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Jonathan Hayes / Ammunition / Atlanta, GA
'26-'28 National Campaign -- Six Spots
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THE SPOTS
Jonathan Hayes / Ammunition / Atlanta, GA
'26-'28 National Campaign -- Six Spots
"When I saw these scripts and the previous campaign, something clicked. These are the exact type of spots I love directing -- domestic, warm, full of subtle beats."
And when I found out Kyle was a joy to work with, it sealed it. This is an ideal project. I love this opportunity to collaborate and share ideas.
I hope some of these ideas resonate. With the roster of people you're talking to, this campaign is going to be in great hands. So without further ado -- let me tell you how I would direct this.
My wife and I of eight years have one daughter who loves getting her nails done, another who puts raspberries on her fingers, and a little son who's a little berry himself. It's an interesting time in my life -- I relate to every moment in this campaign.
--Jonathan
The recipe for success. Not every aspect of production -- this is what I believe it takes to be successful creating this 2.0 vision.
A fluid experience. Not just getting to wonderful creative, but making sure everybody flies home happy. The formula covers both.
A bucket of my ideas -- take them or leave them. My favorite ways to get that cute little smile out of people.
A couple of tools -- like the mood reel builder and the floor plan blocker -- that show how our process is different.
In pre-production, we'd go deeper on casting, production design, wardrobe -- the works. This treatment is the formula.
GIFs from the round 1 campaign.
Kyle's world is the world of experiences. Watching the game. Burning dinner. Wrestling winter coats onto kids. She's the thread that ties it all together.
Mary Poppins in a blue blazer. The chaos happens around her and she just... handles it.
Her performance was fantastic. Where I'd take it next: quicker movements through the house, snappier transitions, but easing in and out of motion so it never feels rushed.
These little moments and exchanges are dance moves. In pre-production, we need to think about them at a very nuanced level -- subtle reactions, tiny timing shifts. We let the actors know exactly what we're looking for ahead of time. That's how the magic happens.
The Ballerina Meets The Rube Goldberg
Let's 2.0 Kyle's blocking. She's graceful like a ballerina -- but she's also going through a chain of events, being at the right place at the right time. The main mechanism of a Rube Goldberg machine.
The ballerina meets the Rube Goldberg. Kyle moves gracefully like a ballerina -- and she serves as the main mechanism carrying the audience through a chain of relatable life events. That's the formula for each spot.
"The camera and Kyle are dance partners."
Off Broadway to Broadway. Same show. But the lighting is warmer, the handoffs are tighter, and the moments breathe.
Warmer. More controlled. Every frame intentional.
Tighter exchanges. Moments that land.
Slow down for charm beats. Speed up for energy.
Pre-vis, audio shells, locked-down blocking. Smoother 2.0 on set.
We protect it. No over-the-top blocking. Grounded storytelling.
Warm light through windows. Lived-in kitchens. Atlanta homes with character.
Fully representing Georgia
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Every spot is a different Georgia family. Find the one key minor character. Cast around them.
Key Minor Characters Per Spot
Sound carries you there before the image does.
SOUND BRIDGE SEQUENCE
Pick a track. Press play. Watch the vibe.
Shot Library
Music Track
Part of our pre-production process. Through location scouting, we pre-block every beat of every spot. We go in knowing exactly what we need. Gets everyone on the same page faster.
If you go with us, we will do this for every spot.
SPOT ONE -- DAY 5 -- WINTER 2028
Outgrown Winter Clothes -- Kyle + 4 OCP
Here are some of my favorite ideas for this spot --
The teen is in shorts. Walks outside with full teenage confidence. Hits the cold. "Pshhh." Bravado evaporates. High-pitched squeal -- which transitions to the steam from a pot on the gas stove. Kyle pulls the pot off. Someone puts chili on.
The idea of having to dress your kids in clothes that don't fit -- as a parent, it's such a frustrating experience. The kids get really grumpy. Reading this script was a bit emotional, to be honest. That's the kind of real feeling we want to capture here.
Cast around: the dad. --Jonathan
Ready Or Not, Here's Winter is our first fully realized audio storyboard. In pre-production, we'll build these for every spot.
SPOT TWO -- DAY 1 -- FALL 2026
Football Watch Party -- Kyle + 5 OCP + 8 Extras
Here are some of my favorite ideas for this spot --
Here's the idea: add a short line. Two girls come in from outside: 'It's freezing!' As they pass Kyle, she does a choreographed little dance move -- reaches out and bumps the thermostat up to 72 without breaking stride. 'That's why GNG keeps it simple with great rates and reliable service.' The move should feel smooth and intentional, like part of her walk.
The team is down. The energy is off. Kyle goes for the foam finger high five but the guy doesn't return it -- he's deflated, distracted. She keeps walking, unfazed. What if we save the high five for the very end of the spot? A good button -- when the energy finally comes back.
Here's the scene: a woman is in the kitchen holding a game day dish with both hands. She turns around -- 'Does someone mind opening the oven?' Kyle is already right there. Mid-stride, she pops the oven door open. The woman slides the dish in without breaking stride. It's seamless -- choreography. The camera never stops moving.
My idea: Kyle doesn't just grab one stool -- she grabs two. It's a Rube Goldberg moment. She sees two people walking up, looking for a seat in this packed room. She has the premonition -- she knows what they need before they do. She races both stools into position. They sit. She's already gone.
Someone across the room yells for a soda. Don't do the classic football toss -- that's boring. This should be flow state. Kyle throws it smooth, someone catches it like butter. Everyone in the room watches. The catch is so clean it becomes a moment. That's the energy we want.
Cast around: the woman at the oven or the soda catcher.
the foam finger stays in her hand the whole spot --Jonathan
SPOT THREE -- DAY 2 -- FALL 2026
Thanksgiving Feast -- Kyle + 5 OCP + 3 Extras
Here are some of my favorite ideas for this spot --
Kyle hands the pie to the kids -- not placing it on the table, handing it directly to them. Better handshake. One of them immediately sticks his finger in it. Mischievous.
The woman warns the uncle with calm authority. Kyle taps him on the shoulder, which causes the oven door to swing shut like a springboard. Big satisfying bang. Good sound beat. She guides him into the living room.
Football on TV. Grandpa asleep, mug in hand. Kyle picks up the ballet pace, rushes over, grabs the mug just as the cheer erupts. Grandpa wakes up. She hands it back. Then turns and flips on the gas fireplace. Three beats. Three seconds. Done.
Everyone walks in for dinner: "Let's eat!" Kyle is walking toward the front door, leaving. Someone calls out: "Can someone turn on the light?" She flips the switch on her way out. "Because these days, simple is what you need. GNG -- it's that simple."
Cast around: Grandpa asleep in the chair.
"Thanksgiving is when we fill up on food... and our families."
SPOT FOUR -- DAY 3 -- WINTER 2027
Kitchen Chaos -- Kyle + 4 OCP
Manwich commercial energy. Everything going wrong at once.
SEE: MANWICH -- A SPOT I DIRECTED (MY WORK PAGE)
Here are some of my favorite ideas for this spot --
Fast with sound design. Dad pours hot water, hands it to mom, she dunks the tea bag. There's a lot happening all at once -- we can make this a fun viewer experience with layered sound.
When Kyle says "menu," dad remembers something's cooking in the oven. Arrested Development vibes -- Will Arnett energy. He rushes to the oven door. Dad and son wince at the burnt food. Son: "Do you know long division?" Just trying to get a second with his dad.
ARRESTED DEVELOPMENT ENERGY
Kyle has the premonition. Before the kid even says it, she pulls up pizza delivery restaurants on her phone: 'Hey Siri, pull up nearby pizza delivery.' Then the kid says: 'Can we order pizza?' Kyle hands the phone directly to dad. He's ready. 'Because these days, simple is just what you need.'
Cast around: the dad. Kyle is more chill in this one -- watching dad be in the deep.
Arrested Development vibes. Find a Will Arnett GIF reference.
"This is my tent setup in my basement -- in preparation for my four and five year old daughters to eventually sleep outside."
-- JONATHAN
SPOT FIVE -- DAY 4 -- FALL 2027
Indoor Campout -- Kyle + 4 OCP + 2 Extras -- Blue Neckerchief
NOT REI. NOT Moonrise Kingdom. Kids making do.
Here are some of my favorite ideas for this spot --
Kyle: 'Well below freezing. Tonight's camp out is officially a camp in.' Dad walks by the kids who are trying to start a fire with flint and steel in the living room. 'Inside, inside, we're inside.' This becomes the running joke -- every time the kids try to do an outdoor activity indoors, dad circles back with the same line.
Right after dad tells the kids they're inside, Kyle flips on the gas fireplace. The kids go 'ooh' and 'ahh' -- it replaces their failed flint-and-steel fire. 'In shopping for gas isn't on the activity list.' The fireplace moment lands here in the script, right after the camp-in declaration.
Kyle passes two boys -- one has a map unfolded, the other has a compass. She looks over their shoulder and subtly points toward what would be north. They look at each other: 'That way to the fridge.' And go the other direction. She follows.
Kyle follows to the kitchen. The kids are cooking stew on the stovetop with camping mess kits and pocket knives. Ingredients everywhere. Dad circles back through the kitchen: 'Inside!' He can't believe they're doing this in the house. The kids always want to make fire. Dad always wants to push it outside. But this is camping IN. That tension is the recurring joke.
Lights go down. Kyle turns on her flashlight first -- a fun, spooky, cute little moment. The kids laugh and grab theirs. Dad, one more time: 'Inside. Inside.' He can't help himself.
Cast around: the dad. He IS the spot. The 'inside' guy carries the whole thing. --Jonathan
Steadicam with planned cuts. Not true one-take but feels like one.
Reference
The domestic walk-and-talk commercial reference.
"It's about putting people in a comfortable environment and finding those moments -- the light hitting at the right time, the kid laughing at the right time. You can't fake those. You just have to have a second sense."
-- JORDAN McGONAGLE, DP
Jordan brings modern cinema glass and an eye for elevated naturalism. His approach: use anamorphic lenses to give domestic scenes a cinematic quality without feeling stylized. The squeeze-desqueeze process creates pleasing background bokeh and subtly elevates the human face.
For GNG 2.0, Jordan's recipe: warm, controlled lighting. Anamorphic where we can. Not boxing ourselves in -- set the stage, then find the magic once all the pieces are in place.
KESSLER CHARTERS -- STEADICAM
JORDAN'S REEL -- KEY STEADICAM / GIMBAL WORK
"We should consider modern cinema glass -- shooting in 2:1 aspect ratio where possible. Anamorphic lenses give us a really modern look. When we see something shot with anamorphic glass, we think blockbuster. We think Raiders of the Lost Ark. We think big features." -- JORDAN
Reference spots that show the range. Domestic chaos, physical comedy, production value.
So let's just keep working together instead.
Seriously though -- we know this world. The 1.0 versions were fantastic. Kyle was great. Let's make this a dance. Let's do this.
Jonathan Hayes / Ammunition / Atlanta, GA
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