How This Production Company Captured the Canadian Paralympic Spirit
With all the buzz and chatter about the upcoming Olympic Games, it’s a great time to remember that the fun doesn’t just end in August. In fact, there’s an entire second round - the Paralympic Games - which represents the same spirit of determination, sacrifice, hard work, and pushing the human body to the absolute athletic limit.
Unfortunately, for whatever reason, it doesn’t always get the buzz that the initial event does. While if anything, the amount of effort required to compete at that top level while also battling physical disabilities and limitations may actually be greater, people still don’t tune in quite the same way. So, to try and change this within the Canadian market, celebrate the efforts of these para-athletes, and showcase all that goes into competing at this top level, creative agency WILL and the Canadian Paralympic Committee teamed up with production company GOOD-IDEA to create an awesome 60-second spot. Directed by Ross Allen, the work intercuts live footage with archival material, and is slickly edited to a soundtrack that allows for brief moments of pause to punctuate the work with drama.
To learn more about just what it took to bring this to life, and what it was like working with the para-athletes, LBB’s Jordan Won Neufeldt sat down with Ross for a chat.
LBB> Creating a campaign ahead of the Paralympic Games is no small task. As such, what was the brief, and why were you keen to get involved?
Ross> This project was unique from the start. It was driven by incredible passion from the creative team at WILL, and they wanted a partner that would treat it with as much care and craft as they did.
We were given an awesome script with a lot of heart, but we saw it as more of a challenge – a quest. It was an invite to see if we, as a team, had what it took to make something special, and to make a change. Without a doubt we knew we did, but also that we wanted to be on this project no matter what. We’re no strangers to big challenges - perhaps even impossible ones - but with our proven track record as a team, we matched the agency's drive to exceed and elevate the film. We presented our vision, proudly partnered up, and committed to making something special together.
LBB> What was the pitching process like? Did you have a clear image in mind for how the final spot would turn out? And how closely does the final product resemble that?
Ross> We had a vision and knew exactly what we were going to make and how we were going to do it!
The pitch was simply accepting the challenge with the tenacity and determination to succeed. It was extremely budget-challenged but it had heart, and we had grit. So, it was a good combination.
Every film involves a team, but this one really was a big team effort. Our relationship with the agency became more of a friendship – hardened and shaped by the fun but bumpy road ahead. It was super collaborative in the pitch and development, and this only deepened during production and post.
LBB> Tell us about storyboarding! How did you work to flesh out the script, bring it to life, and show these athletes across a variety of scenarios?
Ross> The script had heart, but the athletes truly brought it to life; a brilliant confluence of idea and reality. It was humbling but inspiring. We wanted to make sure the athletes had a voice, had a say, and this film reflected their personalities and talents.
From the brief, we knew that every shot, every smile, bump, goal, save or stride would have to be earned. And we loved that. We didn’t storyboard, but we scripted situations that added or drove the story forward and made sure to include moments that were true to our athletes and achievable during their busy schedules.
We knew we had to go across the country to meet and shoot the para-athletes in between training, flying, and competing. Every single person was extremely generous with their time and input into the film. Sure, we had to craft a few moments outside of their usual training routine, but every take was committed, the sweat was real, and the laughs were felt and shared. It was inspirational.
LBB> Of course, let’s talk about the footage itself. How many athletes did you work with, and how did you capture them in such a natural yet artistic way?
Ross> We were lucky to shoot seven para-athletes across many different sports in three provinces.
We had two things working against us (no time or money), so instead, we made this our strength. Specifically, we knew we’d craft and shape a naturalistic look and boil it down to the grittier feeling of training, preparing, and competing; crafting a cinematic look with a mix-format and BTS moments to make it more human.
There are many things you expect to see in a big sports film like this… so we also wanted to avoid them. By always seeking to find dynamic lines, intimate angles, and the personal perspectives of our athletes, we focused on their athleticism, their drive, and their failures and triumphs through a lens of realism and passion.
We also had the talented artistic eye of DP Mitchell Baxter. He’s incredible at using what’s available and skillfully sculpting light that reflects the emotion of the moment.
LBB> And what equipment did you bring to set to accomplish this? What inspired your choices?
Ross> Some choices were made for us by the virtue of shooting in three provinces in five days. We knew we needed to be nimble, and we’d done it before. GOOD-IDEA has travelled across Canada and the US many times and always puts the story and craft first, so, we primarily used a handheld rig that allowed us to be closer to the action as well as some fixed rigging to feel the motion of the para-athletes.
LBB> Of the shooting, how much was pre-planned, and how much was left open to the athletes’ interpretation? What was directing it like?
Ross> We had a clear vision of how we wanted the film to feel, rather than look. So, we knew we wanted to make sure the para-athletes could perform to their best ability while we shot with them and around the moment; combining a sense of participating and observing while thinking about their perspectives and the audiences.
Directing is always about clarity, being confident to commit to the vision, and being open to pivot on the spot. In all honesty, my job was easy because every para-athlete was so willing and committed to giving it their all. I was in awe of their strength, skills, and fun personalities. I love to create freedom on set, and it comes from great prep and working with Mitchell and producer Ben Chick, who know me very well. The agency fully trusted us, and I earned the para-athlete's trust through phone calls, preparation, and caring about their perspective. Shooting is the easy bit – the fun bit!
LBB> Building on this, do you have any stories from your travels, or anecdotes from on set?
Ross> We felt like the best way to shoot the film was to travel to the para-athletes, so we shot in Toronto, Halifax, and Montreal. The nature of this type of travel shoot means you build up good momentum and shorthand between the crew, and you get a great sense of how the film is coming together, scene by scene.
However, the challenge with moving so much is the unknowns - locations, light, available equipment and crew - but I had total confidence in my team and the agency totally trusted us. I knew that whatever we shot, as long as it felt authentic to our para-athletes, it would come through in the edit.
As for anecdotes, none really – just a deeper appreciation for the para-athletes and the time and dedication it takes to be the best. I think there is a lot of crossover between sports and filmmaking. But one of the most important ingredients is respect and humility. We were always laughing on set - it broke the tension and revealed the person behind the athlete - which was one of our biggest goals.
LBB> The way the live footage mixes with archival materials like photography is seamless. How did this aspect come to life?
Ross> This mix-medium look and feel was part of the idea from the agency, and we loved it. It felt real and reflective of childhood dreams, the endless hardships of training, and the texture of being human. We didn’t want to limit ourselves to only original cinematic footage. We wanted to use the best moments captured or found that reflected the diversity and personality of our para-athletes. We intercut phone footage with some film BTS stills and knew it would create a tapestry that would engrain that meaning. And we sprinkled in some magic moments from past Paralympic Games, which are impossible to imitate. These ingredients were masterfully crafted by our editor, Calum Moore.
LBB> Equally so, the music brings the spot together beautifully. How did this aspect come to life?
Ross> The music was always going to play a huge role in the film. It was written with the idea that it needed to drive the story and break down barriers with its tone, attitude, and delivery. We were presented with an awesome artist list from Danielle Haythorne and Briony Crane at WILL who wanted to create a custom track with a Canadian artist. One of the artists on the list was Aiza, so I said, ‘why don’t we ask her?’.
From there, we worked with an incredible Canadian composer, Jeremy Wallace Maclean, to write a custom track and lyrics, and were extremely lucky that Aiza was interested in performing the vocals. She was so creative, gracious, and generous from the first call onward. She performed her vocals in English and French, which was incredible to witness. This was one of many special little miracles we had on this job. And a huge thank you to our music supervisor, Alec Hanham, for his hard work and for creating this perfect partnership.
LBB> The decision to create these music pauses provides really nice contrast throughout the work. What inspired this?
Ross> The music needed to have a bite – an unapologetic but inclusive spirit with a sense of relentless pursuit, bumps and triumphs along the way. This film was never going to be dramatic in a cliché orchestral sense… but we wanted some drama to break the beat. Calum was brilliant at crafting misdirects and beat drops in the edit, taking you on a journey but shifting with a flow and spirit of sport. The 60-second film flies by so quickly, and there is never a dull moment. It’s like mini-chapters that build, stop, slide, and flow. But it all leads to the starting line in Paris… the road to immortality.
LBB> What lessons have you learned in the making of this campaign?
Ross> It’s not about what happens between action and cut. It’s what happens before and after. I think it’s humbling to know that the para-athletes trained and competed every single day before we met, and have trained and competed every day since. We were lucky to spend a small moment in time with them, but the dedication it takes to be at the top level is astounding. I’m just lucky to make films and put all I have into that.
LBB> Since launch, how have people responded to this campaign?
Ross> It’s been a very positive reaction, and I truly hope it gets more people behind the Canadian Paralympic Team when they compete in Paris and beyond. The results will be in the viewing numbers, but also the Canadian support and spirit surrounding the games. We’re hearing that the track is getting the para-athletes pretty pumped up, so that feels good too.
LBB> Finally, do you have a favourite shot from the campaign, or an element you’re most proud of?
Ross> I think there is always something special about the first shot on set. From pitching to prep and finally being on set surrounded by friends and people who care and commit to the vision – it always makes me happy.
Finally, we wish all the athletes and para-athletes the best of luck in Paris!
