Knowles and Ford met while working at the UK's Channel 4, a broadcaster known for using often wacky talent to create its idents and promos. Knowles had produced and directed for MTV and VH1 as well as Channel 4, while Ford, an Australian, arrived at the Channel by way of BBDO Melbourne where he was an art director.

"I was minding my own business when this great goon with blond hair came up and tiggled me," recalls Knowles. The two became friends, and while on a mind-expanding trek into the wilds of Miami, decided to join forces to direct commercials. They commenced the process with several spec spots shot on the fly between other, more official projects.

"Topless" for the Volvo C70 poetically captures a young man preparing for work in the morning. Vaguely Western-themed, whistle-driven music plays beneath slowed shots of the fellow's daily ritual, the final step of which is jumping out of his window. Copy announcing that the C70 is now available as a convertible gives way to the disheveled man crawling back into his apartment to retrieve his keys.

Two spec spots for the Ford KA, "Ethel" and "Chuck Norris" move beyond the wry into full-on oddity. "Ethel" is a single shot of an elderly couple on a couch. The old man relates that they have come into some money and as such, he has invested it wisely. His knees knocking excitedly, he says "Show them Ethel," at which point the old lady stands and opens her robe, revealing the firm, voluptuous body of a woman at least 50 years younger than she.

"We got this podium dancer from Liverpool and this real-life couple. The old lady was really losing it," says Knowles.

Ford continues: "If you look closely you see [the old man] scares the shit out of her when he says 'Show them Ethel.' At the same time, she wouldn't stop getting her kit off. We like to surround ourselves with naked women but that was a little much -- she was 74!"

With the help of London's Moving Picture Company the fusion of the dancer's body and the septuagenarian's head was pulled off.

"Chuck Norris" operates under the dual premise that owning a Ford KA makes one feel like Chuck Norris, and that feeling like the star of Walker, Texas Ranger is a happening way to feel. Apparently, a wig, moustache, jeans and white undershirt equate to the Norris factor. In the spot, Norris impersonators continually encounter one another, until the final scene in which a gaggle of similarly decked out would-be tough guys congregate in one group.

"Somehow we hit on something because Chuck is quite recognizable. All you need is a ginger wig, moustache, jeans and a white top," says Knowles.

The oddly pleasing specs were enough to get Daddy into the pitch for JWT Chicago client Foster's through Basecamp, the North American counterpart to Great Guns. The beer spot called for a John Cleese-like adjudicator in a boxing match between an Aussie and a kangaroo; in their pitch, Ford and Knowles and their Basecamp exec producer Brian Farhy played out the script (Farhy wore the rented kangaroo suit).