A fantastical world created with Rube Goldberg logic and devices, Sam Mason, along with Guto Terni and Vinicius Costa, directed this surreal ride for Honda Civic at Roof Studio. Using over the top, absurdist logic, Sam wanted to turn the traditional car commercial on its head. Jumping from micro to macro, we move easily within the landscape that shifts seamlessly between CG environments and the live action car.
Director Sam Mason
Creative Directors Guto Terni,Sam Mason,Vinicius Costa
Executive Producer Crystal Campbell
Producer Ryan Mack
Assistant Producer Amanda Penney
Director of Photography Bill Pope
Technical Lead Director Aaron Baker
Design Fred Palacio, Eric Pautz, Guto Terni, Vinicius Costa, Sam Mason
Additional Concept Design Painting Practice, Michal Lisowski
Storyboards Eric Pautz,David Zung,Fred Palacio
Modeling Todd Danielle, Anthony Patti, Gustavo Groppo, Vinicius Costa, Guto Terni, Sam Mason, Daniel P. Teixeira, Fred Palacio, Rafael Ghencev, Juliano dos Santos Araújo, Fellipe Beckman
Produced by Roof Studios
Obsessed with world-building, Sam Mason grew up inspired by artists such as Terry Gilliam, Jim Henson, and Yuri Norstein—auteurs known for creating unique and immersive worlds. His passion to create beautiful and fantastical landscapes embedded with secret languages landed him at Central Saint Martin's in London. His student short won the attention of many studios, not to mention a spot in that year's Annecy circuit.
It also led to his mentorship with acclaimed director Pete Candeland. This partnership launched his directing career on worldwide campaigns for Coke, Toyota, Mazda, and Honda as well as music videos with Sofi Tukker.
In terms of craft, Sam is always excited about applying a style of CG that reflects his lo-fi/hi-fi hybrid approach to making things. He prefers to utilize emerging technologies to apply a physicality and textured realness to his films. He especially likes to start with real objects and from there set up constraints that he can work within, like he did with his collaboration with Hugo Marie for Little Things, where they scoured vintage markets for objects that could ground the film.
With a romantic nod back to the textured details of the Baroque movement, to the reduced instincts of Bauhaus, Sam seeks to create a middle ground aesthetic—a style that straddles both animation and traditional film. The excitement around his methods is a continued push to find new ways of creating a moving painting. The undercurrent of his work is the desire to make something romantic and playful; not overly designed, yet rich with feeling and detail, and always rooted in history. In Sam's own words, his work is never cool but is always playing with the vulnerable.