Storyboard for Law Mate America Blade Runner Ad

Here’s the storyboard for my Law Mate America advertisement using the film Blade Runner as the creative. The copy is included again below. This is the last of my three adverts that have been inspired by Ridley Scott’s The Martian being used in an Under Armour advertisement. The product placement and advertisement is so subtle that you feel it is actually an advertisement for the film.

Now that is complete, I’m moving onto my next project; three film scripts! I’ve been writing the first one for a few days now, and it is much more mentally exhausting, but I love it. Each of these will take some time to complete, so you’ll probably hear me publish more work on advertising before then. So for now, here’s the Law Mate America advert:

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INT. LOS ANGELES POLICE DEPARTMENT – DAY.

A POLICE CAPTAIN and RICK DECKARD sit in an office, light cutting through the blinds. DECKARD lowers the paper in his hand. A caption on the bottom right introduces his name.

VOICE OVER

Tracking down one person in a city of millions is hard work.

INT. LAPD FLYING CAR – NIGHT.

DECKARD looks at the information being relayed to him on the car computer. A picture of a WOMAN shows up on screen.

V.O

They might be a loved one, a dangerous person or both.

EXT. DOWNTOWN MARKET. NIGHT.

DECKARD stands and looks around at the multitude of people carrying fluorescent umbrellas in the rain. Neon lights are on all the buildings.

V.O

There’s always someone that’s seen ’em.

DECKARD walks into a bar and talks to the BARMAN. He holds up a picture of the WOMAN. The BARMAN shakes his head.

V.O

But the five human senses are not enough.

DECKARD adjusts his collar, the reflection on a BUTTON visible. A hidden camera is secretly recording the BARMAN. The BARMAN leaves, a BARBACK taking his place. DECKARD follows and sees the BARMAN get into his car.

V.O

We need help to keep up the chase.

DECKARD manages to slap a GPS TRACKER onto the car, LAW MATE AMERICA LOGO clearly visible, before it drives away. DECKARD follows in the LAPD flying car and arrives in upper parking levels of an abandoned high rise mansion. He heads inside the building, but it is dark.

V.O

Because technology sees the things we don’t.

DECKARD flicks on NIGHT VISION GOGGLES and sees movement. Adjusting an EARPIECE he listens in on the muffled conversation.

V.O

And without it, we might never reach our target.

The BARMAN exits the room with a gun and DECKARD hides, drawing his PISTOL. The BARMAN walks straight past and exits the building.

V.O

People can be dangerous and unpredictable.

DECKER enters the building and heads towards the room.

V.O

But with the right technology –

DECKER enters the room. The WOMAN sits in a chair, tied up, and looks up DECKER.

V.O

Anyone can be found.

Cut to the LAW MATE AMERICA LOGO next to the LAPD LOGO as official partners.

FADE OUT.

Law Mate America Blade Runner Ad

My last of the three advertisements inspired by 3AM’s Under Armour advert with The Martian, this uses another Ridley Scott film and my all time favourite ever: Blade Runner.

Rick Deckard, played by Harrison Ford, is an expert LAPD Blade Runner whose job it is to hunt down and kill genetically engineered replicants, biorobotic androids barely distinguishable from humans.

I felt Deckard acts much like a Private Investigator in this film, especially with its neo-noir setting (something I love). Searching for what company would closely advertise with such a character, I’ve gone for a business selling intelligence equipment, specifically a Los Angeles one so that it could be a partner of the LAPD. That business, is Law Mate America.

 

FADE IN:

INT. LOS ANGELES POLICE DEPARTMENT – DAY.

POLICE CAPTAIN BRYANT and POLICE OFFICER RICK DECKARD sit in an office, BRYANT handing DECKARD a piece of paper with a picture of a WOMAN on it, the word ‘Missing’ above. A caption on the bottom right introduces DECKARD’s name.

DECKARD (V.O)

Tracking down one person in a city of millions is hard work.

INT. LAPD FLYING CAR – NIGHT.

DECKARD flies a LAPD flying car through the sky.

DECKARD (CONT’D)

They might be a loved one, a dangerous person or both.

EXT. DOWNTOWN MARKET. NIGHT.

DECKARD stands and looks around at the multitude of people carrying fluorescent umbrellas in the rain. Neon lights are on all the buildings. He sees a bar and enters.

DECKARD (CONT’D)

There’s always someone that’s seen ’em.

DECKARD walks over to the bar and talks to the BARMAN. He holds up a picture of the WOMAN. The BARMAN shakes his head.

DECKARD (CONT’D)

But the five human senses are not enough.

DECKARD adjusts his collar, the reflection on a BUTTON visible. A hidden camera is secretly recording the BARMAN. The BARMAN leaves, a BARBACK taking his place. DECKARD follows and sees the BARMAN get into his car.

DECKARD (CONT’D)

We need help to keep up the chase.

DECKARD manages to slap a GPS TRACKER onto the car, LAW MATE AMERICA LOGO clearly visible, before it drives away. DECKARD flies the LAPD flying car and arrives in upper parking levels of an abandoned high rise mansion. He enters, but it is dark inside.

DECKARD (CONT’D)

Because technology sees the things we don’t.

DECKARD flicks on NIGHT VISION GOGGLES and sees movement. Adjusting an EARPIECE he listens in on the muffled conversation.

DECKARD (CONT’D)

And without it, we might never reach our target.

The BARMAN exits the room with a gun and DECKARD hides, drawing his PISTOL. The BARMAN walks straight past and exits the building.

DECKARD (CONT’D)

People can be dangerous and unpredictable.

DECKER enters the building and heads towards the room.

DECKARD (CONT’D)

But with the right technology –

DECKER enters the room. The WOMAN sits in a chair, tied up, and looks up DECKER.

DECKARD (CONT’D)

Anyone can be found.

Cut to the LAW MATE AMERICA LOGO next to the LAPD LOGO as official partners.

FADE OUT.


 

Blade Runner is my favourite film of all time thanks to its atmospheric direction and sci-fi setting. If you want to add this piece of history film to your collection, then the links below will take you to the Amazon DVDs and Blu Rays.

Yellow Cab NYC Fifth Element Storyboard Update

Here’s the storyboard for my Yellow Cab NYC commercial using The Fifth Element as the creative. This is my second commercial inspired by the 3AM advert for Under Armour using the The Martian film.

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EXT. A NEW YORK OFFICE BUILDING – DAY.

A WOMAN  with dyed red hair exits a building in NEW YORK. She tries to book a cab on her mobile, but a message says there is a waiting time of 10 minutes. Another message from MATT pops up, saying, ‘Don’t be late!’. Frustrated, she looks around.

WOMAN

Taxi!

A yellow TAXI suddenly veers out in front of her from below, revealing that this is in fact future NEW YORK, with anti-gravity cars and people exiting their offices and homes hundreds of stories up into the sky. BRUCE WILLIS leans out of the driver window.

WILLIS

Where to miss?

The WOMAN smiles and gets in the TAXI.

WOMAN

The Statue of Liberty.

WILLIS

Statue of Liberty it is. Hold on!

The TAXI flies off around the office building and past other flying cars, floating traffic lights and a modern day McDonalds advertisement in this future New York. They come to a halt in traffic that isn’t moving.

WILLIS

Don’t worry, I know a shortcut.

WILLIS looks at a nearby POLICE CAR that is watching the traffic. Inside, the POLICE OFFICER looks the other way, eating his doughnut. WILLIS smiles.

WILLIS

Here we go!

The TAXI dives off at an angle into a tunnel. The POLICE OFFICER swings his head around, but sees nothing. He starts chewing his doughnut again. The TAXI flies along the tunnel, the WOMAN checking her watch and smiling. They emerge near the ground next to the Hudson River. Tourists are boarding ferries nearby.

WOMAN

Do I need to get out?

WILLIS

No, you’re in a Yellow Cab – you can go anywhere.

The TAXI goes through a special taxi checkpoint and flies over the Hudson, aiming straight for Liberty Island and the Statue of Liberty. The WOMAN checks her phone and sees a message from MATT that says ‘I’m here’. The TAXI pulls up in a taxi rank above the water, and the WOMAN steps out. MATT lowers his phone and looks up at her, smiling.

WOMAN

(to WILLIS)

Thanks so much!

WILLIS

Forget about it! Have a great day miss.

The WOMAN turns and goes to MATT. WILLIS smiles. ANOTHER WOMAN calls his attention.

ANOTHER WOMAN

Taxi! I’m running late, can you get me to Grand Central for 2 o’clock?

WILLIS looks at her, and then to the camera with a knowing look on his face. Cut to the TAXI flying off over the river away from the Statue of Liberty. Yellow Cab NYC logo appears on screen.

WILLIS (VOICE OVER)

Yellow Cab NYC. Go anywhere.

Yellow Cabs NYC Fifth Element Commercial

As part of my creations inspired by 3AM’s Under Armour advert with Ridley Scott’s The Martian, here is my next idea: an advert for Yellow Cabs NYC that uses The Fifth Element as the creative.

The Fifth Element is one of my favourite all time movies (and Luc Besson another of my favourite directors). When deciding what company could best use its story to advertise with, the answer was easy: taxi companies. I’ve seen the taxi drivers on strike here in Melbourne against google-owned Uber, so I plumped for an original yellow cab style company as the client. Watch this clip for the atmosphere of The Fifth Element’s futuristic New York with flying taxis, cop cars and McDonalds advertisements.:


FADE IN:

EXT. A NEW YORK OFFICE BUILDING – DAY.

A WOMAN  with dyed red hair exits a building in NEW YORK. She tries to book a cab on her mobile, but a message says there is a waiting time of 10 minutes. Another message from MATT pops up, saying, ‘Don’t be late!’. Frustrated, she looks around.

WOMAN

Taxi!

A yellow TAXI suddenly veers out in front of her from below, revealing that this is in fact future NEW YORK, with anti-gravity cars and people exiting their offices and homes hundreds of stories up into the sky. BRUCE WILLIS leans out of the driver window.

WILLIS

Where to miss?

The WOMAN smiles and gets in the TAXI.

WOMAN

The Statue of Liberty.

WILLIS

Statue of Liberty it is. Hold on!

The TAXI flies off around the office building and past other flying cars, floating traffic lights and a modern day McDonalds advertisement in this future New York. They come to a halt in traffic that isn’t moving.

WILLIS

Don’t worry, I know a shortcut.

WILLIS looks at a nearby POLICE CAR that is watching the traffic. Inside, the POLICE OFFICER looks the other way, eating his doughnut. WILLIS smiles.

WILLIS

Here we go!

The TAXI dives off at an angle into a tunnel. The POLICE OFFICER swings his head around, but sees nothing. He starts chewing his doughnut again. The TAXI flies along the tunnel, the WOMAN checking her watch and smiling. They emerge near the ground next to the Hudson River. Tourists are boarding ferries nearby.

WOMAN

Do I need to get out?

WILLIS

No, you’re in a Yellow Cab – you can go anywhere.

The TAXI goes through a special taxi checkpoint and flies over the Hudson, aiming straight for Liberty Island and the Statue of Liberty. The WOMAN checks her phone and sees a message from MATT that says ‘I’m here’. The TAXI pulls up in a taxi rank above the water, and the WOMAN steps out. MATT lowers his phone and looks up at her, smiling.

WOMAN

(to WILLIS)

Thanks so much!

WILLIS

Forget about it! Have a great day miss.

The WOMAN turns and goes to MATT. ANOTHER WOMAN calls WILLIS’ attention.

ANOTHER WOMAN

Taxi! I’m running late, can you get me to Grand Central for 2 o’clock?

WILLIS looks at her, and then to the camera with a knowing look on his face. Cut to the TAXI flying off over the river away from the Statue of Liberty. Yellow Cab NYC logo appears on screen.

WILLIS (V.O)

Yellow Cab NYC. Go anywhere.

FADE OUT.


 

The Fifth Element is one of the few movies I can watch again and again without ever getting bored. For me, it’s got the perfect balance of action, characterisation and deep storytelling. Perfect pace. The standard film can be purchased through the Amazon link below, but for the love of God consider the first link to the brilliant and Limited POP Art Edition. A must have for every fan.

Alien Stanley Advertisement

Here’s the storyboard for my Stanley advertisement that uses the film Alien as its creative. This is inspired by Ridley Scott’s latest developments in mixing film and advertisement.

When thinking about what Alien could be used to advertise, I felt the one thing the crew needed the most while being hunted by the Xenomorph were some bloody good tools. Fixing hull breaches, exploring alien ships, climbing into air ducts. If your tools aren’t good enough, then you’re dead meat (as when the tracker loses the Xenomorph which then goes onto kill Dallas).

With all the kinds of maintenance issues you would encounter in the Nostromo spaceship, you’re going to have to use a lot of DIY skills. Which is exactly what Stanley says in its branding, so I plumped for this over Black & Decker, even though the latter publicises its tools that have actually been used in outer space (click on ‘load more’ to see what I mean).

Watch the afore mentioned youtube video for an idea of the air ducts and flamethrower, along with this clip for the maintenance room with hanging chains. Enjoy:

FADE IN:

INT. COMMERCIAL TOWING SPACESHIP. Darkness. Lights flicker to life to reveal the SLEEPING PODS. The PODS open and CREW MEMBERS ONE, TWO and THREE climb up out of them.

NARRATOR (V.O)

You never know when a problem will arise that needs urgent attention.

The CREW shower, open lockers with pictures of scantily clad women and zip up into their uniforms. CREW ONE sits down in front of the SHIP COMPUTER and starts typing on the keyboard. An electrical panel is highlighted on screen, in need of fixing.

NARRATOR (CONT’D)

Your tools need to be reliable the moment you start using them.

CREW TWO and THREE are in another room opening a cabinet revealing power tools, hammers, sledgehammers and various workmen tools. CREW THREE turns on his POWER TOOL and watches it whirl, STANLEY LOGO briefly visible. With their tools, CREW TWO and THREE walk through the ship and into a maintenance room with lots of dripping water. Chains swing about.

NARRATOR (CONT’D)

Because sometimes you’re going to enter unfamiliar territory.

They look up and see a loose AIR VENT hanging open. Acid holes are burning the floor below. CREW ONE leans forward in his chair, looking at the image being broadcast from the other CREW TWO and THREE’s shoulder mounted cameras.

NARRATOR (CONT’D)

Where a ‘do-it yourself’ attitude will be key to success.

Switching on his mounted light, CREW THREE is given a boost into the air vent, POWER TOOL in hand. Turning on his MOUNTED LIGHT, he peers forward into the darkness of the tight shaft and shuffles forward, sweating, alert.

NARRATOR (CONT’D)

Inferior equipment is not a choice for those who want to complete the job.

The MOUNTED LIGHT flickers and dies. An ALIEN SOUND starts making its way towards CREW THREE in the ventilation shaft. He reaches around his shoulder and draws a FLAMETHROWER, using its light to peer into the darkness. He sees the panel that needs fixing.

NARRATOR (CONT’D)

And, in the end, you’ll always return to the tools you trust.

The ALIEN SOUND grows closer. CREW THREE lowers his flamethrower and grips his POWER TOOL, presses the on-switch and thrusts forward. The screen blanks out. The WEYLAND-YUTANI LOGO sits alongside the STANLEY LOGO, its main tool sponsor and partner.

FADE OUT.

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