BOTOX TREATMENT-draft MENUEZ hi

DOUG MENUEZ
REPRESENTATION: Heather Elder
TREATMENT: BOTOX®
FOR CHRONIC MIGRAINE
PREPARED EXCLUSIVELY FOR AbelsonTaylor
SENIOR ART DIRECTOR: Erika Snell
SVP, GROUP CREATIVE DIRECTOR: Andy McAfee
SENIOR ART DIRECTOR: Theo Hild
SENIOR ART BUYER: Kathleen Candelaria
B Words
BOSS
BADASS
BALLER
BRAINIAC

BOSS
Words
BADASS

BALLER
BRAINIAC

OVERVIEW
For millions of women, Botox has been a life changing treatment
for migranes. This new campaign is about Chronic Migraine and
highlights how modern, powerful women are living their best
lives through Botox® as a preventative treatment.
Chronic Migraine is different from episodic migraine with 15 or
more headache days per month. They last longer and the pain is
often more severe. But with Botox you can prevent the onset of
these debilitating headaches.
We will photograph (with possible video tbd) a range of women
who exemplify the new B Words this campaign introduces into
the culture - BOSS, BADASS, BALLER and BRAINIAC - and in a
variety of situations tentitively proposed as a candidate for office,
a DJ, comic book artist and an engineer, tbd. These women
exude courage, confidence and a natural sense of style
that makes you pay attention. We will show that migraines
don’t stop their progress in their careers or their lives.
In each situation, we’ll capture a range of candid, natural action
as well as portraits with and without eye contact. The result will
be four primary photographs for the ads that illustrate the B
Words, with an additional library of related images.
Through this campaign’s brilliant subversion of a pejorative term,
a negative word becomes a huge positive. Combined with killer
photos, this campaign has the potential to really break
through in a big way. Which can have a transformational effect
on the women who will get the good news we are bringing.

BOSS
BADASS
BALLER
BRAINIAC

Y APPROACH
B WORDS = 2 DAYS, 4 MAIN SHOTS BRINGING EMPATHY, EMOTION, ENERGY
I’ve been truly lucky in my career, having traveled to the North Pole, crossed the
Sahara and explored the Amazon while working as a photojournalist on assignment
for Time, Newsweek, LIFE, Fortune and other publications for decades. It’s been a
great blessing to be able to tell the stories of the people I meet along the way.
I learned a lot about human behavior and how to anticipate and capture those
milliseconds that that communicate real emotion. To deliver authentic moments
for campaigns, I’ve developed a practice over many years that combines my
photojournalism experience with the strategy of a film director.
My guiding principal is that whether I’m doing street photography or on a set
shooting a campaign, my moments have to be absolutely authentic. Not as easy as
you’d think. We all have seen what I call “symbolic” moments - we understand the
person in the photograph is meant to be seen as happy or sad, but subconsciously
we sense the shots are set up. Getting the real thing is actually quite hard.
I set us up for success by creating scenarios where action and stories can unfold
naturally. And whatever subject I’m shooting, I use the same respectful approach
to the people I’m photographing, whether real people or actors. They are human
beings and it really pays off to spend a moment finding out who they are so they
feel engaged and invested in the process. I always get great performances this way.
So even though we are shooting stills, I structure it as if we are shooting motion.
I direct my talent with back stories and suggested roles and actions to play out.
This allows me to step back and patiently wait for those miraculous milleseconds
we need. Sometimes I actively guide and direct the talent. If needed, I direct by
misdirection or pretend not to be shooting. All the while, I’m watching and waiting.
The talent get absorbed in their interactions and forget I’m there, yielding unposed,
“found” moments infused with emotion. And I’m free to move in for a portrait or
details.
In general, I shoot pretty fast my photo-essay storytelling style. That means I’m
shooting each scene for moments while also getting wide, medium and tight shots,
overall scene-setters, portraits and telling details such as hands. A quiet look or
gentle touch can reveal so much. In the end, we will have our four hero shots plus a
multitude of supporting images that make up an organically created library.
Together we can design a series of scenarios that best solve our creative needs in
terms of subject matter and action. Then we will build an amazing production to
make it all happen.

BOSS
BADASS
BALLER
BRAINIAC

PR
BOSS
BADASS
BALLER
BRAINIAC

ODUCTION
Although the creative brief is still developing, our
production can be adapted quickly to accomodate
any changes. Right now, our goal is to shoot four main
photographs over two days with additional coverage
to make a library. Video remains a possible add-on.
To maximize our time and budget we’ll seek locations
that can serve two or more scenarios. If budget allows,
we should consider a fitting for our leads which could
occur on the tech scout day prior to shooting.
My process includes listening very carefully to
understand creatives and clients before and during
the production. We will collaborate closely in a true
creative partnership to produce astonishing images
that go straight to the heart and soul of our audience.
CASTING
Casting is often the dominant element for success,
and with this project it will be absolutely crucial to
find women who exude the spirit and energy of this
campaign. I am happy to review talent and provide
input at any stage, as you prefer. I understand there
are complex requirements for talent and that there
may be client preferences. I can shoot with any
casting choice given my varied background.
LIGHTING
To support my approach as a director I never use
strobes because they remind my talent with each pop
that they are being photographed. It can be subtle, but
even the best actor shows signs of self-consciousness
with strobes. I prefer to combine natural, ambient
light with continuous light such as LEDs or HMIs.
MAKEUP/HAIR
My producer and glam squad understand and support
my style of working. For example, they know that
candid moments are precious and place that above
jumping into shots to correct styling. When we break
we can always fix hair or wardrobe, but you can never
get those moments back. I prefer to keep makeup to
a minimum, mainly to hide blemishes or sheen or as
appropriate to the story, but as natural as possible.
The same with hair - it has to support the story which
means it rarely has to be complicated.
WARDROBE
Wardrobe is one of the most critical elements for
creating authentic, timeless images. As with casting,
wardrobe for this shoot will be absolutely critical to
contextualize our subjects. From the deck, it feels clear
we are aiming to dress powerful, intelligent leaders
and iconoclasts. They have individual style but are very
fashion forward too. It’s always great to include a piece
of wardrobe belonging to the subjects themselves to
help keep it real. A favorite coat, shirt or unique jewelry
goes a long way to subconsciously supporting the
comfort and reality of that person and thus our shots.
MY TEAM
I’ve been fortunate to be able to cultivate a small group
of talented creative partners over the past decade. My
main producer, digital tech and first assistant have been
with me for all that time. This gives a kind of shorthand
that’s useful for the way I like to shoot.
With careful planning, we minimize the chance of
complications. Yet we’ve learned over the years that
even the best-laid plans can and will be challenged
by events beyond our control. We cannot fail, so for
everything we plan, we plan a backup. We even have
backups for our backups. Prior to shooting, we’ll review
our entire production approach with the creative team,
agency, client, producer and crew and refine as needed.
Ultimately, it’s our experience that gives us the
confidence to know that we can solve any problem by
working together with a positive outlook, as a team,
with the creatives and clients. And we also know that
life is short, we really enjoy what we do and try to make
every shoot fun and memorable for all involved.

BADASS

BOSS

DIGITAL
WORKFLO
DELIVERY
We have worked hard since the very beginning of digital
photography to build a digital workflow that supports both my prolific
style and quick editing and decision-making for the creatives. We
actually hired a librarian from the Library of Congress to develop a
nomenclature that makes it easy for agencies to track images. In
this case, we will follow the metadata requirements laid out in the
shoot spec.
We will set up a digital workstation off set as a digital darkroom
for locations, to allow for secure backup and editing in a quiet
environment. My digitech will be constantly downloading so that
during regular breaks we can review shots together. At the end of
each day, I will edit the work into selects so we can keep a tight
handle on the edit. I do shoot a lot, so this is important.
During the wrap day immediately following the shoot, we will be
final processing all files to basic specs, completing my edit and
triple backing up all data. Then we will transfer the final job to HD
and FedEx to the agency.

W &

BOSS
BADASS

BALLER
BRAINIAC

FINAL THOUG
I believe all the work I’ve done to date has
prepared me for this project. Thank you for the
opportunity to describe my vision and to share
my strategy. I’d love to contribute my talents
in any way I can to make this wonderful BOTOX
project succeed beyond our expectations.
Doug Menuez

HTS

ABOUT DOUG M
Watch: Doug Menuez Interview by Eventbrite

ENUEZ
Award-winning photographer Doug Menuez draws on decades of documentary
work to produce imagery with a timeless, universal feel. He
has shot campaigns for global brands such Chevrolet, Nikon, Siemens,
Hewlett-Packard, Emirates Airlines, Coca-Cola, Nokia, Microsoft, and the
Sundance Channel, portraits for a wide range of national magazines, and
image libraries for Charles Schwab, FedEx, and many others.
Over 100 million people have now seen “Fearless Genius” since the 2014
Simon & Schuster publication of Doug’s groundbreaking series documenting
the rise of Silicon Valley. An Amazon Photo Book #1 Bestseller, it features
images produced while Doug had unprecedented access to Silicon
Valley’s most brilliant innovators, including Steve Jobs, Bill Gates, John
Warnock, and John Doerr. The work has since been widely published and
exhibited around the world, and Doug has been interviewed about the
project by the BBC, MSNBC, Wired, Fortune, and many others.
His archive of more than 1 million Silicon Valley photographs now resides
in the Douglas Menuez Collection at Stanford University Library, and he
is currently developing a film, app, and nonprofit educational program
inspired by the project.
Doug’s work has been honored many times, including by the Kelly Awards,
the AOP London, the Cannes Festival, the One Show, the Art Directors Club
of New York, PDN, American Photography, Graphis, and Communication
Arts. It has also been featured in nine of the bestselling Day in the Life
volumes, and his books include Defying Gravity: The Making of Newton in
1993, Heaven, Earth,Tequila: Un Viaje al Corazón de México in 2005, and
Transcendent Spirit: The Orphans of Uganda in 2008.

THANK YOU.
CONTACT
Heather Elder Represents
heather@heatherelder.com
415. 931.7709
SEE MORE
Menuez on Heather Elder
Instagram: dmenuez
Twitter: @dougmenuez
[DM]
Photo of Doug Menuez by Clair Yaffa.
All other photographs & text copyright Doug Menuez
Menuez Pictures, LLC. All rights reserved.

www.menue

z.com