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
|
Credits
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.