Woodies: Start to Finish


*while usually remaining anonymous, the below work was kindly allowed to be featured on our website by those involved.

As with No More Nice Car, Dermot Malone wanted to create a bespoke treatment with which to pitch on a commercial. It was about families, DIY and the idea that everyone wants the best home for their family, and with the right tools they can create it themselves. It was going to use real families, in a mini-documentary way, of quotidian family moments around gardens and homes that had been assembled and designed with products from Woodies. He felt the group of creatives that would ultimately become The Silent Treatment would be able to present his vision in an stylish, coherent, understandable treatment.


Unlike how we now work, where before meeting the director we have them send us on any literature that the advertising agency had given them, we met with Dermot first to discuss his vision. With the Dictaphone on the table, we had him tell us in his own words what the piece was about. In detail, he brought us through his vision, including detail such as what music he was intending to use, if there were any references that might help us, what inspired him about the piece – and most importantly, why he was the best person for the job and what the piece meant to him. While recording the conversation, our writers also take their own notes and write down what pops for them, this is integral. The writer than combines his notes with the recorded interview and assimilates the two to write a treatment that is confidently in the directors voice. Having written and refined the first draft, we then email that off to the director for notes. Having received that we made the necessary changes and sent it back for approval. Once we got the approval, it was sent to our storyboard artist to create some bespoke images for the treatment to best reflect Dermot’s story and design ideas. Once we got the illustrations back we sent it all on to our graphic designer, with a list of reference images to include in the piece, to best give the agency a visual clue of what the piece will look like. The designer then makes the treatment look unique, stylish and original. Having received the designed treatment, we then forwarded this to Dermot for approval. Once we got his notes back, we finalised the treatment and sent the finished product back to him. This was the first ever 'Silent Treatment' treatment.


Yet again, Dermot was successful in his pitch and directed not only one piece but a series of them for the television. Each piece showing a different real-life family. It was a very heart-warming series, which is still airing on TV today and we were delighted to play a small part in it.