| Title | MORNING TREMENS |
| Brand | COPENHAGEN METRO |
| Product/Service | COPENHAGEN METRO |
| Category |
A01. Direction |
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Entrant
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HJALTELIN STAHL PART OF ACCENTURE INTERACTIVE Copenhagen, DENMARK
|
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Idea Creation
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HJALTELIN STAHL PART OF ACCENTURE INTERACTIVE Copenhagen, DENMARK
|
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Media Placement
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WAVEMAKER Copenhagen, DENMARK
|
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Production
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PEGASUS PRODUCTION Copenhagen, DENMARK
|
Credits
| Kenneth Kaadtmann |
Hjaltelin Stahl |
Creative Lead |
| Cecilie Öberg |
Hjaltelin Stahl |
Art Director |
| Sune Overby |
Hjaltelin Stahl |
Art Director |
| Nina Markholt |
Hjaltelin Stahl |
Copywriter |
| Sandra Amilie Laccopidan |
Hjaltelin Stahl |
Account Manager |
| Peter Harton |
Pegasus Production |
Director |
| Cille Silverwood-Cope |
Pegasus Production |
Executive Producer |
| Jens Maasbøl |
Pegasus Production |
DOP |
| Anders Jon |
Pegasus Production |
Editor |
| Ole Kristian Krogstad |
Pegasus Production |
Sound Engineer |
| Lasse Bjerre |
Hjaltelin Stahl |
Account Director |
Write a short summary of what happens in the film
We follow a woman make the tiresome trip home after a long night of partying – still dressed in last night’s clothes and clutching her high heels.
With smudged make-up and false eyelashes hanging off, she boards the new metro and manages to find a seat. She then discovers, however, she has sat amongst a group of enthusiastic cub scouts, joined by an equally animated leader who suggests the boys have a snack before their stop.
Surrounded by boiled eggs, mackerel, and strong cheese, our traveller is then thrust in the midst of an intense singalong that threatens to push her already fragile state over the edge. Fortunately it will all be over soon, as there is only two minutes to the next stop with the new metro line.
Tell the jury anything relevant about the direction. Do not name the director.
We wanted to put something full of contrast into the carriages to exaggerate the feeling of being stuck with your nemesis and to captivate the oh-my-god-I’ve-been-there-before feeling
We worked primarily with wide-angle lenses, coming as close as possible to the passengers to ramp up the discomfort. We purposefully made the camera angles mismatched to accentuate how the different sets of characters have wildly differing POVs.”