Vitaene C /POWER UP Ben weinstein

High Five

This is a hilarious new take on the beloved Zootopia sloth scene. I like it because it’s simply written and sharply funny. Our goal is to find more things for our hero to do while he waits an eternity for the high five. What other time consuming things might our guy do while he waits for the Sloth?

For instance he could carefully make a cup of tea, read the paper or get his hair cut. He could knit a scarf, type a chapter of his novel or oil-paint a portrait of the sloth. Maybe he takes this opportunity to work on his taxes, paint the exterior of the house or get in shape.

It also would be funny if the two never got to the high five. The commercial could end without the satisfaction of the sloth getting his paw slapped. The satisfaction would instead come from the second sloth pounding his energy drink. When we see the second sloth we want him to move fast. For instance he could drink the Vitaene C and then toss the can in a bin. Or he might yell at the TV, mad that the referee made a bad call. Whatever fast movement (and language) we can give him will help demonstrate that he is moving at normal speed.

We will need a detailed claw that can open up slowly.

The sloth puppet you found is excellent but we may have to improve it for our needs. The good news is, augmenting or improving a costume is much easier than starting an intricate puppet from scratch.

For instance the puppet you found has a great face but desperately needs a pair of eyeballs. There are many great choices in the taxidermy world. We should also take a closer look at the claw. Since its such an important part of our story, we want this claw to open up slowly like in the shot above from Zootopia. We may end up making an improved claw if necessary. One other suggestion, the sloth could be wearing some human clothing, rather than being "naked." Animals in our homes, in clothing are funny.

The Chase

We've all been there. It's that that feeling you get when you've already made plans to chillax with your brosky ... but then a girl texts you that is super-hot. Another group of friends wants to hang across town. Your phone is blowing up. What's a guy to do?

A good friend needs to stay on target. He must fight these outside forces, and make it to the best friend's house.

The more obstacles he encounters, the more this story will have the feeling of a quest. It'sThe Temptation of the Bro.  It reminds me of the Warriors (1979) that must make it back to Coney Island. Or King Arthur's obstacles in the Monty Python's The Holy Grail.

This rock song must be epic. Our hero should be able to sing heartily about his woes as each different character tries to lure him away from his righteous destination.

The twins could be gorgeous marathon runners.

What if a wizard rolled up on a vintage motorbike one with an empty side car? The wizard could gesture "Get in." The hero's inner conflict will be stronger with each new character. We will see and hear his pain through the lyrics of his song, as he shakes off each invitation.


To make it homemade, lofi, and “taped together” we could shoot it in a black studio like a dark dream sequences in The Big Lebowski.

We want to see movement in the frame. Onto the floor underneath the actors feel we will add the lines and patterns of a street moving by.

These animated lines moving on the ground will give the feeling like the characters are moving through the city, even when the people are simply running in place. it will look altogether cool, funny and hand made. And I don't think anyone has done this before. This video is a great reference where they shot it real, and outdoors. We should create this same kind of movement, but artificially, in the studio.

Bat for Lashes

In addition to the moving lines on the ground, we can move the occasional tree, street lamp and stoplight past our actors. Prop people in black suits can push these hero props on wheels away from camera.

Or, if it is too expensive to have life-sized props on wheels we can shoot model train-grade trees, street lamps and stoplights like these. By reducing our effects down to their simplest shapes, we will gain more time to explore our crazy characters and our epic song.

In the end we will make a campaign that is both mesmerizing and funny.

And we will meet again in Cannes.

Ben Weinstein


Created with images by ponce_photography - "tea cup seeping"

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