I went through your note line by line and kept every cross-out crossed out. What's left builds the day around your five thirty-second ads, one re-take you clearly want another crack at, and the three strongest full scripts. Same rules, new locations this time. And the paid cuts come out of camera at exactly thirty seconds instead of us carving them out of a fifty.
Before anything elseI need three answers from you, all on page 11: the lineup, the T1 to T3 trims, and wardrobe.page 11 →Your Apple note came through with the strikethroughs intact, so I treated those as final: crossed out means cut, no second-guessing. Everything still standing got sorted into one of four buckets. Here's the whole note, accounted for, so you can check my math before we lock the day.
| From your note | The call | Where |
|---|---|---|
| AD 1, both versions | Cut. You crossed out the original and the whole Ryan Reynolds rewrite, so they're gone. | cut |
| What We KNOW Suspiciously Convenient | Crossed out and already in the can anyway. Both are edited, graded, and sitting on the review page. | done |
| We Don't Suck | The only shot spot you didn't cross out, and your note revises it. Reading that as "run it back." Boarded as the re-take. | page 06 |
| Five 30-second ads | The anchor of the day. Purpose-built paid thirties with the HIDquote.com send, which solves the exactly-thirty-seconds problem from round one. | pages 02–05 |
| Salaried agents | Was the stretch grab last time. It's the biggest true differentiator we have, so it gets a full slot now. | page 07 |
| Year-round, do the opposite | Boarded. The they-say-we-say structure shoots fast and reads on mute. | page 08 |
| Worst businesses list | Boarded. The list is a punch-in run, and the "regular dude that got fed up" turn is the most honest thing in the batch. | page 09 |
| Dumb and dumber Hate us for free Kevin Smith / Wu-Tang | Good scripts, safe in the bank for a future round. Nothing gets lost. | banked |
| The math spot | Still parked, same as round one. It would put a real carrier and real prices on screen, which is real legal risk, so it waits. The math thirty covers the angle with generic numbers meanwhile. | parked |
| Loose lines | Everything else stays in my back pocket, grabbed on the boom if you're loose at the end of the day. | with me |
The crossed-out stuff stays crossed out, but for the record: the hold-music gag in the Ryan Reynolds cut has good bones. If you ever un-cross it, I'll be ready.
Round one, the paid :30 had to be carved out of a fifty and came up at 31 and change. You fixed that by writing five ads that are thirties on purpose. So the day starts here, while you're freshest, because these are the ones with money behind them.
Here's the trick that makes the block fast: all five ads end on the same 33 words. So we shoot that close once, nail the pace, and reuse the performance logic all morning. A thirty is a two-second end card plus about 27 seconds of you, which is roughly 70 words, with one spare second of air for the exact-30.000 conform. The close eats 13 of those seconds. Every front half is a 14-second sprint.
| Ad | Words | Est. read | The fit |
|---|---|---|---|
| T1 · Kiss on the cheek | 105 | ~:40 | Runs a full forty at your pace. Needs the big trim, or it lives as the :45 for YouTube, where length is legal. |
| T2 · Nothing you can do | 85 | ~:33 | Close. Two small trims land it. |
| T3 · No thanks | 87 | ~:33 | Close. Two small trims land it. |
| T4 · We don't suck | 76 | ~:31 | Fits at a brisk read. |
| T5 · The math, safe version | 74 | ~:30 | Fits. |
The shared close Shoot it first, own it all day
INT. PERRY'S KITCHEN - MORNING
Perry, dead center, deadpan. The locked master. This read ends every ad in the block.
PERRY
There are better, more affordable options for you, your family and your business. Check out HIDquote.com. Because we believe we can build you a plan so different, it'll knock your dang socks off.
CUT TO END CARD.
How to read the script pages: the gray lines are camera notes and scene labels for me. You only say the black lines under PERRY. And a punch-in is just the tighter second camera on the same lines.
We lock the close before anything else. Once it's in your mouth, the fronts are just sprints. One location for all five, or the close won't match itself.
PERRY
Here at The Healthy Insurance Dude, we know that you're sick and tired of what Big Health Insurance is doing to you and your wallet.
It's not that you can't afford it. But if Big Health Insurance is going to give you the shaft, they should at least give you a kiss on the cheek.
If you're under 65, relatively healthy, and tired of that sucking sound coming out of your wallet…
CUT TO THE SHARED CLOSE (your 33 words, page 02).
The cold open version is stronger anyway. "It's not that you can't afford it" in the first second is a pattern interrupt.
PERRY
Here at The Healthy Insurance Dude, we are tired of watching Big Health Insurance and their brokers giving you ridiculous deductibles, networks, and absolutely insane prices.
And they think there's nothing you can do about it.
If you're under 65, relatively healthy, and tired of getting the shaft from Big Health Insurance…
CUT TO THE SHARED CLOSE (your 33 words, page 02).
"And their brokers" shows up here and in the re-take. You're widening the target on purpose, so I kept it everywhere you wrote it.
PERRY
At The Healthy Insurance Dude, we saw what Big Health Insurance was doing and thought: no thanks.
And when they decided to raise your prices by 20% a year, we decided you're a good person and deserve better.
If you're under 65, relatively healthy, and tired of getting the shaft from Big Health Insurance…
CUT TO THE SHARED CLOSE (your 33 words, page 02).
PERRY
Here at The Healthy Insurance Dude, people ask us all the time what makes us different from Big Health Insurance. Well, that's simple. We don't suck.
In fact, we're pretty dang great.
If you're under 65, relatively healthy, and tired of the BLEEP…
CUT TO THE SHARED CLOSE (your 33 words, page 02).
PERRY
The Healthy Insurance Dude wants to show you some math.
With Big Health Insurance, a decent plan for my family would be over $6,500 a month, with a $12,000 deductible.
If you're under 65, relatively healthy, and tired of the BLEEP…
CUT TO THE SHARED CLOSE (your 33 words, page 02).
The numbers stay exactly as you wrote them. Scripted and backed up is fine, improvised is never.
What to have in your head Two things, that's it
Memorize the 33-word shared close and the signature. That's the whole homework. Every front half gets fed to you chunk by chunk between takes, same as round one, so nothing else needs to live in your memory.
Don't leave the kitchen without The block checklist
| In the can before we move | |
|---|---|
| 1 | The shared close, landed at :13 twice in a row. |
| 2 | Five trimmed fronts, then the five as-written takes. |
| 3 | T1's cold-open :30 and the full :45. |
| 4 | T4 and T5 no-profanity alts, same setup, while the close still matches. |
You crossed out every shot spot except this one, and then you revised it. That reads like "run it back" to me, so it's boarded. Same kitchen, same frame as round one on purpose: your round-one punch-ins still intercut with the new master, so the edit gets both days to work with. About 140 words as written; the hero :45 comes out in the cut.
| What changed | Why it matters |
|---|---|
| "and their brokers" ×2 | Widens the target from the carriers to the whole sales machine around them. |
| "Give us a shot" | An actual ask before the signature. Round one's version never asked. |
| Button unchanged | Still lands on "We don't suck." after the signature. |
INT. PERRY'S KITCHEN - MORNING
PERRY
Here at The Healthy Insurance Dude, people ask us all the time what makes us different from Big Health Insurance and their brokers. Well, that's simple. Everyone else sucks. We don't suck.
In fact, we don't suck so much, we're pretty good. In fact, we're so pretty good, that we're pretty BLEEP great.
I mean, they make it pretty easy for me. Big Health stopped acting like a business that's supposed to provide a service, and they started thinking they were Wu-Tang and going after dollar dollar bills, y'all.
So if you're tired of Big Insurance and their brokers giving you the shaft, give us a shot.
Tightest frame of the spot. The sincere turn, then back to master.
PERRY (CONT'D)
I'm Perry Lunsford. I'm The Healthy Insurance Dude. And we believe we can build you a plan so different, it'll knock your dang socks off.
Hold the frame. The button.
PERRY (CONT'D)
We don't suck.
FADE OUT.
Same rule as round one on the Wu-Tang line: a spoken lyric is still a lyric. Organic cuts keep it, the paid :15 cuts around it until it's cleared or rewritten.
Wear the round-one shirt for this one if it survived. Matching wardrobe means the two shoots intercut invisibly.
This was staged as the if-we're-ahead grab last time and never got its slot. It survived your note untouched, and the salaried-agent line is still the one thing Big Insurance structurally can't say back, so it gets a full block now. Straight to lens on the locked master, no boards: you read it and I lay the Big-vs-HID lines in as text in post. Target :45, about 145 words.
INT. LOCATION TBD - DAY
PERRY
Here at The Healthy Insurance Dude, we're changing the way health insurance is sold.
The four beats. You say both sides, each pair its own take, and the lines land on screen as keyed text while you talk.
At Big Health Insurance, your price is based on your income. The more you make, the more you pay. At The Healthy Insurance Dude, your price is based on your budget and your needs.
At Big Health Insurance, they love to make a decent-looking plan, and put almost no doctors in network. At The Healthy Insurance Dude, we want you to go see your doctor.
At Big Health Insurance, you probably don't have coverage out of state. At The Healthy Insurance Dude, take your family on that vacation.
At Big Health Insurance, giant upfront commissions for their salespeople. Our agents are salaried, so you know you're getting the plan that's right for you, not the plan that's right for us.
Back to master. Signature, then end card.
PERRY (CONT'D)
And I can build you a plan so interesting, it'll knock your dang socks off.
FADE OUT.
Your opposite-day script, now written out in full. It's a they-say-we-say volley, which means it shoots exactly like Spot B: straight to lens, each pair its own take, text keyed in post so it reads on mute. The "getcho butt on vacation" line is the punch-in of the day. Target :45 at about 135 words, and it cuts to a :15 on any single pair.
INT. LOCATION TBD - DAY
PERRY
Here at The Healthy Insurance Dude, we've always thought it was strange that Big Insurance will only let you get in or change plans one time a year.
So we thought we'd do the opposite of that. We're available year-round, and if for some crazy reason you don't like your plan, just let us know and we'll find ya something different.
The volley. Their lines in your fake-sympathy customer-service voice, your answers hard back in deadpan. Each pair its own cut.
(fake sympathy)
"I'm so sorry, you don't have coverage out of state."
(deadpan)
Getcho butt on vacation. We'll make sure you're covered.
(fake sympathy)
"Tell us how much you make, then we'll decide your payments."
(deadpan)
What do you wanna pay, and what deductible do you want?
(fake sympathy)
"Everyone is equal and should be shafted the same."
(deadpan)
Everyone has different coverage needs. You should pick the coverage you want.
Back to master. Signature, then end card.
PERRY (CONT'D)
We're The Healthy Insurance Dude. And we'll build you a plan so interesting, it'll knock your dang socks off.
FADE OUT.
A list spot, a format that does half the work for us: every item is its own punch-in, and item four is the button hiding in plain sight. Then it turns sincere with the most honest run you've written, the "regular dude that got fed up" block. That turn is why this one made the day over the other banked scripts. About 145 words, same :45 target as B and C.
INT. LOCATION TBD - DAY
PERRY
Here at The Healthy Insurance Dude, we decided to make a list of the worst kinds of businesses to deal with.
One. Big Health Insurance.
Two. The people calling you about your extended car warranty.
Three. The DMV.
Four. People calling you from Big Insurance, to sell you Big Insurance.
Punch-in. The indictment, still deadpan.
PERRY (CONT'D)
Big Insurance has perfected the art of denying claims, jacking up premiums, and burying people in fine print.
I mean, the whole industry runs on making money off people's fears.
Tightest frame. The sincere turn.
PERRY (CONT'D)
I'm The Healthy Insurance Dude. And I'm not some insurance genius. I'm just a regular dude that got fed up.
I can't make insurance not suck. But I can often make it more affordable, and suck a whole lot less.
Back to master. Signature, then end card.
PERRY (CONT'D)
And I can build you a plan so interesting, it'll knock your dang socks off.
FADE OUT.
"I can't make insurance not suck" is the most trustworthy line in the campaign. It admits something. Do not let me talk you into cutting it for time.
If we're behind, this is the first spot that banks. It hurts, but the thirties are why we're here.
The morning lives at the kitchen: the thirty block shoots in one spot so the shared close matches itself, and the re-take has to happen where round one happened. After lunch the company moves, and B, C and D get the new looks. If we fall behind, the back of the order pays for it, never the thirty block.
| Time | Block | Notes |
|---|---|---|
| 7:30 | Arrive + scout | Unload, lock the same shooting position as round one, check sun against the windows. |
| 7:45 – 8:30 | Build | Master locked, B-cam staged, boom rigged, lav staged, softboxes set. Fridge and HVAC off, keys in the fridge. |
| 8:30 – 8:45 | Your prep | Wardrobe check on camera, levels, one throwaway warmup read. |
| 8:45 – 9:10 | The shared close | Lock the 13-second close first. Stopwatch on every take until it lands twice in a row. |
| 9:10 – 10:25 | Thirty fronts T1–T5 | Fifteen minutes each. Trimmed reads first, then the as-written takes. T1 gets its cold-open :30 and the full :45. T4 and T5 grab their no-profanity alts in this block. |
| 10:25 – 10:40 | Break + re-rig | Sun is climbing. Softboxes step up as key. |
| 10:40 – 11:25 | Spot A · re-take | We Don't Suck with your revisions. Full runs, then the escalation punch-ins, then one standalone signature take before we wrap the kitchen. |
| 11:25 – 11:30 | Room tone #1 | Thirty seconds of everyone frozen and silent, it saves the edit. Before anyone touches lunch. |
| 11:30 – 12:30 | Lunch + move | Cards back up to the laptop while we pack. Copy one, both cameras. Fridge and HVAC back on, keys out of the fridge, then we all move to location two. |
| 12:30 – 1:15 | Spot B · salaried | First up at location two. The differentiator finally gets its slot. |
| 1:15 – 2:00 | Spot C · year-round | The volley. Fake-sympathy voice on the Big Insurance lines, hard back to deadpan. |
| 2:00 – 2:40 | Spot D · worst list | List punch-ins, then the fed-up turn. |
| 2:40 – 3:05 | Safety + alts | Standard-signoff alts for B, C and D, and any loose one-liners you feel like throwing at the boom. The kitchen safeties already happened this morning. |
| 3:05 – 3:25 | Wrap | Room tone #2, second card backup before leaving, load out. |
If we're behind, cut order: Spot D banks first, then Spot C goes single camera, and nothing else moves. The thirty block and the re-take are untouchable.
If we're ahead after Spot D: dumb and dumber is the grab. Same setup, straight read, and its mission line deserves film.
Where B, C and D land depends on your locations list. If the new spots are close together we can split them across both; if one is a haul, it banks for later. And every new location hands us free extra footage for social, so we steal five minutes of it before we leave each one.
Gear and production are on me. The three calls at the bottom are all I need, and every one is a ten-second reply.
Three calls I need from you
| Decision | |
|---|---|
| 1 | Approve the lineup as I've built it: five thirties anchor the morning, then the re-take, then salaried, year-round, worst list. |
| 2 | The T1, T2, T3 trims: my suggested cuts are on their pages, or send yours. Trimmed reads shoot first either way. |
| 3 | Wardrobe: two solid mid-tone shirts, the round-one shirt for the re-take if it survived, and a swap at the lunch move so each location gets its own look. |
Guardrails, unchanged from round one: no improvised dollar claims, "Big Insurance" stays generic, no real carrier names or logos in frame, profanity always bleeped on paid. The math spot stays parked until we're sure it won't open us up to legal trouble.
Chris Goor spent 25 years behind BBC cameras and now teaches small businesses to make phone videos that feel like a person instead of an ad. 209 thousand followers say it works. So while we're set up anyway, we borrow his style: the same scripts, shot again on a phone, walking and talking. These never touch the paid takes. They're bonus grabs between setups, and they turn one shoot day into weeks of posts.
His best trick also solves your homework problem: one sentence per shot. The setup changes at every line, so you only ever hold one sentence in your head.
The rules we're stealing
Where each script goes
| Piece | The Goor take |
|---|---|
| The five thirties | Each front half again as a walk-and-talk, one line per stride, hook keyed big on screen, walk out on the HIDquote send. Five extra reels that echo the paid ads. |
| Spot A | One joke per setup as you move through the kitchen, coffee in hand. The escalation run was built for this. |
| Spot B | The four beats become four setups on a walk. The keyed text already does his works-on-mute trick. |
| Spot C | Their fake-sympathy lines on the tight close-up, your deadpan answers on the wide. The size jump is the joke. |
| Spot D | One list item per spot on a walk, then you sit down for the fed-up turn. The most Goor-shaped script we have. |
These shoot on the phone on purpose, in HDR. The big cameras stay on the paid takes, and the phone look is the point: it reads like a person, not an ad.
One good flub stays in each reel. Perfect is for the paid cuts.
We only grab these when we're ahead. They never cost the day. And credit where due: this is Chris Goor's playbook, @thechrisgoor, we're just borrowing it for a day.