A winning presentation I wrote/designed for Director Omri Cohen.

1. McDOnaLd’S
ThE BigGEsT!
woRdS, viSUalS, laYOut bY
ScOTt KEneALlY

2. First of all, thanks for bringing me into the mix. I really dig the spot. It’s
the kind of idea that will instantly catch on because everyone knows
and loves optical illusions. The perspective trick is one of the best of
the bunch, and I can see people buying the Chicken McBite just so
they play these games with their friends. So nice work with the
creative. That said, I’d now like to describe the elements of my
approach…
INtRo

3.
Although this spot is marked by that cool perspective trick, this is
about much so more than that a visual gag. It’s about capturing the
promise of youth: the simple thrill of a road trip… the dynamic
between BFFs… the first tastes of freedom. This touch of humanity
is what will set this campaign apart, which is why I’d really like to
capture a series of great lifestyle shots of these kids messing
around and having fun.
Ultimately, the piece should feel like a documentary, but with a rich,
cinematic vibe. Our camera will be handheld throughout, giving the
shots energy and life. It won’t be shaky or anything, but it will have
just enough movement to make us feel like we’re along for the ride.
I’d also like to give the spot a distinct look, and would like to treat
the entire film with a Hipstamatic-style filter.
LOok + FEel

4. OPtiCAl iLlUSiOnS
Throughout our spot, we’ll see our hero
framing the Chicken McBite against various
elements in the scene: roadside attractions,
statues, signs, etc. The goal, of course, is to
utilize foreground and background elements,
and play with perspectives so that the
Chicken McBite looks larger-than-life.

5. LAnDmaRkS
I envision featuring our perspective trick in 5 or 6 different
vignettes. Given the reality of our one-day shoot and budget,
let's plan on some cool roadside attractions that can work
within our day. Here are a few great ones that are doable:
Cabazon Dinosaurs, Palm Springs Aerial Tram, San Gorgonio
Pass Wind Farm, and the Santa Monica Pier.

7. I think it’s important that we don’t rely solely on famous landmarks. We should mix it up and pepper
the spot with several practical vignettes. We don’t need to drive 100 miles to pull any of the
following. We can shoot them between our big roadside attractions. Not just because of budgetary
considerations, but to keep things fresh. Here are a few possibilities…
McBIte FAce
We’re parked on the side of the road. Maybe we’re at a spectacular scenic overlook. Or even just a
rest stop. Either way, we’re out of the car, stretching our legs, enjoying the terra firma. In our POV, a
Chicken McBite is strategically set up so as to obscure the head of one of our friends. Not just his
face, but his entire head. It looks like he’s a walking McBite. It’s a funny image, and then just as
we’re registering it, we toss the food towards his mouth. We reveal our friend’s real face, as he
concentrates on catching it. Score! It lands perfectly in his mouth. He reacts triumphantly.

8. SEmi-TrUCk
Outside the car window, a big rig barrels down the
freeway. But it’s not carrying your everyday load.
Thanks to a clever play on perspective, it looks as if
this flatbed is carrying oversized McBites.
ChICkeN cAR
There’s this great art car in
Venice Beach that would be
fun to utilize. We could drive
alongside it, holding the
McBite just in front of the
chicken’s beak. It will look as if
the chicken is chasing after it.

9. ThE Sun
Yes, the most basic of all optical illusions. We’ll hold
up a McBite so that it looks as big as, if not bigger
than the sun. There are a lot possibilities for this
shot, but I’d like to do it when the sun is hanging
low in the horizon. Maybe it’s over the Pacific
Ocean, or a stretch of desert. Either way, we can
create a very stylish shot, with lens flares and
streaks of light. In fact, it would be interesting to see
the McBite in silhouette at first, blocking the sun.
And the moment we move it, the McBite could
reveal itself in all its crispy, golden glory.
INfLatABleS
Inflatable figures are another easy option. They're
quirky and odd, simple to set up, and very cost-
effective. They will provide a massive attraction on
the side of any road. And we can exploit this
versatility to capture perfectly composed shots.
(NOTE: We'll also search for existing inflatables on
our scout.)

10. Even if we had the luxury of crisscrossing the country
and capturing every roadside attraction we wanted, I’d
still want to balance the spot with a series of
spontaneous, lifestyle shots of road tripping friends.
We’ll film them joking around, singing, skipping rocks
and whatnot. And we’ll also film them looking out into
the landscape, lost in thought, taking it all in. The idea is
to let a range of moments and emotions run their
course, and capture it all. Not only will these shots help
to stretch the budget, but they will lend the spot a real
humanity. After all… the things we remember most
about the road trips of our youth aren’t necessarily the
big attractions, but the magic that unfolds on the dull
stretches of freeway in between.
LIfeStYlE ShoTs

11. CAsTinG
In order to create that mood and feeling and
humanity that sets this apart… we’ll need a
keen eye for casting. We’re not just looking for
hip and attractive models that look the part.
Those types are a dime a dozen. Rather, we’re
looking for kids that possess that certain look…
faces filled with character AND a playful,
easygoing spirit. These are the kinds of kids
who laugh freely and can make the best of any
situation. They all have a great sense of style,
and the only thing they relish more than their
individuality, is their enviable group dynamic.
They love one-upping one another and making
each other laugh. Which is why, of course, the
Chicken McBite/optical illusion trick goes over
so well. They are young and fun and living right
smack in the moment. They’re still at the age
where life is a playa of infinite possibility… when
“reality” and “responsibility” are just words in
quotes. They are all of us, at some priceless
point in our lives.

12. We never want to feel like we’re looking at
actors. In fact, their performances shouldn’t
even feel like performances at all. Rather, they
should feel like real moments in a real road trip
with best friends. Great casting will go a long
way towards creating this kind of free-flowing
group dynamic. However, I find that facilitating a
great vibe on set is just as important. Even the
most lighthearted actors can stiffen up on a
staid set. And with this in mind, I’ll blast cool
music, crack jokes, and encourage them to let
loose and be themselves. I want these kids to
feel totally comfortable, almost to the point
where they forget about the camera altogether.
Again, the goal is to create a work environment
that doesn’t feel like work at all.
PErForMAnCe

13. ThE RidEEvery car has its own unique quirks: the loose visor, jammed lock, hypersensitive brake pedal.
These are the kinds of idiosyncrasies that personify the ride, and imprint it in our memories.
That make it a character. And I’d love to flavor our spot with something like that. (A great
example of how a quirk can help color a story is the black hole in the floor of the car in
“Wristcutters.”)
With that said, I think the car should be something along the lines of a vintage station wagon
or sedan. Nothing so expensive as to be out of reach, but cool enough to be an enviable
element of any road trip. It should have some dings and wear and tear. And inside, it should
be styled with the detritus of a spontaneous road trip. There should be enough loose papers,
crinkled magazines and crumpled coffee cups to let us know they’ve been on the road for a
few days. Again, it’s all about making the car a character, and we’ll stylize it so it feels like an
integral part of the story.

14. WrAP up
Thanks again for thinking of me. I enjoyed talking to you and love
the creative. I’m excited by the chance to bring it all to life. Let’s talk
soon in the further development of this idea.
Cheers!