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    Home » The Best Work You May Never See: Javier Bardem, Director David Shane, Mother London Have “Evil’d Enough” For Uber Eats

    The Best Work You May Never See: Javier Bardem, Director David Shane, Mother London Have “Evil’d Enough” For Uber Eats

    By SHOOTTuesday, February 4, 2025No Comments886 Views
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    Uber Eats launches its new brand platform for the U.K.–”When You’ve Done Enough, Uber Eats”–which celebrates moments of often-needed relaxation and downtime delivered by Uber Eats. The first in a series of films has been rolled out to showcase iconic figures entertainingly embracing their downtime.

    “Evil’d Enough” stars Academy Award winner (No Country For Old Men) Javier Bardem, who is well known for playing malevolent characters during his acting career. This TV commercial is directed by Emmy Award-winning filmmaker David Shane and produced through O Positive for agency Mother in London.

    Bardem said “Playing a bad guy can be very demanding. Even villains deserve a little downtime after a long day of being evil. And that’s exactly what Uber Eats delivers.”

    “Evil’d Enough” parachutes us into what appears to be the middle of a classic film scene, starring Bardem in his next iconic evil role. He and his generals sit at a menacing boardroom table in his lair, discussing the next steps for world domination (for what must be the millionth time). But when Bardem decides he’s had enough of evil-ing for the day, he knows exactly what he wants: a little downtime, provided by sushi ordered on Uber Eats.

    Director Shane said, “It’s such a strong idea. We’ve all kind of chafed under the weight of other people’s expectations for us. We may not all be cinematic evil masterminds, but we’ve all needed a break. Javier was a gem to work with. Super invested and really collaborative. There was never a false moment from him. It was just a lovely magical couple of days.”

    The integrated campaign launched yesterday (2/3) across the U.K.

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    Credits

    Client Uber Eats Agency Mother London Production Company O Positive David Shane, director; Nell Jordan, executive producer/producer; Ralph Laucella, Marc Grill, exec producers; Polly Leach, production manager; Sebastian Blenkov, DP; Andy Kelly, production designer; Verity Hawkes, costume stylist. Editorial The Quarry Paul Watts, editor; Tor Adams, edit exec producer; Dilia Knobel, edit producer. Post/VFX Time Based arts Josh Robinson, post exec producer; Chris Aliano, post producer; Miguel Wratten, VFX supervisor & lead; Simone Grattarola, colorist. Music KO Music Andy Oskwarek, music supervisor (score); Phil Kay, composer. Music Licensing Mr. Pape John Connon, music supervisor (“Happy Days”). Audio No 8 Sam Robson, sound engineer; Karen Noden, sound producer.

    Genre:Comedy
    Media Type:Commercial: Television
    Video Tags:David ShaneMotherO Positive



    Top Spot of the Week: Sam Gainsborough Directs An Inflated Spectacle For Clash Royale

    Thursday, April 16, 2026

    Directed by Sam Gainsborough via Blinkink, this film from agency Uncommon Creative Studio transforms video game Clash Royale’s beloved characters into an extraordinary balloon-built world, where more than 10,000 real twisted balloons were used to forge every aspect of what you see on-screen. In this surreal universe, the balloon nature of the characters is never questioned--it simply is. The Goblin trembles in genuine fear. The Barbarian rages with helpless fury. The King, confronted with an impending explosion, quietly accepts his fate.

    To bring this ambitious vision to life, Gainsborough involved Airigami, a team of expert artists who create large-scale installations, illustrations, and experiences entirely out of balloons. Each character was meticulously handcrafted to ensure immediate recognizability while embracing the uncanny qualities of their inflated counterpart. Through extensive pre-production, the team refined not only the likeness of each figure, but also the physical behavior of the balloons, carefully designing how they expand, where pressure builds, and how their forms distort under strain.

    Working across multiple scales, the artists achieved remarkable levels of detail, allowing for both intimate character moments and large-scale visual impact. The cinematography also draws heavily from the horror genre, using extreme close-ups, dramatic angles, and dolly zooms to build tension and amplify the expression of each puppet.

    As the pressure mounts, the characters swell beyond their limits; their balloon forms pushing against the letterbox frame itself, visually reinforcing the escalating tension while also nodding to the film’s underlying absurdity. The climactic moment delivers a visceral payoff: balloon explosions captured at... Read More

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