Title	HSBC NO FIXED ADDRESS
Brand	HSBC X SHELTER
Product/Service	HSBC
Category	B03. Sound Design
Entrant	GRAPPLE MOBILE London, UNITED KINGDOM
Idea Creation	WUNDERMAN THOMPSON London, UNITED KINGDOM
Production	KNUCKLEHEAD London, UNITED KINGDOM
Post Production	GRAPPLE MOBILE London, UNITED KINGDOM

Name	Company	Position
Munzie Thind	GCRS	Senior Sound Designer
Molly Butcher	GCRS	Senior Audio Producer
Tom Drew	Wunderman Thompson	Executive Creative Director
Mike Watson	Wunderman Thompson	Creative Director
Craig Hunt	Wunderman Thompson	Creative
James Humphrey	Wunderman Thompson	Creative
Sonny Botero	Wunderman Thompson	Agency Producer
Liberty Willison	Wunderman Thompson	Assistant Producer
Siri Bunford	Knucklehead	Director
Matthew Brown	Knucklehead	Production Producer
Adam Rudd	Whitehouse Post	Editor
MPC MPC	MPC	Post Production

Write a short summary of what happens in the film

The piece documents a disoriented woman who is rebuffed repeatedly by employers, bank clerks and government agencies, all for lack of a home address. As this plays out, an incessant monotone chant of “No home? No address. No address? No bank account. No bank account? No job. No job? No home...” plays in a loop, highlighting the frustrations of a system that lacks the flexibility to adapt to individual circumstances. The revolving nightmare only comes to a rest with a voiceover announcing that HSBC is working with charities such as Shelter to provide bank accounts for people experiencing homelessness.

Cultural / Context information for the jury

In the UK, like many other nations, not having a bank account makes it nearly impossible to escape the cycle of homelessness. HSBC’s game-changing service, in collaboration with homeless charity Shelter, is giving more people who have fallen on hard times a helping hand towards gaining financial independence and re-building their lives.

Tell the jury about the elements of sound design.

The unique creative treatment involved a theatrical stripped back set, creating a sense of bleakness. The sound therefore needed to be approached in such a way as to allow the viewer to step into the vicious circle. The creative team wanted the voiceover to be machine-like, devoid of emotion as if it were the voice of ‘the system’. Renowned actor, Juliet Stevenson was cast and, after her voice was recorded down the line, it was pitched to make it feel monotonous with reverb added to give a sense of detachment. We visited the film set to record the mechanical sounds of the revolving stage and foley recordings were layered into the final mix. The third element was the music, purposefully manipulated like a scratched, stuck record ensuring a repetitive undertone. It was important that this did not dominate the mix but that centre stage was given to the vocal performance.