 |
Seen and noted
What's this all about? This is one of a series of spots for the Master Cabbie Taxi Academy. We don't know much about the agency, the production company, or indeed the client, so it's ended up in our "under-exposed" section To view the spot click .... HERE Info just in from Laurence Shanet, from the production co: - Yes, Master Cabbie is a real client. It's a taxi driving school located in Long Island City, Queens in New York. It was a subsidiary of Top Driver, which is a general driving school, and both have since been purchased by Ford Motor Company, although they were privately owned at the time. - The agency (McLim) is the brainchild of Darren Lim and David McDuffie, who worked together at an agency called Dweck! (which had an extensive awards show history with Dial a Mattress's "Arctic Ground Squirrel" and ads for UPN and Fresh Samantha.) Top Driver and Master Cabbie were Dweck! clients and the campaign was in the pre-production stages when Dweck! went out of business. In order to facilitate the production of the Master Cabbie campaign, Darren and David formed McLim and resurrected the project with Master Cabbie. They went with the same director and production company (KRANKY) who had won the initial bid to produce the project, and the rest is history. The ads have won considerable attention at industry awards shows, despite running primarily on local cable stations. - The idea came from brainstorming sessions by Darren and David, which I was also later involved with. We wanted to create something memorable and honest/realistic, which was inspired by the really awful/cheesy advertising that trade schools do on off hours on television. Think DeVry meets Lincoln Tech. Laurence Shanet. Leo Burnett Sydney on a roll SFX abound in new work from Burnetts Sydney Firstly there's the new Heineken spot: To view the spot click .... HERE  Then Francois Vogel weaves a bit of his HP magic in this one: To view the spot click .... HERE Cheap ... but not nasty The British Airways annual seat sale - This gets the vote for the best of the cheapies for the week. To view the spot click .... HERE Incubator director Tom De Cerchio helping smokers. Quitting made easy You simply get a minder to use the blow dart in the back of the neck method every time you're about to light up. Agency: Clarity Coverdale Fury/ MN CD(s)/ Partners: Jerry Fury, Jac Coverdale AD: Jac Coverdale CW: Jerry Fury Agency Producer: Selannie Tyc Production Company: Incubator/LA Director: Tom De Cerchio DP: Dylan Macleod EP: Alexandra Chamberlain Producer: Kate Dale Stylish new Nescafe work from Annex Films The first commercial in a new campaign direction for Nescafe coffee. A live action/animation journey illustrating how the 3 different blends of Nescafe compliment people's varying moods. Agency: McCanns UK Creative Director: John Hurst Art Director: Carole Davids Copywriter: John Hurst Agency Producer: Petrina Kilby Director: Luc Janin Prodn Co: Annex Films Inside the producer's head ... part 2
INSIDE THEIR HEADS
February 02, 2006 02:32 (Edited: February 17, 2023 05:19)
...continuing from last week, we have a few more insightful comments from production company producers around the world.
 Apologies for the format of putting the same questions to everyone. And sorry to the producers whose comments weren't posted. From Neale Ferguson, Exec. Producer Notorious 24:7 (USA) www.notorious247.com bestads: There are quite a few production companies outthere. How do you get the attention of the agencies? Neale Ferguson: Bite, scream, kick and present good reels. bestads: Is the producer/ director relationship like a marriage & if so who wears the pants? Neale Ferguson: Directors are comodities........ the relationship is nothing like marriage...... I'd hate to sleep with some of the directors on our roster. bestads: When you send out a treatment of a script do you worry about who might steal it? Neale Ferguson: We always send out a few fakes as well so no one really knows which is the official treatment, only the ECD gets that via sealed envelope. bestads: PSA (charity) ads ... A necessary evil (paying back favours) or a chance to shine? Neale Ferguson: We only do them if the creative is good..... business is business bestads: A great script comes in. You really want the job. What do you do to make it happen? (its okay ... you can tell us people dont remember what they read on the net. Scientific fact.) Neale Ferguson: What we always do..... our best bestads: the life of a producer .... Its all about the budget. True / False. Neale Ferguson: There are creative Producers and money Producers...... I'm in the former camp...... bestads: Insert the questions we SHOULD be asking right here. (were not journalists after all ... We just work in advertising & run a website on the side). Neale Ferguson: I don't have time to do your job as well as write treatments for directors......sorry!  from Adam Sawers @ Godman (UK) bestads: Is the producer/ director relationship like a marriage & if so who wears the pants? Adam Sawers: Director and Producer tend to alternate in the pants wearing department. It depends on who is feeling the strongest at that particular moment in time! bestads: When you send out a treatment of a script do you worry about who might steal it? Adam Sawers: The business is full of plagiarism. You have to accept that this goes with the territory and not get too hung up when you see your ideas on the screen. bestads: PSA (charity) ads ... A necessary evil (paying back favours) or a chance to shine? Adam Sawers: Definately a chance to shine. bestads: A great script comes in. You really want the job. What do you do to make it happen? (its okay ... you can tell us people dont remember what they read on the net. Scientific fact.) Adam Sawers: Great treatment, getting it right on the money and making sure the chemistry flows with all the concerned parties. bestads: he life of a producer .... Its all about the budget. True / False. Adam Sawers: Absolutely false. A Producer always has to think creatively. Having said that the budget tends to crop up in 95% of all conversations.......!  ... From Catherine Kerr, Pod Film (Australia) bestads: Is the producer/ director relationship like a marriage & if so who wears the pants? Catherine Kerr: Absolutely it's like a marriage but without the sex which makes it more stressful as you have to talk about it all after a fight. Who wears the pants - well that's down to personality. bestads: When you send out a treatment of a script do you worry about who might steal it? Catherine Kerr: Well, that is something that you have to consider so we have decided to put a little copyright note down the bottom of all treatments to stop that sort of thing happening. I mean its hard to control something like that when it is out of your hands, but you have to have faith or you couldn't keep giving it your best shot, besides it's still up to the interpretation and directors craft to deliver it all on screen. Treatments are becoming an industry on their own which is slightly disturbing as people are now hiring good writers to do them and not enough agency folk are reviewing the treatment with the reel. Any good writer can do fiction ! bestads: PSA (charity) ads ... A necessary evil (paying back favours) or a chance to shine? Catherine Kerr: We have just recently made a couple of great Charity jobs, they can be a great chance for directors to collaborate with creatives on a really nice spot for the reel or in fact really make a stand on an important issue. I always ask the question though whether there is commitment re air time behind it , as being an old left wing from wayback - you really want to think they can help someone. My favourite one of all time was for the RSPCA here in Australia which ran after Xmas reminding people that animals were a commitment for life. They put down something like 8,000 animals and we all felt like we were really helping that change that statistic. bestads: A great script comes in. You really want the job. What do you do to make it happen? (its okay ... you can tell us people dont remember what they read on the net. Scientific fact.) Catherine Kerr: Terrier dog persistance and effort and a bloody good treatment with an extra spoonful of passion from the director. bestads: the life of a producer .... Its all about the budget. True / False. Catherine Kerr: True - whether there's not enough or good enough money it's still down to how you spend it that gives you the great result on TV. I've seen waste either way that could have fed a small African nation.  From Roi MacGregor, Silverscreen Productions, New Zealand bestads: There are quite a few production companies out there. How do you get the attention of the agencies? Roi MacGregor: wearing see through tops with no bra used to work, but now we just impress with the work we carry, and our sheer determination to solve their problems financially, creatively and above all, easily. bestads: Is the producer/ director relationship like a marriage & if so who wears the pants? Roi MacGregor: we both wear pants because let's face it, if the producer is a pussy then the director is going to end up with their pants down anyway bestads: When you send out a treatment of a script do you worry about who might steal it? Roi MacGregor: always bestads: PSA (charity) ads ... A necessary evil (paying back favours) or a chance to shine? Roi MacGregor: as long as it is not a pre-determined favour (i.e."if you do this for us we'll give you a really big job soon...." - never happens) then take the script on its own merit. bestads: A great script comes in. You really want the job. What do you do to make it happen? (it's okay ... you can tell us - people don't remember what they read on the net. Scientific fact.) Roi MacGregor: wear see through tops, brainstorm it until it bleeds and do the best possible treatment and budget - it doesn't matter if anyone reads that because I'm sure that is what everybody does anyway? bestads: the life of a producer .... It's all about the budget. True / False. Roi MacGregor: False bestads: Insert the questions we SHOULD be asking right here. (we're not journalists after all ... We just work in advertising & run a website on the side). Roi MacGregor: Why do budgets shrink? Why do directors and creatives talk to each other about jobs with no producer present and then can't understand why it all turns to custard? Why aren't there more incredible suits out there? Why do creatives constantly overwrite scripts that have no budgets? why is the sky blue?  From Jim Golden...Co-Executive Producer: Rascal Films, Ltd. in NY... bestads: There are quite a few production companies out there. How do you get the attention of the agencies? producer: Good directors on your roster is a start... bestads: Is the producer/ director relationship like a marriage & if so who wears the pants? Jim Golden: Pants? I get pants? Nobody said anything about pants!!! bestads: When you send out a treatment of a script do you worry about who might steal it? Jim Golden: Not really a worry. We know there's a Chinese Wall between us and our esteemed competition. Maybe. bestads: PSA (charity) ads ... A necessary evil (paying back favours) or a chance to shine? Jim Golden: Happy to do them. NOT happy to be quadruple bid on them, though... bestads: A great script comes in. You really want the job. What do you do to make it happen? (its okay ... you can tell us people dont remember what they read on the net. Scientific fact.) Jim Golden: Beg, plead and blackmail seems to work pretty well. It helps to have some Polaroids of the creative director in a compromising position with livestock... bestads: the life of a producer .... Its all about the budget. True / False. Jim Golden: False. It's about recognition from your peers, doing the greater good and making your mortgage payments. bestads: Insert the questions we SHOULD be asking right here. (were not journalists after all ... We just work in advertising & run a website on the side). Jim Golden: 1. Describe the universe in twenty-five words or less and give me two examples. 2. Why do I sneeze when I walk outside into the sun?  From Donna Svanberg, Capitol Productions (Australia). bestads: There are quite a few production companies out there. How do you get the attention of the agencies? Donna Svanberg: with great difficulty; a good red usually works bestads: Is the producer/ director relationship like a marriage & if so who wears the pants? Donna Svanberg: as long as someone is wearing pants bestads: When you send out a treatment of a script do you worry about who might steal it? Donna Svanberg: nope. its there to be read; keeping creative ideas under wraps doesnt win jobs bestads: PSA (charity) ads ... A necessary evil (paying back favours) or a chance to shine? Donna Svanberg: a chance of freedom and the opportunity to really show what we can do bestads: A great script comes in. You really want the job. What do you do to make it happen? (its okay ... you can tell us people dont remember what they read on the net. Scientific fact.) Donna Svanberg: bribery bestads: the life of a producer .... Its all about the budget. True / False. Donna Svanberg: sadly this is true of the current climate; I believe things work in cycles, so........... bestads: Insert the questions we SHOULD be asking right here. (were not journalists after all ... We just work in advertising & run a website on the side). Donna Svanberg: ets share a red and Ill tell you more.  From Gary King, Executive producer at Picture Tree (South Africa): bestads: There are quite a few production companies out there. How do you get the attention of the agencies? Gary King: By doing good work. Good showreels get good work. bestads: Is the producer/ director relationship like a marriage & if so who wears the pants? Gary King: It's a gay relationship. bestads: When you send out a treatment of a script do you worry about who might steal it? Gary King: Yes. It comes down to who you work with, and we work with people we like and trust. This business is all about building relationships. bestads: PSA (charity) ads ... A necessary evil (paying back favours) or a chance to shine? Gary King: A chance to shine and a chance to give back if you really believe in the cause. bestads: A great script comes in. You really want the job. What do you do to make it happen? (its okay ... you can tell us people dont remember what they read on the net. Scientific fact.) Gary King: We contemplate sending gifts, threats or trips to the Bahamas and then turn to our researchers to unleash the passion and the magic of a great treatment. bestads: the life of a producer .... Its all about the budget. True / False. Gary King: Partly. And then it's about relationships and LOTS of talking on the telephone! bestads: Insert the questions we SHOULD be asking right here. (were not journalists after all ... We just work in advertising & run a website on the side). Gary King: You should be asking what my telephone bill is, if I manage to ever see my family and how often I go to the shrink.  From L J Jeneski, Exec Producer, Nonfiction Spots, Santa Monica/New York bestads: There are quite a few production companies out there. How do you get the attention of the agencies? L J Jeneski: Nonfiction is unique in that our directors roster is made up of documentary filmmakers for spots - Sundance and Academy Award award winners among them. Ad agencies tend to find us when they are looking for the real deal . bestads: Is the producer/ director relationship like a marriage & if so who wears the pants? L J Jeneski: We take turns wearing the pants. Im here to support the Directors creative vision. But Im also the conduit between the agency and the director, so there are times when the director needs to listen to those concerns as well. bestads: When you send out a treatment of a script do you worry about who might steal it? L J Jeneski: Not really. We note that creative treatments and ideas presented by the director as new to the project are intellectual property. That, and I have a friend, a very big guy, who lives in the neighborhood... bestads: PSA (charity) ads ... A necessary evil (paying back favours) or a chance to shine? L J Jeneski: PSAs - Love them when the cause is just and the creative is great. bestads: A great script comes in. You really want the job. What do you do to make it happen? (its okay ... you can tell us people dont remember what they read on the net. Scientific fact.) L J Jeneski: When directors falls in love with boards, they go all out on creative input and treatments. And Ill fly a director across the country to meet with creatives instead of just getting on a call. bestads: the life of a producer .... Its all about the budget. True / False. L J Jeneski: True. And False. Nothing tops great creative, but you gotta have the budget to make it happen. bestads: Insert the questions we SHOULD be asking right here. (were not journalists after all ... We just work in advertising & run a website on the side). L J Jeneski: Who the hell started this bidding 5 directors on one job thing? How is it that I get booked into these fabulous hotels with great gyms and never get to use them? Where are the next generation of kick ass directors coming from?
GUEST COMMENTS
January 26, 2006 02:41 (Edited: February 17, 2023 05:19)
 A few words from Patrice Lucet and Charles Guillemant's, Publicis Conseil, Paris ... creatives on the Renault Clio series: First of all, we started looking around for comic ideas that suited the Car of the Year brief. We eventually found this one. Wed been asked to come up with just one film but as we worked on the script, alongside the director, more and more ideas came to us. After wed chosen our comic duo, we began shooting lots of different stories, allowing us to select the cream of the crop. The ads seem to appeal to all sorts of people, most likely down to the fact that the French enjoy making fun of authority, the police, in particular. If we were asked to choose a favourite, Im not really sure we could. Quite simply because we like the progression of the films, one seen after the other, with the cop getting more and more disturbing as you go along.
GUEST COMMENTS
January 26, 2006 02:28 (Edited: February 17, 2023 05:19)
 A few words from Toby Talbot, Stacey Lee, Rosita Rawnsley-Mason, Josh Moore, Saatchis New Zealand, creatives on the featured Yaris spot. The Making of Yaris Towies. Casualty list: - 7 Tow trucks, 10 pairs of white sneakers, 1 small dent in the roof of the Yaris. You could say this shoot was every mans dream, 4 days of fast cars, big hits and shit loads of testosterone. Paul Middleditch was the man for the job, his challenge being to give seven dirty towies and a little red Yaris personality. He took the risk of shooting it all in camera and the spectacular nature of the stunts allowed little room for error. Every stunt came off brilliantly, including a 120kph collision where the steady cam guy missed getting run down by inches. All in all, the response has been great (bar a few crowbar toting Tow truck drivers!). Publicis NY & Smuggler produce new work for CokeAnd now ... how Honda Civic ads USED to look ....
UK
January 26, 2006 02:12 (Edited: February 17, 2023 05:19)
 and from the good people at Xtreme Media, a look at the Honda Civic as it SHOULD be. To view the spot click .... HERE  plug: Xtreme media have zillions of ads from around the world on their database.
GUEST COMMENTS
January 26, 2006 01:49 (Edited: February 17, 2023 05:19)
 Some background info to the Honda Civic "Choir" spot featured this week. Why did you choose to use human voices to represent the noise of the engine? Hondas new Civic is all about driving feeling. Music is all about feeling. So we thought having a choir singing driving could be amazingly powerful and emotional. We wanted to find a way to express the human experience of driving. Not just the big fast powerful sounds, but also the subtler sounds of driving; the satisfying sound of an electric window, or a biro rolling across the dashboard. Driving moments that we all know. The sort of moments that never get spoken about but that we all feel. We wanted to create sounds that were amazingly realistic in their complexity but that you could still hear as made by people. How did you choose the choir? We auditioned loads of people. Most werent flexible enough to cope with the strangeness of some of the sounds. We were asking singers to do something very different with their voices so we needed to find people prepared to experiment and push their voices to the edge. The singers we ended up with all had an excitement for the project and a belief that it could actually work. Even though they didnt know how at the time. Putting the choir together was a bit like building an engine. We had to find people with different strengths from each other, high sounds and low sounds and raspy sounds and smooth sounds. And when you finally put them together youve got yourself a car. How many people in it? There are 60 people in the choir. All different ages and backgrounds. Where did you start? The first thing we had to do was take the new Civic out and record it. We wanted all the sounds the choir made to be 100% faithful to the real sounds of the car. So we recorded its windscreen wipers and the engine on all sorts of different roads going at different speeds. We recorded the electric windows. We even recorded the sound the seatbelt makes when you unclick it and let it go! We ended up with a database of the new Civics sounds. We had hundreds of them. Then we got together a small group of the choir. 10 singers to experiment with. We would take a sound like the electric window and listen to it and try to break down all the different sounds that went into it. The whirr of the motor and the sound of the glass going up and the dramatic change in sound when the glass fits into the rubber seal at the top. Just something like an electric window has an enormous amount of complexity. Once wed broken down what sounds the window made for real, we orchestrated that for the 10 singers, so they were all singing different things. It took a while but soon you could here something that sounded like the Civics electric window. And with more and more rehearsal it became increasingly accurate. We also notice that some sounds had a natural musicality that could be sung. For example the sound of the Civic reversing sounded like a little tune in itself. How long did it all take to rehearse? It took us about 6 months from recording the sounds of the car, experimenting with a small choir to perfect sounds, to rehearsing with the whole choir and learning the final piece of music. How long did it take to record? We recorded over 2 days. It was important that it was a very spontaneous natural performance. Did you ever think it might not be possible to achieve the sounds you needed with the choir? - was it ever just an impossible dream? No. We always believed it could be done. Perhaps we underestimated just how much hard work it would take from so many people though. Where did you do the recording? Angel Studios. Where Robbie records. (He might do a good windscreen wiper actually). Where did you film the car sequences? In England and Spain. For "the making of" documentary, go to .... Honda.co.UK "Foreclay" ... from JWT Melbourne We've featured a few car spots on the main page, so here's another approach from JWT, Melbourne, Australia To view the spot click .... HERE  Publicis Hong Kong use the big nose treatment for their new Tempo tissue spots Executive Creative Director: Shaun Branagan Agency Producer: Jess Lee Art Director: Alan Law Copywriter: Daisy Lau Creative Director: Jonathan Lee Creative Director: Francis Hung Director: Ellis Lee Production Company: The Circus We can do better
FROM BESTADSONTV
January 26, 2006 00:04 (Edited: February 17, 2023 05:19)
 What we're about: Each week we try to post the best work (TV & print) from around the world, but we'll do a better job if we reach more creatives, producers, directors ... & more countries. Help us find the best work from EVERY advertising region. Forward our address to all of your advertising contacts: http://www.bestadsontv.com/main.php Thanks! A reminder from the NY Art Directors club. A reminder from the NY Art Directors club. Inside the head of a production company producer
INSIDE THEIR HEADS
January 25, 2006 20:37 (Edited: February 17, 2023 05:19)
 Often it's all about the director, but this week we're trying to get inside the heads of the production company producers. We put some questions to producers around the world & here are a few replies. (We just chose a few at random ... sorry to those whose comments didn't get posted. We'll try to post more later) From Lizzie Gower, Academy Films, London. bestads: There are quite a few production companies out there. How do you get the attention of the agencies? Academy: by having good showreels bestads: Is the producer/ director relationship like a marriage & if so who wears the pants? Academy: the director bestads: When you send out a treatment of a script do you worry about who might steal it? Academy: no never bestads: PSA (charity) ads ... A necessary evil (paying back favours) or a chance to shine? Academy: its good to put something for free back into the industry bestads: A great script comes in. You really want the job. What do you do to make it happen? (its okay ... you can tell us people dont remember what they read on the net. Scientific fact.) producer:we employ researchers, and work till midnight for a week on the treatment and try and get back in to the agency to present it to the creatives rather than e mail it in. bestads: the life of a producer .... Its all about the budget. True / False. Academy: false, wouldnt want to do the job if it was only number crunching a good producer makes a creative contribution to the production.  From Wilf Sweetland, Exit Films, Melbourne, Australia bestads: There are quite a few production companies out there. How do you get the attention of the agencies? producer: Let the work of the Director speak for you bestads: Is the producer/ director relationship like a marriage & if so who wears the pants? Exit: Exactly like a marriage, although the Director is having an affair on the side with their real wife. I definitely wear the pants - I just get told what colour to wear bestads: When you send out a treatment of a script do you worry about who might steal it? Exit: Don't really worry about it because it has happened and there is nothing you can do. bestads: PSA (charity) ads ... A necessary evil (paying back favours) or a chance to shine? Exit: A real chance to do challenging work under challenging circumstances bestads: A great script comes in. You really want the job. What do you do to make it happen? (its okay ... you can tell us people dont remember what they read on the net. Scientific fact.) Exit: Whatever is necessary. bestads: the life of a producer .... Its all about the budget. True / False. Exit: True, but in a creative way. Helping to achieve someone's visions under constraints of a budget make it that way.  From Matthew Charde, Global Mechanic, USA [b]bestads: There are quite a few production companies out there. How do you get the attention of the agencies? Global Mechanic: SOUNDS TRITE...BUT GOOD WORK bestads: Is the producer/ director relationship like a marriage & if so who wears the pants? Global Mechanic: KINDA LIKE WERE CO-CAPTAINS OF THE TEAM....BUT THE DIRECTOR ALWAYS WINS THE COIN TOSS bestads: When you send out a treatment of a script do you worry about who might steal it? Global Mechanic: WORRY? NO. HOPE THAT IT IS STOLEN? HEY- ANYWAY I CAN GET OUR IDEAS IN FRONT OF CREATIVE I'LL TAKE...CLEARLY IT IS BEST IF IT IS DONE THE TRADITIONAL CLIENT / VENDOR WAY...BUT REMEMBER- IT ALL COMES AROUND. I PLAN ON STICKING IN THIS BIZ LONG ENOUGH TO SEE IT COME AROUND A FEW MORE TIMES AGAIN. bestads: PSA (charity) ads ... A necessary evil (paying back favours) or a chance to shine? Global Mechanic: CHANCE TO SHINE...NO QUESTION. bestads: A great script comes in. You really want the job. What do you do to make it happen? (its okay ... you can tell us people dont remember what they read on the net. Scientific fact.) Global Mechanic: CONSISTENCY....GOOD CALL, GREAT CREATIVE TREATMENT, FAIR PRICING....AND REMEMBERING TO SAY PLEASE AND THANK YOU. IF THAT DOESNT GET THE WORK, THEN WE WERE NOT GOING TO GET IT ANYWAY. bestads: the life of a producer .... Its all about the budget. True / False. Global Mechanic: NOTHING BEATS A WELL FUNDED GREAT BOARD. SECOND CHIOCE? HMMM...DEPENDS ON THE TIME OF THE YEAR! bestads: Insert the questions we SHOULD be asking right here. (were not journalists after all ... We just work in advertising & run a website on the side). Global Mechanic: WHY DO AGENCY PRODUCERS (AND CREATIVES) ALWAYS TALK ABOUT LOOKING FOR NEW TALENT AND THEN HARDLY EVER USE THEM?  From KAI STÖCKER, Cobblestone, Germany. bestads:There are quite a few production companies out there. How do you get the attention of the agencies? Cobblestone: we try to get good stuff on the screens, ideally our directors' visions and cuts. Its still the best PR you can get. bestads: Is the producer/ director relationship like a marriage & if so who wears the pants? Cobblestone: In Germany directors work with different producers in one company. Producers can be good sparing partners but creativity has to come from the director. bestads: When you send out a treatment of a script do you worry about who might steal it? Cobblestone: No. Thats part of the business. If that is happening, your director might be a good creative, but his reel sucks or you're doing something wrong as a production company. Otherwise they would take your good ideas and do the project with YOU... bestads: PSA (charity) ads ... A necessary evil (paying back favours) or a chance to shine? Cobblestone: If there would be more brillant ideas for this category it could be a chance to shine and a good thing to invest money in. At least it's for something helpful and not only for the glory of a creative director. bestads: A great script comes in. You really want the job. What do you do to make it happen? (its okay ... you can tell us people dont remember what they read on the net. Scientific fact.) Cobblestone: ... our charming tools are endless ... bestads: the life of a producer .... Its all about the budget. True / False. Cobblestone: budgets got more important in recent years. But it's more about finding new ways to live with the given budgets and still give good value for money bestads: Insert the questions we SHOULD be asking right here. (were not journalists after all ... We just work in advertising & run a website on the side). Cobblestone: What comes after 30 seconds?
GUEST COMMENTS
January 19, 2006 10:22 (Edited: February 17, 2023 05:19)
 Some background from Feargal Ballance (Art director) & Dylan Harrison (Copywriter), DDB London, creatives on "Angel's Day Off": We were very fortunate to get Frederic Planchon because we always love the way he approaches TV commercials. He makes tiny epic and never loses sight of the idea. And like any top class director he makes you look good. He took our ideas and made them brighter, funnier, added charm and a touch of class. He casting was perfect and his idea to make the angels topless was inspired. Our angels were now Volkswagen angels never to be confused with any other. Watching Frederic in action was a great experience. We shot the spot in Rio in early December. It was a six day shoot over two weeks. We had a cast of forty angels. Used every stunt man in Rio and pinched a few more from Sao Paulo. Some of these stunt men drove the cars, bikes, buses and trucks. The others were dressed as angels clinging on to their roofs. We also had forty non-angel actors to be the humans. We closed down streets, buildings and bridges. And to add to the fun the director and a few others from Academy got robbed at gun point by a couple of 12 year olds. If it wasnt for Frederic, his kick ass 1st AD Eric (ear-ache), Academy, our top hero angel and the Brazilian crew it couldve been a shit storm.
GUEST COMMENTS
January 19, 2006 00:47 (Edited: February 17, 2023 05:19)
 A bit of background on this week's featured spot "Shoe Repairer", from James Proctor & Dave Lunnie, Cummins & Partners, Melbourne. the idea ... wouldn't it be cool if it was some blinding flash of insightfulness, a point where we drew upon one of life's truisms and almost subliminally weaved in the client's message? Truth is it was a good brief with a strong claim: Clarks make durable school shoes... that's pretty good for everyone, well almost everyone... hey... research? Unfortunately the idea didn't get anywhere near a research lab so we weren't able to benefit from its wisdom. The client had to rely on intimate knowledge of their own brand and instinct. the shoot ... We shot in and around the inner western suburbs of Melbourne. Glamorous Essendon mostly. the director ... The director was Jess Bluck from Revolver Film in Sydney and there was a lot of reasons why we chose her. Firstly her reel is great, she comes from a photography background so her pictures are beautiful but she still creates great characters and has good attention to detail. Also it was pretty evident from the treatment and conversations we had, that both she and the production company were on board and we were seeing things the same way. casting ... When we all saw Ronald on the tape, it was pretty much a done deal. Although he did have some stiff competition from an actor who played Napoleon in 'Bill and Ted's Excellent Adventure' (timeless cinema). interesting ... Ronald Falk (the talent) is a 71 year old man with the stamina of a 30 year old... wait, that sounds nasty. Anyway late in the day in some bizarre display, Ronald proceeded to show us something he 'would never do on stage again': Riverdancing with his teeth out while reciting some kind of bawdy limerick in the voice of a school girl. ...In your face Michael Flatly.
GUEST COMMENTS
January 18, 2006 23:49 (Edited: February 17, 2023 05:19)
 A bit of background on the featured TV guide spot from Jamie Hitchcock & Josh Lancaster, MTC New Zealand So we says to our director Greg Page: Greg, we says, weve got a couple of scripts for TV Guide which we want to make into TV ads that look like TV shows. But theyre not real TV shows except we want them to look like real TV shows. One of the ads is about Soap Operas but we want to make it a funny ad about Soap Operas. So to make it funny we say, just make it like a real Soap Opera cos theyre funny even though hardly anyone seems to have a good time in them. And for the Chess ones, can we also make them funny Mr Page please? Can we make them funny by getting them to do nothing. Nothing? he says. Thats right, we say, lets get them to not move at all. Well maybe just a little bit. But keep it serious Mr Page. Cos thats funny. Anothery from the TV guide series featured on the main page Soap Opera at its finest To view the spot click .... HERE Agency: MTC Client: Fairfax magazines. TV Guide Title: Gabriella Client contact: Kris Goss Creatives: Jamie Hitchcock, Josh Lancaster Suit: Angela Weeks Production Company: Flying Fish Director: Greg The Man Page Producer: Kerin Little beauty Casey DOP: Ben Focus Feedman Post Production: Johnny phat fingers Koefoed: Oktobor  First weve got the new coke spot from the highly regarded CP+B ... For my money, and God knows theres precious little of that, this seems more like a script for a pretentious arty theatre troupe than a coke ad ... or any ad for that matter. It makes me very uncomfortable every time I watch it. I guess itll stand out from the crowd on TV, but apart from that I just dont get it. Sorry CP+B. We're normally BIG CP+B fans. To view the spot click .... HERE  On the other hand theres the new coke work from W+K ... Love Fritz, his true story & his corn dog. To view the spot click .... HERE Another in the TBS series from Mother New YorkWhile we were at the beach .... We missed this one from AOL. A clever strategy nicely executed. From the agency: The ads reflect that AOL believes there should be more discussion around the impact of the internet and are intended to spark valuable debate. To view the spot click .... HERE Mother London still delivering New Observer work ... And very stylish too. ... And I would have said those same very nice things even if they didnt send me shares in that fabulous greyhound! To view the spot click .... HERE  New Ikea work from Reginald Pike & Zig, Toronto The usual high standard from director Mark Gilbert and Zig Inc. To view the spot click .... HERE bigsmall ... The new word for Toyota Yaris CHI London creates strong crisp images (& a nice track) for the new Yaris spot To view the spot click .... HERE  Shot 80km from the Arctic Circle with temperatures reaching -48 degrees, the ad features Natar Ungalaaq, star of the cult film Atanarjuat (The Fast Runner). To view the spot click .... HERE  New work for Sky Movies through DDB New Zealand Highlighting product placement in movies in this enough ads already campaign. To view the spot click .... HERE And the print ... HERE New work from Family and Independent Films. Geo Patts Y&R Melbourne & Independent create some interesting characters in the work for MMM radio To view the spot click .... HERE New Honda work through Leo Burnett Kreasindo - Indonesia Leo Burnett Kreasindo & 25 Frames Production Services team up for new Honda work From the agency: The brief was quite simple, but tough, knowing Honda CR-V is not a new product and it has been in the market for several years already by SUV category. Spacious SUV. Unexpectedly spacious with unexpected ending Agency: Leo Burnett Kreasindo Executive Creative Director: Jonathan Swanepoel Creative Director: Randy Rinaldi Art Director: Pasha Yudadibrata Copywriter: Anton widya Director: Sim F Production Company: 25 Frames Production Services guest comments for this week's featured spot "1940's Umpire"
GUEST COMMENTS
December 22, 2005 00:53 (Edited: February 17, 2023 05:19)
 A few words from THE FAMILY, who directed the new Skins "1940's Umpire" spot featured this week In the New York Herald, December 20th year 1987, there is an account of the coincidental meeting of Four Cricket Umpires, unknown to each other. It appeared that during a freakstorm on December 12th, year 1987 in Miami, Florida, Johnny Pace retired British star cricket umpire aged 79, ran over a cat on a railway crossing. Strangely this cat named Richie short for Richmond was owned by retired West Indies cricket umpire Phillip Riddle who lived nearby. This accident caused a pile up with the car behind, the vehicle, hired from Alamo rentacar was even more strangely driven by former Indian cricket umpire Vido Dullab who was visiting the US from Calcutta, India on annual family holiday in Florida with his wife and two children. Due to this railway crossing accident, The 18:38 train from Miami to Virginia was held up whilst the accident was cleared. First off the train to attend the scene was part time nurse, part time umpire Clive Cruikshanks again visiting from the UK, to see his brother Morris living in Richmond, Virginia. Unkown to eachother, this strange occurance brought together 4 foreign umpires meeting eachother during a moment of Absolute coincidence. It is in the humble opinion of Family that this is not just "Something That Happened", this was Not just a matter of chance, for 18 years later we were given the brief for Skins to cast four cricket umpires, the rest is now history. This article formed the basis for the intentional casting and second meeting of Former cricket umpires Cruikshank, Pace, Dullab & Riddle who starred in the four spots for Skins. Family. are represented by Independent Films Sydney "Knife City" .... all clear New work for the London Metropolitan Police through Miles Calcraft Briginshaw Duffy & director Ben Dawkins. We posted this very briefly a couple of weeks ago but had to pull it after only a few hours on the site. We've got the definite "all clear" so here it is again. To view the spot click .... HERE The homeless are people too From FCB New Zealand Creative Director: James Mok Creative Director: Simon Yeo Creative Director: Oliver Maisey Art Director: Billy Mcqueen Art Director: Simon Yeo Copywriter: Simon Yeo Copywriter: Chris Scofield Agency Producer: Michelle Delaney Prodn Co: Curious Film Director: Ben Fisher Other Credits Post Production: Oktobor Fashion designers really can change the worldCall for entries The NY Art Directors Club is calling for young gun entries from RKCR/ Y&R LondonNew Hallensteins work through Publicis Mojo NZ  15 sec follow-ups for LynxJet ... you get the picture. Agency: Lowe Hunt Creative Director: Adam Lance Art Director: Dejan Rasic / Simone Brandse Prodn Co: Plaza Films Director: Nicholas Reynolds Writer: Howard Collinge / Micheal Canning A visual treat from Saatchis Shanghai The visual representation of eBay - a future focussed, user friendly and all-encompassing global marketplace Chief Creative Officer: Peter Soh Assoc Creative Director: Gordon Shu Assoc Creative Director: Eugene Cheok Creative Group Head/ Art Director: Steven Cheng Director: Lance Kelleher Prodn Co: 8 Commercials Other Credits Post/Design/FX: Postmodern Sydney VFX Supervisor: James Rogers Edit: The Tait Gallery « First « Previous Next » Last » 1417 of 1424 |
Search blogMembersPast guest reviewers
Latest newsBlog categories
Blog archives
RSS feed
advertising news |
 |
