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Seen and noted
New from George Patterson Y&R & Independent Films (Sydney)New Peugeot work from BETC EuroRSCG, Paris Directing duo Zac & Dan from Stink achieve a stylish look for the new BBC spot. To view the spot click .... HERE We don't get much work from Japan, but ....inside the head of an animation company head .. huh? A chat with Chris OReilly - joint MD/co-founder of Nexus Productions. bestads: You started in London & have since opened in Paris. Is this the road the world domination? Whats the history of nexus & where do you see it going? Chris OReilly: Charlotte Bavasso and I started Nexus eight years ago. Originally we were a division of a Japanese company, but then we bought them out and separated off. Opening in Paris was a natural evolution for us. Charlotte is French and weve always had French directors on our reel. The talent in France is excellent and there are interesting projects coming from there too. Not sure about the road to world domination! Were enjoying the winding back routes. bestads: Any plans to move into non-animated areas? Chris OReilly: Our company plan was to focus on the new generation of filmmakers and artists who had embraced digital film making techniques, with a strong focus on animation. However we always had broader filmmaking interests. Live-action and animation hybrid work has been a massive part of our repertoire, and quite a lot of live-action only work too. Right now were involved in three totally live-action projects. Ultimately our interest is in talent not techniques. bestads: Weve featured 8 Nexus spots on bestads. Thats got to be a record for an animation company for our site. Any interesting work in the pipeline (that youd be allowed tell us about)? Chris OReilly: Weve got quite a few projects going through that Im excited about. Hopefully some will surprise and delight enough to make it on again! bestads: So Grrr is being submitted to the Guinness book of records! Whats the thinking there? Chris OReilly: Weve been told this... It has won a lot of awards - pretty much everything it entered. Its been at a disadvantage being animated as it cant win quite so many craft awards (editing, art direction, cinematography etc) so I dont know whether it will get that honour. bestads: Smith & Foulkes, Smith & Foulkes, Smith & Foulkes ... Do the other directors get a bit peeved at all of the attention these guys have been getting? Chris OReilly: They have been pretty hard to avoid of late, but the other directors here all hold their own against them pretty well! I think we have a diverse roster, and I think the directors all have similarly diverse ambitions. bestads: Maybe nows a good time to mention the feature film title sequences youve done. I remember sitting in the cinema being mightily impressed by these! Chris OReilly: These have been great fun projects to work on. Feature titles get a global exposure that commercials rarely get. Kuntzel + Deygass work for Catch Me If You Can was even parodied on The Simpsons. Now that is an accolade Grrr! never had! bestads: Where do you see animation ( & advertising for that matter!) heading from here? Chris OReilly: Were in a time of exciting change. I think its important for companies like ours to be flexible and recognise which strengths are universal and enduring. Where ever there is excellent design with strong storytelling, we want to be there. Thats what Im backing for the future. bestads: Any tips for creatives ... if theyre thinking about writing for an animated treatment? Chris OReilly: I think its always good when a creative team get the animation company in early to develop the project. With animation you have to create a whole coherent universe and working with the directors who understand their techniques and styles inside out, can make the script work better. Almost all our good work comes from these co-operative trusting relationships. (see all of the work at www.nexusproductions.com) Guest comments for featured spot "Big Win"
GUEST COMMENTS
April 06, 2006 03:26 (Edited: February 17, 2023 04:19)
 A few words from Peter Souter, Graham Storey and Phil Cockeral, AMV BBDO Lodon, creators on the National Lottery "Big Win" advert. A tip for all lazy but ambitious creatives. Scribble out a half decent script and then e-mail it to Mark Craste at Studio AKA in London. Leave him alone for five months while he spins layer after layer of beautiful drawings onto a bank of thirty computers, broadcast the results and then claim all the credit. Guest comments for featured spot "Organ transport"
GUEST COMMENTS
April 06, 2006 03:15 (Edited: February 17, 2023 04:19)
 A few words from the Florian Meimberg, CD Grey Düsseldorf, & one of the directing duo on the "Organ Transport" spot. I directed the ad together with my copywriting partner Torsten. We work as a creative director team for grey worldwide in Düsseldorf. A couple of years ago, we also started directing some of the commercials we create for the agency. That's also what we did with the Toppits ad. One night of shooting and one day of post production, and we were done! As directors, we call ourselves FLOTO. Greetings from germany! FLOTO Guest comments for the feature spot "Reconstruction"
GUEST COMMENTS
April 06, 2006 03:08 (Edited: February 17, 2023 04:19)
 Some background to this week's featured spot "reconstruction" from Nigel Dawson, CD, Grey Melbourne. Sgt Peter Bellion has attended over 1000 fatal and serious crashes. This was the first time he had watched the crash happen. Nobody was hurt, though director Bruce Hunts brain was severely knocked about while trying to come to grips with filming a slow motion car hitting a pedestrian in reverse at 32 km/h while in the same frame Peter Bellion was walking forwards in real time. And it all looked so simple on paper. We wanted to revisit the Slo-Mo spot of two years ago, in which a crash expert compared cars travelling at two different speeds, but his time showing the trauma suffered by an innocent pedestrian. Three days on a quiet street in Williamstown turned into four when the weather Gods turned on such a blow that an army of grips couldnt stabilise the massive green screen. Five cameras covered the crash, with dummy, stuntie and a very game young actress. After a weekend of assembling, the chosen footage was fed into a motion control camera on the Monday to incorporate the walking policeman. Then things got really difficult. We wanted a spot that was so seamless that nobody could see where the dummy stopped and the live actress began. FIN spent two weeks working on Drew Thompsons edit, boldly CGIing into places theyd never CGIed before. It took Richard Lambert a week working to complete one shot of the girl falling back (or was it forward?) from the bonnet of the car. The reaction from the average punter has been outstanding. Compelling is the most commonly used descriptor and many have said that its the best of the 112 TAC ads made by Grey thus far. Guest comments for featured LAFA spots from Sweden.
GUEST COMMENTS
April 06, 2006 03:03 (Edited: February 17, 2023 04:19)
 Some background from ESTER Stockholm ... the creators of the LAFA condom spots. About The Trilogy The Trilogy is the third film in the very successful campaign "Condom. Still the easiest way to avoid anxiety.", which earlier have won Swedens highest advertising awards the Golden Egg and 100-wattaren. Today young people are less afraid of getting sexually transmitted diseases. According to that fact, that young people don´t care much if they get infected or not, we decided to focus on the hard and "anxiety causing" things that occour surrounding an infection. We want young people to consider the consequnces of the disease rather than the disease itself, and with this tactic get the young people to use condoms. The campaign illustrates in a humorous way the dangers of unsafe sex. The Trilogy is the third film in an long-term campaign with two earlier films made. All three films communicate at the same theme and with the same pay-off "Condom. Still the easiest way to avoid anxiety." The idéa and pay off permeates all communication. The earlier films showed how unpleasant and "anxiety causing" it can be, to be forced to call up all your former sex partners, telling them that you have been infected with an sexually transmitted disease. In the Trilogy we want to illustrate that there's always someone else's version of the same occurrence and that things never are as they seem. Things are connected in the most unpleasant and unexpected ways, situations that are guaranteed to cause you anxiety. The idea to illustrate one and the same story from different persons point of view we got from the film Pulp Fiction and it was interesting to test if it could work as a commercial. It was exciting to brake up the stories in time so the first film starts where the last film ends. The Trilogy format became a natural result of these ideas. In addition to that, it felt like a new way to make a film in three parts - in one and the same commercial break. art director seeking senior writer
PEOPLE
April 05, 2006 21:03 (Edited: February 17, 2023 04:19)
 We don't often run employment ads, but this one's interesting. To view .... HERE make sure you click on "Click here for the campaign file" when you get there - the single page jpeg is too small to read. « First « Previous Next » Last » 2 of 2 |
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