A company worker in the stereotypical worse-case scenario finds himself with a gold watch—and little else—after many years of dedicated service to his employer. But that bottom line looks pretty good compared to the payoff in "Company Man," a :60 for freeagent.com, out of Kirshenbaum Bond & Partners, New York.
The spot plays like a documentary chronicling a male worker’s long tenure with a company. In black-and-white stills and footage of home-movie quality, we see the man’s early days at the corporation, his initial optimism, his struggles and disappointments as he attempts to climb the corporate ladder. Stately, poignant piano music reinforces the visuals—as his receding hairline, graying temples and finally nearly bald head show our drone growing old on the job. Finally, in a show of tempered gratitude, the company sends him off with the usual retirement party—the dismal kind at which that standard gold watch is often bestowed.
But the real party is about to really be over: We watch the lone man leave the high-rise office building which has been his home away from home for nearly all of his adult life. He pauses to smile—at his freedom?—suddenly clutches his chest, then collapses, inert, on the sidewalk.
Supered against a black background, a message reads simply, "Long live the company man." Then the freeagent.com logo appears—"for a brave new workforce"—underscoring the need to continually look to grow and explore new opportunities.
"Company Man," which aired in Canada, was directed by Noam Murro, who at the time was with Stiefel+Company, Santa Monica. (Murro has since partnered with executive producer Shawn Lacy Tessaro to launch Biscuit filmworks, Hollywood.) Tessaro served as executive producer on the spot, with Carr Donald line producing. The commercial was shot at the Canadian Pacific Tower in Toronto by DP Barry Parrell. Production designer was John Reinhart.
The agency team consisted of creative director Stuart D’Rozaro, art director Josh Kilmer-Purcell, copywriter Tom Christmann and producer Deborah Johnson.
Editor was Avi Oron of Bikini Editorial, New York. Online editor was Amber Wilson of Liquid Light, New York. Colorist was Milan Boncich of The Tape House, New York. Audio mixer was Peter Holcomb of Sound Lounge, New York.
