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Guest comments for featured spot

 GUEST COMMENTS   USA    August 17, 2007 02:05 (Edited: August 16, 2007 16:05)

A few words from the director - Michael Spiccia....

The one thing that I always had in mind whilst making this spot was that I wanted to seamlessly integrate the cubic devices in such a way that it didn’t come across as an ‘effects’ film. I wanted to convey complete reality and a nostalgic feeling through the use of our central characters, who take us on this observational journey before arriving to their unfinished home.

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 GUEST COMMENTS   SOUTH AMERICA    August 17, 2007 01:44 (Edited: August 21, 2007 09:04)

Guest comments for featured spot

 GUEST COMMENTS   UK    August 02, 2007 04:11 (Edited: August 01, 2007 18:11)

Comments from the Creatives, Rob Spicer and Adam Griffin, JWT London:

Rarely do you get the chance to work on such a big production and work with some of the most talented people in the industry. But when you do, it allows you to focus on what’s really important – making sure the vision you had in your head makes its way onto the screen.

More info on the ad:

This ad sees the sea dramatically ridding itself of an incredible range of debris that has been deposited in it over the years. All kinds of objects are thrust up from the depths of the ocean and thrown ashore, purifying the sea sea.

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Guest comments for featured spot

 GUEST COMMENTS   EUROPE    July 26, 2007 16:46 (Edited: July 26, 2007 06:46)

A few words from Sascha Hanke, CD Jung von Matt:

The Hamburg production company “Sehsucht”, famed for its extraordinary and innovative visual creations, was a key player in the film’s execution. The collaboration resulted in the development of an entirely new filmmaking approach: actual artificial blood was filmed in enormous water tanks and combined with digital graphics.

The music is the work of Fazil Say, a Turkish artist exclusively contracted to the Dortmund Concert Hall. The piano virtuoso was recently hailed in the French press as one of the greatest musical talents of the twenty-first century (Le Figaro).

Check also our film for the previous concert-season 2006/2007:

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Guest comments for featured spot

 GUEST COMMENTS   USA    July 26, 2007 04:42 (Edited: July 25, 2007 18:42)

A few words from the creatives:

As the unlikely icon of a premium tequila, we decided to embrace the Deer and create a mythology behind where he came from and why he's on the Cazadores label.

Drinking tequila is good. Shooting a tequila spot in Mexico is better. Shooting a tequila spot while drinking tequila is the best.

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Guest comments for featured spot

 GUEST COMMENTS   SOUTH AMERICA    July 26, 2007 04:40 (Edited: July 25, 2007 18:40)

Some background from Flavio Pantigoso, CD, Lowe México:

Papalote Children's Museum at Mexico City is a Museum based on science and technology, primarily.

Yet, it is a place meant not only for children but for the whole family, where parents have great fun bringing their kids.
We thought that an adult robot (a symbol of the Museum’s content), seeking for ‘sharing’ and ending up building his own child, was a stirring idea.

An inanimate being who is unable to reproduce but manages to ‘have’ a family in its own way, in order to enjoy the ideological statement of the Museum.

The style that would make the story believable and touching was given by American director Mac Premo, a stop-motion animation expert represented by Neural Films in Mexico.

He shot the whole film with a Reflex camera, thousands of still pictures. But he didn’t use motionless figures moved slightly frame by frame, but real actors inside robot suits instead. These actors filled the characters with simple human gestures, a feat that traditional animation wouldn’t capture adequately.

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Guest comments for featured spot

 GUEST COMMENTS   USA    July 26, 2007 04:36 (Edited: July 25, 2007 18:36)

A few words from the creatives ....

Unlike their competitors Wendy’s don’t freeze their beef, nor does it sit in holding trays waiting to be ordered - it’s made to order. Remarkably the public simply doesn’t know these and other food facts that make for better burgers at Wendy’s. If they did know, surely they’d stop and reconsider doing what everyone else does: thinking all fast food is the same, or kicking trees, or jumping into the abyss.

A light goes on. Or in this case, Wendy’s famous red pigtails. And yes, the hole is real.

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Guest comments for featured Sony Cybershot spot

 GUEST COMMENTS   UK    July 19, 2007 05:05 (Edited: July 18, 2007 19:05)

A few words from John Allison, Fallon London.

When you peruse someone's i-tunes you can get a pretty good idea of who they are (for instance my creative partner Chris Bovill's collection has hundreds of different covers of "Its raining men" by the weather girls). Photos are the same, they define who you are, which is why Facebook and Flikr are so popular. "You are what you shoot." came from this truth. Stylewar shot the ads beautifully, as if the camera had some kind of "photohead" lens giving you a revealing insight into various people's collections.

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Guest comments for featured spot

 GUEST COMMENTS   EUROPE    July 19, 2007 04:54 (Edited: July 18, 2007 18:54)

Guest comments from Poppe van Pelt, Founding Creative Partner of independent Amsterdam-based ad agency SELMORE:

For the viral campaign we were looking for a shooting location that oozed depression and really underlined the concept of the campaign that can rescue people from their dead-end jobs. We wanted this former Eastern European style of a gloomy office look and feel. And guess what? Instead of having to travel to Kiev or Albania, we found the perfect location in our own country. In this sad business park in Wormerveer, The Netherlands. Goes to show that boring office environments are a universal phenomenon that is not limited to a particular country or region. As the icing on the cake we found Polish director Miron Bilsky, whose interpretation best fitted with what we had in mind, while his totalitarian working approach got us 47 (!) shots in one day!

But the crucial element that really got this viral campaign going was the fact that you could send it to friends and colleagues with a personalized company name in a neon sign on top of the building in the opening shot; without any Eastern European censorship, by the way - so people could send funny or silly company names to each other, again underlining the fact that they needed to switch jobs.”

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... and the other spots are equally good!

Click here to view Help is on the way

Click here to view Office plant

Guest comments for featured Yellow Pages spot

 GUEST COMMENTS   NEW ZEALAND    July 19, 2007 04:42 (Edited: July 18, 2007 18:42)

Guest comments from Rob Beamish & Hilary Badger, Saatchi & Saatchi, Auckland.

This was a weird shoot, since almost nothing you see in the ad actually existed. The hands, glasses, bottles, port-a-loo and tongs were all created in 3D at Animal Logic. A lot of the shots were actually made up of stills, which somehow came out the other end looking seamlessly integrated.

Mark Malloy and Animal spent ages working out the hands’ characters. We wanted the hands to be industrious and capable little workers. But within the group of hands, individuals also have their own personalities. One hand’s a bit dumb and walks up the driveway the wrong way stuck under a glass. Another hand is the leader, pointing out the way for all the rest. Every time you watch the ad, you notice more and more things that individual hands are doing. We were blown away by the level of detail Mark and Animal brought to the job.

The music, Bath Time in Clerkenwell, which came complete with toilet flushes, seemed perfect for the ad.

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Guest comments for featured ORANGE spot

 GUEST COMMENTS   UK    July 19, 2007 04:35 (Edited: July 18, 2007 18:35)

Some background from Micah Walker, CD, Fallon london.

"Gigs and Tours" is one of five ads we made for the "Life, as you like it" campaign for Orange. Each ad has its own original song, sung by ordinary people, about the things in life they like, and is accompanied by a kind of personal, theatrical tribute to go along with the lyrics.

They were built and shot on location in South Africa, with a group of art directors and set artists working on each; a few as collaborations and others with independent artists in London and Cape Town. We did it that way so we could keep them individual and personalised, yet still working together as a set.

Ringan Ledwidge directed the entire campaign and Nick Foley Oats oversaw the talented collection of artists and set builders who helped us make the campaign a reality.

It was hell of a lot of hard work, but genuinely fun to make for all involved.

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Another nice spot from the series ... "Pay as you go"

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Guest comments for the featured spot

 GUEST COMMENTS   UK    July 10, 2007 04:35 (Edited: July 09, 2007 18:35)

Some background from Fredrik Bond, director on the Motorola "Hakko" spot.

My Sonny London girl Helen Kenny called me up on a dark and stormy night. I was sitting in my small Knotting Hill flat reading THE PHANTOM. “I hope you’re sitting down,” she said. She slowly told me about the weird and perverse request from, tar like, killer cables attacking Hakko a naked, Finnish boy in his student apartment in Paris.

My first reaction was one of terror – as a few years earlier I had a traumatic experience dealing with a rubber baby running loose in an Eastern European hospital. Secondly, I had never heard of the black, flying, killer cables. Where do they live? What do they eat? But most importantly where would I find them? Many little time.

I got on the phone with the crazy and wild people from Ogilvy in Singapore. I asked them why they didn’t go with a director who has a death wish or an Eastern European film student.

They had heard of my rubber baby experience and were adamant that I do it for them. I was the chosen one.

As the days went by, each morning I lingered longer and longer in my bathtub - staring at my hair going down the drain. How would I go about this?

After extensive research we finally found a lead at The Mill in London. The company had previous experience in wrangling my rubber baby and other wickedly mean apparatuses. For a few weeks we went into The Mill’s hazardous, circus training camp with their bold and reckless wranglers and did many, many previsuals. There was a lot of blood, sweat and tears. The big team of wranglers put their heart and soul into taming the digital cables. One or two of the wranglers even disappeared in the dark basement at The Mill´s headquarters and was never found again. Bless them all.

The only service production company in the world that dared to take up on our challenge and partner with Sonny London on this quest was Monika Kristl in Prague. Just like us, she has a team of death defying, tattooed renegades at Dawson Productions who fear nothing.

My next, big, hard challenge was to get the right crew onboard. I needed a crew of gritty brigands full of piss and vinaeger – the kind of people that can withstand a melee of vicious, psychotic cables in a closed off environment – and for 4 days no less.

After 30 seconds of thinking, I decided to approach the most adventurous people I could think of. Ben Seresin, my DP, had just come off the PIRATES OF THE CARIBBEAN and flew in with his own Russian fighter plane. He arrived with fat, burning cigar smoldering in his mouth. Jeremy Hindle, my art director, stepped off a suspicious cargo boat straight from the dark and wicked streets of Toronto with his big white smile and famous belly. After extensive set drawings and numerous late nights, he and local AD, Onza, finally built an amazing set that would stand up to the black flying cables and planned nuclear explosion.

They built our set in Barrandov studios, next to the set of the new Narnia movie. We had a lot of great exchanges between the two crews and sets...they had their vicious lions and we had our black German cables. We had local Czech catering, they had posh L.A. catering…different, but both equally dangerous to deal with. Ben, with still puffing on the same stoagie, put a killer light on the set. A piano was placed on set and we were ready to let the cables in!

My production manager, Lara Baldwin, had arranged the cables to come in via Germany - the only country that would let the cables out on public roads. Five large German men pulled up with their armored trucks outside Barandov studio late on the night before the shoot. It was raining heavily.

My assistant David cocked his gun and told everybody to step back into the studio, behind the protection barriers, as the doors to the trucks opened. The Germans stepped into the dark womb of the trucks. Everyone fell silent in anticipation of the deadly, voracious cables.

As I watched the cables come out, I could see that they where rolled up in bundles and, to my surprise, I realized that the cables didn’t move very a matter of fact...not a bit. Where were the killer cables? Ben pulled off his flying goggles. He huffed and threw his cigar to the ground .

For 4 long, loooooong days we all stood and watched the cables painstakingly placed in thousands of positions – every imaginable variation across every square inch of the set.

Hakko, our young Finnish exchange student was as patient as could be while intimately entangled with the black wires. We stood in our khaki action gear whilst sipping tea as the oxygen went low in the studio and most of the crew fell asleep around us.

Our quick thinking animator Hitesh from The Mill, noticed I was dozing off and was kind enough to keep my eyelids propped open with a pair of pine matchsticks. Reassuringly, he whispered, "Don’t worry Fatty Freddie,...Ill fix it in post.”

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Guest comments for featured spot

 GUEST COMMENTS   AUSTRALIA    July 05, 2007 01:29 (Edited: July 04, 2007 15:29)

Some background from the creatives Scott Glennon and Jason Ryan, JWT Melbourne.

Patrick Hughes, director of the Falcon Ute ad, loves blokes.

Not in a handlebar-moustache kind of way. He's just really into the dumb shit blokes do. Right from our first meeting he was able to bring a lot of that dumb shit to our ad.

We shot the spot in Ballarat. It's a regional hub a little over an hour out of Melbourne. When Patty spent a night in the town on a recce, he was woken up at 3am by the local lads doing 'circle-work' in their utes outside his hotel window.

We had found 'Utopia'.

Shutting down the city centre during the shoot, we made page two of the local daily newspaper. Slow news days are fairly common around Ballarat.

The art department kept astounding us. The world's biggest cardboard box. The beer suit. And Mr. Frothy. Just follow the pretty ,flashing lights to beer heaven.

Into post and Iloura created the valley of the tool shops; the kind of retail precinct sadly overlooked by narrow-minded civic planners.

Set to a sensational track courtesy of Phil Kenihan and our idyllic blokedom had finally become a reality.

... and from the director, Patrick Hughes:

My goal was to create a dreamland styled montage, one that would pay homage to all those wonderfully tacky 1950’s ideals of perfect suburban neighbourhoods and freshly manicured lawns but with one exception, our dreamland would be populated by beefy Aussie blokes, riding beefy Aussie utes…sweet.

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Guest comments for the featured spot

 GUEST COMMENTS   USA    July 05, 2007 01:24 (Edited: July 04, 2007 15:24)

A few words from the creatives, Debbie Karnowsky, John Dolab, & Chip Kettering, Campbell-Ewald Los Angeles.

Well, let’s see.

Start with a simple, humble idea:
illustrate the physical and emotional disruption that one experiences in life after a car accident.

Collaborate with a brilliant director (Noam Murro at Biscuit Filmworks) and his wonderfully talented editor (Avi Oron at Bikini Edit).

Make absolutely certain that you don’t get in their way.

Sit back and enjoy the ride.

Yeah, that about sums it up.

John + Chip + Debbie

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Guest Comments for the featured BARNARDO'S spot

 GUEST COMMENTS   UK    June 28, 2007 06:21 (Edited: June 27, 2007 20:21) Give Up_No Bleep.jpg

A few words from Nick Gill, Creative Director:

It was important that the spot had an honesty and authenticity about it.

We'd cast the young boy, Lewis, for the press ad, and were praying he'd be able to deliver a great performance on film.

He steadily improved over two casting sessions. But on the day he was James Dean. And this was due in no small measure to the smart direction Andy McLeod gave him.

We're all very proud of the film, and we hope it will do a great job for Barnado's, as part of our Believe in Children initiative.

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Guest comments for the featured spot

 GUEST COMMENTS   AUSTRALIA    June 28, 2007 06:16 (Edited: June 27, 2007 20:16)

A few words from the creatives, Chris Pearce, Baz Baker and Pic Andrews, Clemenger BBDO Sydney.

No crashing cars, no death just guys hooning about and people acknowledging how inadequate these drivers really are. Thanks to the guys at the takes big balls to approve a campaign about small dicks.

Baz, pic, pearcey.

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Guest comments for the featured spot

 GUEST COMMENTS   NEW ZEALAND    June 28, 2007 06:00 (Edited: June 27, 2007 20:00) Thumbnail.jpg

Some background from the creatives, Mark Harricks & Paul Nagy, Clemenger BBDO Wellington.

Obviously, a lot of post went into this ad.

We had to remove the power cords, the multi-boxes, the generators and the fish wranglers – who had to get in pretty close to keep control of our fish. The fish wranglers from Fuel were absolutely superb. Many of the fish had to be reared specifically for this job and trained to swim (and jump) inside their TV shells. We actually had two marlin on set, one trained to swim right-to-left and the other left-to-right. This was because we couldn’t train one marlin to swim across screen, turn, and come back – the buggers just kept going. This was just one of many challenges the hairy boys from Fuel rose to and conquered with ease.

And of course, nothing would have been possible without our director, Sean, who spent more time underwater than the fish themselves it seemed sometimes. Another generously hairy individual, Sean looked frighteningly scrotum-like at the end of each day’s shooting. But he never complained (even with the constant electric shocks), he simply soldiered on, never wavering from his creative, one-shot vision.

The result is everything we’d hoped for and we couldn’t have asked to work with a nicer bunch.

(and here's the original presentation storyboard frame .... )

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Guest comments for the featured spot

 GUEST COMMENTS   USA    June 26, 2007 09:21 (Edited: June 25, 2007 23:21)

A few words from the creatives, Erik Fahrenkopf and Anthony DeCarolis:

The “lying” spot inspired quite a bit of lying on the set. The location scouts lied when they said the house was just minutes from the city. The creatives lied when they said they weren’t hung-over. The producer lied when he said we’d wrap by midnight. The actor lied when he said he wasn’t actually drinking the beer. And the director clearly lied when he said he hadn’t done tons of spots. Joe Leih, you’re a true pro.

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Guest comments for the featured spot "The Rocket Bros"

 GUEST COMMENTS   EUROPE    June 21, 2007 03:37 (Edited: June 20, 2007 17:37)

A few words from Sam Stewart, Strategy Director at John Doe:

It was a very interesting and adventurous film to make. Because we flew around the world to make the rocket cross every continent, and we also worked with Tom and George in their self-made rocket. They are energetic, they want to fulfil their dream and change direction in their lives.

and from Hein Mevissen, Director:

Next time we'll build a house on the moon.

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Guest comments for the featured Vodafone spot

 GUEST COMMENTS   UK    June 21, 2007 03:25 (Edited: June 20, 2007 17:25)

A few words from the creatives, Simon Veksner & Nick Allsop, BBH London.

Our original script was about a rain of watches, inspired by the scene in Magnolia where it rains frogs. However, every director we spoke to was worried that watches falling from the sky might take people's eyes out and smash cars. Simon Ratigan solved the problem quite well, by suggesting it should rain watch parts and not just whole watches. We still managed to blind a couple of extras and blow out the odd windscreen, but otherwise the shoot went fine. Then The Mill added gazillions of extra watch parts, we put April Showers on the top, and got Judi Dench to do the voiceover. That was a coup. O2 and Orange are both using people who've played Bond villains (Sean Bean and Dougray Scott) but we've got M, so we win.

and from the director, Simon Ratigan ...

Vodafone was an amazing challenge. Not only did we have to make it rain time, but we also had to make a big corporate ad not feel like a big corporate ad. It was important to give it a more friendly and human feel and for this reason, we tried not to get hung up on the effects, but concentrate on the people and their reactions to the falling watch parts.

By doing many of the effects entirely in camera, these reactions became more genuine, as everyone involved was literally being rained on by cogs, winders, springs and occasionally even watches themselves.

This process also helped to give the special effects a very natural look and provided The Mill, who did hours of brilliant and painstaking post-production, a very real and solid base to build upon.

From the start, I wanted the commercial to look like it had indeed been raining time and that we happened to be outside with a camera filming what we saw around us. With 90 seconds to fill, tight deadlines to meet and reality as our goal, the project has been, without doubt, a terrific success.

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Guest Comments for the featured spot

 GUEST COMMENTS   NEW ZEALAND    June 14, 2007 06:17 (Edited: June 13, 2007 20:17)

A few words from Mike Felix, DDB New Zealand, one of the creatives on the "Braveheart" spot :

We used re-enactors instead of actors for this one. This meant the swords were real, they wore their Sunday casuals and one of the larger gents in the front row was called Zeus. It was fantastic fun and amazingly everyone walked away in one piece.

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From Mother London & Tantrum Productions

 GUEST COMMENTS   UK    June 13, 2007 06:04 (Edited: June 12, 2007 20:04)

Some background from the creatives, Scott Harris & Damien Eley, Mother London.

The Wildebeest spot is the third in the Oasis ‘for people who don’t like water’ trilogy.

Using only documentary footage was always going to be difficult and the finished spot has nine different pieces of film from different locations edited together to tell the story.

The shots were painstakingly pulled from over 500 hours of footage by Mikko our director and Christof Williams the editor.

Wildebeest were digitally added to the watering hole scene to give the effect that our hero was the last to arrive and the one who viewers would focus their attention on.

It took an entire day to shoot our presenter on green screen in a park. We had to match the slope and the colour of the sand on the river bank. We also experimented with different levels of interaction with our presenter and the wildebeest as they ran past him.

We originally wanted him in the water with the crocs but dropping him into the moving water and making it look real proved impossible.

Putting a voice to the wildebeest was just as challenging. We tried all manner of accents and styles - each one gave the wildebeest and the ad a completely different personality.

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New Heineken work from The Red Brick Road

 GUEST COMMENTS   EUROPE    June 13, 2007 05:02 (Edited: June 12, 2007 19:02)

A few words from the director, Daniel Kleinman from Rattling Stick:

How best to turn a gourmet meal into a philandering villain? Not the sort of problem one has to solve every day. The lobster was real but no crustacean was harmed during the filming of this ad, in fact the lobster is now going out with the lead actress, she has overcome her allergy to prawns and they intend to test the government's inter species marriage rules. Women; you can't even trust the ones in your own imagination.

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 GUEST COMMENTS   IRELAND    June 13, 2007 04:44 (Edited: June 12, 2007 18:44)

Some background from Ronan Nulty, Publicis QMP, Ireland - copywriter on featured spot “Dance-Off”.

Our first Halifax ad, “Fight” got banned. Well, the bit where a banker got thrown threw a window did. Thankfully any violence in “Dance-Off” was restricted to ‘body-popping’.
The challenge was to do a dance ad in a fresh way. The answer: Hire The Glue Society. He’ll help us cast the best old-school dancers in New York - who just happen to look like bankers (including one of the original Rock Steady Crew). He’ll also get Harris Savides – the only man to make America look even ‘cooler’ than it is.
Dan and Ryan were our two amiable Halifax guys. They were great at playing Irish and dancing funny.
Note: The lead banker is an Irishman in New York. Don’t know who found him. His name is Mickey and he works in The Ear Inn. Interesting conversationalist.
The only shame was having to cut out so much great dancing. And finding out that the Moonwalk is harder than it looks.


Guest comments for the featured spot

 GUEST COMMENTS   NEW ZEALAND    June 06, 2007 07:27 (Edited: June 05, 2007 21:27)

Some background from the creatives ...

‘Sol City’ is a virtual Mexican city that’s home to Sol, the authentic Mexican beer.

We brought ‘Sol City’ to life on the web by creating an entire functioning city populated by hundreds of tiny Mexican joke characters.

Apart from our own pre-programmed Mexicans, users could create their own using a simple tool-box and then set them free to wander the streets. They explored the city, checked out others’ characters, voted for their favourites, and sent them on to their friends.

From affluent suburbs to dodgey inner city alleys, tiny-handed illustrators worked obsessively designing an entire city for our characters, complete with schools, churches, beaches, mountains, restaurants, and of course bars exclusively selling Sol beer.

For the launch, we took Sol City into the real world with magazine ads, street posters and a viral spot.

The user-generated content at Sol City meant an infinite supply of crap jokes and fresh entertainment every time users returned. The result was a bustling and strangely addictive online city, with friends inviting friends to create a community based around the authentic Mexican beer.

Visit the website HERE

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Guest comments for the featured spot POST TRY CELEBRATIONS

 GUEST COMMENTS   AUSTRALIA    June 06, 2007 07:24 (Edited: June 05, 2007 21:24)

A few words from the director, Jim Hosking, Revolver.

The original script was filled with feats of amazing athleticism. Well,
there are a lot of amazing advertisements on the telly. I wanted to make one that felt more real. Like the choreography was done by the blokes. Which it sort of was. It all happens in camera, it feels real. It’s blokes celebrating. I like the fact that it feels spontaneous. It feels funnier to me. There are lots of ads with millions of rubber balls mutating into ostriches. I wanted to put a fat bloke on top of another man’s shoulders.

Call me old-fashioned. Oh, hello mum!,


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Guest comments for the featured Absolut spot

 GUEST COMMENTS   USA    June 06, 2007 06:53 (Edited: June 05, 2007 20:53)

Some background from Pierre Lipton, ACD Copywriter, TBWA Chiat Day New York:

Fredrik has a boundless, irrepressible energy and enthusiasm that is completely contagious. He has a unique ability to ignore the little problems that invariably come up on a shoot and focus on the big things.

These were particularly useful traits because it rained. And rained. And rained. We lost more than a full day to the weather, but we didn’t end up scratching many shots. Instead, Fredrick and his crew worked at an unbelievable pace. Not an easy thing to do when you’re corralling a thousand extras and have to clean up tons of feathers between shots.

We all felt very lucky to have gotten the one and only Guillermo Navarro as our cinematographer. Not only because of his wonderful work, but also because of his personality, which is too big for words. He taught us all about Salsa, Latin American history and politics, Julio Cortazar, and how to play craps. We were sad to say goodbye to him when it was all over.

The shoot took place in Montevideo, Uruguay. It’s a fascinating city, and we spent more than a few nights trying to figure out how to buy property there. It was a great place to work and we’re pretty certain it’s going to become a very popular production spot. We hope to get back there one day soon.

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More of the campaign:

Swimming ... in an Absolut world:

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Guest comments for the featured spot

 GUEST COMMENTS   UK    June 06, 2007 06:31 (Edited: June 05, 2007 20:31)

Some background from AMV BBDO London:

“The Journey” shows how the moving image has progressed from the Zoetrope of the 1830’s, right the way through to 16 million colours and 30 frames a second on the MOTORIZR Z8 today. The action focuses on a central character, riding horseback that seamlessly moves through different eras and styles of cinematography.

The commercial begins by showing the movement of a sequence of still images taken by photographer Edward Muybridge. We then travel through the black and white genres of the silent movie, a classic Mexican scene and a hand-drawn cartoon. A very muted Cavalry scene then makes way for Technicolor and a medieval joust. This is then followed by a romantic scene, an action packed Red Indian scene and even an urban police chase. The film finally culminates with a special effects laden “Ninja” scene featuring lots of explosions and fire.

The ad was shot in Spain and many of the locations have graced our screens before. The silent movie, Mexican and Cavalry scenes were shot on location at Fort Bravo where The Good, The Bad, and the Ugly, and A Fistful of Dollars were shot. The backdrop for the Jousting scene is also the same castle that was used in the film El-Cid.

Many of the scenes were shot using the same techniques of that particular era. The ‘Romantic’ scene for example was a combination of old-fashioned rear projection for the background, and foreground elements shot in the studio.

The two stunt coordinators that were brought in for the job usually work on movies and have worked on such films as; “Troy, Batman and Blood Diamond.”

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Guest comments for the featured Ford Mondeo spot

 GUEST COMMENTS   UK    May 30, 2007 04:49 (Edited: May 29, 2007 18:49)

Some background from Creative Director, Greg Burke:

The Mondeo idea is about instant desirability - that moment when you fall so head-over-heels-in-love-with-one that you burn all bridges with the other.

The balloons carrying the old cars away seemed like a visually poetic way of consigning them to some kind of metaphorical heaven.

Phillipe Andre's languid direction brought this to life beautifully. Where feasible everything was shot in camera using carbon shells, and a polystyrene, helium filled car weighing only 5kg. Phillipe's use of agonisingly slow tracking shots and the inspired choice of Michael Andrews' Donnie Darko soundtrack added the edge. Buf in Paris helped to populate the sky in the wider shots..

The other star of the commercial of course is London's magnificent skyline. Using the King Kong/Empire State principle of placing the abstract or bizarre next to the familiar gives the commercial an intimacy one wouldn't have been able to recreate in Cape Town, Santiago or Buenos Aires.

And from the director, Philippe Andre:

This TEN day shoot took place in London which is rare but integral to the idea and believability of this spot for Ford through Ogilvy. I wanted it to be very peaceful and quiet and it works because when you look at the spot, it's like storytelling without a story - it feels like a journey.

The slow tracking shots employed echo the peaceful ascent of the cars into car heaven! People feel their own cars are not worthy of remaining on the ground in comparison to the new Ford Mondeo, so they tie balloons to them and send them sky high..

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Guest comments for the featured MS spot

 GUEST COMMENTS   AUSTRALIA    May 29, 2007 22:26 (Edited: May 29, 2007 12:26) screenshot.jpg

A few words from the creatives Matt Page and Carolyn Davis, Cummins&Partners:

Most people don’t know how MS effects sufferers. It can cause anything from disorientation, to loss of balance and co-ordination, blackouts, blurred vision, pins and needles, hot/cold sensory confusion, paralysis and more. We wanted to give people some understanding of the sinister and unpredictable nature of the disease.

The dolls in the frame on the wall, in the second last scene, were actually already in the house on the day of the shoot. We all saw them and knew they had to go in. Sean used them to reflect the woman’s image as she walked past.

A few words from the director Sean Meehan, Soma Films:

We shot this spot in one day with a small crew. The main challenge was to create intrigue and mood for what was predominantly a cerebral idea. This was made somewhat easier by the fact that MS is such an insidious bastard of a disease that tends to elicit a pretty emotional response from most people. We were all pleasantly surprised at how well the split-screen lock off worked at the end. We’d planned to apply some kind of hand-held post treatment to this shot but in the end didn’t think we needed it. It’s funny how effective a hundred year old trick can be.

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Guest comments for the featured spot

 GUEST COMMENTS   EUROPE    May 29, 2007 21:53 (Edited: May 29, 2007 11:53)

A few words from the creatives, Niels Westra & Jakko Achterberg, DDB Amsterdam.

This commercial was shot in Budapest (Hungary) in a working prison with real prisoners. The first time the heavily armed guards let us through the big gate our female producers immediately got a warm welcome from the inmates. Hundreds of porn magazines were thrown out of the barred windows. A rain of cheap naked women fell down on our heads. The producers put on their sunglasses and never took them of. Till we got out of prison again.

Some background from the director, Frank Devos:

The campaign 'Even appeldoorn bellen' is probably on of the longest and most succesfull campaigns made in the Netherlands the last 20 years. It's difficult to make a translation. It means a little bit 'JUST CALL US', but you have to know that Appeldoorn is a small town near Amsterdam where the assurance company Centraal Beheer has their headquarters.

The commercial was shot in Budapest during a 2 day shoot. We shot in a real still-existing prison and sometimes the atmosphere was a little tense, beause the real prisoners watched us constantly while we invaded their backyard and cells. That's why sometimes we had to use real prison guards for the exterior shots. The guns they were wearing where also real. The main cast came out of England. We shot a lot of alternative scenes , but in the first edit we ended up with a cut of 2minutes, and that was far too long. There was also a version where the warden didn't say "you must be the Dutch guy" but 'Welcome to Disneyland'.

Anyway, it was a nice story to tell and completely different from my Zazoo commercial.

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Guest comments for the featured BBH spot

 GUEST COMMENTS   UK    May 29, 2007 07:11 (Edited: May 28, 2007 21:11)

A few words from the creatives, Matt Waller and Dave Monk, BBH London.

Wars are always fun. Pretend ones anyway.

During the large battle scenes we had about 400 hundred extras who quickly got hold of the Boys V Girls idea. The boys enjoyed kicking balls at the girls, and then enjoyed it even more, when the girls handbag hurling fell short, sideways and backwards.
The dog at the end was a last minute idea from Traktor, and thanks to some quick dog training, a nice memorable one take wonder.

a bit more background ....


Young people are getting more elusive for paid for newspapers. They consume news for free (freesheets/online). They like the idea of Sunday papers but see it as an activity for their future, something their parents do. Where they do buy the Sunday papers it is not for news but for entertainment or serious comment. However, magazine purchase is on the increase amongst them.

We need to show them that MOS is a relevant option for them.

BBH was briefed by MOS to come up with a campaign to get the next generation into the MOS – the first work of this kind that BBH has done for the MOS.


To force both appraisal & re-appraisal of the brand.

What our target don’t realise is that the MOS has two distinct magazines, You for women and Live for men. We needed to turn the traditional proposition on its head; rather than getting two free magazines with the main paper; you buy two magazines and get a free newspaper. Once people read the magazines they realise the MOS is also a paper for them – the content and its contributors make you think differently about the brand.

The fact that MOS offers something for her and something for him took us very quickly to Male/Female territory – only the MOS can bring peace and harmony to the traditional battle of the sexes… the MOS is Male and Female on Sunday.

Cinema was the perfect choice as the best way of getting to our new audience. It’s an underutilised medium, a place we can specifically target our (often elusive) audience in an already engaged environment. Most people visiting the cinema on a Friday/Saturday night are young couples – this gives us the chance to really target our messaging exclusively to them.

To support the campaign MOS is running a mass sampling exercise for the two magazines. Not only will the audience be driven to reappraisal by the film but then they can experience the product for themselves, with audiences being given their own copy of the magazine complete with incentives to purchase & unique offers.

This engagement strategy is the first of its kind – no other paper or magazine has ever advertised on cinema before and whilst sampling is not totally new, it has never been with a brand film. Essentially MOS is putting its money where its mouth is.


The action is inspired by the oldest battle in time – the battle of the sexes. We see two mammoth armies, men vs women, go to war against each other in traditional movie battleground. The twist is, these are modern day heroes and heroines and their arsenal of weapons are everyday items peculiar to each sex. We see men kicking footballs at women, women using their handbags and their contents as lethal missiles. Suddenly, You and Live magazine bring peace and harmony on Sunday.


The ad breaks in cinemas across the UK on 23rd May in this year’s biggest film release, Pirates of the Caribbean 3: At World’s End. The film will be shown over 12 weeks to 26.6 million admissions and will be in 18 of the biggest movies across the summer. In addition, 1.3 million copies of the magazines will be given out within the cinemas on Friday and Saturday nights – the biggest sampling exercise of its kind.


The campaign was briefed and supervised by Stephen Miron (Managing Director, MOS). The film was written by Matt Waller and Dave Monk. The Creative Director was Russell Ramsey and the Agency Producer was Sam Robinson. The Agency Planner was Kevin Brown. It was directed by Traktor through Partizan and post-production was completed at MPC.

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Guest comments for the featured VW spot

 GUEST COMMENTS   UK    May 24, 2007 05:11 (Edited: May 23, 2007 19:11)

A few words from the creatives, Sam Oliver & Shishir Patel, DDB London:

There's something special about driving at night when the roads are empty and you feel like the only person in the world who's awake. We wanted to capture that feeling for Golf. Richard Burton's reading of Dylan Thomas's Under Milkwood seemed to match that mood perfectly and we went on from there.

By shooting the commercial on the Genesis HD camera we were able to pick up the same level of nightime detail as you can see with the naked eye. Hardly any additional lighting was needed. This meant we could shoot the whole thing in only three nights, which was good because it would have been hard to stay awake for much longer!

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Guest comments for the featured ORBIT spot

 GUEST COMMENTS   USA    May 15, 2007 10:41 (Edited: May 15, 2007 00:41)

Some background from Mike Roe, Creative Director, Energy BBDO, Chicago.

After 7 years of running the campaign, we're always trying to push the boundaries of a "dirty mouth." Sometimes it's literal dirt. Sometimes, it's figurative dirt. In "The Affair", we thought we'd build on the figurative dirt by making an ode to every film you've ever seen edited for television. It's always obvious and comical when they take an "R" rated film and insert the word "fudge" for something else. Taking that cue, we thought it would be funny to tell a very dramatic, cinematic scene, but, because our actors are chewing Orbit gum, they are incapable of swearing. So, you get nonsensical gems like, "what the French Toast?", and "pickle you, kumquat!"

We were fortunate to get award-winning director Noam Murro to direct the spot. His sensibilities gave the work soul, humanity and a reality, which became a critical component in juxtaposing heavy drama with words heard on a third grade playground.

As far as Vanessa goes, her role has evolved over the years. When she began, she was this bright-eyed, newbie spokesperson who didn't really understand her power completely. She's since matured in the role. However, she's still quite oblivious to the dirty situations that people find themselves in. Whatever her charm, it's worked over the years. As Vanessa Branch, the actor's real name, has drawn quite a following from fans who know her as, "The Orbit Girl."

And from Noam Murro:

When I started out, a lot of the work I did had an element of comedy in it. But as you move on to bigger projects they tend to get more serious. For me I don't see there being a contradiction between a doing a big spot and doing something that makes people laugh.

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Guest comments for the featured spot

 GUEST COMMENTS   EUROPE    May 15, 2007 10:01 (Edited: May 15, 2007 00:01) 12.png

A few word from Johan Holmstrom, Creative Director, DDB Stockholm.

Credit cards are not that popular in Scandinavia. We did a lot of research and found out that the biggest fear when it comes to credit cards is the fear of losing control. But shouldn´t people that have complicated jobs and raise children be able to handle a credit card as well? The idea is simply to compare the fear of credit cards with all the weird ideas and impulses we have everyday, but just don´t do. A credit card is probably no different than that.

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Guest comments for the featured spot

 GUEST COMMENTS   UK    May 10, 2007 08:51 (Edited: May 09, 2007 22:51)

a bit of background from Rushes, the guys who did the FX on this spot. From Carl Grinter, Director of Production and Business Development:

âThe viral commercial was realised by directors Steve Downer and Richard De Aragues with producer Nicholas Unsworth, who without doubt are one of the best teams worldwide for macro photography with animals. Rushes worked with the live action team and were supplied real size shots of pies hitting real size objects. The pies were then manipulated by compositors Brian Carbin, Richie White, Emir Hasham and Matt Jackson to create realistic impacts for hits on the insects. The Viral Factory created a great idea and gave great support and guidance to realise an exceptional film which the client Samsung has placed at the centre of its marketing launch for the new handsetsâ

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Guest comments for the featured FOX SPORTS spot

 GUEST COMMENTS   AUSTRALIA    May 10, 2007 04:33 (Edited: May 09, 2007 18:33)

Guest comments from Fox Sports Director Matt Murphy:

This was one of those long, fast moving one day shoots that demands the best of all. It was a great workout for me as Director to be forced to rely on instinct and just run with it. Simon, the ‘scared guy’ was an awesome energy on set; I think his terror inspired us to run as fast as we could too!

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Guest Comments for the featured spot

 GUEST COMMENTS   EUROPE    May 10, 2007 01:50 (Edited: May 09, 2007 15:50)

A few words from Publicis Helsinki Executive Creative Director,
Anthony Wolch:

From the initial ideation stage, we knew we had a very interesting project on our hands. The Ministry Of Transportation Finland, faces a monumental challenge in trying to turn around a growing attitude problem with the Finnish youth. As a testament to our partnership, the client trusted to us to create this campaign, essentially working in a virtual world. The motion capture was shot 3 weeks prior to the live action, with the post production taking the better part of 6 weeks to completion. This takes trust, teamwork, and a small leap of faith.

It was both an honor & a total pleasure working the the director team of Alex & Stefan ( Stuttgart ) through SPY FILMS , Toronto Canada. As i once told a senior team here at Publicis,Helsinki: enjoy the experience, as it may be the last time you get to work with Alex & Stefan....They asked why? Simple i said, they will be off to Hollywood anyday now.

The spot has proven to be an instant success here In FInland. The first of many this year for Publicis Helsinki.

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Guest Comments for the featured spot

 GUEST COMMENTS   USA    May 10, 2007 00:49 (Edited: May 09, 2007 14:49)

A few words from Todd Riddle, Creative Director, Fallon:

"Rabbit" is a continuation of last years Travelers In-Synch brand campaign. In this execution, we simply point out that if you have the right insurance, you don't have to count on luck. Tim Godsall executed what we affectionately call Dean and Dean's (The creative team) twisted vision of what the world would be like if people didn't need to count on luck any more. Dozens of rabbits were trained, some even to swim, to portray rabbits lives after their legs had been successfully reattached. And of course - none were hurt.

And from the director, Tim Godsall:

Instead of working for a huge insurance company -- just shilling it for the man, it was nice to be a part of a good cause.
The rabbits themselves were just grateful to have back their peds.

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Guest Comments for the featured spot

 GUEST COMMENTS   AUSTRALIA    May 10, 2007 00:46 (Edited: May 09, 2007 14:46)

Some background from Exec Creative Director,Warren Brown:

There was a lot of mud and a dog on the farm that liked to bite people but Steve Ayson (Director) maintained a very disciplined approach and with Animal Logic everything was carefully planned for the enormous amount of compositing that had to take place after shooting.

It made a change from using CGI as we have done in the past and the art department and model makers did a brilliant job as did everyone else involved in the production. The entire process from concept to finished film was over 6 months.

And from the director, Steve Ayson:

'I wanted it to feel like a real thing happening, although still retain some film magic by not going doco or too observatory. So my angle was all about the lead guy bringing the reality and believability, a decent actor who you believe could farm and create working machinery for an experimental crop. Create a certain organic-ness to the story, then let the unusual visuals take the viewer into another world just outside of our own (bring some subtle strangeness and magic with weather and light).

I purposely didn't get too caught up in wacky farm inventions and kept it about the farmer and his approach to his work. It's such an original idea on paper so the visual side of it didn't need to go too outlandish. Make the strange familiar and the familiar strange'.

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