Below, check out Mr. Beckham in H&M’s big game debut from 2012, a bit more simple in its approach yet no less risque.
The soccer pro also starred in another action-packed H&M ad, directed by Guy Ritchie, which debuted days after last year’s game.
After casting a wide net in its search for a chief revenue officer, Time Inc. has narrowed the field to candidates including two current executives: Jed Hartman, group publisher of news and business, and Mark Ford, exec VP-president of the sports group, according to people familiar with the search.
Mr. Hartman oversees ad and event sales for Time and Time.com as well as Fortune and Money magazines and their website CNNMoney.com, which they share with corporate sibling CNN. Both titles plan to roll out separate websites in June as part of Time Inc.’s separation from parent company Time Warner.
Mr. Ford leads business development and operations for Sports Illustrated, the Sports Illustrated Golf Group and the SI Kids franchise.
The Wooden Award is an annual prize that honors the best men’s and women’s college basketball players. Named after former UCLA head coach John R. Wooden, who lead his team to a whopping 10 NCAA Championships from 1963-1975 (during which time the Bruins also racked up a nearly unthinkable 88-straight wins), the prize today named its list 25 finalists. Due to an insanely good freshman class, including Duke’s Jabari Parker and Kansas’ Andrew Wiggins, it should be a fun race this year. I mean, not Super Bowl fun, but more fun than, say, watching 10 minutes of Pro Bowl.
Anyway, Wendy’s is the official sponsor behind this thing, and starring in a new online spot from Kansas City-based WPP agency VML debuting today is ESPN basketball analyst Jay Bilas. A Duke alum, Bilas led the Blue Devils to an NCAA Championship game in 1986 (they lost the title to Louisville) as a player and won two championships in the ’90s as an assistant coach. He’s joined here by “The Drain,” a humorous archetype of 1970s hoopsters which has been done nearly to death since Will Ferrell released Semi-Pro six years ago. (Hey, Andre 3000 was in the movie. Weird.)
The copy starts strong, with Bilas calling The Drain’s jumper “so smooth that it would get a co-ed’s number on the way to the rim,” but from there, the spot sort of stagnates. Perhaps it’s because the jokes just aren’t as good as the aforementioned simile. Perhaps it’s because, as I’ve said, we’ve seen this superfly funny-looking character TOTALLY DONE TO DEATH, which I’ve capitalized mid-sentence so you know that I mean it. In any case, this spot is the first of five coming out between now and the April 11-12 awards show. So, let’s hope VML and Wendy’s (which have been working together since late 2012) shake things up.
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Tudo começou com “A Bruxa de Blair”, mas os filmes de “found footage” (vídeos pessoais encontrados depois que alguma desgraça aconteceu com o dono original) sobreviveram às décadas, fizeram fortunas e, inevitavelmente, como tudo que dá dinheiro em Hollywood, franquias. O caso mais recente é “Atividade Paranormal”, feito com orçamento mínimo e dono de bilheterias astronômicas ao redor do mundo.
Entretanto, depois de 4 filmes, o formato se desgastou e os sustos, originalmente já forçados, foram perdendo efeito e a saída foi tentar fazer algo ao qual a série nunca se propôs: ser um filme de terror decente. Essa é a premissa comercial de “Atividade Paranormal: Marcados pelo Mal” (Paranormal Activity: The Marked Ones), dirigida pelo roteirista mais prolífico da série, Christopher Landon.
Primeiro, uma curiosidade totalmente alheia ao assunto: o diretor é filho de Michael Landon, o “Homem que Veio do Céu”, lembra dele? Pois bem, Christopher cresceu ligado ao entretenimento e, claro, resolveu seguir essa vida. Landon saiu direto da faculdade de cinema (que não terminou!) para escrever roteiros e logo teve sucesso com “Parano?ia” (Disturbia). Aliado à fama do nome, e o acesso a muitos conhecidos no meio, começou a fazer filmes na base do favor, dos equipamentos emprestados e de orçamento quase inexistente.
Inevitavelmente, esbarrou em “Atividade Paranormal” e escreveu os roteiros dos filmes 2, 3 e 4. “Tínhamos modos bem similares de ver esse gênero, então todo mundo sabia qual era o objetivo e o que funcionava para esse público”, comenta Christopher Landon, em entrevista exclusiva ao B9, em Los Angeles.
“Uma das coisas mais únicas sobre essa série é o fato dela ter criado um espectador específico, que vai ao cinema para levar aquele susto, para participar de algo diferente dos demais filmes. Temos que entregar isso a eles, é uma troca justa”.
Mas algo mais precisava ser feito, pois a repetição começou a afetar o desenvolvimento e, a cada novo filme, o público precisava ser reconquistado, afinal, as pessoas tendem a crescer mais rápido do que os filmes e se distanciavam dessa demanda específica. “Fazer um filme de terror foi consequência direta, creio”, explica Landon, fruto claro do ambiente no qual escolheu viver. “Se temos um público que quer ser assustado, por que não explorar outros formatos? Aumentar a carga dramática e, sem tirar as características da série (found footage, câmera na mão), dar algo diferente a eles? Foi isso que fizemos”.
“Atividade Paranormal: Marcados pelo Mal” mistura elementos do catolicismo forte entre latinos na Califórnia, magia negra e conceitos demoníacos para forjar a história de jovens varões marcados para se tornaram soldados do capeta, ou algo assim. O resultado final é um filme de terror fraco, mas com ótimos momentos de humor graças à estupidez e falta de noção dos dois jovens co-protagonistas, e repleto das mecânicas e práticas da série: câmera na mão, longas tomadas sem nada acontecendo, sustos gratuitos e a tentativa de projetar vida real na tela.
O resultado final é um filme de terror fraco, mas com ótimos momentos de humor graças à estupidez e falta de noção dos dois jovens co-protagonistas
“A primeira coisa que dizemos a todos os membros da equipe técnica, quando chegam à franquia, é: esqueça tudo que você aprendeu na escola de cinema. Aqui as coisas precisam ser feitas de um modo específico, ou não funciona”, explica Landon, mencionando a demanda por novas soluções para iluminação, movimentos de câmera e a criação da estética da câmera na mão; que, aparentemente, é carregada pelo ator, mas está a cargo de um operador. Tudo é minuciosamente planejado. “Assim como os ilusionistas, temos que distrair o espectador e fazê-lo acreditar em tudo que vê”.
Nesse caso, a ilusão é feita por boas trocas de ponto de vista – uma câmera portátil é utilizada como ótica da narrativa; começa com um dos protagonistas, depois passa para o melhor amigo – e muitos efeitos especiais mais fabulosos que nos filmes anteriores. “Fizemos uma mescla de super-herói com poderes satânicos e pudemos brincar com isso no primeiro ato, encontrar um humor físico pronto para os jovens e que justificou a parte mais dramática na conclusão”, justifica. Na grande perseguição final, a produção não poupou jogo de câmeras, sustos, efeitos, tiros, correria e uma interessante montagem que mascara dois cortes, dando a impressão de um plano sequência alucinante.
Como Landon diz, esse filme é quase um gênero à parte. Com suas regras e referências. Enquanto demais cineastas buscam inspiração em grandes mestres, clássicos e referenciam filmes da infância, Landon vai para outro lado.
“Sou o cara que fica fazendo buscas bizarras no YouTube durante a noite. Gosto de ver o que afeta essa nova geração, o que faz sentido para eles, o que os faz rir e sentir pena. Outro dia pesquisei ‘velhinhas caindo no banheiro’; e qual a surpresa ao ver que existem milhares de vídeos com esse tema?”.
Toda a estética e a linguagem – com vasto uso da câmera GoPro – de “Marcados pelo Mal” foi criada sob esse ponto de vista. É o público definindo o formato e a estrutura do produto, não o contrário; em mais um capítulo da tendência comercial da última década. Ao lotar cinemas, e comprar mais livros, os adolescentes – e suas práticas – transformaram o modo de se pensar vários aspectos da comunicação. Para bem ou mal, não se sabe, mas a influência é clara. Landon discorda: “O vídeo moderno fez nosso jeito de pensar mudar, somos os próprios diretores, mostramos o que é relevante, sem ficar brincando com truques de câmera. Ver esse material mostra como o sujeito comum vê o mundo. Ao levar essa estética para a tela, me vejo respeitando as escolhas dele”.
A reportagem do B9 teve a oportunidade de assistir à famigerada exibição cheia de fãs da franquia, que é filmada no escuro para gerar aquelas propagandas com o pessoal gritando e se assustando com os “momentos boo!”. Distante da realidade das cabines de imprensa, nas quais celulares são apreendidos e guardas com detectores de metal revistam os convidados, dessa vez, um DJ que falava em espanhol, anunciou que poderíamos usar o Facebook e o Twitter durante a exibição. Mas pedia apenas que ninguém revelasse o final (nem um pouco surpreendente).
É o público definindo o formato e a estrutura do produto, não o contrário; em mais um capítulo da tendência comercial da última década
As pessoas entravam no espírito, se acotovelavam por camisetas promocionais, um show bizarro. Os gritos dos mais envolvidos estavam em contraponto direto com duas pessoas, mais velhas (mas não passavam dos 40), que dormiam solenemente durante a seção. Na saída, os atores principais lutavam para tirar fotos com os fãs que conquistaram minutos antes. É o cinema espetáculo na melhor forma.
Antes de sair, a mocinha da boca de urna se aproximou com uma folha cheia de rabiscos e palavras-chave. Critiquei. Ela fez de conta que anotou (sem encostar a caneta no papel). Eu fiz de conta que acreditei. O circo continuou.
——–
Fábio M. Barreto gostou da entrevista com Christopher Landon, mas sofreu assistindo ao filme.
Post originalmente publicado no Brainstorm #9
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Parece que a M&M’s adora colocar o Amarelo em perigo. Se não bastasse no último comercial ele ter ficado preso a uma bomba, no teaser do comercial que será exibido no Super Bowl, ele foi sequestrado. Criado pela BBDO de Nova York, o filme não tem nada demais além da tradicional fofura do personagem.
Isso não quer dizer que a BBDO não possa surpreender, já que nos últimos tempos os comerciais da marca têm sido bem divertidos. É esperar para ver.
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Hmm. We wonder why this took so long. After all, ad agencies tend to jump on the latest fad the same day it becomes a fad. DDB Olso has launched a creative student contest and they’re using Snapchat to recruit.
Of the effort, DDB Oslo Creative Director Finn Knudsen said, “There is nothing more beautiful than an idea so pure, simple and powerful that it can be explained in a sentence. So when looking for young creative talent to join us here at the agency, we figured Snapchat would be the perfect medium to find them. There is a lot of good talent and many good ideas out there, but if you manage to pitch your idea in less than 10 seconds, you’re probably one of the best.”
Why does this feel creepy?
We know what you’re thinking: “Holy shit, Sarah motherfucking McLachlan!!” But you should probably sit back down, take a deep breath, maybe drink a glass of water. You don’t want to get yourself too worked up. We don’t want you to start pounding your desk and throwing chairs in excitement. Hopefully you didn’t just scream that out loud for your boss to hear.
The Lilith Fair founder stars in this bizarre Super Bowl teaser that Venables Bell and Partners put together for its longtime client and perennial big game advertiser, Audi. In the spot, McLachlan parodies her own advertisements in support of the ASPCA, offering up a “special new song” to raise awareness for “misunderstood animals.” In this case, the “misunderstood animals” are Doberhuahuas (a cross between a Doberman and Chihuahuas, get it?). The freaky-looking things populate the spot, pictured hanging on couch by the fireplace, on a walk along the beach, tearing up a couch, and hanging out with kittens, ducklings and bunnies. It’s a bit bizarre, but it certainly should get people’s attention. And it features the always exciting music of Sarah McLachlan. You might want to wait until later to watch this, so you can appropriately rock out and get your Sarah on. Just saying.
The ad marks the second teaser from Audi, following “Dog Show,” which debuted earlier this week. Audi’s latest Super Bowl effort will be promoting the automaker’s all-new A3, billed as “the brand’s entry-level luxury sedan.” It will mark Audi’s seventh return to the Super Bowl. Keep an eye out for the spot during the first in-game break and following the third quarter kickoff. Stick around for “Dog Show after the jump. continued…
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(TrendHunter.com) Nostalgic love has made the Internet obsessed with Disney Princesses. You would normally think that an unhealthy over-interest in princesses is a girl thing, but apparently there is a significant…
McDonald’s Corp., the world’s largest restaurant chain, posted fourth-quarter profit that was little changed from a year earlier as U.S. same-store sales fell amid shaky consumer confidence and increased competition. But as its sales slide, the chain reaffirmed its marketing focus on coffee and evolving value messaging, along with product-rollout operational improvements.
For the full year, global same-store sales increased 0.2%. For the fourth quarter, global comparable sales decreased 0.1%, with a 1.4% decrease in the U.S. Third-quarter 2013 U.S. same-store sales rose 0.7%. Global same-store sales were up 0.9%. January sales are expected to be relatively flat.
McDonald’s had a challenging 2013 in the U.S. The chain saw increased competition on the value front, and reworked its 2013 marketing calendar to promote more value and dollar-menu marketing. In October, McDonald’s announced its Dollar Menu & More, which gave the chain the flexibility to add pricier items to its value menu — a move that came after chains like Wendy’s revamped its value offering and other competitors like Burger King were heavily promoting value offerings like a 2-for-$5 sandwich deal.
Gets fresh. Stays fresh.
Advertising Agency: Leo Burnett, Toronto, Canada
Creative Directors: Paul Giannetta, Sean Barlow, Judy John
Art Director: Mike Morelli
Copywriter: Marty Hoefkes
Illustrator: Amaia Arrazola
Gets fresh. Stays fresh.
Advertising Agency: Leo Burnett, Toronto, Canada
Creative Directors: Paul Giannetta, Sean Barlow, Judy John
Art Director: Mike Morelli
Copywriter: Marty Hoefkes
Illustrator: Amaia Arrazola
Gets fresh. Stays fresh.
Advertising Agency: Leo Burnett, Toronto, Canada
Creative Directors: Paul Giannetta, Sean Barlow, Judy John
Art Director: Mike Morelli
Copywriter: Marty Hoefkes
Illustrator: Amaia Arrazola
Proving yet again that there's no creative endeavor too specific to merit its own awards show, CP+B Los Angeles has launched the .GIFYs, honoring animated GIFs "as a medium, social commentary and art form."
Panelists from Buzzfeed, Gawker, Mashable and elsewhere picked finalists in 12 categories. Cats get their own bracket, separate from the otherwise all-inclusive Animals, which will make those feline freaks even more insufferably smug than they already are.
Other categories include News, Sports, Politics, WTF, GIF of the Year and Can't Look Away (actually, in most cases, I could—though not from that gal getting pelted by hot dogs). Vote for your favorites through month's end.
Unlike the seemingly endless Academy Awards ceremony, this ceremony is sure to be a brief one. You could screen the entire batch of nominees in just a few minutes. The whole show would be over in a .JIFFY!
In case you're curious, here are the nominees for GIF of the Year:
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URL: http://ibis-expedition.com
Advertising Agency: BETC, France
Executive Creative Director: Stephane Xiberras
Creative Directors: Antoine Choque, Annick Teboul
Executive Producer: Hugo Diaz
Artistic Directors: Jordan Lemarchand, Sylvain Paradis, David Tamayo
Copywriters: Julien Deschamps, Guillaume Rebbot
Account Management: Jean-noel Perrin, Francois Brogi, Antoine Clemenceau, Stephanie Mayer
Digital Project Managers: Sebastien Boucquerel, Adrien Moutard
Production House: Vice
Digital Studio: Anonymous
I’m not really sure I care what happens to Yellow M&M after watching this lame teaser for the brand’s Super Bowl ad. I mean he gets shot with a sleep dart? Who cares? Is it like he’s going to sleep through the brand’s Super Bowl commercial? Because that certainly wouldn’t be a surprise. Most brands are asleep at the wheel anyway when they serve up their Super Bowl crap.
After over 12 years “live blogging” and “live tweeting” and engaging in every other conceivable manner of Super Bowl ad obsession, it’d be nice to just hang back and actually watch the game. By the way, who’s playing anyway?
Ah fuck it. I can’t help it. I’ll probably be live blogging the game just like every other ad critic out there. After all, what else am I going to do? Get drunk and hurl Bob Garfield-isms at the screen after each ad airs?
You know what I’d love though? One year, we should gather together Bob Garfield, Tim Nudd, Barbara Lippert, Stuart Elliott, Lewis Lazare, Aaron Taube, David Griner, Angela Natividad and me all in one room for an epic Super Bowl advertising gab-fest. Now that would be an event worth live tweeting.
If you’re looking for a slight escape from the glut of Super Bowl teasers, here’s an effort (that we’ve been told comes from a few GSD&M creatives) dubbed Fantasy Brands, which collides fantasy football-style action with Super Bowl advertising. And yes, it seems
To play, you first select your lineup from a list of brands. Certain brands are more expensive than others, and you have to work within a $100 MM salary cap, while also selecting one brand from each of five categories: Automotive, Food and Drink, Wildcard, Rookies and Veterans. Watch the Super Bowl and cheer on your brands , which range from big game advertisers like Audi and M&M’s to GoDaddy and SodaStream, will earn points based on a series of online metrics (“the more they’re liked, the better you do”). Then, check back on the hungover Monday after the Super Bowl to see how your team fared. It should bring Super Bowl ad watching to a whole new level. Head on over to Fantasy Brands , indulge your geekdom and draft your team now, and feel free to share your draft picks in the comments section. Here’s a free hint: stay clear of Butterfinger.
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Advertising Agency: Havas Worldwide, Helsinki, Finland
Creative Director: Marko Vuorensola
Planners: Marko Vuorensola, Johanna Vuorensola
Art director: Marko Vuorensola
Copywriters: Paul Earl, Liisa Vilkkumaa
Account director: Paul Earl
Communications Consultants: Piia Rysä, Laura Lyyvuo
Digital production: Nokia
Production Company: Cocoa Production
Producer: Charlotte Westerlund
Director: Taito Kawata
DoP: Johan Wasicki
Editor: Joni Kuusisto
Sylist: Aleksandra Kahakorpi
Make-up: Aleksandra Kahakorpi, Oona Tarvajärvi
Postproduction: Joni Kuusisto
Artist: Rime
Composer: Antti Hynninen
Sound design: Janne Kilpeläinen
Speak: Reino Nordin
Advertising Agency: 10, Belgium
Strategy: Denis Ghys
Creative Directors: Olaf Meuleman, Jeroen Goossens
Creatives: Olaf Meuleman, Jeroen Goossens, Stephanie Van Tichelt, Charis Verrept
Account Management: Thomas Schiltz
Web development: Allard Bosch
Print Production: Yves Van Houdt
Sound Production: Sonicville
Video Production: Pimpz
Advertising Agency: 10, Belgium
Strategy: Denis Ghys
Creative Directors: Olaf Meuleman, Jeroen Goossens
Creatives: Olaf Meuleman, Jeroen Goossens, Stephanie Van Tichelt, Charis Verrept
Account Management: Thomas Schiltz
Web development: Allard Bosch
Print Production: Yves Van Houdt
Sound Production: Sonicville
Video Production: Pimpz
Advertising Agency: 10, Belgium
Strategy: Denis Ghys
Creative Directors: Olaf Meuleman, Jeroen Goossens
Creatives: Olaf Meuleman, Jeroen Goossens, Stephanie Van Tichelt, Charis Verrept
Account Management: Thomas Schiltz
Web development: Allard Bosch
Print Production: Yves Van Houdt
Sound Production: Sonicville
Video Production: Pimpz
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
