This spot had been the brainchild of my friend and colleague Nate Brown for several years and earlier this year, Nate approached me to direct the piece. From the very first meeting with Nate and our client Michael Chitwood, the national director of Team World Vision, I had always believed in the power of this idea. I always felt this needed to be an extremely cinematic piece visually, which is why I chose to shoot with Panavision Anamorphic lenses -- the same lenses Hollywood chooses time after time for the biggest Hollywood films. I wanted to use the visuals as a sort of visual poetry to work along with each internal monologue and create a very visceral feeling of connection with these characters. The soft focus aesthetic of these lenses were perfect for that feeling. I also wanted to very carefully choreograph each move both on set and in the editing room so the film really seemed to organically progress from one vignette to the next and truly relied on the music as an emotional foundation, binding the entire piece together. On that note, it was truly music to my ears when my good friend David Buckley decided to come on board and write the epic and emotionally powerful musical score. Working with Dave in the studio to create the right tone for the music and developing it to the piece it became was a truly inspirational and memorable experience.

Overall, this entire project truly showcases the power a strong creative team can have when producing a spot of this magnitude. It was an honor to helm this project and work with such talented artists, masters of their craft.