Two spots, at first glance completely dissimilar: A boxer and a lawyer, each from different worlds. One dressed in a suit - the uniform of a man inhabiting a world of laws and contracts; the other in a sweat-drenched undershirt, with bandages and stitches - the uniform of a man whose body has been broken oh so many times. And yet, one thing connects them: “NO!” A resistance, an opposition, an assertion of their own opinions and attitudes.
Petr Němec, a crusader against bank charges, something that all of us facing.
Stanislav Tišer ‘gave’ a symbolic “NO!” to the Czech people, a society that often pigeonholes the Roma and labels them as feeble, possessing neither goals nor tenacity.
we are living in an emotional world rather than a strictly realistic one...
It ain’t simple to follow up with somethin’ successful such as Tříska in the previous Budvar campaign. This time without acting experience and with a lowered budget.
Kaspen is an agency based in Prague; Budvar is from Budějovice; André – director - from LA; director of photography Frederik Jacobi, from Denmark; Gavin, the composer, from Dublin; Artjail, a postproduction based in New York; and the Czech crew, of course. There was no room for slip-ups.
The most inspiring thing was definitely meeting guys like Mr. Němec and Mr. Tišer. These guys went their own way to do something for the good of others. That’s inspiring.
You know, the most inspiring thing about spots like this is that you get to meet precisely people like these two guys. It was the very two of them who were able to say NO!
Can you imagine cooperating with Andre again? Observing the way he worked, his train of thoughts, and how he pushed the limits farther and farther with the limited budget we had. His incredible obsession with large scenes as well as tiny details.
These films, like our earlier incarnations, are fundamentally rooted in the world of emotional metaphor and visceral symbolism. Human stories, told through visual poetry and powerful voice-over writing. Truly inspiring.
I see these films being a continuation of the core ideas we established in those first films of the campaign—gestural, psychologically potent pieces of advertising that transcend the genre completely. Interpretive. Visceral. Experimental.
Simplicity and stylism is the key. This is visual poetry—we are living in an emotional world rather than a strictly realistic one.
Andre came up with the idea to use double exposures in “Tišer”. For a while we have been thinking about how to go about the whole thing and suddenly there appeared National Geographic with a picture using the same technique on the front page. This is how inspiration works.
What I will definitely not forget about this project is the key scene with Tišer and his young student entering the boxing ring. We built a round track around them for a tracking shot and had to light the scene with incredible perfection. Each film light was adjusted with centimeter precision; some of them were turned off and some of them on at precisely defined moments as the camera moved. We spent almost 1.5 hours setting up this very scene, but the result made me wonder whether even commercials can have some aspects of art.
Boxing is about opponents, so you need to fill up the ring. But where to get rivals at the level of Stanislav Tišer?
It was Sunday evening and we only located one boxer so we had less than a week to find at least 15 good pieces. We went round classes of Muay Thai, kickboxing as well as classical boxing. But it was worth it.
By the way, we recommend having a look at this series of photos at BEHANCE, taken randomly by Marta Režová: