HUNT OR BE HUNTED

CLIENT
Ernest Desumbila
A film by

JÄGERMEISTER “Hunt Or Be Hunted” Directed by ERNEST DESUMBILA / Agency McCANN WORLDGROUP  /  Production by O / Post-Producion & Animation by SAUVAGE.TV /  Executive Producer RAFA MONTILLA  /  Producer NADALA FERNÁNDEZ  /  Production Manager FIONA VIDAL-QUADRAS  /  Director of Photography PAU CASTEJÓN  /  Grading XAVI SANTOLAYA  /  Postproduction Coordinator YUKIO MONTILLA  /  Tattoo Studio ONDO TATTOO / Original Music Track THE SAURS  /  Soundtrack by TRAFALGAR13  /  Sound Design by IDEASONORA  /  Art Direction OIAN ARTEA  /  Stylist CAROLINA GALIANA  /  Hair & Make-up NATALIA ALBERT

Highlights
Sketches
ANIMATION
Giving life to a deer

The easiest option is rarely the most beautiful one, quite on the contrary. That’s why sometimes it’s worth getting involved in a difficult and over ambitious project in which different departments need to work side by side, several artists have to create in coordination and one needs to count on the collaboration of many people alien to this business.

The Hunt or Be Hunted campaign we devised for Jägermeister is one of those professional odysseys. A project the difficulty of which was as high as its ambitions: doing animation with tattoos, using real ink and skin, and setting them in motion.
The idea is brilliant. And so is the result. Then, how come nobody had thought about it before (or, at least, not that we knew of)? Because the path that leads from the initial idea to the final result is not exactly easy. But it’s very beautiful indeed.
In the creation of Hunt or Be Hunted there were many people involved. Up to their necks in it! The responsibility of giving life to Jäger’s deer, then, was shared between many different persons.
When the project landed at the O headquarters, our producer Fiona Vidal-Quadras thought that: “it was impossible. Finding two hundred people ready to get a tattoo for life of something they wouldn’t know what it was wasn’t plausible. They needed to have a blind confidence on the brand and its design”. Nadala Fernández‘ reaction was similar when she joined the project as a producer: “Oh, my, we’re going to suffer! But since it was a challenge, something that had been never done before, we’d enjoy the suffering!” Pau Castejón, director of photography, Lluís Murúa, editor, and Yukio Montilla, post-production coordinator, all agree that the first time they were told about the project they all thought, “it was madness”. But they also considered that it was something “very fresh”.