THE MAKING OF THE MOVEMENT by Riggs Partners for With A Little Love

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THE MAKING OF THE MOVEMENT

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Industry Public awareness
Media Film
Market United States
Agency Riggs Partners
Director Ryan Cockrell
Executive Creative Director Cathy Monetti
Art Director Ryon Edwards
Copywriter Michael Powelson
Producer Ethan Jackson
Account Supervisor Teresa Coles
Editor Dorian Warneck
Released August 2010

Credits & Description

Category: Internet Film
Advertiser: WITH A LITTLE LOVE
Product/Service: WORKING POOR AWARENESS
Agency: RIGGS PARTNERS
Production Company: LUNCH & RECESS, Charleston, USA
Date of First Appearance: Aug 10 2010
Executive Creative Director: Cathy Monetti
Copywriter: Michael Powelson
Art Director: Ryon Edwards
Agency Producer: Kevin Smith
Account Supervisor: Teresa Coles
Producer: Ethan Jackson
Director: Ryan Cockrell
Editor: Dorian Warneck
Sound Design/Arrangement: Darryl Izzard
Music: Hootie And The Blowfish/Benedict College Choir/Hold My Hand
Account Manager: Katy Miller
Planner: Tom Barr
Cinematographer: Ryan Cockrell
Other Credits: With A Little Love Team/George Fulton/Jason Richburg/Keely Saye/Jim Sonefeld/David Kunz

English Description
Among us there are those who spend their lives laboring, but who are never able to climb above the poverty line. They are the working poor. They aren’t looking for a handout — but they could certainly use a hand up. So Hootie & The Blowfish, in a gesture initiated by drummer Jim Sonefeld, set about giving them a unique gift: rights to a new interpretation of the band’s 1994 breakout hit “Hold My Hand.” The acclaimed Benedict College Gospel Choir recorded the song, and all artist proceeds go directly to support the working poor.

This film, The Making of the Movement, was a chance opportunity that was nearly missed. Initially no one knew if we would be allowed to shoot the recording session. Jim Sonefeld, was nervous that having a camera and production crew in the studio would negatively affect the final product. We decided to offer the option of shooting on the Canon 5D Mark 2, which would allow the director, to shoot without additional production support using available light. The small size of the camera put Jim at ease and the rest is history.