Note the split-screen technique. Sergio Leone would approve.

“This campaign is all about bringing FootJoy’s message to life through cinematic hyperbole,” says Lauren Olson, copywriter at Opinionated, which developed the initiative. “Rather than describing this true-to-golf joy, the goal was to let our audience feel the joy,”

No one gets shot. That’s joyful! 

“This spot focuses on that feeling you get when, despite the high-stakes of the game, you’re locked in and shooting the lights out, with the swagger of a pin-hunting gunslinger,” adds agency art director Nate Corrado.

Smuggler’s Randy Krallman—last spotted putting E*Trade’s babies back in the Super Bowl—directed the commercial.

The ads will roll out across TV and digital through the year, with fresh creative dropping next month.

In jaw-dropping news, courtesy of Miller Lite, wooden nutcrackers have expanded their talents to open beer cans or bottles! A follow-up to the brand’s Christmas Tree Keg Stands last year, the Beercracker dons a pilsner foam cape, beer barley boots and hop-leaf buttons. The little guy opens beverages from its mouth (bottle) or removable hat (can).

A few hundred Beercrackers, at $29.95 a piece, sold out. But perhaps Miller Lite will add them to their permanent holiday swag options, like it did for the Beernament.

“When you think about your holiday party, you don’t want to be looking around for a bottle or can opener when it’s time to crack open a fresh beer during the traditional holiday hubbub,” says Anne Pando, senior marketing manager for Miller Lite. “But with the Beercracker, you won’t ever lose track of it because your opener is now proudly on display.”

Miller High Life’s Merry High Light

Miller High Life has previously bestowed upon fans Gingerbread Dive Bars and Beer Leg Lamps during the holiday season. This year, the brand, with help from Phaedon, brings us the Merry High Light. It’s a tiny, glowing tree that smells like your favorite dive bar: tobacco, sweat and poor decisions. There’s even a tree skirt that matches the Girl in the Moon’s striped attire. If miniature isn’t your thing, enter by 12/15 to win a 5-foot tree instead.

Voodoo Ranger’s World’s Strongest Can

Voodoo Ranger is known for its strong IPAs. But strong cans, hm, that’s a new one. The brand, Opinionated and sculptor Scott Foster made a can so strong that it earned the seal of approval from Mitchell Hooper, the World’s Strongest Man. The can weighs 14 pounds is 8.5 inches tall, fortified by half an inch of steel, and contains 19.2 oz of Voodoo Ranger Imperial IPA.

Videos on strongestcanofipa.com illustrate how indestructible the can appears. It absorbs some damage from a hydraulic press and a flamethrower, but remains intact. Via the website, fans can enter to win the can by sharing how they’ll try to destroy it.

“This is one of those projects that was blissfully straightforward,” says Cameron Soane, ACD/art director at Opinionated. “We had a pun. We had a goal for making it a social-first campaign. We just needed to fabricate a seriously scary-strong can.”

Blue Moon Beer x PopUp Bagels

Beer bagels arrive, thanks to Blue Moon and PopUp Bagels. If you’ve tried the brew, you know a pint typically comes with an orange slice on the side. Muse got its mitts on some fresh, hot beer bagels—and we were intrigued by the Valencia cream cheese that came with our order.

The schmear was slightly citrusy and flavorful … kind of like a pint of Blue Moon. The collab sold out faster than you can spell V-a-l-e-n-c-i-a. Lindsey Wesloski, brand manager says, “a bagel made with Blue Moon was the perfect way to align your favorite foods in an elevated way—and to drive Blue Moon relevancy amongst a culinary-forward audience and beyond.”

Yeastie Boys x I Am Hope

Two disheartening facts: Most men receive their first bouquet of flowers at their funeral. THEIR FUNERAL. And New Zealand has one of the highest rates of male suicide in the world.

Yeastie Boys, the best named brewery in New Zealand (and possibly the world) teamed up with VML to create the “Blokequet”—beer brewed with earl grey blue flower—for men to share with their guy friends. Hopefully, a few sips will open a portal to talk about their feelings. The Blokequet is sold at various bars and liquor stores, and it’s even available in a traditional bouquet-style arrangement—but with beer. For every can sold, a donation is made to the I Am Hope foundation.

“The reality is, most men in New Zealand socialize over a beer,” says Mike King, founder of I Am Hope. “That’s when they will really connect and talk with each other, so it’s a really big opportunity for us to start encouraging those kōrero [conversations] to include mental health. And it doesn’t have to be a really serious talk. It can be as simple as asking your mate if they’re OK.”

Craft Sportswear x Billdale Brewery

Swedish running brand Craft Sportswear teamed up with Forsman & Bodenfors and Billdale Brewery to create a beer best suitable for runners—post-run, natch. Aptly named Craft Beer, the lager made its debut after the UTMB race in Chamonix and contains extra B vitamins, minerals and fiber. 10,000 units of Craft beer were produced and distributed for free after events where Craft Sportswear has a presence.

“Craft was launching their most advanced trail running shoe during the UTMB race,” says Karl Risenfors, art director at F&B. “We wanted to create something that would create a bit of extra buzz (no pun intended) around the brand. In the running community, the post-run beer is a well established ritual, so we decided to create the ultimate post-run beer by adding all the vitamins, minerals and nutrition your body needs.”

Kona Big Wave’s ‘Bring the Aloha’

There’s often drama when shooting a curl, and Kona Big Wave wants to dispel this bad rep and bring surfers together. Brand spokesperson and pro-surfer Hunter Jones invited surfers with varying experiences to the Aloha Bench to sit, drink a cold one and talk frankly about what happens in open water. By the end of the 3:30 below, locals, newbies and lifelong surfers are on the same wave…length.

Lauren Olson is a Portland, Oregon, native working as a copywriter at Portland agency Öpinionated. Before entering the advertising world, Lauren spent well over a decade writing and performing comedy in New York City and L.A.

We spent two minutes with Lauren to learn more about her background, her creative inspirations, and recent work she’s admired.

Lauren, tell us…

Where you grew up, and where you live now.

I grew up in Portland, Oregon. Moved to NYC. Then L.A. Now I’m back in Portland.

How you first realized you were creative.

My mom used to always say it was the picture of the penguin and the egg I drew when I was 3 or 4. She lamented as I got older that my drawings got less creative and just did pictures of people, or a landscape with a tree and a sun wearing sunglasses. I don’t remember drawing the penguin or the egg, and it’s lost to history, but according to my mom it was my creative apex.

A person you idolized creatively early on.

My cousin Matt. He is about 13 years older than me and I thought he was the coolest. After college he moved to NYC and got a job writing for SNL. We would always tape the show and watch it the next morning, sometimes he would be an extra in a sketch or one of the people asking a question from the audience during the monologue. If it wasn’t for him, I wouldn’t have watched so much SNL and I don’t think it would have even occurred to me that writing comedy was a job that existed. I really wish I still had the late ’90s-style SNL hat he gave me when I was like 13.

A moment from high school or college that changed your life.

On a whim, because a friend wanted to go but was nervous to go alone, I went to an audition for the improv group at University of Oregon. I got in, starting what I didn’t know at the time was a many-many-years-long bender of performing live comedy. Through it I met one of my very best friends and future comedy partner Jana. Without Absolute Improv, I might never have ended up in New York or gotten into comedy.

A visual artist or band/musician you admire.

Kesha. Most of the stuff I gravitate towards is upbeat, bright or colorful with at least a dash of dark or weird or offbeat. My very favorite musicians are those that have an intrinsic sense of humor in their songs. Kesha’s songs are equal parts make-you-feel-something-in-your-guts / make-you-laugh-out-loud. She doesn’t hold back and I dig it.

A book, movie, TV show or podcast you recently found inspiring.

I’ve got two because I’m greedy: Family Business on Netflix. My creative partner Nate Corrado gets all the credit for this one since he told me about it. It’s in French, which he speaks and I only have a basic six months of Duolingo comprehension of, but despite this, it’s hands down one of the best comedies I’ve ever seen. I want to re-watch it soon which I never do, but it surprised me and made me laugh so hard. Louise Coldefy as Clémentine Cendron is one of the best characters ever created. Watch it please.

Hacks on HBO Max. It is just great. So good. Did I mention I enjoyed it? Just watch it. It’s good.

Your favorite fictional character.

Clémentine in Family Business is giving her a run for her money BUT Susan Vance – Katharine Hepburn’s character in Bringing Up Baby is the OG top dawg. She’s nuts and I’m here for it.

Someone or something worth following in social media.

Recess Therapy on Instagram. It’s a simply delightful man interviewing kids. The editing is amazing and my creative partner Nate and I watch (and re-watch) it every few days when we need a laugh or cheering up mid-concepting. 

How Covid-19 changed your life, personally or professionally.

Completely stopped my dating life in its tracks. BUT it gave me an opportunity to spend a lot of time with family, which is why I moved back to Portland in the first place. I’m really lucky to be part of a big blended crew, several of which are having a bunch of extremely cute little kids for me to party with. And speaking of cute little kids, did I mention I’m still on the hunt for a father for my cat Felix? He’s a very good boy, and I have his rearing well in hand, so if someone wanted to just be around as a positive male role model for a fluffy long haired tuxedo who comes when he’s called, can sit on command and loves to play fetch—I’m currently accepting applications.

One of your favorite creative projects you’ve ever worked on. 

Powell’s by Powell’s perfume commercial for Powell’s Books. During the first year of the pandemic, Öpinionated did work for Powell’s Books. We created an actual, physical perfume that smelled like the iconic bookstore for those who missed being able to go into the store—because if you can’t be there, at least you can smell there. Nate and I made a luxury-perfume-inspired commercial for it, which was shot in one day at Half Court Studio and edited by a frequent collaborator of ours, Lucky Day. This project was not in our original scope of work, but instead something our CD’s Mark Fitzloff and Rob Palmer encouraged us to go for because of the creative potential they saw for it. It was so fun and exhilarating to get to shoot what felt like a sketch I would have made with my comedy friends in NYC, but this time we had a (small) budget, and instead of funding it myself, I was getting paid—because this is my job now! Super cool, yes? It was a nice reminder during the middle of a tough time with Covid that I’m in the right place doing what I’m supposed to be doing. I love being on set, especially in a scrappy low-budget situation when you have limitations put on you and get to collaborate and problem solve with talented creatives. It was wonderfully stupid, fun and delightful and I’m very proud of it. I’m also in it.

A recent project you’re proud of, and why. 

Another Day, Another Drumstick campaign for Drumstick. Nate and I got to collaborate with the magic makers at House Special to create and build a whole world in miniature for our character Dr. Umstick, and bring to life some delightfully weird, fun work. It’s very validating to get to see stuff in the world that has our voice and sense of humor in it. In addition to this work, we were given the opportunity to take all the elements we shot for the campaign, and repurpose them into a longform narrative spot. Our frequent collaborators at Lucky Day and Th3rd Sound did the edit and mix respectively. Seeing it come to life was the cherry on the top of a dream project.

Someone else’s work you admired lately.

Not to toot our own horn… but…Toot! Toot! At the same time we were shooting Drumstick, another creative team at Öpinionated, Cameron Soane and Scott Fish, created a super cool spot for Miro. It’s fun, beautiful and just the right amount of weird. I feel really lucky to get to work with such talented people at a place that puts so much value on creative ideas.

Your main strength as a creative person.

Playfulness. I am pretty hyper, and if I am stagnant too long I get restless and need to get my wiggles out. Playing around usually opens me up to some unexpected connection or idea that I hadn’t considered before. 

Your biggest weakness.

Distractions. Welcome to the dark side of playfulness. I am easily distracted—which can lead to interesting ideas (see above), but it also means I have to be uber aware of my distractibility and structure my time in a way that sets me up for success

One thing that always makes you happy.

Making someone laugh. It never gets old. Also, gardening.

One thing that always makes you sad.

Not having a hand to hold.

What you’d be doing if you weren’t in advertising.

Directing. Voicing animated characters. Writing comedy for TV and films. Working at a garden center. I’ll get to it all eventually, if I don’t get distracted by something else first.

A giant monster’s stomping the city. So … let’s fire up the digital whiteboard!

Miro spoofs Godzilla-style flicks in a charming spot that shows how the startup’s visual-collaboration software helps teams solve complex problems. Sure, kaiju send-ups with rubber-suited saurians are a dime a dozen. But they rarely fail to please. And Miro’s “Monster Problem” from agency Opinionated and veteran director Andreas Nilsson is no exception.

Their approach isn’t as goofy as Wagamama’s vegan dinosaur, nor as bonkers as Old Spice’s dust-up of the giants. Still, who couldn’t love Miro’s cataclysmic cutie, with its slime-shooting sinuses and a taste for the flesh of your know-it-all co-workers?

Props for that giant claw. It’s the prop of the year!

The spot is packed tight with product demos, screenshots and comedy. Heck, the plot could easily go astray. But Nilsson—renowned for Amazon, Meow Wolf, Planet Fitness, Volvo Trucks and many more—delivers colorful, coherent brand storytelling that stays on point.

This entertaining BTS reel explains the process behind the production:

“Our goal is to introduce Miro to as many knowledge workers as possible,” Paul D’Arcy, head of marketing at Miro, tells Muse. “Our biggest obstacle to growth is that millions of professionals around the world have no idea that this better way of working together exists.”

There’s roaring good OOH, too:

That’s two freaky-funny campaigns in a row from Opinionated, following its surreal romp through the valley of the dolls for Drumstick ice cream cones.

Below, Muse chats with the agency’s monster mavens:

Muse: Can you explain how using Miro helped you create the commercial?

Cameron Soane, associate creative director, Opinionated: The full pitch process was done entirely in Miro both by the clients and our agency, and the ideation for this ad was done primarily in Miro. This is going to sound like I’m biased, but Miro is like a breath of fresh air, as we’ve moved to the WFH lifestyle. I felt like I was back in the analog days of my career, pinning photos to whiteboards and everything just flowed nicely. But it’s even better than a traditional whiteboard, because you can paste in videos, songs, GIFs and spreadsheets that update in real time.

The production process followed a more traditional approach. But the UI animation sequences were storyboarded in Miro, and then brought to life using programs that are better adapted for capturing dynamic movement.

With Zoom, WebEX, Google Meet and MS Teams, this is an awfully crowded field. Can these ads really help Miro cut through the cluttter?

Scott Fish, ACD, Opinionated: Maybe this is creative heresy, but I’m proud of how much branding we have in this spot. Miro is the tool that overcomes the monster. They keep trying all these things—lasers, etc. But ultimately, the solve happens on the Miro board, connecting one idea with another. I’d set this apart from competitor’ ads in this space because the novelty is not the fact that these people are in different places. It’s what they’re working on and how they do it—with sticky notes, pictures, video, etc. This commercial was made by people from Portland, Ore., to Prague, who mostly saw each other in little rectangles on our laptops. This just feels like a natural way to tell stories now.

Why do a monster mash?

Scott Fish: We decided we needed a metaphor. There was no way for a real-life “problem” to speak to everyone. Giant monster? That’s a universal language. What we loved about this genre was the way we could contrast old and new. That’s why the monster’s a dude in a rubber suit, not CGI. It highlights how efficient the team is with this modern tool.

Does the beast have a name?

Scott Fish: We left him nameless so he could be more of a blank slate. He’s the deadline, the sales target, the focus group. Whatever keeps you up at night.

He seems downright cuddly at times.

We looked at literally hundreds of old Japanese monster movies and shows for inspiration. He needed to be menacing, but also kinda cute. We like the little details—the baggy legs, the immovable eyes—that make him appear more fake.

Couldn’t you get him some decongestants? He slimed the whole set!

Cameron Soane: That actress ended up doing several takes of being covered in thick, green slime [shot from the creature’s nostrils]. When she looks uncomfortable on screen, she isn’t faking. She was a trooper at perfecting the scene.

So, you’ve done “Monster Problem” plus “Dr. Umstick.” That makes Opinionated the silliest agency since Barton F. Graf, yes?

Mark Fitzloff, executive creative director, Opinionated: One of the great things about having a tight-knit group is that our moods and creative muses rub off on each other. The Miro spot is very different from the Drumstick campaign. But I agree they both have a childlike playfulness.

CREDITS

CLIENT Miro

Opinionated
Executive Creative Director Mark Fitzloff
Executive Creative Director Rob Palmer
Associate Creative Director (AD) Cameron Soane
Associate Creative Director (CW) Scott Fish
Head of Production Corey Bartha
Agency Producer Sandra Hagblom
Strategic Planning Dave Daines
President Trish Adams
Account Team Marcelina Ward
Business Affairs Cindy Lewellen

PRODUCTION
Production Company Biscuit
Director Andreas Nilsson
Executive Producer Holly Vega
Line Producer Peter Knowles
Director of Photography Lasse Frank
Production Design/Art Direction Alexis Ross

PHOTOGRAPHY
Photographer Shot by Us
Retouching Kyle Pero

EDITORIAL
Editorial Company Cut+Run
Editor Ben Campbell
Assistant Editor Mitch Goldberg
Post Producer Brian Mulvey
Managing Director Managing Director
Executive Producer Amburr Farls
Head of Production Brady Austin Fiero

VFX
VFX Company Bacon X Copenhagen
VFX Supervisor Jonas Drehn
2D Lead Artist Thomas Banner
3D Lead Artist Thomas Haas-Christensen
Associate Creative Director Ditte Marie Ludvigsen
2D Artists Jacob Carlsson, Kai Hauswirth, Mario Maruska, Oliver Buus
3D Artists Asger Langhoff, David Ryberg Lessel, Rickard Didriksson
Motion Graphics Ccccccc Studio
VFX Head of Production Mia Lalanne
VFX Producer Christina Jæger
VFX Executive Producer Eliana Carranza-Pitcher
Shoot Supervisor Jonas Drehn
Colorist Hannibal Lang
Add. Colorist Lasse Selvli
Conform Lasse Selvli and Søren Knudsen

AUDIO POST PRODUCTION
Company Name String and Tins
Sound Design and Mix Lawrence Kendrick
Additional Sound Design & Mix Jim Stewart
Foley Cobblestone
Audio Producer Olivia Endersby

VO
Talent Steven Kelly

Too much oddness packed into those 300 seconds? Try these bite-sized servings:

Creative agency Opinionated developed the work. HouseSpecial directors Kirk Kelley and Alice Mathias provide colorful visuals and a pleasingly brisk pace.

Brian Delaney voices the Doc and narrates with spoofy poetic-macho flair. Throughout the story, we feel the delirious depth of his “sandals-over-head” obsession with creamy, chocolatey, nutty ice cream. And that’s … something?

Below, Opinionated’s Lauren Olson (copy) and Nate Corrado (art) explain how their unusual commercial confection came to life.

Why go OTT wacky for Drumstick, of all brands?

Lauren Olson and Nate Corrado: We’d call it “offbeat humor,” rather than wacky. Wacky feels a bit more off-the-cuff or nonsensical. But everything we wrote and designed was very intentionally built to ladder up to our concept that eating a Drumstick is like taking an adventure. Frequently the humor comes from the human and grounded vulnerability Dr. Umstick exudes in his expression of genuine love.

The world already knows what Drumstick is, giving us the gift of freedom to be super playful. Plus, it’s Drumstick. It would be a shame to not do something delightful with such a fun brand.

Ken-and-Barbie-style dolls. Such sparse animation. Where’d all that come from?

We wanted to make something that felt fun, had intrinsic nostalgia and was visually attention grabbing. The lack of motion in our dolls was intentional and decided on before we began shooting. Except for a few moments, we didn’t animate very much. We animated things (via stop-motion) only when it strengthened the joke. Within the context of a cinematic visual style and the seriousness of the noir-inspired tone, the use of unmoving dolls to tell the story added a layer of humor and unexpected delight.

He’s got some wild style going on.

In one of the spots, Dr. Umstick gets his hair blown out into a bouffant to look more like his Drumstick. Dr. Umstick’s shape, as well as his wardrobe—white turtleneck + waffle cone-esque plaid pants—was designed to subtly reference the look of a Drumstick and visually reinforce his love of the product.

What sparked the storyline? Old movies? Cesar Romero? Pre-Lando Billy Dee Williams?

Noir films and series were a big inspiration, as well as old cartoons and movies we loved as kids. The blending of these worlds created a unique tension and made it fresh and funny. Noir felt right because it sets up a sense of mystery and takes you on a journey of discovery.

Did the client just lick this idea right up? Was it a tough sell?

The Drumstick team loved this idea right away. We agreed it was a unique way to modernize Drumstick while also reflecting their core values, and something that would serve the brand long-term.

Tell us about the production process. How’d it go down?

We worked closely with our production partners for months, sending back and forth designs and concepts for the dolls and sets. Once all the dolls, costumes and sets were settled on, HouseSpecial built them and we worked to align on how each moment was shot.

It was a months-long shoot process, carefully planned and executed, that allowed opportunities for building on jokes and moments as well as creating Easter eggs. For example, we included the names of the Opinionated account team in the tattoos on the tattoo parlor set, and the wooden doll background characters in the wedding spot were designed to represent the creative team.

We played with dolls for like two months straight, so you can imagine how silly things got at times. For each moment and joke that made it in, there were several we didn’t have time for. We all laughed a lot.

CREDITS

CLIENT: Drumstick
PROJECT NAME: Another Day, Another Drumstick

Opinionated
Founder, Executive Creative Director: Mark Fitzloff
President: Trish Adams
Executive Creative Director: Rob Palmer
Art Director: Nate Corrado
Copywriter: Lauren Olson
Head of Production: Corey Bartha
Agency Producer: Kevin Diller
Strategic Planning: Dave Daines
Strategic Planning: Carly Harrison
Account Team: Marcelina Ward, Whitney Calvin, Michael Dalton
Business Affairs: Cindy Lewellen

PRODUCTION
Production Company: HouseSpecial & Gifted Youth
Director: Kirk Kelley & Alice Mathias
Executive Producer: Lourri Hammack
Head of Production: Alvaro Cubillas
Production Manager: Hannah Bearden
Director of Photography: John Nolan
Production Design/Art Direction: Gee Staughton

EDITORIAL
Editorial Company: HouseSpecial
Editor: Cam Williams
Assistant Editor: Patrick Lagier

COLOR
Company: HouseSpecial
Colorist: John Corbett

LICENSED MUSIC
Music House: Finland TEOSTO
Composer: Joonas Mäkilä
Track Name: Detective Film Noir Jazz

SOUND DESIGN/MIX
Company Name: th3rd sound
Audio Mixer/Sound Engineer: Chip Sloan

VO
Talent: Brian Delaney

EDITORIAL – LONG FORM (Meet. Dr. Umstick)
LUCKY DAY
Executive Producer: Chris Vanderloo
Senior Producer: Rachel Gardell
Editor: Kyle VonHoetzendorff

Yep, he’s the greatest ever. Muhammed Ali, not Stan Smith—though one of Adidas’ most iconic shoes bears his name, and he looks super-spy in mini-model form, slicing a winner over the net. 

And if you were wondering—yes, the spot was shot on a real, amazingly elaborate diorama built by ad agency Opinionated and production company House Special. 

“It’s actually huge—it can fill a decent-sized room,” agency founder and creative director Mark Fitzloff tells Muse, adding that the agency is planning to display it at Adidas’ North American headquarters in Portland, Ore. 

The filming technique is called “no-motion,” because “the objects don’t actually move,” Fitzloff explains. “But it’s still shot in stop-motion, meaning a series of stills, one after the other.” 

Click to see a gallery of stills from the video: 

Set construction took a month, “but prior to building, we developed a full animatic to determine the overall pacing and, most importantly, how we wanted to maneuver the [camera] crane,” says Nick Larkin, management supervisor at Opinionated. 

Each scene was filmed separately, “then melded together to make it look like one single, continual camera move,” Larkin says. “We threaded overlapping elements to make it seem like an endless world within a shoebox. There are hints of the upcoming scene in each set—like the tennis ball hanging off behind the b-boys [breakdance] scene, or Muhammad Ali’s opponent coming through the brick wall behind Run-DMC.” 

The crew took pains to ensure that the model retained enough “humble aspects of a homemade diorama” to be recognizable as such, while also looking fly enough to hold viewers’ attention and encompass lots of cool details. (Note the VHS-grainy footage of ’80s breakdancer Crazy Legs on the b-boys’ TV set.) 

Dioramas have been used in ads before to impressive effect. JWT’s history of the U.S Marines, which dropped in 2017, is one example, along with Halo’s groundbreaking and much-lauded “Believe” from a dozen years ago.

Adidas’ effort doesn’t pack as much emotional punch as those efforts, largely because the subject matter isn’t the stuff of immediate life and death. Regardless, it ranks as an artistic triumph, providing a wealth of compelling content for viewers to discover as they mull the ever-changing landscape of sports, music and fashion as viewed through the lens of a transcendent global brand. 

“One of the most challenging but least sexy aspects was licensing every single reference or mention in the spot, and getting them to buy off on an idea and rough animatic,” Larkin recalls. “It was vital that we had each piece secured, approved and fully built prior to shooting. This came together as one elaborate puzzle.”

With so many Easter eggs and cultural allusions to savor, you’ll want to unbox this gem more than once.