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Seen and noted
Anonymous comments ... our policy Our current policy is that we don't post anonymous negative comments If you want to slam something, that's fine by us, but you have to say who you are. The reasoning behind this: If you've done a mountain of brilliant work & you want to be critical of others that'll carry more weight than a scathing comment from an obscure creative. Also there's a million blogs that serve that purpose. beamo. guest comments for featured spot "tale of two quitters" From Ben Gregor, director on "A tale of two Quitters": "Shooting in prague, we got to build really good sets. They have an amazing tradition of set building out there. It was important to make everything from scratch as we needed a precise look for the environments that would be contemporary enough in design terms but also informal so you could still relate to the characters and find the spot funny. When you're doing pan-european ads with no dialogue you're balancing the look with the comedy to make it work in both Paris and Kazakhstan. It can be tricky but it's fun and sure beats sweeping the road." Guest comments for featured spot "Lend a Hand" A few words from Kathy Mattick & Shannon Sutherland, Saatchis Sydney, creatives on this week's featured TV & print campaign "Lend a hand" The Unifem Lend a Hand Campaign was created to raise awareness of, and participation in, White Ribbon Day on November 25. The aim of this year's campaign was to connect with men who passively encourage - or rather don't actively discourage - violence against women. Rather than targetting perpetrators, we wanted to show that doing nothing creates an atmosphere that gives oxygen to the offenders. Hence the campaign thought - Do nothing and you may as well lend a hand. YoungGuns print & outdoor winners. A selection of the YoungGuns 2005 print & outdoor winners is now in the bestads print archives. Go to "archives" in the menu, and then "browse print archives". YoungGuns 2005. A few words from Andy Fackrell. By Andy Fackrell, Co-ECD, 180 Amsterdam 2005 YoungGuns Jury Chairman YoungGuns 2005 was a show dominated by film; not necessarily in the 30 second spot - although there were some beauties - but ideas that pushed into longer and unconventional formats. It is relevant, and hugely encouraging, that younger creatives are leading the way. Two of the Gold Bullets given in Film, to the mesmerizing Sony Balls cinema spot and Mini Counterfeit are examples of brilliant communication that are not only fresh in ideas but fulfilled through execution. The Sony spot will no doubt pick up a few gongs over the next 12 months - it was nice that the jury here in Sydney got to see it first. It was less effective over shorter lengths but got full value in its longest format: a great choice of music, director and editor, it reached its maximum potential due to it's craft. Counterfeit similarly showed an amazing depth, yet instead of one simple idea well honed, it was a simple idea jam packed with parody. Both were clearly made by real talents who understand that an idea is but the first stage in the process. Viral film had some highlights with interesting craft decisions you would hope for in young teams. But where were the young directors? The jury struggled to find any stand out piece of work to include in this category. The same applied in other craft categories, aside from the animated Duke Spirit music video. You need a pretty decent song to kick-start a video but this one had it all going on. And kept you there till the last note. It must be said, that print and the student entries were a little disappointing this year; both seemed hamstrung by old formats when compared to the above. You hoped that wouldn't be the case at YoungGuns. There was the Gold winning Playstation Bus Shelter from Malaysia, a really interesting DM piece for Singapore's Navy, but the best idea was probably a Bottom Drawer number from Sweden, that hoped to counteract an annual Nazi Rally held in a small town there. Check that one out in the book. Maybe print really is slipping, in terms of relevance, and not the place to learn the business of advertising anymore? Yet, look at how good it can be, when pulled off with confidence, as with the Student Entry of the Year for Hubba Bubba. Congratulations Menno Kluin; you had a great idea and you showed great taste and restraint in your art direction. Your execution carried it off. Interestingly, the same attributes apply to the Sony Balls spot, easily voted by the whole jury as Best of Show; its creator Juan Cabral (Fallon London) honoured as the 2005 YoungGun of the Year. So, in all, a really good show if not a little skewed to moving pictures. Some fantastic talent is out there, in all parts of the world, pushing advertising into new areas and blurring the lines between medias. I'd like to thank the jury for the great effort and healthy, open debates that makes this show a little bit special. Also thank you YoungGuns for organizing a smooth event and their excellent hospitality; our livers, the weather and the Sculptures by the Sea all held up well that week. Thank you Sydney. Andy Fackrell To view the Sony "Balls" spot click .... HERE To view the "Counterfeit Minis" spot click .... HERE YoungGuns 2005. A few words from Nobby. By David Nobay, Chairman of Print / Outdoor Jury How old is old? And how young is young? Its a question that bounced around both sides of the jury over the 3 days of judging this year. The simple fact is theres a fair few 29 year old heavyweights in the industry these days; complete with heavyweight salaries, titles and an enviable clutch of precious metal. Which, perhaps, explains just how young so much of the winning YoungGuns work is. Frankly, if wed been told we were judging a major international grown up award, I dont think any of us would have been thrown. In a way, thats a compliment to the high levels of craft and the general sense of sophistication in the conceptual thinking. But its also kind of sad, and a bit odd. Like a teenager walking around in his Dads business suit. Personally, I was expecting more spectacular failure wild, radical and dangerous new thinking that totally ignored industry law and broke some new ground, albeit with a crude naivety. Admittedly, there were some glaring exceptions that felt fresh from the asylum Counterfeit Mini (Crispin Porter + Bogusky Miami) is a corker, across all media. The Gold Bullet winning PlayStation bubble-wrap outdoor (McCann Erickson Malaysia) is a genius alchemy of brand and consumer. The safe sex cards (Leo Burnett Canada) deserved their gong in copywriting and who could forget Gay Nazi Rally (????) in the Bottom Drawer section? (By the way, a pure gift of a category criminally thin on outrageous creativity given the criteria is work the client didnt have the balls to run. Come on guys!). Overall, the winning work is genuinely world class and the creators deserve to be proud. That said, this show is as much about sticking a cattle-prod up us industry old farts as celebrating youth, and Id like to question whats driving young creatives based on the bulk of the work. After all, its all very well repeating the sins of your fathers, but the real fun is thinking up some fresh sin all of your own!. DN 2005 YOUNGGUNS INTERNATIONAL ADVERTISING AWARDS
2005 YOUNGGUNS INTERNATIONAL ADVERTISING AWARDS PRESS RELEASE
Friday night, November 25th saw the YoungGuns team host their 5th annual awards ceremony, exhibition and party in Sydney, Australia. Continuing with their Hardly Legal theme on the night, a mixture of the industrys personnel partied hard until the early hours of the following morning. In the closest race in 5 years for the Agency of the Year title, Crispin Porter + Bogusky Miami looked certain to take the honours for the second year running after winning the highest number of Gold and Silver bullets across the most categories; that was until the jury unanimously voted Juan Cabrals magical Balls spot for Sony Bravia (out of Fallon London) as the Best of Show. This honour saw Fallon London leapfrog CP+B to claim the title. The Sony Balls spot picked up 2 Gold Bullets as well as Best of Show. Its Argentinean creator and 2005 YoungGun of the Year Juan Cabral, will enjoy the US$5000 prize purse as well receiving an invitation from the YoungGuns organisers to sit on the 2006 YoungGuns Jury. Saatchi & Saatchi Worldwide also picked up the YoungGuns Network of the Year award for the second time (also winning in 2003) with wins from its offices in Australia, New Zealand, South Africa, Brazil, Argentina, Norway, Malaysia, USA and Singapore. As Jury Chairmen, Andy Fackrell (180 Amsterdam) and David Nobby Nobay (Saatchi Sydney) both commented, the overall standard of work entered in 2005 was great, although film proved to be a lot stronger than print (something quite the opposite in 2004). The Student Award impressed yet again, with Menno Kluin (Miami Ad School Hamburg) taking the top prize for his Hubba Bubba print campaign. Menno is currently working for ex-pat Aussie young gun Leo Premutico at Saatchi & Saatchi New York and was in Sydney to accept his Gold Bullet. For more information about YoungGuns or for press enquiries, please contact Michael Kean on +61 402 277 492 or email Michael@ygaward.com YoungGuns Agency & Network of the uearBest of Show: 20 points GOLD: 10 points SILVER: 5 points BRONZE: 3 points FINALIST: 1 point YOUNGGUNS AGENCY OF THE YEAR 1) Fallon London 49 points 2) Crispin Porter + Bogusky Miami 46 points 3) Saatchi & Saatchi Sydney 28 points (=3rd) 3) Colenso BBDO Auckland 28 points (=3rd) 5) Leo Burnett USA 26 points 6) JWT London 25 points 7) Del Campo Nazca Saatchi & Saatchi Argentina 20 points 8) Saatchi & Saatchi Malaysia 15 points (=8th) 8) McCann Erickson Malaysia 15 points (=8th) 10) Buck USA 13 points 11) Springer & Jacoby Amsterdam 12 points 12) Publicis Mojo Sydney 9 points (=12th) 12) Publicis Mojo Melbourne 9 points (=12th) 12) Leo Burnett London 9 points (=12th) 15) MTC New Zealand 8 points YOUNGGUNS NETWORK OF THE YEAR Points tallied from individual agencies within the network. For a network to be eligible, points must have been scored in 3 or more individual agencies within the network. 1) Saatchi & Saatchi Worldwide 84 points 2) Leo Burnett Worldwide 46 points 3) BBDO Worldwide 35 points 4) JWT Worldwide 34 points 5) Publicis Worldwide 31 points YoungGun 2005 Rankings2005 YOUNGGUNS INDIVIDUAL RANKINGS 1. Juan Cabral Fallon London 45 2. Tiffany Kosel Crispin Porter + Bogusky Miami 28 3. Guy Rooke Colenso BBDO Auckland / Crispin Porter + Bogusky 22 4. Dave Derrick Leo Burnett USA 18 5. Jeff Benjamin Crispin Porter + Bogusky Miami 15 =6. Ryan Honey Buck USA 13 =6. Thomas Schmid Buck USA 13 =6. Ben Langsfeld Buck USA 13 =9. Murray White Springer & Jacoby Amsterdam 12 =9. Andy DiLallo Saatchi & Saatchi Australia 12 =9. Gaston Bigio Del Campo Nazca Saatchi & Saatchi Argentina 12 =9. Jonathon Gurvit Del Campo Nazca Saatchi & Saatchi Argentina 12 =13. Wayne Robinson JWT London 11 =13. Liong Khoon Kiat Saatchi & Saatchi Malaysia 11 =13. Ruyi Yuen Saatchi & Saatchi Malaysia 11 16. Chee-Wee Choo McCann Erickson Malaysia 10 =17. Tony Haigh Publicis Mojo Sydney 9 =17. Alex Derwin Publicis Mojo Sydney 9 =17. Selena McKenzie Publicis Mojo Melbourne 9 =20. Josh Lancaster MTC New Zealand 8 =20. Darren Keff JWT London 8 =20. Maria Lishman Colenso BBDO Auckland 8 =20. Andy Dao Leo Burnett USA 8 =20. Matt Miller Leo Burnett USA 8 =20. Nanat Teparak Leo Burnett USA 8 =26. Dustin Ballard Crispin Porter + Bogusky Miami 6 =26. Larry Corwin Crispin Porter + Bogusky Miami 6 =26. Wayne Robinson JWT London 6 =26. Anthony Moss Saatchi & Saatchi Australia 6 =26. Nicholas Pringle Leo Burnett London 6 =26. Clark Edwards Leo Burnett London 6 =26. Steve OConnell Crispin Porter + Bogusky Miami 6 =45. Eron Broughton Saatchi & Saatchi Australia 6 =34. Jae Soh Saatchi & Saatchi Singapore 5 =34. Robin Tan Saatchi & Saatchi Singapore 5 =34. Tim Huse Colenso BBDO Auckland 5 =34. Eddie Azadi McCann Erickson Malaysia 5 =34. Ryan Kutscher Crispin Porter + Bogusky Miami 5 =34. Jae Morrison Colenso BBDO Auckland 5 =34. Pablo Tayer Del Campo Nazca Saatchi & Saatchi Argentina 5 =34. Hernan Rebalderia Del Campo Nazca Saatchi & Saatchi Argentina 5 =34. Aricio Fortes Publicis Salles Norton Brazil 5 =34. Woof Wan-Bau Nexus Productions London 5 =34. Tom Paine MTC New Zealand 5 =34. Mike Knight MTC New Zealand 5 =46. Andrew Petch Publicis London 4 =46. Jim Dive Grey London 4 =46. Sam Hibbard Grey London 4 =46. Nicola Hawes Grey London 4 =46. Ross Fowler Grey London 4 =46. Joao Caetano Brasil JWT Sao Paulo 4 =46. Keka Morelle JWT Sao Paulo 4 =46. Brian Merrifield Saatchi & Saatchi NZ 4 =46. Rohit Devgun RMG David India 4 =46. Amit Nandwani RMG David India 4 =46. Mike Ferrare Crispin Porter + Bogusky Miami 4 =46. Primus Nair Saatchi & Saatchi Malaysia 4 =46. Ong Kien Hoe Saatchi & Saatchi Malaysia 4 =46. Ali Alvarez Fallon London 4 =46. Hital Pandya JWT India 4 =46. Karan Amin JWT India 4 =46. Guadalupe Pereira Del Campo Nazca Saatchi & Saatchi Argentina 4 =63. Mark Molloy EXIT Films Melbourne 3 =63. Steven Mathias RMG David India 3 =63. Priya Pardiwalla RMG David India 3 =63. Dimirti Guerassimov CLM BBDO Paris 3 =63. Fred Lutge CLM BBDO Paris 3 =63. Colin Jeffery Arnold Worldwide USA 3 =63. Lawrence Katz Saatchi & Saatchi South Africa 3 =63. Olivia Tesson Saatchi & Saatchi South Africa 3 =63. Ang Sheng Jin 10AM Communications Singapore 3 =63. Clarence Chiew 10AM Communications Singapore 3 =63. Tan Chee Keong Leo Burnett Malaysia 3 =63. Donevan Chew Leo Burnett Malaysia 3 =63. Karl Fleet Publicis Mojo NZ 3 =63. Derrick Kim Publicis Mojo NZ 3 =63. Peter Hibberd Young & Rubicam Melbourne 3 =63. Vince Lagana Saatchi & Saatchi Australia 3 =63. Rishi Chanana RMG David India 3 =63. Naz Nazli Leo Burnett London 3 =63. Gareth Hare Leo Burnett London 3 =63. Daniel Cojocaru Ogilvy & Mather Germany 3 =63. Tim Green Publicis Mojo Sydney 3 =63. Tim Cairns Publicis Mojo Sydney 3 =63. Darren Borrino TBWAHUNTLASCARIS Sth. Africa 3 =63. Veann Leps Leo Burnett Canada 3 =63. Jake Mikosh Crispin Porter + Bogusky Miami 3 =63. David Gonzalez Crispin Porter + Bogusky Miami 3 =63. Justin Kramm Crispin Porter + Bogusky Miami 3 =63. David Povill Crispin Porter + Bogusky Miami 3 =63. Rahul Panchal Crispin Porter + Bogusky Miami 3 =63. Gianluigi Bellini Saatchi & Saatchi Italy 3 =63. Antonio Di Battista Saatchi & Saatchi Italy 3 =63. Jens Paul Pfau Saatchi & Saatchi NY 3 =63. Menno Kluin Saatchi & Saatchi NY 3 =96. Tom Zukoski Crispin Porter + Bogusky Miami 2 =96. Rebecca Carrasco Saatchi & Saatchi NZ 2 =96. Danielle Thornton Saatchi & Saatchi New York 2 =96. Hernan Tomassini Del Campo Nazca Saatchi & Saatchi Argentina 2 =96. Denison Kusano Y&R Chicago 2 =101. Anthony Chelvanathan Leo Burnett Canada 1 =101. Steve Persico Leo Burnett Canada 1 =101. Ivan Hady Wibowo McCann-Erickson Singapore 1 =101. Kate Clough Ogilvy & Mather London 1 =101. Jo Griffiths Ogilvy & Mather London 1 =101. Mike Blanch TBWATORONTO 1 =101. Greg Buri TBWATORONTO 1 =101. Jorge Poma Betti Del Campo Nazca Saatchi & Saatchi Argentina 1 =101. Hernan Tomassini Del Campo Nazca Saatchi & Saatchi Argentina 1 =101. Andre Faria AlmapBBDO Brazil 1 =101. Graeme Hall DDB London 1 =101. Fabio Rodrigues Talent Brazil 1 =101. Ricardo John Talent Brazil 1 =101. Jorge Poma Betti Del Campo Nazca Saatchi & Saatchi Argentina 1 =101. Alberto Jaen Virtruvio Leo Burnett Madrid 1 =101. Simon Chew BBDO Singapore 1 =101. Joseph Cheong BBDO Singapore 1 =101. Jatinder Sandhu Leo Burnett Singapore 1 =101. David Joubert Leo Burnett Singapore 1 =101. Nic Buckingham Saatchi & Saatchi Australia 1 =101. Mark Forgan Clemenger BBDO Wellington 1 =101. Jamie Standen Clemenger BBDO Wellington 1 =101. Frank Anselmo BBDO New York 1 =101. Jayson Atienza BBDO New York 1 =101. Chris Maiorino BBDO New York 1 =101. Simone Brandse Lowe Hunt Sydney 1 =101. Michael Canning Lowe Hunt Sydney 1 =101. Felipe Massis Leo Burnett Brazil 1 =101. Guy Denniston PublicisMojo NZ 1 =101. Emmanuel Bougneres PublicisMojo NZ 1 =101. Onur Kece BWM Sydney 1 =101. Matt Lawson BWM Sydney 1 =101. Hidetoshi Kuranari Dentsu Japan 1 =101. Teng Run Run McCann-Erickson Singapore 1 =101. Gayle Jill Lim McCann-Erickson Singapore 1 =101. Zach Hilder Energy BBDO 1 =101. Dario Nucci 180 Amsterdam Libo/TBWA 1 =101. Lina Elfstrand Lowe Brindfors Sweden 1 =101. Johan Holmstrom Lowe Brindfors Sweden 1 =101. Dave Bowman The Glue Society 1 =101. Matty Burton The Glue Society 1 =101. Antero Jokinen 180 Amsterdam Libo/TBWA 1 =101. Morgan Kurchak Leo Burnett Canada 1 =101. Raul Garcia Leo Burnett Canada 1 The billboards for the MADD campaign (featured in latest ads)
The before & after billboards for the MADD campaign ....
 
guest comments for featured spot "Prisoner" From Simon Duffy, Saatchis Canada, CD & art director on the MADD spot: Canadian statistics point to the fact that year after year, the one group that seems immune to anti-drinking and driving messages are young males. This should come as no great surprise. Everyone who was ever young knows what it feels like to be invincible. Death is such a far away concept that it has little impact on young adults lives. What does have an impact is the concept of loss. Loss of freedom, Loss of mobility, Loss of love, Loss of control. These are terrifying thoughts to a young man. This is what is meant by the new line You have a lot to lose. It is crucial to speak to a young male audience with a message that is surprising and relevant to their life-stage. In this way MADD can plant the seed early and disrupt drinking and driving behaviors before they become habit. It is a strategy aimed at today and tomorrow. In the first commercial, Girlfriend, we slowly reveal how drinking and driving has cost a young man friendship, love, health and just about everything that is important to him. In the second spot Prisoner we discover just how horrible jail would be for an otherwise innocent young man. Along with these commercials Saatchi also created a large billboard near the Eaton Centre area of downtown Toronto. The billboard features the word GIRLS spelled out in sexy pink illustrations of young women. The words was printed in special light sensitive ink so that over a period of weeks it all but disappeared leaving just the MADD logo and the line You have a lot to lose. guest comments for featured spot "Xerox" From Kenan Moran of Curious Pictures NY, the director on the Comedy Central spots: Our goal was to create the unexpected. While the spots were a highly technical process, we wanted to deliver a product that was naïve and amateurish. Also, any hint of preconception and the spots would be ruined. The hardest part of the shoot was to accomplish a really unpolished feel that had a comedic tempo. In Raging Bull I heard Scorsese used his grandmother to shoot all of the home movie footage because Michael Chapmans imagery was too good and looked like a DP shot it. Scorseses grandma wasnt available, so we made our DP shoot with his left eye so that he wasnt so familiar with zooming and focal lengths, etc and we refused to let the him use any lights too (unless technically we needed them, but never to enhance the aesthetic). Our actors were chosen because of how natural they were. While we did follow scripts in our auditions, we chose the ones who felt sort of raw and inexperienced and who had an understated presence about them. I think they did really well on camera, particularly because they were mostly doing something physical and didnt have to really think about what they were doing too much. The effects team was the real heroes of this project. They were the ones who seamlessly added or subtracted to make the spots look realistic. If they werent so beautiful, Id buy them all a beer. To view the spot click .... HERE Small mouthed ads from NZ & USA
USA
November 24, 2005 01:17 (Edited: February 17, 2023 05:19)
  Mini mouths from opposite sides of the world To view the Mini burger rings spot from 2004 click .... HERE To view the new Budweiser spot click .... HERE Obsessives onlyGuest comments for featured spot "Senator" a few words from Taxi NYC creative director, Dan Morales: The ampd mobile user is a technologically-advanced, pop-culture aficionado who watches way too much TV, gets his news off the internet, downloads music, subscribes to Netflix, owns Dave Chappelle Show DVDs, and emails hilarious videos of people doing things theyll later regretbut not as much as porn or beer. When youre creating advertising for the irreverent mindset of these media-enriched cool kids, youre competing with pop culture. If youre not aiming for that bar, youre wasting a lot of your clients money. D&AD ... on sale now You can now enter the D&AD Global Awards 2006 at ... http://www.dandad.org/awards06/. Enter before 9 December to receive a 10% discount. Deadline for entries 27 January 2006. D&AD Global Awards 2006. Obsessives Only. Guest comments for featured spot "Haunted" From Nigel Dawson, CD / copywriter on this one from Grey Melbourne This is the 110th TAC commercial made by Grey. It gets increasingly hard to find a new message and an idea that matches or betters the standard set by the previous 109. The idea had a gestation period of a year or more. It survived, indeed sailed through, several rounds of research. Regular drink-drivers were slugged in the guts; after all many of them have kids of their own. As one bloke said damned bloody effective. Another all-important, but covert, message also comes through. It is making people think that perhaps they shouldnt drink at all if they are going to drive. Mat Humphrey did a wonderful job of turning a disturbing script into a truly haunting commercial. We were blessed by the casting Nick Hamon found a wonderful actor (who is now bald!) to play the driver, and a young boy as the victim a lad who could hold his beguiling stare, standing stock still, without blinking for long, long takes. Heather Ross and Nik Dorning did an absolutely extraordinary make-up job on Chris the driver, aging him from 23 to 63 over the three days of shooting. The prosthetics were invisible from even two feet away. And DOP Chris Reed and the old firm Melbourne crew contrived a look that starts to chill the viewer from the first frame. It probably sounds a bit precious, but everybody seemed to know we were making something a tad special as the shoot unfolded. The wrap was quite emotional, with much regret that it was all over! Then it was over to the sound guys to turn eerie into haunting. Wed intended to make a 60 second commercial. But the 2 minute cut was so powerful that Paula Vigorelli and John Thompson at TAC immediately rebriefed Optimedia. Their job became a little easier when FreeTV gave it a PG rating. And it went to air in Victoria last Sunday in 120, 60 and 30 second versions. Back to basics. Back to basics By Dominic Goldman, VP Creative Director at Publicis & Hal Riney in San Francisco Back in the days I can remember back in the 90s, how impressed people were with anything that moved on their computer screens. If it looked cool and did something slick with any new kind of effect, jaws started dropping. Visiting New York back then for the Flash Film Festival, I was completely taken aback by the leaders in the Interactive field. Ill never forget seeing Joshua Davis http://www.joshuadavis.com/and Yugo Nakamura http://www.yugop.com/.Their work made an entire audience of two thousand people react in the same way waaaaaaaaa. I could not have been more inspired. What happened to the idea? I soon became unimpressed and disillusioned. Something more was needed. Behind all the flashy special effects, where was the idea? This became key to all of my future work. Interacting with consumers in an intelligent way by making the communication interesting, entertaining and noticeable without being gimmicky. Consumers are bombarded with advertising from all channels on and offline and have learnt to switch off to it. So how do we get under their radar? Ive heard many people say, I hate those annoying banner ads when Im surfing the web. I agree. But just like watching TV, listening to the radio or reading a magazine, most advertising is irritating. Yet on that rare occasion Im oblivious to the fact Im being sold something, Im delighted. This is the challenge on-line too. Unlike traditional channels, on-line provides a canvas to allow people to respond and interact with an idea. People are surfing the web with a purpose and if youre going to interrupt them with an ad, it had better be good, It needs to be relevant to people, and can offer something consumers want or solve a problem they have. If it fails to do this, then it doesnt matter how well executed it is, if its not important to anyone then its useless. Highlighting the best Fortunately today, Interactive Awards, particularly the OneShow http://www.oneclub.com/oneshow are filled with great examples of work founded on big ideas. Polished execution is now a given. Every element has its purpose and relates back to the core idea. If its unnecessary, take it out. Big ideas dont need slick effects. The simplest things now excite me. Take for example, a banner for Lipton Ice Tea light, from JWT Brazil: http://www.jwt.com.br/Awards_2005/belly/en/ These next two banners are by TBWA, also from Brazil. The first cleverly demonstrates the benefits of using Fedex: http://www.loveyourmouse.com/awards/cannes/justintime.html While the second is a nice and simple way to show what treat your dog wants: http://www.tbwa.com.br/2005/awards/smell.html This piece from Japan is a very unusual approach to educating people about the dangers of children not wearing a safety belt when traveling in a car. The Pitch - http://www.interactive-salaryman.com/2004pieces/d0306E/ A banner from Ogilvy London makes use of the fact that dynamic data lies at the heart of IBM's e-business solution. A live data feed from Wimbledon delivered up-to-the-minute match results, statistics and news. http://www.creative-awards.co.uk/ibmwimbledon/ Yet another from Brazil features demonstrates the benefit of using Tam Express: http://www.dm9ddb.com.br/awards/oneshow/testimonial.html The following selection of banners, are some of the work Ive done: The Economist This banner is a little more unusual and in keeping with The Economist brand. If people blow hard on their computer screen The Competition gets blown away. This wont function on all machines. Its targeted at traveling executives and for this reason the code has been optimized to work best with inbuilt microphones. The Economist realized that this would be a small target audience, but they did benefit from some good PR. http://www.dominicgoldman.com/html/OM/Banners/The%20Economist%20Banners/blow/main.html Levis To demonstrate the effect life would have on a pair of jeans, users can throw elements of life straight on to a pair of Levis. http://www.dominicgoldman.com/html/OM/Banners/Levis%20Lived%20In%20Throw/livedin_banner.html Levis To showcase the four finishes of the re-cut 501® jeans we put them in the wash. Viewers select buttons on the machine to check out the entire range. http://www.dominicgoldman.com/html/OM/Banners/Levi_banners/washing_machine.html Gaelic Inns To promote an Irish pub, we used a pre-loading sequence as a familiar online device, and linked it to a pint of the black stuff. http://www.dominicgoldman.com/html/OM/Banners/Guinnes/loading/index.html Harley Davidson Owners Group Harley owners love any excuse for a ride. As members of Harley Owners Group (HOG) Singapore chapter, they receive regular invites to rides and other Harley related events. http://www.dominicgoldman.com/html/OM/Banners/Hog_rev/index.html The Society for the Prevention of Cruelty to Animals Unwanted pets are abandoned all the time in Singapore, and those that are not adopted are usually destroyed. This should be an issue that arouses strong feelings amongst the public. Unfortunately it doesnt, probably because most people have the attitude of: Yes its a shame this is going on, but surely someone else will take care of it. That was the starting point for our concept; we wanted to play up the fact that people would much rather shut out the problem than give it serious thought. However we soon realized that creating a standard banner that simply asked people not to ignore the problem would be a non-starter. So we thought it might be better to develop banners that werent so easy to shut off. We realized that this would entail a delicate balance of being intrusive but not annoying. http://www.dominicgoldman.com/html/OM/Banners/SPCA/index.html A second banner for the same cause addresses the other major issue of dumping animals. People can navigate through various solutions and even download a PDF to make it easy to donate their money. http://www.dominicgoldman.com/html/OM/Banners/SPCA/trashed/index.html Presenting the idea Where possible I prefer to present ideas as pencil drawn sketches. This is to avoid the client getting caught up with irrelevant issues such as the size of their logo or a particular font. All they see is the idea. This also gives more time to spend on the concept. These days, I believe an interactive creative person is far more valuable if theyre strong conceptually rather than simply making things look good. After all, were in the communication business, just like our colleagues in traditional advertising. About the author: Dominic Goldman is the VP Creative Director at Publicis & Hal Riney in San Francisco http://www.halriney.com/ He has achieved recognition in numerous International award shows such as The Clios, One Show, New York Festivals, Cannes and Communication Arts and has served as a judge for many international award shows including OneShow and the Clios. http://www.dominicgoldman.com/ Grr ... more news from Nexus NEXUS PRODUCTIONS CREATE THE MOST AWARDED COMMERCIAL IN THE WORLD The recently published Gunn Report 2005 which combines the winners lists from all of the worlds most important advertising award contests thus to establish the annual, worldwide league tables for the advertising industry, has awarded the Nexus Productions commercial, Honda Grrr, the most awarded commercial in the world for 2005. Honda Grrr, the tour de force from advertising agency Wieden+Kennedy, London and Nexus Productions, London directors: Adam Foulkes and Alan Smith, was a contender and winner for the Cannes Grand Prix (or equivalent) just about everywhere it was entered Epica (first of all), then British Television, Andys, Clios, One Show, Cannes and Sharks to name but seven. No commercial in the 7-year-history of The Gunn Report has won by such an overwhelming margin. And no commercial since Apple 1984 in 1984, has been such an odds-on favourite to take the Cannes Grand Prix as well as that being virtually everyones wish. This commercial goes direct (it doesnt have to pass Go) to The Gunn Reports reel of The 100 Best Commercials of All-Time. Nexus Productions was also honoured with becoming the 3rd most awarded production company in the world and its directors, Adam Foulkes and Alan Smith, were the joint 2nd most awarded directors in the world. Nexus Productions are currently in the process of submitting this feat in to the Guinness Book of Records. From the NY Art director's club CALL FOR POSTERS - DEADLINE: November 20, 2005 The Climate Action Network of Canada invites you to create posters with the following message: Time is running out, Climate Action Now! Or choose your own words, appropriate to your design. the visual message should be about the necessity for international agreement to implement reductions in greenhouse emissions as agreed upon in the Kyoto Protocol and to continue them after 2012. These ideas can tie into any aspect of global warming, conservation, or non fossil fuel energy use. Your singular ability to visualize concepts could influence decisions that will decide the future of this planet. These decisions will be made at the First Meeting of the Parties of the Kyoto Protocol, under the aegis of the United Nations Framework Convention on Climate Change, which will convene Nov 28 through Dec 9 in Montreal. Most of the world's leaders will be there in large numbers. They will try to work out the details of implementation of the Kyoto Protocols on the reduction of greenhouse gases across the globe. All posters submitted will be placed on a web site as an international virtual exhibition on the Canadian National Climate Action Network site at www.climateactionnetwork.ca Environmental organizations and individuals, including the 750,000 member Sierra Club will be informed of it. From this exhibition, posters will be selected for physical exhibition in Montreal in an area where delegates and others will congregate, probably the Palais de Congres. The Climate Action Network will print some of this same art work in a 8 1/2 by 11 size for leaflets and posting in Montreal. Many organizations will be holding satellite demonstrations in cities and towns through out the U. S. Your posters will be available to them through this web site. From it they can print for either leaflets or for making enlargements and creating their own exhibition, or both. Artwork should be 8 1/2" x 11" and submitted by email in tiff format, 300 dpi to: Andrew Dumbrille adumbrille@climateactionnetwork.ca. RSVP: Please send advanced email if you plan to submit a poster to facilitate planning. Note: Please do not email larger files at this time. Posters selected for enlargement and exhibition will be requested on disk. For global warming facts and alternative energies visit www.climateactionnetwork.ca/e/. Cannes launches Promo Lions The Cannes Lions International Advertising Festival has announced a number of changes for next years festival. A new category, Promo Lions, has been created awarding creative excellence in the areas of sales promotion, including retail marketing, environmental design, in-store advertising and media. The new Promo Lions jury will judge entries designed to create immediate activation and will award Lions to the freshest creative ideas. For the first time, outdoor will run separate to press. A separate outdoor jury president will head a dedicated jury voting solely on entries in the Outdoor section. The Cannes organising committee said this will allow for a clearer judging of the entries based on the merit of their medium without being influenced by how they perform if also entered in the press competition. A separate jury president will preside over both the film and press sections. A new award, Media Agency of the Year, will be presented to the agency that obtains the highest score for entries in the Media Lions section. As with Agency of the Year, Direct Agency of the Year and Interactive Agency of the Year awards, the calculation will be based on all of the awards won by an agency, but will include a maximum of 10 points for shortlisted entries. Gold, silver and bronze Lions will be awarded in the Media Lions competition due to increased interest in the category - since its introduction in 1999, entries have risen from 421 to 1076 in 2005. Two new categories in film, print and outdoor are included in the 2006 festival, to run from 18-24 June 2006. Household separates into Household Cleaning (ie: washing powder, bleach) and Household Other (ie: glue, batteries, etc.). Toiletries & Pharmaceuticals will now be separated into Toiletries and Over the Counter Pharmacy. Ten half-day workshops will also be introduced next year, each accommodating 75 to 100 delegates. A Young Creatives Film Competition will be added to complement the Young Creative Print and Cyber competitions. The competing teams will be required to create a 30-second mobile phone ad in 72 hours for a charity or non-profitable organisation, whose name, objective, strategies and target audience remain secret until disclosed at the briefing session. Story supplied by AUSTRALIAN CREATIVE. "Pace of Life" ... a bit of background TBWA LONDON'S NEW PLAYSTATION CAMPAIGN 'PACE OF LIFE' The 60" commercial, airing in November in Europe and early next year in the UK, uses a unique stop frame animation technique to demonstrate the different paces that people live their lives. The stand-out ad features a central character on a trip to the shops for some milk. He exists in a world where people live at different paces, just as on PlayStation. Directed by Nick Gordon, the stop frame animation was achieved through a painstaking process using a camera rather than post-production. Each frame is a digital still photo which required a still to be taken before the actor would move between 2 and 12cm's, stop, be completely still, try and maintain the same facial expression and stature as the previous still, before another was taken and so on. In order to make each characters movement reflect their personality, their route was chalked on the pavement. Guest comments for featured spot "Gun Fingers" From Jack Wareham, director, Republic Films. Enough is Enough An Anti Violence cause started up by the father of an innocent 18 year old boy, working part-time at Pizza Hut to make some bucks Robbery goes wrong, he is shot and killed Jay writes a powerful script and, with an amazing response from our Casting Agent and Actors, key crew members, suppliers and post houses, we shoot the job at night in Sydneys CBD. A huge thank you guys ! A great opportunity for a Director making an inventive and thought-provoking idea work with strong convincing performance. The perfect script for high-definition video there were looks and action that I didnt want to miss we could continue to shoot when the actor was in the moment, without having to reload and still achieve a raw, yet cinematic look. Really happy with the end result. Guest comments for featured nandos spots Some background to the featured Nandos spots from Porky Hefer, CD Lowe Bull, South Africa Nandos wants to be known as the original peri peri restaurant in South Africa So we returned to where it all started For those of you that dont know, thats Mozambique So we convinced the client to shoot the ads in Maputo Citing authenticity, architecture, etc. etc. but most of all the guaranteed sunshine and yellow light that is so typical of that region It hadnt rained in October in Maputo for 8 years so we gladly used up the weather insurance on more useful stuff like stock and cast Needless to say two out of three days rained So that authentic yellow light was compliments of flame and our tans remained neglected Most of the cast were local talent, and none had done an ad before hence the fresh performances. Most of all we had a blast and Im sure it shows in the end product Fantastic clients + Maputo + shit loads of fun = fantastic results Inside the director's head. Inside the head of .... . We put those familiar questions to Henry Littlechild, Director @ Outsider bestads: So what drew you to the dark side ... directing? HL: I HAD ALL THE ATRIBUTES; SLIGHTLY PARANOID, UNSURE OF MYSELF, WITH NOT THAT GREAT COMINCATION SKILLS. bestads: Doing the gig ... no problem. Getting the gig ... hmmm. HL: ITS THE OTHER WAY ROUND ISNT IT? bestads: The only thing between you and a gold lion is ... (most scripts? The client? The process ...?) HL: BEEN THERE, DONE THAT. ITS OVERATED. bestads: Shoot days: The lifeblood? The drug? Or accelerated aging? HL: THEY ARE THE REASON I DO IT. bestads: The Pack Shot ... The devil incarnate? HL: WHATS A PACKSHOT? bestads: Whats your personal secret to managing all of the personalities involved in any one project? HL: SHOUTING bestads: Shoot with your mobile/ cell phone, edit & post FX on your lap top, output as quicktime, upload to net. Bingo. Now if we just dispense with the client! Wheres it all heading? At the end of the day ... HL: DONT ASK ME. IM NOT EVEN SURE HOW THE REMOTE WORKS News from the Art Directors Club NY From the Executive Director This is the time of year when the ADC unveils its Annual Call for Entries. Ernest Lupinacci and his terrific team at Anomaly have created a dazzling poster for the 85th, which will soon be on its way. For the first time, it will also premiere on our new dedicated website, www.adcawards.org. Getting into this show earns you a secure place in history. You'll keep company with the legends that march through 85 years of Art Directors Annuals, tracing the path of advertising and design from 1920 into the future. Be part of that record. Inspire your peers and future generations. And if you take home a cube, it'll give you a whole new idea of heavy. Here's to your best. Myrna Davis ------------------------------------------------------------------------ Young Guns Online registration for the Young Guns 5 competition will open on December 1st. In the meantime, we asked and they answered. Below are some thoughts from Young Guns 4 winners. Stefan Boucher writes ... "I remember how excited I was when I found out that I got chosen as a Young Gun. One of the best creatives age 30 and under in the whole damn world?! Now that's bragging rights. And a swift kick in the ass, too: Time to get serious! Time to pull out all the stops and see what's possible. Being named a Young Gun isn't the end of the race, it's the sound of the starter pistol. Who wants to peak at 30? Julia Hoffman reports ... that since winning YG4, she has designed the bestseller "America The Book," with Jon Stewart, which took a full 5 months of her life. She continues to freelance. In addition, her website had 1200 hits in the month of the young guns opening, September 2004. Julia writes, "Suddenly I got emails from all over the world, and a chinese magazine published an article on me. Freelance clients started to have more respect for me, and I could ask for more money. Personally it may change my life drastically, my lawyer said it will benefit me a lot in the greencard application that I am starting to go through right now. Some advice to people who are only out of school for a year or two (as she was then): "Wait for the next Young Guns to submit your work, if you can. You should be really proud of the work you submit, because that's what the people will know you for, that's the first impression in the real world." guest comments for featured spot "Thirst Fighters" From Josh Frizzell, director, Curious Film: This job was a joy to work on. It was meant to look like a low budget earnest local mini DV doco, so we shot it on mini DV which was incredibly liberating. We shot the hell out of it, ad libbing the actors and trying all sorts of gags. There were times when the whole crew were giggling like schoolgirls. Of course the harsh reality of sixty seconds (and clients) meant the end result was very close to the original board, but we had a lot of fun getting there and I feel the tonality and mood of the shoot is all there on screen. Watch out for the four-minute version with everything in it! Guest comments for featured spot "Egg Money" Some background info from Mother London We had the pleasure of shooting Egg with the directing duo Ne-o. It all took place in a shopping centre in the inspiring town of Chatham, Kent, with seventeen 6ft guinea pigs. We shot our human guinea pigs going about their usual shopping routine; as any Egg card bearing guinea pig would do. It was then onto shooting the heads of 17 of the real things. 24 hours of carrot and celery dangling later, we had all the head and mouth movements we needed to move onto editing at Marshall Street Editors to find 'what heads would go where'. Then onto post at Glassworks to seamlessly stitch them together, create our model city and stick the proverbial cherry on top. To create the effect of the guinea pigs being in a small model environment, a final digital macro blur was added. Another sterling performance from Anthony at Factory with Sound and dialogue and we had the lot, a micro world of walking, talking, shopping, research guinea pigs. Beats perfume. First director to sit on the Young Guns Award Jury. Director Alan White has been chosen as the first director to sit on the Young Guns Award Jury. Alan is represented by Bob Industries and has recently signed to Curious Film for Asia/ Pacific representation. Wieden+Kennedy/Amsterdam's global brand Coke win Wieden+Kennedy/Amsterdam's global brand Coke win Clarification: the global brand Coke pitch and subsequent win was exclusively a Wieden+Kennedy/Amsterdam (European HQ) concern and was made up solely by W+K/Amsterdam creative and strategy. It was steered by Tim O'Kennedy (MD), Al Moseley (ECD) and John Norman (ECD). W+K/Amsterdam is tasked with setting and steering the creative concept and strategy for the global iconic Coke brand. Comment Coca-Cola recognises that to make a cohesive global brand identity there is a need for passionate, meaningful ideas that transcend borders and boundaries", says Wieden+Kennedy/Amsterdam managing director Tim O'Kennedy. "Coke dedicated a great team to this process who weren't afraid to get down in the trenches with us, helping bring to life some cracking creativity and strategic thinking. Sometimes at 2am in the morning!" Inside the director's head. Chuck Bennett, Director @ Big Lawn Films (Chuck Bennett enjoyed a prolific career as a Creative Director at a number of high-profile advertising agencies. As a director, he has helmed ads for a range of national brands such as Diet Dr. Pepper, Expedia, Nissan, Taco Bell, Subway, and Energizer, working with agencies GSD&M, TBWA/Chiat/Day, WongDoody, DDB, J. Walter Thompson, MMB and Y&R, among others.) bestads: So what drew you to the dark side ... directing? Chuck: The directors always seemed to have the coolest cars, so I figured it must be a good thing. In addition to the car envy part, after years as a agency creative and creative director I realized what I liked best about my job was actually coming up with the ideas and then shooting them. Everything else in between was a little boring. bestads: Doing the gig ... no problem. Getting the gig ... hmmm Chuck: . Getting the gig is definitely the hard part, but I really enjoy that part of the process. Having been on the agency side of a ton of creative calls I certainly understand the importance of the call. Knowing that, I really try to prepare myself and have a clear vision for the spot. The more thinking I can bring to the call, the better. I work closely with my executive producer and strategize our approach. Its a little like pitching new business at the agency. Theres always a fear of going too far or saying the wrong thing, but at some point you just have to say and do what you believe is the right thing and see what happens from there. Long, awkward silences on the other end of the call are usually a good indication that things arent going well. We also try to avoid having calls on the same day the agency loses a big piece of business. I like writing treatments, doing research and gathering visual reference. Again, like pitching new business. I have yet to resort to making threats to get jobs, but its not out of the question. I especially like the part where we find out we didnt get the job by seeing the spot on TV bestads: The only thing between you and a gold lion is ... (most scripts? The client? The process ...?) Chuck: A really good idea. A little luck. Not seeing the words Cut to animated product demo accompanied by a whole page of voice-over copy. bestads: Shoot days: The lifeblood? The drug? Or accelerated aging? Chuck: I love shooting. People hand you lattes and call you Sir. The account people are wearing jeans. The client is wearing jeans. And theres nothing like seeing all those trucks in the morning--so many cool toys. All the worrying, all the meetings and all the talk. It all comes down to this shining moment of truththere it is, right there on the monitor. Hey, my damn latte is cold! bestads: The Pack Shot ... The devil incarnate? Chuck: Seems to be a necessary evil--We are trying to sell something, after all. Hopefully we dont have to shoot anything, but if we do hopefully weve figured out how to make it cool (as cool as a very expensive cardboard box can be). We always tend to shoot this shot at the end of the day when everyone is tired and cranky. As painful as it is, weve actually taken to trying to get the shot done early in the day. That way the client can kick back and spend some quality time with their laptops, Blueberrys, cell phones and other various electronic devices. Clever. bestads: Whats your personal secret to managing all of the personalities involved in any one project? Chuck: I just try to figure out who the smartest people are and spend my time with them. Besides that, I usually sit next to the client at the pre-pro meeting and touch them in a gentle and loving manner under the table while I go through the shooting board. Throwing around a few buzz-words like brand personality and strategic communication helps bestads: Shoot with your mobile/ cell phone, edit & post FX on your lap top, output as quicktime, upload to net. Bingo. Now if we just dispense with the client! Wheres it all heading? Chuck: At the end of the day ... I am fascinated with the potential of the internet as another channel for advertising. It really doesnt matter how it gets shot or where we see it, if the idea is crap, the partys pretty much over. There seems to be a certain freedom associated with the medium and supposedly we can do things that could be deemed too risky for network television. How many of us typed hump the sofa into the Subservient Chicken site? I also like the fact that anyone looking at an ad on the Internet has chosen to do so. It does put more pressure on the work to be really entertaining, which is cool. We want to be doing work that entertains and rewards. Of course, some brand manager will come along, do some fancy quantitative research and figure out a way to fuck it all up. Can I say fuck here? (Of course I can, its the internet. Its wild. Its crazy.) What was the dispensing with the client part? We can't post ALL of the news ....We can't post ALL of the news .... BUT YOU CAN! Got some news? Done some good work? Register (takes 2 seconds) & post a boast ... or whatever. (God knows we're not journalists!) This is a DISASTER!!!!!!!!!!!!!!!!!!!!! bestads gets featured on yahoo "pick of the day" - BAD NEWS!!!! very very very bad news Because of this one link, our site (which we try to keep hidden from the public) has been invaded by non advertising people. Normally we get around 8000 creatives/ producers/ directors visiting each week. This has now jumped to around 119,000 per week & it's killing out bandwidth & RAM i.e. if it keeps going ... we're buggered. How does this affect you? It means we may have to introduce a one-off registration & log in (FREE). Sorry about this. The price of fame. UPDATE: We've got this under control for now by blocking all links from other sites ... including legitimate advertising sites unfortunately. However, no logins required for now. Guest comments for Pepsi "Samba"![https://www.bestadsontv.com/news/http://www.bestadsontv.com/files/thumbnails/october_2005/PEPSISAMB[3].jpg](https://www.bestadsontv.com/news/http://www.bestadsontv.com/files/thumbnails/october_2005/PEPSISAMB[3].jpg "https://www.bestadsontv.com/news/http://www.bestadsontv.com/files/thumbnails/october_2005/PEPSISAMB[3].jpg") From Robbie Brammall & Anthony Hatton, Clemenger BBDO, Sydney, Australia On paper we had an execution that was pretty intriguing. To bring it to life we needed an A grade director, a cheap location and someone who could dance like an alien. As a result we ended up on the mean streets of Columbia with director Damien Toogood and body popper David Elsewhere of VW fame. With the Columbian army providing much needed moral support we managed to gridlock the city for two days, before making a well timed run for the nearest airport. Director Damien Toogood acts as his own DOP so we were confident hed capture the unique energy of the location on screen. Which he did. But the big story from the whole experience were the miracles everyone performed to make the budget work - from the film crew in Columbia (Tribal), to production company Luscious and the post production team at Cutting Edge. How we actually got this on-screen Ill never know. Guest comments for featured spot "Kissing" Fom Mark Puchala & Michael Clowater, Zig Inc Canada. New Brunswick is a province on the East Coast of Canada. And even though its roughly the size of England only about 700,000 people live there. The main industries are fishing and logging. However, theres a group of people who live there that make films and somehow put on a film festival every year. We wanted to help them do that - and also brag about the balls-out dedication they must have to get it done. We also wanted to have a laugh. We thought theres something romantic about a guy with no budget who just needs to make movies. These people live on the fringe of society and are scorned by the people behind the counter at their local donut store. But they dont care and thats pretty cool. Making these ads was kind of like life imitating art. We had no money - just a bunch of favours from people more talented than us and a script that worked with shooting on video. We wanted to switch up between what the director saw in his mind (the movie) and the behind the scenes footage in making the movie. Then show the contrast between them. We also wanted to play it very simple with the audio. Keep it as real as possible when it was real and as flashy as possible when it was the movie. The director was James Spence who, luckily, is even more warped than we are. Guest comments for featured spot "Mechanic" From Dave Brady, Art diector, FCB New Zealand ... Depression can range in severity from being a bit down and not being able to come out of it, to persistent dark thoughts and low self esteem, to suicidal thoughts in the worst cases. The longer it is left without treatment, the worse it can get. The problem is that depression isnt something that guys talk about a lot, or admit to having. But if they dont talk about depression, how can other guys learn what it is, and how it can affect people? So heres some guys talking about how depression affected them, and where to go for help - without having to talk to anyone about it. Thanks to all involved. Check the credits for the names, but the ads got better at each step of the process. Inside the director's head. bestads: I used to play in rock and roll bands. I was hitch-hiking to a gig one time (!) and the guy who gave me a ride said ... Unbelievable man ... Youre doing exaclty what you want, getting paid a fecking fortune and picking up the babes afterwards!!! So I guess directing is just like that .... but more so?????????? from Backyard Director, Tim Abshire: Oh yeah, moreso. Especially If you like to fly across the country to have scripted slow motion oral sex with Mrs. Butterworth for cash until video village gives you the thumbs up... yes. Directing is just like that. OR First of all, I'd say it's more aspirational for you to be an ex-soccer dad instead of playing in the rock and roll band, and you definitely weren't hitchhiking, because Jane in legal said "no"... and I'm thinking we'll get you an average, real-looking, non-actor-ish wife to pick you up in this story, and you can't be getting paid a fortune because you can only be making enough money to be in middle to upper-middle class so we can hit our biggest U.S. demographic, and your wife, well, she's driving a non-descript four door blue car, and those chicks you're picking up are your kids from preschool named Brittany and Tyler who look nothing like you or your wife, but heck, aren't they just the cutest? Everybody needs to smile to camera now. Let's collaberate on another job really soon. from Bruce Van Dusen of Celsius Films in New York: Directing has benefits. You can cut to the front of the lunch line. You get the chair closest to the monitor. Lots of people ask your opinion and seem to care. You can point at walls and have them moved. Or repainted. People change their clothes just because you ask them to. On the flipside, directing has drawbacks. You dont do it every day, so those benefts are periodic. And on those off days, you come to the realization that the only other thing youre semi-qualified for is toll collection. Which with the advent of E-Z Pass is kind of dying field of employment. from Gaysorn Thavat, Exile Films, New Zealand If I wasnt a director, I could transfer my skills to being a marriage counselor. In making commercials I am often dealing with a demanding insecure client who has identity issues, and an anxious hen pecked agency, bound together in a marriage wrought with financial pressure and mistrust. The agency is always worried that the client will have an affair with another agency. And the client is always worried that the agency doesnt understand or really listen to their needs Unofficially, it is my job to negotiate between them and make a spot that rebuilds the trust, rekindles the spark of when they first met and make them both feel good about themselves. Oh yeah . And make something that I like as well (but thats beside the point really) from Michael Williams, director at The Mob Film Company, London You obviously didn't mention those two magic little words, 'client changes'. Shot in Australia ... for the bleak look! From Michael Kaplan and Tim Charlesworth, the creatives on "the hint" Now that the 'cows want it back' idea is well established, we had licence to have a bit of fun with it. The ad was shot in July, but we wanted a cold, bleak look. There can't be many shoots that have gone to Australia for winter light. As with the previous ads, we wanted to do as much as possible in camera, so we had 10 cows to direct around the streets of Melbourne. Guest Comments from Mother London (for Orange "Dance") From Mother ... We chose to articulate this new spot by focusing on a human relationship. There's something aspirational about a successful marriage...when couples grow old together. Often times, the familiarity between an elderly couple is most evident in the way they talk - finishing each other sentences...knowing what the other is thinking - but we felt that if we used something more visually stunning (like a dance) to reflect this intimacy, it would be all the more powerful. We knew from very early on that using only one shot of the dance would make it much more powerful as a piece of film. It was important to capture the honesty of two old people dancing but still somehow making it captivating. We played around with different cuts, but none of them achieved the mesmerising quality of the one-take version. We feel that the sound also plays a large part in the feeling that the final film gives people. The silences within the Brian Eno are as important to the film as the music itself. The director of photgraphy on Dance was the DP from Gladiator...John Matheson...who lit it beautifully. Guest Comments from Colin Jeffery, Arnold boston - featured spot New Beetle "Force of Good" Campaign The world needs a hero and the New Beetle is ready to slip on the tights. In this campaign the Beetle goes head to head with sucky everyday objects. We wanted to reflect the fun-loving spirit of the car and the joy it spreads wherever it goes. We spent weeks going through classic fights scenes and film techniques. We took three popular genres, Kung fu, Western and Gladiator, then worked out which style would suit which spot best. Each genre has a certain look, feel and camera techniques that make it what it is. We wanted the finished products to clearly belong to specific genres, but also have a common theatrical feel. Using a sound stage helped us achieve this, control the light and get more done in the three days we had available to us. We worked closely with Brand New School to produce these. They, along with their design team, built amazing life size sets on a giant sound stage at Fox Studios in LA. We then proceeded to shoot the spots, blowing up a bunch of alarm clocks and destroying a port-a-potty in the process. The "Alarm Clock" and "Port-a-Potty" spots were pretty much shot in camera. The "Sardines" spot was a little different and involved a bunch of green screen and stop frame animation. In the end goodness always prevails. Our only regret is not producing a forth ad. It would have taken place in space and involved some bad-ass brussel sprouts. « First « Previous Next » Last » 293 of 294 |
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