[MUSIC PLAYING] One of the great things about doing commercials, that they're kind of like puzzles. We as a production team get a script like this Under Armor spot, and it's kind of like a big riddle. It's really cool. It's very original. It's got big-- quiet. Quiet on the set.
You look at it, and it's got all of these elements that are really filmic, stylized, intense, emotional, all these old aircraft coming to life, these ex-speed junkies interacting with this blazing Apollo sprinter. It just makes for a good challenge.
Andrew, who is the start of this spot is clearly a physical specimen. And I really like the concept of this commercial that today's fast is tomorrow's slow. And this guy is clearly has the athletic muscle to pull it off, and he just looks like a badass moving through this environment.
There's 200 planes here, maybe. And I think everybody very quickly came to realize that every one of these planes has a story, has a story that you can read a book about, make a film about-- you can feel the ghosts of these planes and the men who flew them. And it's one of the most enjoyable locations I've ever filmed at.
At a certain point as a filmmaker you start to realize what the things are that you do well and what things that you don't do as well, and start focusing on what your strengths are. And I've always been attracted to action, sports, to anything that's kinetic and intense. And that's kind of like inside of Kevin Plank's brain, as far as I can tell, all of those things.
I just think that my instincts are probably not unlike Under Armor's. And the kinds of things that Under Armor likes, I like. So it's been a good friendship.