought it was a great script because it showed something in the technology
field, but demonstrated the product through human interaction. The Creatives,
Eric and Chris, talked a lot about it not feeling choreographed but rather
seeing the everyday actions of these people forming beautiful patterns.
This choreography of life is
something that I love - I love watching it and I love to execute it.
For the
treatment, I did storyboards and I also started working out in 3D the sort of
space and numbers we'd require to execute this. From a production point of
view, there was a lot of talk about just how many people we would need to
realize the top shots, so I wanted to start getting a feel for the size of
space, number of people, and height and lens of the camera very early on.
LBB> In terms of the pre-production / production design, how did you
develop the look and colour palette of the film?
MG> The color palette was definitely something that Eric and Chris
had strong ideas about. They referenced Feist's music video for
"1234" directed by Patrick Daughters, which is completely
brilliant, that has people in bright colors but all dressed in their own
style. We then started looking at different color palettes against the concrete
floor, wanting to make sure that each app on the watch felt unique and that the
actions popped out.
LBB> How did you land on Cash Cash's 'Kiss the Sky' as the right track
to use? What does it bring to the energy of the final spot?
MG> We
played with a lot of tracks through rehearsal and even into production. Cash
Cash's 'Kiss the Sky' seemed to be the right fit for the energy and
the brand. And in the final spot, it just seemed to be the track that when
played against the pictures, everything just fell into place. Quite like when
you're listening to a song while watching the world go past outside and, all of
the sudden, everything just falls into sync. That's what happened when
we played this track over the rehearsal footage.
LBB> There's a real music video vibe to the spot - was that something
you were consciously drawing from in your approach to the spot?
MG> Yes, the music video feel was conscious in that everything
was driven by music. It's not every day that you get to make a commercial that
goes for more than two minutes, so that lent itself to the shooting style as
well.
LBB> How many performers were involved and what was the rehearsal period like?
MG> There were over 120 performers in some of the sequences and the
rehearsal period was vital for us to work out the choreography. But like all
things, new ideas came on the day, so new choreography had to
be executed in record time by Cheyenne de Miranda. We were very fortunate
in that respect to have someone who could take ideas in real time, teach
them to a large number of people and be ready to shoot in such a short amount
of time. This spot wouldn't have been possible without her.
LBB> You've got loads of experience with theatre and Broadway - how
useful is that experience when approaching a project like this?
MG> I love anything that is theatrical, I'm completely drawn to
dance and choreography, it's something I always get a kick out of shooting. But
when working at this sort of scale, you also have to take into account the
human interaction, not just the spectacle. And those moments of joy, those
moments of happiness are quite often something you capture during rehearsals or
in between takes. This piece was certainly a result of knowing how best to
capture those genuine moments.
LBB> With the top-down camera and circular arrangement I also got the
impression of a stripped down, fresh contemporary take on a Busby Berkeley
routine - just wondering if that idea factored into your vision of the spot at
all?
MG> The Busby Berkeley reference was definitely something that
Chris, Eric and myself talked about. Again, the idea was to make it less dance
and more everyday actions, but to have the same visual excitement as the
classic Busby Berkeley routines.
LBB> What were the trickiest elements of the production?
MG> The trickiest element is really dealing with so many people with
different levels of ability in terms of dancing, and managing evolving ideas
that are too good to ignore.
LBB> And best memory from the shoot?
MG> The
best memory from the shoot was definitely the last shot of the film, where
everyone runs in and when the music stops, everyone runs out of shot.
It was the last thing we shot after many days of very precise work, and
it really was great to be able to tell the cast that they didn't have to
hit their mark, they didn't have to go on a certain count, they could just
celebrate in whatever fashion they felt appropriate. The smiles on their
faces combined with the excitement that we were on the final shot and that
they didn't have to sync up or remember any more choreography was indeed a
source of very real joy and celebration.
It was also great to collaborate with R/GA NY. They were such a brilliant team and it really was a great leap of faith on their part and the client to not really see it all come together until we were there on the day of the shoot. The spot truly was a result of great creative collaboration.