A new WarnerBoothe film suggests a simple metaphor for life in the digital age.
In early March 2017, members of the WarnerBoothe team and other long-time associates spent the week in California creating a short film for their new website. Slated to appear on the home page under the heading “Our Approach,” the brief video expresses the direction of the company and sets the tone for the upcoming launch of its first product, “Journey.”
The film’s imagery suggests that being on today’s digital fast track pushes us forward faster and faster—so fast we rarely have a chance to stop, get off, and connect with the people we care about.
However, there is always a way to make the ride itself more meaningful. Sometimes our most memorable, relationship-building experiences happen while we’re going someplace together—driving kids to soccer practice or music lessons, vacationing with family or friends, traveling on business with work associates. We have similar experiences when we’re pursuing a shared goal or working on a group project. En route to a destination with people we care about, time often stands still and our most cherished relationships grow deeper and stronger.
It’s the intersection of these relationships and digital technology that describes the focus of WarnerBoothe’s future work. This intersection is highlighted in the film’s final scene, where many of the characters reappear in a sun-drenched railway car using digital devices to interact, reminisce, learn together, and engage in meaningful discussion. Through deliberate use of technology, they enjoy the journey of life.
One of the families on the train has a son with special needs. As the world whizzes by outside, he is safe with his family inside, using an ordinary tablet to communicate what he wants to eat. Here, the meaning of “Digital tools. Real life.” becomes especially clear: when we put real life first, technology not only provides interesting opportunities for enrichment; it can make miracles happen.
The film is produced by WarnerBoothe team member, Michael Morris with principal photography by Jed Wells. See the film here.