Behind the Work in association withThe Immortal Awards

How GoCart Eliminates Forgotten Password Frustration

Production Company
London, UK
The FLIPT director Tiny Bullet speaks to LBB’s Nisna Mahtani about the spot that so perfectly captures the rage of resetting passwords and why it’s no longer an issue

In its new campaign, secure payment company GoCart partnered with production company FLIPT and its director Tiny Bullet (Tina Bull) to create a bright, bold and colourful spot that shows how payments don’t have to be a hassle. Playing on the hilarious ‘select all the chimney’ questions that people are asked when verifying their identities, the relatable rage is done away with when GoCart recognises its consumers and allows them to pay more easily.

The campaign features a range of people, from varying demographics and in different scenarios to show that this really is a solution for everyone. In a bid to liven up what could be seen as “dull problems”, Tiny Bullet heightened and exaggerated the colour and costumes that give the spot a fresh, relatable feeling. With a turnaround period of three weeks, the team worked quickly to make sure they workshopped the script, ensuring it fit within the setting, and with the support of a “brave client”, the spot was created.

Speaking about the process behind the scenes, Tiny Bullet tells LBB’s Nisna Mahtani about the “brilliant and funny moments” from copywriter Will Elliot.

LBB> We’d love to hear what GoCart wanted to see and what the original brief for this campaign was?

Tiny Bullet> The first line of the agency brief was, ‘Sometimes when you slam your hand on the table and yell “Goddammit!” you can feel like the whole world is doing the exact same thing. That’s what we want people to feel on this new spot for GoCart. The world is frustrated and it's time to fix it.’ Seconds before I had been trying to find the last lamppost in a security recapture question – I was hooked.

LBB> A campaign that’s over the top and camp, but filled with extremely relatable characters. How did you land on this idea?

Tiny Bullet> When I first read the script it felt like the characters were getting more and more frustrated and losing their minds. This is something we can all relate to but instead of internalising this frustration, I wanted some of our characters to let loose and go crazy. This ultimately led to some entertaining moments while also reassuring the audience that we recognise their pain. 

It was also important to show different personalities, some are hotheads, some are shy and introverted, others are just a bit dopey when it comes to technology. I wrote up backstories for all our roles so that the actors understood the trigger points of their characters. In the office scene, I wanted Julie from accounts to be this passive-aggressive woman obsessed with spreadsheets. She internalises her anger but when she finally explodes her co-worker's surprised reactions make this scene funny and unexpected.

LBB> High colour, high energy, high vibrance - how did you achieve this look and feel throughout the campaign?

Tiny Bullet> The situations are based on real and pretty dull problems. To make this visually interesting I felt that we had to heighten everything slightly to work in conjunction with the slightly exaggerated performances. 

I am very much a visual director and love crafting a look for a scene. Using the character's backstories for inspiration I brought their personalities to life through wardrobe and art dept details. 

The rich couple with the credit card problem clearly have a lot of money BUT not the most sophisticated taste. Hence all the tacky gold props and OTT interior design. I also gave them expensive hobbies like polo and yachting so we had a life-sized horse sculpture by the bed and a replica boat in the background. The audience may not see these on first viewing but there are little visual nuggets to be found in most of the scenes. 

LBB> With all the different scenes and shots, how long did it take to create the campaign?

Tiny Bullet> We had three weeks from the day of confirmation to the first shoot day and there were a lot of moving parts to coordinate so it was a fast turnaround.

LBB> ‘What’s my maternal grandmother’s maiden name?’, ‘I don’t have a pet!’ and ‘I AM NOT A ROBOT! The script realistically captures the frustrations we go through when paying online. How long did it take to land on the final script and did you make any last-minute changes?

Tiny Bullet> The agency script was great and communicated the core idea. It also had the maternal grandmother line which I thought was brilliant as it added a bit of personality. I felt this was important so added a few more into my treatment. 

The recapture security question, “I’m not a robot,” was a bit of a gamble but I felt it necessary to see how far the agency wanted to push the concept. Luckily they loved it and the guy under the silver hairdryer has become my favourite scene. 

In the elevator scene we workshopped lots of lines with the agency, the businesswoman’s outburst varied from tame to bizarre. This helped the actor get in the right frame of mind and lead to some pretty random lines like the favourite marine animal line.

LBB> The music in the background helps build tension and adds a layer of frustration to what the characters are saying. Can you talk us through the sound choices and why they work so well?

Tiny Bullet> It was all about the flow. We also needed to hit different performance notes to avoid peaking too early and show the rising emotions. The music helps build the edit towards a crescendo where we hear several people screaming. We then cut to the guy going mental on the bus and crash zoom back so we cant hear him. I felt this was funnier than hearing him going berserk. 

LBB> The edit would have blended each scene together seamlessly. Were there any challenges when it came to the edit and its completion? And how did you overcome them?

Tiny Bullet> The most difficult part of the edit was choosing which take to use. All of the actors were amazing and were comfortable doing ad-lib so we had lots of footage and lots of alternative lines. I also wanted it to be clear that the compositions get more extreme and uncomfortable, the camera is always on the move. We track in on wide-angle lenses from wides to mids, to close-ups to very extreme close-ups where faces fill the frame. 

LBB> There must have been some interesting/funny behind the scenes moments. Can you share any with us?

Tiny Bullet> My favourite moment of the shoot was the bathroom scene. Will Elliot, the copywriter, was happy to be filmed in the cubicle and throw wild lines at the actor resulting in some brilliant and funny moments. 

LBB> Would you like to share anything else?

Tiny Bullet> Working with the creative team, Mike McConnell [creative director], Will Elliot and Sam Luchini [art director] on this project was a great experience. Their original concept was brilliant and the team allowed me to push their idea and bring so many ideas to the party. Working with a brave client, who trusted the team, allowed us to get our first choice casting selects, props etc through the approval process without loads of debate. It really felt like a team effort with everyone working to the same end goal.

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