KERRY MCLAUGHLIN

These vignettes should immerse the viewer into the exhilarating wildness of the natural world, but also remind them these places aren’t completely off limits. The Frontier is a gorgeous piece of automotive technology that was expertly crafted to keep drivers safe and comfortable on their explorations.

We have two main characters here — nature and the Frontier. However, instead of striking a balance between each one, I think that enhancing our presentation of the natural world will only make the Frontier look more impressive.

At all times, we’ll light the cars like precious gems, making sure they stand out vividly from the environment around them. Playing with shadow will allow us to craft a personality for each car — urbane and slightly mysterious for the Yaris, independent and heroic for the Rav4.

When highlighting exterior details, I plan to shoot at a slower frame rate, but have the light move at double speed. This technique, along with light play and flares in general, is a way to ramp up the energy and transition between shots. Transitions, of course, are extremely important (and are explained in more detail in their very own section).

We’ve been lucky enough to work with XXX in the past and feel confident in our ability to bring out her best. The key is creating the kind of on-set atmosphere she needs to be her funniest self. Once she trusts that she is supported and heard, XXX feels free to do what she does best — push comedic beats to wildly unexpected places. That said, we’ll always have our eye on the edit, because even if she’s killing in the room, it’s our job to make sure the laughs play out in post. 

Casting her scene partners is a crucial ingredient here. We need to find experienced improvisers who can be playful and loose in the moment, but can also function as an anchor or straight man. Ideally, we’ll find talent she’s worked with before who she knows she can rely on to bring the laughs. 

Our 60-second hero spot is pure genre spoof, so let’s own it with our cinematic approach. As far as our camera knows, we’re making the next MCU installment! We’re talking rich detail and color. We’re talking anamorphic lenses on hi-res cameras mounted on fluid, stabilized heads. We’re talking ominous lighting in the beginning so the audience anticipates Something Big. We’re talking slow pans and smooth transitions. Commitment, commitment, commitment — sure. But with a little Bobmility, of course. We’re aiming more for Deadpool than Infinity Wars.

We have a little more freedom with our other spots, but elevating Bob’s overall look demands extremely thoughtful camera work. We’re imagining a steady, dynamic filmic look throughout that brings an inherent sense of flow between shots.

With that in mind, let’s make these stories as visceral as possible — quick cuts and even some subtle, expert sound design will be our secret weapon. Think Edgar Wright’s Shaun of the Dead — but less the zombie part and more the efficient, playful storytelling that conveys a ton of visual information even when the volume’s turned off. Taking this approach allows the viewer to directly experience our characters’ frenzied/inspired states of mind. And since the VO is doing the narrative’s heavy lifting, we can keep the performances and tone perfectly dry.

The message “It’s OK not to feel OK right now” was wildly popular last year on social media platforms like Instagram — which was a big deal. It meant that, in the face of global uncertainty, people were no longer finding comfort in the “Good Vibes Only” brand of positivity that had dominated the past decade. Instead, they were ready to acknowledge how they truly felt, which was totally different for every person.

Our girls are having a serious glow-up evening-fashion moment and we are here for it! They’re mixing dyed furs with cropped tanks and roomy jeans. They’re wearing oversized button-ups over skin tight leather minis and knee-high boots. They’re getting playful with proportions, textures, patterns and accessories — all while eating fries and chicken wings! I'm living for this mix of high and low.

For the most part, our set feels timeless and classic — an endless Riviera summer. However, our wardrobe gives us the opportunity to bring in a modern touch. Our hand models should be wearing clothes (sleeves, really) that imply late afternoon leisurewear. Let’s keep the textures soft, luxurious and comforting — silks, satins and linens. The styling should be contemporary.

The color palette of our wardrobe needs to include a few subtle accent pieces in contrasting colors so they’ll pop against St.-Germain’s color palette, since that will be represented strongly in our set. I’m imagining red painted fingernails to stand out from the greens or a purple watch to stand out against yellow. Our hand models’ nails will be manicured and painted to add an element of whimsy.

There’s a lot of moving parts with this project, but the brand itself will always be front and center. We’ll hero the products in unique ways, making sure they’re a prominent thread, uniting all of our athletes’ worlds — drinking it, dunking it, cooling off with a bottle against their forehead. We’ll glimpse a runner using the sweat patch or a swimmer popping a gummy before diving in. The diversity of products will always be shown in ways that are colorful, clear and gracious. I promise, there will be no slamming of empty, crushed bottles onto the sidelines after a game!

Color and lighting are important and immediate ways we can create an environment of care and empathy. Let’s favor a warm and subtle palette of saturated colors in our set pieces and wardrobe choices. I’m imagining natural creams and golds, as though everything is lit from within. We’ll accent this with Xolair’s colors — blues and violets that skew towards jewel tones. These will appear in pops (couch pillows, kitchen towels, scarves or earrings) so they never overwhelm. I discuss this aspect in more detail in the Production Design and Wardrobe sections.

Hands are a link to life. They sculpt, craft, fix, prune, paint, and perform surgery — hands connect us to our purpose. Nobody knows this better than the nearly 7% of Americans living with Dupuytren’s Contracture. They’re limited in their ability to use their hands freely and deserve to know their options when it comes to treatment.

This campaign speaks directly to the people who need to hear Xiaflex’s message most — the physicians. Orthopedic hand surgeons no longer need to default to older, “tried and true” methods. There’s a highly effective, non-surgical treatment that’s been readily available for the Dupuytren’s population for over a decade now. The more doctors talk directly about Xiaflex’s success, the more willing others will be to offer it as an alternative.

The family atmosphere should have some real-life texture. I don’t want our moms, dads, siblings, aunts, uncles and cousins to only be smiles and rainbows in the background. Their banter should be relaxed and happy, but also a lively part of the chaos — crazy laughs, shushing kids, hoots and hollers, counting for hide and seek. The parents are doting, but know when to step in and put an end to the nonsense. They have responsible human beings to raise, after all. Overall, I want joy and laughter, but with some authentic character mixed in.

'Inclusivity' has become such a buzzword, but for me, it's about this: A blessed unrest. It means constantly reassessing your values to figure out who's getting left out and then widening your perspective to let them in. Blessed unrest is a core value in the queer and trans communities — which is why I adore being a part of them.

This campaign fits in gorgeously with this process. PrEP figured out which corners of our world were being left out when it comes to clear, accessible life-saving information and then sketched out ways to reach the people who need it most.

I want this film to be rooted in each of our groups’ realities while bringing an elevated, uplifting aesthetic overall. I want to evoke that heady feeling you get when you finally feel accepted. It’s exciting and fast-paced with an innate sense of rhythm and style. Let’s make this spot feel considered and deliberate by injecting a freshness and spontaneity that speaks to Facebook as a whole — badass vibey, visual candy that spotlights amazing faces and boasts a strong emotional core.

I love the smell of cut grass. I love YouTubing vintage golf advertisements from the 80’s. I love knowing Rahm veered right on that last hole because he got a little too inside on his downswing.

I am what you call a golf nerd.

Game-wise, of course, I’m purely recreational. I’m still chasing 18 holes in under 80 strokes (and probably will for the rest of my life), but that hasn’t kept me from having strong opinions on brands. Hands down, Callaway has always been my favorite. Ask my Dad! He gifted me his 1st generation Big Bertha driver after he gave up on the game.

These spots should feel fast-paced and fashion forward, imbuing the viewer with a newfound spark of adventure. The energy of this campaign is driven by the spirit of togetherness shared by our five friends – no matter where they go, they have each other and their watches!

I’m a huge proponent of playful camera movement. We’ll merge city life with the outdoors through kinetic transitions like match cuts. Whip pans and spins will further elevate the juxtaposition between our urban and wilderness settings. At various points, we’ll rig the camera to the watch itself to keep our audience focused on the product as our characters move through the world around them.