The tug of war between good and bad–like the classic scenario of the devil on one shoulder, an angel on the other telling us what to do–is the gist of this spot. However, the halo-wearing good guy shows up late in the game and offers an unexpected take on morality–or the lack thereof.
We open on a plane with two buddies seated side by side. “When we hit the ground, we are going for it–wish you hadn’t checked your bags,” says the guy at the window seat. He turns to reveal two short horns coming out of his forehead.
Next, our pals are perched in a balcony, looking down at the Vegas cityscape and night life. “We’re like the Huns,” says the man with horns. “This is all for the taking, all for the pillaging–but in a nice way.”
The guys are then at a restaurant booth, with the devilish chap, now wearing a red shirt, telling his innocent, standoffish buddy, “Trust me. I have your best interests at heart.” Flames rise from an open kitchen grill in the background, and appear to be coming out from the devil guy’s head.
Our next look at the devil man has him in a dramatic change of attire–a bright red suit as he talks to two girls, undoubtedly trying to hit on them.
We’re then taken poolside where our buddies are seated next to one another in chaise lounges. The devil-make-care man is wearing red swimming trunks and tells his friend, “This is my vacation too. Don’t bring me down.”
The spot shifts to the two gents sitting in front of the water fountain show at the Bellagio hotel. Again, the devil is doing all the talking, looking to corrupt his pal. “I’d give my horns to be in your shoes…maybe not your shoes, something more expensive and exotic skinned.”
Finally the quiet man gets to talk, upon being invited by the devil to discuss his feelings. The nice guy starts to do just that only to find that the red suited lothario has taken off to put the moves on a lovely lass who just walked by them.
The guys reunite with the devil triumphantly holding a piece of paper on which is written the girl’s phone number. But a burst of flame emanates from his hand, burning the paper beyond recognition. “That’s how hot she is,” offers the devil in explanation.
Finally we see the good guy talking it up with a girl at a bar. The devil is with a lady on the dance floor and gestures over to his bud to close the deal. The good guy is reluctant but then another voice chimes in from an adjoining room. Turns out it’s a male angel, replete with halo–except he’s seated between two hot women.
The angel advises the good guy, “Hey buddy, listen to him,” pointing to the devil. “We go back.”
An end tag carries the now classic slogan, “What happens here, stays here,” making a tongue-in-cheek case for visiting Vegas.
“Good Will” was directed by David Shane of bicoastal/international Hungry Man for R&R Partners, Las Vegas.
The R&R team consisted of executive creative director Daniel Russ, creative director Arnie DiGeorge, copywriter Tony Marin, art director Glen Scott and producer Dustin Oliver.
Caroline Gibney was head of production for Hungry Man with Ken Licata serving as producer. The DP was Eric Treml.
Editor was Tiffany Burchard of FilmCore, Santa Monica.
Lensing and Designing Brady Corbet’s “The Brutalist”
Cinematographer Lol Crawley, BSC and production designer Judy Becker collaborated for the first time on The Brutalist (A24) and emerged as Oscar nominees in their respectiveย disciplines. Their work on the film has also earned major recognition elsewhere on the industry awards circuit. Just this week, Crawley won the British Society of Cinematographersโ Feature Film Award. He also is currently a nominee for both an ASC Award and a BAFTA Film Award. And Becker received nominations for a BAFTA Film Award and an Art Directors Guild (ADG) Excellence in Production Design Award. Crawley and Becker, though, traversed distinctly different paths to The Brutalist, being on opposite ends of the collaborative continuum with director and co-writer Brady Corbet going into the film. Crawley had already shot two features for Corbet prior to The Brutalist--The Childhood of a Leader (2015) and Vox Lux (2018). In sharp contrast, The Brutalist marked Beckerโs first time working with Corbet. Becker recalled seeing The Childhood of a Leader and immediately wanting to design for Corbet. Describing herself as โstunnedโ by the film, she related that it reflected Corbetโs talent as a filmmaker, his ability to work within a budget on a period movie and still deliver an end product that looked fantastic while brilliantly telling a story. Becker noted that a big budget period film replete with tons of set dressing, over-dressed locations and the like misses the mark for her. She asked, โWhy waste that money?โ But when Becker sees a period movie with a pared down budget that looks so good, โIโm really blown away.โ Based on The Childhood of a Leader, Becker told her agent that sheโd love to... Read More