What was the main message behind this new spot for Peloton?
We knew that what makes Peloton unique is the connectivity around it. That was really an important factor that I wanted to make sure we got across, so we used match-cutting from one person to another to try to make that clear. We wanted to show that each person was in a different part of the country and not only are they getting a great workout, but they’re also being guided by one instructor who is keeping the whole class completely connected.
What was your favorite part of the process for putting this project together?
The shoot was a lot of fun! It was two days and we worked very hard to come up with the right locations and the right cast so, by the time we got to the shoot day, it was really a hoot! It’s a very lively style in which I shot the commercial and both Peloton and Mekanism were really on board with that. The whole team really enjoyed themselves and I certainly enjoyed myself too.
What was the most exciting part about directing the vision for this?
I think the most exciting part was the drive that was brought to it by the Ramones song. It’s an iconic punk rock song and I thought it was very bold to use it in this spot. It’s really a revolutionary song in a lot of ways. It came out in 1976 and it really was a slamming, “go-out-and-get-em”, type of song which is similar to the feeling that you can associate with Peloton; the “hey, ho, let’s go,” “let’s just get out there and do it,” feeling. That really drove me and gave me exciting ideas as far as what to do with the camera. It created the foundation for the energy in which I shot the film.
How did your background, working on films such as Inception and The Dark Knight Rises influence the direction for a fitness piece with Peloton?
I come to the set with a certain set of tools and skills that I acquired over the years by doing these films, and that’s the standard that I apply to everything I do. If you look at the evening lighting in some of the scenes in the new spot, it’s exactly how I would’ve lit a set if I was shooting Leonardo Dicaprio or Christian Bale. This piece for Peloton is very high-energy and I shot it similar to how we shot a lot of fight scenes and action scenes in the Batman films. There was a lot of handheld camera work in those films that had the same spirit to the way we shot a lot of the Peloton material.
How would you describe the energy for this piece?
Intense! Intense in a good way. I think the song really gave it an incredible groove and the enthusiasm was seen on our actors. Ultimately it will become a very effective piece that will make people really excited to try out the Peloton bike when they feel the energy from the spot.
How do you want people to feel after watching this piece?
I think the goal is for people to understand the concept of the connectivity. I think it’s unique that you can be connected to 1,000 people at the same time by taking one class. Also, I really want the audience to feel this vibrant energy that comes along with the exercise that you’re doing. I would love if viewers had a smile on their face and kind of go, “Whoa, that was a trip!”
Why were you interested in working on this piece for Peloton?
I was really interested in the product because I really love high-energy material and I’ve done quite a bit of work with sports, and I really enjoy how that cuts together. It ended up feeling more like I was making an interesting spot instead of a job for me. The final element is, I’m very much into music and having heard that song when it came out 41 years ago and being a long-time fan of the Ramones, it made me confident that we could create a pretty cool piece of work.
Learn more about Wally Pfister’s collection of work here