![]() ![]() The job, with about two weeks of post-production, illustrated the nimbleness required for commercial work, which "trains you very well for filmmaking," says the veteran director of Ghost in the Shell and Snow White and the Huntsman. Hundreds of pairs of sneakers "of dubious origin" came from street vendors. We put the best-looking ones in the front."Ĭostumers added elastic to the sleeves and legs so the clothes would fit all sizes and look "more hip-hop and less painter," Sanders says. "We had these massive tumble dryers going nonstop," Sanders says, "and a lot of people walking around in wet jumpsuits. Once they arrived, the coveralls had to be dyed, which took until the day before the shoot to complete. The 2,000 pairs of coveralls eventually came, mostly in white, from Romania, Poland, Germany and the U.K. Sanders wanted everyone to wear a uniform, which meant scouring several countries for jumpsuits when local sources didn't have them in bulk. ![]() Outfitting the cast, though, proved to be an unforeseen challenge. The final frame of the ad drew in the cast of hundreds.įor the backdrop, he went for what he calls the "brutalist architecture" of the city, and 16 locations that included residential and industrial buildings, the subway system and natural props like staircases, tunnels and overpasses. There was little time to rehearse (less than a day), but Sanders-whose commercial roster includes Verizon, Nike, Adidas and Sony PlayStation, among other brands-used smaller subsets of the runners for many of the shots, creating multiple plates. "We wanted to mimic that kind of dynamic movement and undulation with people." (Screenpulls: Apple) "The goal was to make feel like rushing water," says Sanders. He made photo storyboards showing where the red, yellow, blue, green, orange and purple runners would meet, overlap and meld. Since that was the heart of the spot, those maneuvers needed to be as close to perfection and as far from "a big, messy marathon" as possible, he says. "We wanted to mimic that kind of dynamic movement and undulation with people." "The goal was to make it feel like rushing water," says Sanders, who studied videos of flash floods, fountains and waterfalls as part of his two-week prep. ![]() The concept-free runners create bursts of color to represent the iPhone XR's new liquid retina display-would come to life in the execution. The brief for the campaign was trademark clean-and-simple Apple, says Sanders, a two-time DGA Award nominee who has an ongoing relationship with the brand's dedicated advertising agency, TBWA\Media Arts Lab. He collaborated with stunt coordinator Gary Powell and his 1st AD Simon Warnock to synchronize all those bodies into a vibrant, acrobatic palette. There's plenty of adrenaline, by design, in "Color Flood," which Sanders shot last summer over three days in the Czech Republic. "When they sense that it's real, they feel like it's actually happening and they're more excited by it." ![]() "People subconsciously suspect that something's not right," he says. "I just prefer to do it on set."Īside from his personal taste, he thinks savvy audiences can pick out computer-enhanced shots, which make less-than-authentic impressions. "It's not that I don't trust visual effects," he says. With three parkour specialists and about 30 stunt performers handling the high-profile flips and dives, Sanders says the finished 60-second spot is about 90 percent practical. In the case of Apple's "Color Flood" ad, that meant gathering some 600 extras to create a rainbow-hued river of humanity rushing through the streets of Prague. Rupert Sanders is no enemy of visual effects, but the film and commercial director would rather capture as much as he can in camera, even though it's more labor intensive. Synchronized bodies, mostly captured in cameraĪ two-time DGA Award nominee for commercials, Sanders has directed spots for Verizon, Nike and Sony PlayStation. ![]()
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