Epique: Beauty not a number
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Nothing beats eating pizza with friends. But even if you’re eating with your very best buddy, it’s always a battle of wits. Just like a strategy game, you have to plan ahead – who’ll make the first move, who’ll eat the slice with the single olive, who’ll get left with the smallest slice. Friendship is a lovely thing – as long as you win.
In order to change the prescription in Israel about Volvo we come up with a campaign that emphasis volvo’s safety technological superiority and innovation.
Is advertising art? Can it ever be?
Before you tell us how tired you are of people asking this question, some context: the Association of Independent Commercial Producers is promoting its upcoming awards events AICP Show and AICP Next Awards with a campaign hyping its collaboration with the Museum of Modern Art’s Department of Film. This work plays on the idea that most creatives in the ad industry are former fine arts majors who had to find a way to make a living. (So are many of us in media, btw.)
Specifically, it compares some prominent creatives to big name artists by tallying the works they have housed in the MoMA.
First, it’s FCB’s Susan Credle versus that guy with one ear:
FACT CHECK: Credle did not, in fact, post 50 selfies in one day. We rate that claim #FakeNews.
Jeff Kling and Jeff Koons are also running neck and neck, though the pop artist manages to beat out the Fallon CCO by one.
We like how Kling hammed it up there. And of course, many “traditional” artists have always disliked Koons and pop artists like him for supposedly commenting on the shallow nature of our culture by celebrating it.
Now for perhaps the most shocking statistic: Gerry Graf and Paul Cezanne have the same number of works in the MoMA. No, you probably won’t see Snyder’s of Hanover ads airing on the wall next time you walk into the museum. But you get the point.
OK, OK. Slow clap. And that paternity suit thing is a joke. We Googled.
You can thank R/GA for the idea behind this one as Nick Law and Jay Zasa came up with it. Law is also 2017 AICP Next Awards Judging Chair. R/GA creatives Mike Donaghey and Chris Joakim contributed, and the subject of each short wrote its respective script—which explains the Graf entry.
Your press release quote from AICP president and CEO Matt Miller:
“The conversation about art and advertising is over—its now about Art vs Advertising as creative rivalries percolate across media platforms. The archive at MoMA is a huge achievement, offering unequaled prestige to artists of all walks as they strive for creative recognition.”
Is the conversation really over, though? If you want to get all technical, “art” is a creative endeavor that has no specific commercial purpose. So advertising, by definition, can never be art, no matter how groundbreaking it is or how many boxes of cereal it sells or how many Adweek covers it inspires. This is also why “art” in the traditional sense is dead, because who the hell can afford to spend countless hours creating stuff without the assurance that there’s money to be made? Remember how Van Gogh only sold one painting during his lifetime?
The MoMA does have at least one thing in common with ad agencies, though: both organizations (allegedly) overwork employees while paying them peanuts. It’s barely a living, but the health benefits might be described as “kind of generous!”
The deadline to enter the AICP Awards is next Friday, March 3, 2017. Here’s your link.
CREDITS
Creative Concept
R/GA
Nick Law, Vice Chairman, Global Chief Creative Officer R/GA
Jay Zasa, SVP, Executive Creative Director, R/GA
Mike Donaghey, Creative Director, R/GA
Chris Joakim, Creative Director, R/GA
Writing Credits
Susan Credle, Global Chief Creative Officer, FCB Global (“Van Gogh vs Credle”)
Gerry Graf, Chief Creative Officer, Barton F. Graf (“Cezanne vs Graf”)
Jeff Kling, Chief Creative Officer, Fallon (“Koons vs Kling”)
Editorial
No6
James Duffy, Editor
Nick Schneider, Editor
Lucas Spaulding, Editor
Renn Cheadle, Assistant Editor
Connie Chuang, Assistant Editor
Malia Rose, Producer
Yole Barrera, Producer
Corina Dennison, Executive Producer
Production
Fallon
“Koons vs Kling”
Collin Goodspeed, Director
Valeska Bachauer & Lauren Carpenter, Art Direction
Jeff Kling, Talent
Music
JSM Music
Joel Simon, CCO/CEO
Jeff Fiorello, Executive Producer
Norm Felker, Producer
Audio & Voice Over Recording
COLOR
Josh Abbey, Engineer / Partner
Kevin Halpin, Engineer / Partner
JD Heilbronner, Engineer / Mixer / Tech Producer
Jeff Rosner, Executive Producer / Partner
Voice Over Artist
Alex Warner
The latest innovation in Barbie might please geeky parents just as much as kids. Last weekend at the New York Toy Fair, Mattel unveiled Hello Barbie Hologram, a more lively–if less tactile–version of 2015’s Hello Barbie doll. Like an Amazon Echo that smiles, holo Barbie hangs out in her box and cheerfully answers questions ……
“Aleysa’s work is fresh and funny, and the entire Community family was immediately drawn to it,” says EP/Partner Lizzie Schwartz. “Everyone laughed, because the work captures many of the hilarious truths about our modern lives,” adds EP/Partner Carl Swan. “We are very happy to have Aleysa join us and look forward to creating a lot more together.”
Director Aleysa Young spent her formative years between Vancouver, Montreal and Indonesia, and came to directing thru her work as a Casting Director and as a producer of RESFest Canada. Today, she works as a Director splitting time between Toronto and Los Angeles. She has directed spots for such brands as Mitsubishi, Toshiba, Caramilk, Molson, McDonald’s, and Subway. Her work has been recognized by such awards as Cannes Lions, Bessies, Marketing Awards, Advertising & Design Club of Canada, Applied Arts, Shark Awards, Boards Top 10 Emerging Talents in Toronto, Shoot New Directors Showcase, to name a few.
Young is currently working on awesome TV shows. Her recent CBC hit “Baroness Von Sketch Show” was an instant success, and has been called the funniest thing on Canadian Television since “Kids in the Hall”. It’s recently garnered five Canadian Screen Awards, including Best Director. She recently wrapped “Workin’ Moms,” a half-hour comedy series, as well This Hour Has 22 Minutes, a news satire show, both for CBC.
“I was drawn to Community Films because of the quality of their work and roster,” concludes Director Aleysa Young. “In addition, Carl and Lizzie have extensive experience and backgrounds, and I knew I would be in good hands with them.” Young continues: “I wanted to find a boutique company with a manageably sized roster where I wouldn’t get lost in the mix, and Community’s well-curated group of talented directors seemed like a great fit. It was clear that Community really cares about the quality of the work, and that is very important to me.”
To view Editor Nate Pence’s reel, go here: http://twopoint0.tv/nate_pence.php
“Anthony and I are excited to expand TwoPoint0’s roster to Chicago!” says TwoPoint0 Co-Founder/Executive Producer/Editor Wendy Rosen. “We feel Nate is the perfect Editor to launch this venture. Nate’s reel speaks for his talent and skill. Whether it’s storytelling or design-based work, his editorial sensibility shines through. Anthony and I are huge fans of Nate’s, and we look very forward to welcoming him into the TwoPoint0 family.”
Nate Pence began his career at Whitehouse Post in Los Angeles and along the way has made stops at Beast, Digital Kitchen and Conspiracy. Especially drawn to design-based and docu-style projects, he’s worked internationally, on both coasts and on sets, in hotel rooms and motor homes and all points in between. With over a decade in postproduction he’s been a part of many distinguished campaigns including those from The Cosmopolitan of Las Vegas, Intel, the Chicago Cubs and the first global efforts for Sailor Jerry Rum.
“We had a fantastic experience working with Nate,” says AJ Hassan, Executive Creative Director for R/GA. “He’s a great storyteller and has an impeccable eye for detail. We appreciated his collaborative style, it made the whole process a pleasure.”
Jason Mann, Creative Director at Havas, agrees: “The best thing about working with Nate is that you get much more than a top-notch Editor. He had a point of view about every element of our projects that helped enhance each one of them.”
Director Ky Dickens of Story notes: “Nate edited a piece that I directed for Koval Distillery,” she explains. “Nate offers the perfect mix of collaboration and idea generating. I love when Editors can look at my footage and understand the story I hope to tell, while offering their own fresh perspective and voice. Nate has a great eye, a commitment to honest storytelling and quality, and a knack for timing and juxtaposition that makes him a joy to work with on creative endeavors.”
“Joining forces with TwoPoint0 is really exciting,” concludes Pence. “As the editorial business evolves, it’s crucial to be able to adapt and have more flexibility. The post model that Wendy and Anthony are pioneering makes so much sense and I’m fired up we’re on each others’ team.” Pence is currently editing a Groupon campaign via O’Keefe, Reinhard & Paul.
About TwoPoint0:
With years of industry experience between them Partner/Executive Producer/Editor Wendy Rosen & Partner/Editor Anthony Marinelli launched TwoPoint0 in Fall 2015. Based on an innovative, new business model, the editorial company and creative collective features the talents of the two founding partners, as well as such luminary Editors as: David Cornman, Charlie Cusumano, Jane Keller, John Marinis, Debbie McMurtrey, Nate Pence, Keith Olwell, Jon Rosen, Jón Stefánsson, and Terence Ziegler.
According to Wendy Rosen & Anthony Marinelli, TwoPoint0 is a collective wherein creative Editors can feel as though they have a home. “It is an answer to the constantly shifting advertising/post-production landscape where more and more highly experienced, talented creative individuals prefer to be in the freelance world, yet still desire administrative, production and promotional support,” explains Rosen.
“We take the post-production model a step beyond the previous four-walling concept,” adds Marinelli. “We provide a seasoned Executive Producer with Wendy, who is also an Editor herself, so she really understands what the needs of an Editor are on any given project. We also have all the staff-support needed for a flawless experience. Wendy actively represents Editors in the collective, assessing upcoming jobs in the marketplace and determining a complimentary Editor for a particular project or client.
“Envision a new working model and a company, a collective, that is flexible, nimble and ready to meet the challenges of today’s advertising, production and post-production market,” explains Marinelli. “To borrow a Marshall McLuhan analogy, we’re no longer looking into the rearview mirror of the industry, but focusing our attention on the road ahead.”
As founding partners in TwoPoint0, for Rosen & Marinelli, their goal and mission is to create more opportunities for freelance Editors while offering greater flexibility to clients by customizing each project to their needs, from conception to completion, with an eye towards comfort and convenience in the process. Ready to meet the challenges of a constantly evolving industry, putting the work first, providing all the technical expertise, creativity and passion every project demands.
Chimney, the Sweden-originated international post production company, has finally come to the US. Their new Los Angeles office is the first American office, totaling 12 locations worldwide. The team has hit the ground running, working with Team One to produce two Lexus campaigns, including one that debuted during the Super Bowl.
Founded in Stockholm in 1995, Chimney now produces over 6,000 pieces for more than 60 countries each year, averaging 1,000 projects and 10,000 VFX shots annually (including 3,500 VFX shots). The company is privately held by 50 of their artists, anchoring their core belief that compelling work is curated by focused and creatively driven individuals.
Chimney is known for delivering within all content creation areas and utilizing state-of-the-art post production facilities and dedicated artists. And housing offices in a dozen cities around the globe enables them to deliver 24-hour service with passion, creativity, and quality at heart.
This passion and creativity can be seen in their most recent work with Team One on the Lexus “Man & Machine” Super Bowl Spot, which also utilized talent from Chimney’s Poland and Sweden offices to bring the collaboration to life. Jesper Palsson, Managing Director of Chimney LA, gushed that there is “no better way to start in the US than with a high-end Super Bowl commercial. It’s really been a pleasure working with the super professional people over at Team One and the brilliant Jonas Åkerlund.” He went on to describe the project as trying to “enhance the Lexus promise of performance, engineering, design, and craftsmanship prowess. With a tight deadline, high-end VFX and an all-star team from agency and production company we had to go all in on this one.”
The Super Bowl spot sees movement artist Lil Buck gliding, twisting and jookin to Sia’s lastest single, “Move Your Body,” (from album “This Is Acting”) around the new Lexus LC 500, creating visual and emotional parallels between the sleek automobile and jaw-dropping dancer. Even before airing, the commercial has been deemed a success, with numerous publications praising it. The Drum said, “Lil Buck’s amazingly fluid movements are compared to both the body and the engine of the automobile, with a sort of symbiosis between man and machine;” and Fast Company pointed out, “The technique is smart because it’s impossible not to notice that this is a really rather beautiful automobile.”
With extensive experience and roughly 400 artists worldwide, it’s the perfect time for Chimney to expand into the US market. And by doing so, they signed with Shortlist Mgmt, joining other A-level talent like RSA, Caviar, Tool, and No6 Editorial. Charlie McBrearty, Founding Partner of Shortlist Mgmt, described adding Chimney to Shortlist’s roster, saying that they’ve “been on our radar for quite some time and we are very excited to be part of their US expansion. The market is ready for a new kid on the block to offer amazing talent and great efficiencies in post production. Shortlist is no stranger to Managing Director Jesper Palsson and we are thrilled to be reunited with him after our past collaboration through Stopp USA.” Chimney is a welcome addition to Shortlist, especially as their sole Post Production/VFX client.
When asked why Chimney decided to open an office in LA, Founder Henric Larsson said, “Believe it or not… it was not the palm trees and beaches that made us open up in LA. We’re film nerds, and have been doing this for 22 years with 12 offices in 8 countries. We want to work with the best talent in the world, and where do we find the top directors, DoPs, ADs, CDs and Producers if not in the US?”
Simon Dumenco, aka Media Guy, is an Ad Age editor-at-large. You can follow him on Twitter @simondumenco.
Fans of The Young Pope already know that Pope Pius XIII, played by Jude Law, isn’t cut from the same cloth as his predecessors. He’s seductive. He smokes. And he might troll you on Twitter. To draw more audiences to the less-than-pious new series about Pius, French network Canal+ launched “AiMEN.” Short for “Papal Artificial…
A decade-by-decade history of race and racism in America, compiled by a National Book Award Winner.
Alison Mitchell will be an assistant editor and the third woman to join the masthead in recent weeks.
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Unilever, the second-biggest global advertiser, has begun a strategic review of its operations and boosted its profitability forecast following Kraft Heinz Co.’s failed $143 billion takeover proposal.
“The events of the last week have highlighted the need to capture more quickly the value we see in Unilever,” the Dove soap marketer said in a brief statement Wednesday. The company said it’s conducting “a comprehensive review of options available to accelerate delivery of value for the benefit of our shareholders.”
While Kraft Heinz dropped its unsolicited approach Sunday, only two days after it surfaced, the review shows that Unilever CEO Paul Polman isn’t going back to business as usual but taking steps to boost the company’s value in a bid to fend off other unwanted suitors. Unilever said it expects core operating margin improvement for 2017 to be at the upper end of its guidance for an increase of 40 to 80 basis points.