London. A racing team. A social campaign built around a "Dance for Good" initiative that needed to feel genuine — and not like a PR exercise wearing a human costume.

The challenge with anything called "Dance for Good" is that it can go wrong in a dozen directions. Too polished, too forced, too clearly a marketing moment pretending to be a human one. The racers weren't professional performers. They were athletes who'd agreed to do something outside their comfort zone for a cause they actually cared about.

I made the call on the day to scrap the scripted choreography. Told the team: just move, we'll find it in the edit. Gave them something to react to instead of something to perform. The footage we got was looser, more honest, and — crucially — more watchable than anything we'd have captured sticking to the plan.

The season trailer ran alongside it. Between the two, the Mahindra team's profile going into that race season was meaningfully different — more visible, more human, more worth following.