"My partner, Jim Elliot, came to work one morning with a brilliant idea. Then he went into a meeting and didn't come out until 2pm. Our meeting with Nike was later that afternoon, also at 2pm. And it would be over the phone, which is to say as the Art Director on the team I should have had it easy. Jim, as the writer on the team, would typically bear the brunt of this type of meeting; he pitches concepts beautifully, whereas I'm kind of a spaz.
So anyway, from 11am-2pm I wrote the script, drawing on my youth playing ball, because my dad was in the minor leagues. He had hoped to be a pro baller, but then he was smart about it too. One year in the minors and then he let it go. He got to work launching a construction company, because no one drafted him to play pro ball.
So all this pressure is on me to write the script for this idea. And that's what I do. I write it rather meticulously, staging every sound with a shot of baseball happening. Jim loves it, and Guy loves it, and I love it, and we sell it to Nike without batting an eye. I storyboard the commercial, we hire an amazing director and we shoot it practically shot for shot from the storyboard, with a few pick ups here and there. Then we go to edit it and the construction is spot on again, the focus becomes the sound design and how we handle the sound.
I personally wanted to remove the piano in the soundtrack, but Guy wanted it there. He was back in Seattle CDing by phone, rather than with us in LA; we battled over the phone a little bit over this. To Guy's credit, at the end of the day the sound design was honored the most. We are all very proud of this work. The whole process was beautiful. The commercial is a permanent resident of MoMA NYC as it was honored by the AICP that year. There's more to the story actually, if you're curious, hit me up, I'll tell you more."