Hasta La Creative!

Do you like puns related to actor/rapper Ice-T? Well, The Martin Agency and Geico have just the spot for you.

The Martin Agency’s latest spot the “It’s Not Surprising” campaign for Geico it launched with “Marco Polo” this summer sees Ice-T helping out some kids with their lemonade stand. This leads to some confusion when passers-by keep asking “Is that Ice-T?” to which the young entrepreneurs reply “No, it’s lemonade.” The spot concludes with the line, “Ice-T at a lemonade stand? Surprising,” and contrasting that with how unsurprising it is to save money by switching to Geico.

An annoyed Ice T eventually chiming in with indignation is definitely the highlight of the effort, and helps elevate what otherwise may have been a fairly stale joke above its “Marco Polo” predecessor. The campaign remains a one-trick pony but then that’s sort of The Martin Agency’s whole approach for the client, allowing the agency to riff on a single joke that viewers come to expect and anticipate. For now, “It’s Not Surprising” still seems to have some life in it, but it doesn’t seem like it will take very long for the premise to run thin.

In addition to the broadcast spot, there’s also a “The Art of the Squeeze with Ice T,” featuring about four times as much Ice T, as well as a “Behind the Scenes” video.

Credits:
Agency: The Martin Agency
Chief Creative Officer: Joe Alexander
Group Creative Director: Steve Bassett
Group Creative Director: Wade Alger
Creative Director: Sean Riley
Art Director: Jesse Mitchell
Senior Copywriter: Ken Marcus
Copywriter: Ryan Durr
Executive Producer: Brett Alexander
Broadcast Producer: Brian Camp
Associate Broadcast Producer: Coleman Sweeney
Junior Broadcast Producer: Sara Montgomery
Account Director: Ben Creasey
Account Supervisor: Allison Hensley
Account Executive: Jon Glomb
Account Coordinator: Allie Waller
Business Affairs Supervisor: Suzanne Wieringo
Financial Account Supervisor: Monica Cox
Senior Production Business Manager: Amy Trenz
Project Manager: Karen McEwen
Production Company: RadicalMedia
Director: Steve Miller
Executive Producer: Gregg Carlesimo
Head of Production: Frank Dituri
Editorial Company: Running With Scissors
Editor: Drew Neuhart
Executive Producer: Brian Creech
Producer: Katherine Brackman
Color: Drew Neuhart
Stock Music: Lulatone

Merkley & Partners launched a new spot for Mercedes-Benz imagining tennis star Roger Federer in different eras, entitled “Roger Federer and the SL. Timeless Legends.”

The mockumentary-style spot opens on the host of the “Legends of the Game” segment introducing Federer, followed by black and white footage of 50s-style Federer, complete with pomade, white linen and a classic Mercedes. As the spot progresses into other eras it pays homage to other tennis greats, with Federer cursing and abusing water coolers a la John McEnroe and later aping the likes of Andre Agassi and Björn Borg. 

For each version of the star, the agency and B-Reel Films director Jeffery Plansker manage to work in the era’s version of the Mercedes-Benz SL. At times this feels a bit forced, the intent of the mockumentary device to show how the vehicle has held its quality over time a bit too apparent. The mokcumentary format itself feels a bit flat at its worst moments, as well. But the spot also includes some pretty entertaining/off-the-wall moments, with Federer posing suggestively with racket (sans shirt) and as Agassi answering an oversized phone coming to mind. 

Credits:
AGENCY: Merkley & Partners
CEO/Partner: Alex Gellert
Chief Creative Officer/Partner: Andy Hirsch
EVP, Group Creative Head: Chris Landi
Creative Director: Kirk Mosel
Senior Producer: Alex Kobak
Account Director: Francesco Deluca

PRODUCTION COMPANY: B-Reel Films
Director: Jeffery Plansker
Executive Producer: Michael McQuhae
Producer: Jay Shapiro
Director of Photography: Neil Shapiro
Editor: Noah Hertzog

With football season officially here, W+K New York launched the latest in its ongoing “This is SportsCenter” campaign promoting ESPN’s flagship program.

“Phone Calls” sees Pittsburgh Steelers wide receiver Antonio Brown dealing in receptions of a different kind. He answers calls at ESPN’s reception desk and lets SportsCenter host Neil Everett know his total number of “receptions” that day, adding that he almost broke the record the day before. Everett tries to convince Brown that they are “phone calls” and not “receptions” but soon gives up.

We last checked in with W+K’s “This is SportsCenter” campaign with March’s “Utensils” starring PGA golfer Jordan Spieth. While this latest spot isn’t quite as fun as that one, it brings the same dependable deadpan humor we’ve come to expect from the long-running campaign. “This is SportsCenter” has long been the kind of effort that runs on a formula where viewers know what to expect, but the openness of the concept also allows for enough variety to keep things interesting.

Credits:
Agency: W+K New York
Executive Creative Directors: Karl Lieberman
Creative Directors: Brandon Henderson, Erwin Federizo
Copywriters: Alex Ledford
Art Directors: NJ Placentra
Executive Producer: Temma Shoaf
Head of Integrated Production: Nick Setounski
Account Team: Mike Welch, Matt Angrisani, Liz Lindberg
Project Manager: Kristin Daly
Business Affairs Manager: Tana Prosper
Head of Business Affairs: Sara Jagielski
Traffic: Sonia Bisono, Andy Hume

Production Company: O Positive
Director: David Shane
Director of Photography: Dave Morabito
Executive Producer: Marc Grill
Producer: Ken Licata

Editorial Company: Mackenzie Cutler
Editor: Nick Divers
Assistant Editor: Zoe Newman
Post Executive Producer: Sasha Hirschfeld

VFX Company: Schmigital
Flame Artist: Jimmy Hayhow
Flame Assistant: Joseph Miller

Mix Company: Mackenzie Cutler
Mixer: Sam Shaffer

Color: Company Company 3
Colorist: Tim Massick

David&Goliath (which has not yet transitioned to its new homepage URL) took advantage of Bo Jackson’s totally weird yet somehow reasonable comeback in a new Kia campaign that launched today.

The work offers two slight variations on a single idea: putting old-school football players into a super old-school video game — in this case, the 1989 NES classic Tecmo Bowl. (Yeah, we know the arcade version came out in 1987. We are kind of old.)

The second one is pretty much all graphics, but the nostalgia factor plus the start of the football season is, like, guaranteed impressions.

This was kind of fun, no? Now tell us why we’re wrong in the comments.

Honestly, though, we only posted on this campaign so we could revisit a W+K classic that came out at about the same time as Tecmo Bowl.

Holy shit, Michael Jordan looks young.

CREDITS

Client: Kia

Agency:  David&Goliath, LA
Founder & Chairman: David Angelo
President: Brian Dunbar
Chief Creative Officer: Colin Jeffery
Creative Director: Rick Utzinger
Sr. Art Director: Sheldon Melvin
Sr. Copywriter: Matt Kappler
Sr. Copywriter: Andy Sciamanna
Planning Director: Andrew Lynch
Director of Broadcast Production: Paul Albanese
Sr. Broadcast Producer:  Katie Lambrecht
Senior Project Manager: Kemit Ray

Managing Director: Jeff Moohr
Group Account Director:  Mike O’Malley
Account Supervisor: Tara Poosti
Account Executive: Jack Scott
Product Information Manager: Mark McNaul

Director, Business Affairs: Rodney Pizarro
Business Affairs Manager: Camara Price

Production Company: MJZ
Director / DP: Joaquin Baca-Asay
President: David Zander
Executive Producer: Eriks Krumins
Line Producer: Lalou Dammond
Sales Representative: In-House Reps (Steven Monkarsh / Irma Rodriguez)

Editorial House: Spinach
Editor: Nate Gross
Asst Editor: Zaldy Lopez
Producer: Jonathan Carpio / Patricia Gushikuma

VFX / Animation / Online: Method
Creative Director:  Jon Noorlander
Lead Flame Artist / On Set Supervisor: Tom Leckie
Lead Flame Artist: Chihcheng Peng
CG Supervisor: Ivan Guerrero, Rick Walia
Compositing Supervisor: David Piombino
Executive Producers: Stuart Robinson & Stephanie Gilgar
Senior VFX Producer: Heather Saunders

Color: Company 3
Colorist:  Tim Masick

Music: Beacon Street
Composers: John Nau, Andrew Feltenstein, Danny Dunlap
Sound Design & Mix: Beacon Street
Mixer / Sound Designer: Rommel Molina
Executive Producer: Adrea Lavezzoli
Mix Producer: Kate Vadnais
Associate Producer: Lindsey Lerman

Publicis New York launched a new effort for Heineken to help restore Miami Marine Stadium.

The stadium opened in 1963 just south of downtown Miami and was known for having some of the best views of the city, as well as hosting water sport events and concerts. Hurricane Andrew knocked the building out of commission in 1992 when it was deemed an unsafe building, but it has remained a draw for local graffiti artists. Now Heineken and Publicis want to help bring Miami Marine Stadium back, in the wake of Miami Mayor Tomás Regalado pledging up to $4 million in a revitalization effort. An Indiegogo effort by the brand and the National Trust for Historic Preservation has thus far raised $100,000, so the groundwork has been laid to make a fully-functioning Miami Marine Stadium a reality.

In a “Restoring Miami Marine Stadium” video, Publicis New York uses stop motion to take a look at the venue’s unique artwork and the efforts made by local graffiti artists to preserve and enhance the work already there, as well as contributing some of their own. It’s a pretty mesmerizing way to call attention to the venue and what makes it unique, hopefully drawing in some viewers to the cause.

“Being able to tell the story visually is key to the success of generating awareness and raising money for the initiative,” Publicis New York CCO Andy Bird told AdFreak.

Production on the spot was no easy task. It included five cameras running for five days, Publicis New York creative director Jeremy Filgate told the publication, adding, “We went through pallets of spray paint, made hundreds of boat wheat-paste stickers and even crashed a drone into the middle of the marina, just to make that epic aerial view possible.”

Last August, W+K New York launched the second year of its “Who’s In?” campaign for ESPN College Football with the vaguely sinister 60-second spot “The Message.”

This year the agency took the campaign into its third year with an effort that tunes down the menace a little bit while still communicating the intensity of college football rivalries with a new spot which made its broadcast debut during the network’s Labor Day Weekend coverage of NCAA football. “Crossraods” sees a variety of teams, represented by mascots all happening to pass through the same roadside gas station en route to each team’s particular path to the College Football Playoffs. “Let me tell you something,” says the gas station attendant to a Tiger mascot, “there isn’t one road to the playoffs, there are many, one for each team. There are leprechauns and gremlins, underdogs and regular dogs.” Only four of these teams, however, will “get in.”

The gas station “crossroads” will serve as the hub of campaign throughout the NCAA Football season, which will run through the end of the College Football Playoffs in January. It will include several more spots, as well as supporting digital, print and social elements. 

Droga5 launched a new spot for Under Armour starring Carolina Panthers quarterback Cam Newton entitled “Prince WIth 1,000 Enemies” which makes a couple of unusual decisions for the sporting goods brand.

The voiceover, provided by Cam’s mother, Jackie Newton, quotes Richard Adams‘ 1972 debut novel Watership Down. That voiceover is set to a dark scene of Newton running through the woods as if something is chasing him, literally tearing through trees as he plows forward at full speed. He finally stops to catch his breath as he makes it out of the woods to a nearby road. 

It’s an odd approach for the brand, undoubtedly, but a captivating one. Adams’ words somehow fit the new context, and Jackie Newton does a fine job of delivering them. While something of an anomaly for the category, the spot is not entirely without precedent, as the agency’s March spot starring Michael Phelps and July effort with Bryce Harper also included some intriguing stylistic choices, but nothing so out of ordinary as borrowing from Watership Down.

“Our two creative leads at Droga—Alex [Nowak] and Felix [Richter], who are awesome—they came up with this idea,” Under Armour senior vice president,  global brand development Adrienne Lofton explained to Adweek. “…it was all about these rabbits breaking out from their tribe in order to bring their crew to safety. They experienced all of these temptations and perils along the way, but kept their heads down until they got to a place of safety.”

“We wanted to tell this story around footwork, and footwear, as you see in the spot, but we wanted to tell it differently,” she added. “We took him off the field, we took the ball out of his hands, and we created this metaphorical environment that is about crushing through your challenges. Those trees represent barriers he’s broken through every step of the way through his career.”

Cam Newton’s involvement with the spot was such that “we almost called him a creative director with this spot,” Lofton said. “He chose his wardrobe, he added flair.”

Indeed. Turns out Newton isn’t just a guy who performs badly in the clutch, loses the Super Bowl and then acts like a kid who got his candy stolen!

Credits:
Client: Under Armour
Campaign: “It Comes From Below”
Spot: “Prince With 1000 Enemies”
Agency: Droga5
Creative Chairman: David Droga
Chief Creative Officer: Ted Royer
Group Creative Directors: Felix Richter, Alex Nowak
Senior Copywriter: Thom Glover
Senior Art Director: Eoin McLaughlin
Chief Creation Officer: Sally-Ann Dale
Executive Producers: David Cardinali, Ross Plummer
Senior Broadcast Producer: Bill Berg
Associate Producer: Troy Smith
Global Chief Strategy Officer: Jonny Bauer
Head of Strategy: Harry Roman
Strategy Director: Sam Matthews
Head of Communications Strategy: Colleen Leddy
Communications Strategy Director: Hillary Heath
Communications Strategist: Kathryn Ruocco
Data Strategist: Kaveri Gautam
Executive Group Director: Julian Cheevers
Group Account Director: Shane Chastang
Account Supervisor: Lucy Santilli
Project Manager: Connor Hall
Client: Under Armour
Chief Executive Officer, Founder: Kevin Plank
Chief Marketing Officer: Kip Fulks
Senior Vice President, Global Brand Management: Adrienne Lofton
Senior Vice President, Global Communications: Diane Pelkey
Vice President, Global Creative: Brian Boring
Vice President, Global Consumer Engagement: Jim Mollica
Senior Director, Global Brand Management: Leon Duncan
Senior Director, Integrated Brand Communications: Jack Daley
Director, Campaign Integration: Teresa Oles
Manager, Campaign Integration: Bené Eaton
Production Company: Somesuch / Anonymous Content
Director: Aoife McArdle
Partners, Somesuch: Sally Campbell, Tim Nash
Managing Director, Anonymous: Eric Stern
Executive Producer, Anonymous: SueEllen Clair
Producer: Laurie Boccaccio
Director of Photography: Steve Annis
Production Manager: Yianni Papadopoulos
Editing: Final Cut
Editor: Dan Sherwen:
Assistant Editors: Geoff Hastings, Dan Berk
Executive Producer: Sarah Roebuck
Head of Production: Jen Sienkwicz
Producer: Jamie Nagler
Postproduction: BlackSmith
Executive Producer: Charlotte Arnold
Producer: Megan Sweet
Visual Effects Supervisor: Iwan Zwarts
Color Transfer: Company 3
Artist: Tom Poole
Coloring Assitant: Kath Raisch
Producer: Clare Movshon
Sound Design: Factory U.K.
Final Mix: Sound Lounge
Engineers: Tom Jucarone, Justin Kooy, Seth Phillips
Producer: Liana Rosenberg
Executive Producer: Mike Gullo

Remember when everybody was all over trying to make Stringer Bell into the new James Bond? We were cool with that, because holy crap that franchise got boring so quickly.

The same thing is happening to Dos Equis, which has gone younger and sexier and more multicultural with its new Most Interesting Man in the World. The brand new effort that went live today is less a campaign launch than a teaser for upcoming work starring one Augustin Legrand, a French actor who introduces the world to his new character by speaking Spanish.

An ad agency hiring overseas talent to replace an American with far more experience? Well, we never.

The first spot “Cantina” shows us a tiny glimpse of why Mr. Legrand, or Mr. Man, is “edgier and more daring” than … someone who we assume to be his predecessor, Jonathan Goldsmith. It’s very much like an action movie trailer, and we feel sexier already for having watched it twice.

See, that was good. It got us interested in future ads and, more importantly, it included a pig wearing a fez for no reason at all. And of course the spot also left room at the end for Mr. Man’s female partner, because how can any dude be classified as a “resourceful, rough and tumble guy” without having a vaguely exotic woman nearby? It worked for James Bond and Donald Trump.

The client’s VP of marketing Andrew Katz explains in the press release: “The meaning of ‘interesting’ has evolved over the past decade, and this campaign features a new character and look and feel that opens the door to a world of interesting possibilities for today’s Dos Equis drinker. With the reboot of the campaign, we’re celebrating the good times The Most Interesting Man has with friends wherever he travels, while highlighting our refreshing cerveza. In the coming weeks, fans will have the opportunity to get to know the new character in a uniquely interactive way.”

Havas CCO of the Americas Toygar Bazarkaya also weighed in on how the creative work will change: “It’s the beginning of a new era of interesting. With The Most Interesting Man not just telling us about his adventures, but inviting us to be part of them.”

What does this mean? Snapchat activations! It doesn’t seem like the ads themselves will be TOO different from past efforts, though. The full campaign debuts on October 19 during Dos Equis’ College Football Playoff event, and the release promises more “classic vignette-style commercial[s]” to come along with all that social media noise.

We get the “why mess with what works” approach. If you Google “Dos Equis” you’ll find mostly items related to The Most Interesting Man, and it’s pretty rare to have a brand so thoroughly defined by its mascot. Not that this has anything to do with the quality of its product.

Anyway, we know you were wondering what old Mr. Goldsmith might be up to now that he is slightly less Interesting (read: older). He’s in the media! According to a release we got last week, he has joined the editorial board of True.Ink, which is not a tattoo rag but an “online magazine whose mission is to ‘live the story’ and engage readers through live, off-line experiences.”

Looks like the first day of the rest of his life is quite different than an average 24 hour span for Senor Legrand. But what is he drinking now that he doesn’t have to hawk mediocre lager?

CREDITS

Client: Dos Equis
Agency: Havas New York

Chief Creative Officer of the Americas: Toygar Bazarkaya
Chief Creative Officer of North America: Jason Peterson
Group ECD, Managing Director: Jason Musante
Executive Creative Director: Jim Hord
Group Creative Director: Keith Scott
Group Creative Director: Paul Johnson
Creative Director: Jonas Wittenmark
Creative Director: Tobias Carlson
Creative Director: Paul Fix
Associate Creative Director: Matthew Hock
Associate Creative Director: David Fredette

Global Chief Executive Officer: Andrew Benett
Global Chief Revenue Officer & Global Chief Marketing Officer: Matt Weiss
President of New York: Laura Maness
Group Account Director: Chris Budden
Account Director: Jamie Sundheim
Account Director: Michelle Garrard
Account Supervisor: Wendy Hu
Account Supervisor: Jenny Maughan

Chief Strategy Officer, North America: Tim Maleeny
Brand & Digital Strategy Director: Maggie Gross
Senior Strategist: Stacey Kawahata
Senior Strategist: Cassie Taylor

Director of Social Marketing: Larry Lac
Social Strategist: Rachel Korenstein
Social Coordinator: Katie Campo

Global Chief Content Officer: Vin Farrell
Head of Content, North America: Dave Evans
Head of Content, North America: Sylvain Tron
Executive Producer: Jill Meschino
Junior Producer: Lauren O’Driscoll
Junior Producer: Alex Zubak
Director of Broadcast Business Affairs: Cathy Pitegoff
Senior Broadcast Business Manager: Deborah Steeg
Senior Talent Specialist: Yvette Aponte

Production Company: Traktor
Director: Traktor
Director of Photography: Hoyte Van Hoytema
Executive Producer: Rani Melendez

Production Company: Rattling Stick
Executive Producer: Joe Biggins
Head of Production: Richard McIntosh
Controller: Christine Berentsen
Staff Coordinator: Hayley Wyett
Editorial Company: Final Cut
Editor: Rick Russell
Executive Producer: Stephanie Apt
VFX: The Mill
Chief Creative Officer NY: Angus Kneale
Executive Producer: Verity Graham
VFX Shoot Supervisor: Tara Demarco
Senior Flame Artist: Michael Smith
Sound Design: Yessian
Sound Designer: Weston Fonger
Executive Producer: Marlene Bartos
Telecine: Company 3
Colorist: Tom Poole
Producer: Clare Movshon
Audio: Sound Lounge
Sound Engineer: Tom Jucarone
Music: Beacon Street Music
Composers: Beacon Street Studios
Executive Producer: Adrea Lavezzoli

Randy “The Macho Man” Savage left this sad mortal coil more than 5 years ago, but in June 2014 DDB reintroduced the world to his second greatest line: “Snap into a Slim Jim.”

The latest campaign advertising dried sausage comes to us from the agency’s San Francisco office and focuses on a particular ad concept: the clueless, hopeless bro.

In the first spot (which we did include in a stir post a few days ago), one sassy grandma ain’t takin’ no flack from some dude and his lame Michael Scott jokes.

The second spot “Cops” reminds us that public servants don’t have to be gracious to their colleagues or the people they serve.

Enjoy guessing what sort of gross disorder prompted that exchange.

In “Real Estate,” one incompetent bro helps another try to trick his wife.

Ugh … marriage, AMIRIGHT?!

See, this sort of bro can be trusted to screw up even the easiest task, like writing words in the sky with an airplane.

Here’s the strategy behind the campaign, as explained by the press release:

The four :30-second spots feature guys that are bogged down with the monotony and pressure of real, adult life, a feeling that the Slim Jim target can relate to. But once the men bite into a Slim Jim, they snap back to a simpler time in their life, and are reminded that Slim Jim is a great snack for guys that want to break out of a situation and just be a dude.

These spots advance a theme started by the September 2015 spot below, which “connected the work with the Slim Jim brand because it was so funny.”

For the record, not all dudes are comically incompetent at everything they try to do. But some of the ones who are eventually get famous for it!

CREDITS

CAG Credits:
Jill Rahman- VP and General Manager
Jill Dexter- Brand Director
Adam Beane- Sr. Brand Manager
Kate Briganti- Director of Advertising

DDB San Francisco Creds:
Kevin Thomson- CD
Tor Kologlu- ACD
Justin Stielow- ACD
Lena Barrows- AD
Katie Johnston- CW
Mark Tobin- EP
Kristin Barbour – Group Account Director
Nancy Bernacchi – Account Director
Lindsay Hrack – Account Supervisor
Mark Rovai – Planning Director

Dummy Films
Harold Einstein- Director
Eric Linney- EP

Arcade Edit (Offline Edit)
Dave Anderson- Editor
Gavin Carroll- Producer

The Mill (VFX, Color and Online/Finish)
Alex Bader- Producer

One Union Recording (Sound Design and Mix)
Joaby Deal- Designer/Engineer
Matt Zipkin- Engineer

GSD&M revives the “Wanna Get Away” concept/tagline it developed for Southwest Airlines in 1998 and ran with for about a decade in its new campaign for the airline. 

The 30-second “Secret Identity” reintroduces the concept via an undercover organized crime informant giving a live interview. He makes sure his face isn’t seen by the camera by remaining in the dark, but things go predictably and embarrassingly awry.

The formula still works thanks to its flexibility and relatability. Some of the same creatives who contributed to the original campaign helped with the revival, which seems ripe for plenty of new executions. “Wanna Get Away” never compltely went way, though. As Adweek points out, the brand has used the line to promote its lowest fares even in recent years and “#WannaGetAway” has been used in conjunction with the brand on social media. It’s almost a wonder it took them this long to officially bring it back as a tagline driving its advertising, given its inherent possibilities. The new spot is certainly more memorable than last April’s “Garage Band.”

“It’s an idea with a ton of brand equity,” Lara Bridger, GSD&M group creative director told Adweek. “Most people will think it never left. The idea is based in a human truth—wanna-get-away moments—so there’s really no wrong time for this campaign. What’s really great about bringing back ‘Wanna Get Away’ now is that we can truly embrace the social element.”

The brand does just that with its #WannaGetAwayIsland contest in collaboration with Home Away, which invites people to share their own “#WannaGetAway” moments on social media for a chance to win a free trip to an island off the coast of Belize, among other prizes. Additionally, the campaign includes a CBS Sports component with fans sharing their embarassing “Wanna Get Away Football Moments.”

Credits:

Client: Southwest Airlines
Spot Title: “Secret Identity”

Agency: GSD&M
Chief Creative Officer: Jay Russell
Group Creative Directors: Scott Brewer, Ryan Carroll, Lara Bridger, Rafa Serrano
Art Directors: James Hoke, Gus Solis
Writers: Rusty Broome, Laura Canzano
Director of Production: Jack Epsteen
Executive Producer: Marianne Newton
Senior Producer: Alison Wagner
Account Service: Shawn Mackoff, Amy Lyon, Amy Rodgers, Meredith Nagel, Ana Leen
Marketplace Planning:  Jennifer Billiot
Business Affairs Manager: Desiree Townsend
Project Manager: Elizabeth Stelling

Production Company: O Positive
Director: Brian Billow
EP: Ralph Laucella
Producer: Devon Clark
DP: Mauro Fiore
Editor: Jay Nelson/Cut+Run
Assistant Editor: Nick Kondylas
EP: Bebe Baldwin
Stylist: Laura Eckert

Music: Hum