Hot off the hammer of Stink director Martin Krejci’s commercial, Festival, for German DIY chain Hornbach comes this new spot which was also shot alongside the earlier piece. We showed Festival in our Six of the Best Commercials last month but do have another look in Related Content where you’ll also find a Making of Festival.
How detailed was the original brief for Symphony? Or was it your treatment that evolved the script to include the different camera techniques to portray, say, the vibrations or the slower pace?
Martin Krejci: I received just the main idea – to show the audio experiences of every DIY person – and we developed the visual part and the individual chapters together with Guido Heffels the CD at Heimat.
The sound and music is of course an intrinsic part of the film. Was this an easy collaboration with the musician?
It was a trial and error process – we briefed the SqueakE sound studio in LA prior to the shoot to give us rough layers, which we finalized later on when we had the offline together. I’d done this with Viktor at Sound Square Prague who did the Hornbach campaign before too.
What were the most challenging aspects of the production?
As always – the time. We had just four days to shoot it together with the Hornbach Festival film, so the schedule was quite tight… apart from this it was really fun and because of the trust we had from the client and agency it was a really enjoyable process.
I wish there were more clients and agencies like that, because I believe that this way of working leads to something special, which works for all sides and people seem to like it as well, which is win win.
1.4 also caught up with editor Filip Malasek who cut the film in Prague.
The mind boggles how you must have edited Hornbach as it’s not a normal linear story but a fabulous sensuous mish mash. Was it as complicated as it looks?
Filip Malasek: It was kind of complicated, but the good thing was that we had three chapters – DRUMS, TROMBONE, CELLO.
Firstly I cut each chapter and then we mixed it together, but the most important thing was to do the sound-design/music during the editing.
Surmising it was shot on digital were there days of footage to wade through?
I had four formats to use: 35mm, Phantom camera / slow motion / Iconix camera / POVs,/ and 5D. The best is still 35mm of course.
How many nights sleep did you lose editing Hornbach?
I think it was one week.