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Seen and noted

 GUEST COMMENTS    January 26, 2006 01:41 (Edited: January 25, 2006 14:41)
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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 01:28 (Edited: January 25, 2006 14:28)
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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 01:22 (Edited: January 25, 2006 14:22)
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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 01:12 (Edited: February 05, 2007 15:04)
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and from the good people at Xtreme Media, a look at the Honda Civic as it SHOULD be.

To view the spot click ....
HERE
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plug: Xtreme media have zillions of ads from around the world on their database.






 GUEST COMMENTS    January 26, 2006 00:49 (Edited: January 25, 2006 13:49)
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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 00:41 (Edited: January 25, 2006 13:41)
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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

New work from Publicis Hong Kong

 TV   ASIA    January 26, 2006 00:35 (Edited: January 25, 2006 13:35)
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Publicis Hong Kong use the big nose treatment for their new Tempo tissue spots

Executive Creative Director: Shaun Branagan
Agency Producer: Jess Lee
Art Director: Alan Law
Copywriter: Daisy Lau
Creative Director: Jonathan Lee
Creative Director: Francis Hung
Director: Ellis Lee
Production Company: The Circus

We can do better

 FROM BESTADSONTV    January 25, 2006 23:04 (Edited: January 25, 2006 12:04)
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What we're about:

Each week we try to post the best work (TV & print) from around the world, but we'll do a better job if we reach more creatives, producers, directors ... & more countries.

Help us find the best work from EVERY advertising region. Forward our address to all of your advertising contacts:
http://www.bestadsontv.com/main.php

Thanks!

A reminder from the NY Art Directors club.

 AWARD NEWS   USA    January 25, 2006 20:16 (Edited: January 25, 2006 09:16)
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A reminder from the NY Art Directors club.

Inside the head of a production company producer

 INSIDE THEIR HEADS    January 25, 2006 19:37 (Edited: January 25, 2006 08:37)
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Often it's all about the director, but this week we're trying to get inside the heads of the production company producers. We put some questions to producers around the world & here are a few replies. (We just chose a few at random ... sorry to those whose comments didn't get posted. We'll try to post more later)

From Lizzie Gower, Academy Films, London.

bestads: There are quite a few production companies out there. How do you get the attention of the agencies?
Academy: by having good showreels

bestads: Is the producer/ director relationship like a marriage & if so who wears the pants?
Academy: the director

bestads: When you send out a treatment of a script do you worry about who might steal it?
Academy: no never

bestads: PSA (charity) ads ... A necessary evil (paying back favours) or a chance to shine?
Academy: its good to put something for free back into the industry

bestads: A great script comes in. You really want the job. What do you do to make it happen? (it’s okay ... you can tell us – people don’t remember what they read on the net. Scientific fact.)
producer:we employ researchers, and work till midnight for a week on the treatment and try and get back in to the agency to present it to the creatives rather than e mail it in.

bestads: the life of a producer .... It’s all about the budget. True / False.
Academy: false, wouldn’t want to do the job if it was only number crunching a good producer makes a creative contribution to the production.
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From Wilf Sweetland, Exit Films, Melbourne, Australia

bestads: There are quite a few production companies out there. How do you get the attention of the agencies?
producer: Let the work of the Director speak for you

bestads: Is the producer/ director relationship like a marriage & if so who wears the pants?
Exit: Exactly like a marriage, although the Director is having an affair on the side with their real wife. I definitely wear the pants - I just get told what colour to wear

bestads: When you send out a treatment of a script do you worry about who might steal it?
Exit: Don't really worry about it because it has happened and there is nothing you can do.

bestads: PSA (charity) ads ... A necessary evil (paying back favours) or a chance to shine?
Exit: A real chance to do challenging work under challenging circumstances

bestads: A great script comes in. You really want the job. What do you do to make it happen? (it’s okay ... you can tell us – people don’t remember what they read on the net. Scientific fact.)
Exit: Whatever is necessary.

bestads: the life of a producer .... It’s all about the budget. True / False.
Exit: True, but in a creative way. Helping to achieve someone's visions under constraints of a budget make it that way.

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From Matthew Charde, Global Mechanic, USA

[b]bestads:
There are quite a few production companies out there. How do you get the attention of the agencies?
Global Mechanic: SOUNDS TRITE...BUT GOOD WORK

bestads: Is the producer/ director relationship like a marriage & if so who wears the pants?
Global Mechanic: KINDA LIKE WE’RE CO-CAPTAINS OF THE TEAM....BUT THE DIRECTOR ALWAYS WINS THE COIN TOSS

bestads: When you send out a treatment of a script do you worry about who might steal it?
Global Mechanic: WORRY? NO. HOPE THAT IT IS STOLEN? HEY- ANYWAY I CAN GET OUR IDEAS IN FRONT OF CREATIVE I'LL TAKE...CLEARLY IT IS BEST IF IT IS DONE THE TRADITIONAL CLIENT / VENDOR WAY...BUT REMEMBER- “IT ALL COMES AROUND”. I PLAN ON STICKING IN THIS BIZ LONG ENOUGH TO SEE IT COME AROUND A FEW MORE TIMES AGAIN.

bestads: PSA (charity) ads ... A necessary evil (paying back favours) or a chance to shine?
Global Mechanic: CHANCE TO SHINE...NO QUESTION.

bestads: A great script comes in. You really want the job. What do you do to make it happen? (it’s okay ... you can tell us – people don’t remember what they read on the net. Scientific fact.)
Global Mechanic: CONSISTENCY....GOOD CALL, GREAT CREATIVE TREATMENT, FAIR PRICING....AND REMEMBERING TO SAY “PLEASE” AND “THANK YOU”. IF THAT DOESN’T GET THE WORK, THEN WE WERE NOT GOING TO GET IT ANYWAY.

bestads: the life of a producer .... It’s all about the budget. True / False.
Global Mechanic: NOTHING BEATS A WELL FUNDED GREAT BOARD. SECOND CHIOCE? HMMM...DEPENDS ON THE TIME OF THE YEAR!

bestads: Insert the questions we SHOULD be asking right here. (we’re not journalists after all ... We just work in advertising & run a website on the side).
Global Mechanic: WHY DO AGENCY PRODUCERS (AND CREATIVES) ALWAYS TALK ABOUT LOOKING FOR NEW TALENT AND THEN HARDLY EVER USE THEM?
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From KAI STÖCKER, Cobblestone, Germany.

bestads:There are quite a few production companies out there. How do you get the attention of the agencies?
Cobblestone: we try to get good stuff on the screens, ideally our directors' visions and cuts. Its still the best PR you can get.

bestads: Is the producer/ director relationship like a marriage & if so who wears the pants?
Cobblestone: In Germany directors work with different producers in one company. Producers can be good sparing partners but creativity has to come from the director.

bestads: When you send out a treatment of a script do you worry about who might steal it?
Cobblestone: No. Thats part of the business. If that is happening, your director might be a good creative, but his reel sucks or you're doing something wrong as a production company. Otherwise they would take your good ideas and do the project with YOU...

bestads: PSA (charity) ads ... A necessary evil (paying back favours) or a chance to shine?
Cobblestone: If there would be more brillant ideas for this category it could be a chance to shine and a good thing to invest money in. At least it's for something helpful and not only for the glory of a creative director.

bestads: A great script comes in. You really want the job. What do you do to make it happen? (it’s okay ... you can tell us – people don’t remember what they read on the net. Scientific fact.)
Cobblestone: ... our charming tools are endless ...

bestads: the life of a producer .... It’s all about the budget. True / False.
Cobblestone: budgets got more important in recent years. But it's more about finding new ways to live with the given budgets and still give good value for money

bestads: Insert the questions we SHOULD be asking right here. (we’re not journalists after all ... We just work in advertising & run a website on the side).
Cobblestone: What comes after 30 seconds?

 GUEST COMMENTS    January 19, 2006 09:22 (Edited: January 18, 2006 22:22)
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Some background from Feargal Ballance (Art director) & Dylan Harrison (Copywriter), DDB London, creatives on "Angel's Day Off":

We were very fortunate to get Frederic Planchon because we always love the way he approaches TV commercials. He makes tiny epic and never loses sight of the idea. And like any top class director he makes you look good.

He took our ideas and made them brighter, funnier, added charm and a touch of class. He casting was perfect and his idea to make the angels topless was inspired. Our angels were now Volkswagen angels never to be confused with any other. Watching Frederic in action was a great experience.

We shot the spot in Rio in early December. It was a six day shoot over two weeks. We had a cast of forty angels. Used every stunt man in Rio and pinched a few more from Sao Paulo. Some of these stunt men drove the cars, bikes, buses and trucks. The others were dressed as angels clinging on to their roofs. We also had forty non-angel actors to be the ‘humans’. We closed down streets, buildings and bridges. And to add to the fun the director and a few others from Academy got robbed at gun point by a couple of 12 year olds. If it wasn’t for Frederic, his kick ass 1st AD Eric (ear-ache), Academy, our top hero angel and the Brazilian crew it could’ve been a shit storm.

 GUEST COMMENTS    January 18, 2006 23:47 (Edited: January 18, 2006 12:47)
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A bit of background on this week's featured spot "Shoe Repairer", from James Proctor & Dave Lunnie, Cummins & Partners, Melbourne.

the idea ...
wouldn't it be cool if it was some blinding flash of insightfulness, a point where we drew upon one of life's truisms and almost subliminally weaved in the client's message? Truth is it was a good brief with a strong claim: Clarks make durable school shoes... that's pretty good for everyone, well almost everyone... hey... 

research?
Unfortunately the idea didn't get anywhere near a research lab so we weren't able to benefit from its wisdom. The client had to rely on intimate knowledge of their own brand and instinct.

the shoot ...
We shot in and around the inner western suburbs of Melbourne. Glamorous Essendon mostly.

the director ...
The director was Jess Bluck from Revolver Film in Sydney and there was a lot of reasons why we chose her. Firstly her reel is great, she comes from a photography background so her pictures are beautiful but she still creates great characters and has good attention to detail. Also it was pretty evident from the treatment and conversations we had, that both she and the production company were on board and we were seeing things the same way.

casting ...
When we all saw Ronald on the tape, it was pretty much a done deal. Although he did have some stiff competition from an actor who played Napoleon in 'Bill and Ted's Excellent Adventure' (timeless cinema).

interesting ...
Ronald Falk (the talent) is a 71 year old man with the stamina of a 30 year old... wait, that sounds nasty. Anyway late in the day in some bizarre display, Ronald proceeded to show us something he 'would never do on stage again': Riverdancing with his teeth out while reciting some kind of bawdy limerick in the voice of a school girl. ...In your face Michael Flatly.

 GUEST COMMENTS    January 18, 2006 22:49 (Edited: January 18, 2006 11:49)
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A bit of background on the featured TV guide spot from Jamie Hitchcock & Josh Lancaster, MTC New Zealand

So we says to our director Greg Page: ‘Greg’, we says, ‘we’ve got a couple of scripts for TV Guide which we want to make into TV ads that look like TV shows. But they’re not real TV shows except we want them to look like real TV shows. One of the ads is about Soap Operas but we want to make it a funny ad about Soap Operas.’ So to make it funny we say, ‘just make it like a real Soap Opera ‘cos they’re funny even though hardly anyone seems to have a good time in them. And for the Chess ones, can we also make them funny Mr Page please? Can we make them funny by getting them to do nothing.’ ‘Nothing?’ he says. ‘That’s right’, we say, ‘lets get them to not move at all. Well maybe just a little bit. But keep it serious Mr Page. Cos that’s funny.’

Anothery from the TV guide series featured on the main page

 WORTH A LOOK   NEW ZEALAND    January 18, 2006 22:42 (Edited: January 18, 2006 11:42)
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Soap Opera at its finest

To view the spot click ....
HERE

Agency: MTC
Client: Fairfax magazines. TV Guide
Title: Gabriella
Client contact: Kris Goss
Creatives: Jamie Hitchcock, Josh Lancaster
Suit: Angela Weeks
Production Company: Flying Fish
Director: Greg ‘ The Man’ Page
Producer: Kerin ‘ Little beauty’ Casey
DOP: Ben ‘Focus’ Feedman
Post Production: Johnny ‘phat fingers’ Koefoed: Oktobor

Have CP+B lost the plot?

 TV   USA    January 18, 2006 22:38 (Edited: January 18, 2006 11:38)
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First we’ve got the new coke spot from the highly regarded CP+B ...

For my money, and God knows there’s precious little of that, this seems more like a script for a pretentious arty theatre troupe than a coke ad ... or any ad for that matter. It makes me very uncomfortable every time I watch it. I guess it’ll stand out from the crowd on TV, but apart from that I just don’t get it. Sorry CP+B. We're normally BIG CP+B fans.

To view the spot click ....
HERE


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On the other hand there’s the new coke work from W+K ...
Love Fritz, his true story & his corn dog.
To view the spot click ....
HERE

Another in the TBS series from Mother New York

 WORTH A LOOK   USA    January 18, 2006 21:52 (Edited: January 18, 2006 10:52)
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Eva Glass visits Las Vegas

To view the spot click ....
HERE

While we were at the beach ....

 WORTH A LOOK   UK    January 18, 2006 21:49 (Edited: January 18, 2006 10:49)
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We missed this one from AOL. A clever strategy nicely executed.
From the agency: The ads reflect that AOL believes there should be more discussion around the impact of the internet and are intended to spark valuable debate.

To view the spot click ....
HERE

Mother London still delivering

 WORTH A LOOK   UK    January 18, 2006 21:44 (Edited: January 18, 2006 10:44)
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New Observer work ... And very stylish too.

... And I would have said those same very nice things even if they didn’t send me shares in that fabulous greyhound!

To view the spot click ....
HERE

 WORTH A LOOK   CANADA    January 18, 2006 21:42 (Edited: January 18, 2006 10:42)
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New Ikea work from Reginald Pike & Zig, Toronto
The usual high standard from director Mark Gilbert and Zig Inc.

To view the spot click ....
HERE

bigsmall ... The new word for Toyota Yaris

 WORTH A LOOK   UK    January 18, 2006 21:39 (Edited: January 18, 2006 10:39)
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CHI London creates strong crisp images (& a nice track) for the new Yaris spot

To view the spot click ....
HERE

 WORTH A LOOK   UK    January 18, 2006 21:34 (Edited: January 18, 2006 10:34)
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Shot 80km from the Arctic Circle with temperatures reaching -48 degrees, the ad features Natar Ungalaaq, star of the cult film Atanarjuat (The Fast Runner).

To view the spot click ....
HERE

 WORTH A LOOK   USA    January 18, 2006 21:26 (Edited: January 18, 2006 10:26)
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nicely done.

To view the spot click ....
HERE

 WORTH A LOOK   NEW ZEALAND    January 18, 2006 21:20 (Edited: January 18, 2006 10:20)
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New work for Sky Movies through DDB New Zealand

Highlighting product placement in movies in this “enough ads already” campaign.

To view the spot click ....
HERE

And the print ...
HERE

New work from Family and Independent Films.

 TV   AUSTRALIA    January 18, 2006 19:20 (Edited: January 18, 2006 08:20)
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Geo Patts Y&R Melbourne & Independent create some interesting characters in the work for MMM radio

To view the spot click ....
HERE

New Honda work through Leo Burnett Kreasindo - Indonesia

 TV   ASIA    January 18, 2006 17:49 (Edited: January 18, 2006 06:49)
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Leo Burnett Kreasindo & 25 Frames Production Services team up for new Honda work

From the agency:
The brief was quite simple, but tough, knowing Honda CR-V is not a new product and it has been in the market for several years already by SUV category. Spacious SUV.
Unexpectedly spacious with unexpected ending

Agency: Leo Burnett Kreasindo
Executive Creative Director: Jonathan Swanepoel
Creative Director: Randy Rinaldi
Art Director: Pasha Yudadibrata
Copywriter: Anton widya
Director: Sim F
Production Company: 25 Frames Production Services





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