The film encourages people to live life the way they want to by staying true to who they are, reflecting the brand’s DNA of celebrating self-expression. The film conveys the brand’s point-of-view that when you free yourself of society's expectations, there's no wrong way to live. From expectations around working 9-to-5 to dancing a certain way. From how you dress to posting your life on social media. And even what you drink.

High-profile Spanish influencer Alba Paul Ferrer features as principal cast (along with footage from her social media feed in the edit). Alba is a social media champion of single sex marriage.

Pick-up shots were filmed in Spain and iconic locations intentionally chosen to further land local relevance.

Ballantine’s has a strong heritage in music, especially via their Boiler Room partnerships.

The archive footage from a Ballantine’s x Boiler Room event, featured DJ Flaca from a female DJ collective called The Chica Gang which campaigns for safe space for women in club culture.

The film also features live action of Flaca DJing at home.

Indigenous Dance Academy (IDA) is an expressive South African dance collective … and a product of social innovation, giving local dancers the chance to earn money doing what they love.

We casted people who are real friends and in real relationships to capture authentic performances.

The original plan was to shoot everything as live action in Ballantine’s four key markets.

Then the pandemic hit.

The solution lay in the campaign idea: There’s No Wrong Way. A mixed-media, hybrid-production approach.

Stalkr provided high-quality stock-footage.

We then researched all the places where a large, multi-location shoot was still possible. Final answer: Lisbon. Partnering with Object & Animal brought a nimble, documentary style and far more locations (including Madrid pick-up shots) than a standard schedule would allow; capturing the epic, global feel required.

Motion graphics injected energy. But we were still missing global protagonists, such as a dance troupe. The answer was a series of ‘self-shoots’ via a director brief. Plus archive footage from a Ballantine’s music event.

Apart from the shoot, everything was via Zoom. Even the edit, with the editor in NYC. The time difference allowed us to maximise the efficiency of edit feedback and workflow.