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Guest comments for the featured spot "Superhero"

 GUEST COMMENTS    August 23, 2006 12:06 (Edited: August 23, 2006 02:06)

A few words from the agency:

A donation appeal for child abuse is an incredibly difficult subject for an agency and a client.

How do you best tell the story?

Do you tell the absolute truth and shock people? It’s a powerful direction, but people seem to be almost immune to this now.

Do you make them laugh, use humour or fantasy, and really “like” your charity, then in turn, make them want to donate?

But then again, this isn’t a subject we felt comfortable treating lightly. It’s way too delicate.

So, we found ourselves somewhere in the middle.

Reality and fantasy.

What we set out to show was a terrifying situation. A situation that an abused child may regularly find themselves in, but we wanted to give it a very different twist.

We gave the child the power to stop the abuse.

A five year old with the super power to stop an adult entering his room at night.

It’s an impossible scenario.

But from that impossibility comes the power.

What if this could happen? What if you could help a child to have power like this?

We explain to the viewer that they can help, by donating. It’s an awesome message.

Add to that an incredible track, which we were honoured to have approved by Universal Music, The Cash Family Estate, producer Rick Rubin, and Trent Reznor from Nine Inch Nails – and we think this spot is thought provoking, powerful, and something we’re very proud of.

If we can help raise awareness and money, to protect and council these children, we have succeeded.

We hope you think so too.

Click here to view this spot

guest comments for the featured spot "Astrabatics"

 GUEST COMMENTS    August 23, 2006 12:00 (Edited: August 23, 2006 02:00)

Some background from the agency:

It was a highly technical and unique production which involved a shoot on location in Spain and an extraordinary amount of computer animation developed by Glassworks in London.

The music soundtrack is Bobby Darin’s ‘Don’t Rain On My Parade’ which provides energy and a real sense of style and fun – both of which are central to the future direction of the Opel and Vauxhall brands.

Primarily, the ad is targeted at 30-50 year olds across Europe who want to recapture that sense of excitement and enjoyment from driving. But on a broader level, it should invite anyone who sees it to begin to think differently about Opel & Vauxhall.

Click here to view this spot

Guest comments for the featured spot "Hoff Central"

 GUEST COMMENTS    August 23, 2006 11:57 (Edited: August 23, 2006 01:57)

Some background from Georgina Hofmann, Karmarama London, art director on "Hoff Central":

When we were given this brief, we thought who better to front a campaign for an internet company, than The Hoff?
Although we did have a moment of apprehension, right before he walked on to the set. We realised that it could go
one of two ways- he could completely love the shrine of Hofferobilia that the Partizan Art Dept. had created- the
Hoffee machine, the midget lookalikes, the 10ft high framed pictures of himself... Or he could hate it and be on the
next plane back to L.A.
Luckily he was a really good sport- the spots wouldn’t be half as funny if he didn’t have the ability to laugh at himself.

Click here to view this spot

Here's the TV spot that goes with our featured print work

 TV   SOUTH AFRICA    August 23, 2006 11:43 (Edited: August 23, 2006 01:43)

Over on the "latest print ads" page we're featuring a work from South African agency Black River Football Club, for First for Women. So ... here's the TV from the campaign:

Click here to view this spot

VH1's new aids PSA through Post Millenium.

 TV   USA    August 23, 2006 10:54 (Edited: August 23, 2006 00:54)

New Aids work.
A new 30-second PSA, cut by Benjamin Williams, at Post Millennium and directed by Melissa Bolton, features sports commentator and television personality John Salley and a live elephant (named Susie). The spot adapts the old adage of the elephant in the room to:  “There’s an elephant in the room and its name is AIDS.”  
VH1 unveiled its newest PSA in its media partnership with The Global Fund to fight Aids, Tuberculosis and Malaria at the International Aids Conference in Toronto on Monday, August 14..
VH1 is committed to the Global Fund and its efforts to fight the global AIDS pandemic -- creating powerful spots to communicate the need for awareness and prevention in revolutionary ways.

Creative Commentary

QUOTE - Melissa Bolton, VH1:
VH1 is a cool, pop culture-savvy network with a unique way of speaking to our cool, pop culture-savvy audience. When they sit down to watch, they feel like they're hanging out with friends. That means they like what we have to say and they listen to what we have to say -- 'cause they know we think just like them.

Quote- Benjamin Williams, Post Millennium:
It was obvious from the beginning that the elephant was a brilliant (some say cranky) improviser. It really just came down to finding his genius and building around it.

Click here to view this spot

Grey London's impressive new work for Flash

 TV   UK    August 23, 2006 10:11 (Edited: August 23, 2006 00:11)

Impressive stuff from Grey London ... & all for a cleaning product.

Click here to view this spot

New Netflorist work through FCB South Africa

 TV   SOUTH AFRICA    August 23, 2006 10:08 (Edited: August 23, 2006 00:08) Cavemen.jpg

New from the Ministry of Illusion & FCB South Africa:

a caveman wants sex and uses his brain to get it, sorta.

Click here to view this spot

Green energy ... new work from TCP / Red Cell, Melbourne, Austra

 TV   AUSTRALIA    August 23, 2006 10:01 (Edited: August 23, 2006 00:01)

New work from Collider Film & TCP / Red Cell, Melbourne.

Clickhere to view this spot

More nice work from the BBC & Red Bee Media

 TV   UK    August 23, 2006 09:56 (Edited: August 22, 2006 23:56)

More nice work from the BBC & Red Bee Media:

Click here to view this spot

Guest comments for the featured spot "Cardheads".

 GUEST COMMENTS    August 16, 2006 14:31 (Edited: August 16, 2006 04:31) AGENCY_UK.jpg

A few words from Alexander Cha'ban, Duval Guillaume Brussels, ... art director on featured spot "Cardheads".

The spot was shot by young upcomming talent Keith Schofield. Keith was a video clip director and had never done commercials. That is why we asked him to direct our script. He's a very agile editor and proves to be a walking music encyclopedia. We shot the commercial in Keiths home town, L.A. We found our perfect surroundings in the Valley.  I like the Gondryesque technique we used to attach the cards to the heads. It was a big handicap for the actors because they couldn't see where they were walking. We even used some forced-perspectives because of that. We shot for 2 days, the crew & the cast were great. After that we returned to Belgium to do the editing, color-grading & post production.

Go to "latest ads" or
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Guest comments for the featured spot "Don't Hold Back".

 GUEST COMMENTS    August 16, 2006 14:24 (Edited: August 16, 2006 04:24) Final.jpg

Some background from Lisa Fedyszyn and Jonathan McMahon, Cummins & Partners, Melbourne Australia, creatives on the featured spot "Don't Hold back".

Sure some people complain about the trains making them run late, but I bet they never had to wait 8 months.

Filmed and completed in December last year, this spot has seen all those involved eagerly awaiting its release for quite a while now. With a brave client wanting to deliver a strong message to its commuters, and huge efforts from director Mark Molloy, producer Wilf Sweetland and DOP Greig Fraser, we would have to say that this job was an absolute pleasure to work on.

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Guest comments for the featured Young Guns spot.

 GUEST COMMENTS    August 16, 2006 14:20 (Edited: August 16, 2006 04:20)

A few words from Matty Burton, Saatchi & Saatchi New Zealand, one of the creatives (& co-director) on the Young Guns spot:

The Young Guns call for entries brief was always going to be a good one. We had the pleasure of working with the guys from Young Guns quite closely who gave us lots of freedom. The idea we came up with was “Worth the pain”. In the end we created quite a lot of work for them, print, posters, ambient, direct mail, the website and of course these instructional videos aimed at helping young creatives cure most of the advertising health ailments they seem to constantly adopt.

This was a massive shoot that included eighteen shooting days over four continents with a total crew of sixty seven people which is evident in the high production values of the spots. (This was not a one day shoot in a studio as many people think.) We would like to thank the six man animation team for the stunning visual effects (James) and the four person animal wrangling unit who provided much needed security and assistance with the wild beasts (hampsters) that we had on set.

For a look at the print:
Click here

Go to "latest ads" or ...
Click here to view this spot

view the other spots at these addresses:

To check out the site:

Guest comments for featured Guinness spot "Best Mates"

 GUEST COMMENTS    August 16, 2006 14:12 (Edited: August 16, 2006 04:12)

Some background from Jonathon Cullen, Irish International BBDO, art director on the Guinness spot "best mates".

The idea is about enduring friendship between two mates against
insurmountable odds, that friendship can survive anything - even someone never buying a round. It came about, unsurprisingly with a friend (who shall remain anonymous) forgetting their wallet for the umpteenth time.

The ad was written over two years ago, and then shelved when March of the Penguins came out, finally emerging to be shot in May.

The Ad was shot in two distinct parts. First, plates were shot in
Illulisaat Greenland to make up the Antartic landscape, then the shoot moved to a Penguin Sanctuary in Mar Del Plata, Argentina. There a real life penguin bar was built to scale, where carefully trained Penguins were filmed. Flipper movements, killer whales and deserted ships were all created in CGI by the Mill, London.

Go to "Latest ads" or
Click here to view this spot

BBH London, Therapy Films & Mentos ....

 TV   UK    August 16, 2006 13:47 (Edited: August 16, 2006 03:47)

Great stuff from BBH.

Click here to view this spot

From JWT Atlanta & James Gartner ...

 TV   USA    August 16, 2006 13:43 (Edited: August 16, 2006 03:43)

Stylish stuff for the National Flood Insurance Program (USA):

Click here to view this spot

DDB New Zealand's new work for the Playboy Channel.

 TV   NEW ZEALAND    August 16, 2006 09:59 (Edited: August 15, 2006 23:59)

Why would you want to watch anything else when you can watch Playboy Channel.

Click here to view this spot

Here's the Cinema spot to go along with the featured Vespa print

 TV   CANADA    August 16, 2006 09:52 (Edited: August 15, 2006 23:52)

New Vespa Cinema spot from Dentsu Toronto. You can view the print on the "latest print ads" page. {up there on the menu bar under "latest ads"}.

Click here to view this spot

This .... is how it really happened.

 TV   EUROPE    August 16, 2006 09:47 (Edited: August 15, 2006 23:47)

Norwegian agency B_T_S United's new work for Nettavisen.

From the agency ....
How President Bush first got the message about the planes on 9/11. Nettavisen: the fastest newsprovider on the Internet

Click here to view this spot

So what's happening in Vietnam?

 UNDER EXPOSED   ASIA    August 16, 2006 09:43 (Edited: August 15, 2006 23:43) Megastar 45s.jpg

Ogilvy Vietnam's new work for Megastar Cineplex:

Opening of the cineplex in Vietnam

Click here to view this spot

They're a funny people ... those New Zealanders.

 TV   NEW ZEALAND    August 16, 2006 09:32 (Edited: August 15, 2006 23:32)

Launch ad for, New Zealand's biggest internet shopping site.

Creative Commentary
We got a bunch of money from Ferrit to make an ad to say what Ferrit was. I used my money to buy some new pants and an ipod.

Click here to view this spot

The new Sony Lo Def spot from McKinney

 TV   USA    August 16, 2006 09:29 (Edited: August 15, 2006 23:29)

The new Sony Lo Def spot from McKinney ... following on from the one that we featured a little while back.

Click here to view this spot

... and for the previous spot Click here

Mother London & Partizan's new feelgood Summer Coke.

 TV   UK    August 16, 2006 09:16 (Edited: August 15, 2006 23:16)

Mother London's new work for Coke.

To launch new product innovations specifically designed to celebrate summer.

Click here to view this spot

Inside the head of John Brocklehurst, MD Mob Films, UK

 INSIDE THEIR HEADS   UK    August 16, 2006 08:06 (Edited: August 15, 2006 22:06)

Inside the head of John Brocklehurst, Managing Director of the Mob Film Company, UK. The Mob have worked on commercials such as Coca Cola, Playstation, Mercedes, BT, Smirnoff, Cadburys and British Airways.

bestads: the best scripts always come with the worst budgets .... True / false

John Brocklehurst: False.

You can get some great scripts with great budgets. However, you have certain brands such as Sony Playstation who realise that most young directors dream of doing one of these spots to put on their reel, and as prod co producer who has shot two of these ads then i know that the client and agency take advantage of this.

bestads: the smaller the idea, the bigger the effort .... True / false

John Brocklehurst: True.

I think that when a director and creatives have a very simple idea, they tend to want the best of everything to compensate for this fact. It makes them feel that they are being clever.

bestads: TV adverts are just like feature films, but more so .... True/ false

John Brocklehurst: False.

Absolute rubbish. An ad is selling a product or a brand, thats all it should do. Films help you escape everyday life and take you to another place in your head where you dont think about work, bills etc. Well a good film does anyway.

bestads: budgets are set in concrete, until the client comes up with an idea ..... True / false

John Brocklehurst: False.

A good agency and a good client will realise that a script is continually developing and sometimes there is a need for extra funds. I find that as long as you are honest and upfront with them, this is never a problem.

bestads: having a roster of directors is like having a large family ... True / false

John Brocklehurst: In the Mob Film Company this is absolutely true.

You all have to get on and when you are looking for new directors the first thing you think about after seeing the reel and meeting them is will they get on with the other guys. This is absolutely vital.

bestads: having a prodn co that does TV, Film & advertising is like having a wife & 2 lovers (I’m not sure which is which). They mustn’t know about each other. .... True / false

John Brocklehurst: False.

Always be proud of your work!

bestads: the future of production is: scripts written & shot by the punters, edited & post produced on a laptop, the sound guy does the track in his bedroom, the client’s wife is the research, & it gets sent out as a viral. .... True / false

John Brocklehurst: False.

Definitely need to have punter feedback and loose these ridiculous arty farty ads that nobody understands. i love ads that make me laugh and dont take themselves too seriously. For example, Sheila's Wheels, the one with the aussie bloke on the stage. Fucking brilliant, anybody you ask they know the tune, and the product and it makes them smile. Ads need to be produced to a very high standard, if a punter is watching 30 secs of tv then it need to look good. HD or film all the way. The great things about virals is you dont have to follow the ridiculous rules of the BACC, so therefore they tend to be much more creative and a bit risque. If they are any good then they will reach a lot more people in a lot more places for free! Keepy Uppy.jpg

Click here to view recent MOB FILMS spot "Keepy Uppy".

(By the way folks, none of this is paid for "advertorial" ... we're just interested in what key people in the industry think. bestads)

Guest Comments for featured spot "Kung Fu"

 GUEST COMMENTS    August 10, 2006 07:31 (Edited: August 09, 2006 21:31)

A few words from Adam Miranda, BBDO Malaysia, on The Making of Olympus “Kung Fu”

Here are a few reasons why the making of “Kung Fu” was exciting. Instead, of mocking up a life-size waterfall, we took a long drive out of town to find one. Instead of building a fake temple, we shot in a real (almost ancient) one. Instead of using a real Kung Fu master, we chose an actor who looked like one. Grab a movie from the 70’s starring the late Kwan Tak Heng and you may see a resemblance.

Click here to view this spot

Guest comments for featured spot "Red Army"

 GUEST COMMENTS    August 09, 2006 15:17 (Edited: August 09, 2006 05:17)

A bit of background for "Red Army" from Arie Kovant, AKA Advertising, New York:

Since the Puma “Superstructure” is a lifestyle product
not tied to any athlete or bound by any sport, the agency’s
first instinct was comedy.

Taking a page out of history by going back to the race
for space in the 60’s , the concept employs treated authentic
NASA footage, and a slew of vintage eastern European
artifacts gathered around Prague.

Click here to view it on the main page.

Guest comments for featured Lux spot "Balloon".

 GUEST COMMENTS    August 09, 2006 12:39 (Edited: August 09, 2006 02:39)

A bit of "the making of" ... from Agosto producer Toni Moreno:

Any problems encountered?

The usual ones: casting of the main character was decided 5 days before of the shoot after 3 months of casting everywhere. We had a weather day: there was no rain predicted for our shooting day and during the night there were big thunderstorms that ruined the location. it was the biggest day out of 11 shooting days. we were shooting out of Barcelona with more than 200 extras. all dressed and with big make up and hair... it took us 4 days to get the location back to good conditions to shoot and had to change all the rest of our shooting plan.

What was the script and what did you bring to it?

we added the scene of marrakesh, we thought it was necessary to shoot something in Africa if we wanted to explain the balloon was flying all over the world. then we improvised a lot of acting and the agency was constantly inventing new gags on the shooting set. the most challenging part of this script was to find the right balance between the humor and the esthetic, as it was a very funny script but you had to bring some “cosmetic” look into it. we were very afraid to make something too cheesy... so we worked really hard to make it look beautiful and keep the sense of humor at the same time.

Can you explain about how you shot the spot?

we shot all the locations by real... we shot the girl on the bathtub on a real location (we hung the girl and the bathtub about 30mtrs. high) pretending she was flying attached to the balloon so we could have the real skies and the right light to match it with the different situations. we shot one day in the studio (the last day of all the shooting) to have some reactions of the girl and to shoot few things on blue screen. it was difficult because we needed to match the lighting of all the different situations we shot previously so it was a big lighting job.
the bathtub is of course real. We made two bathtubs with the proportions we needed for the shoot. the balloon is always cgi

Any problems shooting?

not really, besides of the weather. the first day we shot with the girl in the bathtub was a little more difficult: she stayed in the bathtub for many, many hours and at the end of the end it was very windy and cold. she was a real hero and did not complain at all. the most difficult part of this project was to coordinate the number of extras and all the talent of the different scenes. nacho wanted to portray women of all ages and conditions: we had 200 extras on the launching scene, all completely dressed in different periods of the XXth Century. Wardrobe did an excellent job (with only three people) and make up and hair as well.
We were shooting for 11 days over 3 weeks with some of the crew travelling to the different locations while the rest of the crew (based in Barcelona) were working on the preparation of the rest of the scenes.

Where was it shot?

different areas in Spain, russia, Marrakesh, and we sent a 2nd unit to Shangai.

How much post was involved?

... all the balloon was created cgi (glassworks did the post production) and we need to work quite a lot on the backgrounds , adding the skies in most of the scenes.

Click here to view it on the main page.

Guest comments for featured spot "Plane".

 GUEST COMMENTS    August 09, 2006 11:50 (Edited: August 09, 2006 01:50)

A bit of background for ‘Plane’, the new Boag’s St George beer commercial, by AJF Partnership creative team, Glenn Dalton and George Freckleton.

It’s not too often that the creative you present in the pitch is the creative that ends up on TV - usually something falls off along the way. So we’re pretty happy to see the ad that’s on air now is the ad we presented back in February (except we got rid of George’s drawings). For that we must thank the client, and Tim Bullock and his team at Prodigy for throwing everything at this project, including the wrap party drinks that we’re both still recovering from.

Click here to view it on the main page.

Guest comments for featured Sunlight spot

 GUEST COMMENTS   SOUTH AFRICA    August 09, 2006 11:43 (Edited: August 09, 2006 01:43) 5500.jpg

A few words from Velocity director, Slim, on the featured Sunlight spot from Lowe Bull South africa:

We shot for 2 days in Villiers 120kms from Jozie as we needed the feel of a small town.

All our extras were cast in Villiers and utilised their own wardrobe to retain the authenticity of small-town life. Our lead couple were cast in Joburg. Samson (hero character) did a brilliant job of carrying heavy piles of plates repeatedly for the 2 days without once complaining.

We used 2 camera units as we only had 2 days in which to cover the numerous shots - 64 setups, including some stop-frame animation which were required to deliver the lengths our hero goes to, to gather 5500 plates from around the town.

The Villiers locals were amazing to work with and get to know, most going out of their way to help us and accommodate our location needs by simply inviting us into their homes with open arms (and always a cup of coffee).

No real incidents on set as the whole job was a pleasure to do, from pre-production to finish. It is an enjoyable, simple story which entertains and revolves purely around the brand/product.

It is a rare demonstration advert that communicates the product benefit in an entertaining, narratively-driven manner. Rather than the typical style of trying to shove bland statistics and figures down the viewers throat.

Click here to view it on the main page.

Guest comments for featured spot "Speeding Pictures"

 GUEST COMMENTS   USA    August 09, 2006 11:27 (Edited: August 09, 2006 01:27)

A bit of background from Mark Bernath, Ogilvy NY, Group CD & Copywriter on the Time Warner work:

In “Speeding Pictures” we struck out to show the technology without
actually showing it. We’re so accustomed to the instantaneous nature of sending things online. There is the departure and the arrival. But we never really consider the trip in between. What does the information we send go through en route to its final destination? And what does that look like. Sending pictures of important life moments seemed to be the most relatable and accessible for the audience. From the beginning we knew we wanted only the people’s faces to be affected. The rest of the image would remain as still as it is in the original snapshot. Francois (Vogel) was brought in because he has the unique ability to execute fairly complicated things in a way that makes them seem simple and charming. The technical elements never overtake the human ones. He really plussed the spot with some subtle touches in each situation and by creating the pictures flying away in the end, an idea which (thankfully) replaced our original ending. We shot each situation and then put green screen behind the actors, stabilized their heads a bit and then blasted them with an air canon from a few feet away. Depending on the speed, we got looks that ranged from humorous to painful
and then quickly veered into downright hideous. We settled on somewhere between humorous and painful. Jun Diaz, our editor, suggested the track and it just felt right. We tried to beat it for a few weeks but couldn’t get past it. Sadly, the idea of having the fish fly out of the fisherman shot and land a few scenes later in the archival shot of the Spanish family did not make the final cut.

Click here to view "Speeding Pictures".
For digital phone service, the basic benefit was unlimited long distance in the US, Canada and Puerto Rico. This is the brief that sends you straight out to see Wedding Crashers. When we got back we settled on the thought that what that really meant was there was no such thing as long distance anymore. So we had the idea that someone could effortlessly visit their friends and family no matter where they lived. Feeling close to these people is what we wanted to dramatize, not just talking on the phone. Just being able to say “Hi” is a big deal and tonally felt like the right thing to show. Francois had great ideas about how to transition from scene to scene and did several tests. We basically put the spot together before we shot it and then matched the timings so that we knew it would work in
thirty seconds. And we had Jun there to check our math and help us make it as smooth as possible. We were listening to Doc Watson when “Doors” came about. The impossibility of the journey in the spot seemed to go with the ridiculous skill that Doc displays on guitar. It was light, charming and inspired the way the actor moved through the commercial. In the end, we actually decided to speed up the whole spot ever so slightly to give it a more playful feel. Not quite Chaplin, but somewhere in that direction.

Click here to view "Doors" ... the other spot in the series.

Here's the TV work to go with the featured print from Mother NY.

 TV   USA    August 09, 2006 11:14 (Edited: August 09, 2006 01:14)

You can see the print for this on "latest print". Now .... one of the TV spots:

Creative Commentary
As like-minded lovers of Lincoln, it is our mission to bring the penny back from its lifeless and idle state of disregard and give it the power that it deserves.

No longer will we allow pennies to waste away jammed in the dark corner of an underwear drawer or be eternally trapped in a preppy loafer. We won’t stand idly by and watch pennies lay lifeless in the bottom of public fountains or be shunned by shopkeepers who get ticked when a fella pays for his beverage with a stack of the sacred copper. We pledge to do everything in our power to break the chain society has placed around the penny’s circumference. We will give the power back to the penny by putting them to good use with Penny Texting from Virgin Mobile. So that they will not only rise up as a useful denomination, but coins to be reckoned with.

We followed the television effort up with a series of out of home postings, print ads, and a full website devoted to the cause [].

Click here to view this spot

Here's the TV spot that goes with our featured print work

 TV   USA    August 09, 2006 11:09 (Edited: August 09, 2006 01:09) tvviral film.jpg

Over on the "latest print" page we're currently featuring some "NON-NATIVE SPECIES" by Goodby Silverstein & Partners. Here's the TV / viral that goes with it:

Click here to view this spot

New Bacardi campaign from Y&R London.

 TV   UK    August 09, 2006 11:02 (Edited: August 09, 2006 01:02)

RKCR/Y&R have completed a new campaign for Bacardi. Two in the series:

Click here to view "Salmon"

Click here to view "Sunset"


 TV   SOUTH AFRICA    August 09, 2006 10:55 (Edited: August 09, 2006 00:55)

Back in the not so good 'ol days in South Africa black people couldn't go to the movies. So township entrepreneurs got creative and created their own movies. We paid an actor to perform our live cinema ad, just like the township entrepreneurs of old used to, but this time on a far larger screen. These one-man cinemas acts would take American movies and add a South African spin to them. They only used their skilled voices to perform the parts of all the characters and sound effects.

Click here to view this spot

New Lynx work from BBH London

 TV   UK    August 09, 2006 10:51 (Edited: August 09, 2006 00:51) Towel Man 40.jpg

Cheeky stuff from BBH London.

Click here to view this spot


 TV   MIDDLE EAST    August 09, 2006 10:48 (Edited: August 09, 2006 00:48)

New Sony work from Velocity.


More from George Patterson Y&R, Melbourne.

 TV   AUSTRALIA    August 09, 2006 10:39 (Edited: August 09, 2006 00:39)

GPY&R are currently ranking number 1 in Australia / NZ, and finished in equal 1st position in last years rankings. Here's another one hot off the press.

A haunting image emerges from the static of the viewer's tv.

Creative Commentary
We were lucky enough to get a pro bono score from NYC music gun, J Ralph, composer of VW "Squares" and "Big Day".

Click here to view this spot

DDB London's new work for Hovis (bread)

 TV   UK    August 02, 2006 12:34 (Edited: August 02, 2006 02:34)

"Hovis for life" from DDB London & Helen Langridge Associates.
From the agency:
In new brand work for Hovis, DDB London has produced an emotionally engaging TV spot, using simple editing techniques to tell the story of a young boy and girl growing up in a wheat field.

The ad begins as a five year old boy and girl run through the field, chasing each other, playing tag. Suddenly they transform into twelve year olds. As they continue to run and play they grow taller, stronger and older until eventually we see them as adults with children of their own. A tagline appears ‘Hovis is for life’.

Commenting on the new work, the creative team Dylan Harrison and Feargal Ballance said;

“We chose the director Simon Rattigan of HLA for both his photographic eye and ability to tell a human story. To engage the audience at a more emotional level, we told the story of their growth through beautiful images and simple transformations in camera. Rather than shoot something gimmicky or with special effects, we wanted something more timeless. Something that people could connect with. We’re trying to appeal to a wider audience, to achieve a deeper emotional resonance. Or at least as much as that is possible in an ad for bread.”

They continued;

“We wanted the communication to reflect the wholesome, natural properties of Hovis bread, in the voice of a brand leader. It felt right to appeal to people’s emotions. Hopefully at least some of the audience will think ‘I wish my family had experiences like that’”

On the relationship with the Hovis Client, they said;

“…hat’s off to the Hovis client who challenged us to come up with something that felt much bigger than a conventional food ad and then had the courage of their convictions when it came time to make it.”

Click here to view this spot

New from DDB Sydney & film company aht

 TV   AUSTRALIA    August 02, 2006 12:29 (Edited: August 02, 2006 02:29)

aht director, Perry Westwood's latest for Kettle chips & DDB Sydney:

Click here to view this spot

Adidas Spec spot

 TV    August 02, 2006 11:53 (Edited: August 02, 2006 01:53)

Winner of Best Spec Spot at the 2006 AICP Awards ...

& it looks like some serious money (favours) were put into this one!

... a few words from Jerry Brown, the director:

This story is based on what I think is an amazing truth - with the supremacy
that Africans have achieved in distance running, so far there has been no
African American high schooler that has ever run the mile under 4 minutes.
Ever. Four white kids have broken the barrier, but no African Americans.
In talking to some leading track coaches about this, I learned that there
are many reasons why this is so, some cultural, some not. The one thing the
coaches agree on is that there are kids out there that have the ability to
do it, and it's just a matter of time before this barrier falls. It's
unbelievable to me that it hasn't already. And I wanted to tell this story
before the event actually took place.
What if a kid has already done it and we just don't know about it because of
where he lives? To me it's the story of a barrier that's about to fall.

We shot this in South Central LA because I wanted the texture and
authenticity of the neighborhood this kid could emerge from. We shot it in
one quick day, then added the helicopter aerials in about an hour's worth of
helicopter shooting later. Adding that extra layer of scale with the
helicopter shots was critical for us because it helped the story become
bigger and capture the immensity of what is to overcome in distance both
figuratively and literally to say nothing of the implication that it's a
police helicopter keeping an eye on this running kid.
The setting is intentionally hard and real, but it's still a neighborhood
with good people that live there. In ways, this neighborhood has more hope
and life than a suburban cul de sac. The neighbors, his friends, are
positive and hopeful and want to see this kid succeed.

Jerry Brown

Click here to view this spot

Guest comments for featured spot "The Orange Project"

 GUEST COMMENTS    August 02, 2006 11:44 (Edited: August 02, 2006 01:44)

I couldn't help noticing that the guest comments from Sam Walker,Mother London, came back with some very relevant questions that i suspect were asked by SHOTS, so if you're reading this Pat, sorry about nicking your questions .... beamo.

Where did the idea come from?

The Animals packages are about observing how different people do things differently so we wanted to do something about the way people behave that wasn’t contrived or set up. Many ads feature ‘real’ people but they’re almost always actors. We wanted to create something that would challenge people, take effort, and ultimately be a collective rewarding experience. This was about creating and capturing genuine emotion and experience.

There's something quite reality TV meets art installation about the whole thing - what inspired it?

People keep mentioning the whole reality TV thing and to be honest, that never even crossed our mind. Our intention was to create an event in which the public could participate and interact. The art side of it was much more where our heads were at – the best works of art are the ones where normal people are as excited by it as the art establishment. Anthony Gormley’s Angel of the North for example is loved by everyone and is such a magnificent spectacle within a public landscape. Ultimately, this is an event media ad as opposed to a genuine art installation done purely for art’s sake but we do feel that we managed to achieve and push what is expected from a traditional advertising campaign.

It's a refreshing and much more honest way of presenting people and an idea. What do you think that added and how do you think people will react?

The way we shot it was of huge importance to us. It featured real people and all we did was record how they were reacting. The whole idea lives or dies on the credibility of the footage. We knew that if we manipulated the situation and cast actors the entire project would crumble very quickly – the integrity of the project is its reality. It is also a very democratic approach to advertising; we just wanted to document what was happening and the journey people were going on. We had two master 35mm cameras leading the shooting but there were also six other HD cameras given to the different people within the different groups to try and capture their own unique perspectives. The idea was to have many different takes on the same event, again to show how different people approach the same experience. TV exposure will feature one launch ad and four 30s ads for each of the animal groups, while the internet will provide a forum for the rest of the participants footage and photographs.

Were you ever worried about what would happen?

Yes, I think everyone was a least a little bit worried particularly before we actually got out to Spain. Nobody really knew what was going to happen which in many ways was the beauty of the project. Until the inflatables were erected on the first day of shooting we didn’t know how they would sit within the landscape and we had no idea how people would react to working hard and to the actual spectacle of the installation. Weirdly though, when the process got under way, everyone became much more relaxed – the inflatables looked as we had hoped and the people involved reacted better than we could have hoped for. As long as the actual event went as planned all that was left to do was to document it as well as possible.

It's a brave concept - how was it to sell to the client?

Strangely no, because the basic idea behind this was to simply create a situation where we could observe and understand humanity, Orange bought into it very easily. It’s perfect for their brand values and to actually achieve genuine emotions within an ad context was a perfect fit.

Any funny incidents or problems while shooting?

There were lots of incidents while shooting but what was great about this project was that as long as we managed to get the inflatables up how we intended within the landscape everything else just added to the drama and spectacle. Nothing was off limits for filming, the strength of this film is its honesty. Everyone signed release forms, everyone from the director, to the creatives, to the clients, to the cast, to the catering staff, to the drivers, to the helicopter pilot – we didn’t want to hide anything. While we were out in Spain, we had to change locations the day before the shoot, the helicopter broke down, the wind got up making the balloons difficult to manage, the water level dropped after we had set the huge platform in place, vans got stuck in the mud, generators overheated and balloons ripped and had to be repaired – all things that on any normal shoot would be seen as problems but in this case were simply filmed and helped make for more dramatic, more authentic footage.

Where was it shot and how long did it take to shoot?

The location for the Orange Project was a remote area of Spain about an hour and a half from Malaga. The idea of the installation was to take an already beautiful landscape and add to it rather than dominate it. It had to look complementary which was partly why the balloons had to be opaque – we wanted the viewer to sense the people and scenery through the surface of the Animal. We also wanted people to feel like they had to travel a distance before they actually got to the location to make them feel like what they were doing was unusual and would take a joint effort from everyone involved.

The actual event took place over three days, shooting from before dawn (5am) to dusk and beyond (11pm). They were long days but the experience and footage was worth it.

Click here to view it on the main page.

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