Hasta La Creative!

Jerry Seinfeld has written eight new Acura commercials in collaboration with Boston ad agency Mullen as part of the brand's title sponsorship of his Web series Comedians in Cars Getting Coffee. The faux-vintage spots—all eight are posted below—will bookend new episodes of the show, coming Jan. 2. They were directed by Barry Sonnenfeld and inspired by actual old car commercials from the '60s.

But while those old spots sound a bit ridiculous these days (Seinfeld ran actual vintage Acura ads as pre-roll on Comedians in Cars last season), these new ads are intentionally silly—playing off the old style but taking it in absurd directions.

Seinfeld spoke with AdFreak on Tuesday about the creative process behind the ads, his experience with Super Bowl spots and what he thought of Will Ferrell's Dodge work.

So, these are fun spots. This must have been an exciting project for you.
You know, I have done a bit of advertising over the years. But I have never been given the creative freedom that I was given on these by Acura. They're gutsier than any other company I've ever worked with. Not that I've worked with that many, but I've worked with a few. Because this work, as you can see, is not like any other work that they've done. And usually—as you well know, being in the ad game—the clients tend to get nervous, especially when they're spending a lot of money. But [Acura marketing chief] Mike Accavitti, I've never seen a guy like this guy. Nerves of steel. It's pretty rare. But I think that's why they came out so good. I would give him all the credit.

Tell me about the creative process—how you worked with Mullen on these.
Mullen and I sat in a room together. Now, we ran vintage Honda and Acura stuff from the '60s and '70s last season on Comedians in Cars. And everybody kind of enjoyed that. And I said, Yeah, I've looked at everything that exists of the old advertising, and I picked out all the good ones. And I don't have any more. And I thought, Why don't we make new old advertising … that's bad. Because that's what's fun. A lot of the lines are stuff we actually found. We would put our little spin on it.

A lot of the advertising in the old days focused on the size of the car. People felt that you were really getting your money's worth if the car had a big trunk. Which of course is something that no one cares about now. No one buys an SUV and goes, "Well, how big is the trunk?" Because they're all big.

So, it's about taking the old tropes and pushing them a little bit.
Yes. And you know, to me, a lot of things have gotten worse that you could point to in our culture. A lot of advertising has gotten worse. I think it's kind of lost its nerve, to be honest with you. I feel like the advertising of the '60s, they were nervier. You know why? Because there was less at stake. It always worked. There were three networks. Everyone's going to see this. They're going to buy the car. And now, everyone's more nervous. Eyeballs are harder to get. And everyone's less inclined to take a risk.

You've seen those high stakes firsthand, having done Super Bowl ads for American Express and, of course, Acura.
Yeah. I've done a number of Super Bowl ads. And that is the best advertising of the year. That is when people realize they're going to be compared directly against other ads.

What did you think of Will Ferrell's ads for Dodge?
I like anything Will Ferrell does, so I was a fan of those. But it didn't seem to be a different type of car advertising. It seemed to be a different type of movie advertising. But different is always good.

So, you wrote a lot of the jokes for these Acura ads?
I did. We just wanted to get that feeling of "Hot, handsome and a honey to handle." Nobody says things like that anymore. Or "The perfect car for the big-car man." And the "Yesterday, today and tomorrow" thing. I like the little tension between the spokesman and the spokeswoman, that we can see that they aren't quite getting along.

My favorite thing is: "MDX. Three letters that stand for 'Earth, style and you.' " That's just like, nobody read that over and went, "What do you mean? Why does it stand for that? The letters don't even match up to that. Why are we saying that?" So, it's also part of the drunken, lazy ad culture of the '60s.

It's agency holiday-card season, and we're going to start posting some of the more interesting and amusing examples—beginning with this one from Victors & Spoils. It's a parody of Tim Piper's "Body Evolution" video showing a model being airbrushed within an inch of her life. (Piper also did Dove's earlier "Evolution" video.) The results of the parody are not as attractive—but are undeniably more festive. Via The Denver Egotist.

The original "Body Evolution" video:

You have to hand it to Kmart and Draftfcb. They've shown this whole year that they know how to whip up a good viral commercial. We had "Ship My Pants" in April and then "Show Your Joe" (aka, "Jingle Balls") in November. Now, they head back to the well with this humorously Dickensian reimagining of "Ship My Pants" just in time for Christmas. You can hear all the other retailers grumbling "Bah, humbug." Well played. Via Disco Chicken.

Credits below.

CREDITS
Client: Kmart
Vice President, Creative: Mark Andeer
Director of Kmart Marketing Strategy: Brandi Ply
Director of Advertising: Beverly Mason
Agency: Draftfcb, Chicago
Chief Creative Officer: Todd Tilford
Executive Vice President, Executive Creative Director: Jon Flannery
Senior Vice President, Creative Director: Howie Ronay
Vice President, Creative Director: Sean Burns
Creative Director, Copywriter: Tim Mason
Associate Creative Director, Art Director: Myra Mazzei
Executive Producer: Chris Bing
Director: Zach Math
Editorial: Casey Cobler

Leave it to a couple of ad agencies to upend the holiday season with the year's most radical toy. Independent shops Barton F. Graf 9000 in New York and TDA_Boulder in Boulder, Colo., partnered on a new business that sells a single item—a big, plain, heavy-duty, 2-foot-cubed, 100-percent-recycled, made-in-the-U.S.A., empty cardboard box. It's described on the website as "the perfect holiday gift for the 2-6½-year-old who would rather play with the box than what's inside."

It's a legitimate site, all proceeds from sales will go to two children's charities:  Blue Sky Bridge in Boulder (focused on child abuse) and the Charley Davidson Leukemia Fund in Boston. It is also, of course, a political statement of sorts. The idea for Bawx came out of a late-night conversation after an ad event between TDA_Boulder and Barton F. Graf 9000 principals Jonathan Schoenberg and Gerry Graf, who have some shared beliefs where consumerism is concerned.

"Consumerism is a bit out of control these days," says the website. "Kids would much rather spend time with their friends and parents and a Bawx, than the latest technology. Ok, that is a complete lie, but maybe if they did have a Bawx they would spend more time with people, and a bit less time with pixels."

The marketing copy on the site is intentionally goofy. It says the Bawx is available in four "models," though they are actually identical. (They do range in price, though, from $24.99 to $499.99—since you're really just donating to two charities at whatever level you're comfortable with.) Each model's listed features are "Horizontal," "Open end (closeable)," "Natural light" and "Spacious entrance."

Graf has done similar anti-pixel things before, including the memorable 2011 video "The Log Off," in which children pleaded with their mothers—in song—to get off Facebook already and play with them.

CREDITS
AD: Barrett Brynestad
CWs: Gerry Graf, Jonathan Schoenberg
Production: Tim Kelly       
Digital lead: Gene Paek
Developer: Relentless Technology, Vancouver, Canada

Kevin Bacon wants you to "Shift Your Shopping" for good by buying local with select retailers who agree to donate a portion of sales from your purchase to charity.

The spot hinges on the pretense that Kevin Bacon is not actually Kevin Bacon but some sort of mustachioed goober named Melvin Macon, who seems to be filming a local commercial circa early '80s, complete with inspiring gospel choir courtesy of the Brown Memorial Baptist Church. (You may recall Bacon playing another hirsute alter ego named Ivan Cobenk in that amazing Logitech spot a few years back.) And when he's not assaulting your eyeballs with nappy old PowerPoint backgrounds, Melvin is encouraging you to be a good citizen and give back to the world.

The work was created pro bono by New York agency Walrus just in time for your holiday shopping spree. So, if squinting at the whirling yellow type at the bottom of the spot doesn't give you a seizure, pick one of those fine local retailers and run out to double your gifting impact. And don't forget to attach a "Kevin Bacon Approved" gift tag.

CREDITS
Client: ShiftYourShopping.org
Agency: Walrus, New York
Creative Director: Deacon Webster
Art Director/Copywriter: Tiffany McKee
Producer: Valerie Hope
Production Company: Mustache
Director: Gavin Bellour
Executive Producer: John Limotte
Producer: Jennifer Kachler
Editor/Graphics/Animation: Will Bystrov

Interactive design and branding company 8k in Poland is getting some visibility from its "Pay What You Want" pricing system ($1 minimum) that covers services including logos, slogans, letterheads, business cards, naming and sales letters.

The goal is twofold: get some attention for the shop, and address the always-murky issue of suitable pricing for different agency services. "We are hoping to catch a few nice regular customers and we wanted to provoke a discussion about a difficult situation in the advertising industry," 8k's Marek Bartosinski told AdFreak. "We took the risk and we will see what happens. In the worst case scenario, we will have material for a unique case study and some fame."

There are some ground rules. For instance, prospective clients must justify their payment offers, and the agency reserves the right to turn down projects. So far, its PWYW clients include local firms Poligrafiko and Impools, as well as 7 Starz in England. The five-person shop has completed 23 assignments using PWYW for an average payment of $74. Luckily for 8k, the publicity is probably worth a whole lot more.

Below, you can check out two of the design projects the agency has done on its PWYW pricing so far.

Hat tip to PSFK.

Tesco had its family-through-the-years holiday spot. Now, it's Netflix's turn.

In its first work for the brand, Deutsch/LA tells the story of the McDermott family—from the point of view of a porcelain Christmas tree topper voiced by Sopranos star Lorraine Bracco. We begin in the late '70s, as Mom brings the ornament home, where it will witness all sorts of shenanigans over the next 34 years. Holidays bring the usual family stresses for the McDermotts, but three decades later, something finally comes along that brings them all together for a quiet few hours—Netflix streaming.

The spot is nicely shot by Matt Aselton of Arts & Sciences—all the period details are fun. (Even today, the McDermotts retain a stubborn '70s vibe.) And Bracco's voice is as rich and evocative as ever, perfect for an ad with vintage touches.

Not sure watching Forrest Gump is really what will bring the family together this holiday, though. Shame the second season of House of Cards won't arrive for another couple months.

Print ad and credits below.

CREDITS
Client: Netflix
Spot: "Tree Topper"
Chief Marketing Officer: Kelly Bennett
Vice President, North America Marketing: Jerret West
Global Creative Director: Trent Good
Senior Producer: Kara Pierce
Senior Marketing Manager: Megan Imbres
Creative Marketing Manager: Crystal Ponzio

Agency: Deutsch, Los Angeles
Chief Creative Officer: Pete Favat
Group Creative Director: Gavin Lester
Senior Art Director: Gordy Sang
Senior Copywriter: Brian Siedband
Director of Integrated Production: Vic Palumbo
Producer: Rachel Seitel

Production Company: Arts & Sciences, Los Angeles
Director: Matt Aselton
Director of Photography: Corey Walter
Managing Director: Mal Ward
Executive Producer: Marc Marrie
Line Producer: Zoe Odlum

Editorial Company: Arcade Edit, Los Angeles
Editor: Geoff Hounsell
Executive Producer: Damian Stevens
Assistant Editor: Glenn Teel
Producer: Gavin Carroll

Post Facility: MPC, Santa Monica, Calif.
Colorist: Mark Gethin

Post Facility (Online): MPC, Santa Monica
Online Artist: Mark Holden
Online Assistant Artist: Adrian Leva
Producer: Abisayo Adejare
Executive Producer: Lexi Stearn

Music/Composer: Human

Sound Design: Henry Boy, New York

Audio Post: Lime Studios, Santa Monica
Mixer: Rohan Young
Assistant: Jeff Malen
Executive Producer: Jessica Locke

Shoot Location: Chicago

End Tag Treatment: Laundry, Los Angeles

Additional Deutsch Credits:
Chief Executive Officer: Mike Sheldon
Director of Account Management: Kim Getty

Account Management Credits:
Group Account Director: John McGonigle
Account Director: Christi Johnson
Account Supervisor: Michal David

Media Credits:
MEC
Director of Business Affairs: Abilino Guillermo
Business Affairs Manager: Maggie Pijanowski
Director or Broadcast Traffic: Carie Bonillo

After years of cornering the market on all things magenta and turquoise, Crayola makes a big, public shift into the toy category with its new "This Holiday, Get Creative" campaign.

The oh-so-WASP-y spots, from mcgarrybowen, are cute and appealing to kids—particularly the ad for Create to Destroy—while also highlighting perks for parents. (Look, my kid is using markers on my carpet and I'm not Hulk-ing out because they're washable!)

While the new products are toys, they're still completely Crayola—the Melt n Mold toy transforms broken down crayons into toy shaped crayons—which makes for some nice brand continuity.

All of the new Crayola products are out in time for you to drop them in your shopping cart and throw some elbows during Black Friday shopping today.

Gavin McInnes has come a long way since his days at Vice. He rebranded himself as an adman (creative director at Rooster), and now he's even comfortable rolling around with his baby for the cameras. But of course, he still has an edge—so it's not just rolling around with the baby, it's fighting the baby. And Gavin has good moves, too. Predictably, there's some griping in the YouTube comments about whether he could hurt the baby, though of course Gavin is the one bandaged up at the end.

A year ago, State Farm released a wonderful commercial from agency Translation suggesting NBA star Chris Paul had a twin brother, Cliff, who happened to be a State Farm agent—because he was "born to assist." In April, agency and client released an amusing follow-up spot. And now, they're cleverly extending the campaign all the way into product design through a deal with Nike's Jordan Brand.

Yes, the Los Angeles Clippers star's Jordan CP3.VII sneaker is now available in an argyle design—inspired by Cliff, who is always seen in an argyle sweater in the State Farm spots. (The CP3.VII sneaker is also the first Jordan brand shoe with iD customization on the Nike website.) A new State Farm spot, posted below, shows Chris and Cliff brainstorming ideas to bring their fans together—and landing on the custom shoe idea. Paul, as always, is doubly great in the new ad playing both himself and his nerdy alter ego, even if the plot line of the new :30 isn't as magical as the two previous :60s.

"I am always amazed at how people have connected to Chris and Cliff," Paul said in a statement to AdFreak. "I enter an arena and people call out 'Where's your brother?' Working with State Farm and Jordan on the argyle customization of my new shoe adds another level of creativity to marketing both the shoe and State Farm."

State Farm marketing chief Tim Van Hoof said the argyle iD customizations are "an exciting and cool way to connect with NBA fans and increase our relevance within the NBA culture." And Translation creative director Emily Sander said the agency wanted to "dig deeper and give fans a culturally relevant way to own a piece of the story. … We found the perfect way to organically continue infusing State Farm into sports culture, while adding more dimension to the character and his story."

See the previous spots below: