A TV commercial directed by Sune Sorensen for LeasePlan and Etcetera

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A sports car, a pickup truck, a family car, a Jeep etc., etc.: there are fourteen shots of different cars on different roads in different surroundings in just the first 11 seconds of this commercial, shot from the sky with the cars all in the same spot on the screen as if in one continuous motion. It turns out there is one happy fellow behind the wheel while the cars he is in and the streets he is on keep changing around him. Whether he is driving with his mother, his friends, his dog, or his family, this guy seems to have found his ideal used car.

Maarten Reynen, Michiel Otting
Sune Svanborg Sorensen
Marc de Meijer
Berend van Eerde
Barry Clarke @ Captcha
Sound design
Massive Music
Executive producer
Yvonne Knook

Danish director Sune Sørensen has managed to make his CarNext commercial look effortless and carefree despite being both technical and fast-paced. ‘The drone work required one of the best teams in the world’, he explains, ‘which we realised on the first day of shooting when we were experiencing difficulties. We had two Spanish masters—who had also done the drone work on Game of Thrones—come on board because the shots required such accuracy. It was much more complicated math than you’d expect, because you need to consider the angle of the camera in relation to the car position, the height, the speed of the car and the movement and speed of the drone, as well as the size of the car and the road and whether the road inclines or not. I would literally run from one end to the other to measure height differences and figure out the projections on the spot. To make the most of this rather technical shoot, I decided to push two units out simultaneously for some of the drone shots. This required a lot of trust, a tight overview and strong communication.’

The shoot took place in Portugal and features the Welsh actor Richard Jones driving around Lissabon and the Algarve. ‘His natural technique comes through as delightful and warm without the obvious commercial clichés,’ says Sune. ‘We needed someone who was technically strong, but also likeable and real, which is rare. I consider what makes the premise work as a story, and then allow the narrative to tell itself as it would if it were a movie. Working with actors you have to allow space for their personalities to come through.’