Title | SHANGHAI FAST |
Brand | NIKE |
Product / Service | SHANGHAI JUST DO IT |
Category | A01. Direction |
Entrant | STINK Shanghai, CHINA |
Idea Creation | WIEDEN+KENNEDY SHANGHAI, CHINA |
Production | STINK Shanghai, CHINA |
Name | Company | Position |
---|---|---|
Ian Toombs | Wieden+Kennedy Shanghai | Executive Creative Director |
Vivian Yong | Wieden+Kennedy Shanghai | Executive Creative Director |
Erwin Federizo | Wieden+Kennedy Shanghai | Creative Director |
Max Pilwat | Wieden+Kennedy Shanghai | Art Director |
Arlene Lu | Wieden+Kennedy Shanghai | Copywriter |
RunQ Zhang | Wieden+Kennedy Shanghai | Copywriter |
Marula Vaz | Wieden+Kennedy Shanghai | Sr. Experiential Creative |
Sanne Drogtrop | Wieden+Kennedy Shanghai | Head of Integrated Production |
Bernice Wong | Wieden+Kennedy Shanghai | Executive Producer |
Raymond Lau | Wieden+Kennedy Shanghai | Senior Producer |
Nicolas Winding Refn | Stink Films | Director |
Jo Chan | Jo Chan | 1st AD |
Desmond Loh | Stink Films | Managing Director / EP |
Brenda Tham | Stink Films | Executive Producer |
Julie Chen | Stink Films | Line Producer |
Li Jia | Li Jia | Line Producer |
Allen Tsao | Allen Tsao | Production Manager |
Adolpho Veloso | Adolpho Veloso | DOP |
Florian Hatwagner | Gimbalninja | Main Camera Operator |
Myron Mance | Myron Mance | Camera Operator II |
Chang Hsiao Shu | Chang Hsiao Shu | Art Director |
Julian Mei | Julian Mei | Wardrobe Stylist |
Damian Huang | Damian Huang | Wardrobe Stylist |
Eddie McClements | Playmaker | Sports Coach |
Saar Klein | LOST PLANET | Editor |
Jason Hinkley | LOST PLANET | Editor |
Tom Poole | COMPANY 3 | Colorist |
Jane Studios | Jane Studios | Post EFX |
Cliff Martinez | Cliff Martinez | Music Composition |
Aaron Glascock | Aaron Glascock | Sound and Mixing |
The film begins with a riddle with no answer that draws our runner into his pursuit. We tap into his escalating intrigue, as the city and its ghost-like messengers urge him to move faster and faster. His experience becomes adrenalised, as he comes close to catching up to the shapeshifters in front of him, but never attains them. Shanghai, the city of the future becomes an exciting catalyst for the spot. The city urges and taunts. Our main runner is an almost nameless person, an everyman whose experience, vision and drive become inspired by Shanghai. This isn’t a film about unattainable athletics, but real people, real events, where the adrenaline and desire our runner experiences becomes a mirror into an almost mythical world. The city becomes the protagonist, urging him and us forward, until he becomes a symbol of the city, urging others forward… to Just Do It… Shanghai-style.
We had to capture the mechanics, the danger, the obsessive intrigue of the chase and the runner’s close-up emotion and desire that made our film’s experience visceral and memorable. The chase wasn’t just a mechanical device, but an emotional journey for the runner. We continually tapped into our main runner’s emotion, so we could believe and relate to his drive to keep up with the speed of Shanghai as manifested by its messengers. It was an athletic and spiritual game of cat-and-mouse in one of the fastest cities in the world.