The truth is a powerful thing. It can be freeing, or scary. It can give you an advantage, or put you on your heels. When you really think of it... the truth is power. The fun thing about this spot is that Dodge is basically throwing down a challenge, and effectively telling the audience (in the most fun way possible), you can’t handle this much power. But, you want this power. You NEED this power.
I’m psyched for this campaign because Dodge’s newest creation is something we haven’t seen before. And to show it off properly will take nothing short of exciting, super-charged, adrenaline-rush filmmaking (and a little help from Aaron Sorkin). We’re going to let the attainable dreamers see what this thing can do. We’re going to feel its thrust. Hear its roar. We’re going to show the car for what it really is. Fast, sexy, sinister, beautiful - sure. But, it’s more than that. It’s a beast. It’s barely legal. It’s freeing. It’s scary. It’s the truth.
Here’s how we’re going to blow the doors off this shoot... or at least open one!
The garage that houses our Dodge needs to be representative of the car, and the person that’s driving it. We’ll look for an urban location, a warehouse, or something symbolic of a race car paddock. This should be a space with polished concrete floors, an industrial vibe, but not a workshop. We won’t see tools or suggest the driver’s been working on the car in any way. It will feel cool, minimal, and a perfect home for the “thing” that resides within. The garage door also should feel somewhat industrial. Maybe it’s a heavy roller, or a rigid door that raises straight up. Whichever we choose it needs to feel unique and specific.
As for our road shots, it shouldn’t feel like a specific city. It should play as if it could be anywhere, but like the garage, look industrial with real texture, and grit. Perhaps we shoot in San Pedro, California, where refineries can be seen from the freeway. And, considering this will be a night shoot, San Pedro has great amber street lighting, and usually a scary, atmospheric, marine layer. We could get the same effect from Long Beach, CA. which will also read as the sort of raw, blue-collar canvas we want for this film. There are certainly a lot of options, and I’d love the opportunity to discuss all our possibilities, and find a place together that suits all of our needs.
The look and feel of this film has to be as cutting edge as the car we’re showcasing. We’ll experience the speed, celebrate the lines and curves of the car, and know the power of 1000 horses.
I’d like to shoot some super slow-mo shots, 1000 fps, of the car ripping out of the garage. I want to focus in on the tires as the treads flex trying to maintain their grip on the concrete when the throttle is pushed down. We watch as they practically melt under the thrust of the car’s engine. In contrast to the slow-mo, we want to see this vehicle propel. The camera won’t be able to keep up at times, and will actually search the frame to find the car. We’ll have a healthy dose of high speed convergence, plenty of foreground movement heading toward the rushing car. We’ll also get the Russian Arm to sweep across dramatically, and show the Dodge from all angles, all with the servos off to feel the shake of its speed. We could also shoot with the servos ON, and control the shake in post which was a technique that we used quite successfully on “Need For Speed.” Ultimately, we’re going to shoot a lot of dynamic shots, get a wide variety of coverage and set ups, and make this car look like a million bucks (or 300-400K depending on the options!).
Once we’re able see the car in person we’ll have a better idea of how to shoot it, but regardless of how it looks - which I’m sure is going to be mind blowing - we’ll shoot to the car’s strengths. We’ll focus on its (soon to be) iconic design features, and show that this looks like no other car on the road.
Aside from the automobile itself, I want to shoot in a location with a strong visual atmosphere. The night setting will be great for adding depth, with distant, incandescent lights out of focus in the background. Perhaps the roads are moody, a thin layer of fog. The car racing through glowing pools of street light. We want it to look gritty, modern, and slightly dangerous. - just like the car we’re putting in the spotlight.
[THE TREATMENT CONTINUES, THOUGH THE SAMPLE ENDS HERE]