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Behind the Work in association withThe Immortal Awards
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No Screens at the Table: Banjoman Goes behind the Scenes on Three’s Family Plans Campaign

23/09/2020
Production Company
Dublin, Ireland
1.4k
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LBB heads behind the scenes with Banjoman director Dermot Malone for his lucid visual journey from escapism to real family connections
“No screens at the table” is something we’ve all been told off for. It's a rule that really entered the mainstream family debate across the world starting with Game Boys, Blackberries, and Nokias before steamrolling into iPods, smart phones, tablets and more. As tech and connectivity developed it seems we couldn't peel our eyes away from new sources of entertainment and communication. But these days it's not just the kids that can’t tear their eyes away, and it's not just the adults asking us for “no screens” - something telecoms brand Three has picked up on in their latest Irish campaign to promote their family plans. 

The spot, created by agency Boys + Girls and directed by Banjoman’s Dermot Malone, aims to show what connectivity really means to Irish families - on and off screen - whilst promoting the mobile phone operator’s flexible plans which offer families increased savings. 

As the ad opens, we come across different family members engrossed in various tasks, from keeping up with work, to searching for new music and playing video games. An adorable little protagonist quietly interrupts the scenes as he lays the table bringing each individual back to reality and the most important connection of all: family. 

Wanting to find out how Banjoman crafted an ad that takes us from escapism to reality in one delightful moment, LBB speaks to director Dermot Malone to discover the creative processes, inspirations, and Covid-19 challenges behind the campaign.


LBB > What was the creative brief from Boys + Girls and how did you approach it?

Dermot Malone > The script came through pretty similar to how you see it on TV, with a few changes. My approach was to try and create incredibly visual worlds, each very different from the other. With this approach, I set out to celebrate individuality and show how each person loves to escape to their own world, in their own way.

LBB > How long did the project take from brief through to delivery?

Dermot > Probably about a month from award to TV, possibly more. It was an intense few weeks but we never really came up against any hiccups. Our head of production, Matt D’Arcy did an amazing job pulling everything together. There were two big set builds and two locations, so getting all of that done was a big achievement for the production team.



LBB > How did you make the different environments appeal to a wide audience? And was there a lot of set building involved?

Dermot > I tried to show people elements of their own worlds. I am a big gamer and my favourites are WW1 first person shooters with cinematic cut scenes. So that scene was a nod to my own vehicles for escape. Then we decided on work life, as everyone knows it can be tough to shut off from work, and a vintage record store for the music lovers. We designed and built the record store and WW1 bunker from scratch. Ray Ball and his team were incredible, I was blown away by their craft.

LBB > How did you cue people narratively to understand how we journey from the 'virtual' worlds of each family member on screen and into the reality of the dining room?

Dermot > I felt simplicity here would be the best approach. I wanted the little boy to be the link between the worlds but in a subtle way. We wanted a: “Hey, he isn’t supposed to be there!?!” reaction from the audience. I brought his action into similar frames in each world so as to really make a point of him, but in a subtle way.


LBB > How did you ensure the moment at the end was a heartwarming experience?

Dermot > Just authenticity really. It was important for me to host rehearsals (at a distance) before we shot, so the cast had an opportunity to gel and get to know one another. We played games and told stories to create that warmth. Ollie (the little boy) tied everything together. He’s an incredibly charming kid.

LBB > When was the project shot? Did you face any challenges as a result of coronavirus restrictions?

Dermot > We shot the piece late August and yes, it was a very unusual experience for a project like this. Distancing and Covid-19 protocols were of the utmost importance and the team at Blue Screen Medics were great. Challenges for me were around remote working and not being in the room with people as much as I would like. I always find face-to-face collaboration to be the most productive and as a result, some things just took a bit longer to do, but overall it was pretty seamless.


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