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    Nothing enhances a commute like coming into physical contact with a bunch of strangers at the bus stop.

    Cossette's "Moments of Warmth" campaign for Duracell had public-transport patrons in chilly Montreal join hands to complete a circuit and activate heaters in a branded bus shelter. I suppose this marketing approach has positives and negatives. (Such battery puns fall into the latter category.) On the one hand, it's not as touching as that Norwegian "Would you share you coat with a freezing child at a bus stop?" stunt. And having the subjects kiss would've provided more sparks.

    On the plus side, at Duracell's shelter, no one can pick your pocket.

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    Sheb Wooley comes screaming out of the mists of pop culture into the commercial mainstream in FCB's new campaign for pay-TV channel Canal+ in Spain.

    Wooley is the voice actor who performed the "Wilhelm scream," a ubiquitous sound effect that debuted in the 1951 adventure Distant Drum and has since been dubbed into more than 200 movies, including Toy Story and the Star Wars, Lord of the Rings and Indiana Jones series. It takes its name from Private Wilhelm, a character in the 1953 western The Charge at Feather River. (Modern auteurs like George Lucas, Quentin Tarantino, Peter Jackson and Steven Spielberg apparently use the scream in their productions whenever possible.)

    The ad below, by FCB Spain and FCB Los Angeles, stars Wooley's widow, Linda Dotson Wooley, as "The Woman Who Can't Watch Movies"—because she's afraid she'll hear her husband's famous scream. The mockumentary points to a website that encourage folks to "donate" their screams and overdub Wooley so Linda can enjoy Hollywood films again. The site lets you record screams for up to three movie clips and share the results with friends. They'll really appreciate that.

    Even though it's all a goof, I kept thinking that Linda could just watch something outside Wooley's filmography—like the Scream movies or Home Alone, in which, it seems, Macaulay Culkin handled the screamy honors himself.

    Client: Canal+
    Agency: FCB Spain; FCB Los Angeles
    Campaign: "Leave Wilhelm Alone"
    Client Contacts: Iñaki Martikorena, Bernardo Melero, Purification González
    Executive Creative Directors: Pedro Soler, Eric Springer
    Creative Team: Beatriz Pedrosa, Peio Azkoaga, Joao Freitas
    Producers: Brendan Kiernan, Steve Devore, Thomas Anderson, Kate Borkowski, Kepa Vizcay
    Production Company: Helo
    Director: Alex Grossman
    Lighting: Seamus Tierney
    Sound: Sam Tornero Pulido
    Web Developers: Carlos Lainez, Miguel Iglesias
    App Developers: Joan Arbó, Jorge Cubillo
    Social Media Strategy: Mauro Rodriguez, Jose Olivares
    Poster: Beatriz Pedrosa, Marian de la Fuente
    Planner: Manuel López

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    Robert Redford wants to restore the Colorado River Delta, which has dried up severely over the past century, to its former lush glory through the "Raise the River" project.

    Will Ferrell wants to tell him where to stick it.

    Ferrell, you see, has his own plan. He doesn't want to bring the river back to the ocean. He wants to bring the ocean to the river—for the sake of the surfers.

    This amusing five-minute back-and-forth between the two actors is probably the most compelling way to approach such a dry subject (figuratively and literally). There's a fun cameo by Kelly Slater, too, and Ferrell's MoveTheOcean.org site is a nice touch as well.

    Nice work by Butler, Shine, Stern & Partners, with help from Funny or Die.

    —Starring Robert Redford
    Agency: Butler, Shine, Stern & Partners
    Director, Executive Creative Director: Mike Shine
    Senior Art Director: Joe Albert
    Senior Copywriter: Jason Turner
    Executive Producer, Cleaver: Richard Quan
    Editor: Eddie Ringer
    Assistant Editor: Dustin Leary
    Producer: Meredith Ashworth
    Account Executive: Alice Yom
    Sound Design, Mix: Bob Edwards

    Production Company: Republic Content
    Executive Producers: Vince Genovese, Stephen McDonald
    Producer: Vince Genovese
    Director of Photography: Bridger Nielson
    B Camera Operator: Dave Busse
    Sound: Alex Raguini
    Hair, Makeup for Robert Redford: Copper Perry
    Production Assistants: Krystal Curley, Ana Livier Cortés

    —Starring Robert Redford, Will Ferrell and Kelly Slater
    Agency: Butler, Shine, Stern & Partners
    Executive Creative Director: Mike Shine
    Senior Art Director: Joe Albert
    Senior Copywriter: Jason Turner
    Executive Producer, Cleaver: Richard Quan
    Editor: Eddie Ringer
    Assistant Editor: Dustin Leary
    Producer: Luke Rzewnicki
    Account Executive: Alice Yom
    Sound Design, Mix: Bob Edwards

    Production Company: Funny or Die
    Director: Ryan Perez
    Producer: Katy Walker
    Director of Photography: Aaron Ulrich
    Camera Operator, Gaffer: Brian Lane
    Production Designer: Tricia Robertson
    Wardrobe: Marylou Lim
    Hair, Makeup for Will Ferrell, Kelly Slater: Catherine Furness
    Sound: Ryan Kaiser
    Production Assistants: Ross Buran, Sean Boring

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    Women earn 30 percent less than men for the same work. Some 64 percent of the world's illiterate people are women. Almost 800 women die every day from preventable complications during pregnancy and childbirth.

    These are just some of the mind-boggling global injustices cited by UN Women on a new website, HeForShe.org, intended to motivate men to act against gender inequality and violence toward women. Created by Publicis Dallas, the campaign asks men to upload YouTube clips of themselves speaking out in support of women. For further inspiration, it includes a simple but powerful video of well-known men—including activist Archbishop Desmond Tutu, UN Secretary-General Ban Ki-moon, Matt Damon and Patrick Stewart—sharing their perspectives.

    It's not a risk-free approach for UN Women, which had a global hit last year with its Google autocomplete campaign by Ogilvy Dubai. Some might think that focusing on men somehow implies their opinions are of greater value. But Publicis says the unusual strategy is the campaign's strength.

    "He For She is a unique women's rights campaign in the simple fact that we don't approach the problem from a female perspective, and that's what makes it so powerful," Brad Roseberry, the agency's chief creative officer, said in a statement.

    The cause is made all the more pressing by the fact that it's gone underaddressed for so long. (The ad industry, of course, has plenty to do in fixing its own deeply ingrained gender inequalities.) As the new campaign so clearly expresses, the power to solve it often remains concentrated in the hands of men.

    Credits below.

    Client: UN Women
    Agency: Publicis Dallas
    Executive Creative Director: Brad Roseberry
    Creative Director: Natalie Lavery
    Copywriter: Jacob Latchem
    Art Directors: Alex Pierce, Joshua Tovar
    Producers: Lori Wallace, Desiree Townsend
    Web Developers: Alex Pierce, Eric Taylor, Dennis Covington, Jason Awbry
    Designers: Alex Pierce, Joshua Tovar
    Account Directors: Susan Scott, Whitney Sprague
    Editing Company: Republic Edit
    Editor: Andy McGee
    Producer: Jacklyn Sandoval Roman

    0 0

    It's been years since Burger King's U.S. advertising was truly weird. You have to go back to the Crispin Porter + Bogusky stuff from the mid-2000s—in particular, the deeply troubling "Eat Like Snake" ad from 2006.

    Colenso BBDO, however, is keeping BK ads weird for the New Zealand market. Check out the three spots below from director Nick Ball, featuring the most unlikely BK patrons ever—Sir Roger Poppincock and Baron von Cravat, along with an elderly gent on oxygen and his young, pissed-off Russian bride.

    Reaction, it's fair to say, has been mixed.

    "Hey Burger King, just have to say I think your latest TV ads are dreadful," one Facebook commenter writes. "So much for a tasteful and family orientated pitch. Do you really think that people would find that funny? Old men with some young girl saying when are you going to die, apart from the obvious stereotypes, ageism and sexism, what about the cultural offense you cause by assuming that women from Russia only marry older men? Not impressed." (BK replied: "We are sorry you're not loving our ads. Thank you for taking the time to let us know your thoughts, we appreciate all feedback."

    The chain also got some heat for advertising its lamb burger with a billboard that said: "Cute, cuddly & now delicious." In response to that, another Facebook commenter wrote: "I would like to complain on behalf of vegetarians and vegans about the morally and ethically offensive nature of the 'Cute, cuddly & now delicious' lamb burger billboard in Sandringham. Marketing should have been more considerate."

    "Our advertising isn't intended to offend, just to get noticed," the marketer replied. "We hope that there was sufficient humour in this billboard to demonstrate our position and are sorry that this campaign upset you."

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    The parodies of fashion brand Wren's super-viral "First Kiss" ad keep flowing in. Here's ad agency Mother London's entry—"First Sniff," starring a bunch of dogs.

    Stranger dogs tend to get pretty intimate pretty quickly, and so all the hesitancy in the first half the video, I suppose, is the joke here. Before long, though, there are plenty of noses in butts and all is right with the world again.

    The original "First Kiss" video, by the way, has topped 40 million views since Monday.

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    IDEA: Candy brings out the kid in everyone.

    It's a simple, straightforward truth that's illustrated memorably in two new British ads for Haribo Starmix candies showing grownups not just acting like children but speaking like them, too—thanks to some expert lip-syncing of dialogue. The result is peculiar and hilarious and very much in line with the brand's spirit.

    "Tonally we always try to bring some infectious positivity to the brand with our work—always playful and a bit cheeky," said Laura Derbyshire, business director at Haribo agency Quiet Storm.

    "We know from experience in the office that if you open a pack of Haribo, people can't help but smile and dive in," added planning director Jon Howard. "Haribo provides an excuse to let your hair down and take simple pleasures in just having fun. In this way the executions are a very direct expression of this brand thought."

    The approach also mirrors a line on the packaging that's also sung in the brand jingle: "Kids and grownups love it so." And that's the target market, Howard said—"the child inside of all of us, whatever age we may be."

    COPYWRITING: The agency found kids in casting and had them talk freely about their favorite Starmix candies. The writers then created scripts from the hours of audio recordings and put the words in the mouths of adults in two different settings—in one spot, a company boardroom; in the other, a movie theater.

    "I like the hearts, 'cause they make me feel loved," a young company man in a suit tells his colleagues in the first spot. Squishing two candies together, a hefty older gentleman adds: "Then look, you can make a big, big sandwich!"

    The second spot shows two men impressing the same woman at the cinema with the candies. "My Starmix are better than his because I've got fried eggs. You can eat the yellow bit first, then the white bit," says one. "Stop, you!" says the other indignantly.

    The ads close with a product shot and the jingle.

    ART DIRECTION/FILMING: Agency creative director Mary-Sue Masson filmed both ads on the same day using two different setups inside the Tate Modern art gallery in London.

    "While clearly from the same campaign, we wanted each of the executions to have their own look," said Masson. The boardroom is a clean, cool white space. "In the grade we bleached the whites to achieve this look as well as throw forward the product," Masson said. The movie theater has a richer visual palette. "We took reference for the grade from Cinema Paradiso to give it its warm look, using lots of reds," she added.

    TALENT: The agency went with very young kids whose voices provided the starkest contract with the grownups. "We also found the younger the children, the less contrived they were and the more vivid their imaginations, and this was important, as it was unscripted," said Masson.

    For the adults, the agency cast "people who were both strong and natural," she added, "and were able to give both adult and childlike natural performances and slip seamlessly from one to the other."

    SOUND: The sound bed is mostly atmospherics and a little Foley.

    "In the cinema ad, we used a typical cinematic romantic theme tune which played in the background up until the point where the character says 'Stop, you!' when the music stops abruptly. This added another layer of humor to the script," said Masson.

    The jingle has been used in all Haribo work across Europe for years.

    MEDIA: The media plan is TV, cinema, radio and online in the U.K. and Ireland. These first spots will run until June.


    Client: Haribo
    Agency: Quiet Storm
    Creative Team: Trevor Robinson, Mary-Sue Masson
    Production Company: Quiet Storm
    Director: Mary-Sue Masson
    Producer: Kate Pirouet
    Sound Studio: Angell Sound
    Engineer: Dave Robinson

    0 0

    What's more refreshing: A Coca-Cola, or a Coca-Cola ad poking fun at the brand's consumers?

    To encourage moviegoers to stay quiet during a film, Saatchi Denmark filmed audience members milling around the lobby sipping soda through straws and pulling stupid faces, then quickly edited the footage into the background of a fake movie trailer. In the middle of the supposed preview, viewers suddenly saw themselves on the screen, ruining a perfectly cheesy sex scene with their odd expressions and obnoxious slurping sounds.

    It's hard not to wonder if the stunt is staged, or if everybody who goes to the cinema in Copenhagen just happens to look like they could work at an ad agency. Regardless, the point—don't make yourself part of the movie by being a noisy jerk—holds up well enough, both in the case study and in a handful of related clips. The other spots, which you can watch after the jump, aren't real-time editing stunts, but they're still pretty amusing, especially when the young woman offers a perfectly smug deadpan, munching popcorn while she gets buried alive alongside a cop.

    Of course, when it comes to customer-shaming ads that encourage considerate moviegoing, the gold standard will forever be Alamo Drafthouse's transcript of an ejected texter's irate voicemail. Because sometimes the truth is just too good to beat.

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    A pregnant mother recently sent an email to CoorDown, Italy's national organization for people with Down syndrome. The future mom had learned her unborn son had the genetic disorder, and she was scared.

    "What kind of life will my child have?" she asked.

    Saatchi & Saatchi Italy took that email as the starting point for this wonderful new ad for World Down Syndrome Day, in which 15 people with Down syndrome respond to the future mom, giving her a better idea of what to expect—the joys and the challenges—when her son arrives.

    This is Saatchi's third year of working with CoorDown. Its last two campaigns won 11 Lions at Cannes for the agency. This year's theme for World Down Syndrome Day, on March 21, is the right to happiness and well-being for people with Down syndrome. The goal is to promote a culture of diversity and integration in society, especially at school and work.

    "Everyone has the right to be happy," says the new spot's on-screen tagline.

    Via Osocio.

    Client: CoorDown
    Agency: Saatchi & Saatchi Italy
    Executive Creative Director: Agostino Toscana
    Creative Directors: Luca Lorenzini, Luca Pannese
    Art Director: Luca Pannese
    Copywriter: Luca Lorenzini
    Director: Luca Lucini
    Production Company: The Family Film
    Agency Producer: Sabrina Sanfratello
    Head of TV: Raffaella Scarpetti
    Original Music: Alessandro Cristofori, Diego Perugini for Stabbiolo Music
    Postproduction: XChanges Vfx
    Color Grading: Band
    Audio Postproduction: Top Digital; Cat Sound International
    Voiceover: Pasquale Anselmo

    0 0

    Back in January, YouTube and Adweek's Ads Leaderboard was dominated by Super Bowl spots that had been released ahead of the Feb. 2 telecast—most notably, of course, Budweiser's "Puppy Love" ad.

    Our Leaderboard for February, meanwhile, only includes ads posted to YouTube in that month—which means all the Super Bowl teasers from late January are ineligible. That makes room for the relatively few spots that actually premiered during the game—three of which are at the very top of this month's list. (They are joined by a fourth, Microsoft's "Empowering," at No. 9.)

    Elsewhere among February's top 10: Pepsi Max's "Test Drive 2" with Jeff Gordon, which suffered a little bit from being posted on the penultimate day of the month (it has more to 14 million views to date, but had less than 10 million in February); a couple of New York City street pranks; and Hennessey's demonstration of the world's fastest legal street car.

    To be eligible for the Ads Leaderboard, videos must be marked as ads on YouTube (i.e., they get some paid views) but must also earn significant organic views.

    See all the ads below.

    10. Samsung "Unpacked"
    Upload date: 2/21/2014
    Views: 2,933,879

    9. Microsoft "Empowering"
    Media: Starcom MediaVest and Performics
    Upload date: 2/2/2014
    Views: 3,610,599

    8. Air New Zealand "Safety in Paradise"
    Media: True
    Upload date: 2/11/2014
    Views: 3,641,517

    7. Hennessey "World's Fastest: 270.49 mph"
    Upload date: 2/24/2014
    Views: 3,872,532

    6. Chobani "Hungry Bear Loose in NYC"
    Media: OMD
    Upload date: 2/6/2014
    Views: 4,023,456

    5. AMC "The Walking Dead Zombies Prank NYC"
    Upload date: 2/5/2014
    Views: 4,084,236

    4. Pepsi MAX "Test Drive 2"
    Creative Agency: Davie Brown Entertainment/The Marketing Arm
    Media: OMD
    Upload date: 2/27/2014
    Views: 9,812,498

    3. Coca-Cola "America Is Beautiful"
    Creative Agency: Wieden + Kennedy
    Media: SMG
    Upload date: 2/2/2014
    Views: 10,977,030

    2. Chrysler "America's Import"
    Creative Agency: Global Hue
    Media: Universal McCann
    Upload date: 2/2/2014
    Views: 11,384,636

    1. Maserati "Strike"
    Creative Agency: Wieden + Kennedy
    Upload date: 2/2/2014
    Views: 12,067,899

    0 0

    If you think it's a stretch that Taco Bell is repurposing midday bang ballad "Afternoon Delight" as a metaphor for going to Taco Bell, you're really going to be shocked to hear this: That's almost exactly what inspired the song in the first place.

    In the chain's new ad from Deutsch/LA, we see co-workers, classmates and geriatric bingo competitors slipping off together to the tune of Starland Vocal Band's enduring 1976 classic. And despite all the furtive note-passing and conspiratorial up-nodding, we quickly learn they're just heading down to the local Taco Bell for a "Happier Hour" promo that runs from 2 to 5 p.m.

    It's a cute ad and even features a cameo by 6-foot-tall America's Next Top Model contestant Laura Ellen James. But what's truly surprising is that the song actually was based on an afternoon food excursion.

    According to band lore, singer Bill Danoff was amused by the fact that Clyde's restaurant in Georgetown featured a spicy happy hour menu called "Afternoon Delight," which he thought sounded like a metaphor for sex. (And thanks to him, it now totally is.)

    Deutsch creative director Josh DiMarcantonio says the first time he heard the song was on Anchorman, so he tends to view it in a lighthearted way. "At its core, it's about forgetting all those typical life responsibilities for a moment and sneaking away to fulfill your desire and do something more enjoyable," he says. "That song is so playful and innocent it really could mean anything."

    I don't recommend you refer to a Taco Bell visit as an "Afternoon Delight," though it sounds better than "Afternoon Grease-Beef Injection." Good luck inviting your supermodel classmate to that one.

    Credits below.


    Spot: "Afternoon Delight," :30/:15

    Client: Taco Bell
    Chief Marketing Officer: Chris Brandt
    Brand Creative Director: Tracee Larocca
    Director of Advertising: Aron North
    Brand Experience Manager: Ashley Prollamante:
    Food Consultant: Carolyn Avelino

    Agency: Deutsch, Los Angeles
    Chief Creative Officer: Pete Favat
    Executive Creative Director: Brett Craig
    Creative Directors: Josh DiMarcantonio, Jason Karley
    Senior Vice President, Design Director: Nathan J. Iverson
    Senior Art Directors: John Baker, Jeremiah Wassom
    Senior Copywriter: Chris Jones
    Designer: Adam Hale
    Director of Integrated Production: Vic Palumbo
    Executive Producer: Paul Roy
    Associate Integrated Producers: Jamie Gartner, Damon Vinyard
    Music Director: Dave Rocco

    Production Company: Caviar Films
    Director: Keith Schofield
    Executive Producer: Jasper Thomlinson
    Head of Production: Leigh Miller
    Producer: Hillary Rogers
    Production Company: Woodshop (tabletop)
    Director: Trevor Shepard
    Executive Producer: Sam Swisher
    Head of Production: Christy Lindgren
    Line Producer: Ursula Camack

    Editorial Company: N06
    Editor: Chan Hatcher
    Executive Producer: Crissy DeSimone
    Senior Producer: Kendra Desai

    Post Facility: 7 VFX
    Lead Flame Artist: Verdi Sevenhuysen
    Senior Producer: Kendra Desai

    Music: "Afternoon Delight" cover by Little Hurricane

    Audio Post: 740 Sound
    Mixer: Larry Winer

    Additional Deutsch Credits
    Chief Executive Officer: Michael Sheldon
    Group Account Director: Walter Smith
    Account Director: Katie Klages
    Account Supervisor: Amanda Schuster
    Account Executive: McKenna Pickett
    Media, Data Strategy Director: Kyle Acquistapace
    Chief Strategic Officer: Jeffrey Blish
    Group Planning Director: Jill Burgeson
    Integrated Business Affairs Director: Abilino Guillermo,
    Broadcast Traffic Director: Carie Bonillo,
    Broadcast Traffic Manager: Sarah Brennan
    Senior Business Affairs Manager: Ken Rongey
    Business Affairs Manager: Nestor Gandia
    Talent Payment Coordinator: Missy Stella

    0 0

    IDEA: Masculinity was different in the '70s. It was gentler, hairier, John Denver-ier. And it was captured memorably in the outdoorsy beer ads of the era from brands like Coors and Hamm's.

    Lately it's been recaptured, amusingly if ridiculously, by Deutsch/LA in parodies of those ads for Dr Pepper Ten, the male-targeted diet soda. Dr Pepper Ten's mountain man is back in a new 30-second spot that dials back the absurdity of last year's spots and hews more closely to the source material.

    "There's something very masculine about those old ads and [TV shows like] Grizzly Adams. But at the same time, he hangs out in a meadow. We thought there was something charming and earnest about that," said Deutsch associate creative director Ryan Lehr.

    "We have these fond memories of seeing those ads while watching Wide World of Sports on Saturdays," added fellow acd Erick Mangali. "Last year we came up with these visual gags where you laughed out loud. This year we took a more sincere approach. I think it actually makes it funnier that way."

    COPYWRITING: The ad opens with the mountain man, played by Blake Gibbons, walking through the wilderness, paddling a canoe (with a bear helping him out) and drinking Dr Pepper Ten with a hawk perched on his shoulder.

    A heartfelt '70s-sounding song plays: "Look to the sky, listen to the trees/Out on a river, just a man roamin' free/Searchin' for that great-tastin' 10 calories/Bold Country, this is Bold Country/Ooooh, Bold Country." Gibbons says in a voiceover: "Great-tasting bold flavor. 10 calories. Dr Pepper Ten. Taste the Bold Country."

    The ad ends with a product shot in front of a flowing river, and then Gibbons at dusk in front of a beach fire, Dr Pepper Ten in hand. "Not a bad way to end the day," he says gruffly.

    ART DIRECTION/FILMING: Stacy Wall shot the ad in Placerville, Calif., on 16mm film, which gives it a cinematic look.

    The production company transferred the film to VHS and actually baked the tape, exposing it to heat, which gave it an aged look, said Mangali. Editors Frank Effron and Sean Stender of Cut+Run added some comically outdated effects, like a cross-dissolve.

    Wall, whose father was an account man a generation ago, really got into the project, too. "It was almost like a love letter to what his dad used to do," said Mangali.

    TALENT: Gibbons, who has played Coleman Ratcliffe on General Hospital since 2002, was perfect for the part. "You never felt like he was in on the gag. There's a genuine quality there," said Lehr. "And he looked the part, obviously." (That's his real hair; his goatee was turned into a fuller beard in makeup.)

    The guy in the bear suit—"one of the top three fake bears around," according to Lehr—was impressive on set, too. "He came out in his full bear suit and was doing this whole crawling thing," said Mangali. "I think he was getting into character. He even went over to the trash can and started picking through the trash. Our client happened to look up and freaked out, because she didn't know he was coming out. Then and there, we knew we had the good bear guy—that he could pull this off."

    SOUND: The creatives wrote lyrics and sent them to MassiveMusic, which tweaked them and set them to music.

    "There's something nice about this '70s style of music," said Mangali. "It's not overtly masculine, but it evokes this response from masculine guys. It's about nature and 'Rocky Mountain High,' but it's almost like this sensitive thing. There's an earnestness that almost makes it funnier."

    MEDIA: The spot launched last Monday on FX's Archer and will air nationally.



    Client: Dr Pepper Snapple Group
    Brand: Dr Pepper Ten
    Spot: "Bold Country"

    Client Credits:
    Jim Trebilcock – Chief Marketing Officer
    Jaxie Alt – SVP, Director of Marketing
    Brent Chism – Director – Dr Pepper
    Katie Webb – Brand Manager
    Ashley Bristol – Associate Brand Manager
    Shaun Nichols – VP, Integrated Marketing Content
    Sharon Leath – Director Integrated Content
    Brad Rakes – Associate Brand Manager

    Agency: Deutsch, Los Angeles
    Chief Creative Officer: Pete Favat
    Executive Creative Director: Brett Craig
    Integrated Creative Director: Xavier Teo
    ACD, Art Director: Erick Mangali
    ACD, Copywriter: Ryan Lehr
    Director of Integrated Production: Vic Palumbo
    Executive Producer: Lisa K. Johnson
    Integrated Producer: Matthew Magsaysay
    Music Director: Dave Rocco

    Production Company: Imperial Woodpecker, Los Angeles
    Director: Stacy Wall
    Executive Producer/Managing Partner: Doug Halbert
    Producer: Jeff Shupe
    Director of Photography: Corey Walter

    Editorial Company: Cut & Run, Los Angeles
    Editors: Frank Effron, Sean Stender
    Lead Assistant Editor: Brooke Rupe
    Producer: Remy Foxx
    Executive Producer: Carr Schilling
    Managing Director: Michelle Eskin

    Visual Effects: Cut & Run, Los Angeles
    Creative Director: David Parker
    Sr. Producer: Liz Lydecker
    Flame Assist: Jorge Tanaka

    Music: Massive Music, Santa Monica, Calif.
    Creative Director: Tim Adams
    Executive Producer: Scott Cymbala
    Composer: Damien Heartwell
    Vocal: Tim Adams
    Head of Production: Jessica Entner
    Senior Producer: Kiki McDaniel

    Audio Post: Play Studios, Santa Monica, Calif.
    Mixer: John Bolen
    Assistant: Hermann Thurmann
    Executive Producer: Lauren Cascio

    Additional Deutsch Credits:

    Account Management Credits:
    CEO: Mike Sheldon
    Group Account Director: David Dreyer
    Account Director: Helen Murray
    Account Supervisor: Simon Hall
    Assistant Account Executive: Kate DeMallie

    Account Planners:
    Chief Strategic Officer: Jeffrey Blish
    Group Planning Director: Aileen Russell

    Business Affairs:
    Director of Integrated Business Affairs: Abilino Guillermo
    Executive Business Affairs Manager: Jill Durand
    Broadcast Traffic Manager: Gus Mejia

    0 0

    It's been almost a year since we've seen Terry Crews psychotically scream his way through an Old Spice sales pitch. So, to make up for lost time, we get twice the Terry in one spot. 

    "Get Shaved in the Face" is the newest oddity from Wieden + Kennedy, which first tapped Crews in 2010 for a series of over-the-top spots directed by comedy duo Tim & Eric. In this installment, Crews faces the existential dilemma of whether to shave off a facial hair that appears to be his micro-clone.

    While Isaiah Mustafa is still the most iconic Old Spice guy, Crews seems to be the brand's personality of choice over the long term. He's gone from advertising Odor Blocker Body Wash to shaving cream—and here he's fronting Old Spice's newest foray into grooming hardware. Thanks to a partnership with Braun, you can now buy an Old Spice Hair Clipper ($49.99), Beard & Head Trimmer ($49.99), Wet & Dry Shave & Trim ($59.99), Shaver ($69.99) and Wet & Dry Shaver ($79.99).

    They're apparently the perfect devices for committing anthropomorphic follicide—you know, in case that's an issue for you.

    Client: Old Spice
    Project: "Get Shaved in the Face"

    Agency: Wieden + Kennedy, Portland, Ore.
    Creative Directors: Craig Allen, Jason Bagley
    Copywriter: Andy Laugenour
    Art Director: Matt Sorrell
    Broadcast Producer: Jennifer Hundis
    Director of Broadcast Production: Ben Grylewicz
    Account Team: Georgina Gooley, Nick Pirtle, Michael Dalton, Jessica Monsey
    Executive Creative Directors: Susan Hoffman, Joe Staples

    Production Company: Gifted Youth
    Direction, Editing, Visual Effects: Fatal Farm
    Sound Mix: Charlie Keating, Joint Editorial

    0 0

    A lot of U.S. zombies don't get the chance to see things through the eye holes of their neighbors to the north, mostly because of the constant and distracting craving for brains.

    The Canadian Film Fest, which opens Thursday in Toronto, rectifies this with the amusing spot below from JWT that shines a light on the challenges facing Canadian zombies—namely, that they're too nice for the movies.

    The spot is sprinkled with the usual softball tropes about Canuck culture, but with a twist. Antoine Zombé isn't an overly apologetic Canadian actor; he's actually undead.

    Zombé's journey to fame did not come easily. "Ugh, Canadians" he would hear. "Less polite Canadian, more zombie!"

    This kind of feedback could be discouraging and lead a corpse to less noble ways of making a living. But not Antoine Zombé. He finds success in the cinema after harnessing his "one true advantage"—that he is an actual zombie.

    After this, the flood of hits is non-stop. Classics such as "Rest in Pieces," "Raging Zombie" and "Eating Private Bryan" are only a few films in this decorated thespian's canon.

    What have we learned? No matter where you're from, just be yourself—even if yourself is undead. So crack open a Molson and enjoy, hosers.

    Client: Canadian Film Fest
    Agency: JWT Canada
    Chief Creative & Integration Officer: Brent Choi
    SVP Creative Director: Ryan Spelliscy
    Executive Creative Director: Jim Wortley
    Associate Creative Director: Colin Winn
    Producer: Shelby Spigelman
    Production Company: Spy Films
    Director/Cameraman: Jonathan Bensimon
    Executive Producers: Stephanie Walker-Wells, Marni Luftspring
    Line Producer: Jason Aita
    Editing: Married to Giants
    Editor: Graham Chisholm
    Postproduction: Alter Ego - Tricia Hargoiles/Steve McGregor
    Music: Grayson Matthews - Tom Westin/Dave Sorbrara
    Talent: Ian Matthews as Antoine Zombé

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    What a load of bulgogi.

    The grilled, marinated meat from Korea is suddenly on the media's plate after this strange ad was placed in The New York Times last week. Texas Rangers outfielder Shin-Soo Choo—a huge star in his native South Korea, but not so much in this country, where he actually plays—offers up a morsel with chopsticks. Copy begins: "Spring's here and I'm ready to play! And do you know what got me through training? Bulgogi. Try some at your favorite Korean restaurant. It's delicious!"

    Thanks for the tip, Choo! Sure, the ad is random and goofy, but I'm surprised it has sparked so much attention. Maybe it's because it doesn't tout any specific brand, group or eatery, just the beef dish in general.

    A web address in the ad, ForTheNextGeneration.com, contains links to English-language news about South Korea, and holds a clue to the strange ad's origin. NPR, among others, investigated, and traced the placement to Sungshin Women's University visiting professor Seo Kyoung-duk—a passionate promoter of Korean food and culture—and restaurant chain Chicken Maru, which apparently picked up the tab.

    Wade Boggs famously ate chicken before every game and wound up in the Hall of Fame. Maybe they should get Choo on that next!

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    Colorado is proud to be the first state to legalize recreational marijuana use. Ad creatives in Colorado are happy to have an opportunity to make stoner references.

    Three new PSAs for the state's Department of Transportation (by Denver agency Amélie Company and HSI director Simon Cole) gleefully remind would-be weed smokers that they are free to act like idiots while doing many things—but not while driving. Get high and do a bad job installing your TV. Get high and do a bad job playing basketball. Get high and do a bad job cooking steaks. Don't get high and drive. It's pretty simple.

    Everybody wins, except for maybe some viewers, who might find that after chuckling at the hopeless handyman spot, the joke burns out a little too quickly. Plus, that lady shooting daggers at the ill-equipped grill master clearly needs to mellow out. Really, it's hard to believe she hasn't already … especially when she's wearing that hat.

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    Pop Chart Lab makes some impressive taxonomy charts. Following last year's complete taxonomy of college sports mascots, the poster company has turned to everyone's favorite subject—alcohol—for its latest mind-boggling creation: The Magnificent Multitude of Beer.

    Click over to the site to zoom in and scroll around the comprehensive chart. It's organized by varieties of beer, with examples of brands for each type. Says the company: "This wall map is the most complete charting of beer ever, breaking down ales and lagers into over 100 delicious styles from hoppy IPAs to fruity lambics, and including over 500 individual beers as notable examples of each style as well as glassware recommendations."

    The 60-by-40-inch poster can be yours for $76.

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    How do you impress Elon Musk? Combine two of his favorite things into one incredible spec commercial.

    That's what the enterprising creatives at Everdream Pictures did with the impressive homemade spot below for Tesla Motors, which Musk runs as CEO and chief product architect. Wisely, they gave it an extraterrestrial theme, likely thinking that would also appeal to Musk, who founded SpaceX as well. 

    The result? Fawning tweets from both Tesla and its CEO—along with a tacit promise from the latter that the electric-car maker will hire Everdream for paid work in the future.

    "We have no real connection to the vehicle but are passionate about what the brand and Elon Musk stand for. We also just feel like it's one of the greatest cars of our generation," Everdream co-CEO James Khabushani tells Adweek.

    "We're trying to make a big statement. Why are brands still spending 2-plus million dollars on a commercial? This spot is professionally produced and produced for $1,500, which went towards the cost of travel, food, a motel, etc. And sure, we pulled a ton of favors from our wonderful crew, but still, we can create content better, faster and cheaper. Imagine what we could do with a $250,000 budget? Times have changed. Technology is finally impacting media in a big way. Cameras are better and much cheaper. The fact is, college kids can produce great content."

    Fun fact: The boy in the ad is Mace Coronel, a child actor who has a recurring role on The Bold and the Beautiful.

    Client: Tesla Motors (spec project)
    Directed by Everdream
    Co-Directors: Joe Sill, Andreas Attai
    Producers: James Khabushani, R.J. Collins
    Talent: Mace Coronel, Marc Coronel
    Concept/Story: Joe Sill, Andreas Attai
    Assistant Director: Zach Wechter
    Cinematographer: Arjun Prakash
    Production Designer: Kellen Moore
    Assistant Camera: Jared Wennberg
    Gaffer: Dave Cortez
    Key Grip: Ryan Summersett
    Visual Effects, Editing: Joe Sill
    Color Correction: Arjun Prakash, Joe Sill
    Sound Design: Eric Hoehn
    Original Music: Mattan Cohen

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    Here's an unpleasant if novel way to recommend the use of seat belts: Show people detailed instructions on dealing with injuries from not wearing one.

    Gyro's Dubai office did just that in a new campaign to educate people about the importance of wearing seat belts in the backseat of cars. The campaign, for a charity called Buckle Up in the Back, takes the form of instructional guides—"How to Get Around in a Wheelchair," "How to Change Your Colostomy Bag"—for dealing with injuries you can sustain from not wearing a seat belt.

    The guides are being tucked in the the seat pockets in the backs of taxis and rental cars in the UAE, where people will probably wish they didn't see them. The tagline is: "If you don't wear a seat belt, you're going to need all the help you can get."

    "Instead of just telling people they are wrong for not buckling up, we decided to accept that people are ignoring these kinds of public health messages and give advice of how to deal with the day-to-day consequences of life without seat belts," said Gyro Dubai creative group head Neil Harrison. "These guides illustrate a very realistic and unfortunate future that can easily be avoided by buckling up."

    Guides and credits below.

    Client: Buckle Up in the Back
    Agency: Gyro Dubai
    Executive Creative Director: Gui Rangel
Account Director: Anna Start
Planner: Mark Haycock
Group Head/Copywriter: Neil Harrison
Art Directors: Charlotte Morand and Moses Anthony
Illustrator: Moses Anthony

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    It's a wonder that cat-related brands don't already rule the Internet.

    Cat-food brand and renowned jingle lover Meow Mix makes a move in that direction with an amusing and even potentially useful parody of Kickstarter—called Catstarter—envisioned as a way to crowdsource cool new cat-related inventions. Ad agency EVB conceived the site as a playful, feline-focused version of the well-known crowdfunding platform. But instead of actually backing Catstarter projects financially, you can just click on the ones you like, and Meow Mix will produce the most popular ones.

    The site launches with three products; the top vote getter will go into production this spring. (The heated companion keyboard is an inspired one that I'll back right now.) It's also an R&D lab of sorts, as the brand also wants people to suggest ideas for making kitty lives better—something we can all get behind, yes?

    Full credits below.

    Client: Meow Mix
    Campaign: Meow Mix Catstarter
    Agency: EVB 
    Executive Creative Director: Steve Babcock
    Creative Directors: Patrick Maravilla (Copy), David Byrd (Art)
    Art Director: Tom Zukoski
    Copywriter: Nate Gagnon
    Designer: Markandeya Sendan
    Illustrator: Natalia Martinez
    Motion Graphics Designer: Kevin Brown
    Sound Designer: J. Michael Neal
    Director of Technology: Ken Goldfarb
    Lead Interactive Developer: Josh Kanner
    Interactive Developer: Ken Crosby
    Senior Producer: Kevin Turner
    Vp/Director of Account Management: Kathleen Foutz
    Strategist: Neeti Newaskar
    Producer: Kevin Turner


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