Title | THE SHOT |
Brand | AT&T |
Product / Service | AT&T |
Category | A01. Direction |
Entrant | REVOLVER/WILL O'ROURKE Sydney, AUSTRALIA |
Idea Creation | BBDO NEW YORK, USA |
Production | REVOLVER/WILL O'ROURKE Sydney, AUSTRALIA |
Production 2 | BISCUIT FILMWORKS Los Angeles, USA |
Additional Company | JSM Champaign, USA |
Additional Company 2 | YOURS TRULY KEVIN Los Angeles, AUSTRALIA |
Name | Company | Position |
---|---|---|
David Lubars | BBDO, NY | Chief Creative Officer BBDO Worldwide |
Greg Hahn | BBDO, NY | Chief Creative Officer BBDO NEW YORK |
Matt MacDonald | BBDO, NY | Group Executive Creative Director |
David Povill | BBDO, NY | Executive Creative Director |
David Cuccinello | BBDO, NY | Executive Creative Director |
Kevin Mulroy | BBDO,NY | Creative Director |
Dan Kenneally | BBDO, NY | Creative Director |
Julie Collins | BBDO, NY | Group Executive Producer |
Jessica Coccaro | BBDO,NY | Executive Producer |
David Rolfe | BBDO, NY | Director Of Integrated Production |
Ashley Lipham | BBDO,NY | Business Manager |
Doug Walker | BBDO, NY | Managing Director |
Rachel Nairn | BBDO, NY | Managing Director |
David McKenzie | BBDO,NY | Senior Director |
Allie Knill | BBDO,NY | Account Director |
Colin Vidika | BBDO,NY | Director Of Project Management |
Angela Jones | BBDO, NY | Head Of Integrated Planning, EVP |
Mac Russell | BBDO, NY | Communications Planning Director |
Steve Rogers | Revolver/Will O'Rourke & Biscuit Filmworks | Director |
Michael Ritchie | Revolver/Will O'Rourke | Managing Director/Executive Producer |
Pip Smart | Revolver/Will O'Rourke | Executive Producer |
Shawn Lacy | Biscuit Filmworks | Partner/Managing Director |
Jeff McDougall | Biscuit Filmworks | Executive Producer |
Holly Vega | Biscuit Filmworks | Executive Producer |
Rachel Glaub | Biscuit Filmworks | Head of Production |
Mercedes Allen | Biscuit Filmworks | Head of Production |
Karen O'Brien | Biscuit Filmworks | Line Producer |
Adam Arkapaw | Biscuit Filmworks | Director Of Photography |
Bruce McCloskey | Biscuit Filmworks | Production Designer |
Jane Dilworth | Work Editorial | Executive Producer |
Erica Thompson | Work Editorial | Executive Producer |
Jamie Lynn Perritt | Work Editorial | Producer |
Rich Orrick | Work Editorial | Editor |
Chris O'Brien | Work Editorial | Assistant Editor |
Tim Masick | Company 3 | Telecine Artist |
Kevin Breheny | Company 3 | Producer |
Tim Davies | Kevin | ECD/Partner |
Mike Dalzell | Kevin | Head of CG/ CG Supervisor |
Sue Troyan | Kevin | Senior Executive Producer/Partner |
Jami Schakel | Kevin | VFX Producer |
Joel Simon | JSM | CCO |
Jeff Fiorello | JSM | Executive Producer |
Nathaniel Morgan | JSM | Composer |
Jason Krebs | JSM | Composer |
Joel Simon | JSM | Composer |
Nathan Kil | JSM | Sound Designer |
Paul Weiss | Sonic Union | Engineer |
Justine Cortale | Sonic Union | Producer |
Pat Sullivan | Sonic Union | Producer |
We open on the waning seconds of a 1960s high school basketball championship. The ball is passed to Tommy, who nervously looks for an open teammate. With everyone guarded, he reluctantly takes the shot, the crowd anxiously watching. The ball bounces dramatically, eventually dropping through the basket, triggering a cathartic celebration. After the celebration dies down, we find Tommy in the locker room. The mood and color shift to something unexpectedly colder. We hear a voice say, “Forget about us, Tommy?” as two men approach him. A fight erupts but is quickly ended with the press of a button, which opens the face of Tommy, revealing his robotic interior. The two men drag him away. A super reads, “From Sports Dramas to Sci-Fi, get movies and more with AT&T unlimited plans.”
This work was created specifically for theatergoers. In an effort to reach and develop new audiences for AT&T, media was bought with National CineMedia that put 90-second branded content in theaters prior to almost every movie that was released in 2018. The opening genre, “rom-com,” is short for “romantic comedy,” an uplifting, heartwarming genre.
The director had to credibly drop the audience into a specific genre, by using recognizable tropes, yet without lampooning it. We needed viewers to fully embrace the sports drama portion of the spot, before confusing and ultimately delighting them with a complete genre flip to sci-fi.