RITUALADS·GRANDMA'S HOUSE·FOR CAMPBELL CREATIVE

Everyone has memories from Grandma's house.

Cash Cobain learned his craft in his. Two finished spots and two scripts turn that into brand moments for Campbell Creative. The jokes are in the sound.

Grandma's House key art: Cash Cobain and his grandmother in the paneled living room

Built by RitualAds.

RitualAds is the engine behind campaigns and previsualizations for Frito-Lay, Burger King, Kraft Heinz, Pizza Hut, Campbell's, Grey Poupon, and 6 more.

Frito-Lay Burger King Kraft Heinz Pizza Hut Campbell's Grey Poupon Coca-Cola Pepsi Unilever Pringles Hennessy 151 Coffee

Brief in · campaign out · three campaigns on the record · each film plays here · each card opens its full case study

Pizza Hut

In · Agency jnr. and production company Clockwork had to win one of Australia's boldest campaign pitches: how do you win a pitch for setting people on fire, before a single frame is shot?

Out · The pitch script previsualized from script to screen before production began, selling the tone rather than the description.

The result · The pitch won in the room: the Creative Engine gave jnr. and Clockwork the confidence to pitch at full strength and the client the confidence to say yes. “You know you are on to something special when you can tell the creatives are having fun along the way & the board room's reactions are quiet (& loud!) sniggers & snorts... pure joy!” · jnr. / Clockwork

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Temple & Webster

In · Australia's largest online furniture retailer imagined its first cinematic brand campaign as magical realism: a woman steps through a door in her living room wall and the world begins to answer her.

Out · Every room, move and transition mapped before cameras rolled; the actress's real performance stayed untouched while the Temple & Webster world grew around her, furnished entirely from the brand's catalog of over 200,000 products.

The result · The brand's first cinematic brand campaign launched nationally in July 2026 across broadcast, CTV and digital, in 30 and 15 second cuts. “Without you guys, this ad is not even going to air. You've smashed it!” · Temple & Webster

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Martha Stewart

In · A national campaign to launch her new skin care product on Shopify, turning five years of clinical research into a luxury story, without a single practical set.

Out · The commercial, with not a single practical set used in production; midway through post-production she asked for a higher-resolution output for the largest screen in Times Square.

The result · A Times Square debut on the largest screen, seen by 1.5 million people daily, and three major publications.

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The spots, as they would feel.

Two 30-second previsualizations, made from real references: his photograph, the frames in Campbell Creative's brief, the real corner of Wilshire and Fairfax, the bottles, the bags and the marks. They show each idea and how it would be shot.

Doritos · Bars & Dreams

Cash invites the ladies over to his studio for a very good night. The doorbell rings on a hallway full of grannies, every one holding a bag of Doritos; the crunch into the mic becomes the beat, and one granny's chord makes the track land.

Doritos backs people who are boldly themselves. Cash was bold enough to make his music in Grandma's house and start the slizzy movement; this spot puts that story in the room where it happened.

Cash Cobain photograph
THE FACE · his photograph, the look the film holds
A real home studio
THE ROOM · a real home studio, his room in the film
The Doritos bag from the brief
THE BAG · the brief's own Doritos frame, as supplied
The brief's living room frame
THE GRAIN · the brief's living-room frame, palette and texture

INT. GRANDMA'S APARTMENT · NIGHT

Plastic-covered couch. Doilies. His old keyboard in the corner. CASH sits on the couch on the cordless, a bag of Doritos in his lap.

CASH: Going down tonight. Grandma's crib. Let's get slizzy, ladiezzzz.

Muffled crackle on the line. He hangs up, grinning. Quick cuts: cologne, teeth check, Doritos poured into Grandma's crystal candy dish, triangles piling up.

DING-DONG. The door swings open. A hallway full of grannies: church hats, a walker with tennis balls, every one holding a red or blue bag of Doritos. His grandma stands up front, smirking.

GRANNIES: SLIZZYYYY!

Music in: the "You Make My Dreams" riff. Cash's beat drops under it. Bags rip open. A granny crunches on the 2 and 4, and the crunch becomes the snare. Another granny drums a chip on the candy dish. Cash records bars into the mic, dusty fingerprints all over the keys.

A granny leans in and plays one chord with dusty fingers. It is the chord that makes the riff land. Cash's eyes go wide. He points at her. Grandma licks her thumb and wipes his cheek.

CASH (quiet): Thanks, Grandma.

GRANDMA + GRANNIES: SLIZZYYYY!

END CARD: the Doritos mark · Every dream starts with a crunch. · For the Bold. · Cash Cobain x Hall & Oates, "Bars & Dreams"

How it would be made: one day in a real home studio with Cash, his grandmother and a cast of grannies; the rig, the dish and the cordless are props. The inserts and the montage cut to the record, crunches landing on the two and the four as the snare.

The riff in the finished spot would be the licensed record; in the sketch above it is a placeholder. The end card is Doritos' own mark, drawn out of the cheese dust on the pads.

Budweiser · Wassup Grannies Reunite

Cash and Grandma fly in over the corner of Wilshire and Fairfax and Wassup the pilot through the headset. The three Wassup Grannies wait on the pad with cold Budweisers; the toast happens in the sky, and the night ends at the Onyx bar under the sign.

Built on Budweiser's own "Whassup" classic and the storyline in Campbell Creative's brief: the original grannies reunited, twenty-five years on, with Cash carrying the call.

A real executive helicopter
THE AIRCRAFT · a real executive helicopter, form and finish
The Petersen museum corner at dusk
THE CORNER · the Petersen's ribbons at Wilshire and Fairfax
The Skyport lounge render from the brief
THE BAR · the Skyport drawing from the brief, the Onyx bar
The Budweiser bottle label
THE BOTTLE · the label to the lens, as supplied

EXT. SKY OVER WILSHIRE & FAIRFAX · GOLDEN HOUR

A helicopter banks over the Miracle Mile. Inside, CASH and HIS GRANDMA in headsets, LA spread out below. Cash keys the headset to the pilot.

CASH: Wassup.

PILOT: Wassuuup!

Grandma joins in. The whole cabin is yelling it.

EXT. HELIPAD, 6100 WILSHIRE · CONTINUOUS

The helicopter sets down. Waiting on the pad: the THREE WASSUP GRANNIES, cold Budweisers in hand.

GRANNIES: WASSUUUUP!

The toast happens up top, bottles raised against the skyline.

INT. THE ONYX BAR · NIGHT

Everyone moves inside. Cash, Grandma and the grannies at the bar, the party building. The Budweiser sign glows as the last thing we see.

END CARD: the Budweiser mark

How it would be made: Cash, Grandma and the three grannies are filmed on the real helipad at 6100 Wilshire and inside the Onyx bar, with a real helicopter on the pad. The flight and the aerials come from plates of the real corner, so no building has to be flown.

The whole spot is graded to the original campaign's grain, with Budweiser's mark and bottle photography placed as supplied.

The next two, scripted.

Campbell Creative's brief carries two more spots for the same house. Wendy's is scripted in full below and shown as three stills; Liquid Death is two stills today, with a full script to follow if the brand bites.

Wendy's · Blank Truck

Wendy's builds a monster truck and forgets to finish it: fans design the paint, fans vote the top ten, Cash picks the winner, and the winner wins cash. Not him. Cash cash.

Cash on the blank monster truck hood
THE HOOD · Cash on the blank truck, fries in hand
The finished truck jumping a row of freezers
THE JUMP · the winning design mid-air over the freezers
The finished truck in a Wendy's lot
THE LOT · the finished truck outside Wendy's, crowd around it

INT. MONSTER TRUCK ARENA · NIGHT

Empty stands. Floodlights cut through dust. In the center of the dirt sits a giant monster truck, plain white, no paint or decals. Slow push-in. CASH sits on the hood eating Wendy's fries out of the bag.

CASH: Wendy's built a monster truck... (looks it over) and forgot to finish it.

He hops down and knocks on the blank door. It echoes. He looks to camera.

CASH: That's where y'all come in.

Quick cuts, fans designing: a kid draws flames on a napkin in a Wendy's booth. A nail tech paints a tiny truck on one fingernail. A sneakerhead sketches a truck on a fry carton. A tattoo artist draws it on tracing paper. A phone snaps one design and posts it.

SUPER: Design the Wendy's Monster Truck. #WendysMonsterTruck

A phone grid of fan designs. Vote counts tick up, and the grid narrows to a top ten. Cash scrolls the finalists, stops and grins. A stack of money thumps onto the hood.

CASH: ...I pick the winner. And you win cash. (beat) Not me. Cash cash.

Hero shot: the engine roars. The winning design washes across the blank truck like paint. The truck launches off a dirt ramp and lands on a row of white chest freezers, crushing them flat. Slow motion at impact, metal crunch on the beat drop.

SUPER: Fresh Never Frozen.

Outside a Wendy's, day: the finished truck in the lot, a crowd around it, free samples handed out, the winning fan beside Cash taking selfies.

END CARD: the Wendy's mark on red · Win Cash. Meet Cash. · #WendysMonsterTruck · No purchase necessary; official rules at the brand's site.

Liquid Death · At Grandma's Table

Grace at Grandma's table with cans where the wine glasses would be, and Cash and Grandma on the stoop. Two stills hold the idea today; the full script follows if Liquid Death bites.

Grace said at Grandma's table with Liquid Death cans
THE GRACE · cans where the wine glasses would be
Cash and Grandma on the stoop with cans
THE STOOP · Cash and Grandma, cans in hand

The sketch, not the spot.

What plays above sells the idea and the energy to Cash's team and the brands. The finished spots follow the scripts and are produced differently; this is the line between the two.

This page
The production
Purpose
Sell the idea to Cash's team and the brands
A finished campaign, ready for broadcast and social
How it's made
One AI pass per spot, built from reference photographs
A real shoot with Cash, his grandmother and the grannies, plus AI footage only for what a crew can't capture
Cash and the cast
AI likenesses, for pitch review only
Cash himself, with his team's approval on every frame
Story
Loose; the beats and the jokes are approximate
Shot as scripted, with every line, reveal and payoff
Music
Placeholder
Licensed tracks, "You Make My Dreams" among them, and Cash's own beat
Brand marks
Placed to show where they go
The brand's own files, approved by each brand's team

The sketch is rough on purpose. The craft, the casting and the comic timing go into the real production.

How it would be produced.

Each spot is a hybrid: a real shoot with Cash, his grandmother and the grannies, with AI footage where it serves the story best. Brands get a campaign that feels human, with the budget focused on the moments that matter.

Everything lives in Ritual Engine, so cutdowns and social versions come from the same approved assets. Cash's team and each brand approve his likeness, his voice and every mark before anything goes out.

  1. Campbell Creative shares this page and the scripts with its team.
  2. Scope and pricing are aligned, case by case.
  3. The agreement signs and the production schedule is set.

The hits start at Grandma's house.

RitualAds is the engine behind campaigns and previsualizations for Frito-Lay, Burger King, Kraft Heinz, Pizza Hut, Campbell's, Grey Poupon, and 6 more.

The spots and the scripts on this page are ready to share with Cash's team and the brands today.