‘Anyone’ Roland Garros 60 sec
Tennis is pure individualism, one person alone on court, trying to stay composed under enormous pressure. Elegant and fierce at the same time. That’s the space this track lives in.
I wanted to see what happens when a short song replaces a voiceover. The felt piano gives it a soft, cinematic tension, the chords keep shifting, always searching, echoing the idea of “anyone.”
When the track drops into the next section, the harmony falls deeper. Backing vocals enter, also searching, until the final resolution: “You can be anyone - even yourself.” It’s the first time “yourself” appears in the song.
The Work
Master and Publishing rights : Brian Deady (I’m def not a video editor)
Our World - Carhartt - A Fabric Cyclorama
Reach the man through the boy - the part of him often forgotten. Speak to the boy and you’ll find the man.
Carhartt’s recent campaigns have been cinematic but thin - “Tough is Timeless” tells people what toughness is - their audience already knows toughness is earned - not told.
After a period of trust erosion during Covid, the brand needs a gesture, not a voice over.
So Carhartt builds a giant fabric world, crafted from their own materials, made with local artists and craftspeople. A fabric cyclorama screen that tells a story, hand powered by rollers and pulleys - mechanical.
The making becomes content.
The installation becomes a place families can visit.
Kids fall into the world; adults appreciate the craft.
It’s a multi‑platform campaign rooted in real people making real things.
And it gives Carhartt a physical, reusable asset that embodies their highest values.
This is brand repair through generosity.
John Lewis - 2025 Christmas Campaign
This campaign tried to do a few things at once, father–son relationships, modern masculinity, emotional honesty. It approached Christmas with sincerity, showing a truer version of the season where families aren’t always as close as they’d like to be.
But some audiences felt it wasn’t “Christmassy” enough. And the reason sits in one crucial moment.
The whole film builds toward the father and son embracing , the emotional release the story is aiming for. But at 1:30–1:40, when the father pulls his son in, something is off. The shot of the father’s face doesn’t land. His expression feels less like a man reconnecting with his child and more like someone who’s forgotten their car keys.
Maybe it was an edit choice. Maybe it was performance. But it deflates the moment the entire piece depends on and the film never recovers.
My sense is that people felt that deflated moment - but the language they reached for was “It’s not Christmassy enough.”