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Film, Music & Animation · Director's treatment and storyboard

Why We Run

The finished work

Why We Run, 1 of 36 Why We Run, 2 of 36 Why We Run, 3 of 36 Why We Run, 4 of 36 Why We Run, 5 of 36 Why We Run, 6 of 36 Why We Run, 7 of 36 Why We Run, 8 of 36 Why We Run, 9 of 36 Why We Run, 10 of 36 Why We Run, 11 of 36 Why We Run, 12 of 36 Why We Run, 13 of 36 Why We Run, 14 of 36 Why We Run, 15 of 36 Why We Run, 16 of 36 Why We Run, 17 of 36 Why We Run, 18 of 36 Why We Run, 19 of 36 Why We Run, 20 of 36 Why We Run, 21 of 36 Why We Run, 22 of 36 Why We Run, 23 of 36 Why We Run, 24 of 36 Why We Run, 25 of 36 Why We Run, 26 of 36 Why We Run, 27 of 36 Why We Run, 28 of 36 Why We Run, 29 of 36 Why We Run, 30 of 36 Why We Run, 31 of 36 Why We Run, 32 of 36 Why We Run, 33 of 36 Why We Run, 34 of 36 Why We Run, 35 of 36 Why We Run, 36 of 36

Sixty seconds for a running-shoe brand, written and boarded frame by frame, so you see the film before anyone picks up a camera.

The brief, verbatim

I want a film that makes people feel something, not another ad that gets skipped. Sixty seconds, cinematic, for a running shoe brand, but I do not want to see the shoe for most of it. I want it to be about why people run at all: the 5am alarm, the rain, the empty road, the reason you keep going when everything in you says stop.

Give me the whole treatment. The story and the script. How it is shot, the look, the pace, the music it wants. Then board it out frame by frame so I can see the film in my head before anyone picks up a camera.

Make me want to lace up and run out the door.

What the studio made

The whole treatment: the director's statement, the film at a glance, the look (cold blue turning to warm gold), the lens for every beat, the music and sound, then the sixty seconds boarded frame by frame, from the 5am eye to first light on an empty road. The fifteen storyboard frames follow the book.

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