How Ford Produced a Film Powered Entirely by Electric Vehicles
In today’s climate, electric vehicles are becoming more and more popular. With many automotive brands rolling out EVs with greater efficiency, sleeker designs, and longer-lasting batteries, the subsequent desire to showcase these creations as the best option on the market has rapidly become quite competitive.
Ford Canada is no exception. With the desire to establish themselves as clear-cut leaders in the field, they needed an innovative way to tell the country that they were the leaders of the EV experience. So naturally, alongside their partners at BBDO Canada, they decided the best way to promote themselves would be by creating a seven-and-a-half-minute film… that did not feature a single car or truck.
While this may sound like a confusing strategy, there was, in fact, a method to the madness. Working with Riff Raff Films director Danilo Parra, the teams released ‘Mushroom’, which, while light on EVs in the film itself, was powered by one Ford F-150 and two E-Transits. This meant that everything about the two-day production - from on-set lighting to lightning effects and windstorms - was powered by Ford EVs.
Telling the story of two hikers in the forest disputing each other’s claim over a giant mushroom, this first-of-its-kind project features a unique score by Ben Brunnemer and a sound mix by Dean Smith, and was released alongside a behind the scenes video (also directed by Danilo) which details the making-of process - and actually features some of Ford’s EVs on-screen.
LBB’s Josh Neufeldt sat down with BBDO Canada VP, creative director Mike Schonberger, strategy director Aaron Arellano, and Danilo to learn more about how this campaign and spooky film came to life.
LBB> Shooting a campaign powered entirely by one Ford F-150 and two E-Transits is a creative and fun idea! What was the brief like from Ford?
Aaron> In 2022, with all car brands now launching or announcing an electric vehicle, we needed to help Ford standout as a clear-cut EV leader. In the transition to the electric future, Ford made some pretty risky bets by electrifying their most iconic vehicles first - like the recently launched ‘F-150 Lightning’. One of the innovations the Lightning offers is the ability to power appliances (or heck even your whole house for a few days if you wanted to), which blew our minds, and felt likely to blow most consumers’ minds too. We wanted to leverage this innovation in a disruptive way: as a means to get them thinking about electric vehicles and the Ford brand in a different way. Simply put, we wanted to get those who see Ford as a traditional auto brand to see Ford as a leader in electric vehicles experiences - by electrifying the unexpected.
LBB> What made Danilo Parra the right director for the job?
Mike> We started by putting the idea out to production houses, and got a really incredible response. We narrowed it down to a handful. From there, we talked film ideas, treatments for the behind-the-scenes film process, and of course, the ‘Pro Power Onboard’ power capabilities.
Ultimately, Danilo’s ideas and approach to the production for the two films set him apart. He really understood what the project needed. His film style and documentary work were a perfect fit.
LBB> How did the mushroom idea come to pass, and how did it develop throughout the course of the project?
Mike> Ford EVs hold incredible power and potential. We didn’t want to just say that, but instead, show it. The idea to create the first film powered by electric vehicles provided that opportunity.
The film had to be interesting on its own. Something original and unexpected. The story of two very different mushroom foragers in a war of attrition over a giant mushroom was a perfect fit. Not only was it different and intriguing, but it required a secluded forest location and ambitious night-shoot power demands. The EVs could then supply everything we needed to create each scene - day or night - in a place without existing power sources.
We wanted to give the director the freedom to make the film they wanted, whatever it was. The idea was always to present the film as ‘A Ford EV Production’, with the vehicles enabling the film’s creators. That didn’t change throughout the process.
Danilo> It was a very open brief since I could make any type of film I wanted to make. I had some one-sentence, short film ideas jotted down, and I pitched a few of them to Matthew Clyde from Riffraff. From there, he helped me pick one about a mushroom that two people fight over. That idea felt right, since it was about nature, and was something we could shoot in nature thanks to the power of these EV trucks.
LBB> Releasing this in October, right in the middle of ‘spooky season’ is amazing timing. Was the goal always to release a spooky film?
Mike> We loved the dark comedy of ‘Mushroom’ from the beginning. It really stood out in that way. While we didn’t set out to have any specific genre, or have the film release timed for any event, ‘Mushroom’ coming out when it did was a nice bit of fortune.
LBB> What was the initial concepting process like? How did the idea for the ‘Mushroom’ evolve, and how did you build the look and feel of the film?
Mike> The process for the film wasn’t like a usual production. The project was about enabling the film's creation, so we worked with Danilo through the production, but without the usual kind of approvals or feedback. The behind-the-scenes film followed a more typical process.
Danilo> The initial concept started with two opposing characters fighting for a giant mushroom, and when thinking about what we could do with the trucks, I began to like the idea of creating a storm in the forest using wind, rain, and lightning effects. The story had to escalate, and a storm is like a visual escalation and raises the stakes. It becomes life or death.
LBB> What went into creating the mushroom?
Mike> Danilo worked with the production team on the design. In the end, the mushroom itself is Styrofoam - sculpted and painted by some very talented people, and occasionally enhanced in post.
LBB> Where did you shoot, and how did you go about finding the perfect spot?
Mike> The film was shot in Sunnybrook Park in Toronto. We needed a dense, thick forest - without any existing power sources. We were prepared to shoot far out of the city, knowing the vehicles would work anywhere. But in the end, we didn’t need to go far.
Danilo> I knew exactly what I was looking for, since my film needed a hill where the mushroom would sit, and a location for camp sites below it. We also wanted to find a perfect spot that trucks could drive up into. I'm in NYC, so the producer took me on hiking trips over FaceTime until we landed on a perfect spot.
LBB> What was the production process like? Do you have any stories to share?
Mike> Even though we were shooting two films simultaneously - both powered by EVs - production was incredibly smooth. There was a bit of nervousness at the start, as this hadn’t been done before, but there was also a great energy on set. Everyone was curious about how it would work, and it was amazing to see people experience what the EVs could do in person.There were no drawbacks compared to a standard shoot. We had the Lightning and two Transit EVs on set, so we had more than enough power and outlets available. Anything that needed an outlet got one. In addition, replacing the noise of gas generators with silent EVs was a welcome change for everyone.
Danilo> We weren't sure if the truck was going to be powerful enough to power the lights, wind, and lightning effects, so the producers and gaffers were a little worried. This meant I was too. The truck arrived the day of the shoot, so we did some quick power tests at the start of the day that gave us all assurance that this was going to work. Once all the elements were happening smoothly at the same time, I, and everyone else, were pretty relieved. We forgot that a truck was powering the film, and just focused on making a great film.
I usually don't have this type of power in remote locations, so I had a blast seeing how we could change the aesthetic of the forest. Another nice element was the fact that the trucks were completely silent - meaning they didn’t try to steal our attention while we were working.
LBB> When it came to aesthetics and the look and feel, what were your main aims and ambitions, and how did you achieve them through lighting and colour?
Danilo> Since it was a day to night story, I wanted to capture a peaceful, warm, natural forest for the beginning of the film, and when the forest became darkened by night, I wanted it to become a nightmarish place where we feel the dark side of nature. Dangerous, downpouring rain and lightning had to be felt in order to create the feeling of a life-or-death situation for these characters. Warm colours represented a place of comfort and safety, while the blue night represented fear and hostility.
LBB> In terms of casting, what were you looking for from the film’s two main characters?
Danilo> I wanted our characters to have contrast in how they looked, how they dressed, and how they camped. I felt like humour and tension could be found through these differences - with a young hiker who is very ‘2020’ meeting an old-timer hiker who has gear from the ‘50s. The actors we found were perfect to represent these characters. Tom Bolton was cast as the ‘Old-Timer’. He's very tall and slim, and he submitted a casting tape all dressed up in his hiking gear. He was incredible! Aaron Macpherson was cast as the ‘Young Hiker’, and to me, he had a perfect mix of youthful energy with a sinister twist. Because of his bright blue eyes and mannequin-like skin, I saw him as like the T-1000 from ‘Terminator 2’ and the T-1000 became his actor inspiration.
LBB> The final shot of the mushroom rolling down the hill, before standing itself up is super cool. How did you achieve this?
Danilo> It would be cooler if this was all practically done, but what we did was film an empty tracking shot of the mushroom’s journey down the hill, and added VFX markers and took HDRI scans for lighting, so our VFX team in Bulgaria could add the 3D tumbling mushroom to the scene. We also had a dummy mushroom that we actually did tumble down the hill, so the VFX team could see how the mushroom would naturally fall. That dummy mushroom broke on the first trial, but it was a good take, so it worked as a perfect reference.
LBB> Are there any elements of the project you’re particularly proud of? And why?
Danilo> I had a fun time shooting the scene where the tent smashes into the ‘Young Hiker’ character. It was a scene I made some 3D animations of, and since I had that as a reference, I just needed to show our FX guy and he laughed and made it happen. I think it turned out really well, and it makes me laugh every time.
LBB> What do you hope viewers take away from watching this film?
Danilo> I wanted to show how dangerous the world can get when we don't consider each other, and when we think, ‘I deserve this more than this other person does’, or ‘I don't care if it's bad for our planet, I want it anyways’. These two hikers could have shared the mushroom and lived to see another day, had they thought about anyone other than themselves. Or they could have even left the mushroom for other creatures in the forest to enjoy!
LBB> The behind the scenes film - which explains how this project came to fruition - is also vital to this campaign. Tell us more about that!
Mike> The behind-the-scenes was equally as important to us. It’s where we show the vehicles authentically - as the unexpected stars behind the camera. No polish, no tire shine, just real EVs at work, in a forest, powering a huge production. In terms of making it, there was a dedicated team for the BTS film, with Danilo leading. We had a plan on what we needed to capture to tell this side of the story, and the crew really delivered. They were everywhere: conducting interviews, capturing the vehicles in use, the shoot itself, and the vibe on set.
LBB> What challenges have you faced during this project? How did you overcome them?
Mike> We had a lot of faith in our partners and the vehicles, but the main challenge was the unknown of doing something that had never been done before. We knew it was possible (we did the math and knew it would work), so it was an unusual challenge, and in hindsight, much ado about nothing.
Danilo> Our main mushroom broke at one point towards the end of the film, and we had to tape it back together. Sometimes, overcoming problems with tape is the fastest way to carry on.
LBB> What has the initial response been like?
Mike> The initial response to the movie itself has been overwhelmingly positive. The campaign has created a lot of ‘Ford did what?’, which is exactly what we wanted.
On our end, it’s really shown the world of possibility these EVs have opened up. Being on set for a first-of-its-kind production was exciting for all of us. And now, a lot of our conversations have turned to what else we could do with these vehicles in the future.
LBB> Is there anything you’d like to add?
Danilo> I really appreciate that Ford is advertising their EV vehicles in these creative ways, which allow everyone involved to have fun and be creative. I was given so much freedom to make this strange seven-minute film that I love so much. It would be great if more companies let directors make their own passion projects like this. The act of quickly scrolling through social media has created short attention spans, and so, modern filmmaking has had to adapt to become short and pretty with little regard for story. There's a lot of short and pretty out there, but I hope to see more stories being told.
