The creative team at DDB, London, knew they were taking a risk when they decided to–in essence–resurrect the late Gene Kelly and update the performer’s famous dance sequence from the classic 1952 film Singin’ in the Rain for a commercial promoting the latest incarnation of the Volkswagen Golf GTI.
“We knew from the outset that it was either going to be really good or really awful,” DDB copywriter Martin Loraine, who fashioned the spot with DDB art director Steve Jones under the direction of DDB creative director Jeremy Craigen, acknowledged. “Whenever you take something old and try to update it, there is a lot that can go wrong.”
However, the gamble paid off for the agency behind what is a breathtakingly brilliant spot directed by NE-O–the Stink, London, directing duo of Jake Knight and Ryoko Tanaka–and featuring visual effects produced by The Moving Picture Company (MPC), London.
Following the same city street route taken by Kelly in Singin’ in the Rain‘s legendary dance scene, “Gene” (:60) finds Kelly–through the magic of visual effects–breakdancing and popping and locking to a contemporary version of the tune Singin’ in the Rain composed by the eclectic dance duo Mint Royale. The spot, which, of course, showcases the Volkswagen Golf GTI, ends with the tagline, “The original, updated.”
AN ICON REBORN
The goal of the spot is to position the Volkswagen Golf GTI, which was first produced in the ’70s, as an icon. “We wanted to say it is the original but it’s as up to date as can be with all the modern technology,” Loraine explained. “So we liked the idea of [the theme] ‘The original, updated.’ “
Based on that concept, DDB sought out true originals and toyed with the idea of featuring everyone from Frank Sinatra to Fred Astaire in their new spot. Ultimately, the agency chose to go with Kelly, realizing that he–as well as the film Singin’ in the Rain–best reflected the fun, lighthearted and energetic qualities of the Volkswagen Golf GTI as well as its iconic status.
Before production could begin, however, DDB had to complete a series of lengthy and complicated negotiations with Kelly’s estate for the rights to use Kelly’s likeness; EMI to use and update the tune Singin’ in the Rain; and Warner Bros. and Turner Entertainment for permission to use footage from and film new footage based on the film Singin’ in the Rain.
Once those permissions were obtained, production began, and “Gene” was shot by NE-O and DP Patrick Duroux over three days on a stage (equipped for flooding, by the way) at Shepperton Studios in Middlesex, England.
“We wanted to keep it as authentic as possible,” NE-O’s Knight said of the production. “So the set was all real scale, based on the original film set, and we had quite old-fashioned style lighting, and for the camera, we used an old crane on wheels, which is a more traditional way of doing it rather than using Technocranes and motion control. We also used real dancers’ bodies rather than doing fancy editing.”
Three dancers–each with a different specialty–“played” Kelly in the spot. Jay Walker is featured in the initial moments, then David Elsewhere is seen in the bulk of “Gene,” and a dancer known simply as Crumbz appears toward the end of the commercial to perform the more acrobatic moves.
A DIGITAL DANCE
MPC visual effects supervisor/lead Inferno artist Alex Lovejoy was on set during the shoot doing rough comps to ensure that the visual effects crew would later be able to composite remastered footage of Kelly from the redigitized master of the movie onto the dancers’ bodies, according to MPC producer Graham Bird.
The compositing proved to be a painstaking process performed over the course of two weeks by a team of visual effects artists working on the Inferno, Flame and Combustion.
In addition to placing Kelly’s head on the modern dancers’ bodies, MPC also added finishing touches, including the re-creation and movement of Kelly’s shirt collar and tie, and the addition of rain and water droplets to emulate what is seen in the original film.
According to Bird, working with NE-O, with whom MPC has collaborated before, made a complex job easier to complete. “They are very post literate, and it was enjoyable to work with directors who understand the demands of post production,” Bird remarked. “I think their ability to accommodate our needs resulted in the success of the actual spot.”
“Gene” was edited by Tim Thornton-Allan of Marshall Street Editors, London. In keeping with the style in which the original film sequence was cut, you’ll notice that Thornton-Allan also used long takes.
It was this type of attention to detail from everyone involved in the production that made the spot spectacular, Loraine noted. “Everyone worked very hard. Everyone involved knew how important it was that this be perfect,” Loraine commented, adding with a laugh, “and once we got it all right, it was a relief!”
While “Gene” is currently airing exclusively in the U.K., Loraine said he wouldn’t be surprised if it eventually runs in other markets.
Despite its currently limited distribution, the spot has created a tremendous amount of buzz worldwide as it has been circulated–albeit unauthorized–via the Internet. (At press time, SHOOT hadn’t gained legal clearance to show the entire commercial in its e.dition–only some lifts from the spot.) Loraine has actually gotten e-mails praising the ad from as far away as Brazil and New Zealand and has been interviewed by numerous media outlets, including a news crew from France.
Loraine was particularly astounded when he learned that “Gene” was recently hailed in The Wall Street Journal. “It hasn’t even run in America,” Loraine mused.
