KFC - Boneless Treatment

LOVE BONELESS NICK ROBERTSON TREATMENT | PLAZA FILMS

Nick Robertson | Plaza Films

INTRODUCTION Firstly, I’d just like to say thanks for considering me for these exciting new KFC spots, they’re a wonderful mix of arresting, engaging pictures and subtle humour.

Using new lifestyle technologies that go about making our world even easier, these scripts create a rich visual story of comparison to how uncomplicated and tasty KFC’s new original boneless chicken is. Three strikingly different stories weave across the screen demonstrating to audiences the fun and function of this exciting new world.

The combination of great imagery and subtle, observational humour is something I really relate to and feel very comfortable in shooting. The following is an outline of the story and the approach. The important thing is that these spots retain a strong sense of humanity, resonating with lively amusement and familiarity. The scripts and the themes established throughout retain a playful reverence that mirrors the attitudes of KFC and their relationship with the Australian people.

Nick Robertson | Plaza Films

LOVE KEYLESS

Nick Robertson | Plaza Films

KFC’s new boneless chicken is introduced within this script using playful, intimate moments between people, creating slice of life metaphors to communicate the comfort and ease a new KFC boneless chicken meal brings.

Each scenario presents an honest portrayal of modern life. They’re scenes that audiences will relate to with great familiarity. While this campaign could easily fall into a series of syrupy, over-thought images, given the right execution these scenes will strike a cord with a very discerning Gen Y audience.

Nick Robertson | Plaza Films Nick Robertson | Plaza Films

LOVE WIRELESS

Nick Robertson | Plaza Films

STORY We open on a young family piling into an SUV situated in an idyllic, suburban location.

We track around the vehicle, following their progress as they climb inside. Dad proudly secures an ‘L’ plate to the front of the car before taking the passenger seat. Beside him, his daughter searches the dashboard in a jittery manner for the ignition. Dad calmly points to the ignition button. She beams brightly as she presses the ignition in and the car roars to life, her family around her ready for her first drive.

A contemporary super appears; “Love Keyless” We cut effortlessly to a beachside promenade as a couple of teenage girls stroll down the street, lost in the intoxicating wave of summer. Image parallels of Southern California are invoked as the ocean breeze tussles playfully with their hair. Continuing with the subliminal camera flow, we watch the girls enjoy with excitement an amusing clip on a mini iPad. Another super appears on the screen; “Love Wireless” Wheels and boards soar through the air as three skaters embrace the urban landscape and the opportunities it entails. Every rise, ramp and staircase presents boundless challenges to conquer. Tracking left to right as if on a Stedicam, the shots have an almost poetic presence that touches audiences on an intimate, visceral level. From a close up we see Nick Robertson | Plaza Films

LOVE CORDLESS

Nick Robertson | Plaza Films

one of the skaters listening to the latest tunes on a cordless set of “Beats” headphones. His shirt is loose; his pants low; he looks like a character form “Dogtown and the Z Boys” The super appears across the screen once more; “Love Cordless” Cut to an inviting and modern KFC restaurant. Here, we see the three stories converge between what has always brought people together.

Great Food. The family pull up in their SUV, the skaters take over a booth and the girls stroll in, laughing amongst themselves. Although not directly linked, the characters stories all echo the sentiments of six degrees of separation, each group enjoying boneless, KFC

original chicken in their own unique way. The super appears one final time; “Love Boneless” Additional Scene for the 15’ - A sun flare overwhelms the frame as the camera pulls around to reveal a group of young people climbing into a retro convertible. As doors fly open the soft top automatically begins to fold back. From a low angled wide shot we the roof disappear and a wonderful summer sky reveal itself beyond. The scene and the characters in it embody the freedom of summer. A super appears, “Love Topless” Nick Robertson | Plaza Films

LOVE TOPLESS

Nick Robertson | Plaza Films

THE PHOTOGRAPHY What struck me most about this project was that even amidst the characters of this script, there lies great potential to create a very beautiful, photographic journey.

The idea is not to do anything over-the-top or strange, but rather to enhance our scenarios through simple thoughtful photography. I want to frame the characters in engaging ways that embellish the personalities of each moment.

This type of framing considers both the role of the “Less” world and the reaction of the characters.

This approach will make each scenario genuinely intriguing and establish a distinct visual narrative. A shallow depth of field will also help enhance the sense of intimacy between our characters and the “Less” world they inhabit.

I want to find new ways into each scene, by adopting a naturalistic style that embraces each locations nuances and photographic opportunities. With the proliferation of Instagram and other social media outlets, the youth today has a very sophisticated perspective of photography. It has become the voice of their generation. The framing and composition within this spot will become an extension of the characters themselves.

A flowing, rhythmic camera will also help to define the convergence in the KFC restaurant in the concluding scene. Each scene should feel as if it is heading towards a concluding destination and the subliminal effect of a constantly moving camera will work beautifully for this.

The current iPhone campaigns out of the USA are a great reference point for this approach and style. I love the natural approach to the photography and the effortless

Nick Robertson | Plaza Films

manner of the edit. A reference for these spots have been provided in the following links: http://www.youtube.com/watch?v=fDUKt_XgfJ4 http://www.youtube.com/watch?v=NoVW62mwSQQ I will be using a “landscape-styled� crew, which will travel light with the intent on chasing the better photographic opportunities that the locations presents as well as covering more for each vignette. This small crew will be able to lever into locations and areas around the scenarios that a larger crew may otherwise hinder. By going robust and small, the crew can travel faster and wait for the change in light and environment. This is the best way to achieve great photographic results.

A very important aspect of the production is the food sequences of the campaign. I would want to shoot the KFC boneless chicken being eaten in a very similar lighting and screen direction so that there is continuity in the edit.

I will hold extensive meetings with the food cinematographer/director (Geoff Brown) to ensure that we are all working on the same page. Details like the direction of the source light and the direction and framing of the food all need to work together so as to not interrupt the fluidity of the spot. . It needs to be mentioned that the new original recipe KFC boneless chicken is the real star of this campaign. The chicken will look absolutely mouth watering in a naturalistic manner that suits the style and tone of the campaign.

Nick Robertson | Plaza Films

THE EDIT Another exciting aspects of this script are the potentials it presents in the edit. Structurally, the edit will have a seamless flow to it working off the moving camera, finding rhythmic edit points and establishing a sense of journey for the audience. It’s a great end to the story with the commercial finishing in the KFC restaurant.

THE TYPOGRAPHY The typography that is presented at the end of each scene is also just as important. As previously mentioned the gen Y audience is incredibly sophisticated on a visual and communication platform. Typography has become a second language and it must be relevant and current to the scenes we are creating. Given the scenarios we are presenting all have a street, urban credibility to them, I think it only fitting that the typography symbolises the same tone and impression. A great reference would be the many street/fashion sites that influence this digital generation.

Nick Robertson | Plaza Films

THE CAST The casting throughout this spot needs to reflect a level of spontaneous authenticity that will sustain the honesty, sincerity and impulsive humour this script sets out to be.

We need to find the playful intimacies, the honest reactions, the disarming, and the quirky. They are observed from a subtle, restrained perspective that allows for spontaneity within the reactions. We want to avoid the overt advertising performance. In many ways this is about letting the characters run with the situation. Allowing the characters to find those moments that only they could design. The thing about this script is these characters cannot be planned on paper; they need to be discovered through an intensive casting process.

If actors are too recognizable or rehearsed, the spontaneity

of the scene will be lost. It is proposed that the casting process involve not only actors but also real people. Real people or street casting will give the production a sense of the unpredictable.

Spontaneity and authenticity within each vignette is what will make this commercial truly memorable. The more authentic the casting, the more real the personalities, the more random and quirky their responses will be. It is the diversity of this ensemble, which will make this campaign and its characters great. I propose that the cast be made up from a selection of thorough street casting and traditional casting. The intention of the street casting is that the production will expose some truly unique individuals who even the best writers could not design, avoiding the artificial and manufactured performances.

Nick Robertson | Plaza Films

CONCLUSION By adopting some thoughtful and contemporary photography, great characterisation and seamless, rhythmic editing, these spots promise to launch the new KFC original recipe boneless chicken on a truly engaging stage. I look forward to developing and collaborating with you guys further in coming weeks and making these spots the best they can possibly be.

Regards, Nick Robertson

Nick Robertson | Plaza Films