Voici la bande-annonce du premier film de Ryan Gosling : « Lost River ». Il raconte l’histoire fantastique d’une mère célibataire entrainée dans la décadence et de son fils qui découvre une route secrète menant à une cité engloutie qui leur permettra peut-être de s’en sortir. Avec Christina Hendricks, Saoirse Ronan, Iain De Caestecker et Eva Mendes, une vidéo à découvrir dans l’article.
Parodiar filmes nos pôsteres das expedições da Estação Espacial Internacional já é uma tradição. Desde que a expedição 16 – que foi para o espaço em 2007 – imitou a capa de “Matrix”, diversos outros filmes e séries de TV já foram homenageados nas fotos oficiais da NASA.
A expedição 42 não perdeu a chance de aproveitar o número icônico e parodiar “O Guia do Mochileiro das Galáxias”. Também já teve “Arquivo X”, “Firefly”, “Cães de Aluguel”, “Tron”, “Piratas do Caribe”, “Transformers” e até a capa de “Abbey Road” dos Beatles. Alguns desses pôsteres estão logo abaixo, mas você pode ver todos no site da NASA.
É tudo um Photoshop meio tosco, mas você ligaria pra isso se fosse um astronauta prestes a ir de verdade para o espaço?
Post originalmente publicado no Brainstorm #9
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Though the event itself is still a few months away, the hype surrounding the Cannes Lions 2015 Festival has already begun thanks to a new campaign from McCann London, which aims to support “investing in creativity” by highlighting some rather underwhelming staffers.
With characters ranging from a VP of marketing above to a producer to a washed-up creative team, the work promoting the annual agency gala (and the need to secure your delegate passes) should provoke spark a conversation on the strength of its self-deprecating concept.
Speaking to The Drum, Cannes Lions director of brand strategy Senta Slingerland says:
“We wanted to stress the point that not looking after your talent is a much more expensive exercise than developing it. Investing in creativity will drive your business forward, and coming to Cannes is the perfect way to do that.”
This marks the second year of Cannes Lions’ relationship with McCann, which also handled press duties for the campaign.
Advertising Agency: McCann, London, UK
Executive Creative Directors / Co-Presidents: Rob Doubal, Laurence Thomson
Creative Director: Mike Oughton
Copywriters: Jess Mallett, Mike Oughton
Art Director: Carl Rapp
Head of Art: Michael Thomason
Head of Design: Gary Todd
Digital team: Andrei Andreescu, Thomas Ilum
Typographer: Gary Todd
Retouching: Rob McDonald / Craft
Managing Partner: Tom Wong
CFO: Saj Manzoor
Strategist: Thomas Keane
Producer: Sophie Chapman-Andrews
Project Manager: Anna Henderson
Editor: Dan Good / Craft
Photographer: Dan Burn-Forti
Honda teaches you to speed read in a series of ads which—in a nice nod to its vehicles—keep accelerating if you’re up for a challenge.
Apps have revolutionized speed read lately by displaying a single word on the screen at a time, one right after another in rapid succession. Partly because this reduces eye movement, these apps help readers not just beat but destroy the average reading pace of 220 words per minute. (Most of the apps default to 250 words a minute to start.)
The Honda campaign, from Wieden + Kennedy in London, uses the same technique—with the on-screen copy that flashes by in a trim, minimalist 40-second spot. A second ad lasts 30 seconds, with the text moving that much quicker. A third and final ad lasts just 20 seconds. (It’s kind of a shame there aren’t more. I was prepared to see how fast I could really go.)
The three spots combined have more than half a million YouTube views in a couple of days. That’s some speedy likes for some speedy reading.
La designer hollandaise Jody Kocken a conçu une version moderne du sac de pique-nique : esthétique, fonctionnel, qui s’assemble facilement et comporte plusieurs compartiments pour transporter différents types de nourriture. Il se porte sur l’épaule comme un baluchon et le tissu du sac sert également de nappe. A découvrir.
Nos Estados Unidos, até há algum tempo, homens homossexuais e bissexuais não podiam doar sangue, segundo determinação da Food and Drug Adminstration. A agência, responsável pelo controle de alimentos e medicamentos, usou o medo de uma possível exposição ao vírus HIV como justificativa. Agora, no entanto, o regulamento foi abrandado, sendo que gays já podem doar sangue… desde que eles fiquem pelo menos 1 ano sem sexo.
Já tem muito tempo que pessoas bem-informadas sabem que o que conta, em relação ao HIV, não são os grupos de risco, mas sim as atitudes de risco. Atitudes que não estão restritas à orientação sexual, uma vez que heterossexuais também têm o costume de praticar sexo de risco.
É aí que entra o vídeo acima, estrelado por Alan Cumming – o intérprete do impossível Eli Gold em The Good Wife. Cheio de ironia, ele incentiva o público a adotar o celibato, para que possam colaborar com os bancos de sangue, mostrando algumas das alternativas para quem resolver ficar um ano inteiro sem sexo.
Ao final, diante do tamanho absurdo, ele convoca o público a assinar uma petição para que a orientação sexual torne-se um quesito secundário, enquanto sua exposição ao risco torna-se mais importante.
A campanha foi criada pela Saatchi & Saatchi de Nova York para a GLAAD e a Gay Men’s Health Crisis.
Post originalmente publicado no Brainstorm #9
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Em inglês, os pen drives também são chamados de “thumb drives”. “Thumb”, em inglês, é o dedo polegar – também conhecido popularmente como dedão. ThumbDrive foi um dos primeiros nomes comerciais utilizados para o gadget, em referência ao seu tamanho. Mas o fotógrafo Justin Poulsen preferiu levar o trocadilho ao pé da letra.
Poulsen é especializado em criar objetos cenográficos extremamente realistas para suas fotos. E, para divulgar seu portfólio, o fotógrafo recriou em silicone seu próprio polegar, em réplicas exatas muito detalhadas. Transformados em verdadeiros thumb drives, os polegares foram enviados para clientes em potencial. Uma forma criativa de conseguir novos clientes (a não ser os que ficaram horrorizados em receber um dedão amputado, vá lá).
Post originalmente publicado no Brainstorm #9
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The Wall Street Journal has begun a new marketing campaign with the theme “Make Time,” designed to gain broader readership amid fierce competition in business journalism.
The premise is simple: Even the busiest people — by implication the most successful — make time to read the Journal. But it’s also a reminder of the onslaught of media and demands confronting readers. The nearly infinite supply of distractions online has even led to an effort to charge advertisers by the number of minutes a publication can capture from readers, rather than the usual metric of how many readers stop by.
This weekend, while you were nursing your hangover and preparing for the Oscars, a debate occurred on Facebook between ad industry veterans.
It would seem that Droga5 CCO Ted Royer — or at least his official online biography — took what felt to some like an excessive degree of credit for ESPN’s acclaimed series of SportsCenter campaigns, launched by Wieden+Kennedy in the 90s.
Here’s the line from Royer’s bio that started the debate:
Others — chief among them former ESPN marketing director and ad industry veteran Allan Broce — took issue with the language above.
The resulting Facebook post and comment thread are no longer online, but we can recreate the exchange for you via the magic of screenshots:
Broce and several fellow ad industry players followed by debating the size of said balls. Here’s Scot French, who was an account executive at Wieden+Kennedy when the campaign first launched:
W+K veteran Matt Stiker, who also worked on the ESPN account during that period, responded with a letter:
Stiker did receive that prompt reply:
The updated bio page reads exactly as the note promised it would:
Broce followed by bringing the debate to an end and noting that Royer had probably not written his own bio in a conscious attempt to take greater credit for the campaign at large:
The contested line still contains a moderate dose of snark, but all’s well that ends well in ad land.
Last year, Samsung grabbed attention at the Oscars with a certain celebrity selfie. This year, 72andSunny mostly promoted Samsung’s other hardware — specifically its SUHD TVs, tablets and Gear VR virtual reality headset.
Comedy Central’s Keegan-Michael Key and Jordan Peele (of Key & Peele) appear in “The Best TV Deserves the Best TV” in which they are amongst a cast of people talking about their favorite shows and movies. The comedic duo, it turns out, have an idea of their own for “the greatest show of all time ” — Found, which is just one episode. They throw out some other ideas in the 90-second ad, such as Zombees and Night Club Court, and their appearance has the feeling of some of the more open-ended, seemingly improvisational segments on their show used to fill in space between sketches. Without Key and Peele, the spot would feel like just another ad celebrating film and TV to promote a high definition television, but they help elevate it to something a little more worthwhile.
“Movie Magic,” the other spot Samsung ran during the award ceremony is more typical Oscar ad fare. After a couple sees a movie together, a woman decides she’s going to make a movie that will “kick that movie’s movie butt” and the remainder of the ad focuses on her creative process, while highlighting several Samsung devices she uses. While not without its charm, the basic premise is commonplace enough that Apple released something fairly similar, showing how their devices could be used by aspiring filmmakers, and it drags on at 90 seconds.
The Wall Street Journal has begun a new marketing campaign with the theme “Make Time,” designed to gain broader readership amid fierce competition in business journalism.
The premise is simple: Even the busiest people — by implication the most successful — make time to read the Journal. But it’s also a reminder of the onslaught of media and demands confronting readers. The nearly infinite supply of distractions online has even led to an effort to charge advertisers by the number of minutes a publication can capture from readers, rather than the usual metric of how many readers stop by.
Every weekday, we bring you the Ad Age/iSpot Hot Spots, new and trending TV commercials tracked by iSpot.tv, a company that catalogs, tags and measures activity around TV ads in real time. The New Releases here ran on TV for the first time over the weekend. The Most Engaging ads are showing sustained social heat, ranked by SpotShare scores reflecting the percent of digital activity associated with each one over the past week. See the methodology here.
Among the new releases, Adobe taps Steven Tyler’s voice and visage for a spot celebrating the 25th anniversary of Photoshop. Both Apple and Samsung put out new ads during the Oscars featuring movie-making magic, with the iPad starring in a highbrow concept while the Galaxy devices take a more DYI route. And Coke provides a series of blockbuster hijinks in its ad for “a generous world.”
As always, you can find out more about the best commercials on TV at Ad Age’s Creativity.
Google is locking arms with the carriers to ensure that Apple doesn’t run away with the mobile-payments industry.
On Monday morning, the company announced it reached a deal with three telecom companies — Verizon, AT&T and T-Mobile — and acquired some technology behind their jointly backed digital wallet, Softcard, to spread the search giant’s reach in mobile payments. Google Wallet, its digital payment product, will be embedded with Android devices running on the three wireless networks, the company announced in a blog post.
Google is only acquiring certain intellectual property from Softcard, the payments company formerly known as Isis. Sprint, which declined to participate in Softcard’s founding, in 2011, is not included in the arrangement. Both Google and Softcard declined to comment, pointing to their respective blog posts.
Apple continued its ongoing relationship with director Martin Scorsese in this year’s Oscars campaign. (We don’t have credits at the moment, so we cannot properly attribute the work to TBWA/MAL.)
The central :60 spot caters to aspiring filmmakers and includes narration by Mr. Scorsese recorded during his commencement speech to the 2014 graduating class of NYU’s Tisch School.
The campaign went beyond that spot, working under the tagline “Shaping the future of filmmaking” and casting the iPad as “the ultimate tool for independent filmmakers.”
The ad includes footage from projects created by three students at Los Angeles County High School for the Arts, who produced their short films over three days using only an iPad. To watch those pieces in full, you’ll have to check out the campaign site.
The campaign facilitated some interesting work while forcing us to ask the obvious question: how many of these aspiring auteurs will NOT go into advertising?
Last week, Cadillac released the online version of Publicis’ “Arena,” the first ad for the brand’s new “Dare Greatly” campaign as well as the first spot from Publicis since winning the account in December, while promising several more ads in the campaign would debut during the Oscars.
Well, now those spots are in, giving a more clear picture of the “Dare Greatly” campaign and Publicis’ strategy to attempt to revitalize the struggling brand. The newly-released ads follow the same kind of philosophy as the first, but tie it more directly to the brand. While “Arena” notably didn’t feature a Cadillac, the Cadillac CT6 is (eventually) featured in the new ads.
In “The Daring: No Regrets” Publicis and Cadillac bring in a host of innovators, such as Apple co-founder Steve Wozniak, fashion designer Jason Wu and Boyhood director Richard Linklater (a nice move for an ad making its debut during the Oscars, given his nomination). The spot makes statements beginning with “How dare…” to show how “Only those who dare drive the world forward,” tying them to the brand with the line, “How dare a 112-year-old carmaker reinvent itself as the CT6 is finally revealed. Also notable is that, like “Arena,” the ad makes extensive use of shots of New York, Cadillac’s new home. Other spots examine the individuals highlighted in “The Daring: No Regrets” more closely, such as the 30-second efforts for Wu and Wozniak below.
It’s clear that Publicis is taking a more image-driven approach, attempting to manufacture a certain philosophy for the brand that will appeal to a younger crowd, rather than emphasizing the selling points of the vehicle itself. “Luxury brands don’t sell products, they sell dreams,” Cadillac Chief Marketing Officer Uwe Ellinghaus told The Wall Street Journal. “People need to find Cadillac inspiring and having a spirit and attitude, a clear point of view.”
Baffled about what to do with your worst-performing employees? Reward them with a trip to the Cannes Lions festival in the south of France this summer!
That’s the tongue-in-cheek message of the festival’s official ad campaign, which launches Monday. Don’t think of it as a reward. Think of it as an investment in creativity. After all, as the tagline points out, sending underperforming staff to Cannes as delegates is “cheaper than severance.”
Photographer Dan Burn-Forti shot both the print ads and the online videos, created by McCann London.
“Although our campaign is humorous, it makes a very sensible point. Why should being a Cannes Lions delegate be the preserve of the already excellent?” says Rob Doubal, co-president and chief creative officer of McCann London. “If we really want a more creative world, as we all profess, we should also be encouraging the not-so-excellent performers to be inspired by Cannes Lions.”
So, if your boss hasn’t penciled you in for a Cannes trip, now’s the time to evolve your approach from sucking up to just plain sucking.
The print ads:
The videos:
Advertising Agency: Publicis
Executive Creative Director: Andy Bird / Publicis London, Joseph Johnson / Publicis New York
Creative Directors: Carlos Figueiredo, Jean Rhode, Roger Norris
Chief Production Officer: Lisa Bifulco
Executive Producer: Lauren Schneidmuller
Associate Producer: Jennifer Truss
Music Producer: Theresa Notartomaso
Broadcast Business Manager: Janet Wollman
Global Chief Strategy and Innovation: Officer Dylan Williams
Chief Strategy Officer: Carla Serrano
Chief Marketing Officer: Julie Levin?
Account Executive: Kristin Pulaski
Strategy Director: Ben Zumsteg
Strategist: Anthony Harris
Creative Services Manager: Paul Daligan
Account Executives: Kelsey Ferguson, Kristin Pulaski
Chief Strategy Officer: Carla Serrano
Strategy Director: Ben Zumsteg
Chief Digital Officer: Dawn Winchester
Creative Director of Digital Design: Sabine Roehl
Associate Creative Director: Roman Tsukerman
Executive Interactive Producer: Lissa Robinson
Production Company: Independent Media, Inc.
Director: Doug Liman
Director of Photography: Janusz Kaminski
Executive Producer: Susanne Preissler
Head of Production: Marc Siegel
Line Producers: Brad English, Denise Rocchietti
VFX: The Mill
Executive Producer: Melanie Wickham
Producer: Jason Bartnett
VFX Lead: Gavin Wellsman
VFX Supervisor: Hitesh Patel
Editorial: Lost Planet
Editor/Sound Design: Hank Corwin
Assistant Editor: Federico Brusilovsky
Executive Producer: Krystn Wagenberg
Producer: Lauren Hafner Addison
?MIX: Tom Jucarone / Sound Lounge
La firme créative allemande Deepblue Networks a récemment collaboré avec l’illustrateur et graphiste Florian Schommer de Kjosk Collective pour créer une série de bâtiments animés en utilisant les lettres de leur logo. Chaque lettre du logo devient un bâtiment de plusieurs étages dans lequel on observe les mouvements du personnel à l’intérieur. A découvrir.
A l’occasion des Oscars 2015 et de la tradition annuelle « Oscar Pop! », des designers de la banque d’images Shutterstock ont imaginé des posters pour chaque film en compétition : Boyhood, Birdman, The Grand Budapest Hotel, American Sniper, Whiplash, Imitation Game et The Theory of Everything ont revu leur esthétique revisitée à la manière pop-art.
By Odes Roberts.
By Bryant Nichols.
By Carisa Tong.
By Deanna Paquette.
By Jordan Roland.
By Nichole Garcia.
By Kathy Cho.
By Kristin Burton.
Google has launched YouTube Kids in the US, an app that offers child-friendly content and potentially ads.
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.
