With a million dollar budget slated for each film, the agency secured two of Tinseltown's most prolific storytellers, both of whom are represented by RSA satellite Top Dog for spotwork.

"The agency and the client were more focused on the talent behind the camera than they were in terms of getting big talent in front of the camera," says RSA managing director Jules Daly. "They wanted to launch this campaign with directors who were going to assist them in making better stories."

Shot in Prague with production services company Stillking, Stone's "Rugby" spot bears a close resemblance to his 1999 feature Any Given Sunday. In it an unforgiving crowd incites a violent rugby match between arch rivals England and France.

The playing field transforms into a war zone as fierce competitors gnash teeth while executing bone crunching plays. The violence comes to a halt when two opposing players step foot on an Orange logo decorating the field. They engage in a casual conversation which ends just short of an embrace after one player begins showing family photos. Their communication is meant to symbolize a bridge between two worlds. Violent play resumes the second the players step off the logo.

The two-day shoot with DP Danny Mindel and executive producer Kate Driver featured actual rugby players who were surprised by the level of play demanded by Stone. "Oliver worked them so hard that at the end of the first day they just fell into bed," comments Daly. "They were just exhausted but came in prepared the next day because he really pushed them to their limit in terms of making it look violent and real and understanding the plays."

In addition to creating a realistic match, Daly suggests that the talent of counterpart, Martin Scorsese, may have equally motivated Stone.

Scorsese's "Freedom to Change" provides humorous insight into the life of a fickle young man who is literally hot one second and cold the next. In a dramatic opening, the man is thrown from a rearing horse and exclaims, "I hate horses." The following shot has him seated in a restaurant with a side of beef proclaiming, "I love horses."

Additional sequences reveal the character's inability to commit, in what becomes a showcase of indecision. One moment he loves his girlfriend; the next, not so much. With so many options, Orange customers should have the freedom to choose and even change their minds.

"It's kind of an anti-advertising idea about changing your mind," states RSA executive producer Jim Czarnecki. "Even for Martin, he had to think in terms of another culture. For instance, the notion of eating horsemeat. He told the joke to a French person and they laughed like crazy, so he knew it was a good joke. That joke doesn't play as well here."

Scorsese played an active role in the storyboarding to simplify an otherwise complicated creative. "They knew they had a complicated idea that needed to be communicated quickly and Martin did a lot of things to ground the idea," explains Czarnecki. "He introduced the idea of the couple [in and out of love] that bookends the story a little bit and gives it a narrative thread."

Both directors were open to working with people they hadn't before, plucking well-known talents from the commercial and feature worlds. Scorsese partnered with French-Iranian DP Darius Khondji, whose native tongue proved helpful when communicating on set. The two found common ground having had the same professors while at NYU Film School. Veteran collaborators on set included first AD Joe Reidy, production designer Robin Standoffer, and casting director Ellen Lewis.

Scorsese and Stone each chose commercial editors; Stone Jimmy Weedon at London's Whitehouse and Scorsese Emily Dennis at Mad River Post in New York. Dennis met with Scorsese regularly during the edits and worked from notes that he had made to himself on set. After receiving a clip from a Russian film containing a horse sequence, she felt free to create 30- and 40-second versions with extremely quick cuts.

"A lot of times people will really want a feature director to put their stamp on a commerical and make it their own," remarks Daly. "But these guys pushed us to find out what needed to happen to sell this product. They wanted to figure out what the spots required in order to communicate what the agency needed. They embraced what they had to do."