By Robert Goldrich

Can one person make a difference in the face of atrocities being committed against people from different walks of life around the world? While an affirmative response to this age-old question might in today’s society seem naïve and Pollyanna-ish, this :60 shows a cause-and-effect connection between individual action and preventing crimes against humanity.

    We open on a 12-year-old African girl being held down against her will and about to face the barbaric act of female castration. A knife wielding elder approaches as the girl screams for help, but there’s none in sight. Suddenly an invisible force rips the knife out of the adult’s hand and the girl is spared.

Next, we are taken to a war torn city that appears to be in Eastern Europe. A soldier forces a woman into a bomb-damaged building and is about to rape her. A male stands outside, aware of what’s happening but ignores the woman’s cries for help. Again, an invisible force intervenes, throwing the would-be rapist off his victim and across the room.

Finally, we’re taken to a slice of contemporary urban life. A man returns home from work and immediately starts berating his wife. This spousal abuse escalates and turns physical as the husband lifts his hand to strike the woman. Again, an unseen force blocks the punch and pushes the assailant back.

A super then puts these rescues into context. “We can be there,” reads the first super, which is followed by another, “But only with your help.”

A name is then attached to the invisible force of intervention, the charity Womankind Worldwide, accompanied by a request for donations.

Titled “Be There,” this spot was directed by Nicolai Fuglsig of bicoastal/international MJZ for Rainey Kelly Campbell Roalfe/Young & Rubicam, London.

The creatives from Rainey Kelly Campbell Roalfe/Y&R were creative director/art director Jerry Hollens, creative director/copywriter Mike Bowles, and joint deputy head of TV Claudio Gorini who was prdoucer on the job.

Debbie Turner executive produced for MJZ, with Suza Horvat serving as producer. The DPs were John Jordan, Danie Du Toit and Alwen Kuchler.

Editor was Paul Watts of the Quarry, London. Post and visual effects were done at The Moving Picture Company, London, with an ensemble that included colorist Jean Clement-Soret, post producers Andrew Bell and Alex Webster, Inferno artist Bill McNamara, Combustion artist Dan Adams and 3-D supervisor/artist Lee Danskin.

Much of the post work carried out by the MPC team involved removing the rigs that manipulated the knife in the first scene–and the aggressors in scenes two and three–away from their intended victims. For example, a substantial rig was created to pull the soldier across the room away from the woman he was about to attack. The rig was removed in Inferno by operator McNamara.  Additionally, Danskin created elements in Maya, which McNamara then used to enhance the surroundings, such as a burning car, swirling smoke coming from a shelled-out building, and a TV aerial on a nearby home. Dust particles and pieces of wall were also added in post for when the soldier fell to the ground.

    Sound designers/audio mixers were Johnny Burn and Warren Hamilton of Wave Studios, London. Music was composed by Justine Shane of Felt, London. Principal actors were Anna Kirke, Richard Rees, Jasna Balusic, Marinko Prga, Zande Lwanna and Zanda Selfu.

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