Where we are
Joe said yes to the direction. This is the revised plan built on his notes: the factory stays a factory, the training spot uses split screen where it means something, "endurance" is in the script, and the whole thing is built for two days with him at the end of October.
Two scripts, one voice. One argues. One proves. Two spots because two messages reach more people than one; no single commercial should have to speak to everyone.
Everything below is the version we'd take to the Bar. Read it once as Joe, once as a juror.
The factory
Built, not found · Joe picked C, The Foundry
Joe's pick · C · The Foundry
How it gets made
Joe is shot seated on a green-screen stage at Monix, our partner studio, in one continuous shot with a slow zoom, and a client monitor. The line, the product moving behind him, and the machines are built in post by our VFX artist, so the "widgets" move exactly the way Joe wants and can be changed after the shoot. He sits in a real chair in real light; the world is added around him.
What it costs him
A quiet day. There's no line moving yet and no machine to stop, so the day is a performance day in one chair, with a monitor. He picked the world, C, The Foundry, and he'll see it built before he sits down in it. If Joe has a real factory that will let us in, we'll price the practical version separately: a location fee, an art department to neutralize product, and one more day of prep.
How the two spots work together
One tells you who he is.
The other shows you.
Look at the Lawyer
The argument. Joe sits in the middle of the line where every other lawyer gets made. Still, direct, unhurried: a man with nothing to sell you except the truth about what happens when you call. The silence when the line stops gives the words weight.
Preparation
The proof. No pitch, no office, no audience. Joe alone with the work nobody sees: water, miles, weight, breath. Physical, textured, earned. By the time he looks into the camera you already believe him, because you watched him pay for it.
Light
Motivated. Every source has a reason to exist in the room, and every source is there to find Joe. He is the brightest thing in every frame, and the light looks like it belongs there.
Camera
Sculpted, not flat. Less traditional angles. Longer and wider lensing. A combination of controlled and handheld movement, always driven by the tone of the moment.
Sound
A voice in the piece, not a bed under it. The line hums, then stops. Breath before words. It is the layer every other law-firm spot ignores, and the surest way to sound like no one else in this market.
Cut
Breathes when he's grinding. Hits when the work pays off.
What happens next
Drawn before
it's shot.
Nothing gets improvised with Joe on set. Every frame is drawn, timed to temp music, and approved before anyone rolls, so he walks in knowing exactly what happens. Locations come first because the space decides the pictures, and the scripts go to the Bar with nothing in them a location could break.
Pencil study