L’artiste japonais Kohei Nawa a proposé dans le cadre de la Aichi Triennale 2013 cette superbe installation Foam, plongeant les visiteurs dans une mer étrange, utilisant sur fond noir un matière poreuse telle une mousse, pour décider des nuages. Une création de toute beauté à découvrir dans la suite en images.
Best-in-class payload capacity.
Advertising Agency: Publicis, Montreal, Canada
Creative Directors: Nicolas Massey, Carl Robichaud
Art Director: Julien Thiry
Copywriter: Johan af Ström
Account services: Claude Chagnon, Faten Kassem, Ariane Gauthier-Roy, Lauriane Braco
Photographer: Getty Images
Print production: REA – Frédérique Bissonnet
“Saturday Night Live” has been subjected to a barrage of criticism over what seemed a glaring absence on the iconic comedy show.
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(TrendHunter.com) Any driver looking to nerd out on the open road will absolutely adore these geeky automobiles, which offers the chance to showcase one’s passion for such things as superheroes and comic books….
Since establishing in-house agency Spark 44 a few years back, Jaguar’s ‘Alive’ campaign has strived to inject a little animalistic danger into the luxury car brand. Specifically, Jaguar’s sporty F-Type was taken out of the garage and unleashed on the world in a series of spots that the cars behaving like the wild jungle cats they were named after. The ads were…okay. But, they were still a step forward for a brand that didn’t have a reputation for producing many TV spots (other than EuroRSCG’s break out “Gorgeous” from almost a decade ago).
So it’s surprising to see Jaguar, which has put so much behind the look and messaging of “Alive” (including this weird Lana Del Rey thing), to pivot and produce a comedic takedown of Mercedes-Benz’s “Magic Body Control” TV spot from September with “Jaguar vs. Chicken”. You see, as Jaguar posits, jaguars eat chickens, haha! So take that, Mercedes! Haha! Yeah! Jaguars are better!
This is the second video this month which has marked a strange tonal shift from the brand. On December 10th, the brand released their “take” on viral cat videos, which again seems very out of step with how they’ve been marketing the brand since 2011. As there are no credits, I don’t know if this is still the work of Spark 44 or not, but it will be interesting to see if Jaguar continues on their path away from luxury and toward silliness.
New Career Opportunities Daily: The best jobs in media.
Who hasn’t wanted to send their friends “unrelenting awkwardness”, “the meat sweats” or “a lifetime of mismatched socks?” Tell your friends how you really feel and send them anonymous messages with www.anonymas.ca.
Advertising Agency: Stone Canoe, Toronto, Canada
Art Director / Illustrator: Patrick Gray
Copywriter: Jimmy Wei
Designer: Angie Carlucci
Developer: Michael Faust
Published: December 2013
Add automotive giant Toyota to the growing list of marketers suiting up for Super Bowl XLVIII.
The Toyota division is “definitely” buying commercial time during Fox’s telecast of the first outdoor, cold weather Super Bowl on Feb. 2, said Jack Hollis, VP-marketing for Toyota Motor Sales USA.
Toyota will highlight the all-new Toyota Highlander with a 60-second spot, said Mr. Hollis. “We’re definitely going to be in the Super Bowl. There’s no place I’d rather be.”
Filmmaker Casey Neistat is known for his run-and-gun viral hits like Nike Fuelband’s “Make It Count,” and other films that involve spur-of-the-moment decisions requiring him to jet off to far reaches of the world.
So perhaps it comes as no surprise that 20th Century Fox, known for its out-of-the-box marketing moves (like putting out a completely blank page in the New York Times), approached him to help promote its upcoming remake of “The Secret Life of Walter Mitty,” starring Ben Stiller in the title role. The organization sent him an email asking him to illustrate the premise of the movie by creating a film based on the idea of “living out your dreams.”
It was intended to be part of the film’s “Live Your Dream” international social campaign, explained Bettina Sherick, 20th Century Fox senior VP-international digital strategic marketing. “My colleagues in Latin America had the great idea of reaching out to Casey to see if he would make a promotional video about living his dream. We are big fans of his work, particularly the Nike Fuel Band video.” Knowing Mr. Neistat’s work, and given Fox’s limited funds, Mr. Sherick and her team didn’t know what to expect. “We had a feeling his Nike budget was quite large, but we were near the end of our campaign and we had $25,000 for this project,” she said.
(TrendHunter.com) These artistic graffiti ads are showcasing how youthful influences and modern illustrations are serving to attract a much more hipper generation of consumers.
While graffiti may still be considered…
Jerry Seinfeld has written eight new Acura commercials in collaboration with Boston ad agency Mullen as part of the brand's title sponsorship of his Web series Comedians in Cars Getting Coffee. The faux-vintage spots—all eight are posted below—will bookend new episodes of the show, coming Jan. 2. They were directed by Barry Sonnenfeld and inspired by actual old car commercials from the '60s.
But while those old spots sound a bit ridiculous these days (Seinfeld ran actual vintage Acura ads as pre-roll on Comedians in Cars last season), these new ads are intentionally silly—playing off the old style but taking it in absurd directions.
Seinfeld spoke with AdFreak on Tuesday about the creative process behind the ads, his experience with Super Bowl spots and what he thought of Will Ferrell's Dodge work.
So, these are fun spots. This must have been an exciting project for you.
You know, I have done a bit of advertising over the years. But I have never been given the creative freedom that I was given on these by Acura. They're gutsier than any other company I've ever worked with. Not that I've worked with that many, but I've worked with a few. Because this work, as you can see, is not like any other work that they've done. And usually—as you well know, being in the ad game—the clients tend to get nervous, especially when they're spending a lot of money. But [Acura marketing chief] Mike Accavitti, I've never seen a guy like this guy. Nerves of steel. It's pretty rare. But I think that's why they came out so good. I would give him all the credit.
Tell me about the creative process—how you worked with Mullen on these.
Mullen and I sat in a room together. Now, we ran vintage Honda and Acura stuff from the '60s and '70s last season on Comedians in Cars. And everybody kind of enjoyed that. And I said, Yeah, I've looked at everything that exists of the old advertising, and I picked out all the good ones. And I don't have any more. And I thought, Why don't we make new old advertising … that's bad. Because that's what's fun. A lot of the lines are stuff we actually found. We would put our little spin on it.
A lot of the advertising in the old days focused on the size of the car. People felt that you were really getting your money's worth if the car had a big trunk. Which of course is something that no one cares about now. No one buys an SUV and goes, "Well, how big is the trunk?" Because they're all big.
So, it's about taking the old tropes and pushing them a little bit.
Yes. And you know, to me, a lot of things have gotten worse that you could point to in our culture. A lot of advertising has gotten worse. I think it's kind of lost its nerve, to be honest with you. I feel like the advertising of the '60s, they were nervier. You know why? Because there was less at stake. It always worked. There were three networks. Everyone's going to see this. They're going to buy the car. And now, everyone's more nervous. Eyeballs are harder to get. And everyone's less inclined to take a risk.
You've seen those high stakes firsthand, having done Super Bowl ads for American Express and, of course, Acura.
Yeah. I've done a number of Super Bowl ads. And that is the best advertising of the year. That is when people realize they're going to be compared directly against other ads.
What did you think of Will Ferrell's ads for Dodge?
I like anything Will Ferrell does, so I was a fan of those. But it didn't seem to be a different type of car advertising. It seemed to be a different type of movie advertising. But different is always good.
So, you wrote a lot of the jokes for these Acura ads?
I did. We just wanted to get that feeling of "Hot, handsome and a honey to handle." Nobody says things like that anymore. Or "The perfect car for the big-car man." And the "Yesterday, today and tomorrow" thing. I like the little tension between the spokesman and the spokeswoman, that we can see that they aren't quite getting along.
My favorite thing is: "MDX. Three letters that stand for 'Earth, style and you.' " That's just like, nobody read that over and went, "What do you mean? Why does it stand for that? The letters don't even match up to that. Why are we saying that?" So, it's also part of the drunken, lazy ad culture of the '60s.
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And now, an emotional holiday spot for Apple (which sources say is, yes, another TBWA\Media Arts Lab joint).
Entitled “Misunderstood,” the ad (which features Cat Power’s version of “Have Yourself a Merry Little Christmas”) follows an adolescent boy and his family through a series of holiday events. The boy always seems to be on his iPhone instead of engaging with the rest of the family, and that certainly seems to be the family’s assumption. At the end of the spot, however, it’s revealed that the whole time he was creating a holiday slideshow for his family.
The :90 effort is about as sentimental as you would expect a holiday ad from Apple to be, but benefits from the moment of relative surprise (okay, it’s not exactly a shocking moment) when the boy’s intentions are revealed. There have been plenty of holiday spots that have attempted to be funny or even controversial this year, but not all that many that go for good old-fashioned holiday sentimentality. So, even if it may be a bit overly emotional, this entry from the Cupertino, CA giant is not entirely unwelcome.
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You might think December would be the calm before the storm at Time Inc., which is, to say the least, expecting an eventful 2014. But CEO Joe Ripp is busy this month too.
The company, which publishes magazines including People and Sports Illustrated, is slated to spin off from parent Time Warner in the second quarter of next year.
Ahead of the separation, Time Inc. has renewed its search for a chief revenue officer, according to two people familiar with the search. There had been rumors that the position, which has been vacant since Paul Caine exited in March to become CEO at radio syndicator Dial Global, would not be filled. But Mr. Ripp has recently interviewed at least two people for the job, these people say, though no decision has been made.
Backed by Silver Lake, its private equity investor of less than two years, William Morris Endeavor plans to offer more than $2 billion for IMG, according to people briefed on the matter.
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As we wrap up 2013, it looks like social TV is being pushed to its tipping point. Not only are we starting to find hard evidence proving the powerful return on investment of second-screen and social TV, we’re seeing real-time insights into what viewers are actually watching. Let’s take a quick look back at some key moments in 2013 and see if we can divine what 2014 will have in store.
Prediction 1: Big boys grabbing all the toys. Throughout 2013, we’ve had flurries of mergers, acquisitions and partnerships in social TV. Over the last few weeks, it’s become a blizzard. With increased validation by multichannel video programming distributors, the market is finally showing signs of maturation.
GetGlue was acquired by i.TV in November. Then i.TV, whose platform enables content discovery for AOL, Huffington Post and Entertainment Weekly, received funding from DirecTV earlier this month.
“Best-in-class payload capacity.”
Advertising Agency: Publicis, Montreal, Canada
Creative Director: Nicolas Massey, Carl Robichaud
Art Director: Julien Thiry
Copywriter: Johan af Ström
Account: Claude Chagnon, Faten Kassem, Ariane Gauthier-Roy, Lauriane Braco
Photographer: Getty Images
Print production: REA – Frédérique Bissonnet
Advertising Agency: Havas, Paris, France
Creative director: Christophe Coffre
Art Director: Catherine Labro
Copywriter: Sylvain Louradour
(TrendHunter.com) The Nike Spring 2014 Collection is not only for hitting the treadmill; it’s made for people who want to emulate this lifestyle as well. People need durable gear to keep up with an active…
The best holiday ads we’ve seen this year have come out of the U.K., where Christmas is the nation’s Super Bowl when it comes to advertising. But now Apple is entering the fray with what turns out to be one of the season’s most heartfelt commercials, “Misunderstood.” It tells the story of a teen who joins his family for the Christmas holiday. But from what we see, he’s only there in body — as his family frolics in the snow and decorates the tree, he sits off to the side, apparently checked out of the festivities as he checks into his iPhone.
In the end, however, it turns out the boy was there all along — creating arguably the family’s best present of the year. Apple also posted the full-length version of that gift, “A Harris Family Holiday,” shot entirely on the iPhone 5s, on YouTube:
The ad takes a now familiar approach for digital marketers, slyly showing the product as promoter of community and social interaction, rather than encouraging introversion.
The country will now return 20 percent of the production money Hollywood studios spend in the country in the form of rebates, up from 15 percent.
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