 We didn't want the comedy to be a parody. We wanted the comedy to be the excited action of someone actually doing it. And Joseph got that. And so when we got there, we didn't have to nuance little things. He was saying, be excited. Go for it. And when the actors went for it, it just, it worked. Hey, I wanted to get a big banner printed and I saw the sign. Oh, did you? Where did this idea come from? This is really cool. It was a really, really simple brief. We worked with Staples. We've been working with Staples for about five years. And they want people to know that they print big things. We had a campaign back in November called Small Prince Big and it was really the start of a print campaign. And for our small business customers, we wanted to be really, really clear and on the nose how we could help them and not get lost in just the fun of what we created, but let them in on the fun that you can have as a small business creating these beautiful bright, vibrant banners to represent your business. And it just so happened in that first round, one of the ideas was what if we remade the I saw the sign music video from the 90s. I mean, that was basically like the one line right up and right away. They were like, yeah, let's do that. I think the first time we saw that concept was probably in January. It was a labor of love over time that developed and got more, more disruptive as we went. So how come that song compared to like any other? I feel like there's a lot of other songs with sign. It's old enough that it's kind of retro, but it's also new enough that everyone knows it. There is an immediate overwhelming reaction, I think, in all of us. That nostalgia pull was there for us. And what was really interesting to see was it was across generations, Gen Zs through millennials. Everyone had a different angle on what that nostalgia meant for them. That song is like so iconic. It played a huge factor for us. In the spot, the employees are basically acting it out and building their own video. It was the funniest song that we could work with. Not funny because it's not a great song, but because they were like going for it. They were wholly going for it. A huge part of this concept was how we represented our associates who spend their days doing tremendous work for our customers. We want to make sure that they showed up in a really, really cool way too. The Staples company really liked the humanization of their employees. They were really into it. They really loved their employees and they just loved the idea that they were between the super cars themselves. It triggered me to think maybe I should put more humanity into it and really get to their eyes, faces, and performances. Our director, Joseph Kahn, has directed every music video you can imagine. Say a name. Joseph Kahn has done it. He created what we think about as that 90s music video look. When we pitched the idea, we had these mood boards, we had these references, and Joseph had stills in those references. Whenever you can get an idea approved and then the references that you've used or the director you can go to, you're like a step ahead. I've had a very long career in music videos going on about 30 years now. It actually started a little bit after the sign came out. When you actually watched that music video, it's kind of the antithesis of what I do in music videos. I remember him saying he avoided these cliches in the music videos he would create, and now before this music video almost kind of weaving some of those cliches in just for the sake of the nostalgia to get that feeling. In the original video, there's these scenes where people are jumping in doing these acrobatic flips and we're like, we've got to do these flips. But because of that, we just kept taking more pieces from the original video that we love, these kind of like tropes that were perfect. The heads all kind of triangular on screen and people kind of walking and doing this. And then as we put them in, they just started to find a natural flow. I've spent my entire career trying to make conceptual pieces that tie together from shot to shot. So now I get to take that sort of hodgepodge-ness and conceptualize it into a new version, where it feels like that but it's a bit more structured and has a bit more of a beginning, middle, and end. So it was an interesting challenge. Joseph had his editor on set. So we had an editor right there. And as we'd finish a shot, they'd kind of give it to the editor and he'd start working it in. So the edit was being built on set. And then it would also affect the next shot. And because I want to do these edits that are so specific, like I literally want to cut on a very specific line and a very specific head turn and a very specific transition. It's just impossible to make those precise decisions without actually seeing actually spliced together so that I can literally direct them to do the turn on this beat. But as the edit was happening and as we'd see footage, Joseph would kind of like, all right, hold on, we're changing it. And he would just go into a slightly different place. He'd reframe a shot because he was seeing what he ended up with. As one thing came out, he'd tweak the next thing and we would just keep moving. It's hard to keep up with that man. Was there something that you felt needed to be in here? I wanted the opening to be organic, where when you transferred into the music video world, that something would break apart. But because we're shooting in a real staple store, there'd be behind a desk in the beginning, a real staples desk, and you can't break that apart. What it is, I cheated it. He's behind the counter and cheese over there, that's a real counter. And then if you watch when the counter breaks apart, I suddenly moved in front of that counter. But the real counter is behind it. You don't notice that. And I thought there is something about that moment where the desk gets let aside and everyone just stands superhero style with them. It really shows our associates as superheroes in a situation like that and that they're ready to help out our customers. Like I just love that vibe that it exudes. So how has the commercial been received from people? Everyone's very happy, the employees love it. I mean, you hope you put out stuff that the world loves, but on top of that, you hope that the employees of whatever company you're working with feel it as well and they get into it. They loved it. I think everywhere they turned, they saw it. They felt it, they were engaged. It was a moment of pride, I think, for those of us who worked on it, but it was a moment of pride for everybody who's part of the brand. It was really fun, cool, exciting to be part of something that felt relevant and it meant a lot for us as a brand and the team. That is actually the truth of a lot of these music videos. The visual effects may suck, the techniques may get dated, but if they're genuinely emoting and connecting, it resonates through time. They're young people having fun, whether that's happening in the 1950s or 2000s or 2020s, it's timeless.