Such a simple idea, so beautifully executed. Could you please tell us what the brief was and how you developed it?

The brief was to turn the agency’s brilliant poster concepts to life. Their script was smart and it worked, so I mainly concentrated on the execution making it visually as strong and intriguing as possible. I also wanted to keep this as simple as possible using only one or two shots.

Did you come up with the tone and texture of the piece?

I always work closely with the creatives and everything was planned together with the Firehouse crew, but as I love to bring some mystery and magic into the ordinary world, a very cinematic and fantasy like direction was what I suggested from the first call.

It must have taken forever to create – was it done entirely in CGI? Do you work in a studio with a team?

The set was constructed in a park nearby Mexico City and there’s no CGI involved. I had the great pleasure to work with a brilliant production designer Hania Robledo, who had just worked in Elysium and totally understood what I wanted from the beginning. It took her and her crew about three days to construct everything as the park was very clean and the road was in daily use so they pretty much had to bring everything in. The car was almost in perfect condition when we found it so there’s was extensive an amount of work done on it, including cutting it in half to fit the camera in. My DP Tuomo Virtanen also did a wonderful job on lighting the set.

What was the most challenging aspect of creating the piece?

To successfully construct the set was crucial to make this work but also finding a location with the water and road close to each other so that we could fit the technocrane was challenging.