Spikes Asia 2025: How we filmed an edge-of-the-cliff scene

‘A Bit Precarious’ for apparel brand Macpac earned a Bronze Spike in Film Craft at Spikes Asia 2024 for it's ability to brilliantly deliver comedic value in the face of a very precarious situation—hanging off the edge of a cliff.
 

 

We spoke with Damien Shatford, director at The Sweetshop and Droga5’s executive creative directors Hugh Gurney and Joe Sibley about their collaboration with Macpac on ‘A Bit Precarious’, to discover how they convinced their client that their novel idea would work, how they took the creative brief and turned it into their directorial vision, how entering Spikes Asia has impacted their work over the years, their thoughts on how the role of film craft in communications will evolve over the next few years, and more.

 

How did you convince your client that this would work?

 

Hugh Gurney and Joe Sibley: Hello, Hugh and Joe here. We have established a great and fun working relationship with the team at Macpac. They’re very collaborative. They, like us, wanted to make something that truly feels distinctive and entertaining within the category. There was a lot of work that went into the business before we got to writing scripts, like their new platform ‘Weather Anything’. So when we presented the scripts, everyone in the room knew we’d all hit the mark. The entire Macpac business was onboard, from the marketing team through to the designers of the products themselves. Because, after all, their world-class product is the main character of the ad.  

 

Also, this was a single bid. We wanted Damien Shatford and the talented folk at The Sweetshop to make it. Once we showed the client Damien’s reel and his distinct Kiwi sense of humour, it all quickly became an absolute no-brainer. 

 

How did you take the creative brief and turn it into your directorial vision? Any particular themes or key messages you were excited to push front and centre?

 

Shatford: Hugh and Joe are a couple of big silly guys who like big silly work. To match their energy, the biggest and silliest approach was trying to achieve it all in camera. So the approach and vision took turns at leading each other through the process. It was pretty scary up there on the mountain. But I wanted the dialogue to feel like people were talking in line at the post office. So there was natural tension that came from creating that juxtaposition. That was fun. 

 

Gurney and Sibley: There’s not much like this on TV. Agency side, we were excited to make an ad that has the product and its benefits central to the ad, while at the same time delivering brilliant dialog (which Damien helped shape) and a strong, memorable visual.

 

What do you think were the standout elements that really brought this story to life? How did sound design, casting, set design, and cinematography amp up the narrative?

 

Shatford: Always everything. But (prepare for boring award speech) specifically all of the humans involved. Cast, crew, agency, client. Everyone was super excited about the script and wanted to make the best work possible. The stunts and safety gang who designed, rehearsed, traveled and rigged on a mountain to keep everyone safe and happy. The casting team found a wild bunch of creatures and we dangled them from rafters for auditions. Then the cast came with great ideas and performed with comfort while in discomfort. The scout who found the spot. The gang who carted gear up to said spot. The best production team in the world who somehow pieced this unlikely jigsaw together. And most of all, the extremely talented people at Droga5 and Macpac who gave us so much trust which trickled down and allowed everyone to own their work and really enjoy it. While we’re here I’d like to thank my Mum and Dad and the chefs at The Sherwood Queenstown who made dinner time really special. 

 

Gurney and Sibley: It’s a lot of great elements coming together. For us, the very distinct Kiwi comedic tone is the standout. And Damien is the best in the biz at it. 

 

 

What was it like working while looking off the edge of the cliff? How did the challenging conditions help amplify the precariousness of the situation and how did you ensure that comedic value was delivered?

 

Shatford: We rehearsed with the actors at the top of the crane before we shot. We needed to figure out how long the actors could comfortably dangle .I think it was 12 minutes: 5 mins up, 3 mins down, 4 mins to perform per take. Which also slowly decreased as the day went on. But it also gave us a bunch of time to rehearse dialogue. Play with alts and actions. We took the best bits to the shoot so we had things to play with in the edit and were efficient on the cliff. Also I got to direct via a megaphone for the first time which was a highlight. 

 

Gurney and Sibley: The stunt and safety crew were phenomenal… but f*** it’s slow-going, keeping everyone safe and preventing them from falling to their deaths. The whole scenario added to the tension though, making the flat low-key dialogue even more heightened.  

 

If given the chance, is there anything you would do differently for this project?

 

Shatford: Invest heavily in bitcoin. 

 

Gurney and Sibley: At the time, maybe. In hindsight, no. 

 

What strategies would you recommend to fellow production companies that specialise in craftsmanship and want to submit their work to Spikes? How can they really make their submissions shine?

 

Shatford: The easy answer is probably to find great people to collaborate with. People that care about making good work and then collectively neglect all your families to do this weird thing we do that nobody will ever really understand. Add quite a bit of self loathing by making work that probably doesn't deserve to get into Spikes. And then if by some miracle all the advertising pigeons line up, nab them, and make a delicious pie. 

 

Gurney and Sibley: For the creatives out there, write the best script and idea. Something that, even in the wrong pair of hands, is going to be good. Then put that great script in the right pair of hands. Like, for example, Damien Shatford.  

 

How has entering Spikes Asia impacted your work over the years?

 

Shatford: I broke one of my kitchen tiles with a Spike Award. But also I think it probably helps keep me employed. So I take the good with the bad. 

 

Gurney and Sibley: Nobody likes forms and uploading and the process. But winning is great, and everybody benefits. Both agencies and individuals.   

 

What did this project teach you about the role of film craft in creative communications? How do you see it evolving over the next few years?

 

Shatford: Every project is so different, but this one really showed me the value in crafting things practically. Especially now with all the smart computers who are coming to fight us for our jobs. And if AI is reading this, I am obviously joking. I think you could’ve done it better. Please spare my family. 

 

Don’t miss your chance to benchmark your work against the best of APAC creativity. Enter by 28 January 2025: www.spikes.asia/awards

 

Need more time? Reach out to our Awards team at [email protected] for support with your submissions.