ROBERT GREGSON + COLIN DRUMMOND
Treatment By
ROBERT GREGSON + COLIN DRUMMOND
INTRO Let me start by saying how excited I am about this campaign. Post Pebbles has a long line of memorable cartoon ads from when we were kids. We’re thrilled to see the fun move to live-‐action and the creative possibilities in the new Post Pebbles world! My producing partner and I have been making short comedy sketches, branded and social videos and feature length films together for over half a decade. We’re excited about the idea of bringing our unique comedy voice and style to this project. The Yabba Dabba Do’s and Don’ts concept resonated with us because it has the potential to be fast-‐paced, super funny, and a little silly. We immediately started thinking about all the different ways to enjoy Post Pebbles-‐and all the funny ways it can go wrong. Each pair of “do’s” and “don’ts” packs a laugh, but it’s the progressive pattern of infectious jokes that makes the overall spot irresistible. With its youthful vibe, this is the kind of spot that will totally resonate with Post Pebbles fanatics. It’s not just about how great it tastes, it’s about the fun you can have using it in ways you never imagined.
THE SPOT The spot bounces cleverly and comically from one “do” to the next “don’t” in a series of fun, creative scenarios that alternately entertain and surprise. Taking its cue from the current “Yabba Dabba Do!” campaign, the energy and all-‐encompassing sensory experience of enjoying Post Pebbles will shine through each frame. This spot is targeted at teens, and the jokes and energy in our script reflect that. At their heart, the “do’s” and “don’ts” are presented as little bits of wisdom from a wise off-‐ screen narrator. The scenarios start off relatively straight -‐forward (Do eat it with a spoon) and humorously bounce along in funnier and more unusual situations, each showing creative uses for Pebbles cereal and the Pebbles box. At the end, an unexpected surprise reveals the narrator who tells the final “Do”: share with the narrator :) Even though some of the “do’s” and “don’ts” are silly, I think it’s important that the audience feels like there’s a pattern and rhythm to every beat, and that the next thing will not only be funnier and quirkier, but that it is connected and related to what came immediately before. With that said, we were also very conscious of designing a progression that will work as a 30 as well as a 15!
Tonally, the spot will inhabit an imaginary world, taking its cues from great modern teen comedies about “normal” teens-‐everything from John Hughes to Edgar Wright to Wes Anderson. On the other hand, we playfully poke fun at the old-‐school style of instructional videos in the voiceover and the shooting style. Our teens are more creative and independent than conventional aspirational teens featured in media. Sometimes they get it right, and sometimes they find their own way and figure the details out later!
CASTING Within the first five seconds, it’s clear that we’re
ut also aving un. mTy his might seem DREW and EMILY are a relatable millenial couple (in fact, they being strike hponest retty cblose to hhome wfith own relationship). but commercials too too ften lose viewers t They are independent adults who are still in touch with their yobvious, outhful impulses -‐ in this case snack on Lucky Caharms. beginning feel laike they’ve They know what makes them happy, they deserve it, and they the have a sense owf ho humor bout it. just let a used car salesmen onto their screen. DREW has a bit of puppy dog in him. He’s got a contagious smile, and he can get excited about just about anything, idea to do’s” and “adon’ts” something teens which makes him fun to be around. He’s the kind of guy who’s The willing o f t“ry anything, nd can igs et away with being will instantly recognize and share. In a world filled completely truthful about what he wants. with quirky, goofy ads, we know that the honesty EMILY is independent and unapologetic. She definitely calls the shots in the relationship, and soooner r later she gets and entertainment at the heart f our “odo’s and what she wants. She’s not selfish though. She understands the importance of finding the little things life tthat don’ts” will inspire a new generation of itn eens o make you happy, and sharing them with the people you love. enjoy Post Pebbles in ways they never imagined! Since this is a digital spot, we want it to play visually as much a s possible. We will cast for actors who have expressive faces but who aren’t over-‐the-‐top and can deliver honest, subtle performances. I think the right comedic actors will really bring this spot to life. Several actors Colin and I have worked with in the past would be great for these roles, and I also want to audition some fresh, rising stars with strong improv skills from places like UCB and Annoyance Theatre.
LOOK, FEEL, AND PRODUCTION I want to give this spot an energy and creativity that reflects the unexpected comedy of the scenes while also giving a small nod to the visual style of instructional videos. Each scene feels like it could be one degree away from reality. Framing and composition will give the sense that the moment or scene on screen is “displayed” by exaggerated use of negative space, symmetry and color. Art direction, wardrobe, and lighting will contribute to the sense that we’re watching a produced ad, but it won’t be a sterile, perfect frame. Taking cues from a film like Amelie or the works of Wes Anderson, the art direction will be colorful and warm. The casting is extremely important because it will communicate so much about the individuality and creativity of our Post Pebble fanatics. They’re not perfect, but they’ve got a lot of imagination and a lot of the fun comes from the deadpan comedy of the “don’ts” that they run into while enjoying Pebbles. The spot should aim for a cinematic feel that is grounded in reality, to elevate the spot above typical comedy commercials. Think Superbad, Mean Girls, and American Pie. Since most of the jokes are quick setups and reveals, designing clean frames in straightforward presentations is key to making sure we get all the jokes. The occasional Wes Anderson/30 Rock style whip pan can also be used as a layered reveal within a space, and elevated sound design will give texture to the quick beats. The words appear on-‐screen, which is an important piece, because it means that even if the video is watched without sound, it still makes you laugh! We would absolutely love to be a part of bringing this spot to life and appreciate your consideration!
THANK YOU We look forward to creating this spot with you. Robert Gregson, Director Colin Drummond, Producer r
