Set in medieval times, this :30 shows us a blood-thirsty mob screaming for the public execution of their king. Chants of “Kill the king” echo throughout the village courtyard.
An axe-wielding executioner patiently waits for his victim as we see a chopping block in the foreground. In front of the block is an empty basket, ready to receive the king’s head.
The prisoner then appears, escorted by two guards. Indeed the king seems destined to meet his end through a most horrific means, decapitation.
But the mood–as well as the time period is broken–with the appearance of a modern day young man who’s dressed in jeans and a windbreaker. He’s eating a Snickers candy bar.
The mob, which consists mostly of peasants, is a bit bewildered at the sight of this guy, who asks a telling question: “Is this really about Eddie using all your tax money to build a hot tub or is everyone just feeling a little down because they’re hungry?”
Clearly, he’s struck a nerve. The mob calms down, nodding in agreement, realizing that they are indeed hungry. The executioner even looks longingly at the Snickers bar that the guy is holding.
The man from the present then seals the stay of execution–if not outright clemency–by pointing to a nearby display of Snickers bars to satisfy everyone’s appetite.
A voiceover concludes: “Snickers. Maybe you’re just hungry.”
This period piece, which makes an eloquent case for a Snickers snack to ease the day, was directed by Charley Stadler via Spy Films, Toronto, for BBDO Toronto. Production services were provided by Strawberry Films, Budapest.
The core BBDO creative team included chief creative officer Jack Neary, associate creative director/copywriter Patrick Scisson, associate creative director/art director Mark Mason, and producer Sam Benson.
Carlo Trulli executive produced for Spy Films. Line producer for Strawberry Films was Katalin Krammer. The DP was Fraser Taggart.
Editor was David Baxter of Panic & Bob, Toronto. Colorist was Billy Ferwerda at Notch, Toronto. Audio post mixer was Nathan Handy of The Eggplant, Toronto.
Sound designer was The Eggplant’s Rocco Gagliese. Music composers were Gagliese and Steve D’Angelo of The Eggplant.
Principal actor was Nicolas Rose.
“King” is airing nationally throughout Canada, in both English and French.
Directing and Editing “Conclave”; Insights From Edward Berger and Nick Emerson
It’s been a bruising election year but this time we’re referring to a ballot box struggle that’s more adult than the one you’d typically first think of in 2024. Rather, on the industry awards front, the election being cited is that of the Pope which takes front and center stage in director Edward Berger’s Conclave (Focus Features), based on the 2016 novel of the same title by Robert Harris. Adapted by screenwriter Peter Straugham, Conclave stars Ralph Fiennes as the cardinal leading the conclave that has convened to select the next Pope. While part political thriller, full of backstabbing and behind-closed-door machinations, Conclave also registers as a thoughtful adult drama dealing with themes such as a crisis of faith, weighing the greater good, and engaging in a struggle that’s as much about spirituality as the attainment of power.
Conclave is Berger’s first feature after his heralded All Quiet on the Western Front, winner of four Oscars in 2023, including for Best International Feature Film. And while Conclave would on the surface seem to be quite a departure from that World War I drama, there’s a shared bond of humanity which courses through both films.
For Berger, the heightened awareness of humanity hit home for him by virtue of where he was--in Rome, primarily at the famed Cinecittà studio--to shoot Conclave, sans any involvement from the Vatican. He recalled waking up in Rome to “soak up” the city. While having his morning espresso, Berger recollected looking out a window and seeing a priest walking about with a cigarette in his mouth, a nun having a cup of coffee, an archbishop carrying a briefcase. It dawned on Berger that these were just people going to... Read More