Chrysler Halftime in America
Chrysler has launched “Halftime in America”, a two minute Super Bowl commercial linked to the “Imported from Detroit” advertising campaign. Clint Eastwood walks into shot to talk about the connection between the game’s half time and the potential future faced by North Americans.
“It’s Halftime in America. And our second half is about to begin. All that matters now is looking ahead and finding a way forward.” Click on the image below to play the video in YouTube
It’s halftime. Both teams are in their locker room discussing what they can do to win this game in the second half.
It’s halftime in America, too. People are out of work and they’re hurting. And they’re all wondering what they’re going to do to make a comeback. And we’re all scared, because this isn’t a game.
The people of Detroit know a little something about this. They almost lost everything. But we all pulled together, now Motor City is fighting again.
I’ve seen a lot of tough eras, a lot of downturns in my life. And, times when we didn’t understand each other. It seems like we’ve lost our heart at times. When the fog of division, discord, and blame made it hard to see what lies ahead.
But after those trials, we all rallied around what was right, and acted as one. Because that’s what we do. We find a way through tough times, and if we can’t find a way, then we’ll make one.
All that matters now is what’s ahead. How do we come from behind? How do we come together? And, how do we win?
Detroit’s showing us it can be done. And, what’s true about them is true about all of us.
This country can’t be knocked out with one punch. We get right back up again and when we do the world is going to hear the roar of our engines. Yeah, it’s halftime America. And, our second half is about to begin.
The Half Time in America ad was developed at Wieden+Kennedy, Portland, by executive creative directors Mark Fitzloff and Susan Hoffman, creative directors Aaron Allen, Micahel Tabtabai and Joe Staples, copywriters Kevin Jones, Smith Henderson and Matthew Dickman, art director Jimm Lasser, and agency producer Bob Wendt.
Filming was shot by director David Gordon Green via Chelsea Pictures, with executive producers Allison Amon, Lisa Mehling, Patrick Mcgoldrick, producer Melinda Nugent and director of photography Eric Treml.
Visual effects were produced at Method Studios, Los Angeles, by producer Colin Clarry and Flame artist Claus Hansen.
Music was produced at Revolver Studios, Portland, by sound producer Collin Hegna and composer Alison Ables.
Editor was Tommy Harden at Joint Editorial.