Volvo was a turning point in my career. Humor had carried me to Grey, but with my new fearless partners in Sweden, I was able to explore a wider creative palette.
In learning to move audiences with more emotional depth, I found a range that reshaped how I understood storytelling, and what I was capable of.
SCOPE: GLOBAL CAMPAIGNS / FILM / TELEVISION / DIGITAL / SOCIAL / LIVE EXPERIENCES
With Wedding, we gave people a complex, deeply human story, experienced not in sequence, but in discovery.
However they encountered the campaign became their version of the narrative.
That freedom pulled audiences deeper, sparked intense cultural conversation, and helped Volvo claim a space in luxury that was completely their own.
The wild success of Wedding gave us the freedom to push even deeper into non-linear storytelling.
For our second act, we created Song of the Open Road: a modern reimagining of Walt Whitman’s life, fractured, poetic, and designed to be discovered, not explained.
For the final chapter of our trilogy, we explored the difference between people who look forward to the future and those who fear it.
The story unfolded through the eyes of a young astronaut, revealed to be the child from Wedding, carrying the thread across all three films.
It was less a car launch than a quiet statement about how Volvo sees the road ahead: uncertain, human, and worth stepping into.
During the LA Auto Show, we rigged a stretch of highway to secretly steal kinetic energy from every passing car and use it to charge a Volvo XC90 T8.
A nearby billboard quietly thanked each driver for their “donation.”
The stunt quickly made headlines, dominating industry coverage throughout the convention.
I believe that if people love something you’ve made and you keep giving them versions of it, that’s all they’ll ever love you for. But if you create something entirely different that they love just as much, they’ll love you for two things, and can’t wait to see what you do next.
With The Choice, we moved from non-linear narratives into documentary storytelling.
It carried forward the themes from our earlier campaigns in a new form, and for me, it proved that universal human truths could move people just as powerfully off the screen as they did on it.