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Seen and noted

TBWA/Chiat/Day New York ... new work for Sprint-Nextel

 TV   USA    February 16, 2006 05:21 (Edited: February 15, 2006 18:21)
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A Song for every occasion. Quite a boast. But in this case ...

To view the spot click ....
HERE

St Luke's London doing the coconut waltz

 TV   UK    February 16, 2006 04:59 (Edited: February 15, 2006 17:59)
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New work for PJ Smoothies from St Luke's

A series of 2 good adverts from the very clever people at St Luke's London. Here's one ...

To view the spot click ....
HERE

New coca cola work from W+K Amsterdam

 TV   EUROPE    February 16, 2006 01:45 (Edited: February 15, 2006 14:45)
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W+K/ Amsterdam getting into the spirit of things

To view the spot click ... HERE

BBDO New York ... busy times!

 TV   USA    February 16, 2006 01:39 (Edited: February 15, 2006 14:39)
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After the superbowl flurry from BBDO NY (Fedex, Aleve, Pizza Hut) comes Sierra Mist, new Pepsi work, & now some very nice GE Healthcare spots. They must be knackered.

"You can tell when it's not all Aussie"

 WORTH A LOOK   AUSTRALIA    February 16, 2006 00:56 (Edited: February 15, 2006 13:56)
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From a couple of weeks back, from the Campaign Palace / Red Cell Melbourne

to view the spot
HERE

 GUEST COMMENTS    February 16, 2006 00:29 (Edited: February 15, 2006 13:29)
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A bit of background from Neil Mallet, Creative Director, Marmalade Communications

A lot of occasional users of public transport particularly tram and bus leave purchasing a ticket until they are on board. This creates congestion on the vehicles and often people were caught without the right change. Our job was to encourage them to get tickets before they got onboard.

The basic idea was simply to flag for punters that the best place to buy was at agents with the blue sign outside. The ridiculous acronym was the key to reminding people to buy before they ride. It works because it doesn’t.

 GUEST COMMENTS    February 15, 2006 22:34 (Edited: February 15, 2006 11:34)
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A few words from Michael Wong, director, The Sweet Shop.


The TVC came about in an unusually collaborative way. Everyone involved wanted something hilarious, ridiculous, ironically Australian with a gentle, worldly, social comment all at the same time. The scripts evolved from a series of comedic spots, to a documentary style ad, exploring the world of committed budgie smuggler.

The TVC is a laconic, very real feeling piece, that will no doubt have some viewers taking it for a legitimate doco. I really hoped to suspend our disbelief of the carry on. I wanted it to get under people’s skin and touch on world views from a layman’s point of view but in an entirely Australian way that’s way away from the stereotypical that has defined a lot of our humour.

I really wanted to make something for Australia that dug into our modern culture on this level and made it accessible in a ridiculous but endearing way. I wanted us to really be able to celebrate our differences and oneness. The idea that we could all be smugglers if we wanted to be free is such a beautiful thing.

The Budgie Smuggler campaign is brainchild of creatives Nick Levey, Simon Higby, and CD Kevin MacMillan of The Works, Sydney incollaboration with director Mick Wong of The Sweet Shop and MTV’s National (Aus) Creative Dir Annabel Beresford.

 GUEST COMMENTS    February 15, 2006 21:37 (Edited: February 15, 2006 10:37)
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A few words from Nick Allsop, DDB London, & art director on this week's featured VW spot "ripped off".

We love the way this ad has turned out, largely thanks to Steve Hudson. It's often easier to work with a director who's an ex-creative, and Steve is one of the most-awarded creatives ever. We spent a lot of time pumping him for 'war stories' about old campaigns and agencies. In between imparting careers advice, he took an extra-special amount of care crafting this ad: perhaps he had a point to prove having once worked at BMP DDB writing VW commercials.

Little things like torrential Scottish rain and losing our main location the night before we were due to shoot didn't faze Robert Campbell and Outsider either, and lighting cameraman Ray Coates deserves special credit for his filmic cinematography.

Some bloke called Mendelssohn did a nice job on the music too.

 GUEST COMMENTS    February 09, 2006 10:06 (Edited: February 08, 2006 23:06)
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... a bit of background from Danny Robashkin, MAKE.

We always create spec spots in house when we have the time in order to broaden the scope of our portfolio, and hopefully have some fun in the process. The spot was created in 3D, but we were going for a different style as far as the look is concerned. We also rarely get to do much character work so this was another chance to spend some time on character animation.

We spent a few weeks on and off on the spot, and it has been great
getting the positive feedback from people. Especially sites like
bestadsontv.com and boards for example. I doubt Nike, or ESPN for that matter would end up using this spot, but you never know. We created a spec spot for Sony a few months ago and that led to a few projects, so these are definitely worth while.

For the MAKE site, go to http://www.makevisual.com

 GUEST COMMENTS    February 09, 2006 10:00 (Edited: February 08, 2006 23:00)
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A bit of background from Thorbjørn Naug, Creative Director, BTS United, Oslo ... CD on "Mayday"

The ad was shot in the old airport in Oslo, with German actors. The client is Berlitz in Norway. The ad was running only on norwegian tv, but was at the same time available on the internet... We had to close the server because it could not handle the massive traffic after only a couple of days..

About the agency:

BTS UNITED OSLO is part of the WPP advertising network.

* Our Offices:
* Berlin Cameron United. New York
* BTS United. Oslo
* Cole & Weber United. Seattle
* United London
* LDV United. Antwerp
* Les Ouvriers du Paradis United. Paris
* Sra.Rushmore United. Madrid
* WM United. Buenos Aires

New work from Mother London

 TV   UK    February 09, 2006 09:51 (Edited: February 08, 2006 22:51)
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More good work from Mother London, currently leading the bestads rankings as the best agency worldwide.

To view the spot click ....
HERE

From Mother:
The new adverts for I can’t believe it’s not Butter are Ozzy Osbourne’s first ever UK TV commercials and were shot over three days near Ozzy’s home in Buckinghamshire. Jon Culshaw impersonates Ozzy so convincingly, just like I can’t believe it’s not Butter impersonates butter that the advert humorously plays on the two Ozzys being unable to tell the difference between the two.

Jon Culshaw’s realistic impersonation and makeover even had Ozzy convinced that he comments, “I can’t tell the f***ing difference when I look at the ad. It freaks me out!”

United's new spot via Fallon Minneapolis

 TV   USA    February 09, 2006 09:44 (Edited: February 08, 2006 22:44)
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Our only 2006 Superbowl offering. This one was shown regionally during the game.

To view the spot click ....
HERE

New work from Reginald Pike

 TV   CANADA    February 09, 2006 09:33 (Edited: February 08, 2006 22:33)
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Mark Gilbert & DDB Canada team up for Hockey Canada.

To view the spot click ....
HERE

Others from the Trumpet Campaign

 WORTH A LOOK   NEW ZEALAND    February 09, 2006 09:22 (Edited: February 08, 2006 22:22)
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Following on from this week's featured spot "Undies", here are the others in the series:

To view the spot click ....
HERE

Stunning work from Keith Rose of Velocity Films

 TV   SOUTH AFRICA    February 09, 2006 09:01 (Edited: February 08, 2006 22:01)
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Van Gogh's work comes alive.

To view the spot click ....
HERE

More from The Sweetshop. A big week.

 WORTH A LOOK   AUSTRALIA    February 09, 2006 08:51 (Edited: February 08, 2006 21:51)
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An important lesson for all car-buying rabbits?

To view the spot click ....
HERE

New work from Grey New Zealand

 TV   NEW ZEALAND    February 09, 2006 08:45 (Edited: February 08, 2006 21:45)
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Short and not so sweet.

To view the spot click ....
HERE

new work from DDB SF

 UNDER EXPOSED   USA    February 09, 2006 08:31 (Edited: February 08, 2006 21:31)
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We don't hear much from DDB San Francisco, so here's a nice simple new spot:

To view the spot click ....
HERE

Strong work from Scottish Agency

 UNDER EXPOSED   UK    February 09, 2006 08:13 (Edited: February 08, 2006 21:13)
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A strong campaign for speed cameras through Barkers Scotland and Plum Films (Edinburgh)

Agency: Barkers Scotland
Creative Director: Andy Rigden/Jim Langden
Producer: Micky Macpherson
Director: David Boni
Prodn Co: Plum Films

Wongdoody coming to the aid of the right hemisphere

 TV   USA    February 09, 2006 08:08 (Edited: February 08, 2006 21:08)
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A new series from Wongdoody for Art Center College of Design/Pasadena, CA

Executive Creative Director: Tracy Wong
Art Director: Eric Goldstein
Copywriter: Tom Hamling
Exec Agency Producer: Dax Estorninos
Agency Producer: Melia Leidenthal
Production Company Harvest
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New Whiskas work from TBWA London ... real appeal.

 TV   UK    February 09, 2006 07:55 (Edited: February 08, 2006 20:55)
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You have to love Fred .. the bed head

Creative agency - TBWA/LONDON
Creative Team - Alasdair Graham and Frazer Jelleyman with Dan Gorlov and Rachel Le Feuvre
Production company - Home
Director - Lucy Blakstad

Consistently good work from W+K/Amsterdam

 TV   EUROPE    February 09, 2006 07:50 (Edited: February 08, 2006 20:50)
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Nike - "Tell me I'm not an athlete"

Dancers talk frankly about not having adoring fans, filling stadiums, or being followed by the paparazzi – all the things that to a certain extent define athletes today. The physical quality to their dance however challenges us to rethink that definition.

Creative Directors Alvaro Sotomayor, Mark Hunter
Art Director Irene Kugelmann
Copywriter Sue Anderson, John Cross
Account team Patricia Cerda, Alessandra Iovinella, Jasmina Peri
Producer Elissa Singstock
Production company RSA, London
Director Dawn Shadforth


serious SFX in a new spot from TBWA/Chiat/Day SF.

 TV   USA    February 09, 2006 07:45 (Edited: February 08, 2006 20:45)
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Noam Murro does the business in the new adidas spot

Executive Creative Director: Chuck Mcbride
Creative Director: John Patroulis
Art Director: Marco Worsham
Copywriter: John Patroulis
Agency Producer: Jennifer Golub
Director: Noam Murro
Prodn Co: Biscuit Filmworks

withdrawn from the superbowl because of lack of taste?

 TV   USA    February 09, 2006 07:39 (Edited: February 08, 2006 20:39)
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Crazy Dave's House of Ads living up to their name with some controversial work ... "milk gone wild"

Creative Director: Chris Carl/Dan Neri
Art Director: Dan Neri
Copywriter: Chris Carl
Agency Producer: Chris Carl/Dan Neri
Director: Patrick Daughters
Production Company: RSA

Mother London - ranking number one agency

 FROM BESTADSONTV    February 09, 2006 04:45 (Edited: February 08, 2006 17:45)
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Mother London: Currently ranking number 1 in the world.

They're standing by for your call.

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Who's doing well?

 FROM BESTADSONTV    February 09, 2006 04:27 (Edited: February 08, 2006 17:27)
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New rankings page

Go to the menu bar at the top of the page & click on "rankings" to see who's leading the field. We're showing the top 100 agencies, production companies, clients, creatives, CDs, directors & agency producers. Based on featured work.

Warning: The rankings depend on correct spelling & good data entry ... & we're not renowned for our typing skillllls. So SEARCH YOUR WORK & let us know if there are errors. (e.g. do the "quick search" for your last name or go to the archives & search company / agency etc).

Also, we lost a bit of data when we updated the site a year ago - there are a few credits missing.

In the Creative Director category results are skewed because a lot of submissions, particularly from the UK, don't mention CDs. By & large though, it's pretty accurate.

Blink Pictures Welcomes Christian Charles

 PEOPLE   CANADA    February 02, 2006 22:03 (Edited: February 02, 2006 11:03)
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Toronto ˆ February 1, 2006.
Blink Pictures Inc. is pleased to announce the addition of Christian Charles to their roster for representation in Canada. Charles states that his love for comedy and filmmaking dictates his projects, which include humorous campaigns for The History, Discovery and WE Channels, as well as Tilex, Sheetz and McDonald's. His career began as a writer/art director at Ogilvy London/New York with clients such as Pepsi, Lucas Films and American Express for whom he co-created the Jerry Seinfeld campaign. His efforts have been rewarded with multiple Cleos, Cannes Bronze, Silver, and Gold Lions. But asked his highest compliment: "Clerks at Kim's Video have 'SOUND BOOTH' (COMEDIAN's movie trailer) on replay ... and actually laugh."

So there's this Creative director ...

 FROM BESTADSONTV    February 02, 2006 06:53 (Edited: February 01, 2006 19:53)
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So there's this Creative director ... Chief Creative Officer ... you'd know him ... anyway ....

we get HUNDREDS of good people from this one agency all subscribing within a day or two. I get curious, ask the question "what's going on with you guys?" & sure enough, we're on the CD's highly recommended viewing list.

Now I can't say who it is, because I haven't asked permission to name names. But YOU know who you are. Love your work! beamo.

What's this all about?

 UNDER EXPOSED   USA    February 02, 2006 05:57 (Edited: February 01, 2006 18:57)
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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

 WORTH A LOOK   AUSTRALIA    February 02, 2006 05:51 (Edited: February 01, 2006 18:51)
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SFX abound in new work from Burnetts Sydney

Firstly there's the new Heineken spot:
To view the spot click ....
HERE

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Then Francois Vogel weaves a bit of his HP magic in this one:

To view the spot click ....
HERE

Cheap ... but not nasty

 WORTH A LOOK   USA    February 02, 2006 05:36 (Edited: February 01, 2006 18:36)
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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.

 TV   USA    February 02, 2006 05:13 (Edited: February 01, 2006 18:13)
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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

 TV   UK    February 02, 2006 05:07 (Edited: February 01, 2006 18:07)
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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 01, 2006 15:32)
...continuing from last week, we have a few more insightful comments from production company producers around the world.
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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? (it’s okay ... you can tell us – people don’t remember what they read on the net. Scientific fact.)
Neale Ferguson: What we always do..... our best

bestads: the life of a producer .... It’s 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. (we’re 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!

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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? (it‚s okay ... you can tell us ˆ people don‚t 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 .... It‚s 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.......!

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... 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? (it’s okay ... you can tell us – people don’t 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 .... It’s 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.

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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?

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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? (it’s okay ... you can tell us – people don’t 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 .... It’s 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. (we’re 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?

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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. it’s there to be read; keeping creative ideas under wraps doesn’t 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? (it’s okay ... you can tell us – people don’t remember what they read on the net. Scientific fact.)
Donna Svanberg: bribery

bestads: the life of a producer .... It’s 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. (we’re not journalists after all ... We just work in advertising & run a website on the side).
Donna Svanberg: et’s share a red and I’ll tell you more.

http://www.bestadsontv.com/news/upload/Picture%20Tree.png

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? (it‚s okay ... you can tell us ˆ people don‚t 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 .... It‚s 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. (we‚re 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.

http://www.bestadsontv.com/news/upload/non-fiction.png
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. I’m here to support the Director’s creative vision. But I’m 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? (it’s okay ... you can tell us – people don’t 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 I’ll fly a director across the country to meet with creatives instead of just getting on a call.

bestads: the life of a producer .... It’s 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. (we’re 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: January 25, 2006 15:41)
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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. We’d 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 we’d 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, I’m 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: January 25, 2006 15:28)
http://www.bestadsontv.com/news/upload/TOYOTA_towies.jpg
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 man’s 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 Coke

 WORTH A LOOK   USA    January 26, 2006 02:22 (Edited: January 25, 2006 15:22)
http://www.bestadsontv.com/news/upload/Coke_barriers.jpg
Nice looking spot from Smuggler director Brian Beletic

To view the spot click ....
HERE

And now ... how Honda Civic ads USED to look ....

UK    January 26, 2006 02:12 (Edited: February 05, 2007 16:04)
http://www.bestadsontv.com/news/upload/xtreme2.jpg

and from the good people at Xtreme Media, a look at the Honda Civic as it SHOULD be.

To view the spot click ....
HERE
http://www.bestadsontv.com/news/upload/Honda_Civic_oldie.jpg
plug: Xtreme media have zillions of ads from around the world on their database.






 GUEST COMMENTS    January 26, 2006 01:49 (Edited: January 25, 2006 14:49)
http://www.bestadsontv.com/news/upload/Honda_Choir002.jpg
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?

Honda’s 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 we’re 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 weren’t 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 didn’t 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 you’ve 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 Civic’s 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 we’d 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 Civic’s 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

 WORTH A LOOK   AUSTRALIA    January 26, 2006 01:41 (Edited: January 25, 2006 14:41)
http://www.bestadsontv.com/news/upload/Foreclay.jpg
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

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