Note: If viewing Michael Jackson Ultimate Archive on archive.org (Wayback Machine), please view the latest snapshot of this page for the most up-to-date information and media.

"Dreams" Pepsi Commercial / “I’ll Be There” Pepsi Commercial

Date of filming confirmed on clapperboard in “Making of” featurette / Aired in Late July

"Dreams" Pepsi Commercial:

PRNewswire, July 23, 1992

"Dreams," one of the most elaborate commercials in advertising history will debut on international television this week and is the product of the most recent collaboration between superstar Michael Jackson and Pepsi-Cola International (PCI).
The :60 spot will be the first of a two-part campaign featuring Jackson in an extravagant, surreal production sure to carry Pepsi's tradition of innovative advertising to new heights.
"Dreams" is a dazzling display of music, dance and special effects, directed by Joe Pytka, who also directed Jackson in Pepsi's 1988 four- part "Chase" campaign. Jackson is featured performing a track from his smash-hit album "Dangerous", entitled "Who Is It?", which is currently being released in Europe.
The song's title is appropriate, as it will be the question on everyone's lips witnessing Jackson's co-star, model Vanessa Sandin, as she makes her first appearance as the "dreamgirl" in the spot. An Iowa native, Sandin says she had no idea she would have a starring role opposite Jackson when she auditioned for the commercial.
The ad is shot in the style of a music video, with the aid of highly complex, state-of-the-art visual effects. A grand-scale spectacle unfolds as Jackson pursues Sandin through interesting visual elements from his "Dangerous" album cover. Among the many remarkable sets and props in the spot is a glittering Pepsi blimp, and a veritable Noah's ark of exotic animals. This unusual style and artistry, combined with the performance of contemporary music's most innovative talent, result in what will surely be considered a monument to creative advertising.
"Pepsi has always been in the forefront of great advertising. They have always managed to be right on the edge of things, Michael Jackson has as well," said Joe Pytka, who has directed numerous Pepsi commercials in the last five years. Citing Jackson's uniquely broad appeal, he continued, "This unifying factor, this appeal to everybody, breaking through barriers, is perfect for Pepsi, because that's exactly what the company is doing."
The "Dreams" extravaganza represents yet another big-scale production in Pepsi's long line of blockbuster ads. Under the creative direction of BBDO Worldwide New York, a production crew of 60 people shot the spot over five days at the Culver Studios in Culver City, Calif. The commercial will be screened in the more than 165 countries representing Pepsi's markets worldwide.
The collaboration between Pepsi and Jackson has spanned eight years, beginning with ads drawn from the mega-hit "Thriller" album in 1984. Since then, Jackson has appeared in a total of seven Pepsi ads, each one a tour-de-force of conceptual and musical creativity.
Larry McIntosh, Director of Advertising for Pepsi Cola International, commented, "Pepsi sells excitement, and who better to deliver that message than Michael Jackson, the undisputed 'King of Pop'?" He added, "Pepsi has always been a leader in producing creative, innovative and stunning advertising, and this spot takes these dimensions to new heights."
Pepsi is currently sponsoring the singer's spectacular "Dangerous" tour in Europe and will continue to support the tour as it moves to Asia and Latin America later this year. The company has also made donations of more than U.S. $1 million to Jackson's new charity, "Heal The World."
The largest sponsorship deal ever between an entertainer and a corporation, the Jackson-PCI agreement also includes a unique "cassette offer" from Pepsi. McIntosh commented, "The promotional components of the sponsorship are truly unique. We have a limited-edition cassette of a track Michael wanted on the album, but which couldn't be included for lack of space. Only through Pepsi will consumers get to hear this very special Michael Jackson track."
Pepsi-Cola International markets some of the world's largest soft drink brands in over 150 countries and territories. It is one of PepsiCo Inc.'s (NYSE: PEP) fastest growing divisions, with 1991 sales of US$1.5 billion, and is the volume leader in some 40 countries and territories worldwide.

“Jet” magazine (June 8, 1992) (archived)

Jackson was movedto help after reading of Mr. and Mrs. Sanchez’ efforts to raise money to bury their son [9-year-old Ramon Sanchez who died from a stray bullet in a drive-by shooting May 6]. The district attorney’s office was contacted and made the arrangements. When the family expressed a desire to thank Jackson, the district attorney’s office made further arrangements to bring them to the Culver City studio where Jackson was filming a (Pepsi) commercial.

The Sanchez family warmly thanked Jackson. Through an interpreter, Mr. and Mrs. Sanchez told him, “Ramon was one of your biggest fans. You have helped make a very tragic time for us more bearable. Your involvement was a very pleasant surprise and we are eternally grateful.”

Sutton said of Jackson, “This is the first time I’ve ever had anyone contact me totally unsolicited. The man has a special quality about him and I hope his actions inspire others to do the same.”

Chris Cadman, author, “Michael Jackson the Maestro”

Shot over five days at the Culver Studios in Culver City, California, the 60 second ad was shown in some 165 countries around the world.

“I’ll Be There” Pepsi Commercial:

Joe Pytka, director, personal website (accessed April 8, 2020) (archived)

Michael Jackson re recorded I’LL BE THERE for a Pepsi commercial with him singing with himself as a young boy.  We were searching for a boy that could mimic him and were having trouble.  Michael suggested a boy from Australia, Wade Robson.  Wade was white but that didn’t matter since we were going to superimpose Michael’s head onto Wade’s anyway and the rest was to be a silhouette.  The movements were the only thing important.

Digital work was still in its infancy so we were restricted in what we were able to do.  We shot the spot and it was compelling despite the compromises we had to make.  The press was anther matter.  I got a call asking why we used a white boy.  I answered that he was best for the job but it didn’t matter as we were using old Michel footage to adjust for that.  Of course, the press didn’t care about any truths and they did a hatchet job on Michael.