Goodyear GPS duraplus
It lasts forever.
Advertising Agency: Y&R, São Paulo, Brazil
Chief Creative Officer: Rui Branquinho
Executive Creative Officer: Flávio Casarotti
Creative Directors: Rui Branquinho, Flávio Casarotti
Art Director: Eiji Kozaka
Copywriter: Marcelo Conde
Illustrators: Estúdio Filet com Fritas
Photographer: Imagebank / Shutterstock
Published: April 2013
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Advertising Agency: Sid Lee, NY, USA
Executive Producer / Partner: Claudia Roy
Lead Producer: Rob Marmor
Creative Director: Daniel Chandler
Art Director: Blaise Cepis
Copywriter: Laura Perlongo
Account Supervisor: Karim Tubbeh
Production Company: The Ebeling Group
Executive Producer: Mick Ebeling
Producers: Amber Ventris, Martha Smith
Creative Director: Jared Eberhardt
DP: Larkin Seiple
BTS DP: Aaron Farley
Editors: Yuhei Ogawa, Michael Porter
72andSunny has won nearly every accolade under the sun from countless Cannes Lions to being named AdAge’s Agency of the Year in January. Behind Kenny Powers’ dirty mouth, Samsung’s know-it-all fans and Kate Upton’s sexy way of eating a burger is a creative team led by chief creative officer Glenn Cole. As part of Creativity Online’s ongoing ‘Six Things You Didn’t Know’ series, we asked the former Wieden & Kennedy creative director to share a few unexpected tidbits with us.
1. He was a comic nerd growing up plastic baggies and all. He collected “X-Men,” “Spider Man,” and anything by Frank Miller. He prides himself on having the full set of “Peter Parker, the Spectacular Spider Man” original series. Bar one: He never managed to acquire issue #27.
2. He has a fondness for dead languages. While Mr. Cole speaks some Dutch and Italian, he retains a handle on Latin from high school. He was even the Washington State VP of the Junior Classical (Latin) League.
Coca-Cola's new "Smile Back" out-of-home stunt (scroll down to see it) is cute and nicely done, and everyone everywhere will love it. But let's overthink it for a moment.
Coke is famously skilled at being able to "Open happiness," as its slogan goes, through innovative real-world stunts. These have ranged from overly generous vending machines to splittable cans and personalized bottles. The typical transaction is that Coke gives you something of obvious value—a free drink or a fun, surprising experience—and that thing makes you happy, sometimes infectiously so. That's an honest interaction. This new stunt, though—produced and crowdsourced with Victors & Spoils and MOFILM—is different. As the company explains in the YouTube description:
"Coca-Cola sent our people all over the world, from Jamaica to the United Kingdom to Pakistan and more, to simply smile at strangers—to see who would smile back. As we passed others on the street, on the bus or in the park, we gave a smile, held up smiley face posters or did a silly dance with a grin on our faces, all to prompt a little friendliness in the mundane. When someone smiled back, they received a free Coke or some other fun prize: everything from sunglasses to hats to bicycles."
So, instead of a product, first you get a smile—from someone who, regardless of how awesome they may seem, has been paid to smile at you. (This is sometimes called a Professional Smile, and is clearly of dubious value.) Then, you must respond positively to this pretend display of affection (bribe) to get the reward that you previously got for free. The transaction has changed—it's backwards. You agree to be made happy by something false in order to have the chance to be made happy by something true. (You might get punched in the nose, actually, if you tried this in New York City.)
That distinction may sound like B.S., but you can sense the difference. It's why Coke's security-camera spot was so good—it captured moments that couldn't have been more genuine. And it's why the "Smile Back" video (and the earlier huggable vending machine from Singapore, which had similar problems involving misplaced affection) feels more manufactured. For all the happiness on display here—and yes, not all of it is bogus—the spot lacks the purity of concept that makes the best Coke work sing.
Happiness is infectious, but this stunt might not leave everyone smiling.
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Outlets like Nickelodeon, the Cartoon Network and Disney are well represented at the convention. But so too is R-rated entertainment — when pornographic or violent.
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The birth of the royal baby will likely boost newsstand sales for celebrity weeklies, but will they top newsstand sales from a couple of royal births 30 years?
Back in July 1982, the People magazine edition with a newborn Prince William sold 2.6 million copies at the newsstand, the Time Inc. title said. An October 1984 issue featuring Prince Harry’s birth sold 1.9 million copies.
“Obviously, the interest in the royal family remains strong — perhaps as strong as it was in 1982 when Prince William was born, if not more,” said Larry Hackett, managing editor of People. “People’s royal-wedding issue in 2011 sold more than 2 million copies on the newsstand. Our readers can’t get enough of William and Kate and are anxiously awaiting the birth of their first child.”
Tudo acontecia como de costume na pequena cidade de Guildford, nos arredores de Londres. Até que alguma coisa chamou a atencão da população. No horário de almoço, um objeto não identificado cruzou o céu num vôo de aproximadamente 10 minutos.
Sua missão: entregar duas pizzas de pepperoni. Sim, bastou uma pequena adaptação num octacopter, um idéia maluca e uma camera para registrar tudo e a ação da Domino’s Pizza foi parar até no Jay Leno.
A Domino’s já tinha feito um concurso para descobrir como seria o veículo ideal para entregar pizzas no futuro. Mas dessa vez eles mesmos, com a ajuda da agência T + Biscuits, é que levaram a coisa adiante.
O Domicopter fez a entrega voando uma distância de 6,5 km em 10 minutos. Menos tempo do que um motoby levaria, considerando que na Inglaterra eles devem respeitar as leis de trânsito.
Antes que você se empolgue é bom avisar que as motos é que vão continuar a fazer o serviço sujo por um bom tempo. A coisa toda foi só uma ação e, por enquanto, se alguém disser que a sua pizza vai chegar voando, vai ser somente uma figura de linguagem.
Post originalmente publicado no Brainstorm #9
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The big four broadcast networks’ prime-time programming still gets the highest TV ratings, and with them the highest advertising prices. So it’s no surprise to see advertisers and their agencies steadily adding cheaper alternatives, like prime-time cable, and decreasing their share of dollars spent with broadcasters. But an increasing amount of evidence suggests that not every rating point is created equal.
There was a strong correlation between how much broadcast prime-time a packaged goods brand bought and the return on its TV spending, for example, according to the Advertising Research Foundation’s Adworks II study in 1998, which used over 400 BehaviorScan tests — about $200 million in research.
Brands with 31% or more of their gross rating points in broadcast prime-time achieved 67% higher sales response, according to the study. Putting about half of the brand’s dollars in broadcast prime-time, about 24% of its gross rating points, turned out to be the optimal allocation. The rest of the TV gross rating points would optimally be 31% daytime broadcast, 31% cable and 14% syndication and spot TV.
Belgian insurance company DVV and its agency Happiness Brussels make good use of 3D printing with the rollout of a new service for those who habitually lose their keys. How’s it work? Customers can 3D scan their keys and save them on a secure server. Next time they lose them, they can go to a 3D printer with the file and print a new key.
The service is dubbed “Key Save,” and will roll out in September. It’s not just for customers — insurance companies lose money every year replacing locks whenever people are locked out.
For more exciting ideas in brand creativity, tune into Creativity-Online.com, follow @creativitymag on Twitter or sign up for the Creativity newsletter.
Impatient, are we? Not so much by nature, but by digital design. If something takes a few seconds to load, for instance, we act as if we are being cheated of precious time.
The powerful multi-way communication channels we now rely on have also reset expectations. Emails can sit there unanswered, but ignoring an Instant Message is another issue entirely. Now, take that concept to Twitter and Facebook.
According to Marketing Charts, a new study conducted by Havas Worldwide suggests that consumer expectations are high for social responsiveness, and that brands that fail to meet those expectations risk alienating a large portion of consumers.
Went to @McDonalds today and ordered a mcdouble with no pickles or onions and they gave me no buns…. pic.twitter.com/nd2urKJyYM
— Hunter Davis (@hpd_21) July 16, 2013
What happens when companies don’t respond quickly? Consumers get annoyed. 48% of respondents agreed that “it annoys me if I don’t get a fast response from a company or brand I contact via Facebook, Twitter, or another social media channel.”
Facebook and Twitter are places where people like to talk. That’s the “social” piece of social media. The need to craft traditional but moving communications remains. But now a brand (with help from its agency partners) is also expected to keep up an ongoing dialogue with the company’s biggest supporters on Facebook and Twitter. This dialogue is one part content offering, another part realtime conversation. And as a representative of the company, the conversation can quickly turn to customer service, reputation management and sales.
Brands spend lots of money on advertising in effort to capture the interest of a coveted audience. But whatever good will the brand earns via paid, earned or owned media can be instantly washed away in a devastating typhoon of social media cluelessness. Don’t be that brand. Understand the demands of modern media and invest in developing talent to meet these needs, because they’re not diminishing.
Footnote: To McDonald’s credit (see above), the hamburger chain maintains a customer service account on Twitter to quickly address customer’s problems.
The post Customer Service Defines Your Brand In A Way Advertising Never Will appeared first on AdPulp.
A federal appeals court ruled that James Risen, an author and a reporter for The New York Times, must testify against a former government official charged with giving him classified information.
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Pensar no fim é algo transformador, por isso, talvez, Gene Roddenberry não tenha acertado ao descrever a fronteira final, afinal, mesmo desbravando o espaço, continuaremos reféns da inevitável data de expiração de todo ser humano. A ficção científica, o cinema e a literatura adoram esse assunto por uma questão muito simples: ele redefine questões morais, mostra o cerne de cada indivíduo e testa limites como nenhum outro. É nisso que “Guerra Mundial Z” e Brad Pitt apostam ao jogar um sujeito no rodamoinho catastrófico de um levante zumbi. Há correria, há insegurança, mas, acima de tudo, há um homem colocado entre a perda da família e a única esperança do mundo todo.
Lembrar do trabalho de Vincent Price em “Mortos Que Matam”, Charlton Heston em “A Última Esperança da Terra” e Will Smith em “Eu Sou A Lenda”, a trilogia de adaptações da obra do recentemente falecido Richard Matheson, é de bom tom ao ponderar sobre o fim dos tempos e os últimos resquícios da Humanidade. Por isso a obra foi, justamente, adaptada três vezes. Há algo especial ali. Há algo assustador. Um homem só perante um mundo no qual ele é a ameaça, ele é o agressor, no qual ser humano significa ter os dias contados.
O personagem de Brad Pitt em “Guerra Mundial Z” não foge disso. Ou ele encontra uma salvação, ou todos morrem. Sua família morre. Não há opção e é disso que adaptação do livro de Max Brooks trata. Distante da estrutura em forma de depoimentos póstumos de sobreviventes da tragédia presente no romance, o filme dirigido por Marc Foster aposta no encadeamento direto de ações e a escalada da seriedade da situação, tudo acontecendo ao redor do personagem, claro, até o sacrifício final.
O diretor Marc Foster e Brad Pitt
Mas quais as razões desse fascínio com o fim mesmo depois da passagem do Fim do Calendário Maia? E por que da fixação por zumbis ou criaturas oriundas de erros da própria Humanidade? Arrisco uma sugestão: queremos sobreviver à maior de todas as provações; queremos dizer a nós mesmos que, mesmo quando há mais esperança, algo de bom pode acontecer. É uma questão que mistura auto-estima com uma resposta à cada vez mais ínfima contribuição de cada um à sociedade. O mundo ficou maior, portanto, nossos atos são mensurados em maior escala, incluindo diversos países e povos. Aqui cabe uma analogia de “Peixe Grande”: podemos ser peixes gigantescos em nossos lagos locais, mas perdemos a relevância quando, pela primeira vez, mergulhamos no oceano.
Para responder à segunda pergunta, lembro de algo dito por James Cameron a este repórter, quando conversamos sobre a tendência mais terráquea a da última onda da ficção científica. Cameron falou sobre, depois de anos de exploração de ideias alienígenas e distantes da realidade, podemos ter resolvido voltar a olhar para nós mesmos, nossos limites internos (como os sonhos de “A Origem”) ou a enfrentar medos com invasões à Terra (“O Dia Em Que a Terra Parou” e “Battle LA”, por exemplo).
Se ele está certo e cansamos de olhar para fora, o inimigo está aqui dentro. Em tudo que fazemos e no que almejamos para, quem sabe um dia, vencer a última barreira. Logo, mutações criadas em laboratório, doenças descontroladas ou experimentos falhos letais são as bolas da vez. O roteiro de “Eu Sou a Lenda” foi sutil ao atrelar uma eventual cura do cancer com a mutação que assolou o planeta. Entretanto, as razões não devem ser tratadas como o ponto-chave dessa discussão, afinal, elas são as mais arbitrárias possíveis especialmente por se tratar de extrapolação. Esses personagens funcionam pela junção “medo dos erros dos humanos + necessidade de sobreviver”.
Zumbis digitais
E é dessa forma que grandes histórias apocalípticas são montadas. Sobreviver, normalmente, é o objetivo e todo o resto gira em torno dessa possibilidade, causando empatia, desespero e a torcida pelo protagonista. Brad Pitt já é carismático ao extremo, então, a coisa mais fácil do mundo é acreditar que ele vai salvar todo mundo! O trabalho do roteiro – que foi pontuado por problemas, diversos roteiristas envolvidos e re-redações de emergência – foi colocar essa norma em cheque enquanto ele monta um quebra-cabeças impossível em um mundo em colapso.
Distante da estrutura com depoimentos póstumos de sobreviventes presente no livro, o filme aposta no encadeamento direto de ações e na escalada da situação
O resultado é uma boa mistura entre tensão, catástrofe, política e, acima de tudo, família. Teoricamente, é fácil se envolver; é fácil esperar por uma salvação incerta; e é mais fácil ainda nunca mais entrar num avião do mesmo jeito depois de ver uma das cenas mais malucas do filme. Colocaria os zumbis de “Guerra Mundial Z” no mesmo patamar que as criaturas alucinadas de “Eu Sou a Lenda”, mas com um agravante: eles se movem como um vírus, espalhando-se velozmente, criando novos zumbis (cujo tempo de conversão é mostrado brilhantemente logo no início do filme); e envolvendo tudo em seu caminho. Imagine um homem tentando lutar contra as ondas. O resultado é o mesmo. Esse elemento, inclusive, ajuda muito na narrativa da história, já que o comportamento da turba infectada é outra dica sobre o que, de fato, está acontecendo.
É interessante escrever sobre esse filme, pois, com certeza, tive os mesmos questionamentos que Max Brooks teve enquanto escrevia “Filhos do Fim do Mundo”, por conta das semelhanças estruturais e do personagem principal. As discussões são outras, o livro de Brooks não tem nada a ver com o meu e o cenário também é bem diferente, mas o processo criativo parece ter passado pelos mesmos percalços e perguntas para se criar um mundo em colapso. Também interessante é a semelhança da linguagem visual e o dinamismo moderno. Esse foi um dos grandes diferenciais de “Filhos”, afinal, apostar numa linguagem direta e praticamente jornalística foi garantia de choque literário em muitos leitores. Provocar é necessário.
E Marc Foster faz isso, ao concentrar seus esforços no protagonista, mostrando o aspecto global aos poucos, conforme ele se movimenta, e sem usar muitas muletas. A comunicação moderna é mais pessoal, nos acostumamos a consumir informações por pontos de vista e a neutralidade (sempre utópica) do jornalismo desapareceu, então, acompanhar tudo dessa maneira faz sentido e tem uma vantagem: gera mais perguntas, mantendo o público curioso.
Considerando tantos problemas de produção, WWZ é efetivo, mas cria arcos emocionais de forma preguiçosa
Há muitos pontos positivos. Bons efeitos especiais. Ótima atuação de Pitt. O uso de atores fortes (Matthew Fox, David Morse e James Badge Dale) em papéis coadjuvantes bem simples. E uma história efetiva. Porém, houve desleixo em alguns momentos e um deles pode colocar tudo em cheque – provavelmente por um erro de edição – em uma cena no terceiro ato. Considerando tantos problemas de produção, o filme é efetivo, mas criar arcos emocionais de forma preguiçosa é um problema grave. Fica difícil falar sem dar spoilers, mas imagine prometer que algo vai acontecer só para aumentar a tensão e, do nada, a ameaça ser sumariamente descartada e ignorada. Deus Ex Machina em ação!
As perguntas sobre nossos limites sempre vão continuar. As redes sociais mostram que o maior desafio humano atual é sobreviver à exposicão exagerada da timeline alheia; e, pelo jeito, estamos perdendo a briga. Então, imaginar situações realmente extremas, definitivas e capazes de afetar a vida de todos aqueles que amamos ainda vão pontuar centenas de roteiros, livros e histórias. Afinal, Ser Humano é a fronteira final.
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Fábio M. Barreto é roteirista e escritor da distopia “Filhos do Fim do Mundo”, que foi publicada antes do filme estrear! 😀
Post originalmente publicado no Brainstorm #9
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The Cosmopolitan of Las Vegas is out with the third rendition of its much-lauded, Fallon-created “Just the right amount of wrong” work that continues to position the luxury property as anything but normal.
Last year’s Bohemian Rhapsody redux and 2011’s original hinted at all manner of mischievously illicit behavior occurring inside the property and positioned the hotel as an adventure rather than a bed on which to sleep.
The work, particularly the Bohemiam Rhapsody commercial, was a masterstroke of genius which separated the hotel from all others in Sin City and touted the destination as a place for fun and frivolity like no other.
Of this latest work, Cosmopolitan CMO Lisa Marchese tells AdWeek, “We wanted to create a spot that was radically different in form–the mix of typography to imagery, the way the imagery was shot. The tone is radically different. We wanted it to look like nothing else out there.”
The spot is, indeed, radically different. With it’s quick cut phrases such as “Mutation is progress”, Correct is mistake” and Misfit right in,” the work adheres to the original’s mystique but lacks the pompously witty demeanor of the second.
Though for a brand aiming for grandiose, hipsterific magnificence, the work delivers.
On the to-do list for 21st Century Fox’s latest big bet, Fox Sports 1? Find itself an advertising agency — or roster of agencies — to deliver the kind of game-changing creative that Wieden & Kennedy has long delivered to ESPN.
Launching Aug. 17 in 90 million U.S. homes, the new 24-7 sports channel will go head-to-head with Disney’s ESPN for TV viewers, advertisers and sponsors.
Fox Sports Media Group works with San Francisco-based Pereira & O’Dell on a project basis and is happy with the work, said Robert Gottlieb, head of marketing for Fox Sports Media Group. But Fox Sports 1 doesn’t have an agency-of-record and Mr. Gottlieb said once the network is up and running this fall he’ll likely start searching for a partner — or partners — that can come up with creative as effective as Wieden’s long-running “This is SportsCenter” campaign for ESPN.
Déjà auteurs de plusieurs vidéos en time-lapse, Michael Shainblum revient avec « Mirror City », un travail époustouflant utilisant des images prises dans plusieurs grandes villes américaines dont certaines parties sont démultipliées de façon kaléidoscopiques. Une création splendide, sublimée par le morceau de Bassnectar.
Putting a self-taken picture of Dzhokhar Tsarnaev on its cover was a clinical act of journalism, but the magazine misgauged how it would be perceived.
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After watching this film touting the 2014 Lexus IS created by LA-based Team One which was made by editing together photos from 200 Instagrammers who shot the vehicle over the course of a day, you might ask why bother?
Or you might marvel at the thinking behind the effort which leveraged the Instagram social community and the power of hashtags to uniquely create an ad in a manner which has never been done before.
On June 30 at Angel Stadium in Anaheim, 200 Instagrammers were assigned several shooting positions. Each Instagrammer was then allowed to edit the photo and asked to upload the photo to Instagram with the #LexusInstafilm hashtag. Onsite, Team One and Lexus sequenced the photos together and used 3D mapping to pinpoint where and at what angle each mobile photographer needed to be positioned to capture the right shot at the right moment.
The work is both creatively and strategically innovative. Sure, we’ve seen stop motion films before but when you couple the creation of this film with the social qualities of Instagram, the result is something far more than a simple stop motion YouTube film. You have built in publicity. You have built in social proliferation. And you have “first-ever” bragging rights.
Nice work, Team One.
We would never begrudge anyone doing whatever it takes to further their career, especially Israeli ad man Tal Schweiger who’s looking to land a gig in the States, but Tal, your “hire me” stunt makes no sense.
Tal wants insure potential recruiters and agencies that he can spell perfectly in English. But when his “Don’t Worry About My English” page asks people to enter words — that he (or, more likely, the linguistics program he is using) CAN CLEARLY SEE — of course he is going to be able to spell the words perfectly.
Now if he had site visitors SAY the words instead of spell them out for him, that would be another thing. We hope Tal gets the job he wants but this stunt isn’t exactly proving anything.
In our favorite "Colbert Report" segment of the week, Stephen Colbert reveals why he's so excited about what the media has been calling "the Great Kate Wait" — anticipation over Kate Middleton giving birth. This bit appeared in Tuesday night's show, when Colbert noted that "Kate the Great is three days late! I just can't wait for her to dilate!" Now she's six days late! OMG OMG OMG!
Then again, maybe Kate's due date is actually today?
P.S. For another (somewhat less hilarious) take, see my colleague Emma Hall's report: "Marketers and Weary Media Step Up Royal Baby Watch."
Break through the shell.
Advertising Agency: GRAD studio, Vilnius, Lithuania
Creative Directors: Regis Pranaitis, Tomas Gruzdys
Photographer: Fotelier
Published: June 2013
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