Title | DEPARTMENT OF LOST NIGHTS |
Brand | HEALTH PROMOTION AGENCY |
Product / Service | SAY YEAH, NAH |
Category | A01. Direction |
Entrant | SCOUNDREL Sydney, AUSTRALIA |
Idea Creation | FCB NEW ZEALAND Auckland, NEW ZEALAND |
Production | SCOUNDREL Sydney, AUSTRALIA |
Name | Company | Position |
---|---|---|
Daniel Warwick | Scoundrel Films | Director |
Adrian Shapiro | Scoundrel Films | Executive Producer |
James Mok | FCB New Zealand | Regional Executive Creative Director |
Tony Clewett | FCB New Zealand | Executive Creative Director |
David Shirley | FCB New Zealand | Senior Creative |
Melina Fiolitakis | FCB New Zealand | Art Director |
Jenni Doubleday | FCB New Zealand | Creative Services Director |
Pip Mayne | FCB New Zealand | Head of Content |
Rebecca Casey | FCB New Zealand | Producer |
Sean Keaney | FCB New Zealand | General Manager |
Chanelle McDonald | FCB New Zealand | Senior Account Director |
Jade Seaton | FCB New Zealand | Account Manager |
Carl Sarney | FCB New Zealand | Senior Strategist |
Clive Nelson | Health Promotion Agency | Chief Executive |
Wendy Billingsley | Health Promotion Agency | Mngr Programme | Marketing & Communications |
Kathy Compton | Health Promotion Agency | Marketing Team Lead |
Sarah Bain | Health Promotion Agency | Account Lead, Communications & Capacity |
Claire Kelly | n/a | n/a |
Ginny Loane | n/a | n/a |
Neville Stevenson | n/a | n/a |
Tim Mauger | The Butchery | Editor |
James Bamford | The Mill | Colourist |
Blockhead | Blockhead | Post Production |
Simon Lister | Nylon Studios | Creative Director |
Mark is a lovable, but misguided character, on a night out with his mates. He over-eagerly downs an entire pint of beer and reaches that tipping point, when “fun night out” turns into “one too many”. It’s at this point that glitchy, overall-clad removal men from the Department of Lost Nights step into his head, work order in hand, to repossess his memories. They install Mark’s gently-nodding mannequin doppelganger to see out the night, while he’s escorted down an escalator, which has appeared in the middle of the bar. Their escalator ride ends in an awkward, pepto-pink waiting room, where Mark is left to sit in silence on a bench. No longer an active participant, Mark watches on, confused and dismayed, as the best memories from his night are wheeled away on hand trolleys.
The main directorial challenge here was to lure people into watching the film by creating something whacky, entertaining and relatable, only to then let it drift into a painful psycho world to demonstrate what fools we make of ourselves when over consuming alcohol. And then finally make the hangover headache kick in visually and acoustically. The monotonous music was key, as it drives the viewer from one emotional state to the next without really changing and then turns into a full blown headache at the end. Generally it was extremely important to get the message across without raising a finger too much and also without just being silly.