Hasta La Creative!

Publicis Indonesia launched a new spot promoting L’Oreal Garnier Men featuring actor Joe Taslim (Fast & Furious 6, The Raid Redemption) squaring off in a parkour battle against a motor cyclist played by Pasha of the band Ungu.

For the 60-second spot, entitled “Urban Hero,” Publicis Indonesia teamed up with Seven Sunday Films and director iClaudius. The ad promotes L’Oreal Garnier Men’s face wash as an antidote to damaged skin caused by exposure to sun and pollution with an action-packed parkour sequence. It connects Taslim’s performance with the product, with each championed as an “Urban Hero” for overcoming difficult obstacles. The connection is tenuous at best, provided by voiceover touting the product’s benefits and the winner of the parkour contest receiving the product as a reward, and plays more as a rationale for a spot with Taslim’s star power. The video is hosted on a campaign site, which includes a behind the scenes look at the making of the ad, maps of the race and product info.

“We loved working with Seven SundayFilms — they were professional, organized and nothing was left undone,” said Publicis Indonesia CEO Ben Lightfoot, in a statement. They were a great source for outside experiences and talent, bringing a new and unique understanding of Indonesian advertising while maintaining international quality production.”

Credits:

Client: L’Oreal, Garnier Indonesia
Agency:Publicis Indonesia
Director: iClaudius
DOP: Sven Lippold
Production Company: Seven Sunday Films
Executive Producers: Rodney & Ajeng Vincent

Honda’s new HR-V came about thanks to an extended trial-and-error process, and RPA emphasizes that fact in its new campaign.

The work, which so far consists of two TV spots, plays on the idea that the new models are a mishmash of ideas that come as close as possible to “[getting] everything just right.”

Here’s “Give and Take,” which illustrates its titular concept via a Photoshop-esque remodeling of actors’ faces:

We do like the leading lady’s Madonna-worthy gap there at the end to remind us that nothing’s perfect…not even an economy SUV.

The next ad, “Great Thinking Inside,” dispenses with the faces metaphor and gives us an illustration of the many models that eventually merged to form the HR-V:

The release tells us that the campaign was created to appeal to Honda fans’ sense of nostalgia by demonstrating the process via the power of CG illustrated in “Russian-nested-doll fashion” to create the newest, shiniest version of the car you’ve known and loved, etc. It’s like Transformers without the fun.

The campaign’s print ads also play off the change theme, using a classic Mad magazine-style fold-in to demonstrate the new models’ “versatility.”

In addition to the work posted here, Honda will also “[sponsor] the brand new Amazon 3D printing store,” “[collaborate] with Thrillist on a Culinary Road Trip event,” work on “the National Geographic Wanderlust Instagram contest” and, most importantly, run “a personalized interactive post on Buzzfeed.”

Title: “Great Thinking Inside” :60 and “Give and Take” :50
First air: June 8, 2015
Client: American Honda Motor Co., Inc.

Agency: RPA
EVP, CCO: Joe Baratelli
SVP, ECD: Jason Sperling
VP, CD Copywriter: Ken Pappandurous
VP, CD Art Director: Chuck Blackwell
Sr. Copywriter: Paul Fung
Sr. Art Director: Marcella Coad
Copywriter (for “Great Thinking Inside”): Audrey Attal
Copywriter (for “Great Thinking Inside”): Forrest Boleyn
Copywriter (for “Give and Take”): Adam Gothelf
Art Director (for “Give and Take”): Michael Enriquez
SVP, Chief Production Officer: Gary Paticoff
VP, Executive Producer: Isadora Chesler
Producer: Matthew Magsaysay

VP, Director of Business Affairs: Maria Del Homme
SVP, Management Account Director: Brett Bender
VP, Account Director, National/Corporate Advertising: Jeff Moohr
VP, Management Supervisor: Cathy O’Gorman
Management Supervisor: Rose McRitchie
Account Supervisor: Patty Mira

Production Company: Nexus Productions
Director: Smith + Foulkes
EP: Tracey Cooper
EP (for “Give and Take”): Jeremy Smith
Line Producer (for “Give and Take”): Max Fink
Production Manager (for “Great Thinking Inside”): Fernanda Garcia Lopez

Post Production (for “Great Thinking Inside”): Time Based Arts
Animators: Chris Wood and Sam Osbourne
Flame Artists: Mike Skrgatic, James Allen and Sheldon Gardner
3D Artists: Ben Cantor, Mike Battcock, Kristoffer Andersson, Poul Resen Steenstrup, Eva Kuehlmann and Simon Goodchild
Additional Grade: Simone Grattarola

Post Production (for “Give and Take”): MPC
VFX Supervisor/Lead Flame: Benoit Mannequin
Flame: Vincent Blin
CG Lead/Lighting: Dameon O’Boyle
CG Lighter: Tim Kafta
CG artist: Clement Renaudin
Offline Editor: Billy Sacdalan
EP: Jo Arghiris
Senior Producer: Juliet Tierney
Producer: Jake Fenkse

Vehicle Scanning & Modeling: ACME Digital Content
Kevin Malling, Brandon Acree, Tyson Hill and John Wang

Music Supervision (for “Great Thinking Inside”): Squeak E Clean Productions, Inc.
Music Composer (for “Give and Take”): Squeak E Clean Productions, Inc.

Licensed Music Track (for “Great Thinking Inside”): “Gonna Build A Mountain”
Composers: Leslie Bricusse and Anthony Newley
Performed by: Sammy Davis Jr.
Label: Rhino Entertainment Company, A Warner Music Group Company

Sound Design: Factory
Sound Designer: Anthony Moore

Music For “Great Thinking Inside” :15’s: ANTFOOD
Mix & Sound Design: Lime Studios
Engineer: Mark Meyuhas
Assistant: Matt Miller
Executive Producer: Susie Boyajan

Grey Berlin launched a new campaign for Lunative, introducing the brand’s electroluminescent clothing to Tromsø, Norway, Europe’s darkest town.

Among those profiled by Grey Berlin and director Peter Dietrich are a death metal band, a Russian fisherman, two beat cops, a retired couple and a parish priest. The citizens appreciate Lunative’s clothing as a means of dealing with town’s three months of “polar night.” One member of the death metal band even jokes that it makes him feel like playing something lighter, like a ballad. Exploring the locale makes sense for the brand, as it illustrates the benefits of electroluminescent clothing , and Dietrich is able to coax some charming little portraits out of the footage.

“If you need to survive a long dark winter, it makes sense to wear this kind of clothing,” said the director. “We took that very sensible idea and gave it an ironic twist. Our intent was to prove that long, dark, Scandinavian winter nights feel shorter when you’re you are wearing glowing gear. Our approach was to blend suspense, mystery and humor. Visually, it is a mix of strong, cinematic images and a documentary style of shooting.”

Credits:

CLIENT: Lunative
TITLE: Tromsø Enlightened
AGENCY: Grey, Berlin.
Executive Creative Director: Oliver Handlos
PRODUCTION: Wanda.
Director: Peter Dietrich,
Director of Photography: Michael Multhoff
Executive Producer: Mandy Kothe
POST: Harvest Digital Agriculture
Editor: Marko Strihic
Colorist: Swen Linde
2D Artist: Axel Schmidt
MUSIC: MOKOH Music / Nine O’clock Music
Composer/Sound Designer: Stephan Moritz
Sound Designer:Torben Brüggemann

With Cannes Lions 2015 looming, Grey Latin America has submitted a series of campaigns for judges’ consideration including this clever one from its Buenos Aires office.

Figures state that Argentina’s average daily salt intake–12 grams a day–is more than double that of the World Health Organization’s recommendations and that 30% of its residents suffer from high blood pressure. So Grey Argentina teamed up with hometown scientific institution Fundación Favaloro to create “The Salt You Can See” (#LaSalQueSeVe).

As the case study above notes, the two parties collaborated in creating and distributing bottled colored salt during World Salt Awareness Week in March to make Argentinians aware of how much they’re actually consuming and, in turn, promote better cardiovascular health. Regarding the campaign, which eventually drew attention and support from the likes of soccer superstar Lionel Messi and the largest Argentine salt company, Fundación Favaloro institutional communications manager Alejandra Marino says:

“…We work on different initiatives aimed at contributing to a better quality of life in the community, as were the wishes of Dr. René G. Favaloro. As a health institution, working on the adoption of healthy habits is a challenge. Creative proposals like THE SALT YOU CAN SEE from Grey advertising, which is part of their Corporate Social Responsibility program, enables us to get our message across more effectively.”

Since its launch, the campaign has garnered over 16 million impressions and over 100 celebrities posing with the saltshakers on Instagram using the hashtag #salfie.

Agency: Grey Argentina
Executive Creative Director: Diego Medvedocky
Creative Director: Sebastian “El Chino” Graccioli, Diego Gueler Montero
Art Director: Florencia Loda
Copywriter: Facundo Martinelli
VP, Client Service: Florencia Pereyra
Account Director: Cecilia de la Fuente
Account Executive: Estefania Prieto
Digital Manager: Ayelen Privato
Agency Producer: Patricio Browne, Guido Urrutia, Sergio Bonavia
Production Company: Oruga Cine
Director: Martin Levi
Executive Producer: Ioni Borisonik
Advertiser’s Supervisor: Alejandra Marino

Back in April, Coors Light chose to nix an entire campaign created by its AOR Cavalry.

At the time, AdAge reported that the company had no choice but to abandon the work “because [the] ads did not go over well with distributors,” that wholesalers were concerned over the company’s lack of a full marketing campaign, and that the client/agency were rushing to get a new one ready for June.

The purpose of the work was to endear the brand to younger drinkers, who increasingly turn to companies other than MillerCoors to meet their alcoholic needs.

The public at large never saw the work in question, but today a tipster alerted us to the fact that Cavalry Creative Director Devon Harris recently posted it all on his Vimeo page.

Here, then, is the “Cold One” campaign. In the first spot, the Lebowski-era-Sam-Elliott-esque star tells a group of travelers thirsty for knowledge why Coors Light tastes so refreshing: because it was born in the Rockies, stupid.

Then Cold One and his pet owl Jonathan then explain why Coors Light is indeed the world’s most refreshing beer:

The next question: “why is Coors Light always bottled cold?”

Here’s a quick promo for the company’s new “Citrus Radler”:

…and another in whichCold One attempts to answer “Life’s Questions”:

Now compare the work above to the new work, which debuted last night during the NBA Finals:

The new work sticks to the “Born in the Rockies” theme, though it’s a bit flatter than the Cold One campaign. We don’t quite understand why the former got dropped, but something tells us the old ads won’t be live much longer.

In other recent Cavalry news, last month a source confirmed that Chief Creative Officer Jim Larmon would soon be leaving the agency; expect an announcement regarding his replacement soon.

W+K London launched a new spot for mobile company Three, delivering the message “When stuff sucks #makeitright.”

Like 2013’s viral hit “The Pony,” the spot features its share of anthropomorphic dancing, this time with a Muppet-like creature rather than a small pony. The ad follows the purple creature as he experiences a series of small misfortunes and then remembers advice from his parents to “make it right.” He decides to spread the message, “helping” people stuck in difficult situations, like a girl who dropped her ice cream cone, a cheerleader who falls from a human pyramid, a couple whose car is hanging over the edge of a cliff and a man trapped in quicksand by singing and dancing. Like “The Pony,” the approach is patently ridiculous, but the new effort doesn’t do as well a job of tying the shenanigans to the brand’s message. The spot ends by directing viewers to a campaign microsite, which claims “The Furry Revolution Starts Friday 5 June,” which is perhaps not the best choice of words.

Huge launched a new spot promoting Pfizer’s “Get Old” initiative, launched in 2012, entitled “Commencement Day.”

“Commencement Day” uses the familiar trope of summer graduation as a way to use “cultural experiences usually associated with youth to challenge conventional views of aging.” The effort is built around new Harris Poll research which found that “as people get older, the more open they are to experiencing new beginnings.” As one example, most millenials (95 percent) said that under 40 was the best time to get married, compared with 62 percent of Gen Xers and 60 percent of Baby Boomers. The spot shows an elderly couple making the decision to get married, interspersed with a commencement speech reminding viewers that “The moments that define you never stop, and the most rewarding ones may be just ahead.” The spot ends with the message “Every day is your commencement day,” followed by the unfortunate tagline, “Get ready. Get set. Get old.”

The “Commencement Day” spot is housed on the updated GetOld.com site, along with stories supporting the initiative, including that of Pfizer colleague and ovarian cancer survivor Alicia Dellario, “who is dedicated to inspiring others to live life to the fullest, no matter what challenges they face.”

“Through Get Old, we, at Pfizer, want to help people understand that each stage of life is an opportunity to begin again and experience ‘firsts,’” said Sally Susman, executive vice president, Corporate Affairs at Pfizer. “As our longevity continues to increase it is more important than ever to stay healthy, to live well, and that’s why Pfizer has always been supportive of healthy aging.”

Carmichael Lynch launched a new spot promoting the Subaru Forester, entitled “Making Memories.”

The ad, directed by Noam Murro, shows a father cleaning out his old Forester and finding items that prompt flashbacks of moments he’s shared with his daughter, beginning with a crayon she left in the car as an elementary school student (apparently he didn’t clean the car out very often). It’s revealed, as the father tosses the daughter the keys, that he’s passing the car down to her. “You can pass down a Subaru,” says the voiceover, “but you get to keep the memories. That’s why we got another Forester.” The approach implicitly highlights the longevity of the vehicle, as well as the sentimentality at the heart of the brand’s advertising. “Making Memories” joins a long list of sentimental Subaru ads highlighting the father-daughter relationship and while it may not tread much new ground, it’s hard to fault Subaru or Carmichael Lynch for sticking to their strengths.

Credits:

Client: Subaru of America
Spot: Making Memories

Agency: Carmichael Lynch
Chief Creative Officer: Dave Damman
Exec Creative Director: Randy Hughes
Writer / Group Creative Director: Dean Buckhorn
Art Director / Associate Creative Director: Brad Harrison
Head of Production: Joe Grundhoefer
Senior Executive Content Producer: Brynn Hausmann
Business Manager: Vicki Oachs
Account Management: Brad Williams, Adam Craw, Kate Moret, Greta Hughes, Robert Ar

Production Company: Biscuit Filmworks
Director: Noam Murro
Managing Director: Shawn Lacy
Executive Producer: Colleen O’Donnell
Line. Producer: Jay Veal
Director of Photography: Simon Duggan

Edit House: Rock Paper Scissors
Editor: Stewart Reeves
Assistant Editor: Luke McIntosh and Arielle Zakowski
Executive Producer: Angela Dorian
Producer: Ashley Bartell
VFX House The Mill
Exec Producer: Sue Troyan
Sr. VFX Producer: Dan Roberts
Production Coordinator: Mary Hayden
Shoot Supervisor: Chris Knight, Robert Sethi
Creative Director/2D Lead Artists: Chris Knight
2D Artists: Steve Cokonis, Daniel Lang
Design: Eugene Gauran
Telecine: Company 3 / Stefan Sonnenfeld
Audio Mix: BWN Music / Carl White
Sound Design: BWN Music / Carl White
Post Production Audio Producer: BWN Music / Annie Sparrows
On-Line Editor: Volt Studios / Steve Medin

Music: “Time Will Tell”
Performed by: Gregory Alan Isakov
Written by Gregory Alan Isakov
Music Supervisor: Venn Arts / Jonathan Hecht

On-camera talent: PJ King (Dad)
Fay Masterson (Mom)
Madison Beaty (Teen)
Cordelia Zawaraski (Tween)
Margaret Clark (Grade-schooler)
Quinn Porter (Toddler)
Voice Over Talent: PJ King
Justin Beere (Announcer)

In an effort to enlighten kids who normally couldn’t care less about wearing sunscreen while running around on the beaches of Rio de Janeiro, Nivea–with the help of FCB Brasil–decided to use the little ones’ moms and a couple of cute dolls to raise awareness. With the Nivea Doll, brand and agency essentially turn kids (ages 3 and up) into caretakers thanks to a UV-sensitive product that essentially gets sunburned.

Regarding the Nivea Doll effort (which is a follow-up to the Cannes Mobile Grand Prix-winning “Protection” ad that also promotes the Nivea Sun Kids line), FCB Brasil creative vp Joanna Monteiro says:

“Protecting and caring is something we learn from an early age. This emotional bond is what this NIVEA action offers. Through the magic of technology, children can see the sun’s effect on the skin of the doll.”

No word yet if the sunscreen-friendly dolls will be mass-marketed, but perhaps we’ll just have to wait for the next phase of the campaign to find out.

Agency: FCB Brasil
Creative VPs: Joanna Monteiro and Max Geraldo
Creative Directors: Adriano Alarcon and Carlos Schleder
Digital Creative Director: Pedro Gravena
Art Directors: Ricardo Silveira, Rodrigo Leal Rodrigues and Victor Bustani
Copywriters: André Bittar, Giampetro Zanon and Marcelo Jun Sato
Art Buyers: Tina Castro and Daniel Gonçalves
Illustrations: Estúdio Ícone
Graphics Production : Diego Bischoff, Manoel Roque and Paulo Rogério de Oliveira
Media: Alexandre Ugadin, Sergio Broto and Rachid Antun
Technology: Gerson Lupatini and Marcio Bueno
Client Services: Mauro Silveira, Cristiane Pereira, Tania Muller, Mariana Mozzaquatro and Vitor Borragine
Planning: Raphael Barreto, Frederico Steinhoff, Alice Alcantara and Stephanie Day
RTV: Charles Nobili, Ricardo Magozo Magozo and André Fonseca
Image Production: Piloto
Direction: Daniel Soro, Alexandre Chalabi and Paula Brandão
Client Services: Roberta Frederico, Natalia Souza and Ariane Esteves
Production Coordinators: Mariana Guerra and Fernanda Ragazzi
Post-production Coordinator: Nayla Kols
Composition: Alessandro Gerace
Editing: Luiz Eduardo Doria, Rodrigo Resende and Abner Palma
Post-production: Piloto
Sound Production: Satélite Áudio
Conductors: Roberto Coelho and Kito Siqueira
Production and Post-production: Equipe Satélite
Client Services: Fernanda Costa and Marina Castilho
Client Approval: Tatiana Ponce

Venables Bell & Partners launched a campaign announcing the collaboration between Audi and Toms to donate 55,000 shoes to U.S. children in need this summer.

As part of the Summer of Audi Sales Event, which begins today and runs through August 4, customers who purchase an Audi will receive an offer for a pair of exclusively-designed Toms, while also helping the companies donate shoes to those who need them. The collaboration is promoted with the 30-second spot “Footing,” which claims “The right footing makes all the difference,” while illustrating its point by showing a brand new Audi RS7 sans wheels and showing off the program’s limited-edition Toms kicks. “Footing” made its online debut today and begin airing on broadcast, including on cable, cable sports, cable prime, and network prime. starting June 8.

“Through TOMS One for One giving program Audi will help change the lives of thousands of children in the United States and empower new customers to be a part of this movement,” said Loren Angelo, director of marketing, Audi of America. “With TOMS, we found a natural partnership. Audi aligns with likeminded companies that challenge the conventions of design and share a passion for progressive ideas.”

Credits:

CLIENT NAME: Audi
SPOT NAME: “Footing”
AIR DATE: 6/8/15
AGENCY: Venables Bell & Partners
EXECUTIVE CREATIVE DIRECTOR: Paul Venables and Will McGinness
CREATIVE DIRECTOR: Erich Pfeifer
ASSOCIATE CREATIVE DIRECTOR: Matt Keats
DIRECTOR OF INTEGRATED PRODUCTION: Craig Allen
EXECUTIVE PRODUCER: Mandi Holdorf
AGENCY PRODUCER: Hannah Murray

PRODUCTION COMPANY: Gentleman Scholar
DIRECTOR: Will Campbell & Will Johnson
DIRECTOR OF PHOTOGRAPHY: Neil Shapiro
EXECUTIVE PRODUCER: Rachel Kaminek
LINE PRODUCER: Richard Kaylor
POST PRODUCER: Tyler Locke
EDITOR: Jarred Buck
DESIGNER: Trevor Conrad, Kenneth Robin
3D GENERALIST: Matt Connolly
COMPOSITORS: Montana Casey, Kevin Njoo, William Voss
FLAME ARTIST: Federico Saccone
MUSIC: Elias Arts
MIX: Eben Carr, One Union