Ever the rugged individualist, director Robert Black took the creation of Chrysler’s Jeep ‘Picnic’ spot to the upper limits, and his efforts were as uncompromising as the stark terrain that was one of the stars of the 60-second cinema spot. Real mountains, real mountain men – hell, Black even wanted the cast and crew to camp out overnight on location.

Chrysler and agency BBDO Retail were keen on enlisting Black to direct a pair of Jeep spots with production house Radke Films. The original plan was to shoot the first spot, ‘Kiss,’ in Vancouver and environs and follow that immediately with ‘Picnic’ to gain the increased efficiencies of back-to-back shooting.

Naturally, the elements laid waste to those plans. The rain-soaked charm of the first spot wouldn’t translate well in the mountains where ‘Picnic’ was set and where fog can linger like a boorish dinner guest, so the shoot had to be postponed.

While the economy of scale of the double-shoot was lost, and producing the spot according to Black’s vision would be financially and logistically intense, the client wanted Black on board.

‘Being weathered the first time out, the agency and client had to come to the table again and adjust their budget,’ says Radke executive producer Scott Mackenzie. ‘We both worked at that.’

The spot, created by bbdo creative director/copywriter Neil McOstrich copywriter Dale Roberts, art director Andrew Chang and creative director Larry Tolpin, provides another dramatic yet humorous depiction of the capabilities of Jeep vehicles.

The opening shot of a spectacularly desolate snow-covered mountain top establishes the scene, a spiked climbing boot digs resolutely into the snow, and five lonely figures are seen from the side scaling a severe grade.

Over an exterior shot of a small camp, voices of dissension are heard in the unmistakable cadence of Russian. ‘Da!’ ‘Nyet!’ ‘Da!’

Inside the tent, the burly climbers argue about continuing to the top. Charges of cowardice are answered with charges of insanity. An attendant sherpa shakes his head portentously.

The ensuing struggle up the mountain is chronicled with shots of the unforgiving terrain and the adventurers, laden with packs, struggling over snow and treacherous chasms. The scowling face of the blue-eyed naysayer is imposed over the scene with his ominous declaration: ‘You’re crazy!’

When three spent climbers reach the top, pulling eye gear down over ice-encrusted faces, their looks of triumph are replaced with shock. Of course, there are four funsters with folding chairs enjoying a leisurely picnic aside their shiny red Jeep tj, which according to the (English) voice-over is ‘New from the ground up.’

The final aerial shot looks down at the incongruous lot, sitting on the top of the world.

The spot was shot by dop Doug Koch and edited by Chameleon’s Andy Attalai.

Radke, producer Marie Walsh likens the production to a little movie. The two-day shoot took place in the Tantalus mountain range outside Squamish, b.c., which peaks at about 7,500 feet. Mackenzie says initial plans were to shoot in Whistler but that location wasn’t mountainous enough for the desired craggy barrenness.

While the client would have accepted some stock footage for portions of the spot, Black was adamant about capturing the real thing. Two of the climbers in the spot are Russian mountaineers, two are actors with climbing experience, and the wise guide is indeed a Tibetan sherpa.

It is, in fact, one of the enthusiastic actors who undertakes a spectacular extended tumble down the side of the mountain in one of the spot’s early scenes.

A crevice was dug in the snow to capture the climbers, shot from below, scrambling precariously over ladders set across what looks like a deep chasm.

Walsh says safety was a primary concern in the harsh volatility of the mountain location. Mountain safety co-ordinator Robin Mounsey surveyed the site by chopper and advised the crew on where to shoot and the boundaries of their alpine activities. Five additional mountain consultants were also on hand.

To deliver the Jeep to its lofty perch, an enormous construction helicopter was used. Three additional copters were employed to ferry crew and equipment in and out and to capture the imposing grandeur from above.

Black says he wanted to give the spot a Himalayan quality, and the considerable efforts required to achieve the look were worthwhile. Extensive climbing and wardrobe research was done to ensure the spot’s realism.

‘It was quite an ambitious undertaking,’ says Black, whose proposal to stay the night in the remote location was promptly vetoed by the others.

Given the extreme logistical demands and potential for disaster, the exercise went smoothly and the weather was merciful.

Mackenzie says the client stepped up release of the spot, which will go to Cannes and begin running in theaters this month.

Agency producer was Dena Thomson. TI