In the series of advertisements for Sony Bravia, Paint was the logical extension of the creative concept which Juan Cabral had created
Fallon’s work on the first Bravia film was incredibly productive. ‘Like no other’ seemed out of place for Bravia. It was only when Fallon took advantage of the product’s advantages that it became “color like no other.”
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Sony and Fallon (Juan Cabral) had used 250,000 rubber balls in 2004/5 to (over) dramatise the brilliant colour of the Bravia through the sloped streets of San Francisco. It was gorgeous and unbelievable.
Paint looked like a logical addition to the series in order to exaggerate the impact of colour.
Colourful explosions of multi-coloured paint in an apartment and areas along with it were shown in the commercial as a vivid representation of what you can expect from a Sony Bravia television.
At a budgeted cost of $2 million, the film was very expensive. “Paint” was shot in a disused housing complex in Glasgow (it was broken down soon after). It used 70,000 litres of paint, 1,700 detonators, 455 mortars, 622 bottle bombs, 65 camera positions and a crew of 200 people. This also included 60 individuals cleaning up paint for five days
Sony and Fallon took a risk, thinking that a greater production budget would result in a compelling enough commercial that would outweigh a smaller media spend.
To ensure this visual delight from Sony Bravia would be long remembered, the film transformed an uninspiring estate into an explosion of colour. Each and every scene in a film that involves detonators or other explosive devices were meticulously planned. With just one shot to blow up a tower block in an explosion of colour, it’s even more important to do it right.
Rossini’s Thieving Magpie provided the perfect soundtrack for “Paint.” The acoustics made it appear that the vast housing development was a concert hall. The commercial’s creative scope is amplified by the music as if you were seeing a video with a large orchestra.
The Fallon team included group account partner Chris Willingham, executive creative director Richard Flintham, and creative director Juan Cabral,
In addition to producer Simon Cooper and director of photography Dan Landin, Jonathan Glazer was in charge of the filming at Academy Films. In addition to dealing with a dangerous set and trying to keep the people calm, the crew had to deal with the unpredictability of Glasgow’s weather. Moving Pictures Company handled all of the postproduction work.