ABOUT
By EDWIN MCGILL
When we did the first Get To The Good Stuff campaign, I knew straight
away that I was indeed getting to the good stuff. We created a campaign
that I’m immensely proud of, a spot that is a highlight of my showreel.
So, I’m pumped that you’re taking another run at the concept. A selfie-
loving Bigfoot and some aging ravers seem like perfect next steps to really
illustrate the once-in-a-lifetime, epic, unbelievable experiences that you
could miss out on if you don’t save time and hassle with Budget.
These lands of mythical silly creatures and warped realities are my favourite
places to play, and the sudden slam into the tedious world of ‘Not-Budget’
makes it all the more hilarious. It’s deadpan with added dead.
These spots are going to be brilliant fun to make and enormous fun to
watch. And they deliver the message in a way that sticks. I’m looking forward
to getting the chance to push this campaign to the next level. Thanks so
much for sending it to me.
Tone & Approach.
One of the beautiful things about the concept at play is that each film has a
built-in three act structure. Act 1 is shot basically straight, dramatic, setting up
the scenario. Even more so than the bright treatment we gave the setup last
time, these openings are shot as if they are setting up a dramatic story.
Then we accelerate into Act 2, where the world twists on its axis and we bring in the
magic and comedy. Here we’re throwing our characters into weird and wonderful
places, fantastic dreamworlds, the time of their lives.
Finally, we crash land into Act 3, and what a tragedy this story turns out to be.
I’d call it heightened, but it’s more like it’s flattened. Any sense of joy and humanity
has been crushed from this beige hell. This is the bad stuff – so bad, it’s hilarious.
I love creating films like this which merge the real world with the surreal in
a unique way. As discussed, these locations are not Australia or New Zealand per se, they’re
in some alternate universe, part fable, part Hollywood, somewhere cinematic
where dreams can come true. Except the Not-Budget office of course, which
is where dreams go to die. (After a long wait in line.
We build to a crescendo. Keith and Jude themselves are right up by the DJ’s desk, stomping and screaming in ecstasy to the thumping house music. I’d like to consider shooting this component in off-speed slow motion, giving us a sense of blissed out euphoria of
the pair under the glowing neon lights. Suddenly, we hard cut to a starkly lit, depressing rental
car office. The more somber track we heard at the outset plays through a crackly broken speaker with nasty intermittent bursts of distorted static.
VO: At least that's what would've happened if they made moving out easy with Budget's
Pre-check, convenient pick up locations, and handy range of vehicles.
Keith and Jude wait in a long line with their daughter. Arms dangling by their sides, they seem to have aged and greyed more while standing in the line as it spills out into the footpath. Perhaps there is a little moment here like we’ve seen in the other ‘Get to the Good Stuff’
films that connects them to the fantasy world – Keith could step on a rogue glow stick which smashes on the floor under his sneaker. Or maybe we see the DJ in the queue behind them, bored and drawn and in regular dowdy clothes. Their daughter rolls her eyes
and huffs.
DAUGHTER: Ugh, I'll just move out next year.
She stomps off. Her parents gape at each other in horror.
We cut to our Budget branded end frame. A mobile device spins, showing each of our benefits in a way that catches the eye.
VO/SUPER:
Budget. Get to the good stuff.
