LEXUS x The Standard of Amazing
Director’s Treatment by Lorenzo de Guia
*best viewed on a computer
SETTING THE STANDARD
We all face big moments in life. It might be a job interview, a pitch, or in this case, the big game. But how do we get our mind right? How do we rise to amazing?
This isn’t about style over substance. This concept believes that style is substance. What we wear, like what we drive, shapes how we feel. And how we feel determines how we show up.
We want the viewer to feel that confidence and excitement. These stories bridge fashion and sports and bring that inner monologue to life.
But we can’t just tell the viewer about it. We have to show it. Not just with beautiful images, but with shots that mean something. That evoke emotion. That make you feel the Standard of Amazing.
Let’s break down how we get there.
THE STORY
Two great spots came to mind when I first read through the concepts. Both center on inner monologue, blocking out the noise, and seeing the world through the eyes of our hero.
While those spots don’t have the heightened visual elements we’re aiming for, they do an excellent job of pulling us into the headspace of our heroes. Our spot, whichever we choose, will do the same but push the central idea even further.
The walk in The Tunnel is about shutting out distractions, while What If is about showing up fully, wherever you go, and owning it. In both cases, the fit, like the LX, helps elevate the moment. It becomes part of the ritual. It’s what makes you feel ready to be great.
What I love most is the style and confidence baked into both. We see the world from our hero’s perspective. They shape it, bend it, slow it down. That level of control is what I want to bring to this.
For every defining moment in the script, we’ll heighten that sense of presence. Time stretches. The environment shifts. The world changes around him. He becomes Neo. He sees the matrix. But this isn’t about flashy visual effects. It’s about grounded realism with just the right amount of stylization. We’ll use practical tools whenever possible and lean on VFX only when it helps complete the vision. The goal is to bring the inner monologue to life in a way that feels authentic, cinematic, and emotionally real.
VISUAL LANGUAGE
These spots are about confidence. The kind we build, the kind we carry, and the kind that helps us rise. It shields us from the noise and pushes us to reach new heights. In our work, in our lives, and in the way we move through the world. That mindset is woven into the story and, of course, into the Lexus LX.
That energy will shape the look and feel of everything we shoot. Bold, dramatic lighting. Evocative mood and atmosphere. The imagery should reflect the mindset of our athlete and, like the LX, have real presence.
Sheetmetal
Even when the LX isn’t on camera, the car is still the star. Its presence is felt throughout, and every visual moment should echo that connection.
When we do see the LX, we will make the most of it. Subtle, controlled camera movement that feels refined but raw. I like to think of it as elegance with edge.
What If
I want to elevate his whole experience once he gets on the court. Super slow motion slows the world down, but his mind is working twice as fast.
To support this, we’ll use a mix of real background extras and VFX crowd augmentation. This approach gives us grounded realism with just the right amount of stylized lift.
The Tunnel
This story is all main character energy.
I love the visual of frozen mannequins, but I let’s dig a little deeper. We start in a tunnel filled with loud fans, hecklers, and trigger-happy paparazzi. The noise is constant. But our hero is calm. He has the right armor. The right wardrobe. As he walks forward, the world around him changes. The chaos fades. One by one, the people turn into mannequins. He doesn't just block out the noise. He reshapes the world.
The LX works the same way. Step inside and everything quiets. It becomes your space, your energy, your sanctuary.
I see slow motion playing a key role here. Not as a gimmick, but as a way to stretch emotion. Flashes go off around him, lighting up a moody tunnel. We feel the tension in close-ups. Faces caught mid-shout. Then silence, as he passes. Frozen figures left behind in his wake.
In both spots, close-ups will connect us to the internal monologue. They let us feel what our hero is thinking. We are in his head. We see what he sees. The camera will move fluidly and with precision, using Steadicam, dolly and track, and cranes for the larger moments.
Notes on Light and Lensing
I’m always drawn to texture when it’s done with purpose and restraint. The references below show the kind of tactile, moody light I love for these moments.
For me, this campaign is about finding the right balance between stylization and grounded realism. I want to mix the two in a way that shows our hero athlete is fully in control.
When it comes to glass, we’ll look for anamorphic lenses with personality. Something with character. Not clinical or sterile. These images should feel alive. Slight imperfections. Organic flares. Lenses that lean cinematic and soulful.
WARDROBE
I keep coming back to this idea of elegance with edge. It perfectly captures the essence of our hero.
Whoever we end up casting, no doubt they will be fashion icons in their own right, and I want to lean on them to bring what makes them feel amazing. That said, I would love to partner with one of my longtime collaborators. She has styled Rihanna and her team for the Super Bowl, Beyoncé and her team for Cowboy Carter, and other icons. She is always working, but I am hoping we can get her or someone from her team onboard.
She has that eye. The looks she creates are always bold, thoughtful, and conversation starting.
PRODUCTION
APPROACH
I always come to my jobs with a collaborative spirit. I know everyone says that, but I actually mean it. I’m committed to working closely with the creative team and the client to make something we’re all proud of. Let’s make it happen together and at the highest level.
1. Working with Athlete Talent
I’ve worked with a lot of athletes, and I understand that their time on set is limited. We can’t expect them to be with us for a full ten or twelve hour shoot day. Our schedule will be built to maximize their time efficiently, but I also recommend hiring a stand-in. This person can help us shoot wider or faceless moments, assist during lighting setups for height and complexion, and give us flexibility across the day. This way, we only bring in our hero when everything is ready to go.
Whoever we cast, we’ll shape the tone and flow of the story to reflect their personality, presence, and energy while staying true to the overall vision of the concepts.
2. Practical Execution and VFX Strategy
My goal is always to do as much as possible practically and in-camera. That said, we will use VFX where needed to elevate key moments in a grounded way. To create a believable and energetic stadium crowd, I suggest filming the first two rows with practical extras on the floor level to craft the scene in authenticity. Behind them, we’ll use a green screen and composite in a full arena using Massive or a similar crowd simulation tool. Each digital character will be programmed with individualized behaviors, reacting with unique gestures, timing, and expressions, so the crowd doesn’t feel like a loop of clones, but instead like a living, breathing audience with genuine personality and energy.
The same applies to the mannequin sequence. Some shots may be best achieved with practical mannequins, while others may benefit from VFX. We should also align on how we want the mannequins to feel. Do they remain fully human but frozen in time, or do they transform into something more stylized and sculptural?
For the LX driving shot, I’d love to shoot it practically using car mounts or an arm car on a short runway near our location. If timing or logistics are tight, we can collaborate with VFX to create something equally cinematic using green screen.
3. Court Location Strategy
If we have access to an NBA arena, that would be a great option. However, if that option is not available to us I want to suggest an alternate solution. We can continue to scout universities, and arenas outside of the NBA fold or we can additionally lock in a location and bring in our own portable basketball court. There is an amazing company I have worked with that supplies custom-built courts for Nike, Adidas, and the NBA for commercial and production shoots. They can provide a full court we can dress, sticker, and install in a college gym, studio, or arena setting. It allows us complete control over the look and avoids the need for NBA clearance.
Once the project is awarded, we can dig into the specifics and align on what makes the most sense for the shoot.
HOW IT MIGHT GO DOWN
Honestly, I loved how the scripts are described in the deck. They’re visual, clear, and effective. Here is a play by play on how the spots might go down with some notable but small changes. Happy to talk through these with the team to see what is and isn’t working.
WHAT IF
Open on a three-quarter angle of the LX as our hero drives up to the arena entrance. As he climbs out of the car, we see a shot of him through the windshield. The inner monologue begins.
VO: Man, my fit is so fire…
As he walks down the tunnel, he gets some looks from passersby. Both men and women are giving him an air of approval and smiles.
VO: Sometimes I wonder…
We cut behind our hero as he walks onto the empty court and stops. Cut to a close-up of him contemplating.
VO: … should I wear it during games?
Suddenly, a spotlight hits from behind, and the camera cuts wide. A full-on game is going down with our hero flexing in his fit. We see the crowd going wild in the far background.
Our hero doesn’t miss a beat. He goes into a dribble, but time has slowed down. Defenders try to step in, but they can’t, he’s too swift.
VO: For real, …
Our hero closes in but then pulls back for a jumper. We cut to reactions from courtside. Paparazzi flashing. Fans wide-eyed.
The ball releases into a slow ballet towards the hoop.
VO: … shouldn’t it all be about how things make you feel?
We don’t see the ball go in… but we know it does. The smile on our hero’s face tells us the full story.
SUPER: THE GREATEST MEASURE OF A CAR, IS HOW IT MAKES YOU FEEL.
Cut to the LX parked. The camera moves subtly, showing off a sleek glint of light bouncing off the shimmering paint.
SUPER: THAT’S THE STANDARD OF AMAZING. EXPERIENCE AMAZING
THE TUNNEL
We start close behind our hero as he walks in slow motion into a tunnel filled with a chaotic mix of paparazzi, players, coaches, fans, haters, doubters, sports reporters, and more. Each are vying for his attention.
The inner monologue starts…
VO: What you put on, your fit…
We cut to a wide shot from the front. Our hero looks straight fire.
Quick flashes from cameras. Slow motion screams from the peanut gallery.
VO: It has to make you feel….
As our hero walks past a group of people, they suddenly freeze into mannequins. Their expressions are locked in place.
VO: Untouchable.
He smirks, turns his head, and another person transforms into a mannequin before his eyes.
VO: That's what you need to raise the bar.
Our hero approaches the end of the tunnel, where his LX sits beautifully under fluorescent lights.
We pull wide. The entire crowd has become mannequins.
VO: Same goes for your ride.
A beautiful rear three-quarter shot of the car as he climbs in.
Over the LX, the super appears:
SUPER: THE GREATEST MEASURE OF A CAR, IS HOW IT MAKES YOU FEEL.
SUPER: THAT’S THE STANDARD OF AMAZING. EXPERIENCE AMAZING
Close up of our hero as he drives off.
MUSIC & VOICEOVER
I really loved the quality and intensity of the voiceover from the Jordan spot reference above. But I did also find another Lexus spot that the voiceover and in fact music was a great combination and even a starting option for music references. It elevates without feeling like it’s trying too hard.
LOOKING AHEAD
Great ideas can come from anywhere. Let’s collaborate, brainstorm, break things open, and build the very best version of this concept. Everything here is flexible. These are jumping-off points meant to spark further discussion and refinement.
I’m excited by the vision, and even more excited to help shape it alongside the creative team.
I don’t build imaginary walls on set. I hang out in video village, talk with everyone, and stay present with the team. Come hang with me at monitor, and let’s do everything it takes to tell the most honest, most beautiful version of this story.
I’ll be a true partner throughout the process, helping everyone shine and pushing for work that is as meaningful as it is stunning. I appreciate the opportunity and look forward to walking you through the treatment.