Why Go RVing Canada Encouraged Everyone to Find Their ‘Wildhood’
Wake up, go to work, don’t take breaks, take 30 minutes for lunch, work some more, put in overtime to feel on top of the work, feel exhausted, go home, take a few chill hours where you don’t have the energy to do anything, go to sleep, do it all again. It’s overwhelming, draining, demoralising, and sadly, the result of the over growing hustle culture that is spreading across workplaces around the world.
But what would happen if people just didn’t? What if, instead of getting on the subway for the daily commute home, we went against the flow, broke away from the urban hustle and bustle and hurled our work bags off into the bushes, without a glance back over our shoulders? These are questions that Go RVing Canada, in partnership with Canadian creative agency Broken Heart Love Affair (BHLA) explore in their latest spot, ‘You Are Out There’. Directed by OPC’s Natalie Rae and soundtracked by the José González song, 'Stay Alive,' the film sees a man shed the shackles of daily life before coming upon a fire in the woods that’s tended to by a shadowing figure - resulting in a chase through the wilderness.
Representing the search for one’s true self and the powerful emotions it can bring about, the work exists as part of the brand’s new ‘Find Your Wildhood’ campaign, which marks an evolution of the ‘Wildhood’ platform that launched in 2015.
LBB’s Josh Neufeldt sat down with BHLA partner and chief creative officer Denise Rossetto, senior vice president, strategy Kristy Pleckaitis, Go RVing Canada president Chris Mahony, and Natalie Rae to explore how this poignant work came to pass.
LBB> This work marks an evolution of the brand’s platform. How did you ensure that you presented something original, while still feeling like a continuation of the platform?
Kristy> The essence of the ‘Wildhood’ platform, developed in 2015, remains true today. What we had to do was isolate the magic of that platform and understand what it requires from us. Humans have always had a sense of adventure and wanderlust, but the priority has shifted from connecting with nature to connecting with oneself.
LBB> The idea of coming face to face with one’s true self is beautiful. Where did this come from, and how did it factor into the writing process?
Kristy> We worked to evolve ‘Wildhood’ to connect with what people are experiencing and feeling in 2023. The pandemic was a moment for many people to pause and evaluate whether they were living their most authentic lives. This is reflected in data around record high ‘quit’ rates, divorce rates, and even demand for mental health resources. With a recognition that dissonance exists, people are more motivated than ever to find and live out that missing piece.
LBB> Let’s talk about the spot itself. What made Natalie Rae the right director for the job?
Denise> Natalie brought great vision to the spot. She really wanted to shoot on film, which we hadn’t considered as it seldom happens now, but it was so perfect for the idea. It brings a rawness and an almost intangible feeling of yearning for less digital perfection. We also loved her addition of the fire scene, which had a transformational feeling to it. She got the actors in the mood for that scene with some good ‘Apocalypse Now’ music. Her calm demeanour set a beautiful tone for the shoot as well; it really was an experience for all of us, not just the actor.
LBB> Natalie, why was this something you were keen to get involved in? What immediate ideas came to mind when you first saw the script?
Natalie> Immediately reading it, the script really hit me. I think we all relate in some way to how much we keep running. Then finally - ‘You Are Out There’ - the words put tears in my eyes. Reminding ourselves of that through such a poetic and visceral ending was something I’d never seen in an advertising script before. It was the grounds for something really special, and it gave me hope that more people would want to connect to the deeper, wilder, or more creative part of themselves. Inspiring an audience to think about that felt really meaningful to me.
LBB> What was the initial concepting process like? How did the idea for the spot evolve?
Natalie> The agency was very innovative, collaborative, and invited me to run with my own ideas, which allowed me to dive in in a big way. We all wanted this to reach its highest potential, so I wrote the treatment months before the shoot, giving us ample prep time to choose the city and start mapping it out.
I brought in the idea of the fire to be where our hero would find his shadow self. A place of reflection and transformation. Then, by shooting with 35mm film and using a hand-crank technique, we were able to start introducing the moments of introspection and the fracturing of himself. We could use the technique to get inside his POV, and also increase a sense of him splitting into many versions of himself in this metaphorical soul search.
LBB> Tell us more about the choice to shoot on film! What was that like, and why was it the right way to approach this campaign?
Natalie> The hand-crank techniques felt really in line with the concept of the film, so those were some of the first images that started coming to me. Film is also so rich in texture and colour - it was a way to make this piece feel more special, more human and more ethereal.
We also wanted to make sure it didn’t feel like an outdoors or sports commercial. With limited control of light, 35mm was the right choice. And of course, it makes you a little more tuned in with each other on the set. My director of photography, Matt Ballard, is too talented. He came with so much enthusiasm and ideas for the spot, and 35mm just upped the level of craft for all of us.
LBB> How long did it take to shoot, and what was the experience like?
Denise> The shoot took on a magical quality for all of us. I think Natalie brings such a collaborative approach, but also such a strong vision to her work that it set such a nice tone for the whole working experience.
We also felt that we got to connect with nature and ourselves. The actor had to spend a lot of time in freezing water, and he was an absolute pro. The glee of the stunt doubles jumping off the cliff was pretty amazing. We were out in the wild a lot, and our producer is more of a, well, city driver, and almost ran over the client. I’m probably not supposed to say that, but he handled it well!
Natalie> The spot was shot over three days in Calgary and the Kananaskis mountains. The crew was small and nimble, and the majestic locations were not only inspiring, but added a lot of spontaneity and inspiration in the spot’s creation.
LBB> What made Alberta the right place to shoot? And how did you approach capturing these locations?
Natalie> The Alberta mountains offered immense scale and magnitude as our hero gets farther and farther out of the city. We were able to use downtown Calgary as a universal looking downtown core, and then conveniently, the outskirts of the city and the mountains in only a 45 minute drive from there. So, we were able to map his journey out of the city in close proximity.
Regarding the mountains, they had a wide range of locations, but specifically, there was one area where we unloaded and were able to capture three or four very different environments: the grassy fields in the valley, the dried out river rock bed, the cliffs, the forests with small mossy trees, then forests with large old growth trees. This variety truly helped make the finished film look like an epic journey.
LBB> There are a number of action shots, including the man chasing himself through the wilderness. What went into capturing these scenes?
Natalie> We had mapped out our general locations and action for the chase, but we also wanted Troy’s performance to be super raw and spontaneous. So, I’d give him a general direction for where he was going, and Matt would follow him - usually with a hand-held camera - and they created a dynamic and synergy together. Troy would often improve and fall, then get up again, try different things, and let his mood take him on a bit of a roller coaster. As such, we’d shoot in an area until we knew we had something special from it. That usually meant three or four takes on film, then we’d keep moving on to cover more ground.
LBB> The water shots are also quite striking - both the underwater visuals and the imagery of the man hugging himself. How did you achieve these visuals?
Natalie> The underwater shots were achieved through an operator and underwater housing. Specifically, with the walking, which was shot digitally, but with the texture of the water, it blends in well.
To achieve the hugging, we had our main actor, Troy, and then a stunt double for him. We filmed each shot twice, where Troy plays his city self and wild self. We rehearsed many angles and shot sizes to make this feel loose like the rest of the film, as cutting to static plate shots would have really been abrupt. In the end, we pushed in and stayed close using the stand man’s neck and arms as Troy came in to hug him as the key moment. Their profiles looking at each other is a handheld comp that VFX did a really nice job of tracking in water. They were bold to agree to that, and thankfully they did!
LBB> And speaking of the man, tell us about the casting! Who is Troy, and why was he the right choice for the job?
Natalie> This whole spot relied on an incredibly subtle, internal, and at the same time intense and ferocious performance by the actor, Troy Greenwood. Troy not only had this rare authenticity about him, but he also worked extremely hard to achieve it. Every take was a mission - running through mountains and rivers, bursting into tears, ripping his pants, and he always came up with unexpected moments to bring wildness and humour to his tragedy.
There was also something really unique about him as a person. He conveyed this strain, tenderness and almost goofiness just as he was, which everyone couldn’t help but connect to. We’re so glad we found him! We cast in a few cities, and Troy was a local in Calgary - a TRUE gem!
LBB> The music fits perfectly. How did you work with Oso to find the right track for the job, and what made you go with the choice you did?
Denise> The track was something we had in mind from the start. At times we had been listening to it so long that we thought we should try something else, but it was such a perfect fit that we couldn’t seem to move off of it. Oso also did a wonderful job helping us find the perfect way to capture this in French as well
LBB> What challenges have you faced during this project? How did you overcome them?
Natalie> In the final scene, capturing both selves in the freezing water temperature proved really tough. After every couple of takes we had to warm Troy up - but the longer we went, the harder it was for his body to recover. The performance he was still able to deliver, despite the cold conditions, is unbelievable. His double was also such a positive force, working through the intensity of it all and being a great counterpoint for Troy to play off.
Chris> When pursuing work like this, there are always obstacles, whether it be through stakeholders, resources, or even execution. The challenge is that you are taking yourself out of your comfort zone, and at times, that can be unnerving. For example, we just made a campaign on behalf of the entire RV industry in Canada, but only showed a few seconds of RV units in the end slate. This meant taking a leap of faith that the audience would connect the dots between our protagonist and the lifestyle in front of him.
Good work can often test boundaries, and you must remind yourself of that throughout. One way to overcome this is to be involved in every element possible. For me, I love being right there for everything- including the edit - and in this case, the difficult task of finding the right track to fit. Fortunately, my agency hasn’t booted me out of the studio or set yet!
LBB> Do you have any memorable lessons learned or points of pride from the making of this new campaign?
Denise> The chemistry of the team is just so important; from strategy to the client, to production and the director, there was a lot of trust and allowance to just try things out. It really made the whole process one of the best!
Natalie> I really love the way we approached the beginning. We wanted to use super long lenses and static shots to bring us back to a ‘90s movie feel. That was super timeless and nostalgic for me. My hope is that there’s a familiar emotional connection to the classic ‘businessman’ trope, but that this film helps reinvent the stereotype, shakes it by its shoulders, looks it in the eyes and injects it with some of the hope, ruggedness and resilience of 2023. We may be more capable of personal change than we thought!
Chris> I think for me, the biggest lesson is that when you think you have a clear vision and path to get there, stick with it! For Go RVing Canada, we changed agencies, and revamped our marketing plans and communications playbook. At times, this process felt difficult to navigate and uncertain. Putting our trust in the strategic and creative team at BHLA was exactly what got this project completed, and by the same token, led it to such a visceral outcome. You just need to see the process through and have faith in your vision.
LBB> What has the initial response to the campaign been like?
Denise> It has been amazing! People who connect with it really connect with it. The comments and reactions have also really blown us away; we knew our own feelings were similar to those portrayed by the actor, but we didn’t know so many people were craving this as well. We suspected, and we are happy we suspected right.
Chris> The initial response has been overwhelmingly positive. We have been inundated with emails and messages on social almost daily. Clearly, viewers are connecting with the main character in a very raw and emotional way – they see themselves, or at least a piece of themselves in him, which was the goal.
There has also been some divisiveness around the campaign as well. Some people state that it feels dark, or that the main character appears to be too disgruntled. This has generated a healthy conversation around the roots of mental health – again, something we hoped to achieve.
LBB> How does this campaign fit into Go RVing’s goals for 2023 and beyond?
Chris> The long-term brand platform, ‘Wildhood’, is a philosophy born of the notion that we, as humans, have a fundamental desire to connect with ourselves, with one another, and with the natural world. ‘Wildhood’ is not just an advertising campaign, it’s a brand ethos. It’s our identity, and it represents our values and beliefs that drive us as a brand and community of passionate RVers.
While ‘Wildhood’ is Go RVing Canada’s long-term brand platform, our creative expression of it evolves with time by isolating the magic of the philosophy and finding what it demands of us today in a highly emotive way. For the 2023 evolution, ‘Find Your Wildhood’, we’re encouraging consumers to surrender to who they are for what they want to be.
The ‘You Are Out There’ ad serves to instil an emotional connection, allowing Canadians to visualise reconnecting with their own, wild selves.
LBB> Is there anything you’d like to tell readers about finding their ‘Wildhood’?
Chris> Our Wildhood is where our true self lives. It’s where we can fully surrender who we should be for who we want to be. It’s where we can roam free, jump, climb, run, splash, create, and share. It’s untamed. Absolutely wild. It’s where we show up in all our glory.
Go RVing Canada helps us visit our ‘Wildhood’ at any time. But there are no directions and no coordinates because it’s not any one place, but a space that occupies the mind and the body. Every wrong turn we take to get there, the further lost we get, it takes us closer to it. It’s time for us to lose the self we’ve been walking around with, for the one we want to be.
