QUESTRADE
TREATMENT BY
DYLAN MARANDA & AD HOC CONTENT
HEY NFA
Thanks for the chance to let me share some thoughts on this campaign! It was great to see we were on the same page after our call, so lets consider this a jumping off point for discussing some nuances to how I would approach the spots.
While these scripts on paper seem straight forward, I know I can bring something unique to this. I am someone who finds themselves almost squarely in your target audience, with younger siblings that are at that exact “precipice” we talked about. I feel in touch with the tone we need these scripts to have. Getting the delivery right is something that is extremely important if we want these spots to make an impact on young people.
With all that said, let’s dive in!
APPROACH TO PERFORMANCE
Something I would really like to focus on is relatability. The last thing I want is the performance to feel condescending.
While our cast is presenting an argument for why someone might switch, it should never feel like they are alienating the listener. It’s like when a friend gives you a truth that might be hard to swallow -- you’re open to changing your view because you know they have your best interest at heart.
But on the flip side, we don’t want to feel like we are “shilling.” What people don’t want to hear when it comes their money is a sales pitch. Our audience is smart with their money, that’s why they’re thinking about trading in the first place.
The feeling we should be left with at the end is the balance of relatability and hard hitting facts. That’s what makes these scripts hit home. It’s a feeling that allows our viewer the safety to think “you know what? They have a point, I should go with Questrade.”
THE RIGHT DIRECTION
I wanted to briefly touch on how I like to approach setups when it comes to these kinds of scripts. Working with small crews in an intimate studio setting really lends itself to keeping the shoot relaxed. That work environment allows space for honest performance through safe experimentation, which is obviously of utmost importance.
My background is in theatre, so I like to go back and forth in quick succession between heavy involvement and then letting actors breathe and find their voice. Seeing as we will likely be scheduling talent one at a time, having an arch of energy for each performer during their shooting window is imperative.
What that might look like with these spots is trying different cues for for the lines, or doing some listening exercises with them to illicit different inflections on delivery.
Instead of rolling right into what our script is cold turkey, what does the script sound like after posing our talent a question, with which our lines are the answer? What does it sound like after doing repetition exercises, finding a different tone for each new delivery? All of these provide options in post. Variety is a strength, and it leads to performances that stand out.
My goal is always to help talent get to a place that they feel genuine in their delivery. My training as an actor allows me a shorthand with talent that lets me reach that place with them extremely quickly. The combination of these elements is how I want to approach this shoot and set these scripts up for success.
