Behind Samsung’s Film Genre Medley with Emma Myers
With streaming services riding an all-time high, none of us are strangers to switching between genres like there’s no tomorrow. Watching a documentary about planet earth while having dinner and swiftly swapping to a real-life murder mystery for bedtime is a totally normal occurrence in any household. But, not many of us act them all out.
Well, Emma Myers did, in Samsung’s new spot directed by MOIRAI’s director Zee Ntuli, who masterfully put the actress through a range of epics, from film noir to sci-fi. In the spot, shot entirely on Samsung S23 Ultra, Myers became a fantasy princess, a spy on a mission, and much, much more.
Both the film’s colour schemes and music were carefully chosen to represent the different settings and in order to fully immerse us in the epic that ‘Epic Worlds’ is, Zee says that there were “no shortcuts” when choosing the perfect location.
LBB’s Zoe Antonov spoke to Zee to find out more about the creation of the film and what it was like to shoot a Hollywood-grade piece of work on Samsung.
LBB> What was the brief for the project and what were the initial ideas that you and W+K went through?
Zee> We aimed to show off the Samsung Galaxy as this epic little device that can turn anywhere into a movie set. W+K and I were buzzing with ideas – think hopping through movie genres with just a phone.
LBB> Why was Emma Myers the best person to depict the character through all of the worlds you created?
Zee> Emma's got range. She's a natural with the Galaxy and makes jumping from cowgirl to spy feel like it's all in a day's work. She nailed the vibe we were after. This project really reinforced my appreciation for strong collaborators. It was a reminder that no matter the tools, the people and ideas you work with are infinitely more important.
LBB> How involved was the client in the creative process?
Zee> Samsung played a very collaborative role as a client. The entire team at Wieden+Kennedy, Moirai, as well as the production crew collaborated on this piece. It was a really fun and engaging process.
LBB> What went into creating the worlds for the ad and why did you pick these exact locations and concepts?
Zee> We looked for locations that naturally echoed the essence of each genre, so the settings would feel as authentic as possible. It was all about creating immersive experiences that would resonate with the diverse styles we were aiming for.
LBB> What part of the film was shot in studio, or were you totally committed to finding the best location for each historical context?
Zee> We were out there, on location. Finding the right spot for each scene was crucial to making sure the worlds we were creating felt lived-in and real. No shortcuts here – we scouted until we found the perfect fit for each part of our story.
LBB> What role did colour play in the film and what were the different colour schemes you created for the film?
Zee> Colour was key in setting the tone for each genre, helping to transition from one world to another. We chose colour schemes that would not only differentiate each segment but also complemented the overarching journey of the film. Our DP, Jeremy Snell, production designer, Maja Moravec, and colourist, Terry Simpson, really brought so much to the table when it came to designing the palette for these worlds!
LBB> So colour helped with dividing the worlds and making them their own mini films within the project. What role did music play?
Zee> Music was equally as critical to this piece. It was key not only to craft pieces that suited each genre we moved through, but also to weave the transitions between genres in a way that was excitingly abrupt and surprising, yet maintained a satisfying flow. This melodic thread needed to hold the piece together cohesively. Rich Lewis from Meduktions brought an immense amount of great work to the project, carefully crafting the entire aural experience.
LBB> What was the most challenging part of the creation of the film? What about the most fun?
Zee> The most challenging part was definitely the tight time frame. Emma Myers was in the middle of another production, so our time with her was quite limited. Considering she was critical to every scene, we had to be very efficient. Thankfully, the team managed to streamline the process effectively. And it certainly helped that Emma is incredibly talented and delivered on every take.
The most fun part was the vibe - everyone involved was fully invested, making the entire process from start to finish truly invigorating.
LBB> How long did you spend on the production process? And what were some key lessons you learned throughout the process?
Zee> We were on the ground in Croatia, where we shot the film, for about two weeks, but the actual shoot took place over three intense days.
A key lesson? Probably the most key lesson was that Croatian mosquitos don’t play. Wear repellent!
LBB> Tell me more about the process of shooting the film on the Samsung S23 Ultra - what went into it and how did it go?
Zee> The process was similar to working with any camera really, but also distinct in many respects. Jeremy Snell, our DP, was meticulous in researching and testing our workflow to ensure optimal output. From gripping and lighting, we approached it as usual.
But, from a camera standpoint, we developed a custom workflow that married the S23's capabilities with some fantastic third-party accessories and apps from BeastGrip and MotionCam.
