Lance Acord directed this broadcast/cinema :60 in which a young boy awakes in a car-shaped bed which acts like the real thing, taking him on a surreal journey through San Francisco. The sojourn ends up with him going through a tunnel and coming out the other side an adult driving a Kia Optima, a sedan experience that up until now you’d only dream of. Agency is David&Goliath.
Agency: davidandgoliath David Angelo, chief creative officer; Colin Jeffery, executive creative director; John Battle, associate creative director; Noah Phillips, Linda Knight, copywriters; Joseph Danluck, art director; Carol Lombard, exec producer/managing director; Christopher Coleman, Paul Albanese, executive producers; Mary Ellen Duggan, producer. Production Company: Park Pictures Lance Acord, director/DP; Jackie Kelman Bisbee, exec producer/owner; Mary Ann Marino, exec producer; Pat Frazier, producer; Tom Foden, Colleen Atwood, production designers.
Editorial: Rock Paper Scissors,Spinach Editorial Angus Wall, editor; CL Weaver, Cassie Hulen, exec producers; Esther Gonzalez, producer.
,Adam Bright, editor. Music: Beacon Street Studios Andrew Feltenstein, John Nau, composers; Adrea Lavezzoli, sr. producer.
Sound Design: Amber Music Johannes Hammers, sound designer. Audio: Lime Studios Mark Meyuhas, mixer.
Director Luke Jaden Deploys “Silent Storytelling” For PETA
Luke Jaden directed two films for PETA, including this one titled “Inhumane” which highlights a family of sheep fearing for their lives on a farm--and for the inevitable day when they will be slaughtered for meat.
Jaden--an alumnus of SHOOT’s 2023 New Directors Showcase--explained that the campaign was aimed at “silent storytelling. Looking back at the power of silent film--we wanted to show that animals are not silent. Animals may not be able to talk like us humans, but they are just as sentient as us and animals can communicate a conversation between one another. They are highly observant and intellectual beings. So, we wanted to highlight the feelings they do feel, which I would say was the biggest challenge. We captured them in their natural environment in a docu-style approach to not distract them as the camera can be an unfamiliar thing. We wanted to craft and build a conversation that would coalesce as a narrative between the animals and their families on the farm. We really wanted to show those ideas on-screen and we wanted to approach this with a sensitive, unobtrusive lens that captured the honesty and fear these animals can and do feel on a farm before they are killed by their owners.”
Octagon Haus was the production company on the PETA work, which came out of agency Viewmaster.
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