Ford has teamed up again with actress Sydney Sweeney for a line of women’s workwear. In a video from Wieden+Kennedy New York, Sweeney wears Ford-branded coveralls as she performs maintenance on her 1965 Mustang, replacing the spark plugs and air filter, then changing the oil.

In addition to Sweeney (who’s repped Ford workwear before), the new line is modeled by restoration enthusiasts Adri Law, Gelica Peralta, Sandy Rancatore, Isabelle Rosa and Lauren Fox.

“Sydney shared her passion for restoring her vintage Ford Bronco on TikTok and it showed up on our FYPs naturally,” say W+K copywriter Jen Hubbard and art director Laura Bailey. “It was both exciting and surprising to see, but we realized that it shouldn’t be surprising to see a woman working on her car—it should be normal. That’s what initially sparked our interest in pursuing a partnership.”

The Ford x Sydney Sweeney workwear line, a collab with Dickies, includes coveralls for $119.99, a racing jacket priced at $99.99, a T-shirt for $29.99, and a $34.99 hat.

There’s also a handbook that doubles as a lookbook with instructions on standard car maintenance tasks.

“The campaign helped us widen the stereotypical definition of a Ford driver, as well as who traditionally has an interest in automotive since it is such a male-dominated space (less than two percent of mechanics are women),” Hubbard and Bailey tell Muse. “In making the garage a more inclusive space, it was important for us to design a line of merch that everyone would feel comfortable wearing.”

…they were developed by women. On International Women’s Day, Ford seeks to honor overlooked female engineers, inventors and execs who’ve made a huge mark in the automotive industry.

Narrator Cranston doesn’t demand that viewers say their names. But Ford will showcase the enduring contributions of these innovators and others on its social feeds during March, which is Women’s History Month:

• Florence Lawrence, pioneer of brake and turn signals.
• Dorothy Levitt, creator of the rearview mirror.
• Dorothée Pullinger, innovator of the rearview mirror.
• Hedy Lamarr, innovator of the communication system used in cellular technology, WiFi and GPS (yes, she was also a Hollywood star).
• Dr. Gladys West, pioneer of the modern-day GPS.

In a similar vein, Miller Lite cast Ilana Glazer in a campaign designed to spotlight the contributions of women brewers throughout history.

Can the story of two dudes batting for a ginormous mushroom help Ford sell electric vehicles in Canada?

We’re about to find out, thanks to “Mushroom,” a seven-minute-plus film from BBDO, shot outdoors, mostly at night, with lights and other equipment powered by the automaker’s EVs.

The agency worked with director Danilo Parra on the intense, creepily humorous short, which doesn’t actually show any Ford vehicles. This trailer provides a quick, trippy preview:

That fearsome fungus will spring from the dirt and kill us all! Won’t it? There’s a woodsy, stormy-night horror-flick vibe, but you’ll have to dig into the full-length dish to see how the tale unfolds:

Aw, no gore or dismemberment. It’s the venerable Ford brand, after all. If Tesla made something like this, limbs would have flown in all directions!

Here’s an entertaining BTS reel, with Ford’s F-150 Lightning and E-Transit on display:

“We wanted to open consumers’ minds to the new experiences electric vehicles make possible, ones that weren’t possible with traditional gas vehicles, that go way beyond sustainability or saving money by ditching the pump,” says Aaron Arellano, strategy director at BBDO Canada.

We believe they succeeded, providing a novel product demo that keeps branding to a blessed minimum.

The film premiered Oct. 5 on Crave, and now streams for free on YouTube.

Below, agency creative director Mike Schonberger explains the germination of “Mushroom.”

Muse: You’re selling electric cars, so why use a supersized shroom?

Mike Schonberger: Ford EVs hold incredible power and potential. We didn’t want to just say that but show it. The idea to create the first film powered by electric vehicles provided that opportunity.

The film had to be interesting on its own. Something original and unexpected. The story of two very different mushroom foragers in a war of attrition over a giant mushroom was a perfect fit. Not only was it different and intriguing, but it required a secluded forest location and ambitious night-shoot power demands. The EVs could then supply everything we needed to create each scene, day or night, in a place without existing power sources.

How much freedom did the Parra have to work with that concept?

When we started talking to directors about making an original short film for Ford without any vehicles in it, their first question was always, “Is this real?” We wanted to give them the freedom to make the film they wanted, with us. The idea was always to present the film as “A Ford EV Production,” with the vehicles enabling the creators.

It lasts seven and a half minutes. Weirdly, that’s not a record for giant mushroom movies. But it’s long. Will viewers hang in?

It’s an engaging, original story. It escalates quickly and builds all the way to the climax. It’s designed for short attention spans—and our budget realities.

Who’s the audience? What are you telling them, brand-wise?

It’s a very broad target. There’s no specific demographic, but it was especially geared toward those who see Ford as more of a traditional or conservative brand.

Why not show the vehicles?

We wanted the viewer to enjoy the film on its own merits, and then reveal that Ford made it happen. The behind-the-scenes video was equally important to us. It’s where we show the vehicles as the unexpected stars behind the camera. No polish, no tire shine. Just real EVs at work, powering a huge production.

Of course, shrooms have a psychedelic connotation—your scenario plays into that. Edgy, perhaps, for a mainstream brand?

The story is a symbol of nature’s power and allure. The giant mushroom is a rare and coveted prize, but there’s no intent to link it to any kind of hallucinogen.

CREDITS

What was powered: 

Powered from F150 (9.6KW) – 8000W approx needed
• 6x 800W “Joker” lights (4800W total) – 2 per 20 amp circuit
• 2x Creamsource Vortex lights (1300W total)
• 2x S60 lights (900W)
• 2x S30 lights (440W)
• 1x LED prop rope light (minimal draw)
• 2x E-fans(500W)  

Powered by E-Transit #1 (2.4KW) – 1000W approx needed
• VTR (Video Tape Record) station/computer (minimal draw for laptop & monitors….200W)
• Director’s monitors/client monitor x2 (minimal output)…..200W
• battery charging for home base battery (minimal draw)…..100W
• DIT (Digital Imaging Technician) station/computer (minimal output for laptop & monitor)…….200W
• Small batteries charging for Aperture lights, camera batteries (minimal draw)…..200W 

Powered by E-Transit #2 (2.4KW) – 2000W needed
• Craft service & coffee maker (800W + 1200W) 

Other items:
• 2x battery powered 1200D Aputure lights (2400W) (batteries charged up at battery E-Transit #1 station)
• 2x battery powered 600D Aputure lights (1300W) (batteries charged up at battery E-Transit #1 station)
• 4K Home Base” batteries X2 for remote powering of home base. minimal draw (Needs constant charging/swapping out @ E-Transit #1)
2x Movie Quiet 10 portable batteries 
4x battery powered LED work-lights 30W
8x Anton Buer camera block batteries (VVCLX) 

Client: FORD
VP, Marketing & Sales: Jim Hartford
Director, Marketing Communications: Gemma Giovinazzo
Primary Brand Communications Manager: Kristina Webb
Vehicle Line Specialist Mach-E/Comm Vehicles: Logan Traynor
Vehicle Line Marketing Manager Mach-E/Comm Vehicles: Alexa Desjardins
Vehicle Line Marketing Specialist, F-150: Morris Chiang
Vehicle Line Marketing Specialist, F-150: Joseph Comacchio 

Creative Agency: BBDO Canada
Chief Creative Officer: Max Geraldo
SVP, Exec Creative Director: Derek Blais
VP, Creative Director: Mike Schonberger
Sr Copywriter: Simon Craig
Sr Copywriter: Emma Quiroz
VP, Group Account Director: Justin Seegobin
Sr Account Director: Wes Dean
Account Executive: Aidan Bingham
SVP Integrated Production: Beatrice Bodogh
Producer: Nikki Drakul
Strategy Director: Aaron Arellano
Sr Project Manager: Michelle Rawlings 

Directed by: Danilo Parra
Powered by Ford Electric Vehicles
Written by: Danilo Parra, Jamie Fraser 

Veronica De Cecco
Technician, Mineralogy Research

Starring:
Thomas Bolton as Old Timer
Aaron MacPherson as Young Hiker 

Production Company: Soft Citizen
Executive Producer: Jaclyn Morga
Executive Producer: HOP Rob Burns
Executive Producer Riffraff Films: Matthew Clyde
Executive Producer Riffraff Films: Matthew Fone
Executive Producer Riffraff Films: Kate Brady 

Editor: Danilo Parra
Score: Ben Brunnemer
Sound Mix: Dean White
Colorist: Patrick Devine
Assistant Editor: Kalil Haddad
VFX: Super Dave McGhie
VFX / Editorial: B2Y
VFX Supervisor: Dimitar Itskov
Producer: Bogomil Georgiev 

Media Agency: Mindshare 

You’re traveling alone through the desert, pursued by a demon with mischief on its mind. You’ll need a vehicle that’s “Scary Fast” to get the hell out of there!

Ford spins this scenario in a faux horror film trailer touting its 2023 F-150 Raptor R. Developed with Wieden+Kennedy New York, the two-minute spot shows the truck—built for speed and off-road adventure—racing through a spooky, seemingly haunted landscape.

Cacti engulfed in flame set the mood, as rattlers, wolves and scorpions roam the night. Did we mention there’s a demon, too? Indeed we did. So, floor it, or you’ll wind up as buzzard bait.

Director Lauren Sick channels the neo-goth mojo she previously employed for Dove Cameron’s uber-popular “Boyfriend” music video to impressive effect. Here, the threats feel palpable, yet the video never goes full throttle with the scares. Instead, Sick leaves much to the imagination, creating a credible atmosphere of dread, with the Raptor cast as a souped-up savior (as long as there’s gas in the tank).

Shot in the Utah badlands, the film drops this week in theaters, on YouTube and across Ford’s social channels, with OOH poster installations and “Scary Fast” merch in the mix:

Below, W+K copywriter Jake Thompson takes us behind the scenes.

Muse: Where you get the idea to make a horror-themed commercial?

Jake Thompson: We wanted to convey the feeling of what it’s like to drive a Raptor R, and that feeling goes beyond “thrilling.” It’s terrifying—in a good way (because the truck’s so fast). The so-scary-it’s-fun nature of the vehicle made us think of people packing into theaters to watch horror movies, and it all kind of took off from there. Put simply, Raptor R and horror movies are both ways people scare themselves on purpose.

Were there films or TV shows that inspired specific scenes?

The whole gritty Grindhouse aesthetic was the main point of inspiration. We liked the notion of making something that felt nightmarish and deliberately illogical.

Lauren Sick was a sick choice to direct, as it were. Why her?

If we wanted to make a truck commercial, we would’ve hired somebody who makes truck commercials. We wanted to make a mini-horror film, so we hired somebody who makes those. Lauren is also a total horror geek, so she had a deep well of inspiration to draw from.

Any anecdotes or tales from the set?

Every animal—from the scorpion to the wolf—was shot practically. Meaning, they drove out to the desert with us and ‘acted’ on our behalf. I think they all did a great job. The wolf, as it turns out, was a very sweet, friendly wolf. Like, just a happy boy. So, we had to do a bunch of work in post to make him look terrifying.

Another recurring challenge was the inability of our pursuit vehicle to keep up with the Raptor R. It’s that fast. The film features a lot of stunt driving. We knew we’d have to feature a giant disclaimer at the beginning. So, we embraced it and made the disclaimer feel like the opening title card for a movie trailer.

Who is the target audience? Why will they respond to this approach?

Anyone who enjoys intense, creepy entertainment. Hopefully, they’ll respond to it because it’s legitimately creepy and intense!

CREDITS

AGENCY: W+K NEW YORK
EXECUTIVE CREATIVE DIRECTOR: Karl Lieberman
CREATIVE DIRECTORS: Eric Helin, Stuart Jennings
COPYWRITER: Jake Thompson
ART DIRECTOR: Alex McClelland
HEAD OF INTEGRATED PRODUCTION: Nick Setounski
EXECUTIVE PRODUCER: Jessica Griffeth
SENIOR PRODUCER: Alex Kramer
PRINT PRODUCER: Blake Harmon
GROUP ACCOUNT DIRECTOR: Mike Welch
ACCOUNT DIRECTOR: Phil Pennington
ACCOUNT SUPERVISOR: Caroline Schwartz
ACCOUNT EXECUTIVE: Terrance Woodall
STRATEGY DIRECTOR: Newman Granger
STRATEGIST: Hannah Kratky
SENIOR SOCIAL STRATEGIST: Liana Holland
MEDIA & COMMS DIRECTOR: Geoff Scoones
MEDIA & COMMS PLANNER: Carly Lissak
SENIOR PROJECT MANAGER: Nicole Formisano
PROJECT MANAGER: Chantal Kharas
DIRECTOR OF BUSINESS AFFAIRS: Karen Murillo
BUSINESS AFFAIRS: Nestor Gandia
TRAFFIC: Sonia Bisono
PRODUCT INFORMATION SPECIALIST: John Bonacquisti
PRODUCTION COMPANY: Greenpoint Pictures
DIRECTOR: Lauren Sick
DIRECTOR OF PHOTOGRAPHY: Logan Triplett
EXECUTIVE PRODUCER: Tatiana Rudzinski
HEAD OF PRODUCTION: Karen Berkowitz
LINE PRODUCER: Steve Oare
PRODUCTION MANAGER: Andrew Peterson
PRODUCTION COMPANY: San Diego Productions
PHOTOGRAPHER: David Burgess
EXECUTIVE PRODUCER: Rick Drake
EDITORIAL/ONLINE COMPANY: JOINT
EDITOR: Matt Burke
ASSISTANT EDITORS: Moon Noh, Liza Friendman

Ford | Carnivore Reveal
CLIENT: Ford Motor Company
PROJECT NAME: Carnivore Reveal
FORMAT: Online/Social
CLIENT CONTACT: David Finnegan; David Rodriguez
GRAPHIC ARTIST/CLEANUP: Elise Dyck
POST PRODUCER: Kari Ickert
EXECUTIVE PRODUCER: Michelle Carman
TELECINE COMPANY: THE MILL
PRODUCER: Edward Rilli
VFX SUPERVISOR: James Allen
CREATIVE DIRECTOR: Jimmy Bullard

EDIT/POST Rock Paper Scissors
MANAGING DIRECTOR Eve Kornblum
HEAD OF PRODUCTION Justin Kumpata
PRODUCER Shayna Rubin
EDITOR Akiko Awakawa
EDITOR Aaron Tompkins

CLIENT: Ford Motor Company
EXECUTIVE PRODUCER: Jennifer Suttlemyre
BRAND COMMS MANAGER: David Finnegan
MARCOMMS MANAGER: David Rodriguez
NA PRODUCT COMMS MANAGER: Mike Levine
TRUCK COMMS MANAGER: Dawn McKenzie
NEW PRODUCT SECURITY: Eric Zimmer

Last year, Emmy-nominated actor Walton Goggins headlined a popular 40-minute mockumentary called “John Bronco,” playing a fictional cowboy-pitchman who helped Ford sell tons of its legendary SUVs back in the day.

Now, Goggins returns in “John Bronco Rides Again.” It dropped Monday on Hulu, which also streams the original.

Imagine Documentaries worked with Ford and Gifted Youth on both films. Here’s Johnny B. in a promo that captures the sequel’s denim-and-leather-infused comic flavor:

“Some said I was done—no spark in my plugs, no giddy in my up, no jitter in my bugs,” Bronco laments, before proclaiming: “And yet, here I stand, the fire still burning, an old man still learning. Buckle up, niños, for this pitchman’s returning.”

Cross every Will Ferrell performance with vintage Marlboro Man and add a whistle-lisp: That’s John Bronco. Kind of. Goggins (Justified, The Unicorn, The Righteous Gemstones) plays the part with suitably bold, broad strokes, supported by Bo Derek, Tim Meadows and Brian Austin Green, among others.

For the 26-minute sequel, “we wanted to create a narrative that would play well on a streaming platform but could also be sliced and diced for consumption on Instagram,” says Marc Gilbar, Imagine’s EVP of branded entertainment. “So, the story of the film picks up where the first one left off—but the format is slightly different. Now, John is trying to get his fastball back, so he reaches out to small businesses to see if they need a pitchman.”

To that end, director Jonathan Krisel shot dozens of John Bronco spots for real small businesses—solicited on IG—ranging from Woolly Beast Natural Beard Oil to V. Miller Meats Butchery:

A faux pitchman shilling for real advertisers in a mockumentary? That’s America in a nutshell!

Imagine created J.B. in 2018 after meeting with Ford about possible projects.

“They were bringing back the Bronco, and there was no formal brief or request for proposal—we just came up with the idea of utilizing the rich materials in the Ford archives as background for a fun character that felt like he could almost have been real,” Gilbar says. The original ranked among the top comedies on Hulu at launch, and also won honors from the Clio Awards and other industry shows.

“Given how popular documentaries are at this moment, it was fun for people to experience one that was a little absurd and yet still kind of plausible,” Gilbar says. “There were more than a few people who believed, even after seeing the film, that John Bronco was a real person.”

The film features mock commercials interwoven with classic footage from Ford’s vault. Highlights include a spot for BroncO’s cereal (which would probably fly off shelves, with a wind-up vehicle in every box), and a PSA about the dangers of punching space aliens if you’re not wearing gloves.

CREDITS

• Director: Jonathan Krisel
• Producers: Marc Gilbar, Meredith Kaulfers, Maggie Mclean and Walton Goggins
• Executive Producers: Sara Bernstein, Justin Wilkes, Alessandro F. Uzielli, Tara Schaeffer, Jake Szymanski, Michael Sagol, Josh Morse, Casey Wooden and Darris Hatch
• Starring Walton Goggins, Tim Baltz and Tim Meadows
• Appearances by Bo Derek, Michael Chiklis and Brian Austin Green

The horse morphs into a 2021 Ford Bronco Sport, naturally. Exactly the way things work in real life!

“Raised by Goats” spotlights the vehicle’s “Goes Over All Terrain” driving modes. G.O.A.T. modes! Heh. “Goat” was also the Bronco’s code name during its early development days. (Time will tell if the vehicle ranks among the “Greatest of All Time.”)

Ford is skipping the Super Bowl this year, but the ad packs a Big Game vibe. Actually, it plays a bit like a Budweiser Super Bowl commercial until the beast’s transformation.

Two more spots hit similar themes—sans furry friends:

The work began rolling out over the weekend under the “Built Wild” umbrella. Shot on Mt. Baker in Washington State’s North Cascades National Park, the lead spot stars actual horses and goats (though some scenes were done with CGI).

“We wanted to make this true to nature, using real animals in an authentic environment,” says W+K creative director Stuart Jennings. “So we were doing a lot of work even before the cameras were rolling, researching breeds of goats, hiring animal trainers, talking through the performances and developing our visual script.”

“Goats are highly intelligent, but they’re stubborn,” Jennings says. “Sometimes, they just don’t want to listen. If they want to eat grass, they’ll eat grass. We just had to wait sometimes and cheer them on to do their performance.”

“The idea is this vehicle is built for the wild, it’s rugged and tough, and the ultimate takeaway is Bronco has G.O.A.T. modes,” he says. “It’s not just a knob on the vehicle—it’s a system that can take you nearly anywhere you want to go.”

As you may have guessed, the G.O.A.T. name inspired the creative approach.

“We looked at the vehicle and thought, ‘OK, this is a powerful Bronco with the dexterity and off-road acumen of a goat. What would that look like in the wild?’ ” says agency copywriter Jake Thompson.

Of the rugged outdoor shoot, Thompson recalls, “Mother Nature photographs beautifully, but she’s no friend when it comes to filming logistics. We had to change the location at the last minute due to inclement weather, and we didn’t originally plan on featuring any snow in the spot. We had to roll with the punches, but we think the surprise snowstorm ended up making the final film even more impressive.”

He adds: “Almost all of the goats and horses are real. Most of the landscapes are real. The snow is most definitely real. We had to make a ton of trips to the local outdoor outfitter for more and more cold-weather clothing.”

CREDITS

CLIENT: Ford
PROJECT NAME: Bronco Sport 2021
FORMAT:
CLIENT CONTACT: Andy Georgescu
LAUNCH DATE: 1/9/21
DURATION OF CAMPAIGN: 6 months

AGENCY: W+K NEW YORK
EXECUTIVE CREATIVE DIRECTOR : Karl Lieberman
CREATIVE DIRECTORS: Stuart Jennings & Eric Helin
COPYWRITER: Jake Thompson (Be Specific, Raised By Goats), Michelle Smith (Brand New Tough, Never
Not Working, What’s in a Name), Thea Ryan (Cabin), Adam Crouch (Find Your Wild)
ART DIRECTOR: Boris Opacic (Go There, Raised By Goats), Amy Wheeler (Brand New Tough, Never Not
Working, What’s in a Name), Mike Lee (Cabin), Alex McClelland (Find Your Wild)
HEAD OF INTEGRATED PRODUCTION: Nick Setounski
EXECUTIVE PRODUCER: Alison Hill
SENIOR PRODUCER: Kristen Johnson
PRODUCER: Ava Rant
ASSOCIATE PRODUCER AND ART PRODUCER: Tania Sanchez
ASSOCIATE PRODUCER: Rodrigo Nino
PRODUCTION ASSISTANT: Connor Dean
SENIOR ART PRODUCER: Pietro Clemente
GROUP ACCOUNT DIRECTOR: Mike Welch
MANAGEMENT SUPERVISOR: Jamie Robinson (Bronco), Ghada Soufan (F150)
ACCOUNT SUPERVISOR: Tenaya Ende (F150) Emilia Pittelli (F150)
ACCOUNT EXECUTIVE: Mac Hall (Bronco)
ASSISTANT ACCOUNT EXECUTIVE: Will Parker (F150), Alycia Washington (Bronco)
PROJECT MANAGER: Yann Samuels (Bronco), Nicole Formisano (F150)
HEAD OF PLANNING: Dan Hill
STRATEGY DIRECTOR: Alix Toothman (Bronco), Newman Granger (F150)
GLOBAL DIRECTOR OF BUSINESS AFFAIRS: Amber Lavender
BUSINESS AFFAIRS MANAGERS: Anna Beth Nagel (Bronco), Nestor Gandia (F150)
TRAFFIC: Sonia Bisono

PRODUCTION COMPANY: Imperial Woodpecker
DIRECTOR: Stacy Wall (Raised by Goats, Be Specific, Cabin, Never Not Working)
DIRECTOR OF PHOTOGRAPHY: Linus Sandgren
LINE PRODUCER: Mary Livingston
MANAGING PARTNER: Doug Halbert
EXECUTIVE PRODUCER: Charlie Cocuzza

DIRECTOR: Lisa Gunning (Find Your Wild, What’s in a Name, Be Specific)
DIRECTOR OF PHOTOGRAPHY: Nic Restrepo
LINE PRODUCER: Kristin Porter
MANAGING PARTNER: Doug Halbert
EXECUTIVE PRODUCER: Charlie Cocuzza

EDITORIAL COMPANY: Exile
EDITOR: Shane Reid (Raised By Goats, Be Specific), Katie Turinski (Never Not Working, What’s in a Name,
Brand New Tough)
EDITORIAL ASSISTANT: Brett Holman, Colleen McKay
SENIOR POST PRODUCER: LauRenn Reed
HEAD OF PRODUCTION: Evyn Bruce
EXECUTIVE PRODUCER: Sasha Hirschfeld

EDITORIAL COMPANY: Joint
EDITOR: Matt Burke (Cabin, Find Your Wild)
EDITORIAL ASSISTANT: Chris Grissom
SENIOR POST PRODUCER: Kari Ickert
EXECUTIVE PRODUCER: Michelle Carman

EDITORIAL COMPANY: Joint
EDITOR: Laura Bermudez (Clues)
EDITORIAL ASSISTANT: = Chris Grissom, Elaine Green, Lance Thompson
SENIOR POST PRODUCER: Kari Ickert
EXECUTIVE PRODUCER: Michelle Carman

SOCIAL EDITORIAL COMPANY: Joint
EDITOR: Charlie Porter (Bronco Sport), Cammeron Neely (F-150)
EDITORIAL ASSISTANT: Elaine Green, Lance Thompson
SENIOR POST PRODUCER: Kari Ickert
EXECUTIVE PRODUCER: Michelle Carman

VFX COMPANY: The Mill
VFX SUPERVISOR: James Mulholland
VFX 2D LEAD:
RBG 2D Lead: Jimmy Bullard
RBG 3D Lead: James Mullholland
RBG Compositors: Krissy Nordella, Dhruv Shankar, Jay Lee, Johan Wiberg, Ting-Jung Hsu, Joseph Taylor
RBG 3D Artists: Rune Mansson, Jeff Lopez, Eva Kuehlmann, David Barosin, Michael Davin, Daishi Takishima,
Navdeep Singh, Anna White, Eban Byrne, Todd Akita, Tom Bardwell, Alek Vacura, Eric Xu, Jackie Liao, Anthony
Travieso, Casey Reuter, Arman Matin, Harlan Qiu, Lauren Shields, Minjeong Shin, Aldo Martinez Calzadilla, Mario
Ercolano
NNW 2D Lead: Jade Kim
NNW Compositors: Lucia Hill Barroso, Joseph Yoon
Cabin & BNT 2D Lead: Siro Valente
Cabin & BNT Compositors: Ting-Jung Hsu, David Reynolds
Be Specific 2D Lead: Antoine Douadi
Be Specific Compositors: Katelyn Veneman
Social 2D Lead: Ben Vaccaro
Social Compositors: James Cudahy, Michael Almodovar

MANAGING DIRECTOR: Barry Parkhill
SENIOR VFX PRODUCER: Luis Martin
Associate Producer: Will Jellicorse
Creative Director: Nathan Kane

PHOTOGRAPHY: The Jude Group
PHOTOGRAPHER: MIKE SCHWARTZ
PHOTO ASSISTANT: JAY DAVALOS

AUDIO POST: Sonic Union
SOUND DESIGNER/MIX ENGINEER: Steve Rosen (Raised By Goats, Be Specific, Snow, Cave, Water)
ASSISTANT ENGINEER: Michelle Madias
PRODUCER: Justine Cortale

COLOR COMPANY: CO3
COLORIST: Sofie Friis Borup Bronco (Raised By Goats, Be Specific, Snow, Cave, Water), F-150 (Cabin, Never
Not Working, What’s in a Name, Brand New Tough))
COLOR PRODUCER: Alexandra Lubrano

COLOR COMPANY: CO3
COLORIST: Kath Raisch (Find Your Wild)
COLOR PRODUCER: Anna Kelman
MUSIC

Raised By Goats
MUSIC COMPANY: Walker
SENIOR EXECUTIVE PRODUCER: Sara Matarazzo
EXECUTIVE PRODUCER: Stephanie Pigott
PRODUCER: Danielle Soury

Find Your Wild – Ode to the Pleiades – Photay Remix

Cave
Track: Keep Bouncing Instrumental
Music Supervision: Elias Music
Music Supervisor: Emily Kimball

Camping
Track: Warfare v2
Music Supervision: Overcoast
Music Supervisor: Travis Tucker

Kayak
Track: Big Bad Terror (drums only)
Music Supervision: Overcoast
Music Supervisor: Travis Tucker

GOAT Mode
Track: Warrior Instrumental
Music Supervision: Elias Music
Music Supervisor: Emily Kimball

Molle Straps
Track: Drum Circle
Music Supervision: Finger Music
Music Supervisor: Ewa Miller

Mountain Biking
Track: War Path
Music Supervision: APM

Cabin
Sound Design: Boom Box Post
Supervising Sound Designers: Kate Finan, MPSE & Jeff Shiffman, MPSE
Sound Designers: Brad Meyer, MPSE & Jacob Cook
Cabin Track :30/:20: Strawberry Blues
Music Supervision: Overcoast
Music Supervisor: Colin Beckett / Travis Tucker

What’s In a Name: Bad Things by Rayland Baxter
Music Supervision: GEMS
Music Supervisor: Marielle Jade Te, Morgan Thoryk, Andrew Kahn

Never Not Working: Ca-Ba-Dab by Soul Swingers
Music Supervision: GEMS
Music Supervisor: Marielle Jade Te, Morgan Thoryk, Andrew Kahn

Brand New Tough: Trouble in the Delta by 5 Alarm Music OBO Cavendish Music
Music Supervision: Claire Hecamp
Music Supervisor: Claire Hecamp

Clues
Track: Be Something New Instrumental
Music Supervision: Overcoast
Music Supervisor: Travis Tucker

Boat
Track: Be Something New Instrumental
Music Supervision: Overcoast
Music Supervisor: Travis Tucker

All-New
Track: Determined
Music Supervision: Overcoast
Music Supervisor: Travis Tucker

Back Up
Track: Flinty
Music Supervision: Overcoast
Music Supervisor: Travis Tucker

OTA: “Ca’-Ba’-Dab” by Soul Swingers
Music Supervision: GEMS
Music Supervisor: Marielle Jade Te, Morgan Thoryk, Andrew Kahn

A Lot Of Tough: “Ca’-Ba’-Dab” by Soul Swingers
Music Supervision: GEMS
Music Supervisor: Marielle Jade Te, Morgan Thoryk, Andrew Kahn