Hasta La Creative!

Every day in Israel, ten young adults ages 18-40 find out they have cancer. Still, the country’s support system does not recognize this age category as a population with special needs.

Quite the opposite in fact. For many of these young adults who are just starting out in life –  starting a family, buying an apartment, beginning their careers; getting cancer means getting stuck.

 

Why? Because young cancer patients (and even recovering young cancer patients) can’t get a mortgage, women cancer patients are not told to freeze their eggs (in spite of what you can imagine cancer treatments may do to their ability to conceive & have a baby) and 60% of them are not hired back to work. For these people, getting cancer means getting stuck.

 

The “Stop Cancer” association was created to change that and provide a network of support for young adults with cancer. Therefore, in honour of the first ‘Young Adult Cancer Awareness Week’, BBR Saatchi & Saatchi launched #The_Cancer_That_Stuck_Me.

 

The idea behind the campaign was to emphasize that while a ‘regular’ 29-year-old, buying his first apartment, life is on track to move forward, the life of another person that same age, who just was diagnosed with cancer, suddenly gets stuck. While he is asked to deal with the disease, once recovered buying an apartment will be an impossible dream as he will not be eligible for any funding or mortgage.

The campaign carried which was carried out on every media platform available, attempts to illustrate how cancer patients are getting stuck. It began with organic Instagram stories which hit a nerve and spread everywhere as hundreds of celebrities joined the cause and shared their stories. Live prime television broadcasts froze, live radio broadcasts got stuck, as did TV Promos, movie trailers and YouTube pre-rolls. Even Israeli President Mr. Reuven Rivlin voiced his position. The case study shows much of this.

Advertising Agency: BBR Saatchi & Saatchi, Israel

Chief Executive Officer: Ben Muskal

Chief Creative Officer: Yaron Perel

Creative Director: Kobi Cohen

Art Director: Gali Divon

Account Supervisor: Moran Darzi

Account Executive: Adva Aviad

Media Strategy Manager: Ronit Shekel

Marcom Director: Eva Hasson

VP Content & Production: Iris Yisraeli

Producers: Livnat Alon

Photographer: Ron Kedmi

Video Photographer: Leehou Porat

Video Editor: Tom Lin

Original Music: Yaya Cohen Aharonov

Studio BBR Manager: Yaron Keinan

Studio BBR: Zehava Gonen Greenberg, Masha Varshitsky, Noam Carmel, Jenny Gindus, Eyal Vinitzer, Gabi Levi Elkayam, Robert Mizikovsky

 

Stop Cancer Team:

Marketing & Strategic Manager: Adi Muggia

Community & social network Manager: Yifat Mor

Minisite Content Manager & copywriter: Sharon Shinar

Minisite Technical operator: Liran Rozen (Anova company)

 

Tal Center non-profit organization Team:

CEO & Stop Cancer project manager: Shira Segal Kuperman

Chief Executive Officer of Foreign relations & resources developing: Saar Amir

Operation& publicity manager: Shani Adelshtein

Tal Center Founders: Zohar & Yankale Yakobson

 

Ben Horin & Alexandrovitz Public Relations Team:

Head of Public Sector Department: Amit Melnik

Team leader: Ortal Elias

Media consultant?:  Yuval Mor

Bat For Lashes, aka Natasha Khan, unveils her new song “The Hunger” from her highly anticipated new album Lost Girls out on September 6 via AWAL Recordings.  The video for “The Hunger,” which Khan directed and stars in, is shot in an otherworldly nowhere place, and reveals Khan’s character Nikki Pink’s rise as the head priestess of the Lost Girls, spreading magic and light through a triumphant ceremonial performance. A meditation on love, grief, release, and redemption, the video was produced in collaboration with her production company Lief.

Following on from the lush slow burn of “Kids in the Dark” and the poppered up 80’s rush of “Feel For You”, comes third single ‘The Hunger’: a powerful, mystical anthem, spilling out across five precisely crafted minutes. “I started that song with this organ sound on a really old ’80s synth”, Natasha remembers. “Then (co-writer/ producer) Charles Scott IV brought in his bass, and every time we were adding more and more stuff it was getting closer to this particular feeling that I wanted. There’s nothing like this feeling of translating something that’s in your DNA, part of who you are energetically, coming out in music. Like it matches a thumbprint inside of you.”

Spanning 10 tracks, Lost Girls sees Khan dreaming up her own fully formed parallel universe, laying tantalizing clues on social media. If her last album, The Bride, was melancholy and mournful, a tone poem of loss and regret, Lost Girls is her mischievous younger sister, widescreen in scope and bursting with Technicolor intensity.  It’s an album for driving in the dark; holding hands at sunset; jumping off bridges with vampires; riding your bike across the moon.   Within the women of Lost Girls and her character Nikki Pink, Khan unfolds elements of herself; within these songs, we do the same.  Filled with gauzy, 80’s-esque power ballads, Iranian-inspired beats, and the sort of epic sonics reserved for film credits rolling up a screen, Lost Girls is a noir, supernatural night-riding adventure, and one of the finest albums in Khan’s rich, varied discography.  

Nikki Pink: Natasha Khan

Lost Girls: Avery Wheless, Evangeline Neuhart, Dominique N Godinez, Kenzie McClure, Angelica DeWitt

Director: Natasha Khan

Producer: Margo Mars

Production Company: Lief

Director of Photography: Sean Conaty

Costume Design: Devin Winter

Nikki Pink Dress: Romance Was Born

Hair & Make-Up Artist: Alex Perrone

Line Producer: Roberto Rodriguez

Casting: Avery Wheless

Editor: Jamie O’Donnell

Colourist: Yoomin Lee

Titles: Fraser Muggeridge Studio

Cactus, an independent strategic creative agency specializing in health and recreation brands, has launched a campaign for Utah’s Washington County Convention and Tourism Office. The agency won the business in November after a competitive pitch.

The new brand renames the State of Utah’s Washington County as Greater Zion, with the aim to unify and celebrate the area’s diverse tourism offerings, spread visitation throughout the region and entice visitors to stay longer.

“Tourism is one of the largest economic drivers in our area, and visitation has grown substantially in recent years,” said Kevin Lewis, director of the Greater Zion Convention and Tourism Office. “One of our key objectives was to distribute visitation throughout the entire area in a way that would inspire longer visits. Cactus helped us develop a cohesive countywide brand to represent all our towns, attractions, parks, and other tourism entities to encourage discovery. The Greater Zion brand anchors us to Zion National Park but also allows us to talk about the many state parks, national conservation areas, communities and activities available within the county. Our vision with the new brand is simple: Inspire Greater. Experience Greater. Live Greater. Beauty and wonder don’t end at Zion’s edge.”

 

Located in the southwest corner of Utah, Greater Zion encompasses more than 2,400 square miles and includes Zion National Park, the fourth most-visited national park in the United States. Four other state parks with year-round recreational land offer some of the best scenic activities such as mountain biking, off-highway vehicle riding, 12 top-rated golf courses, and world-class cultural performances at Tuacahn Center for the Arts. 

 

The vibrant communities of St. George, Springdale, Hurricane, Ivins and towns in between offer a wide range of lodging options, dining experiences and access to outdoor pursuits through local outfitters and tour companies. Host to the 2021 IRONMAN 70.3 World Championships, Greater Zion is also a world-class destination for sporting events, conferences and meetings. 

 

Media for the campaign includes TV, online video, OOH and social media in the Rocky Mountain Region, covering five states: Arizona, California, Colorado, Wyoming and Nevada along with national and international marketing efforts.

 

“Agencies talk a lot about putting their clients on the map, but with Greater Zion, that’s literally what we’re doing,” said Jeff Strahl, creative director at Cactus. “Three months ago, Greater Zion didn’t exist. We worked with the Washington County Tourism Office to turn a collection of communities lacking a cohesive identity into a unified brand they can be proud to stand behind.”

 

Greater Zion gives context and language to the communities in Washington County, allowing them to easily communicate where they are and what they have to offer to their audiences. It creates a unified sense of place that Washington County has been searching for for a long time. This brand will not only bring communities together, but it will also bring people from around the world together. This place is greater than just one park. This place is greater than just one adventure. This place is Greater Zion.

Advertising Agency: Cactus, Denver, CO (USA)

Brand/Client: Washington County Convention and Tourism Office

For the record, Marmite started it, in case the brewer’s yeast spread’s parents are reading this. Marmite (a softer, gentler, more polite version of Vegemite) was handing out free jars of Marmite at the Ashes in an attempt to woo those attending. The Australia vs England hostilities have now spread beyond the cricket field – heh, “spread”, see what we did there? In the press, Vegemite and Marmite are having it out in ad spreads. Ad spreads hehehe. Fine, I’ll see myself out.

“G’Day” the ad reads and continues: 

“News has reached down under that free jars of marmite are being handed out at the ashes to try and prove it tastes better than our Vegemite. 

Are you guys barmy?

Of course the refined English palate will prefer yours.
You see, Vegemite is a far stronger taste, made of resilience and fortitude with a dash of cunning and guile. Vegemite tastes like back-to-back tons on your return test. Vegemite tastes like a come-from-behind victory by 251 runs.

You lot won’t like the taste of Vegemite, because Vegemite tastes like Australia.

Catch ya at Lord’s. “

I must say, even if I don’t understand half of it because I am neither British nor Australian, nor am I wise to the ways of cricket, I love the tone of this ad. It’s all chest-thumpingly proud of being not only an acquired taste but even more so than the other polarising-taste spread, Marmite. For the record, I like them both, on hot and slightly buttered toast. Fite me.

Matt Gray, Vegemite spokesperson in Australia said “It’s not often we get brought into such a large scale international conflict. However, we found Marmite’s behaviour to be a little untoward. It’s just not cricket to give away Marmite at the cricket. We just want to set the record straight that Australians will always prefer Vegemite as Vegemite actually tastes like Australia. The English are welcome to their mild Marmite, it probably suits their sensitive palates a little more.”

Thems fighting words.

Renault has launched its latest campaign ‘The Getaway’ starring brand ambassador and legendary French striker Thierry Henry for its sponsorship of Sky Sports’ coverage of the Premier League.

 

Shot in the style of a classic getaway movie, we see Thierry Henry play the role of ‘The Transporter’ whose mission is to help football fans ‘Get to the Game in Style’. Thierry and his Renault rescue fans from the everyday commitments such as shopping or going to the gym to get them back in time to watch the football on Sky Sports, whether at home or the local pub. I need a driver like this in my life. 

The campaign created by Publicis•Poke features two 60-second & 30-second films titled ‘The Big Shop’ and ‘Game Over’ that when cut-down serve as idents broadcast during 128 live games and various non-live programming across the 2019/20 Premier League season on Sky Sports. 

Adam Wood, Marketing Director – Groupe Renault UK and Ireland said: “The renewal of our partnership with Sky Sports is about celebrating the dedication of football fans to be part of the game. Football fans show a zest for life, a desire to succeed and a spirit of togetherness, and will try to be at the game no matter what.”

 

Dave Monk, Executive Creative Director – Publicis•Poke

 

“We’ve all been there, there’s a big game on telly but you’ve got something equally big on that you can’t escape; Your sons ballet class, your daughters best mates 9^th birthday, or that big weekly shop. Take one beautiful Frenchman, a couple of brand spanking new Renaults, a legendary directing / cinematographer combo and a cracking soundtrack, and you’ve got a visual feast that should get footy fans revved up for the new footy season”

PUBLICIS•POKE CREDITS

 

TITLE: Renault Sky Sports Sponsorship

 

CLIENT: Renault UK

 

CLIENTS: Adam Wood, Olivia Kaye, Chriso Antoniou

 

BRIEF: (sum up in one sentence) To grow awareness and affinity of Renault through the Sky Sports Premier League sponsorship

 

ADVERTISING AGENCY:  Publicis•Poke

 

EXECUTIVE CREATIVE DIRECTOR:  Dave Monk

 

GROUP CREATIVE DIRECTOR: Colin Byrne

 

SENIOR CREATIVE TEAM: Andy Thirsk & Matt Comras

 

PLANNERS: Calvin Lyon & Will Elliot

 

BUSINESS DIRECTOR: Stuart Pond

 

ACCOUNT DIRECTOR: Abby Fox

 

ACCOUNT MANAGER: Luke Cox

 

HEAD OF FILM PRODUCTION: Colin Hickson

 

AGENCY PRODUCERS: Emma Havard-Jones, Joss Haynes

 

MEDIA BUYING AGENCY: MGOMD

 

PRODUCTION COMPANY: Pulse Films

 

DIRECTORS: 32

 

PRODUCTION COMPANY PRODUCER: Shirley O’Connor

 

DOP: Sean Bobbitt

 

EDITOR: Ten Three

 

POST-PRODUCTION COMPANY: Time Based Arts

 

AUDIO POST-PRODUCTION COMPANY: Factory

 

ILLUSTRATOR: Sam Gilbey

 

DATE RELEASED: 9^TH August

The idea behind Traeger Grills tongue-in-cheek “tastes like gas” line is quite simple – we all know that wood-fired BBQ tastes better, and suggesting that gas grilled “tastes like gas” reminds us of this. See, Traeger is the original and best wood-pellet grill available, and to tell everyone this the Traeger team collaborated with Nate Morley, Public Address, and Los Angeles-based GenPop, who has worked with big names like Marvel and Beyonce, to make this gassy-pun vision come to life.

Traeger, CEO: Jeremy Andrus
Traeger VP, Brand Marketing: Hjalmar Hedman
Traeger, Creative Director: Sam Rodgers

Traeger EVP, Product, Sales and Marketing: Denny Bruce

Director: Nate Morley 
Director: Patrick Brice
Producer: Rick Brown

Production Company: GenPop
Executive Producer: Nick Moceri 
Creative Director: Nate Morley
Creative Director: Ben Conrad
Writer: Nate Morley

Director of Photography: Adam Frisch
Production Designer: Kris Starr Davila
Wardrobe Stylist: Ela Erwin

Editorial: Nomad Editing Co. 
Editor: Jared Coller
Assistant Editor: Noah Phillips-Edwards
Post Producer: Tanner Gordon

1st August 2019, WE ARE Pi, the Amsterdam based ideas company, has been awarded International Small Agency of the Year in the annual competition curated by Adage.

The Small Agency of the Year award comes after a year in which the thirty five person team of self proclaimed ‘Pirates’ has demonstrated time and again the power of innovation and scale that an independent agency can deliver through resourcefulness, passion and vision.

The story of WE ARE Pi is an optimistic modern alternative to news stories of behemoth mergers and the death of traditional agencies.

Eight years ago four intrepid pirates split off from the Wieden + Kennedy mothership to form their own indie agency in Amsterdam. Their goal was to preserve the independent spirit, while bringing the real diversity and daring of Amsterdam for a new age.

WE ARE Pi was unintentionally, founded on international Pi day. Being associated with a number that never settles into a repeating pattern seemed too fitting a metaphor to ignore, and so the agency’s name and motto to ‘Never Settle’ was born.

Over the last eight years as many traditional agencies have struggled to navigate big changes in the media and advertising landscape, WE ARE Pi’s small band of pirates has grown eightfold.

In the last 12 months they added an exciting roster of new clients including the world’s biggest sports retailer InterSport as well as Urbanears, WeTransfer, Nike, Desigual and Netflix.

Work featuring in CNN news and written about in Vogue were our fav 2018 accolades. Industry peer reviews also reinforced WE ARE Pi’s growing presence in the ad world, with Small Agency of The Year Award from Creative Pool, Grand Prix and Game-Changer Awards from Campaign and Best Social from Webby Awards.

WE ARE Pi’s commitment to never settling has taken them to places that co-founder and CEO Alex Bennett Grant admits he might never dreamed of.

“We’ve created a Studios offering and extended into the entertainment business. We’ve found ourselves mastering world famous events like hot air balloon music festivals and zero gravity plane drops. We’ve helped clients create new product franchises and even created a fair bit of advertising along the way.” Alex Bennett Grant, co-founder and CEO of WE ARE Pi.

Founded with Jamaican, British and Japanese roots the agency has expanded into a crew that hosts fifteen different languages. While the marketing world has seen its diversity problem turn into a series of PR crises, WE ARE Pi has been having fun grappling with everything from West Indian immigration to pan-asian hip-hop and Indian weddings like the cultural natives they are.

A hallmark of Pirate culture is how much the agency invest each year in their birthday, Pi Day, when they close the agency’s doors and remind themselves why they created the agency in the first place. This year took inspiration from Dutch cycling culture to design and build the world’s first (and now world famous) Pi Bike.

Adding insult to injury for big city ad land commuters, Pi decided they couldn’t call themselves Pirates without owning a ship; the agency boat is moored outside our Canal House offices. While it’s smuggling days are largely behind it, it does make a great location for status meetings and Friday night drinks.

Co-founder and CEO, Alex Bennett Grant has this to say of the agencies progress towards being crowned Small Agency of the Year.

“At Pi we believe that any agency that is going to have a healthy future needs to look beyond advertising alone. We’ve worked hard to create a business that, while still committed to creating great advertising, has a bigger view of its future.”

“One of our biggest successes has been diversifying into the entertainment space with the creation of Pi Studios. We’ve made a number of hires of people with pure entertainment backgrounds”

“In 2018 we jumped in the deep end by investing in our own entertainment franchises and original shows. This has allowed us to respond directly to cultural moments with entertainment franchises, like when we responded to the Windrush Immigration scandal with Migrant Sound a 4-part series on West Indian Immigration’s impact on the UK music scene. We’ve created co-branded partnerships with Boiler Room, Guardian, Nikon and WeTransfer and produced over 250 minutes of original content with millions of organic views in 2018 alone.”

“Having a group of talented documentary producers on staff has also elevated our core strategy and research functions. We’re now able to nimbly find unique stories and produce high quality documentary shorts to bring audience insights. This added extra expertise to our existing Cultural Authenticity Network which we built over the years to ensure that our small resourceful team of pirates can deliver insight with big global impact. Our network of organisations and partner relationships includes TED Conferences and Singularity University, which we use to get inspiration beyond advertising and carry out research that is genuinely reflective of today’s rich and complex cultural universe.”

“We made some big changes to our structure in 2018. A big part of the founding philosophy of Pi was that the agency model had become bloated and expensive. We restructured the agency in 2018 to make sure it kept its commitment to efficiency, ownership and pace; taking the successful model of four founding pirates and building the agency around it. All our project teams are now led by four senior generalists across brand, strategy, creative and delivery, supported by specialists.”

Director Ante Kovac has joined forces with Lord Danger, a creative production studio at the intersection of entertainment and advertising. Kovac, a Toronto-based visual storyteller and writer, joins Lord Danger with an impressive body of work including short form content and commercials for Honda, Dove, KFC, 3M, and BGON, in which storytelling and authentic performances meet a streak of humor.

 

Tapped for his dual talent in directing and developing concepts, Kovac mines humanity’s many expressions, all with a cinematic through-line and a penchant for quirky mystery. With “Junkman,” Kovac blended the ridiculous and bittersweet to the notion of being physically overwhelmed by unwanted things. The short branded film garnered attention from industry publications and was named to The One Show shortlist in 2019 for Film in two categories: Film Under 100K and Branded Entertainment Long Form Video.

 

“Ante blew us away from the start with his BGON short, Junkman. I saw his work and thought, ah, this is what everyone is trying to do,” says Lord Danger Founder/EP Josh Shadid. “He captures naturalism in a high level, cinematic way. Then once we got to know him we saw how enthusiastic, thoughtful, experienced, and hard-working he is – it shows in every spot on his reel.”

 

Kovac’s entre into directing was an explosion sparked by simultaneous exposure to film at university and the Toronto International Film Festival. A former musician who had turned his attention to the craft of music production, this cinematic introduction became an obsession as Kovac consumed massive quantities of film – a staple part of his cultural diet to this day. His directing career began in creative playground of music videos; he then applied his passion for short form narratives as a commercial director, first with UK production company Therapy, and recently with Canadian production company Animals. Lord Danger will be the first company to represent Kovac in the United States.

 

“Lord Danger stands out as a company comprised of people that are not beholden to convention and are helping define the industry,” notes Kovac. “They have vision and integrity without being precious. For me, finding that balance of imagination and determined drive in Lord Danger is energizing.”

 

In addition to short form projects via Lord Danger, Kovac will direct his first feature film, an 80’s homage thriller “Coming Soon,” in 2020.

They had me already at the start of the office scene. It doesn’t hurt that I like the song as well, but this whole grungy “video” look to the music video, with a grainy drab office somewhere, and a man banging his head against the desk repeatedly, yep, I’m hooked. At 2:42 there’s a nice screaming release as our headbanging office grunt hero rages into the void and the strobe light cuts are edited together to make it even more manic. This is gritty, grimey, desperate, and so very old school punk somehow.  Directors 32 directing team Will & Dylan created this music video with the much buzzed about band Idles. 

Starring: Kris Hitchen

Directed By: Thirtytwo

Produced By : Erin Sayder

Executive Producer: Maurizio Von Trapp

Executive Producer: James Sorton

Production Company: Pulse Films

Record Label: Partisan Records

Director Of Photography:  Ben Fordesman

Production Designer: Tim Gibson

Production Manager: Millie Wells

Casting Director: Kharmel Cochrane

1 S? T ?ad : Chris Malin

Costume Designer: Adam Howe

Hair & Make Up / Sfx: Scarlett O’connell

Editor: Ellie Johnson

Colourist: Simone Grattarola

2nd ? Ad: Sam Bokma

Production Assistant: Ellie Sanders Wright 

Production Assistant: Rachel Bashford

Location Manager: Alistair Vlok 

Location Manager: Titus Penate 

Focus Puller : Ed Tucker

Clapper Loader: Jay Coates

Trainee: Ernie Griffths

Grip: Lee Naylor-vane

Jimmy Jib: Mike Drury

Jimmy Jib Trainee: Hannah Vivancos-drury

Gaffer: Esteban Gimpelewicz

Electrician: Leopold Naessens

Electrician:  Izzy Jones

Electrician:  Jeff Celis

Spark Trainee: Evance Breteuil 

Props: Louis Ruscombe King

Props: Nick Hancock

Props Buyer: Anna Leahy

Art Dept Assistant: ? George ?gunn

Art Dept Assistant: Conor O’hagan 

Stunt Coordinator: Dave Nolan

Runner: Tracey Lopes

Runner: James Reed

Runner: Elliot Lang

Runner: David Marrt

Runner: Amelia Stott

Medic: Mark Doree

Driver: Mark Rigoletto 

Driver: Terry Gibourn

Catering: Red Hot Box

Camera Equipment: Panavision

Lighting Equipment: Panalux

Production Equipment: Get Set Hire

Edit Assistant: Amanda Jenkins

Edit Producer: Julian Marshall

Edit House: Tenthree

Flame Artist: Jamie Crofts

Flame Artist: Nina Mosand

Flame Artist: Adam Paterson

Nuke Artist: Linda Cieniawska 

Post House Producer: Sean Ewins

Post House Executive Producer: Tom Johnson

Post House: Time Based Arts

Sound Designer: Anthony Moore

Sound Design Executive Producer: Lou Allen

Sound Design House: Factory

Insurance:  Jlt Specialty Ltd.

 

Cast:

Wife: Sarah Whithe

Pub Drinker: Danny Granger

Pub Drinker Friend: Claude Driver

Pub Screen Actors: Kim Driver,  Stan Roberts,  Charlie Hinnegan,  Dale Clarke
Office Screen Actors:  Kim Driver, Jamie Treacher, Charlie Pawlett, Claire Brice, Simon Bass, Jack Chapman, Hayley Powell, Amanda Collins, Wendy Jt Simeon, Billy Wright

Supermarket Screen Actors: Sophie Dearlove ,  Helen Walling Richards,  Jermaine Young, Izzy Joan, Nick Field,  Jo Hart , Katherine Beresford 

Stunt Performers: Mark Rigoletto, Danny Granger , Anna Thornley, Chris O’Reilly, Calum Ralph

Do you remember “Truth in advertising”? This series is kicking that off its inside-joke throne with style. An updated look at the world of making commercials, warts and all.

Community Films’ directorial collective JEAN and director Pam Thomas have joined forces to create “Commercials”, a comedic web series about the humorous, ego crushing, overanalyzed silliness that plagues the world of commercial film making and everyone involved.

 

“As Commercial directors and former advertising creatives, we’ve experienced hundreds of completely ridiculous moments during productions where we looked at each other and said, ‘this needs to be a show,’” says Natalie Prisco of JEAN.

 

Seizing on the seemingly important, but altogether ridiculous scenarios that inherently go along with making commercials, “Commercials” peels back the curtain on an industry that everyone is familiar with, but very few know much about.

 

“The world of commercial making is such a unique industry that feels so ripe for satire,” says Eric Eckelman of JEAN

 

Told from the unique point of view of an eccentric group of egomaniacal, yet wildly insecure commercial directors and their production company, Bird Films, “Commercials” satirizes the world of production as The Office did the world of 9-5ers.

 

Each episode gives a glimpse into the various aspects of commercial making and stages of production, leaving nobody unskewered in the process.

 

“We’d love Commercials to give viewers a sneak peek into what we love so much about our business and hope they find it as hilarious and fun as we do,” says Pam Thomas.

 

“We’re thrilled we finally decided to make that show,” adds Armand Prisco of Jean.

Episode 101: ‘ETHNICALLY AMBIGUOUS’

Nate, Maggie and the agency team try to figure out how to navigate an unexpected client request. This one feels as real as it gets, this happens. A lot.

Episode 102: ‘REALLY GREAT MEETING’

Nate and Jay may or may not have totally nailed their Snackyz presentation. Or maybe not. Maybe.

Episode 103: ‘MANTRUM’

TRUE STORY – the last time I heard a story about a director locked in a car delaying the shoot, he was also eating bowls of cereal in there.
Nate uses the oldest trick in the book to lure the out of his mind director Axel Roundhouse back to set.

Episode 104: ‘FULL CLOCKS’

Directing team Tom and Dave learn the art of the full clock.

Episode 105: ‘GUYS AND DOLLS’

A seemingly mundane Pre-Production meeting goes off the rails.

About JEAN

JEAN, pronounced like the pants that are made of denim, is comprised of Eric Eckelman, Armand Prisco and Natalie Prisco. Known for their comedy chops, and pulling believably odd performances out of their actors, they have created comedy-driven work for Lifetime, Delta, Pizza Hut, AT&T, Honda, TBS and Visa. Armand & Nat got their start working as a creative team at McCann before they went over to write and direct for MTV. There, they met Eric who was also a writer and director for the acclaimed network.

 

About Pam Thomas

Pam Thomas began her career at MTV, back when it was cool, in the late 1980s, writing and directing promos in the On-Air Promotions Department. Pam has worked with dozens of brands and agencies to produce a huge body of work, including spots for Gatorade, Nike, Visa, AMEX, Payless, Lexus, Wal-Mart, Dove, Verizon, Cheerios, Pantene and Cotton featuring celebrities Zooey Deschanel, Kate Bosworth, Emmy Rossum, and Hayden Panetierre. Pam’s style of work portrays an essence of glamour, fashion and creativity. Her sense of humor and knack for getting great performances, is evident in her TV work on Sex and the City and Desperate Housewives and more recently on the Netflix series Atypical with Jennifer Jason Leigh and Michael Rappaport.

 

 

COMMERCIALS CREDITS

 

ETHNICALLY AMBIGUOUS

Directed by JEAN

Written by Natalie Prisco

Story by JEAN

Created by JEAN and Pam Thomas

Production Company: Community Films

Executive Producer: Lizzie Schwartz

Executive Producer: Carl Swan

Producer: Tony Cantale

Director of Photography: Neil Shapiro

 

CAST

Nate Young: Nate Lang          

Maggie Cheng: Ana Parsons    

Ashley: Ali Hillis         

DK: DK Uzoukwu                   

Agency Producer: Brent Popolizio    

Head Client” Rebecca Tilney              

AD: Sam Carsons        

EA Woman: Rachel Varela

 

Editor: Angela Cheng

Production Designer: Jace Ford

Original Score: Jay Lifton

Casting Director: Chad McKnight

Casting Assistant: Rachel Varela

Re-Recording Engineer: Robin Buyer for Pulse Music

Colorist: Quinn Alvarez

First AD: Julianne Maiello

Second AD: Aban Sonia

Script Supervisor: Lucia Pier

Production Supervisor: Andrea Tello  

Production Coordinator: Kathy Burnham

Art Director: Chad Bailey

Leadman: John Horlick           

Set Decorator: Marisa Collins

Prop Master: Greg Schultz    

Set Dresser: Marty McCue

Costume Designer: Julie Vogel

Key Costumer: Kristin Hazen

Costumer: Ariel Kostrzewski

Key Make Up: Brenna Bash

Make Up Assistant: Laura Connelly            

Camera Operator: Bill Robinson 

First AC / A Camera: Diona Mavis 

First AC / B Camera: Jason Kinney  

Second AC: Austin Pedroni 

DIT: Lee Summer          

Gaffer: Tim Stratton 

Key Grip: Marco Pearson

Sound Mixer: Scott Farr  

Boom: Jason Brooks

VTR: Mike Waters

Key PA: Francisco Hernandez

Production Assistant: Scott Belsky

Production Assistant: Patrick McElroy

Production Assistant: Scott Kukla

Production Assistant: Phoebe MacCurrach

Production Assistant: Jeremy Meizlish 

Production Assistant: Tony Paoli

Production Assistant: Ted Sheahan

 

Special Thanks

House Casting

Cosmo Street Editorial

Pulse Music

Apache

 

 

 

REALLY GREAT MEETING

Directed by JEAN

Written by Natalie Prisco

Story by JEAN

Created by JEAN and Pam Thomas

Production Company: Community Films

Executive Producer: Lizzie Schwartz

Executive Producer: Carl Swan

Producer: Tony Cantale

Director of Photography: Neil Shapiro

 

CAST

Nate Young: Nate Lang                       

Jay Beck: Bo Barrett                

Agency Producer: Katie Von Til         

Creative #1: Rich Pierre Louis          

Creative #2: Dalton Leeb        

 

 

Editor: Angela Cheng

Production Designer: Jace Ford

Original Score: Jay Lifton

Casting Director: Chad McKnight

Casting Assistant: Rachel Varela

Re-Recording Engineer: Robin Buyer for Pulse Music

Colorist: Quinn Alvarez

First AD: Julianne Maiello

Second AD: Aban Sonia

Script Supervisor: Lucia Pier

Production Supervisor: Andrea Tello

Production Coordinator: Kathy Burnham

Art Director: Chad Bailey

Leadman: John Horlick           

Set Decorator: Marisa Collins

Prop Master: Greg Schultz      

Set Dresser: Marty McCue

Costume Designer: Julie Vogel

Key Costumer: Kristin Hazen

Costumer: Ariel Kostrzewski

Key Make Up: Brenna Bash

Make Up Assistant: Laura Connelly            

Camera Operator: Bill Robinson 

First AC / A Camera: Diona Mavis 

First AC / B Camera: Jason Kinney  

Second AC: Austin Pedroni   

DIT: Lee Summer  

Gaffer: Tim Stratton  

Key Grip: Marco Pearson

Sound Mixer: Scott Farr   

Boom: Jason Brooks

VTR: Mike Waters

Key PA: Francisco Hernandez

Production Assistant: Scott Belsky

Production Assistant: Patrick McElroy

Production Assistant: Scott Kukla

Production Assistant: Phoebe MacCurrach

Production Assistant: Jeremy Meizlish 

Production Assistant: Tony Paoli

Production Assistant: Ted Sheahan

 

Special Thanks

House Casting

Cosmo Street Editorial

Pulse Music

Apache

           

 

 

MANTRUM

Directed by Pam Thomas

Written by Lloyd Stein

Story by Lloyd Stein

Created by JEAN and Pam Thomas

Production Company: Community Films

Executive Producer: Lizzie Schwartz

Executive Producer: Carl Swan

Producer: Tony Cantale

Director of Photography: Neil Shapiro

 

CAST

Nate Young: Nate Lang                       

Tom: Adam Silver                   

Dave: Ken C Peterson             

Agency Producer: Olivia Herman

AD: Sam Carsons        

Actor #1: Christal Deloney      

Actor #2: Casey Alexander

  

Editor: Angela Cheng

Production Designer: Jace Ford

Original Score: Jay Lifton

Casting Director: Chad McKnight

Casting Assistant: Rachel Varela

Re-Recording Engineer: Robin Buyer for Pulse Music

Colorist: Quinn Alvarez

First AD: Julianne Maiello

Second AD: Aban Sonia

Script Supervisor: Lucia Pier

Production Supervisor: Andrea Tello  

Production Coordinator: Kathy Burnham

Art Director: Chad Bailey

Leadman: John Horlick           

Set Decorator: Marisa Collins

Prop Master: Greg Schultz      

Set Dresser: Marty McCue

Costume Designer: Julie Vogel

Key Costumer: Kristin Hazen

Costumer: Ariel Kostrzewski

Key Make Up: Brenna Bash

Make Up Assistant: Laura Connelly            

Camera Operator: Bill Robinson  

First AC / A Camera: Diona Mavis  

First AC / B Camera: Jason Kinney

Second AC: Austin Pedroni   

DIT: Lee Summer          

Gaffer:Tim Stratton

Key Grip: Marco Pearson

Sound Mixer: Scott Farr  

Boom: Jason Brooks                

VTR: Mike Waters

Key PA: Francisco Hernandez

Production Assistant: Scott Belsky

Production Assistant: Patrick McElroy

Production Assistant: Scott Kukla

Production Assistant: Phoebe MacCurrach

Production Assistant: Jeremy Meizlish 

Production Assistant: Tony Paoli

Production Assistant: Ted Sheahan

 

Special Thanks

House Casting

Cosmo Street Editorial

Pulse Music

Apache

 

 

 

FULL CLOCKS

Directed by JEAN

Written by Natalie Prisco

Story by JEAN

Created by JEAN and Pam Thomas

Production Company: Community Films

Executive Producer: Lizzie Schwartz

Executive Producer: Carl Swan

Producer: Tony Cantale

Director of Photography: Neil Shapiro

 

CAST

Nate Young: Nate Lang                       

Tom: Adam Silver      

Dave: Ken C Peterson             

Agency Producer: Olivia Herman

AD: Sam Carsons        

Actor #1: Christal Deloney      

Actor #2: Casey Alexander

 

Editor: Angela Cheng

Production Designer: Jace Ford

Original Score: Jay Lifton

Casting Director: Chad McKnight

Casting Assistant: Rachel Varela

Re-Recording Engineer: Robin Buyer for Pulse Music

Colorist: Quinn Alvarez

First AD: Julianne Maiello

Second AD: Aban Sonia

Script Supervisor: Lucia Pier

Production Supervisor: Andrea Tello  

Production Coordinator: Kathy Burnham

Art Director: Chad Bailey

Leadman: John Horlick           

Set Decorator: Marisa Collins

Prop Master: Greg Schultz    

Set Dresser: Marty McCue

Costume Designer: Julie Vogel

Key Costumer: Kristin Hazen

Costumer: Ariel Kostrzewski

Key Make Up: Brenna Bash

Make Up Assistant: Laura Connelly            

Camera Operator: Bill Robinson

First AC / A Camera: Diona Mavis

First AC / B Camera: Jason Kinney  

Second AC: Austin Pedroni  

DIT: Lee Summer          

Gaffer: Tim Stratton  

Key Grip: Marco Pearson

Sound Mixer: Scott Farr  

Boom: Jason Brooks                

VTR: Mike Waters

Key PA: Francisco Hernandez

Production Assistant: Scott Belsky

Production Assistant: Patrick McElroy

Production Assistant: Scott Kukla

Production Assistant: Phoebe MacCurrach

Production Assistant: Jeremy Meizlish 

Production Assistant: Tony Paoli

Production Assistant: Ted Sheahan

 

Special Thanks

House Casting

Cosmo Street Editorial

Pulse Music

Apache

 

 

 

GUYS AND DOLLS

Directed by JEAN

Written by Natalie Prisco

Story by JEAN

Created by JEAN and Pam Thomas

Production Company: Community Films

Executive Producer: Lizzie Schwartz

Executive Producer: Carl Swan

Producer: Tony Cantale

Director of Photography: Neil Shapiro

 

CAST

Nate Young: Nate Lang                     

Maggie Cheng: Ana Parsons   

Male Client #1: David Lowe

Male Client #2: Ted Canon     

Female Client #1: Jayne Entwistle  

Female Client #2: Io Bottom

   

Editor: Angela Cheng

Production Designer: Jace Ford

Original Score: Jay Lifton

Casting Director: Chad McKnight

Casting Assistant: Rachel Varela

Re-Recording Engineer: Robin Buyer for Pulse Music

Colorist: Quinn Alvarez

First AD: Julianne Maiello

Second AD: Aban Sonia

Script Supervisor: Lucia Pier

Production Supervisor

Andrea Tello  

Production Coordinator: Kathy Burnham

Art Director: Chad Bailey

Leadman: John Horlick           

Set Decorator: Marisa Collins

Prop Master: Greg Schultz      

Set Dresser: Marty McCue

Costume Designer: Julie Vogel

Key Costumer: Kristin Hazen

Costumer: Ariel Kostrzewski

Key Make Up: Brenna Bash

Make Up Assistant: Laura Connelly            

Camera Operator: Bill Robinson   

First AC / A Camera: Diona Mavis   

First AC / B Camera: Jason Kinney   

Second AC: Austin Pedroni  

DIT: Lee Summer          

Gaffer: Tim Stratton   

Key Grip: Marco Pearson

Sound Mixer: Scott Farr  

Boom: Jason Brooks                

VTR: Mike Waters

Key PA: Francisco Hernandez

Production Assistant: Scott Belsky

Production Assistant: Patrick McElroy

Production Assistant: Scott Kukla

Production Assistant: Phoebe MacCurrach

Production Assistant: Jeremy Meizlish 

Production Assistant: Tony Paoli

Production Assistant: Ted Sheahan

 

Special Thanks

House Casting

Cosmo Street Editorial

Pulse Music

Apache

           

 

           

BREAK ROOM

Directed by Pam Thomas

Written by Pam Thomas and Lloyd Stein

Story by Pam Thomas

Created by JEAN and Pam Thomas

Production Company: Community Films

Executive Producer: Lizzie Schwartz

Executive Producer: Carl Swan

Producer: Tony Cantale

Director of Photography: Neil Shapiro

 

CAST

Nate Young: Nate Lang                       

Tom: Adam Silver       

Dave: Ken C Peterson             

Agency Producer: Olivia Herman

AD: Sam Carsons        

Actor #1: Christal Deloney      

Actor #2: Casey Alexander

Editor: Angela Cheng

 

Production Designer: Jace Ford

Original Score: Jay Lifton

Casting Director: Chad McKnight

Casting Assistant: Rachel Varela

Re-Recording Engineer: Robin Buyer for Pulse Music

Colorist: Quinn Alvarez

First AD: Julianne Maiello

Second AD: Aban Sonia

Script Supervisor: Lucia Pier

Production Supervisor: Andrea Tello  

Production Coordinator: Kathy Burnham

Art Director: Chad Bailey

Leadman: John Horlick           

Set Decorator: Marisa Collins

Prop Master: Greg Schultz      

Set Dresser: Marty McCue

Costume Designer: Julie Vogel

Key Costumer: Kristin Hazen

Costumer: Ariel Kostrzewski

Key Make Up: Brenna Bash

Make Up Assistant: Laura Connelly            

Camera Operator: Bill Robinson 

First AC / A Camera: Diona Mavis 

First AC / B Camera: Jason Kinney  

Second AC: Austin Pedroni

DIT: Lee Summer          

Gaffer: Tim Stratton   

Key Grip: Marco Pearson

Sound Mixer: Scott Farr 

Boom: Jason Brooks                

VTR: Mike Waters

Key PA: Francisco Hernandez

Production Assistant: Scott Belsky

Production Assistant: Patrick McElroy

Production Assistant: Scott Kukla

Production Assistant: Phoebe MacCurrach

Production Assistant: Jeremy Meizlish 

Production Assistant: Tony Paoli

Production Assistant: Ted Sheahan

 

Special Thanks

House Casting

Cosmo Street Editorial

Pulse Music

Apache