This spec spot opens on a young man standing in front of a Volvo sedan, earnestly pitching the automobile’s safety features. His target is an older bespectacled man, who listens attentively but whose facial expression suggests a hint of skepticism.
The young salesman continues to make his case, citing the vehicle’s airbags and whiplash protection system. He finally stops to let his listener consider all the input. As the pitchman nervously waits, the older man mulls things over for a few seconds, formulating his decision.
The man ultimately is sold—but not on buying the car. It turns out the pitch was being made for an altogether different purpose, for which the safety of the car was a key factor. The camera reveals that standing behind the middle-aged man, in front of their house, is his attractive daughter. "Fine, but have her home by eleven," says the father.
"Thanks, dad," she says happily, getting into the car. "Thank you, sir," adds the young man, extending his hand toward the dad, who doesn’t shake it. After that brief awkward moment, the guy and his date are off in the Volvo.
Supered over the residential street scene with the car in the foreground is the slogan, "Volvo, For Life." A voiceover concludes, "The Volvo S-40."
This spec spot was directed by Thomas G. Cartier, who also produced the job via his TGC Enterprises, New York. The DP was Ted Wachs. Assistant director was Cecily Kaston, with Chuck Renard serving as production designer, and Lindsey Jaffin as production manager.
Cartier is building a spec reel to gain representation as a commercial director. At press time, he was in the process of getting his work out to prospective production house roosts. "Date" is his latest spec endeavor, and is based on a storyboard he solicited from Vincent Tulley, who was a creative director at the time with Euro RSCG MVBMS, New York. (Tulley has since joined DeVito/Verdi, New York, as a creative director.) Tulley served as creative director/art director/copywriter on "Date."
Offline/online editor was Spencer Young of Spencer Young Editorial, New York. Colorist was Eli Friedman of Company 3, New York, with Jennifer Trevor producing. Audio mixer/sound designer was Keith Patchel of Modulus Media, New York.
