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Seen and noted

Who's doing well?

 FROM BESTADSONTV    February 09, 2006 04:27 (Edited: February 17, 2023 05:19)
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New rankings page

Go to the menu bar at the top of the page & click on "rankings" to see who's leading the field. We're showing the top 100 agencies, production companies, clients, creatives, CDs, directors & agency producers. Based on featured work.

Warning: The rankings depend on correct spelling & good data entry ... & we're not renowned for our typing skillllls. So SEARCH YOUR WORK & let us know if there are errors. (e.g. do the "quick search" for your last name or go to the archives & search company / agency etc).

Also, we lost a bit of data when we updated the site a year ago - there are a few credits missing.

In the Creative Director category results are skewed because a lot of submissions, particularly from the UK, don't mention CDs. By & large though, it's pretty accurate.

Blink Pictures Welcomes Christian Charles

 PEOPLE   CANADA    February 02, 2006 22:03 (Edited: February 17, 2023 05:19)
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Toronto ˆ February 1, 2006.
Blink Pictures Inc. is pleased to announce the addition of Christian Charles to their roster for representation in Canada. Charles states that his love for comedy and filmmaking dictates his projects, which include humorous campaigns for The History, Discovery and WE Channels, as well as Tilex, Sheetz and McDonald's. His career began as a writer/art director at Ogilvy London/New York with clients such as Pepsi, Lucas Films and American Express for whom he co-created the Jerry Seinfeld campaign. His efforts have been rewarded with multiple Cleos, Cannes Bronze, Silver, and Gold Lions. But asked his highest compliment: "Clerks at Kim's Video have 'SOUND BOOTH' (COMEDIAN's movie trailer) on replay ... and actually laugh."

So there's this Creative director ...

 FROM BESTADSONTV    February 02, 2006 06:53 (Edited: February 17, 2023 05:19)
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So there's this Creative director ... Chief Creative Officer ... you'd know him ... anyway ....

we get HUNDREDS of good people from this one agency all subscribing within a day or two. I get curious, ask the question "what's going on with you guys?" & sure enough, we're on the CD's highly recommended viewing list.

Now I can't say who it is, because I haven't asked permission to name names. But YOU know who you are. Love your work! beamo.

What's this all about?

 UNDER EXPOSED   USA    February 02, 2006 05:57 (Edited: February 17, 2023 05:19)
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This is one of a series of spots for the Master Cabbie Taxi Academy. We don't know much about the agency, the production company, or indeed the client, so it's ended up in our "under-exposed" section

To view the spot click ....
HERE

Info just in from Laurence Shanet, from the production co:

- Yes, Master Cabbie is a real client. It's a taxi driving school located in Long Island City, Queens in New York. It was a subsidiary of Top Driver, which is a general driving school, and both have since been purchased by Ford Motor Company, although they were privately owned at the time.

- The agency (McLim) is the brainchild of Darren Lim and David McDuffie, who worked together at an agency called Dweck! (which had an extensive awards show history with Dial a Mattress's "Arctic Ground Squirrel" and ads for UPN and Fresh Samantha.) Top Driver and Master Cabbie were Dweck! clients and the campaign was in the pre-production stages when Dweck! went out of business. In order to facilitate the production of the Master Cabbie campaign, Darren and David formed McLim and resurrected the project with Master Cabbie. They went with the same director and production company (KRANKY) who had won the initial bid to produce the project, and the rest is history. The ads have won considerable attention at industry awards shows, despite running primarily on local cable stations.

- The idea came from brainstorming sessions by Darren and David, which I was also later involved with. We wanted to create something memorable and honest/realistic, which was inspired by the really awful/cheesy advertising that trade schools do on off hours on television. Think DeVry meets Lincoln Tech.

Laurence Shanet.

Leo Burnett Sydney on a roll

 WORTH A LOOK   AUSTRALIA    February 02, 2006 05:51 (Edited: February 17, 2023 05:19)
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SFX abound in new work from Burnetts Sydney

Firstly there's the new Heineken spot:
To view the spot click ....
HERE

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Then Francois Vogel weaves a bit of his HP magic in this one:

To view the spot click ....
HERE

Cheap ... but not nasty

 WORTH A LOOK   USA    February 02, 2006 05:36 (Edited: February 17, 2023 05:19)
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The British Airways annual seat sale - This gets the vote for the best of the cheapies for the week.

To view the spot click ....
HERE

Incubator director Tom De Cerchio helping smokers.

 TV   USA    February 02, 2006 05:13 (Edited: February 17, 2023 05:19)
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Quitting made easy
You simply get a minder to use the blow dart in the back of the neck method every time you're about to light up.

Agency: Clarity Coverdale Fury/ MN
CD(s)/ Partners: Jerry Fury, Jac Coverdale
AD: Jac Coverdale
CW: Jerry Fury
Agency Producer: Selannie Tyc

Production Company: Incubator/LA
Director: Tom De Cerchio
DP: Dylan Macleod
EP: Alexandra Chamberlain
Producer: Kate Dale


Stylish new Nescafe work from Annex Films

 TV   UK    February 02, 2006 05:07 (Edited: February 17, 2023 05:19)
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The first commercial in a new campaign direction for Nescafe coffee. A live action/animation journey illustrating how the 3 different blends of Nescafe compliment people's varying moods.

Agency: McCanns UK
Creative Director: John Hurst
Art Director: Carole Davids
Copywriter: John Hurst
Agency Producer: Petrina Kilby
Director: Luc Janin
Prodn Co: Annex Films

Inside the producer's head ... part 2

 INSIDE THEIR HEADS    February 02, 2006 02:32 (Edited: February 17, 2023 05:19)
...continuing from last week, we have a few more insightful comments from production company producers around the world.
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Apologies for the format of putting the same questions to everyone. And sorry to the producers whose comments weren't posted.

From Neale Ferguson, Exec. Producer Notorious 24:7 (USA)
www.notorious247.com


bestads: There are quite a few production companies outthere. How do you get the attention of the agencies?
Neale Ferguson: Bite, scream, kick and present good reels.

bestads: Is the producer/ director relationship like a marriage & if so who wears the pants?
Neale Ferguson: Directors are comodities........ the relationship is nothing like marriage...... I'd hate to sleep with some of the directors on our roster.

bestads: When you send out a treatment of a script do you worry about who might steal it?
Neale Ferguson: We always send out a few fakes as well so no one really knows which is the official treatment, only the ECD gets that via sealed envelope.

bestads: PSA (charity) ads ... A necessary evil (paying back favours) or a chance to shine?
Neale Ferguson: We only do them if the creative is good..... business is business

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.)
Neale Ferguson: What we always do..... our best

bestads: the life of a producer .... It’s all about the budget. True / False.
Neale Ferguson: There are creative Producers and money Producers...... I'm in the former camp......

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).
Neale Ferguson: I don't have time to do your job as well as write treatments for directors......sorry!

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from Adam Sawers @ Godman (UK)

bestads: Is the producer/ director relationship like a marriage & if so who wears the pants?
Adam Sawers: Director and Producer tend to alternate in the pants wearing department. It depends on who is feeling the strongest at that particular
moment in time!

bestads: When you send out a treatment of a script do you worry about who might steal it?
Adam Sawers: The business is full of plagiarism. You have to accept that this goes with the territory and not get too hung up when you see your ideas on the screen.

bestads: PSA (charity) ads ... A necessary evil (paying back favours) or a chance to shine?
Adam Sawers: Definately a chance to shine.

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 ˆ people don‚t remember what they read on the net. Scientific fact.)
Adam Sawers: Great treatment, getting it right on the money and making sure the chemistry flows with all the concerned parties.

bestads: he life of a producer .... It‚s all about the budget. True / False.
Adam Sawers: Absolutely false. A Producer always has to think creatively. Having said that the budget tends to crop up in 95% of all conversations.......!

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... From Catherine Kerr, Pod Film (Australia)

bestads: Is the producer/ director relationship like a marriage & if so who wears the pants?
Catherine Kerr: Absolutely it's like a marriage but without the sex which makes it more stressful as you have to talk about it all after a fight. Who wears the pants - well that's down to personality.

bestads: When you send out a treatment of a script do you worry about who might steal it?
Catherine Kerr: Well, that is something that you have to consider so we have decided to put a little copyright note down the bottom of all treatments to stop that sort of thing happening. I mean its hard to control something like that when it is out of your hands, but you have to have faith or you couldn't keep giving it your best shot, besides it's still up to the interpretation and directors craft to deliver it all on screen. Treatments are becoming an industry on their own which is slightly disturbing as people are now hiring good writers to do them and not enough agency folk are reviewing the treatment with the reel. Any good writer can do fiction !

bestads: PSA (charity) ads ... A necessary evil (paying back favours) or a chance to shine?
Catherine Kerr: We have just recently made a couple of great Charity jobs, they can be a great chance for directors to collaborate with creatives on a really nice spot for the reel or in fact really make a stand on an important issue. I always ask the question though whether there is commitment re air time behind it , as being an old left wing from wayback - you really want to think they can help someone. My favourite one of all time was for the RSPCA here in Australia which ran after Xmas reminding people that animals were a commitment for life. They put down something like 8,000 animals and we all felt like we were really helping that change that statistic.

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.)
Catherine Kerr: Terrier dog persistance and effort and a bloody good treatment with an extra spoonful of passion from the director.

bestads: the life of a producer .... It’s all about the budget. True / False.
Catherine Kerr: True - whether there's not enough or good enough money it's still down to how you spend it that gives you the great result on TV. I've seen waste either way that could have fed a small African nation.

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From Roi MacGregor, Silverscreen Productions, New Zealand

bestads: There are quite a few production companies out there. How do you get the attention of the agencies?
Roi MacGregor: wearing see through tops with no bra used to work, but now we just impress with the work we carry, and our sheer determination to solve their problems financially, creatively and above all, easily.

bestads: Is the producer/ director relationship like a marriage & if so who wears the pants?
Roi MacGregor: we both wear pants because let's face it, if the producer is a pussy then the director is going to end up with their pants down anyway

bestads: When you send out a treatment of a script do you worry about who might steal it?
Roi MacGregor: always

bestads: PSA (charity) ads ... A necessary evil (paying back favours) or a chance to shine?
Roi MacGregor: as long as it is not a pre-determined favour (i.e."if you do this for us we'll give you a really big job soon...." - never happens) then take the script on its own merit.

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.)
Roi MacGregor: wear see through tops, brainstorm it until it bleeds and do the best possible treatment and budget - it doesn't matter if anyone reads that because I'm sure that is what everybody does anyway?

bestads: the life of a producer .... It's all about the budget. True / False.
Roi MacGregor: False

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).
Roi MacGregor: Why do budgets shrink? Why do directors and creatives talk to each other about jobs with no producer present and then can't understand why it all turns to custard? Why aren't there more incredible suits out there? Why do creatives constantly overwrite scripts that have no budgets? why is the sky blue?

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From Jim Golden...Co-Executive Producer: Rascal Films, Ltd. in NY...

bestads: There are quite a few production companies out there. How do you get the attention of the agencies?
producer: Good directors on your roster is a start...

bestads: Is the producer/ director relationship like a marriage & if so who wears the pants?
Jim Golden: Pants? I get pants? Nobody said anything about pants!!!

bestads: When you send out a treatment of a script do you worry about who might steal it?
Jim Golden: Not really a worry. We know there's a Chinese Wall between us and our esteemed competition. Maybe.

bestads: PSA (charity) ads ... A necessary evil (paying back favours) or a chance to shine?
Jim Golden: Happy to do them. NOT happy to be quadruple bid on them, though...

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.)
Jim Golden: Beg, plead and blackmail seems to work pretty well. It helps to have some Polaroids of the creative director in a compromising position with livestock...

bestads: the life of a producer .... It’s all about the budget. True / False.
Jim Golden: False. It's about recognition from your peers, doing the greater good and making your mortgage payments.

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).
Jim Golden: 1. Describe the universe in twenty-five words or less and give me two examples.
2. Why do I sneeze when I walk outside into the sun?

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From Donna Svanberg, Capitol Productions (Australia).

bestads: There are quite a few production companies out there. How do you get the attention of the agencies?
Donna Svanberg: with great difficulty; a good red usually works

bestads: Is the producer/ director relationship like a marriage & if so who wears the pants?
Donna Svanberg: as long as someone is wearing pants

bestads: When you send out a treatment of a script do you worry about who might steal it?
Donna Svanberg: nope. it’s there to be read; keeping creative ideas under wraps doesn’t win jobs

bestads: PSA (charity) ads ... A necessary evil (paying back favours) or a chance to shine?
Donna Svanberg: a chance of freedom and the opportunity to really show what we can do

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.)
Donna Svanberg: bribery

bestads: the life of a producer .... It’s all about the budget. True / False.
Donna Svanberg: sadly this is true of the current climate; I believe things work in cycles, so...........

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).
Donna Svanberg: et’s share a red and I’ll tell you more.

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From Gary King, Executive producer at Picture Tree (South Africa):

bestads: There are quite a few production companies out there. How do you get the attention of the agencies?
Gary King: By doing good work. Good showreels get good work.

bestads: Is the producer/ director relationship like a marriage & if so who wears the pants?
Gary King: It's a gay relationship.

bestads: When you send out a treatment of a script do you worry about who might steal it?
Gary King: Yes. It comes down to who you work with, and we work with people we like and trust. This business is all about building relationships.

bestads: PSA (charity) ads ... A necessary evil (paying back favours) or a chance to shine?
Gary King: A chance to shine and a chance to give back if you really believe in the cause.

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 ˆ people don‚t remember what they read on the net. Scientific fact.)
Gary King: We contemplate sending gifts, threats or trips to the Bahamas and then turn to our researchers to unleash the passion and the magic of a great treatment.

bestads: the life of a producer .... It‚s all about the budget. True / False.
Gary King: Partly. And then it's about relationships and LOTS of talking on the telephone!

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).
Gary King: You should be asking what my telephone bill is, if I manage to ever see my family and how often I go to the shrink.

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From L J Jeneski, Exec Producer, Nonfiction Spots, Santa Monica/New York

bestads: There are quite a few production companies out there. How do you get the attention of the agencies?
L J Jeneski: Nonfiction is unique in that our directors’ roster is made up of documentary filmmakers for spots - Sundance and Academy Award award winners among them. Ad agencies tend to find us when they are looking for the real deal .

bestads: Is the producer/ director relationship like a marriage & if so who wears the pants?
L J Jeneski: We take turns wearing the pants. I’m here to support the Director’s creative vision. But I’m also the conduit between the agency and the director, so there are times when the director needs to listen to those concerns as well.

bestads: When you send out a treatment of a script do you worry about who might steal it?
L J Jeneski: Not really. We note that creative treatments and ideas presented by the director as new to the project are intellectual property. That, and I have a friend, a very big guy, who lives in the neighborhood...

bestads: PSA (charity) ads ... A necessary evil (paying back favours) or a chance to shine?
L J Jeneski: PSAs - Love them when the cause is just and the creative is great.

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.)
L J Jeneski: When directors falls in love with boards, they go all out on creative input and treatments. And I’ll fly a director across the country to meet with creatives instead of just getting on a call.

bestads: the life of a producer .... It’s all about the budget. True / False.
L J Jeneski: True. And False. Nothing tops great creative, but you gotta have the budget to make it happen.

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).
L J Jeneski: Who the hell started this bidding 5 directors on one job thing? How is it that I get booked into these fabulous hotels with great gyms and never get to use them? Where are the next generation of kick ass directors coming from?


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