McDonald’s US is using its Super Bowl ad slot to launch its ‘Pay with Lovin’ campaign, which will allow selected customers to pay for their food with an ‘act of lovin’.
After a seemingly endless glut of Super Bowl ad teasers from various brands over the past week, McDonald’s is the latest to release its big game entry in full. As part of its 2015 effort to focus on togetherness, positivity and the like, the chain — with the help of Leo Burnett — is turning love into currency for a select group of customers from February 2nd through Valentine’s Day.
Despite this week’s CEO shakeup that saw former Euro chief Steve Easterbrook take over for 25-year vet Don Thompson, the fast-food giant sticks to its longstanding “I’m lovin’ it” tagline in this two-week campaign.
In a statement to ABC News, a McDonald’s spokeswoman explains the effort, saying:
“We want to thank our customers for making our day and hopefully they will make someone else’s as well – that’s what Lovin’ is all about. From selfies, hugs to high fives – we have a bunch of fun ways to express your Lovin.”
In other words, lovin’ does beat hatin’ after all.
Jennifer Hudson stars in BBDO New York’s regional Super Bowl ad for American Family Insurance, entitled “Dreams Made Real,” alongside “a cast of five actual dreamers who are hoping to realize their own ambitions.”
The spot, which launches the brand’s “Dream Fearlessly” campaign is set in a 1940s diner, with Hudson and company performing a version of Chicago group the Five Stairsteps’ 1970 hit “O-o-h Child.” At the beginning of the 60-second spot the text “You’re about to see dreams become real” appears onscreen, followed by the performance and a director yelling cut. The “undiscovered performers” take the spotlight for the beginning of the ad, handing off the lead to Hudson at around the midway point.
The ad breaks this Sunday with a regional Super Bowl placement in 70 different markets, supported by digital, print and radio. There’s also a social component calling on viewers to tweet their dreams with the hashtag #DreamFearlessly. The ad will continue to air during “other high-visibility television programs throughout the year,” including regional broadcast spots during the Grammy and Academy Awards.
“Our mission is to inspire, protect and restore dreams,”said Telisa Yancy, marketing vice president at American Family. “We take this very seriously and hope that people will walk away from this commercial recognizing that we are committed to be the champion of dreams. We thank Jennifer for helping us deliver this important message.”
Credits:
The Cast of Five Dreamers:
Rashawn Thompson, teaching artist – Chicago, IL
Megan Schemmel, paralegal – Chicago, IL
Kyle Hustedt, entertainer, freelance designer and bartender – Chicago, IL
Dominick Basso, substitute teacher and boys gymnastics coach – Mundelein, IL
Lou Leonardo, Human Resources manager, Chicago, IL
Agency: BBDO New York
Client: American Family Insurance
Title: “Dreams”
Chief Creative Officer, Worldwide: David Lubars
Chief Creative Officer, New York: Greg Hahn
Executive Creative Director: Michael Aimette
ACD/Copywriter: Judd Counsell
ACD/Art Director: Anne Lac
Group Executive Producer: Anthony Nelson
Senior Producer: Darbi Fretwell
Producer: BreeAnn Stuart
Executive Music Producer: Rani Vaz
Senior Account Director: Jim Santora
Senior Account Director: Amy Hefti
Account Manager: Sara Plotkin
Production Company: RSA
Executive Producer: Tracie Norfleet
Director: Jake Scott
Director of Photography: Chris Soos
Line Producer: David Mitchell
Production Supervisor: Jason Groves
Music Production: Search Party
Music Supervisor: Randall Poster
Music Producer: Meghan Currier
Music Producer/Arranger: Stewart Lerman
Music Arranger: David Forman
Editorial Company: NO6NY
Executive Producer: Corina Dennison
Producer: Malia Rose
Editor: Justin Quagliata
Assistant Editor: Ryan Bukowski
VFX Artist: Ed Skupeen
Recording Studio: Heard City
Mixer/Sound Designer: Philip Loeb
Senior Producer: Sasha Awn
Telecine: Company 3
Colorist: Tim Masick
Producer: Rochelle Brown
Graphics House: Imaginary Forces
Designer/Animator: Griffin Frazen
Executive Producer: Sarah Roebuck
T-Mobile today released a comedic behind-the-scenes look at its Super Bowl commercial starring Chelsea Handler and Sarah Silverman.
In the teaser, the comedians keep trying to one-up each other by placing phone calls in some odd and crazy places, like laying in a ditch and on ice, thanks to T-Mobile’s Wi-Fi calling feature.
According to the company, Ms. Handler and Ms. Silverman essentially wrote the ad “and they took it in a way that is uniquely Chelsea and Sarah.”
American Family Insurance unveiled its regional Super Bowl spot today, starring award-winning artist Jennifer Hudson. The spot expands on the insurer’s existing advertising by encouraging people to follow their dreams.
The ad is set in a classic ’40s diner and features Ms. Hudson singing a heartfelt rendition of “O-O-H Child.” Alongside her are five real “dreamers,” including a paralegal, a human resources manager and substitute teacher, an entertainer and teaching artist, who were featured in teaser videos. The ad closes on the tagline: “Insure carefully, dream fearlessly.” It was filmed by Jake Scott, who also directed Budweiser’s Super Bowl spot called “Lost Dog.”
“Our mission is to inspire, protect and restore dreams,” said Telisa Yancy, VP-marketing at American Family, in a statement. “We take this very seriously and hope that people will walk away from this commercial recognizing that we are committed to be the champion of dreams.”
Made Thought et FIELD ont imaginé ensemble le nouveau spot et les prints de la campagne Adidas Spring/Summer 2015 « Adidas by Stella McCartney Barricade ». La joueuse de tennis danoise Caroline Wozniacki et son jeu se retrouvent soulignés par des petits traits animés qui suivent le moindre de ses mouvements.
Production by Vera-Maria Glahn and Maran Coates.
Design and Animation by Paul Mumford.
Sound design by Audionerve.
“Birdman ou (A Inesperada Virtude da Ignorância)” é essencialmente um filme sobre processos. O argumento vale para os mais diversos aspectos, da própria construção cinematográfica, através não apenas, mas principalmente, das manobras para simular um plano-sequência de quase 119 minutos de duração, à essência da trama, focada na preparação de uma peça de teatro dias antes de sua estreia na Broadway.
A análise da obra como um produto autoral, realizado por um Alejandro G. Iñárritu mais autocentrado do que nunca, depende invariavelmente da observação de tais processos, que saltam aos olhos e jamais passam desapercebidos.
No foco de toda a ação está Riggan (Michael Keaton), ator de cinema que fez fama nos anos 90 como protagonista da franquia de super-herói do título e que agora se encontra frustrado e em busca de um evento notável que renda a ele algum respeito, prestígio e dinheiro, perdidos ao longo de duas décadas: roteirizar, dirigir e estrelar uma adaptação para os palcos de “What We Talk About When We Talk About Love”, livro de Raymond Carver. Ao seu redor, dois eixos principais – a família e o elenco – que se esbarram não somente pela interação entre os personagens, mas também por frequentarem o mesmo universo de celebridades necessariamente egocêntricas.
Dono de uma carreira marcada por dramas fatalistas, Iñárritu se desloca para um trabalho aparentemente mais leve, com doses fortes de comédia
Dono de uma carreira marcada por dramas fatalistas (a trilogia formada por “Amores Brutos”, “21 Gramas” e “Babel”, e também o trágico “Biutiful”), Iñárritu se desloca para um trabalho aparentemente mais leve, com doses fortes de comédia e um intuito claro de apontar o dedo para esse segmento em frangalhos de Hollywood que, aqui, se transporta para Nova York.
Se por um lado a trama só se revela mais carregada ao caminhar para o ato final, muito embora já parta dessa premissa um tanto sombria e marcada pela habitual iminência da catástrofe, desde o início o diretor-roteirista deixa à mostra suas semelhanças, em termos de processo criativo, com a figura de Riggan – e também com seus longas anteriores.
Alejandro González Iñárritu no set
Em diversos momentos, o cineasta parece tomar para si esse caráter quixotesco e ególatra ao chamar a atenção para seu próprio esforço no comando da produção. Ainda que o trabalho de Emmanuel Lubezki como fotógrafo seja louvável e autêntico, eficiente ao encobrir os cortes para produzir um plano longuíssimo, equilibrado, porém crescente em intensidade, a câmera acaba por perder seu norte ao prolongar demais determinadas cenas, em alguma medida revelando sua bem ensaiada coreografia, e extrair dos rostos em extremo close alguma emoção mesmo quando eles não têm nada a dizer, justamente pela necessidade de reorganizar a ação em torno deles e desse truque geral.
Por apostar tão firmemente neste artifício visual, o cineasta por vezes se porta como menos interessado nesse projeto de crítica cínica e bastante visceral à indústria do entretenimento e mais dedicado a alimentar o próprio portfólio ao ampliar seu repertório de artimanhas.
É curioso e ligeiramente incoerente apontar esse egocentrismo quando se percebe que Iñárritu oferece a seus atores, com certa dose de generosidade, a possibilidade de preencher com tamanha vivacidade a história. Keaton é uma escolha certeira e que, apesar de já bem-sucedida de imediato graças a seu passado como Batman e recente ostracismo (por mais que se possa argumentar que a ausência de holofotes tenha sido uma escolha pessoal), entrega uma das mais interessantes performances de sua carreira.
É ele o responsável por levar Riggan além de um simples arquétipo de homem envelhecido e em crise de identidade, não obstante se façam presentes de maneira problemática os traços mais óbvios dessa persona – a bebida, a ex-mulher, os conflitos nas gravações, a relação com a crítica. Existe em sua interpretação algo além do estereótipo, detalhes que o longa estranhamente opta por exclamar (os olhos cheios d’água, já no terceiro ato, por exemplo) em função dessa proximidade quase inevitável e agressiva da câmera.
Keaton, já identificado de imediato graças a seu passado como Batman e recente ostracismo, entrega uma das mais interessantes performances de sua carreira
Em diferentes níveis, o mesmo elogio pode ser feito a Edward Norton, que no papel de Mike Shiner funciona como catalisador e elo entre duas pontas da trama. Sua postura combativa com relação a Riggan e o restante do mundo, contrastada com trocas pontuais de afeto com Sam (Emma Stone), filha do protagonista, oferecem uma visão mais relevante do profissional de entretenimento para quem o filme aponta o dedo, um passo além do clichê de ator-problema e acenando com seu passado em “O Incrível Hulk” e “Clube da Luta”, sobretudo quando se pensa nos fantasmas que perturbam o personagem principal.
Os elementos que orbitam essas duas personalidades, porém, sofrem pela necessidade de Iñárritu em pesar a mão até mesmo nos momentos de transição. Lubezki é econômico nas elipses, apontando a câmera para o escuro ou em direção o céu para representar a passagem de tempo, mas o cineasta parece querer intensificar até mesmo estes curtos trechos, mergulhando-os em um insistente som de bateria que permeia todo o filme (obra de Antonio Sanchez) e só revela maior função criativa digna de nota em uma sequência em um estreito corredor a instantes do fim.
Iñárritu e Emmanuel Lubezki
É o olhar exagerado e alarmado de um cineasta que acredita ter descoberto a pólvora e o discurso de catástrofe
É também incômoda a histeria que contamina praticamente todos os personagens, desperdiçando nomes como Naomi Watts e Andrea Riseborough, sintoma da obsessão por manifestar urgência da qual o diretor-roteirista ainda não demonstra ter se recuperado após quatro filmes em que tudo está sempre à beira do caos.
A lição sobre economia de roteiro passada por Mike a Riggan logo no primeiro contato entre os dois – algo como “Pare de repetir o que já disse quatro vezes de formas diferentes” – aparenta ter sido completamente ignorada por Iñárritu e as outras seis mãos que escreveram “Birdman”, uma vez que o que se vê em tela é uma ópera de repetições exaustivas e supostamente ácidas sobre o estado da indústria e da arte e a forma como as duas coisas mais se destroem do que coexistem.
O olhar exagerado e alarmado de um cineasta que acredita ter descoberto a pólvora e o discurso de catástrofe berrado por seus personagens se confundem e se igualam em rasidão, inconsistência e pobreza de conteúdo. Sufocados por uma técnica virtuosa que infelizmente se encontra à serviço de uma confusão de vozes desesperadas, indicam uma ignorância que nem mesmo a crítica de teatro vivida por Lindsay Duncan, na trama rendida e surpreendida pelo ato final, seria capaz de elogiar – que dirá tratar como uma nova forma de arte.
Post originalmente publicado no Brainstorm #9
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(TrendHunter.com) The age of Instagram and the selfie has spurred on more than a few photo-enhancing smartphone accessories, yet many of them focus specifically on the quality of the image instead of the process…
FCB has won creative duties on A-B InBev’s Michelob Ultra brand, following a review. The agency takes over for Chicago-based Palm & Havas and is expected to run the account out of its Chicago and Toronto offices. According to Kantar Media, A-B InBev spent $49.6 million on the brand during the first 11 months of 2014.
The win marks the first beer brand for FCB since losing MillerCoors in May of 2012. It also follows a Nestlé corporate brand assignment for FCB Chicago back in October.
“FCB really demonstrated strong creative and content capabilities that will help our growing brand grow,” an A-B InBev spokesman told AdAge.
Ogilvy New York picked the Friday before the Super Bowl to announce the promotion Corinna Falusi, formerly ECD and senior partner, to the chief creative officer position.
Only nine months ago, Falusi was promoted from GCD to ECD in a move that also saw Michael Paterson become GCD and senior partner; this latest announcement marks the first executive change made by Chris Garbutt since he assumed the CCO role at Ogilvy East last February.
Falusi replaces Calle Sjoenell, who left Ogilvy back in August to return to his native Sweden…and a position at Lowe.
The new CCO, who joined Ogilvy in 2012 after nearly ten years with StrawberryFrog in both Amsterdam and New York, ran creative on Coca-Cola, IKEA, Fanta, Spotify and, most recently, Coke Zero. She will continue to lead the first two accounts while “driv[ing] the creative vision of the New York agency.”
Falusi will report to Garbutt, who calls her “an obvious choice” for the role, while working closely with New York President Adam Tucker.
Agency Siltanen & Partners is bringing Sketchers back to the Super Bowl and taking baseball’s all-time hits leader Pete Rose along for the ride.
Rose stars in a 15-second ad for the brand, which sat out last year’s game after placing ads in the previous four Super Bowls. The spot plays on Rose’s exclusion from the National Baseball Hall of Fame and failed attempts at reinstatement. In the spot, which also features Rose’s fiancée Kiana Kim, we learn that even at home he’s not supposed to walk the hall. While it’s a bit of a one-trick pony, the spot is not without its charm, as Rose makes light of himself and his much-discussed Hall of Fame ineligibility.
“Pete isn’t just a baseball legend, he’s an American icon—and there’s no better place for an American icon than the Super Bowl,” Sketchers President Michael Greenberg said in a statement. “Besides, what better place is there for Pete to state his case for the Hall? Maybe the hundred million plus people watching will turn the tide.”
If your country could have recruited its plants and animals like football talent in the Earth’s earliest days, what would you have picked? A sleepy sloth? A scrappy lemur? Some … wheat?
That’s the question posed in Sunday’s oddly amusing Super Bowl ad for Avocados From Mexico. Created by GSD&M, the spot features football greats Doug Flutie and Jerry Rice providing comentary for the “First Draft Ever.”
In the ad, a white-robed, bearded figure (is that two God cameos in one Super Bowl?) announces which creatures and species of vegetation will go to the world’s various countries. You can probably guess what Mexico picks, but here’s how it all goes down:
Aimed at getting more Americans snacking on guacamole, the ad is reportedly the first for a fresh produce brand. Watch for it near the end of the first quarter.
How did Brazil get stuck with sloths and Mexico luck out with avocados? Avocados From Mexico, the marketing arm for the avocado industry, imagines how it all might have gone down back in the day in its Super Bowl ad, called “First Draft Ever.”
The spot stars former NFL stars Doug Flutie and Jerry Rice commentating on a prehistoric fantasy draft among nations vying for various plants and animals. The 60-second spot, which will run in the first quarter, is by GSD&M. The ad represents the first produce spot to air during the Super Bowl, according to Avocados from Mexico. The group is planning to support the ad with “seven online videos on YouTube, Facebook and Twitter around a big consumer promotion that will unfold throughout the rest of the night and lead into the following day.” according to a spokeswoman.
McDonald’s in its Super Bowl ad is letting everyone know that for two weeks in February it will randomly accept different forms of payment — like giving someone a hug or calling your mother and telling you loving her.
The chain released a teaser ad on Sunday, which aired during the Pro Bowl, but it did not detail what the new form of payment would be. McDonald’s for years has sat out the in-game national buys and instead opted for the pre-game slot. This is the first time it’ll be in the big game since 2008.
The chain has had a busy week. In addition to releasing its super bowl ad, it announced that CEO Don Thompson is leaving the company in March.
Les deux designers du studio Sven Gabriel ont eu l’idée de faire un skateboard constitué d’un simple bout de bois, en y ajoutant les roues et vis. Le « Förster Skateboard » est plus fin et aigu qu’une planche traditionnelle. Les contours sont faits d’écorce d’arbre. Une belle planche à découvrir en images ainsi qu’avec une vidéo dans la galerie.
Orion, Canada, isn’t just a small town. It has a population of 7. This fantastic short by Sean Thompson of Supply & Demand, centers around one of the inhabitants, Boyd Stevens.
Updated. The pre-fgame release has begun and the ads will be appearing under our new topic Super Bowl 2015 XLIX commercials and on the 43 years of Super Bowl commercials page as of now.
More advertisers are keeping mum this year on their Big Game spots. Below we’ve got the dirt on a few right now, but we’ll be keeping you updated (as usual) on the news as it comes out.
Há alguns dias, o McDonald’s divulgou um teaser de seu comercial para o intervalo do Super Bowl antecipando, sem muitos detalhes, que até o dia 14 de fevereiro suas lanchonetes nos Estados Unidos estariam aceitando, aleatoriamente, “uma nova forma de pagamento”. Levando-se em conta a reação do público – e o trabalho de expansão do conceito “amo muito tudo isso”, já era possível prever o que vinha por aí.
Não foi surpresa, então, quando o comercial foi finalmente apresentado na íntegra, hoje. Juntando Super Bowl, com o Dia de São Valentim (em 14 de fevereiro) e o slogan “I’m Loving It”, o resultado só poderia ser Pay With Lovin‘.
Teve gente que pagou ligando para a mãe e dizendo o quanto a amava, enquanto uma mãe disse ao filho as coisas que gostava nele. Outros, ainda, tiveram que dançar. Enfim, foi uma forma bacana – e que surpreendeu os clientes – de compartilhar o amor.
Mandou bem, McDonald’s.
A criação é da Leo Burnett.
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While connected consumers are busy completely redefining how they engage with brands, marketers’ response has been iterative — a tweak here or there, with the latest being an emphasis on creating an eye-catching customer experience. That’s a half-measure that doesn’t close the gap between how people live and how companies attempt to do business with them. What’s needed is an altogether systemic change to customer engagement.
An experience is something that happens to you. Engagement is something you choose and pursue. That’s a real dividing line in the connected era. Customer experience is a campaign model measured in eyeballs. Customer engagement is a business model measured in growth. It involves, strengthens and connects every business discipline.
Customer engagement is akin to Formula One racing. F1 enterprises undertake massive preparation and intelligence gathering long before a race starts, so they can start in the best position possible. Then they sync interdependent teams to real-time data feeds throughout the race. They don’t win because they do something magical once; they win because they start the race in a better position than competitors and tweak everything continually, consciously and in a coordinated way.
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.
