Decoding The Superhumans Trailer
If you’re reading this blog then chances are you’ve already been blown away by Channel 4’s stunning new 90-second trailer promoting its coverage of the London 2012 Paralympic Games.
If not, feast your eyes on it by clicking this link.
With a thumping soundtrack ‘Harder Than You Think’ from hip hop legends Public Enemy – the finished product is a high-octane mash up of sweaty bodies, unfathomable sporting skill, stumps, prosthetics and super slow mos.
And then of course there’s the controversial car crash and bomb scenes – it’s certainly been no mean feat to get such an ambitious project off the ground.
I caught up with director Tom Tagholm to find out how the concept went from being one line on a page to becoming the most ground-breaking sports promo seen in years:
“The brief came in towards the end of last year and obviously it was a pretty big one. And as with any brief for Channel 4 – but really more so on this than on any other – we knew we had to make some noise. We knew we had to add some edge and grit and attitude.
“And so we narrowed it down to about four or five concepts that we thought could be really strong, but then someone came up with this line – ‘Meet The Superhumans’. We really loved the attitude and the scale and the confidence of it. So we just built up from there to create the strongest, the most impactful concept we could get to run across TV and posters and online and in the press.
“You always have challenges when making films. We did about 15 or 16 days shooting in total, which is a hell of a lot for a project like this. We filmed at a lot of Paralympic test events which was very tricky in terms of access and how close we could get to the competitors and what sort of camera angles we could find that were new and felt special. It was a case of all the camera operators and myself keeping our eyes open at all times because there were people that we found and moments that we saw that we could have never predicted.
“And as well as the live sport scenes, we also storyboarded some of the more iconic shots from the very beginning. There’s one shot of a swimmer diving in to the pool with a camera strapped to her back – we had to invent a rig that allowed the camera to not only go in the water with her but to be sufficiently separated from the rest of her body so that you could see the whole of her back and head and arms as she made her way in to the water.
“There’s also another slow mo shot of two wheelchair rugby chairs crashing crash in to each other. We were shooting that on Phantom cameras and knew that we had to get right in to the middle of the crash, which meant some really careful choreography and great set design. It was a really tricky balance trying to get that feeling of absolute naturalism whilst at the same time trying to get right in the heart of the action.
“But whether it was a live sport shot or a storyboarded shot – we really didn’t want to shoot around the particular physical attributes of these athletes and their disabilities. We wanted to absolutely embrace all of that – their stance, the ways they’ve adapted to their sport, the ways that they use their bodies. It’s very much ‘Here we are!’ y’know? There’s no tiptoeing around anything.
“As for the scenes in the middle with the explosion and car crash and the mother in the hospital – we thought long and hard about how to include them because one thing that we weren’t interested at all in doing was an advert which said ‘Isn’t it great that these guys have made it to the start line?’ That just didn’t interest me and I don’t think it interested the channel.
“What I wanted to do though was just get a flashback moment – to show that it’s a part of what they are now and a part of their physicality. I didn’t want to dwell on it, just to give a hint, a moment of just how tough these characters have had to be. I could have put those scenes at the beginning or the end of the trailer but I think it’d have been weirdly less impactful that way – having them where they are stops you right in your tracks and hits you in the face.”
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