Everyone's favorite gnarled, Oscar-nominated lunatic begins, "If you're like me, you like talkin' to things." The actor says hello to his pants and a lamp before thanking the fish for living in the sea. He rings a bell, and as the tone resonates, he vibrates his head and mugs for the camera. Classic Busey!
Bedeviled by a Roku streaming player that won't obey his verbal commands, he snarls, "It's frustrating when things don't listen. Especially high-tech things." Mr. B. then demonstrates a key Fire TV attribute. He voice-queries the device—searching for himself, naturally—and spits out a hammy, celebratory "Yes!" when a menu of his movies appears on the screen.
Actually, it's one of his saner, more restrained performances. Dude's usually way more bizarre than this.
Barry the Biscuit Boy splashes onto the scene in a slam-dunk spot for British dairy Cravendale, a cautionary tale from Wieden + Kennedy in London and production house Blinkink.
The heady mix of puppetry and computer animation milks every drop of self-conscious craziness from the script. Barry, literally a cookie-kid, swims in a creamy lake to illustrate how, if the spot's irritatingly addictive jingle can be believed, "you could lose your head over Cravendale." (In the real world, there's "Barry-flavored" Cravendale milk with bits of biscuit for fans who can't get enough.)
"Cravendale is the only branded milk in the U.K., and it needs to stand apart from the ubiquity of cheaper own-label milk in the supermarket," W+K creative director Sam Heath tells AdFreak. "So the spots need to cut through on a limited media spend and somehow lodge the thought in people's minds that Cravendale is superior in some way. The more memorably you do that, the more effective the work is."
The team strived to create "a beautifully detailed, incredibly crafted world that felt charmingly old school and yet quirky and modern at the same time," says Heath. "In the end, the whole thing was brought to life mostly in-camera using a combination of traditional techniques. So all the sets are real models with painted backdrops, and Barry is either puppeteered or animated stop-frame or sometimes a combination of both."
Unlike Chips Ahoy's recently unpacked ads starring cute and mischievous anthropomorphized treats, Barry's adventure has deliciously creepy overtones, as have past cartoon creations from W+K's Cravendale team. Speaking of which, the brand has apparently given those cats with thumbs the finger and sent them packing—at least for now. No doubt many fans will miss the fiendish felines, who clawed their way through some uber-popular ads.
Sorry, kitties. That's how the cookie crumbles.
Credits below.
CREDITS Client: Cravendale Agency: Wieden + Kennedy, London Executive Creative Directors: Tony Davidson, Kim Papworth Creative Director: Sam Heath Creatives: Max Batten, Ben Shaffery Producer: Lou Hake Production Company: Blinkink Directors: Andrew Thomas Huang, Joseph Mann Puppetry: Jonny Sabbagh, Will Harper Executive Producer: James Stevenson Bretton Producer: Benjamin Lole Director of Photography: Matt Day
From the folks who brought you "Mandible," perhaps the most twisted film-festival promo in history, comes a sequel that's also messed up—if less visually gruesome.
RPA and Tool's new spot for the 15th anniversary of the Newport Beach Film Festival (taking place April 24 to May 1) tells the memorably off-kilter tale of a father who tells his daughter an extremely disturbing betime story.
The two-minute-plus clip takes place entirely in her bedroom, and David Theune excels in his role—with his animated, increasingly intense storytelling, rather than movie clips, carrying the day.
He begins predictably enough—"One upon a time, there was a beautiful princess who lived in a magical castle far far away"—but quickly changes gears. Weaving together plot points from indie classics Her, Memento and Pulp Fiction—and they mesh pretty seamlessly—his narrative peaks with an enthusiastic riff on the wood-chipper scene from Fargo. (The reason for his obsession is revealed in the final frames.)
The girl's out like a light. Probably fainted. Sweet dreams!
Banksy's "Balloon Girl" provides a fitting image for the children whose lives have been ravaged by Syria's civil war, which just entered its third year.
The British street artist drew some criticism in October for the "awkward politics" of his satirical video about the conflict. His balloon imagery in this new "With Syria" awareness campaign, however, based on his stencil from 2002, has met with considerable praise, and rightly so.
"With Syria" is no less powerful, and its duality is striking, encompassing both hope and regret. The hopeful message of kids lifted above violence and strife toward a better future (represented with soul and simplicity in the "With Syria" video) has received the most attention.
The regretful message is subtler. A child clutching for a balloon suggests a childhood lost. Forever. That fate has befallen far too many Syrian kids already. More will suffer if we don't rise to the challenge and bring about meaningful change.
The animated spot was written and created by Sunshine, and directed and produced by RSA Films. Idris Elba does the voiceover. Elbow contributed exclusive music.
In this new spot for paint brand Dulux, BBH London creates a charming, vibrant fantasy where colors, rather than alcohol, are outlawed during America's Prohibition days.
Everyone's feeling as glum and washed out as their drab surroundings as our heroine mopes around, oblivious to a potential suitor. The bit where a cop on the beat crushes a golden flower beneath his boot as a little girl looks on is a cute, tongue-in-cheek touch.
Directors Christian & Patrick of Park Pictures don't rely on black-and-white photography, which can, in some instances, look nostalgic and inviting. Rather, the film's palette is gray and faded, its colors barely perceptible, an effective technique that adds a splash of realism and enhances the downbeat vibe.
Suddenly, bullets fly, cans and barrels are punctured and smashed—and some lucky folks start seeing the world in different hues. (Maybe they just needed a few shots of bathtub gin.)
"The spillage was all done on a pre-prepared canvas so that we didn't get any on the roads," BBH creative Martha Riley tells AdFreak. "The production designer created a massive sort of jigsaw of the canvas which was laid on top of the road and the edges were taken out in post. We were very lucky with the weather that day as there were looming rain clouds, but we managed to shoot the scene before the daily downpour."
The narrative defines happiness in broad strokes, which seems entirely appropriate for a paint commercial. Ultimately, the film does a fine job of blending color and mood, and its message isn't easily brushed aside.
Credits below.
CREDITS Client: Dulux Agency: BBH, London Creative Team: Martha Riley, Richard Glendenning Creative Director: Nick Allsop Team Manager: Hannah Madden Team Director: Tracey McIntosh Strategy Director: Tom Roach Strategic Business Lead: Ann-Marie Costelloe Producers: Georgina Kent, Ruben Mercadal Assistant Producers: Phil Cross, David Lynch Production Company: Park Pictures Director: Christian & Patrick Executive Producer: Stephen Brierley Producer: Richard Fenton Director of Photography: Benoit Delhomme Postproduction: Electric Theatre Collective Producer: Matt Williams Shoot Supervisor: Yourick Van Impe Lead Flame Artist: Giles Cheetham Flame: Andrew Stewart, Yourick Van Impe Nuke: James Belch Lead 3-D Artists: Remi Dessange, Gerard Dunleavy 3-D: Dan Marum, Laury Guintrand Matte Painting, Gerard Dunleavy, Dave Gibbons Grading: Aubrey Woodiwiss Editing House: Peepshow Post Editors: Andrea Macarthur, Lizzie Graham Sound: Raja Sehgal, Grand Central Sound Studios
Sheb Wooley comes screaming out of the mists of pop culture into the commercial mainstream in FCB's new campaign for pay-TV channel Canal+ in Spain.
Wooley is the voice actor who performed the "Wilhelm scream," a ubiquitous sound effect that debuted in the 1951 adventure Distant Drum and has since been dubbed into more than 200 movies, including Toy Story and the Star Wars, Lord of the Rings and Indiana Jones series. It takes its name from Private Wilhelm, a character in the 1953 western The Charge at Feather River. (Modern auteurs like George Lucas, Quentin Tarantino, Peter Jackson and Steven Spielberg apparently use the scream in their productions whenever possible.)
The ad below, by FCB Spain and FCB Los Angeles, stars Wooley's widow, Linda Dotson Wooley, as "The Woman Who Can't Watch Movies"—because she's afraid she'll hear her husband's famous scream. The mockumentary points to a website that encourage folks to "donate" their screams and overdub Wooley so Linda can enjoy Hollywood films again. The site lets you record screams for up to three movie clips and share the results with friends. They'll really appreciate that.
Even though it's all a goof, I kept thinking that Linda could just watch something outside Wooley's filmography—like the Scream movies or Home Alone, in which, it seems, Macaulay Culkin handled the screamy honors himself.
CREDITS Client: Canal+ Agency: FCB Spain; FCB Los Angeles Campaign: "Leave Wilhelm Alone" Client Contacts: Iñaki Martikorena, Bernardo Melero, Purification González Executive Creative Directors: Pedro Soler, Eric Springer Creative Team: Beatriz Pedrosa, Peio Azkoaga, Joao Freitas Producers: Brendan Kiernan, Steve Devore, Thomas Anderson, Kate Borkowski, Kepa Vizcay Production Company: Helo Director: Alex Grossman Lighting: Seamus Tierney Sound: Sam Tornero Pulido Web Developers: Carlos Lainez, Miguel Iglesias App Developers: Joan Arbó, Jorge Cubillo Social Media Strategy: Mauro Rodriguez, Jose Olivares Poster: Beatriz Pedrosa, Marian de la Fuente Planner: Manuel López
Nothing enhances a commute like coming into physical contact with a bunch of strangers at the bus stop.
Cossette's "Moments of Warmth" campaign for Duracell had public-transport patrons in chilly Montreal join hands to complete a circuit and activate heaters in a branded bus shelter. I suppose this marketing approach has positives and negatives. (Such battery puns fall into the latter category.) On the one hand, it's not as touching as that Norwegian "Would you share you coat with a freezing child at a bus stop?" stunt. And having the subjects kiss would've provided more sparks.
On the plus side, at Duracell's shelter, no one can pick your pocket.
In the way the tagline, "You're on," and logo are positioned, the brand's new ads seem to refer to drug use—appearing to spell out the phrase "You're on coke."
The campaign, by Droga5 in New York, has been building considerable, um, buzz in the media and from consumers flocking to social media with mocking comments. (Gothamist has collected some prime tweets along these, er, lines.) And while one imagines no such connection to cocaine is implied, you can understand the snarky reaction.
A commercial shows various people downing the product to get psyched up before speeches and performances. Taylor Swift takes a—how shall I put this?—hit backstage, then says, "Great. Let's go." Hey, that's nothing like drugs at all. In The New York Times, a Coca-Cola exec says the ads show how the drink provides "uplift for those moments when you really need to be on." Hey, that's nothing like drugs at all.
The campaign's wording is so obvious, I'd bet client and agency went this route on purpose. The ads are certainly getting extra attention, and it's not so offensive as to cause the brand harm. Plus, there's plausible deniability.
And here's a sobering thought: "Drogas" is Spanish for drugs!
I reached out to Coke and Droga5 for clarification. Oddly, they weren't on (no response yet), but I'll update this post with any uplifting comments they choose to provide.
UPDATE: Coca-Cola responds: "This advertising is one part of the new campaign for Diet Coke, which is called 'You're On.' It celebrates ambitious young achievers from all walks of life and reminds them that Diet Coke is there to support them in the moments when they are at their best. Every single day, young people around the world experience 'You're On' moments big and small. It could be a job interview or a national TV interview, a first date or a final exam, a presentation to your boss or a performance in front of thousands. The Diet Coke logo is the centerpiece of the ad campaign. Diet Coke in no way endorses or supports the use of any illegal substance."
This wonderfully warped three-minute music-video commercial for Germany's Edeka supermarket chain certainly lives up to its title, "Supergeil," which can mean both "super cool" and "super sexy" (or "horny") in German.
Paunchy middle-aged crooner Friedrich Liechtenstein bathes in milk and cereal, boogies in the aisles, fondles sausages, cavorts with a dude dressed like a battery and reels off naughty double entendres to a techno beat. At one point, he rhymes "muschi" (German for "cat," or "pussy") with "sushi," while a woman slurps raw fish nearby. ("Supergeil" does not translate to "super classy," after all.)
His subdued yet insane performance transcends language barriers, though it's a hoot that one line translates to "Organic is also very, very cool/Very cool organic products, excellent," while a suave chorus exhorts viewers to "Check it out, very, very cool fries, super/Very cool cod, by the way, very cool/Oh look here, toilet paper, ooh, now that's soft/Very, very cool, super." You don't learn to write copy like that in portfolio schools.
Some liken the clip, from ad agency Jung von Matt, to a German "Gangnam Style," citing its funky take on local pop culture. Others compare the bearded Liechtenstein to Dos Equis's Most Interesting Man in the World. Frankly, he reminds me of a different ad character: It's easy to imagine Liechtenstein strutting down a sun-soaked European beach, well-fed gut straining against his Speedo. Easy to imagine, though not particularly pleasant.
Procter & Gamble's "Tough Love" ad, which celebrates the pride and determination of athletes and their moms ahead of next month's Paralympic Winter Games in Sochi, Russia, manages to play on the heartstrings without hitting a saccharin note.
Not long ago, images of kids without limbs struggling to excel in sports would have been viewed as appropriate for fund-raising PSAs but too downbeat for other types of advertising. It's a mark of how far we've come that such visuals are now seen as inspiring and triumphant. And the found footage in this minute-long clip from Wieden + Kennedy, Portland, Ore., showing determined youngsters swimming, racing and skating (with their supportive moms nearby), is especially soul stirring.
Paralympic snowboarder Amy Purdy narrates: "You could have protected me. You could have taken every hit. You could have turned the world upside down so that I would never feel pain. But you didn't. You gave me my freedom because you were strong. And now, so am I."
The ad, running both online and on TV, debuted on Feb. 19 and has racked up 2.2 million YouTube views so far. Part of P&G's "Thank you, Mom" campaign, the spot serves as a companion piece to W+K's similarly themed viral hit "Pick Them Back Up," which follows four athletes from their baby steps to Olympic glory.
Taken together, the two spots make the point that all athletes, regardless of ability or skill level, similarly strive toward their goals. They fight to overcome long odds, personal travails and self-doubt—often relying on the dedication and perseverance of their moms to help them succeed. Such equality communicates a simple, universal truth: You have to let them fall a few times before they can soar.
Who says Vanilla Ice never had any street cred? Everyone, I guess. And when it comes to hip-hop, they're right. But … who cares? The rapper (term used loosely) is prop-ah as hell in this self-deprecating Kraft Macaroni & Cheese commercial from Crispin Porter + Bogusky, skewering his goofy persona and, against all odds, stretching his 15 minutes of fame into a fourth decade.
Ice rocks the mic like a vandal, or something, lookin' fly in a green baseball cap and apron as he stocks shelves in a grocery store to help introduce Teenage Mutant Ninja Turtle-shaped Mac & Cheese. He sings "Ninja Rap," the brilliantly asinine tune he performed in Teenage Mutant Ninja Turtles II: The Secret of the Ooze in 1991. Naturally, a mom shopping the aisle starts busting furious moves. Check out her son's befuddled/horrified stare around the 10-second mark. That look could wax a chump like a candle! Ultimately, Ice puts it all in perspective, with a knowing grin and his trademark line: "Word to your mother!"
As great as it is, the behind-the-scenes video is even more of a tongue-in-cheek riot. "I've always had a love for the Turtles," Ice explains, "and when I did Secret of the Ooze, it was the highlight of my life—ever!" He lunges forward, like a snapping turtle, for emphasis. "I'll never top it, no matter what I do."
Showing off a Turtles leg tattoo, he adds, "When I first heard Mac & Cheese was creating Ninja Turtles shapes, I was like, genius! This is the frickin' most awesome thing ever!"
Yo, you're awesome, Ice. Word to mothers everywhere!
McDonald's puts our minds to the test in this British campaign from Razorfish that features prankvertising and an online quiz.
The premise is that people can't concentrate on anything else when the Big Mac is nearby. Unlike some recent hair-raising ad stunts, and the million-calorie sandwich itself, the prank element here is pretty benign.
On a busy street, a young couple with a camera ask presumably unsuspecting passersby to take their picture. As they primp, a large portrait of a Big Mac is carried past by a different couple, who quickly switch places with the original pair just as the photo is about to be snapped. (It's cool how boyfriend No. 1 starts a sentence as the Big Mac obscures him from view, then boyfriend No. 2 appears and completes the sentence once the switch is made.)
The subjects don't seem to notice that anything's amiss. Maybe a devil baby puking up special sauce would've gotten their attention? Just a thought.
Anyway, the original couple from the clip also host a series of interactive "mind games" designed to demonstrate the Big Mac's distracting power. I thought the hypnotic properties of two all beef patties, yada yada, on a sesame seed bun had been irrefutably established long ago. Obviously, when one appears, so plump and juicy … I cannot turn away!
Oddly, when McD's showed in detail how McNuggets were made, I couldn't make the screen go dark fast enough. Still, I'll have fries with that!
Scotch whisky brand Bell's and ad agency King James might just lift your spirits with this South African ad with an elderly man struggling to overcome his illiteracy so he can celebrate a family milestone.
Director Greg Gray of Velocity Films employs a restrained cinematic style to show "The Reader" diligently practicing his A-B-Cs at every opportunity. There are some deft details: Our hero initially misspells "Kat" while playing Scrabble but gets it right later on, and he places cards reading "Kettle," "Oven" and "Taps" on corresponding objects around his home.
The literacy angle might sound like a stretch, but the idea of celebrating personal triumphs by toasting with Bell's feels on target, and the heartfelt acting and storytelling are strong enough to yield a potent emotional payoff.
Indeed, good scotch should leave you with a warm feeling inside.
The BBC's official trailer for its coverage of next month's Winter Olympics in Sochi, Russia, has its champions and detractors, with some applauding the 90-second clip's epic sweep and others lamenting its dark tone and dearth of emotional appeal.
Created by RKCR/Y&R and director Tomek Baginski, the film focuses on hyper-realistic winter desolation, its frames filled with frozen peaks, dagger-like ice formations and majestic pines toppling in plumes of snow. A booming narration by actor Charles Dance, as the voice of nature, begins: "I am the dreadful menace. The one whose will is done. The haunting chill upon your neck. I am the conundrum." And he gets even more intense, warning: "The ones that came before you. Stood strong and tall and brave. But I stole their dreams away. Those dreams could not be saved."
Athletes appear around the one-minute mark, trekking across a lonely mountain pass, like some lost party of explorers inexplicably hauling skis, skates and hockey sticks in a haze of hypothermic delirium.
Response has been decidedly mixed. Mostly I applaud the BBC for trying something a bit unexpected. If nothing else, the approach is sparking conversation and debate, fueling the promotional fires, while a more aspirational/feel-good spot, no matter how marvelously executed, would've been predictable and perhaps left some viewers (and reviewers) feeling a bit numb.
Yes, a focus on individual athletes or specific events might have been compelling, but the clip does well in positioning the Winter Games as an outsized, soul-stirring challenge, a war waged against almost mythic forces poised to smite us at every turn. The voiceover, from Tywin Lannister himself, drives home the point that the Olympics can be the ultimate game of thrones.
This eerie safe-driving PSA from New Zealand employs an Outer Limits-style time freeze to impressive, heartbreaking effect as we watch two drivers, poised to collide in a matter of seconds, emerge from their vehicles and discuss the situation.
One driver, with his small son in the back of his SUV, has misread the other's excessive speed while pulling into an intersection. Both concede it was "a simple mistake." But as the oncoming car creeps ominously ahead, shattering the otherwise frozen backdrop, they realize with mounting horror that there may be nothing they can do to avoid the inevitable. They walk back to their cars, and we share their sense of anguish and helplessness.
"This campaign aims to reframe the way people look at their speed when they're driving," the New Zealand Transport Agency says. "We usually get to learn from our mistakes, but not when driving—the road is an exception. Even the smallest of mistakes on the road can cost us our life, or someone else's."
The spot, by Clemenger BBDO, marks a departure from the agency's recent work for the client, which successfully used humor and charm to highlight the dangers of driving while stoned. Here, the tone is intensely serious, and the riveting results are memorable and stand up to repeat viewings. Amid the terrifying prospect of a side-impact crash, this ad's power hits you head on.
Process this: The "Intel Inside" logo has made its way inside the jerseys of Spanish soccer team FC Barcelona in a reported five-year, $25 million deal.
The emblem is visible only when players pull their shirts up over their heads, which they've been known to do when celebrating a goooaaal! Intel vp of sponsorship David Haroldsen says the placement "authentically tells the story of who we are rather than just being another brand that is visible with all the other logos that exist. We believed we would have more value with the symbolic placement with occasional pop-up moments within the game."
Fair enough. Cool concept. Still, I wonder … doesn't this send a tacit message that big corporate bucks are all that's "inside" these players, driving them like robots of commerce? Aren't champions supposed to be motivated by something more, like their fierce love of the game and burning desire to win? Doesn't that competitive heart, beating deep inside, truly make a great team tick?
And when Santa Claus comes to my house next week, will he bring the Easter Bunny and Tooth Fairy along for the ride?
Forget about those famous Internet felines in Friskies' Christmas spot. The real holiday supergroup is in this campaign from Forsman & Bodenfors for Unicef Sweden.
I'm talking about Jesus, Gandhi and Mother Teresa—dubbed "The Good Guys"—who get together to discuss the sacrifices they made to benefit humanity. They're joined by a typical party dude, who gets to hang with the hallowed do-gooders simply because he clicked on a Unicef banner to help save kids' lives.
The three spots in the series strike just the right tone. They're mildly irreverent and amusingly low-key, with lots of cute exchanges and details. You've gotta love Gandhi's mod yoga mat; the slacker complaining that Jesus's story, while possibly the greatest ever told, drags on a bit; and Christ accidentally clicking through to an ab-blasting offer when He initially tries the Internet.
It's a good thing Jesus is on board, since it usually takes a miracle to get folks to click on banner ads, even for a good cause.
CREDITS Client: Unicef Director of Communication: Petra Hallebrant Senior Marketing Officer: Jim Carlberg Marketing Officer: Åsa Lee
Agency: Forsman & Bodenfors Art Directors: Johanna Hofman-Bang, Agnes Stenberg-Schentz Copywriter: Marcus Hägglöf Account Supervisor: Jacob Nelson Account Manager: Lena Birnik Agency Producers: Magnus Kennhed, Helena Wård Public Relations: Desirée Maurd Designer: Nina Andersson Original: F&B Factory
ACNE Production Directors: Torbjörn Martin, Tomas Skoging Executive Producer: Petur Mogensen Producer: Fredrik Skoglund Account Manager: Jacob Englund Director of Photography: Christian Haag Costume: Patrik Hedin Makeup: Sanna Riley Set Designer: Cian Bournebusch
Special Thanks during the film production Postproduction: Chimney Pot Camera and Lights: Ljud & Bildmedia Casting, London: Aston Hinkingson Casting, Los Angeles: Stone Casting and Location, Sweden: Röster (voices, places, faces)
Stills Photographer: Pelle Bergström, Skarp Agent Stylist: Lotta Agaton, Link Deco Retouch: Bildinstitutet
Radio Production Company and Casting: Flickorna Larsson
And the award for best disembodied mouth in a commercial goes to … Australian beer Tooheys Extra Dry for this memorably unnerving 45-second spot from BMF Sydney and director Hamish Rothwell.
Popping loose from a dude's jaws and plopping down on a countertop during a party, the garrulous gob promptly mouths off at its understandably speechless owner. "You made me do things, bad things, I can't forget," says the mouth, referring to things like sucking on women's toes, eating mystery meat and kissing dogs' mouths. "I need something back." That something, of course, is the taste of Tooheys Extra Dry.
"The new ad is sure to grab attention and drive talkability," says marketing director Matt Tapper. "It's provocative, but that is what's great about Tooheys Extra Dry as a brand. We can be a little more adventurous with our creative."
The White Agency assisted with digital elements, and the campaign stretches across TV, online and outdoor, with the animated mouth as its focus. That pugnacious piehole was created by Alt.VFX, which sent a horde of deer to a rave in a memorable Tooheys spot a while back. The mouth is like something out of a David Cronenberg film—amusing and disturbing at the same time. This is very dark humor, and whether praised or panned, I expect it will set tongues wagging.
Baileys becomes the latest big-name marketer to place an epic holiday spot under the tree with BBH London's modern take on Tchaikovsky's seasonal ballet The Nutcracker. We're treated to a Candyland holiday ball punctuated by a lengthy and superbly choreographed dance-fight between the Mouse King and the Nutcracker Prince, which ends when Clara, the object of their affection, joins in and turns the tide in the prince's favor. (You'd think a guy called "nutcracker" could take care of himself.) The film closes with our heroine rejoining her two pals for more partying, along with the line, "Spend time with the girls this Christmas." (Celebrating the spirit of women has been a recurring Baileys theme.)
Despite its contemporary trappings—the Mouse King is ripped and tattooed; the venue looks like an "in" SoHo dance club—the spot doesn't stray far enough from its source material to feel like a true reinvention. There's no magical moment or boffo payoff. Yes, it's extremely well made, and the dancing is impressive, as are the sets, costumes and direction. Maybe it needed a bit more holiday warmth? Instead, I found myself reaching for a glass of Baileys to chase away the chill.
The two-minute spot premieres Saturday during the U.K.'s first telecast of Black Swan, and there's a tie-in with that Oscar-winning film, as Benjamin Millepied, its choreographer, also designed the athletic ballet in the ad. And he's not the only notable talent involved. Royal Ballet dancers Steven McRae, Thiago Soares and Iana Salenko perform the lead roles, while Ringan Ledwidge, of "Three Little Pigs" fame, directs.
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
