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    Home » Wonderhood Studios, Benedict Cumberbatch Settle Into “Best Seat In The House” For National Theatre Live

    Wonderhood Studios, Benedict Cumberbatch Settle Into “Best Seat In The House” For National Theatre Live

    By SHOOTFriday, January 24, 2025Updated:Wednesday, January 22, 2025No Comments506 Views
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    U.K.’s National Theatre Live has unveiled its emotive and celebratory brand film which promotes the feeling of watching world-class theatre on the big screen. National Theatre Live is the National Theatre’s pioneering initiative that films live performances of plays and screens them in cinemas and other venues around the world. It aims to bring high-quality theatre to audiences who may not have the opportunity to attend performances in person. Recent productions include “Prima Facie” starring Jodie Comer, and Andrew Scott’s “Vanya.” The next release will be “The Importance of Being Earnest” with Ncuti Gatwa.

    National Theatre Live launched in 2009 and in 2024 released its 100th title, “Nye” starring Michael Sheen. With National Theatre Live, audiences worldwide can experience the magic of theatre, from “the best seat in the house,” giving everyone the chance to access all that the theatre has to offer, up close and personal. This new promotional film starring National Theatre alumnus Benedict Cumberbatch is set to reinforce this mission to make world-class theatre accessible to more people in more locations than ever before.

    The 85-second cinema spot from agency Wonderhood Studios and directed by Mike Sharpe of ManvsMachine opens on a dimly lit stage before a spotlight illuminates a stand-alone wooden chair. A silhouetted Cumberbatch walks into frame, ducking into the light and speaks to the audience, requesting them to “please, take your seats.” Suddenly, a montage of situational chairs flicker across the screen; the same wooden chair is shown to mirror the emotions in the voiceover–ropes held in suspense, tears raining down, joy floating in a flurry of balloons, all before arriving back to Cumberbatch on an empty stage, who speaks to camera saying “one performance, an audience of millions, all from the best seat in the house.”

    Wonderhood Studios partnered with production company Friend, ManvsMachine, Factory Studios and Avenue Editors to create the visuals of the chair. Their ambition to create a campaign that delves into the feelings experienced when watching a National Theatre Live screening- exploring every emotion (anticipation, suspense, wonder, sorrow, joy, love, fury) up close and personal, reflecting how National Theatre Live is able to capture the best angles for every moment of the show. The chair acts as a metaphor for the audience that ultimately reflects the deep, visceral responses that only live performances can inspire.

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    Credits

    Client National Theatre Live Agency Wonderhood Studios James Rafter, Myles Vincent, creative team; Jack Croft, Stacey Bird, executive creative directors; Aidan McClure, chief creative officer; Jessica Lovell, chief strategy officer; Henry Davies, producer; Simon Elvins, head of art; Katarzyna Wozniak, sr. graphic designer. Production Company Friend Mike Sharpe, director (at ManvsMachine); Luke Jacobs, exec producer; Natalie Uglow, producer; Steve Annis, DP. Postproduction Black Kite Studios George Kyriacou, colorist. Editorial Avenue Editors Thomas Goldser, editor. Sound Factory Studios

    Media Type:Commercial: Cinema
    Video Tags:Benedict CumberbatchWonderhood Studios



    Blinkink Crafts A Baroque Stop-Motion Trip To The Moon For Dior

    Friday, February 13, 2026

    Blinkink has unveiled this richly imaginative stop-motion film for Dior titled A Ride of the Moon, directed by Nina Gantz and Renee Zhan, and voiced by 070 Shake. Conceived as a collaborative triumph of human craft, the film stands as a poetic reminder of the value of handmade artistry in an era increasingly shaped by automation and AI.

    Inspired by classical cinema--most notably Georges Méliès’ Voyage dans la Lune--the film for Dior’s Lunar New Year campaign is a baroque-infused journey that blends cinematic language with theatrical illusion. Set within an ornate 18th-century French theatre, it unfolds as a modern fairy tale told through flamboyant design, charming stop-motion animation and playful surrealism.

    The film builds around a Lunar New Year story, where a brave little horse’s showdown with a powerful, sassy adversary plays out. While cinematic and ambitious in scope, the film never takes itself too seriously, finding humor in exaggerated performances and clever theatrical tricks.

    The horse character is modelled after the Dior horse charm, assembled from sewing components and brought to life through meticulous stop-motion craftsmanship. The Moon appears as a Marie Antoinette-esque figure, who brings humor through an over-the-top performance.

    The production embraces old-school theatre mechanics to enhance its sense of wonder. Strings holding up clouds are deliberately visible, trapdoors open in the stage floor and sheets of translucent fabric become shimmering fountains. These visible illusions celebrate the joy of theatrical ingenuity and handmade problem-solving.

    The sets were entirely hand-painted and constructed, combining flat, painted backdrops with half-2D, half-3D elements. Layered sets,... Read More

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