Masochistic Art Director Applies for Agency Jobs Vowing Never to Sleep Again

Is it wise or foolish, when trying to get a job in advertising, to tell agencies you don’t plan on sleeping after you start work? You might just get the job—but then, you’ve pre-debased yourself and won’t ever be able to slack off.

The guy behind the video below figured it was worth a shot—and put together an impressively creative direct mail piece that he sent to agencies in Copenhagen, hoping his tireless focus on his own tirelessness would win them over.

“No Sleep” pills? A résumé made to look like a doctor’s prescription? A business card printed on a pillow? He included all of this and more. Check out the video to see whether it worked. Via Hello You Creatives.



Vince Vaughn and Costars Pose for Idiotic Stock Photos You Can Have for Free

Stock photos have a bad rap. They’re campy and cheesy and the butt of plenty of jokes. But what’s great about them is they’re often the catalyst for promotions or gags—sort of a comedic blank slate.

Enter the new Vince Vaughn movie Unfinished Business, which comes out Friday. Twentieth Century Fox has teamed up with iStock by Getty Images to create a set of stock photos featuring Vaugh along with co-stars Tom Wilkinson and Dave Franco and others.

The film’s synopsis sounds right up Vince’s alley: “What began as a routine business trip goes off the rails in every imaginable—and unimaginable—way, including unplanned stops at a massive sex fetish event and a global economic summit.”

Twelve images are being made available for free download over three weeks. The first four are available here. But you can see the whole hilariously sterile set below.



Jeff Goldblum Is a Loony Futurist in RPA's New Ads for Apartments.com

Jeff Goldblum, who’s enjoying something of a renaissance as a pitchman, has scored another gig in a peculiar role as a futurist for Apartments.com—helping to introduce the company’s advanced, perhaps even futuristic new apartment-listings website.

In the campaign from RPA, Goldblum plays Brad Bellflower, an eccentric Silicon Valley maverick who’s pretty damn impressed by everything on the new Apartments.com, which includes “custom search filters, videos, and most of all, heart.”

The launch spot, which broke Sunday on The Walking Dead, shows Bellflower in a black void, surrounded by flashing white shapes, as he mutters futuristically about “game changers,” of which the new Apartments.com is clearly one.

It’s both parody and not-parody, which at first makes it hard to understand what to believe, though by the end of the :60 it’s clear Bellflower loves Apartments.com, and you should too, though maybe not quite as cosmically.

“Change your apartment. Change the world” is the tagline.

“Like any good Silicon Valley maverick, Brad’s vision for his apartment-listing website is nothing less than to change the world. But hyperbole and parody aside, finding a great place to live or moving to a new area really does change your world,” says Andrew C. Florance, founder and CEO of CoStar Group,parent company of Apartments.com.

Check out some out-of-home work from campaign below, plus credits. The company plans to spend $100 million on advertising, media, b-to-b marketing and search in the campaign.

CREDITS
Client: CoStar Group
Spot: “Launch”
First air: 3/1/15

Agency: RPA
Executive Vice President, Chief Creative Officer: Joe Baratelli
Senior Vice President, Group Creative Director: Pat Mendelson
Creative Director, Art Director: Hobart Birmingham
Creative Director, Copywriter: Perrin Anderson
Associate Creative Director, Art Director: Kirk Williams
Associate Creative Director, Copywriter: Eric Haugen
Senior Vice President, Chief Production Officer: Gary Paticoff
Vice President, Executive Producer: Selena Pizarro
Producer: Joshua Herbstman
Agency Assistant Producer: Grace Wang

Production: Anonymous Content
Director: Tim Godsall
Director of Photography: Bryan Newman
Executive Producers: Eric Stern, Rick Jarjoura
Executive Producer, Production: SueEllen Clair
Line Producer: Brady Vant Hull
Production Supervisor: Timothy Kreis

Editorial: Cut+Run
Managing Director: Michelle Eskin
Executive Producer: Carr Schilling
Head of Production: Amburr Farls
Editor: Steve Gandolfi
Assistant Editor: Sean Fazende

Finishing: Jogger Studios
Creative Director: David Parker

Visual Effects: Framestore
Senior Executive Producer: James Razzall
Producer: Andrew McLintock
Design Director: Sharon Lock
Computer Graphics Artist: Mike Bain
2-D Supervisor, 2-D Lead: Michael Ralla

Audio Post Company: Lime Studios
Executive Producer: Jessica Locke
Sound Engineer: Dave Wagg

Transfer: Company 3
Executive Producer: Rhubie Jovanov
Producer: Alexis Guajardo
Colorist: Sean Coleman

Music Company: Barking Owl
Head of Production: Whitney Fromholtz
Creative Director: Kelly Bayett

Talent: Jeff Goldblum

—Out-of-Home Credits
Agency: RPA
Executive Vice President, Chief Creative Officer: Joe Baratelli
Senior Vice President, Group Creative Director: Pat Mendelson
Creative Director, Art: Hobart Birmingham
Creative Director, Copy: Perrin Anderson
Associate Creative Director, Art: Kirk Williams
Associate Creative Director, Copy: Eric Haugen
Senior Copywriter: David Sullivan (for Living Near Burritos, Duck and Finding an Apartment Faster only)
Senior Art Director: Rob Anton (for Living Near Burritos, Duck and Finding an Apartment Faster only)
Photographer: Michael Muller
Digital Artist: Art Machine

—Digital Credits
Agency: RPA
Executive Vice President, Chief Creative Officer: Joe Baratelli
Senior Vice President, Group Creative Director: Pat Mendelson
Creative Director, Art: Hobart Birmingham
Creative Director, Copy: Perrin Anderson
Associate Creative Director, Art: Kirk Williams
Associate Creative Director, Copy: Eric Haugen
Junior Art Director: Josh McCrary
Junior Copywriter: Earl Lee
Photographer: Michael Muller
Digital Artist: Art Machine



Watch This Ad Carefully, and You'll Be Transfixed by the Car Sitting Quietly on a Street

The Skoda Fabia is a pretty special car. Just park it on the street and see what happens. It’s way more attention getting than you think. A very clever ad by AIS London and MindsEye director Luke Bellis.

There have been ads like this before, of course—notably, this 2008 spot about driving safely around cyclists.

CREDITS
Client: Skoda
Agency: AIS London
Art Director: Jay Packham
Copywriter: Ian Cochran
Director: Luke Bellis
Producer: Ben Sullivan
Production Manager: Carmen Siu
Production Company: MindsEye
1st AD: Jonathan Sidwell
Director of Photography: Dan Stafford-Clark
Gaffer: Stefan Mitchell
DIT: Nelson Oliver
Art Department: Hayley Macdonald
Art Assistant: Ruth Pickard
Postproduction: Tundra
Head of Post: Espen Haslene



Coca-Cola Celebrates Its Iconic Bottle's 100th Birthday With 15 New Ads

It’s the 100th anniversary of Coca-Cola’s classic glass bottle, and the soda brand is celebrating hard—with 14 new global ads in different styles.

The first might be best described as a super-diverse high-five stop-action hand party, shot by pop photographer David LaChappelle. Human paws of all colors, ages, types and garnishments inch toward each other, craving meaning, and connection, and presumably Coca-Cola, while a soundtrack about loving together reaches fever pitch in the background.

Naturally, in the end, all those lonely hands find their true purpose in life—coming together to pay homage to the shape of a Coca-Cola bottle.

In a second spot, Coke’s life actually flashes before its eyes. It had its first kiss in 1915, with Adrien Brody’s great-grandfather apparently, before seducing a stern young journalist during the anti-Vietnam War protests in the 1960s, and then proceeding to hang around for every good thing that’s ever happened, including break-dancing, bikinis, oceans, marriage proposals, Santa Claus, pool parties, street soccer and lots of young, beautiful people making eyes at each other.

And here’s a third spot that tells a tall tale—most of it animated—about the creation of the Coca-Cola bottle. There’s not much truth in advertising in this one.

There are still more ads on the Coke’s YouTube page, and the High Museum of Art in Atlanta has even mounted a whole exhibit, The Coca-Cola Bottle: An American Icon at 100.

See the 12 other ads below.



Agency Rigs Its Office to Count Everything That Goes On in Excruciating Detail

Do you love numbers? Not as much as Sid Lee does.

The agency’s Paris office is channeling Count von Count with a side project in which it set up digital sensors to count everything that goes on—how many cups of coffee are poured in a day, how many times the toilets flush, how many times employees use the “command + z” keyboard shortcut (that’s undo, for all you mouse-clicking Neanderthals), how many documents the fax machine sends (zero, since 2013, because ha ha, umm… what’s a fax machine?), etc., etc.

You can watch all this from afar, in real time, at dashboard.sidlee.com.

It’s more or less the perfect masturbatory agency promo for the age of breathless excitement about a near-future techno-utopia where everything is Internet-connected and reams of data provide unprecedented insight into humanity, and solutions to its problems.

By creating a public dashboard (powered by Arduino software) that tracks a largely mundane physical reality—the nuts and bolts of being a group of people who move through space making ads for a living—Sid Lee is almost able to have its cake and eat it too—proving competence in hardware-meets-software technology that might seem shiny to clients, but also casting a little self-aware doubt on the value of such an exercise. Or for less skeptical viewers, maybe it really is just a rah-rah celebration of the untapped potential of such stats—and a nice little blueprint for countless case studies about squishy success metrics.

Regardless, it’s fun to look at pretty graphs. Unfortunately, they don’t count how many bats are flying around the agency.



Apple Is Putting Users' Beautiful iPhone 6 Photos on Billboards and Print Ads

Photos taken on iPhone 6 are so good, you can blow them up and put them on a billboard.

That’s the message of Apple’s new “Shot on iPhone 6” print and outdoor campaign, which features real photos—taken by real iPhone 6 users—that Apple found online and loved. The company tells AdFreak that the campaign will feature shots from 77 individuals in 70 cities and 24 countries across the globe.

All of the photos were non-commissioned, found images. Apple combed through tens of thousands of photos to choose the ones for the campaign. The overall message is that iPhone is the world’s most popular camera, and is even better with iPhone 6 and iPhone 6 Plus thanks to improved software and hardware.

Check out a sampling of the photos below (with blurbs by Apple), and many more at apple.com/worldgallery.
 

• Shot by Gabby K. in Snoqualmie Pass, WA
Soft lighting and a focus on reflections can add a dreamy, ethereal quality to a photo — here, they create the illusion that the subject is almost floating.
 

• Shot by David K. in Dubai, United Arab Emirates
Centering a large object in a panorama can be used to dramatic effect. This towering spire makes the other buildings look tiny by comparison.
 

• Shot by Cielo D. in Alameda, CA
Shooting your subject in a reflection — like the one on this wet street — can make a simple scene seem surreal and surprising.
 

• Shot by Paul O. in Chicago, IL
By capturing a hint of rainbow in this otherwise monochrome scene, the photographer offsets the earth tones and brings the image to life.
 

• Shot by Cole R. in Star Valley Ranch, WY
Establishing a central focal point can have dramatic impact. Here, wispy clouds lead the eye to the hut and create a stronger sense of focus.
 

• Shot by Cory S. in Lake Cushman, WA
The presence of human subjects in a natural setting like this forest creates a more relatable sense of scale and emphasizes the height of other elements in the photo.
 

• Shot by Robyn W. in Corvallis, OR
Finding interesting lines in a scene, like the vertical pattern the trees make here, can create a more captivating composition.
 

• Shot by Shan L. in San Francisco, CA
Sometimes the best shots aren’t planned. The bird flying through this photo adds a sense of scale and surprise to an iconic view, making the whole composition more interesting.
 

• Shot by Ahmed A. in Albuquerque, NM
When photographing a flat landscape, focusing on foreground elements — like the partially inflated balloons in this photo — helps create greater depth of field.
 

• Shot by Jun I. in Tokyo, Japan
Capturing opposing subjects together, like the manmade overpass and the natural element provided by the trees in this photo, helps create a compelling contrast.
 

• Shot by Alastair B. in The Cairngorms, Scotland
Filling the frame with the subject can help the viewer focus on its details — like the texture of the reindeer’s fur and antlers.
 

• Shot by Jirasak P. in Mae Hong Sorn, Thailand
Convergent lines, like those created by the trees and shoreline, can provide a more interesting perspective in a composition.
 

• Shot by Jeremiah C. in Atlanta, GA
Using reflection is a great way to capture two perspectives in the same image. Here, the puddle shows the photographer’s top-down perspective as well as the ground-up perspective of the building and sky.
 

• Shot by Garrett C. in Joshua Tree, CA
An out-of-place subject, like this boat in a desert, can make for a more interesting composition.



Classic Disney Characters Shadow Shoppers in This Delightful Mall Stunt

What would you do if you were walking through a well-lit shopping mall and your shadow suddenly turned into Donald Duck? It might be enough to strike panic into the heart of any reasonable person. Is it time to go on a diet? When did things get so wildly out of hand? Is this an acid flashback?

But a new reality-style video from Disney—promoting Disney Parks—finds a string of shoppers seeming to have a pretty great time when silhouettes of the company’s classic cartoon characters start stalking and mimicking them from behind a backlit set of doors.

It’s very charming, especially for the kids in the audience, and the young-at-heart—because who doesn’t want to be Buzz Lightyear?

At least some of the reactions are likely staged, but it almost doesn’t matter—they’re entertaining either way. One very serious businessman balks then smiles at the notion that he’s “getting shadowed by a Goofy.” One sane woman shakes her head no, backing away, terrified, saying “I’m good,” when Snow White’s evil queen offers up a poisoned apple.

But the stunt is perhaps most delightful when a grown man tries to catch a shadow football thrown by a shadow dog. (It’s least convincingly spontaneous when Minnie Mouse crushes a teenager in a dance-off.)

Regardless, it’s a testament to the iconic status of the characters (most of the silhouettes are proper, easy-to-recognize brands in their own right). And it certainly gets across the idea of good, family-friendly fun. As much as you might want to, hating Disney characters (or at least, hating all Disney characters) is like hating puppies and sunshine—you just can’t do it.



Here's the SNL Parody Ad for ISIS That Pissed Off Half the Internet This Weekend

This Saturday Night Live ad parody, in which a dad (Taran Killam) drops off his daughter (Dakota Johnson) to join ISIS, sparked a raging debate this weekend on social media.

The sketch lampoons Toyota’s “My Bold Dad” Super Bowl ad for the Camry, which showed a proud father driving his daughter to the airport as she begins her hitch in the U.S. Army. In SNL’s skit, the dad urges his daughter to “Be careful, OK?” as she climbs into a rough-terrain vehicle with three heavily armed, scraggy-bearded jihadi types. “ISIS. We’ll take it from here, Dad,” is the tagline.

Detractors argue that the radical Islamist group’s atrocities are too heinous, and too freshly carved into our collective psyche, for the comedy treatment. They believe the parody is offensive, or at least in bad taste. Defenders applaud SNL’s bold decision to court controversy in its quest for laughs. (This camp includes Arsenio Hall, who tweeted that the sketch was “#hilarious.”)

Personally, I wouldn’t use the word “hilarious,” even without the hashtag. Its savage satire will, however, get under your skin—and maybe even make your skin crawl. That’s a good thing. Western teenagers and young adults (like Jihadi John) who choose to join extremist groups only recently hit global headlines. We’re in new and unfamiliar territory, processing gut-wrenching details and struggling, as individuals and as a society, to understand.

That’s why the debate is so important. And so wonderful. We should never have to reach a “safe place” or stoop to group think as we parse provocative concepts. SNL is free to say whatever it wants, and viewers are equally free to express their agreement or take umbrage. Jousting in the marketplace of ideas, defending our opinions with fierce passion—that’s what America is all about. Or should be all about, at any rate.



Gripping Powerade Spot With Derrick Rose Includes First Ad Narration by Tupac Shakur

In this inspirational ad from Wieden + Kennedy for Powerade, a boy who represents a young Derrick Rose rides through the south side of Chicago to a voiceover by Tupac Shakur—the late rapper’s first-ever narration of a commercial.

“You see, you wouldn’t ask why the rose that grew from the concrete had damaged petals,” Shakur says. “On the contrary, we would all celebrate its tenacity. We would all love its will to reach the sun. Well, we are the roses. This is the concrete. These are my damaged petals. Don’t ask me why. Ask me how.”

The bike ride from the south side to the United Center reflects Rose’s journey from the streets of Englewood, through adversity, to the NBA. The scenes then change to the present day, with the recently injured Bulls point guard drinking a Powerade courtside. Copy flashes, “We’re all just a kid from somewhere,” and the spot ends with a Rose wearing a “Just a kid from Chicago” sweatshirt.

The #powerthrough hashtag seems poignant in light of Rose’s recent injuries. And of course, using lines from “The Rose That Grew Through Concrete” is almost too lovely and perfect.

CREDITS
Client: Powerade
Agency: Wieden + Kennedy
Production Company: Smuggler
Director: Jaron Albertin



Do Competing Bottled Water Brands Actually Taste Different? Rhett & Link Find Out

Rhett & Link will slake your thirst for goofy, brand-inspired comedy in the “Ultimate Water Taste Test,” a wonderfully wet episode of their “Good Mythical Morning” YouTube show.

The guys, best known for their brilliantly bad local commercials, compete against each other to identify seven varieties of water. They sample five brands: Dasani, Evian, Fiji, Smart Water and Blk Water. (“It’s not from a river in Alabama,” Rhett quips, but infused with fulvic powder, “whatever that is.”) There’s also pond water from Echo Park in Los Angeles and H2O straight from the tap.

The duo don a dual-action water-tasting apparatus—basically hardhats and two hoses for drinking—that actually connects their heads, making them look, Link notes, “like two construction workers talked into doing some kind of scuba trust exercise.”

Once the blind water taste test begins, the snark pours forth.

“It’s got a flowed-down-through-snow-in-the-Alps kind of a feel to it.”
“There’s an elevation in this taste—this is from up high, not from down below.”
“Tastes like clouds.”
“I can taste vapor distillation.”
“If somebody’s selling this, they need to stop immediately.”

You’ll have to watch the 15-minute segment—streaming rapidly toward 1 million YouTube views in just two days—to see how many of the seven they correctly identify. Be sure to hang in for the refreshingly honest “Neither Water” spoof commercial at the end, which drives home the point that, when you’re truly parched, branding doesn’t matter.



Jose Cuervo Mixes a Margarita in Space and Parachutes It Back to Earth

Brands are obsessed with space, getting to space, and anything that’s been to space. This week, it was Jose Cuervo’s chance to boldly go where no tequila brand had gone before—and hopefully make it home safely.

In honor of National Margarita Day last Sunday, Cuervo and its agency, McCann New York—using aerospace technology and GPS tracking—launched a container of margarita ingredients heavenward, hoping to mix a cocktail in space and parachute it back to Earth.

See how that went in this video:

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The agency teamed up with independent space program JP Aerospace, along with scientists who led the Phoenix Mission to Mars, to build and launch the spacecraft. The launch site was Pinal County Park, about an hour north of Tucson, Ariz.

Severe buffeting of winds at high altitude shook the margarita, and the extreme cold froze it. When the capsule reached about 100,000 feet into space, the weather balloons shattered and the capsule parachuted down.

The margarita landed in a ravine 100 miles from the launch site. It reportedly tasted good.



'15 Sounds Nice?' Nike Golf Has Some Fun With 14-Time Major Winner Tiger Woods

Tiger Woods has been having a rough time for about half a decade. He’s been stuck on 14 major championships since 2008, but it’s good to know he can poke a little fun at himself.

Tiger gives his pursuit of No. 15 a quick, humorous mention in this very entertaining Nike Golf spot from Wieden + Kennedy, which also stars Rory McIlroy, Michelle Wie, Charles Barkley and Bo Jackson (who utters a certain familiar phrase from an old, old, old W+K campaign for Nike). Comedian Keegan-Michael Key provides the voiceover.

The ad, for Nike’s Vapor driver, takes a humorous look at why golfers of all skill levels might want to change their driver.

CREDITS
Client: Nike Golf
Project: There’s Always Better

—TV
Agency: Wieden + Kennedy, Portland, Ore.
Creative Directors: Chris Groom / Stuart Brown
Copywriter: Brock Kirby
Art Director: Derrick Ho
Producer: Jeff Selis
Interactive Strategy: Reid Schilperoort
Strategic Planning: Andy Lindblade / Brandon Thornton
Media/Comms Planning: Alex Dobson / Jocelyn Reist
Account Team: Alyssa Ramsey / Rob Archibald / Heather Morba / Ramiro Del-Cid
Business Affaires: Dusty Slowik
Project Management: Nancy Rea
Executive Creative Directors: Joe Staples / Mark Fizloff
Head of Production: Ben Grylewicz

Production Company: Biscuit Filmworks
Director: Steve Rogers
Executive Producer: Holly Vega
Line Producer: Vincent Landay
Director of Photography: Nicolas Karakatsanis

Editorial Company: Joint Editorial
Editor: Matthew Hilber,
Post Producer: Leslie Carthy
Post Executive Producer: Patty Brebner

VFX Company: The Mill
VFX Supervisor: Tim Davies
VFX Producer: Will Lemmon

Music+Sound Company: Barking Owl

—Digital/Interactive

Agency: Wieden + Kennedy, Portland, Ore.
Creative Director: Chris Groom / Stuart Brown
Copywriter: Brock Kirby
Art Director: Derrick Ho
Producer: Jeff Selis
Interactive Strategy: Reid Schilperoort
Strategic Planning: Andy Lindblade / Brandon Thornton
Media/Comms Planning: Alex Dobson / Jocelyn Reist
Account Team: Alyssa Ramsey / Rob Archibald / Heather Morba / Ramiro Del-Cid
Executive Creative Directors: Joe Staples / Mark Fitzloff
Agency Executive Producer: Ben Grylewicz
Digital Designer: Rob Mumford
Exec Interactive Producer: Patrick Marzullo
Content Producer : Byron Oshiro / Sarah Gamazo
Broadcast: Jeff Selis
Art Buying: Amy Berriochoa
Photographer: Henrique Plantikow
Interactive Studio Artist: Adam Sirkin, Oliver Rokoff



Every Brand Wanted a Piece of #TheDress, but Who Wore It Best?

What a day the Internet had yesterday. First we by MacVx”>watched llamas on the loose. Then, just after 6 p.m., BuzzFeed posted what might be its single most-shared article ever: “What Colors Are This Dress.”

If you’re unaware—which is impossible, unless you live in a cave—the story pointed to a Tumblr discussion about the color of a dress. Welp, the Internet exploded—and so did the brands, which swarmed the topic like flies.

See some of the tweets below. Hooray for net neutrality! I guess?
 

 
 



Frank Underwood of House of Cards Gets Campaign Posters Inspired by Those From History

The third season of Netflix’s government drama House of Cards will officially be available to stream on Friday. And (spoiler alert) Frank Underwood has consolidated his power. Apparently, lots of scheming, backstabbing and murdering pays off.

What better way to celebrate the Underwood’s success than to imagine what his presidential campaign posters would have looked like, had he taken a more traditional route? That’s exactly what Mashable did, taking inspiration from real presidential posters from Obama, Kennedy, Johnson, Taft and more. 

Oh, and for good measure, there are a few touting Claire’s rise, too. 

See the whole gallery here.



10 Branded Llama Tweets, From Llame to LLOL

You’ve got a social media war room during the Super Bowl to generate that genius real-time tweet. But what about when llamas are suddenly, unexpectedly on the loose and the Internet is going insane? How do you respond?!

As it happens, this exact thing happened today. And as office productivity turned to mush, the brands’ mettle was tested as everyone gawked at the spectacle on the Internet. 

So, how did they do? Hit and miss. See below.
 

 

 

 

 

 

 

 

 

 

 



Mark Mothersbaugh Traces His Life From Blind Kid to Visionary in Great Google Play Ad

Google Play has been running a great branded content series from BBH Los Angeles called “California Inspires Me,” featuring interviews—which are then set to animation—with famous Californians talking about their upbringing. It’s a collaboration with California Sunday magazine (the regional print offshoot of nonfiction event series Pop-Up Magazine), and the results have been fantastic.

The latest spot in the series breaks today, featuring Devo’s Mark Mothersbaugh, who explains how he grew up legally blind and initially wasn’t that interested in music. It’s a lovely way to tell these kinds of stories. Have a look here:

To get an idea of how this campaign works behind the scenes, AdFreak chatted with Josh Webman, creative director at BBH L.A.

AdFreak: Can you describe the collaboration between BBH, California Sunday and Google Play? Who’s responsible for what?
Josh Webman: Everyone at Google and BBH loved the Pop-Up Magazine series. It was an incredible, sort of, “happening,” where on one night different artists, journalists and filmmakers present their work on stage—and then it all goes away. Nothing is filmed or recorded. As it turned out, Pop-Up was starting a new magazine series called California Sunday, and they were really interested in story advertising. The timing was perfect.

We all worked together to create the “California Inspires Me” series of print ads and animated films. It’s been a true collaboration between the three partners, with everyone bringing value to the work. We’re fortunate to have a client like Google Play, who is a big believer in creating advertising that doesn’t feel like advertising and putting content out into the world that is authentic and inspiring.

How do you choose the interviewees?
We all kind of go around the room and try to think about who has a truly unique story. Whose story would be fun to bring to life? Everyone has a say.

What’s the process like for the interviews? Do you sit down and have a long chat and then pick the best part? Is it more structured than that?
The studios team at California Sunday is amazing at getting people to open up. They have a deep roster of producers and writers from This American Life and public radio, who have a knack for getting the most interesting morsels out of their subjects. We would then all pore over the interview and transcripts afterwards, pick out the nicest bits, and start carving out a narrative.

Is the audio edited a lot?
We usually have somewhere between 45 minutes to an hour and a half of unedited conversation. Then, we cut down—as is always the case, we end up having to kill a few of our babies for the sake of a nice, tight story.

Do you then find animators to put pictures to the words?
Actually, we are already researching animators well in advance of the interview. Sometimes, this is the hardest part of the whole process, because each one of us has this back-pocket, laundry list of animators we’ve been dying to work with. So we’re all kind of jockeying for our favorites. But it all becomes a little clearer when we finally land on an interview subject. There was always a “eureka” moment, where we knew the subject and the animator just belonged together. It’s matchmaking.

What led you to Mark Mothersbaugh?
Who doesn’t love Devo? We were all fans. But really, Mark is so much more than Devo. He has such a dynamic and varied body of work, and the trajectory of his career has taken so many fascinating and unexpected turns. It felt like, “Why wouldn’t we want to tell that story? It’s riveting.”

In many ways, he embodies what we think of when we think of a multidimensional artist. He just has so many tools in his belt. And his personal story—how he “made it,” how he became who he is—is just as interesting as the art he creates. Mark has influenced whole generations, and in different mediums, too. He just seemed perfect for this project.

You got Madrid-based directing duo Manson to direct this. Why them?
Because they’re amazing. That’s the short answer. The long answer is, our design director, Florencio Zavala, came across the work of street artist/illustrator SAWE—one half of Manson—and we were all blown away. After one viewing of Tomás’s work as well, we knew we had to work with this crew. Mark’s story is fascinating, and we knew these guys would really elevate it. And they did. Knocked it out of the park.

What other videos have you done?
We’ve done “California Inspires Me” profiles on director Mike Mills, and the indie singer Thao Nguyen. And of course, Jack Black. We are hard at work on the next few installments, and they are great, really interesting, inspiring people whose stories are told beautifully. The diversity of the subjects is key, so we are trying to surprise people. We really hope everyone likes them.

The whole series has a dreamy vibe. Was that the intent all along?
We think so. It’s the California way, right? We’re all based in California—BBH L.A., Google Play, and California Sunday—so we wanted to have that feeling come across in the films, but subtly—we didn’t want to be heavy handed about it.

We wanted to get across the surprising way the state of California can be this great, unexpected haven for creativity—a place for dreamers and misfits. There’s a certain allure there, and an ideal that feeds right into a dreamy fantasy. To that end, we do always ask the illustrators to give us a bit of a surreal/fantasy vibe. That’s the great thing about animation: You can open it up and tell a person’s story in a less formal way.

What is the series trying to say, deep down, about California?
California is thought of as a lot of different things. Thanks in part to the film industry, we know it’s a place where artists come to, but it’s also a place where artists come from. It is a creative mecca as rich and diverse as any in the world, from the beat scene in the ’50s, Haight-Ashbury, Beautiful Losers, Ray and Charles Eames to Compton, Silicon Valley, Sound City, the Sunset Strip, Disney, Pixar, CalArts and Grand Royal.

California is a place where people not only find their footing, but grow and bloom, developing as people and as artists. BBH, California Sunday and Google Play wanted to shine a light on that idea. It really is a magical place, and it’s cool to hear how California does in fact inspire people. We’re all hoping, in our own way, that the series inspires others as well.

See the previous videos from the series here:



Agency Creatives Need to Shut Up About Entering Ad Contests, and Here's Why

Attention, creatives: You have actual paying clients, and shouldn’t be pissing your time away working on briefs for some cockamamie ad contest. But if you do, at least keep it quiet.

That’s the message of this amusing video by agency Zulu Alpha Kilo encouraging entries to Canada’s National Advertising Challenge—a contest that challenges creatives to dream up the most unconventional solutions for Canadian marketers. Sounds like fun? Sure, but you’d better not let certain colleagues know you plan to enter.

The winning teams get a trip to Cannes in June. The NAC got 200 entries last year, but hopes to double that this year. The briefs go live March 2, with a deadline of March 30.

“We have big aspirations for the NAC, but we were facing a serious comprehension issues within the creative community,” says Ellie Metrick, marketing and communications manager at NAC. “This year’s online video goes a long way in explaining that we offer creatives an opportunity to do original work in exchange for a chance to go to Cannes.”

CREDITS
Agency: Zulu Alpha Kilo
Client (Company): National Advertising Challenge
Creative Director: Zak Mroueh
Art Director: Ari Elkouby
Copywriter: George Ault
Agency Producer: Tara Handley
Production House: Someplace Nice
Director: Pete Henderson
Account Team: Alexandra Potter
Client: Ellie Metrick
Production House Producer: Robbie McNamara
Video Post Facility / Editing Company: Rooster
Editor: Chris Parkins
Online/Transfer: Fort York
Flame Artist: Lauren Rempel
Audio Post Facility/Music House: Zulu Alpha Kilo
Audio Director: Stephen Stepanic
Engineer: Stephen Stepanic



Apple Watch Gets Its First Advertising With a Stylish 12-Page Spread in Vogue

Apple Watch gets a 12-page spread in the March issue of Vogue, part of the run-up to the wearable device’s launch in April. Rate-card value: north of $2.2 million.

All three versions of the watch—the luxe 18-karat gold model, a sports watch and the leather-bound standard edition—are featured in the magazine’s “Spring Fashion Blockbuster,” and the images we’ve seen so far look appropriately stylish. (Scroll down to see for a sample of pages from the ad section.)

The sleek, angular devices are tastefully displayed in classic Apple style against plain white backgrounds. In one shot, the watch’s face appears to rise from a milky mist, the muted hues of its app icons signaling its time has arrived. Another shows a rising segment of the band in stark relief, suggesting a silvery stairway to heaven (by which I mean the nearest Apple Store, naturally).

More than anything, these arty abstractions resemble jewelry advertising, with the Apple Watch cast as the latest shiny bauble for the tech-crazed masses. Tres chic! Tres Apple!

Observers have generally lauded the strategy of positioning the watch as a fashion accessory, though some point out that Google Glass went the Vogue route with a spread two years ago and failed to catch on with the masses.

In my view, that’s an unfair comparison. The failure of Google Glass has been analyzed to death, but ultimately, its lack of “cool”—perched on users’ faces, for everyone to see—was perhaps a fatal, if unavoidable, flaw.

Apple Watch, a far more discreet wearable, won’t provide such a sorry spectacle. Like fine timepieces of old, it’s designed to be admired while remaining unobtrusive. Folks who catch a glimpse of the gadget won’t confer Glasshole-type scorn on wearers. Instead, the device will inspire curiosity and a desire to buy.

It will be in vogue in for years. Just watch.



Infographic: Here's Just How Much Crappy Beer Americans Are Drinking

Sure, we Americans drink a whole lot of light beer, but do you realize just how much?

The infographic below from the team at alcohol-fueled site VinePair shows the staggering scope of mainstream beer sales—especially Bud Light, which tallies $3 billion more in sales than its closest competitor, Coors Light.

The data, via IRI and Beer Advocate, are from 2013 but likely still quite accurate. Yuengling stands alone as the only privately owned craft beer in the Top 20, and VinePair notes that smaller brewers make up just 15 percent of sales. (Oh, and the site has another graphic suggesting microbrewed upgrades for the light beer lovers among you.)

If nothing else, the chart highlights the silliness of Budweiser’s Super Bowl ad positioning craft beer as some sort of anti-American hipster insurgency. Anheuser-Busch seems to be doing just fine without having to spend millions in ad dollars to crush the craft beer movement.