Hasta La Creative!

L’artiste japonais Takaya orne la tête de ses modèles de sculptures végétales composées de fleurs en pleine éclosion, de pétales fanés, de plantes et d’oiseaux empaillés. Très coloré, son travail crée une atmosphère onirique et extra-ordinaire aux influences très variées. À découvrir dans la galerie.

(TrendHunter.com) Pixar has shown how easy it is for furniture pieces and other inanimate objects to be imbued with personalities; that is exactly what comes to mind with the creation of this modular chair. Dubbed…

Shaun the Sheep will add his woolly charms to a new £4m campaign from VisitEngland to persuade Brits to take their holidays at home.

British Airways is reviewing its global digital advertising account, putting OgilvyOne on alert.

Translation has just debuted its first work for the NBA, following being awarded the account in December.

In the new spot, entitled “Barrier Breakers,” Translation celebrates the NBA’s history of inclusiveness: from the league’s color barrier being broken in 1950; to Violet Palmer, the league’s first female ref; to Jason Collins, the first openly-gay player in the NBA. Images of these “Barrier Breakers” are set to excerpts from Martin Luther King Jr.’s famous “I Have A Dream” speech. The ad made its debut online today and will extend to broadcast during NBA games this coming Monday, Martin Luther King Day, and continue to air for five weeks.

“Barrier Breakers” seems to be Translation and the NBA’s effort to put last year’s Donald Sterling incident behind them as a dark moment in the history of a league that otherwise has many moments to celebrate. How tasteful viewers find the ad will depend largely on how they view the commercial use of the words of Martin Luther King, and whether they interpret the ad as simply designed to sell more seats or as having higher intentions.

Credits:

Title: Breaking Barriers
Client: NBA
Agency: Translation
CEO: Steve Stoute
Chief Creative Officer: John Norman
Executive Creative Director: Betsy Decker
Art Director: Matt Comer
Copywriters: Andy Ferguson, Betsy Decker
Director of Content Production/EP: Miriam Franklin
Associate Producer: Philinese Kirkwood
Account team: Tim Van Hoof, Chris Martin
Chief Strategy Officer: John Greene
Head of Brand Strategy: Tim Flood
Strategist: Lindsey Neeld
Project Manager: Matt DeSimone
Editorial Company: Cut & Run
Editor: Dayn Williams
Assistant Editor: Adam Bazadona
Post Executive Producer: Rana Martin
Post Producer: Jean Lane
Visual Effects: Sibling Rivalry
Creative Director: Matt Tragesser
Animator/Compositor: Gabe Darling
Executive Producer: Maggie Meade
Head of Production: Joanna Fillie
Post Producer: Tracey McDonough
Telecine/Conform: Company Three/Method
Colorist: Rob Sciarratta
Flame Artist: Carmen Maxcy
Audio Post: Heard City
Mixers: Phil Loeb, Evan Mangiameli
Executive Producer: Gloria Pitagorsky
Music: Trackmasters

Waka waka waka.

Bud Light on Friday released the 15-second teaser below for its upcoming 60-second Super Bowl commercial, in which—as promised—a man accepts a challenge to play a crazy, life-size game of Pac-Man.

As seen in the teaser, the dare is written on the label of his Bud Light bottle. That ties into a new Anheuser-Busch packaging campaign that began in December, in which Bud Light bottles now come with almost 50 different “Up For Whatever” messages to inspire drinkers to be more spontaneous and fun.

In the full 60-second Super Bowl spot, titled “Coin,” from EnergyBBDO, the man follows the hint on his bottle and “finds himself in a giant Pac-Man maze, having the time of his life,” says the brand.

The work builds on Bud Light’s buzzy 2014 Super Bowl campaign “Epic Night,” which starred Arnold Schwarzenegger and Don Cheadle and took the brand away from its usual scripted jokes and into dynamic real-life stunts. This year’s campaign will be supported by a three-day House of Whatever event in Arizona, near the site of the Super Bowl.

In addition to the Bud Light spot, A-B plans to air two 60-second Budweiser ads (one of them a sequel to last year’s chart-topping “Puppy Love”) on the Feb. 1 Super Bowl telecast.

Early in the pilot episode of Amazon Prime’s “Point of Honor,” a Confederate officer gets his arm blown off in a graphic battle scene that evokes Omaha Beach in “Saving Private Ryan.”

In “The Man in the High Castle,” another of the 13 pilots released Thursday by Amazon.com’s $99-a-year shipping-cum-video service, a young man emerges from a theater to a 1962 Times Square imagined by Philip K. Dick, in which the Nazi swastika dominates, and German soldiers patrol the streets of New York City.

The shows, released in the wake of Amazon’s victories at the Golden Globes and a new deal with Woody Allen, affirm the online retailer’s growing stature in Hollywood. With this batch, Amazon is showing off the high-level talent it’s attracted. “Blade Runner” director Ridley Scott executive produced “The Man in the High Castle,” based on Mr. Dick’s alternative history of the world. “Lost” executive producer Carlton Cuse is behind “Point of Honor.”

Continue reading at AdAge.com

Mr. Oppenheim succeeds Jamie Horowitz, a former ESPN executive who was ousted in November after a series of disputes with the show’s staff and NBC News executives.

Hi Readers,

How are you? Did you have a good holiday break? Do you have big plans for 2015?

And how has your week been? Ours has been a little unusual.

Some things happened to the site…and you noticed! No, this was not a stunt run to see whether you were paying attention. But since you’ve been asking us a lot of questions via Twitter, email, and the anonymous tip box, we figured it would be best to explain said changes (ha ha) in a Q&A so as to best address your concerns in order of relevance.

Did you sell out?!

Technically, yes. Our parent company Mediabistro was acquired last year by Prometheus Global Media, a b2b business that also owns Adweek, The CLIO Awards, and several other major trade properties like Billboard and The Hollywood Reporter.

In short: while we are not owned by Adweek, we are owned by the company that owns Adweek — and that change culminated in the redesign that launched on Tuesday.

Did you kill the comments forever??

Agency PR people will be very disappointed to learn that the answer is no. It’s true that Disqus has been inconsistent this week, but it should be back to normal by next week — and as soon as it starts behaving, you can resume commenting as you see fit…with the understanding that we can delete and blacklist you if you get especially nasty or impersonate other people.

What happened to all of our old comments??

Again, to the chagrin of your agency’s PR department, your old comments are not gone for good. They’ve disappeared for the moment, but they will be back. As we explained on Twitter, the process of uploading nearly ten years’ worth of invective is taking longer than expected.

Are you interested in covering a new campaign for client X by agency Y?? Did you know that our production house signed not one but TWO new award-winning directors?? Would you like to talk to the founder of a hot new adtech startup about trends in programmatic buying?? Do you have time to meet our new client’s CEO for coffee next week?

Oh sorry, those were pitch email questions; we get a lot of them. (But the answers are: possibly, no, definitely not, and please stop asking this question.)

Are you aware that we only read this site for the comments?

No comment.

Are you going to keep forcing us to click through every post to see how many comments are in the thread?

See above.