You know ‘Play It Safe’, the film that The Monkeys (now Droga5) created for the Sydney Opera House.
You know that it won a host of awards, including the Best Video Campaign at last year’s B&T Awards.
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But did you know that in nearly didn’t come together? B&T sat down with Barbara Humphries, then ECD at The Monkeys, now chief creative officer at Droga5, to hear what made the campaign an award winner.
“The building itself was the starting point,” said Humphries.
“When you go there it’s hard not to be humbled by the scale of [Jørn] Utzon’s ambition and vision for something so dramatic, it was actually unbuildable. 50 years on, we get to take it for granted. It’s very existence as a structure is a triumph of creativity over doubt, fear and conservatism, and a refusal to play it safe.”
Tim Minchin, who wrote and performed the song, was “really excited” about the idea and, unsurprisingly, loves the Opera House.
“[He] was open to going away for two months and writing something to bring the idea to life for the houses 50th but with the caveat, if that didn’t come easily, or it wasn’t something he loved – we’d be back to the start,” said Humphries.
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But The Monkeys’ Opera House clients Stephen and Jo, Humphries said, embodied “creative bravery” and were willing to go on the journey with the agency, Minchin and the process.
“Lucky, what Tim played us weeks later was everything we’d hoped for. Emotive, playful, with an ironic nervous voice that allowed plenty of room to interpret visually. Working with him it became really apparent his genius was not just the song itself but his openness to develop it and collaborate with director, choreographers and other artists that shape the final song and film,” added Humphries.
“At this point, we knew there was one person who could embrace that irreverence in just the right way in film, and thanks to the Michael Ritchie and Pip Smart at Revolver we were soon chatting to Kim Gehrig.
“Kim’s vision was, true to form, spectacular. What followed next was a lengthy pre-production, scoping, rehearsing and creative development phase. Michael and Pip were phenomenal in pulling off what became a months long feat of logistics and musical development with Kim, Tim, composer Elliot Wheeler and all the Sydney Opera House artists.
“Seeing it all come together on the House steps when we were finally shooting was incredibly emotional for all of us. Tim ended up closing his recent shows with the song, too, so it’s lived on beyond the initial launch.”
For Humphries and the team, the work has been incredibly important.
“More than anything, as creatives it was the need to do an opportunity like this, a once-in-a-50-year brief justice. As a nation we all have a sense of ownership over that building, and to honour that in a way that resonates with resident companies, and audiences – you don’t want to blow it,” she said.
“We wanted this to be something that felt true, but also in a way that still allowed us to be scared and excited and surprised. Which is why working with the right partners is so important. All in all, it was one of the most special projects I’ve ever (and may not ever again) had the chance to be a part of.
“There is also enormous gratitude that comes with working with lovely clients like Stephen and Jo who will trust in the process and the idea to that extent, and go on the journey the whole way, with no safety net – it’s pretty terrifying! But Stephen and Jo were up for all of it.”
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But what’s Humphries’ favourite part?
‘We all have our favourite scenes, for me it’s the ending on the steps, the thrill of seeing it all come together in front of cheering tourists and wedding parties (a permanent fixture in that spot) our art director Alex was in there, nailing every take, and seeing the sun setting behind the building as the final notes played out over the PA… it was goosebumps the whole way,” she said.
It’s a piece of work that will live long in the hearts and minds of Droga5 staff, with many wondering if anything could live up to it.
“I want to say we’re just grateful for the opportunity and leave it at that, but it’s hard to come down from the thrill of a project like that. ‘Could this be the next Opera House?’ gets said a lot around here…” said Humphries.
And after all that world-crushing success, why did the team choose to enter the film into the B&T Awards?
“It’s always fantastic to have work recognised amongst your peers and friends in the industry, and you gotta be in it to win it. Better go finish that entry…”
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