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Seen and noted

Strong stuff from BCM

 TV   AUSTRALIA    December 15, 2005 07:15 (Edited: December 14, 2005 20:15)

The 'Every k over is a killer' anti-speed campaign produced by BCM for Qld Transport initially launched in 2001. The latest execution in this long term campaign is a follow up to two commercials released earlier this year . It shows the long term effects that a road crash has had on the various people depicted in those ads.

Agency: BCM
Creative Director: Greville Patterson
Art Director: John Summerville
Copywriter: Jeff Smith & Deb Enright
Post Production: Cutting Edge.

New work for Bell throlugh ReThink

 TV   CANADA    December 15, 2005 07:12 (Edited: December 14, 2005 20:12)
Just your typical night at the reindeer bar

Agency: Rethink Canada
Executive Creative Director: Chris Staples and Ian Grais
Creative Director: Rob Tarry
Creative Director: Tony Hird
Agency Producer: Laura Rioux
Director: Nathaniel Akin
Prodn Co: Global Mechanic

New campaign for KPN digital tv

 TV   EUROPE    December 15, 2005 07:06 (Edited: December 14, 2005 20:06)

Man's new best friend ... digital TV

Agency: fhv bbdo amsterdam
Executive Creative Director: Rohan Young
Art Director: Michel van Duyvenbode
Copywriter: Wanda van Damme
Agency Producer: Miranda Nell
Director: Dimitri Karakatsanis
Götz film

A few words about the new Jockey spot

 GUEST COMMENTS    December 15, 2005 06:36 (Edited: December 14, 2005 19:36)
a few words about the new Jockey spot from Peter Grasse / Curious Film

“Jay (Furby) is the Peter North of Advertising. It was great to work with him and glad to know that this spot won them some new business – the ultimate result. CURIOUS has since switched our unders and Deez Nutz is now mighty happy!”

New Vodafone work through Kaspen

 TV   EUROPE    December 15, 2005 06:32 (Edited: December 14, 2005 19:32)
Newest Sweet Shop director, Michael Wong shoots loose in Prague

This Christmas giant red numbers will blow like tumbleweed through snowy streets, cluttering subways, causing havoc with the traffic, and setting the dogs to bark. At least that’s the way it looks in Michael Wong’s refreshing new Vodafone Oskar commercials made with leading Czech agency Kaspen.

... and the print work for "Halloween"

 GUEST COMMENTS    December 15, 2005 06:13 (Edited: December 14, 2005 19:13)

To view the "Halloween" Print work & credits click ....

Guest comments for this week's featured spot "Halloween"

 GUEST COMMENTS    December 15, 2005 06:01 (Edited: December 14, 2005 19:01)
A few words about "Halloween" from the creatives, Claudia Southgate & Verity Fenner, BBH, London:

The script was written to be presented as a tactical Halloween advert 3 weeks before Halloween. There was really never going to be any budget so realistically we knew it would have to be shot and produced for as little money as possible. Not an easy task when you are trying to imitate a scene from a slick American horror movie.

For this reason, It was filmed in the wonderfully American state of Surrey in South West London. Shot over two days and two nights by Elliot Lester, the film was brought to life by Elliot's enthusiasm and the extreme generosity of Bare productions.

Styling cues were taken from American horror films and old camera lenses were used to create a slightly retro horror film look.
The intruder's face was made from prosthetics glued to the poor guy's face to resemble cold meats. We wanted to think of something original for him, not just another green faced zombie in torn clothes.

The ad features a gorgeous girl who whilst house sitting on the night of Halloween is preyed upon by an horrific intruder.
Music was composed to picture by Lawrence Oakley at Inter Angel Music Publishers Ltd.

The campaign message is as always "THE LYNX EFFECT."

A survey of international CDs reveals .....

 CREATIVE VIEWOINT    December 15, 2005 05:16 (Edited: December 14, 2005 18:16)
We contacted over 150 creative directors worldwide & asked them these questions about awards:

When you’re hiring creatives ...

Do you look to see what awards they’ve won?
Which awards do you pay attention to?
Which awards do you pay NO attention to?
Any other comments about awards?

Over half of them responded (thanks everyone) & we've gleaned some very interesting information:
Do you look to see what awards they’ve won?
Mostly YES. CDs do look at awards, but with loads of provisos. e.g.
" ... but I'm more concerned over whether they should have won rather than that they did..."
"... BUT, the work is more important than anything. So if they won for something I don't like, the award means nothing to me."
"... depends on the position I'm trying to fill. awards become more important as the expected pay level increases. though in general, the reel and folio is all i'm interested in ... "
"... but book and personality are more important than

Which awards do you pay attention to?
This was a very unified response. Around 90% of CDs said D&AD, Cannes & One Show. And the very relevant comment "but practically nobody looking for work has won at these". Beyond that a smattering of Clios and a few local awards for smaller (non-international) agencies.

Which awards do you pay NO attention to?
Again a quite unified response: New York Festival & London International were singled out, with a few other strong themes coming through: "the rest" and ... "and all the other crap new ones that seem to crop up every year". I'm sure this CD meant to add "excluding the bestadsonTV awards of course".

Any other comments about awards?

A few samples from around the world.

Porky Hefer, Lowe Bull South Africa:
too much emphasis has been placed on them and is resulting in a lot of derivative work which has no effect in the local markets, also seems if you put in a fancy director you win a fancy piece of metal, hence the dominance of the us and uk in big international tv award ceremonies, giving the smaller nations fuck all chance. Stupid. I hate awards but it is something we are forced into.

David Alberts. Grey London:
No I don't look at awards at all.
I look at their book..
I am looking for ideas that I find interesting, that fit in with our thinking rather than a list of credits.
Awards are brilliant, they are wonderful benchmarks, learning tools and inspiration but by their very nature are executions voted for by a committee.
We are paid by clients to create long term ideas and that is sometimes harder to judge in an Award show.
In the same way I would happily hire people based on ideas that were never made rather than an average idea that's been finished.

Murray White, Springer & Jacoby, Amsterdam:
... these awards (though most, really) are becoming increasingly more expensive to enter and consequently becoming the territory of larger network creatives with large awards entry budgets. for this reason, some smaller agency creatives are simply not able to make their work eligible for the same amount of awards. i keep this in consideration always.
awards can be great - a crutch keeping us insecure creative types away from the psychiatrist's couch. the important thing is that creatives not critique their own work based on what awards judges think. clients have wants and needs and at the end of the day we provide a service to them. great creative is ultimately what we all strive for, but it must achieve results. young creatives can often lose perspective on this with the prospect of awards looming large in the foreground.

Toby Talbot, Saatchi & Saatchi NZ:
Awards are a great distraction from the hum-drum nature of what we do: ads, ads and more ads. But lets not lose our sense of perspective here. No one gives a fuck about advertising awards apart from advertising people. Too many young people coming into the industry are being encouraged to become shallow awards junkies (or Cannes-oraks as I call them). The next generation need to be taught to truly think outside the square, not inside a well-thumbed D&AD annual.

Julian Vizard, St Luke's, London:
No I don't take any notice of peoples Awards when hiring people.
A great book is important of course but the person has to be great also. If they have a stack of awards but they're an A hole we'd rather they work elsewhere.
St.Lukes had a policy of ignoring awards for many years and has only recently started entering them. The reason being our creatives felt they needed them for their careers, and they are useful for visa applications if you want to work overseas etc.
I respect D & AD as it's a charity that does a lot for students, which I believe is also the case with AWARD.

Terrence Tan, DDB Singapore:
Winning new business & pitches is of utmost importance for any creative director. Winning creative awards is a GIVEN.

Paul Catmur, DDB NZ:
There is far too much stress placed on awards. We should concentrate on doing the best ads we can for our clients not at how we can fool an awards jury. An agency should be judged by its clients, its people and its reel, not its position on a chart.

Jay Furby, Arnold Australia:

Who logs on to bestads?

 FROM BESTADSONTV    December 14, 2005 02:32 (Edited: December 13, 2005 15:32)
This is who logs on ...

but if we've forgotten to include your agency / production company/ post house/ whatever / please contact us & we'll add you to the list.

.V. (DDB group) Paris
180 / TBWA S.F.
180 Amsterdam
2am Films
30 sec films
4 creative
4 stroke TV
72 and sunny
8 Commercials
Acne film
advertising advantage
Aimaq Rapp Stolle Germany
AJF Partnership
Amalgamated NY
Anonymous Content
Another film company
AP McCann
Arnold Worldwide – Boston
Arnold NY
Arnold Sydney
Attik SF
bacon cph - Copenhagen
Barnes Adsvertising
Barrenjoey Films
Bartle Bogle Hegarty
Bartle Bogle Hegarty NY
Bates asia
Bates – France
Bates / Red Cell, Oslo
Bates Brasil
bates norway
Bates Singapore
Bates UK
Batey Kazoo
BBDO – Atlanta
BBDO Canada
BBDO Chicago
BBDO Duesseldorf
BBDO-Guerrero Ortega Philippines
BBDO Minneapolis
BBDO Singapore
BBDO, Toronto
BDDP & Fils, Paris
behind the line
Berlin Cameron/Red Cell - New York
bikini films
Biscuit Filmworks
Bistro Films
Black Cat films
Blink Productions
Blue Sky Films
Blue Worldwide NY
Bob industries
BOS Canada
Boxer films
Bozell & Jacobs – Omaha
Bozell NY
brave films
Bristow Prentice Lambaart Budd
Brown Entertainment canada
Butler, Shine, Stern & Partners
Campaign Palace / Red Cell
Campbell-Ewald LA
Campbell-Ewald Warren
Campbell Doyle Dye UK
Campbell Mithun
cannes lions
Capitol Productions
caravan pictures
Carmichael Lynch – Minneapolis
Catfish films
Caviar Brussels
Cayenne Amsterdam
centrifuge films
Channel 4 creative UK
Cheetham Bell J. Walter Thompson
Cherub Pictures
Cine international
Clarity Coverdale Fury
Clemenger BBDO Syd
Clemenger BBDO Adelaide
Clemenger BBDO Melb
Clemmow Hornby Inge UK
Cliff Freeman & Partners - New York
CLM BBDO, Issy-les-Moulineaux
cobblestone films Germany
Cobblestone Pictures
COD (CreativeOnDemand) USA
colby and partners Santa Monica
Cole & Weber/Red Cell Seattle,Portland
Colenso BBDO NZ
Conill Adv NY
conseil publicis france
Celsius films
corcoise films india
Cramer-Krasselt Chicago
Cramer-Krasselt Co. - Milwaukee
cre@ive design advertising NZ
Creature seattle
Crispin Porter + Bogusky
Cuba adv UK
Culture films
Cummins & partners
Curious Films
Curious Pictures
Curtis Jones & Brown
Cutting Edge
CZAR Films
David And Goliath - Los Angeles
DDB – Seattle
DDB New York
ddb amsterdam
DDB Berlin
DDB Brisbane
DDB Chicago
DDB Dallas
DDB France
DDB Hong Kong
DDB London
DDB Melbourne
DDB New Zealand
DDB Philippines
DDB San Francisco
DDB Singaore
DDB Sydney
DDB, Vancouver
De Pasquale
Delaney Lund Knox Warren UK
Dentsu BLD Europe Belgium
Dentsu Thailand
Dentsu Y&R
Deutsch L.A.
Deutsch, New York
Dewey Horton
DFGW london
Diferencia Spain
DiMassimo Brand Advertising
DLKW london
DOLL Films
Doner – Canada
Doner Detroit
Downtown Partners
Duval Guillaume
Egg Films
Elsewhere films
Enjoy scher lafarge France
Epoch Films
Euro RSCG Beeley Callan
Euro RSCG Brisbane
Europe McCann
Exile Films
F/Nazca Saatchi & Saatchi, Sao Paulo
Fallon – Minneapolis
Fallon - New York
Fallon London UK
FCB Argentina
FCB Canada
FCB Chigago
FCB Melb
FCB Seattle
Film Construction
Film Graphics
Fin Design + Effects
Flux animation
flying fish
FNL Sydney
Foodchain Films
Frank Advertising
frieze films
gang films Paris
Go Film
Generator NZ
Geo Patterson Partners
Glue Society
Goodby Silverstein & Partners
Goodoil Films
gorgeous UK
Great Guns Ltd
Great Southern Films
Grey Germany
Grey London
Grey Melbourne
Grey N.Y.
Grey Norway
Grey NZ
Grey Sydney
Harvest Films
Hasan & partners
HHCL / Red Cell, London
Hill Holliday - San Francisco
Hill, Holliday Boston
Good films inc
Independent Films UK
Jaab - Singapore
John Bevins
Joe public Sth Africa
JWT London
JWT France
JWT Hong Kong
JWT India
jwt melb
jwt toronto
Just Ideas South africa
kessels kramer Netherlands
krishna smiles flowers bloom
Lava Communications
Leo Burnett Syd
Leo Burnett / Toronto
Leo Burnett Chicago
Leo Burnett HK
Leo Burnett India
Leo Burnett london UK
Leo Burnett Singapore
Leo Burnett, Bangkok
les producers
les télécréateurs
LG & F, Bruxelles
Lithium pictures
Louis XIV DDB Paris France
Love Communications
lovo films belgium
Lowe – London
Lowe - New York
Lowe Bull south africa
Lowe Roche Canada
Luscious International
M&C London UK
M&C Saatchi NY
M&C Saatchi Singapore
MacLaren McCann Canada Inc.
Martin/Williams Advertising – Minneapolis
McCann-Erickson Detroit
McCann-Erickson New York
McCann-Erickson Syd
McCann Bris
McCann Erickson – Netherlands
McCann Erickson S.F.
McCann Erickson UK
McCann India
mccann germany
Mcgarry Bowen
McKinney USA
Media Foundry
Merkley + Partners - New York
Miles Calcraft Briginshaw Duffy, London  
Mother - New York
Mother London
Motion Pictures
motion theory
Moxie Pictures
MTC New Zealand
Mustoe Merriman Herring Levy UK
naked communications
neo indonesia
Net#Work BBDO Johannesburg
Newhaven Communications. Edinburgh
notorious pictures
O&M Chicago
O&M Hong Kong
O&M London
Ogilvy & Mather – Chicago
Ogilvy & Mather - New York
ogilvy norway
Original film
Omaha pictures
pacific rim films
Palmer Jarvis DDB
partizan UK
partizan USA
passion pictures UK
Patterson & Partners Adcafe
peach ads
performance partners
Phenomena thailand
Picture tree Sth Africa
Playroom NYC
Plaza films
Plump films
Red tree productions
Publicis New York
Publicis – Seattle
Publicis & Hal Riney S.F.
Publicis Canada Inc
Publicis Conseil Paris
Publicis HK
Publicis Mojo Syd
Publicis Mojo, New Zealand
Publicis Seattle
Publicis, Milan
Quad london
radke films
Red Cherry Adv Sth Africa
Resource LA
rascal films NY
Red Cherry Adv
Red Rocks Advertising
Republic films
Resource la
result ddb Netherlands
Rhino fx
Room 8
Roaring tiger films
RSA Films
Rubin Postaer and Associates
S.C.P.F. , Barcelona
Saatchi & Saatchi L.A.
Saatchi & saatchi Sydney
saatchi & saatchi london
Saatchi & Saatchi N.Y.
Saatchi & Saatchi Singapore
Saatchi & Saatchi South Africa
Salt Film
Sedgwick Road Seattle
Serious pictures uk
Singleton O & M Sydney
Singleton O & M Melbourne
Smoke creative
Soul Adv London
Sputnik Agency
St Luke's London
Spy Films
Streetlight Films UK
Streetlight Films Australia
sugar NZ
syndicate films
TAXI Films
TAXI canada
TBWA – London
TBWA /Chiat/day LA
TBWA Berlin
TBWA Brussells
TBWA Chiat-Day Los Angeles
TBWA Chiat-Day N.Y.
TBWA Chiat-Day S.F.
TBWA Hunt Lascaris Sth Africa
TBWA Italy
TBWA London
TBWA Singapore
TBWA Vancouver
Terraplane Sth Africa
the Arnell Group
The Bridge Adv Glasgow
The Campaign Palace Sydney
the faith agency
The Kaplan Thaler Group New York
The Leith Agency UK
The Martin Agency USA
the money shot
The Moult Agency
The New RO
The Nice Agency
The One Centre
The Partners – Brisbane
the pound
the Sponge Agency
The Surgery
The Sweet Shop
The TakeAway
Therapy films
Thomas thomas films
tomboy films
tool of north america
tribal ddb amsterdam
Turnpike films
velocity films Johannesburg
Vinten Browning
Viral factory
visionary pictures
Vitro Robertson - San Diego USA
W+K Amsterdam
Weiden + Kennedy N.Y.
Wieden + Kennedy – Portland
Wieden + Kennedy London
Walsh Trott Chick Smith, London
WCRS London
Whybin TBWA melb
Wilson Everard
window productions
WRC Auckland
Y&R Brazil
Y&R Chicago
Y&R Irvine
Y&R Melb
Y&R New York
Y&R Melb
Y&R New Zealand
Y&R Syd
Y&R – Toronto
ZIG Canada
ZOO Canberra

Nothing new under the sun

ASIA    December 14, 2005 00:37 (Edited: February 05, 2007 16:06)
This is a bit too similar to our featured spot "pavement"

But this one is out of the Philipines and went to air in Jan 2005.

To view the spot click ....

There's some follow up PRINT work now featuring in the "latest print ads" as well.

Following the departure of David Droga ....

 PEOPLE    December 10, 2005 01:08 (Edited: December 09, 2005 14:08)

Paris, 8th December 2005 - Following the departure of David Droga, the former Worldwide Chief Creative Officer of the Publicis network and with the recent acclamation of Publicis Conseil, Paris taking second place in the European Agency of the Year rankings at the Eurobest Awards 2005, Olivier Altmann takes a step up.

Olivier Altmann, Co-President and Executive Creative Director of Publicis Conseil, the central French agency has been promoted to Chairman of the Worldwide Creative Board of the Publicis network.

Based at Maurice Levy’s (Chairman & Chief Executive Officer of the Publicis Groupe) flagship headquarters, Altmann’s role will be to continue building a strong commitment to creativity throughout the network. Alongside his existing position, he will act as a central Creative Director for key clients, helping the network to implement a new holistic approach to creativity.

Olivier Altmann comments on the challenge ahead:

“I’m very honoured that Maurice Levy’s nomination was supported by David Droga and approved by the rest of the board. Having their confidence in me means a great deal. David did such a great job at not only inspiring us, but equally at providing a strong management and creative structure that’s committed to creativity.
My position will be to continue on the well-established path, using our belief ‘Fortune Favours the Brave’, helping everyone deliver their best, as best I can.”

After being CEO at his own agency, BDDP & Fils, Altmann joined the Publicis Groupe in March 2004 as a member of the Worldwide Creative Board. Working alongside his partner, Christophe Lambert (President of Publicis Conseil), the transformation of the French agency has been apparent. Scooping up the Outdoor Grand Prix and Print Gold for the Wonderbra campaign last week at Eurobest 2005, along with silver and bronze awards in both TV and print campaigns for Club Med and Renault. Epica 2005 also awarded the Wonderbra campaign as the best in its category.

Cannes Lions 2005 awarded Bronze Lions to Club Med and the much acclaimed spot ‘Tokyo’ for Sagem, that saw success at the Clios, D&AD, Epica 2004, New York Festivals and the LIAA. Cresta 2005 named Publicis Conseil the Tops in its shortlists, with 13 finalists in TV and Print, finally winning 2 TV awards for Renault and SFR.

The Gunn Report 2005 have also spotted Altmann’s agency, commenting:

“Publicis Conseil, Paris (with 3 selections on The Showreel of The Year 2005) is undergoing a renaissance as a true creative flagship office.”

Olivier Altmann commented:

“The really great thing about this Creative Board is simply that every Creative Director is on the same mission, supporting one another as opposed to competing for business. Most of them are now friends so when it comes to judging work, there’s no politics between us. One of our next challenges will not only be about raising the creative bar but being able to re-invent the way we work with our clients in order to deliver more than just big ads, but big ideas.”

In this month's Australian CREATIVE ...

AUSTRALIA    December 10, 2005 00:48 (Edited: February 05, 2007 16:06)
Creative mafia?

Award shows are always controversial, and this year's round of Australian award shows didn't disappoint. Is there work that should have won, but didn't? Why didn't the work that won locally do nearly so well internationally? Is there a "creative mafia" controlling who wins what?

"The same bunch of people are winning. It's a big, self-serving club, but it's big enough that people can actually benefit from it so that it can support itself and self-propagate. Admission to that club is very difficult. I'd hate to be a creative that was part of an agency that was not well thought of, that was doing good work," says one observer at a Sydney production company, questioning why the winners of local awards were very different to those awarded by international judging panels.

"In terms of the work, it was made abundantly clear at Cannes this year that regardless of how wonderful we really think we are down here in Australia, if it isn't good enough, it isn't good enough," says Geoff Clow, executive director at Emerald City.

Agree or disagree? Write to .

For the full story, see this month's Australian CREATIVE.

Art director gets WHACKED.

 PEOPLE   AUSTRALIA    December 08, 2005 21:54 (Edited: December 08, 2005 10:54)
Art director's demise

click ....

The third installment in the popular series for Hahn Premium Lig

 TV   AUSTRALIA    December 08, 2005 09:00 (Edited: December 07, 2005 22:00)
Paul Middleditch, Plaza Films, completes the third in the series for Hahn Premium Light

Agency:Clemenger BBDO Sydney
Art Director: Barry Baker / Pic Andrews
Copywriter: Chris Pearce
Creative Director: Danny Searle
Director: Paul middleditch
Exec Agency Producer: Roy De Giorgio

ESPN's new work through W+K NY & Anonymous Content

 TV   USA    December 08, 2005 08:51 (Edited: December 07, 2005 21:51)
Nice idea, nicely executed, nice line, nice straegy ... nice spot. Pity we couldn't find a copy

So we're in China. it's all very ... chinese. The taxi driver starts to sing along to a country & western song on the radio ... called "Houston". Then a bus pulls alongside & there's a huge sports ad on the side of the bus ... "Houston". Then the line:
Without sports, the world would be a bigger place.
ESPN "Houston".
ECD: Todd Waterbury, Kevin Proudfoot
Copywriter: Lisa Topol
Art Director: Robert Rasmussen, Alan Buchanan
Production Company: Anonymous Content
Director: Robert Logevall

Hitting out at child prostitution

 TV   SOUTH AMERICA    December 08, 2005 08:36 (Edited: December 07, 2005 21:36)
CGCOM ( Rio de janeiro-Brasil) & TV Globo's social campaign "For Sale" compares the sale of homes, motor bikes & launches to the sale of children.

Agency: CGCOM ( Rio de janeiro-Brasil)
Agency Producer: Jodaf Mixer
Art Director: Bruno Di Celio
Copywriter: Fernando Conde
Creative Director: Marcos Pedrosa
Director: Bruno Murtinho
Production Company: Tv Globo

New Mercedes Work from Merkley and Partners & HSI

 TV   USA    December 08, 2005 08:27 (Edited: December 07, 2005 21:27)
Merkley and Partners called on the artists at rhinofx to deliver a little holiday magic.

Production Company: H.S.I. Productions/ LA
Director: Arni and Kinski
DP: Don Davis
EP: Ellen Jacobson
Head of Production: Michael McQuhae
Producer: Elizabeth Amaral
Agency: Merkley & Partners- NY
ECD(s)/ Partners: Andy Hirsh, Randy Saitta
ACD: Chris Landi
Agency Producer: Misha Louy
Director of Broadcast Production: Gary Grossman
Editorial: Version 2/ NY
Editor: Micah Scarpelli
Producer: Linda Rafoos
Post/Effects: rhinofx/ NY
Partner/ Managing Director: Rick Wagonheim
VFX Supervisor/ CD/ Partner: Vico Sharabani
CG Supervisor/ CD: Natasha Saenko
Lead Inferno Artist: Ronen Sharabani
Inferno Artist: Susanne Scharping
Senior EP: Camille Geier
Producer: Linda Gallagher

New Ikea work through Hasan & Partners

 TV   EUROPE    December 08, 2005 08:18 (Edited: December 07, 2005 21:18)
Not your usual "need a new kitchen" ad.

To view the spot click ....

warning .... meaningless unless you watch ABC TV AUSTRALIA

 TV   AUSTRALIA    December 08, 2005 07:57 (Edited: December 07, 2005 20:57)
If you DO happen to watch the ABC (Oz), this is good:

From Host & the Glue Society.
This new brand spot for the Australian Broadcasting Corporation (ABC) portrays a broad spectrum of Australians in a number of everyday scenarios mimicking catch phrases from well-known ABC television programs.

The idea borrows some of the best-known catchphrases from the ABC and demonstrates how much they have infiltrated everyday Australian life. It encourages viewers to recognise that despite their first assumptions, the ABC has a much larger influence on their lives than they give it credit for.
To view the spot click ....

Guest comments for this week's featured spot "Time"

 GUEST COMMENTS    December 08, 2005 07:40 (Edited: December 07, 2005 20:40)

... a few words about the BMW ad ‘Time’ from Avi Pinchevsky, TBWA Hunt Lascaris, South Africa, one of the creatives on this spot

The process started In late June and the task at hand was to re-launch the BMW second hand ‘Approved Used’ dealerships under the new name ‘Premium Selection’.
BMW second hand cars undergo such stringent testing, that a previously owned car is as good as new by the time it reaches the showroom floor (again), making the passage of time and the car’s history irrelevant.

This pushed the creative team to explore the elastic nature of time and the theories that surround it.

Scientists such as Stephen Hawking have long claimed that time is entirely man-made, and the creative team thought that since BMW cars were entirely unaffected by time, they would provide the perfect example.

The agency then involved Professor Hawking in the process and received his comments, advice and finally, nod of approval.

The ad was filmed over two nights in Cape Town, and it shows a man walking up and down a street, experiencing three different tenses- past, future and present, while discussing Stephen Hawking’s theory. Things around him change depending on the tense he’s in, yet the car stays exactly the same.
Kim Geldenhuys of Egg Films directed the ad and it was written by Avi Pinchesvky, Brent Singer, Camilla Herberstein and Sandra De Witt.

A closer look at Belgian agency Duval Guillaume

 UNDER EXPOSED   EUROPE    December 08, 2005 07:04 (Edited: December 07, 2005 20:04)
Following on from "Human Ball" featured on the latest ads page this week, we thought we'd have a closer look at some more good recent work from Duval Guillaume

Firstly, a commercial supporting the law forbidding the sale of tobacco to under 16s.

To view the spot & credits click ....

... and one for the Mime festival:
To view the spot & credits click ....

and then there's this one:

To view the spot & credits click ....

Guest comments for this week's featured spot "Pavement"

 GUEST COMMENTS    December 08, 2005 06:09 (Edited: December 07, 2005 19:09)
A few words from Leighton Dyer, Publicis Mojo New Zealand, one of the creatives on this week's featured spot "Pavement"

The ad features a child who lives on the street in an animated chalk-drawing world and his fantasy of Christmas. Rangi Ngamoki - star of Oscar nominated Taika Cohen's 'Two Cars, One Night' plays the part of the child and the cameo voice-over is provided by Sam Neil.

Young Rangi Ngamoki was such a funny lad to work with. Between takes he'd demonstrate in graphic detail the wrestling moves he wanted to perform on me. Moves he'd learnt the week before by Stone Cold Steve Austin.

Directors Si & Ad from Academy Films in London - celebrated creatives who've done music videos for top acts around the world - flew out to New Zealand for the filming. The short piece of film is an adaptation of a promo they directed in London called 'Street Dreams'. We (nick, nigel and myself) then wrote a script which complimented their beautiful work. And a "slam poet" in London then adapted our script further to give it more a of rhythmic beat.

The campaign message is "We're on a Mission to bring Christmas to every Auckland Child".

Christmas is just a fantasy for many children. We wanted to show just how far from reality it can be.

guest comments for this week's featured spot "Impossible dream"

 GUEST COMMENTS    December 08, 2005 03:55 (Edited: December 07, 2005 16:55)
A few words from Sean Thompson, W+K, London, one of the creatives on "Impossible Dream"

The Impossible Dream started about ten months ago, when it was presented to
Honda. The thinking behind the idea was to present Honda's philosophy of the
Power of Dreams, which means quite simply: to make dreams happen.

The ad was filmed and produced in seven countries; New Zealand, Brazil,
Argentina, Japan, Spain, The Czech Republic and the UK. It features thirteen
classic Honda vehicles, each one specifically chosen for its impossible
dream. (For example The Honda Cub's dream was to build a bike that would
fundamentally change the image of biking forever. And the powerboat's dream
was to build the world's first environmentally friendly four-stroke outboard

The vehicles had to be shipped from all over the world to the locations.Most
of them were priceless museum pieces from The Honda Collection Hall in

Some location facts:

The Honda RA272 Formula 1 hadn't been driven on an oval track since it won
the Mexico Grand Prix in 1965. Mike Hailwood's 2RC143 TT bike hadn't been
ridden on a road since it won the Isle of Man TT in 1961. And no balloon had
ever been flown in that part of New Zealand's Southern Alps before.

The ad is supported by press and where you can delve a
lot deeper into the vehicle's impossible dreams.

It was directed by Ivan Zacharias at Stink and written by Sean Thompson,
Chris Groom, Kim Papworth and Tony Davidson.

Anonymous comments ... our policy

 FROM BESTADSONTV   USA    December 01, 2005 21:03 (Edited: December 01, 2005 10:03)
Our current policy is that we don't post anonymous negative comments

If you want to slam something, that's fine by us, but you have to say who you are. The reasoning behind this: If you've done a mountain of brilliant work & you want to be critical of others that'll carry more weight than a scathing comment from an obscure creative. Also there's a million blogs that serve that purpose.


another in the series of SFR spots from Publicis Conseil

 WORTH A LOOK   CANADA    December 01, 2005 08:49 (Edited: November 30, 2005 21:49)
Following on from previously featured SFR work, our heroes are now on the loose with new generation mobile phones

To view the spot click ....

From Smart Inc ... new underworks spot.

 WORTH A LOOK   AUSTRALIA    December 01, 2005 08:44 (Edited: November 30, 2005 21:44)
Just your typical cops and socks

To view the spot click ....

PSA / Charity work from McCanns Brisbane

 WORTH A LOOK   AUSTRALIA    December 01, 2005 08:38 (Edited: November 30, 2005 21:38)
The music of LAMB (the band, not the beast) features in this sensitive spot for the Hear & say Centre

To view the spot click ....

We're having a bit of a week for PSA/ Charity work

 WORTH A LOOK   CANADA    December 01, 2005 08:32 (Edited: November 30, 2005 21:32)
From Grey Brussels & LOVO FILMS

To view the spot click ....

Win a house!

 WORTH A LOOK    December 01, 2005 08:25 (Edited: November 30, 2005 10:29)
Win a house ... South African style

To view the spot click ....

A true story from New Zealand.

 WORTH A LOOK   AUSTRALIA    December 01, 2005 08:17 (Edited: November 30, 2005 21:17)
...only in NZ

To view the spot & credits click ....

Republik ... under-exposed

 UNDER EXPOSED   AUSTRALIA    December 01, 2005 08:08 (Edited: November 30, 2005 21:08)
Taking a bit of a look at work from NZ agency Republik

Peugeot "Love"
Agency: Republik Communications
Creative Director: Glenn Jameson
Copywriter: Glenn Jameson
Agency Producer: Glenn Jameson
Assistant Producer: Rachel Trillo

Production Company: Silverscreen
Director: David Rittey
Producer: Larisa Tiffin

phew ... Glenn Jameson must keep busy.

(Glenn got back to us with ... 'I did have help on this. Olivia Pierson was the co-writer, Ravi Eshwar came up with the idea for the "Love" animation and Ian Watson suited it nice')

To view the spot click ....

Coca Cola - Nelson Mandela Invitational Charity Golf

 TV   UK    December 01, 2005 07:57 (Edited: November 30, 2005 20:57)
An uplifting TV spot currently airing in South Africa to create awareness of the Nelson Mandela Charity Golf Tournament, which raises funds for underprivelaged kids.

Agency: Chemistry
Art Director: Sean Van Rensburg
Copywriter: Stuart McCreadie

Production Company: Pistoleros Films
Director: Roy Zetisky
Producer: Warren Meltz

Grey Toronto teams up with Blink for this new 3M spot

 TV   EUROPE    December 01, 2005 07:51 (Edited: November 30, 2005 20:51)
This dark and stylish spot shows a young man successfully protecting his coveted sandwich with the aid of 3M's double-sided tape.

Grey Worldwide, Toronto
Creative Director: Rick Kemp
Art Director: Gerald Shoenhoff
Copywriter: Ron MacDonald
Agency Producer: Camielle Clarke

Prodn Co: Blink Pictures
Director: Manuel Garcia Neves
Executive Producer: Derek Sewell

New Ad Council spot "Matchsticks" ... Simple. Effective.

 TV   EUROPE    December 01, 2005 07:45 (Edited: November 30, 2005 20:45)
The things you can do with matchsticks!

Agency: FCB - Irvine
Executive Creative Director: Erich Funke
Copywriter: Ray Connolly
Art Director: Pooja Wadhawan
Agency Producer: Dan Reilly
Production Company: Bermuda Shorts

guest comments for featured spot "tale of two quitters"

 GUEST COMMENTS   USA    December 01, 2005 07:32 (Edited: November 30, 2005 20:32)
From Ben Gregor, director on "A tale of two Quitters":

"Shooting in prague, we got to build really good sets. They have an amazing tradition of set building out there. It was important to make everything from scratch as we needed a precise look for the environments that would be contemporary enough in design terms but also informal so you could still relate to the characters and find the spot funny. When you're doing pan-european ads with no dialogue you're balancing the look with the comedy to make it work in both Paris and Kazakhstan. It can be tricky but it's fun and sure beats sweeping the road."

GlobalHue + Admit one + Finger music

 TV   EUROPE    December 01, 2005 07:25 (Edited: November 30, 2005 20:25)
New dodge work sets a cracking pace

Production Company: Admit One Productions, Woodland Hills, CA
Director: AK
DP: Michael Bernard
EP: Michele Ghersi
Producer: Suzanne Ghersi

Agency: GlobalHue/MI
CD/CW: Rob Hendrickson
CD: Damon Davis
Art Director: Matt Laufer
Agency Producer: Cathy Antoniello

Music: Finger Music/ Santa Monica
Sound Designer/ Arranger: Dave Hodge

Guest comments for featured spot "Lend a Hand"

 GUEST COMMENTS   USA    December 01, 2005 04:57 (Edited: November 30, 2005 17:57)
A few words from Kathy Mattick & Shannon Sutherland, Saatchis Sydney, creatives on this week's featured TV & print campaign "Lend a hand"

The Unifem Lend a Hand Campaign was created to raise awareness of, and participation in, White Ribbon Day on November 25.

The aim of this year's campaign was to connect with men who passively encourage - or rather don't actively discourage - violence against women.
Rather than targetting perpetrators, we wanted to show that doing
nothing creates an atmosphere that gives oxygen to the offenders. Hence the campaign thought - Do nothing and you may as well lend a hand.

YoungGuns print & outdoor winners.

 AWARD NEWS   USA    November 30, 2005 03:30 (Edited: November 29, 2005 16:30)

A selection of the YoungGuns 2005 print & outdoor winners is now in the bestads print archives. Go to "archives" in the menu, and then "browse print archives".

YoungGuns 2005. A few words from Andy Fackrell.

 AWARD NEWS   USA    November 30, 2005 03:25 (Edited: November 29, 2005 16:25)
By Andy Fackrell, Co-ECD, 180 Amsterdam
2005 YoungGuns Jury Chairman

YoungGuns 2005 was a show dominated by film; not necessarily in the 30 second spot - although there were some beauties - but ideas that pushed into longer and unconventional formats. It is relevant, and hugely encouraging, that younger creatives are leading the way.

Two of the Gold Bullets given in Film, to the mesmerizing Sony Balls cinema spot and Mini Counterfeit are examples of brilliant communication that are not only fresh in ideas but fulfilled through execution. The Sony spot will no doubt pick up a few gongs over the next 12 months - it was nice that the jury here in Sydney got to see it first. It was less effective over shorter lengths but got full value in its longest format: a great choice of music, director and editor, it reached its maximum potential due to it's craft. Counterfeit similarly showed an amazing depth, yet instead of one simple idea well honed, it was a simple idea jam packed with parody. Both were clearly made by real talents who understand that an idea is but the first stage in the process.

Viral film had some highlights with interesting craft decisions you would hope for in young teams. But where were the young directors? The jury struggled to find any stand out piece of work to include in this category. The same applied in other craft categories, aside from the animated Duke Spirit music video. You need a pretty decent song to kick-start a video but this one had it all going on. And kept you there till the last note.

It must be said, that print and the student entries were a little disappointing this year; both seemed hamstrung by old formats when compared to the above. You hoped that wouldn't be the case at YoungGuns. There was the Gold winning Playstation Bus Shelter from Malaysia, a really interesting DM piece for Singapore's Navy, but the best idea was probably a Bottom Drawer number from Sweden, that hoped to counteract an annual Nazi Rally held in a small town there. Check that one out in the book.

Maybe print really is slipping, in terms of relevance, and not the place to learn the business of advertising anymore? Yet, look at how good it can be, when pulled off with confidence, as with the Student Entry of the Year for Hubba Bubba. Congratulations Menno Kluin; you had a great idea and you showed great taste and restraint in your art direction. Your execution carried it off. Interestingly, the same attributes apply to the Sony Balls spot, easily voted by the whole jury as Best of Show; it’s creator Juan Cabral (Fallon London) honoured as the 2005 YoungGun of the Year.

So, in all, a really good show if not a little skewed to moving pictures. Some fantastic talent is out there, in all parts of the world, pushing advertising into new areas and blurring the lines between medias.

I'd like to thank the jury for the great effort and healthy, open debates that makes this show a little bit special. Also thank you YoungGuns for organizing a smooth event and their excellent hospitality; our livers, the weather and the Sculptures by the Sea all held up well that week.

Thank you Sydney.

Andy Fackrell

To view the Sony "Balls" spot click ....
To view the "Counterfeit Minis" spot click ....

YoungGuns 2005. A few words from Nobby.

 AWARD NEWS   USA    November 30, 2005 03:22 (Edited: November 29, 2005 16:22)

By David Nobay, Chairman of Print / Outdoor Jury

How old is old? And how young is young?
It’s a question that bounced around both sides of the jury over the 3 days of judging this year. The simple fact is there’s a fair few 29 year old ‘heavyweights’ in the industry these days; complete with heavyweight salaries, titles and an enviable clutch of precious metal. Which, perhaps, explains just how ‘young’ so much of the winning YoungGuns work is.

Frankly, if we’d been told we were judging a major international ‘grown up’ award, I don’t think any of us would have been thrown. In a way, that’s a compliment to the high levels of craft and the general sense of sophistication in the conceptual thinking. But it’s also kind of sad, and a bit odd. Like a teenager walking around in his Dad’s business suit.

Personally, I was expecting more ‘spectacular failure’ – wild, radical and dangerous new thinking that totally ignored industry law and broke some new ground, albeit with a crude naivety.

Admittedly, there were some glaring exceptions that felt fresh from the asylum – Counterfeit Mini (Crispin Porter + Bogusky Miami) is a corker, across all media. The Gold Bullet winning PlayStation bubble-wrap outdoor (McCann Erickson Malaysia) is a genius alchemy of brand and consumer. The safe sex cards (Leo Burnett Canada) deserved their gong in copywriting and who could forget ‘Gay Nazi Rally’ (????) in the Bottom Drawer section? (By the way, a pure gift of a category criminally thin on outrageous creativity – given the criteria is ‘work the client didn’t have the balls to run’. Come on guys!).

Overall, the winning work is genuinely world class and the creators deserve to be proud. That said, this show is as much about sticking a cattle-prod up us industry old farts as celebrating youth, and I’d like to question what’s driving young creatives based on the bulk of the work.

After all, it’s all very well repeating the sins of your fathers, but the real fun is thinking up some fresh sin all of your own!.


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