Love Song director Elliott Power struck gold this year with his spot for DIY chain B&Q. He explains how “Se7en meets Delicatessen” was the commercial’s inspiration, why only he could take on the spot’s voice over, and why he likes going against the grain.
Why did this project that appealed to you, and did you immediately know how you wanted to approach it?
Uncommon really wanted to push every aspect of this project. [Uncommon Founder and CCO] Nils Leonard’s brief was something along the lines of ‘fuck it up’. The themes of self-doubt, struggle and bravery spoke to me.
I immediately knew what this film needed to be; a visceral focus on the human condition.
Sam Oliver really gave me the space to experiment, he’s one of best creative director’s I’ve had the pleasure of collaborating with. [Agency producer]
Danielle Sandler was also crucial to creating an environment that allowed us to really explore the possibilities of this project.
What were the reference points for how you wanted the finished spot to look?
The recipe of references I gave to cinematographer Pat Golan were Se7en meets Delicatessen. I opted for a muddy colour palette, sepia, brown, burnt umber… I wanted the viewer to feel imperfection, the grain, the noise. I asked Pat to make the dolly unstable, to add to the imperfections.
What were you looking for in the actors when you were casting?
I was looking for actors with range and very good instincts. In the audition I workshopped scenarios that made the actors run through a range of emotions; rage, joy, fear… It’s always a pleasure working with Roaad Casting, Coralie [Rose, Founder] knows what I like.
There are elements of the surreal in the spot; were they always in the script and what do they bring to the finished film?
The treatment stage is where I added the surrealism. It helps reinforce ‘The Voice’, the internal monologue of self-doubt. It’s a visual representation of a mammoth task, and how that might look in your head.
How important was the sound design to the film?
The sound design was crucial. I wanted to bring a physiological thriller feel to the project.
How did you decide on the soundtrack, and what it brings to the spot?
We explored 50 or so music options. Nils cracked it in the end with The Halluci Nation’s Electric Pow Wow Drum. We also tried some A-list actors and musicians for the voice over, but I really knew how the VO should be read, so I ended up doing the VO.
What was the most challenging part this project?
The most challenging part of the project was production design, making homes feel like they needed DIY. Also, having enough space in domestic rooms for the camera. Pat Golan opted for the Sony Venice with a Rialto adapter, which makes the camera body smaller.
What does it mean to win a YDA and what can we expect to see from you in future?
It’s great to win the YDA award, especially for the B&Q film. I really wanted to push the boundaries of what’s possible in the current climate of British advertising with that piece. It’s my favourite project to date.
So, I’m thrilled it’s been recognised. I’m going to continue to go against the grain and try to make work that doesn’t fit in.
Interview by Danny Edwards shots
