COCA-COLA - OPEN LIKE NEVER BEFORE
Title | COCA-COLA - OPEN LIKE NEVER BEFORE |
Brand | THE COCA-COLA COMPANY |
Product/Service | COCA-COLA |
Category |
A05. Cinematography |
Entrant
|
72ANDSUNNY Amsterdam, THE NETHERLANDS
|
Idea Creation
|
72ANDSUNNY Amsterdam, THE NETHERLANDS
|
Production
|
NEW LAND London, UNITED KINGDOM
|
Post Production
|
CABIN EDITING COMPANY Santa Monica, USA
|
Post Production 2
|
WAVE STUDIOS London, UNITED KINGDOM
|
Post Production 3
|
THE SMC GROUP London, UNITED KINGDOM
|
Post Production 4
|
GLASSWORKS Amsterdam, THE NETHERLANDS
|
Credits
Sara Gallego |
The Coca-Cola Company |
Head of Projects Content Marketing Manager |
Carine Harris |
The Coca-Cola Company |
Head of Content Production |
Carlo Cavallone |
72andSunny Amsterdam |
Executive Creative Director |
Laura Visco |
72andSunny Amsterdam |
Deputy Executive Creative Director |
Emiliano Trierveiler |
72andSunny Amsterdam |
Creative Director |
Renee Lam |
72andSunny Amsterdam |
Designer |
Masaya Kochi |
72andSunny Amsterdam |
Designer |
Constanze Bilogan |
72andSunny Amsterdam |
Writer |
Sarah Sutton |
72andSunny Amsterdam |
Director of Strategy |
Armando Potter |
72andSunny Amsterdam |
Strategy Director |
Charlotte Rubesa |
72andSunny Amsterdam |
Comms Strategist |
Rob Conibear |
72andSunny Amsterdam |
Group Brand Director |
Angelina Joy |
72andSunny Amsterdam |
Brand Director |
Marie Henaff |
72andSunny Amsterdam |
Brand Manager |
Mauro Sala |
72andSunny Amsterdam |
Brand Coordinator |
Jennifer Cursio |
72andSunny Amsterdam |
Executive Producer |
Eline Bakker |
72andSunny Amsterdam |
Sr Film Producer |
Nili Zadok |
72andSunny Amsterdam |
Sr Producer |
Selam Kehishen |
72andSunny Amsterdam |
Business Affairs Director |
Gustav Johansson |
new-land London |
Director |
Indra Herö Wide |
new-land London |
Director |
Marcus Ibanez |
new-land London |
Director |
Martin Rudh |
new-land London |
Director of Photography |
Steve Annis |
new-land London |
Director of Photography |
Jamie Ramsay |
new-land London |
Director of Photography |
Trine Pillay |
new-land London |
Producer |
Mia Tidlund |
new-land London |
Producer |
Christabelle Stone |
new-land London |
Production Manager |
Sam Ostrove |
Cabin Editing Company |
Editor |
Emma Backman |
Cabin Editing Company |
Editor |
Ed Downham |
Wave Studios London |
Sound Designer/Mixer |
Parv Thind |
Wave Studios London |
Sound Designer/Mixer |
Blake Huber |
Glassworks Amsterdam |
Lead 2 D Artist |
Alexis da Camara |
Glassworks Amsterdam |
2 D Artist |
Scott Harris |
Glassworks Amsterdam |
Colourist |
Jamie McCubbin |
Glassworks Amsterdam |
VFX Producer |
Anya Kruzmetra |
Glassworks Amsterdam |
Chief Operating Officer |
Marta Carreras Cancelo |
The Coca-Cola Company |
Creative Strategy Director |
Walter Susini |
The Coca-Cola Company |
Senior Vice-President, Marketing, EMEA |
Write a short summary of what happens in the film
Through a poem co-written and performed by British artist George The Poet, the anthem film invites us to challenge the so-called new normal, to stay open and bring renewed optimism for the change ahead.
To the sound of a rendition of the 1960’s iconic track “San Francisco”, we follow George performing his own words. But as the film progresses, different people join in, young and old, from all walks of life and parts of the globe.
Each person makes a part of the poem their own, challenging the old notions of work, family, travelling, body and race awareness, gender, immigration, sexuality and female leadership, all in one continuous, poetic flow. The film ends with George and a last statement of optimism from Coca-Cola: “We’ll weather this storm, so I’ll be open like never before”.
Cultural / Context information for the jury
After a 3-month pause in their advertising and channeling $100 million to COVID relief efforts, Coca-Cola launched its first brand statement with Open Like Never Before. Created and produced during lockdown, the film was shot and finished remotely within 6 weeks and has been launched in over 40 countries, after Coca-Cola and other global companies joined a social-media embargo in response to the spread of racial slur and hate speech online.
The poem was co-created with George the Poet, and references a few ongoing social and cultural themes, such as the Saudi Arabian female empowerment movement, the racial equality protests and the rise of female world leaders in times of COVID (as a cameo, it features the photo of George’s grandmother, Joyce Mpanga, a Ugandan politician and activist for women’s rights).
Tell the jury anything relevant about the cinematography.
The approach to cinematography was innovative, shaped around the creative ambition, the scope of the project and the lockdown restrictions. The end goal was to deploy a rhythmic, multi-layered rendition of the poem, a piece performed at the same time by one and by many voices, crossing film genres with cinematic realism.
The triad of directors defined the cinematic approach and the narrative centrally, creating a consistent yet broad language, that was then executed in a myriad of formats, from film to found (and borrowed) footage, in dozens of different locations by DOPs and cinematographers in five different countries.
The film was shot at the same time on the spot and remotely, in a period of five days and in 3 time zones, with second units shooting in parallel to achieve a truly global mosaic but keeping the integrity of the language and the power of the narrative.