A new wave of sensitive-dad ads includes this misty-eyed VW number: this TV ad for the Volkswagen Polo shows the evolving relationship of a protective father and his daughter, from the moment he first brings her home from the hospital to the day she finally leaves home, when he hands her the keys to a shiny new Polo — ensuring she “stays in safe hands”. You can trust the small but tough Volkswagen Polo to protect your loved ones and keep you.
Google started airing this commercial before Father’s Day of last year. The ad, called “Dear Sophie” follows a dad over the years as he creates a digital scrapbook for his daughter with Gmail, YouTube, Picasa, Google Maps and more.
The man who brought you one of our favorite dads, Mrs. Doubtfire, is at it again. This time, Robin Williams is playing opposite his real-life daughter, Zelda. It’s all too fitting that this father-daughter pair would be repping this installment in the Zelda series; after all, Williams named his daughter after the legendary warrior princess.
2011. This spot shows what’s possible with AT&T, the only network that lets your iPhone talk and surf at the same time. We open on a new dad clumsily trying to change his baby’s diaper. His friend calls and asks if he caught the game the night before; he immediately replies ‘yeah’, though it is obvious that he missed it. Not wanting to sound out of the loop, he uses his iPhone to pull up a video recap of the game. They talk football, with the dad able to watch highlights on his phone and talk them up to his friend at the same time. He seems to forget what he’s supposed to be doing when his wife enters and flashes him a look. He quickly hangs up and attempts to focus on the task at hand. The spot closes with the line, “Only AT&T’s network lets your iPhone talk and surf at the same time.”
2012. The campaign explains that, with the arrival of the Summer heat, comes the arrival of dads wearing nothing but briefs. This commercial offers a solution to this problem. Created by Del Campo Saatchi & Saatchi for BGH air conditioners.“
First, they walk. Then they talk. Evidently, the only thing left for a baby to learn is how to shred on Rocksmith. Was your dad cool enough to get you on a Fender in your onesie? Here’s a worthy addition to the pantheon of babies doing grown-up stuff in advertising—this Ubisoft video with a baby rocking out with the company’s Rocksmith videogame.
2010. McDonald’s is launching its first television advertising campaign targeting gay men. The fast food giant’s commercial – with the slogan ‘Come as you are’ – is to be aired on television in France. It features a teenager sitting in a McDonald’s restaurant gazing at a photo of his gay lover in a class photo, then phoning to say he ‘misses him’. The youth’s father then returns to the table with a tray of burgers, and says: ‘It’s a shame you’re in an all boys college. You would have had all the girls chasing you.’ The gay son then gives a knowing smile as they tuck in to their fast food. McDonald’s said the ad was intended to show that it welcomed people from all walks of life. A YouTube version of the advert with subtitles has so far been viewed more than 220,000 times in countries including Britain and the U.S., where it has not been screened.
In the bathroom, a woman is teaching her son how to shave property, as a father would while he is watching L’Equipe TV.
Men like sport. And as L’Equipe is like a bible for people who are found of sport, a man can spend unknown is in his room as he doesn’t recognise his father when this one is not reading L’Equipe..
Grand Prix 2001 – FOX Regional Sports (Turkey/China/Russia/India)
A Turkish sports reporter is at a cliff-diving tournament. A diver jumps off a steep cliff, goes into a ‘swan dive’ and lands on dirt. Turkish peasants clap politely. Super: Sports news from the only region you care about. Yours. Fox Sports Net.
A Chinese sports reporter is showing highlights of a ‘tree catching’ competition. We see two lumberjacks chop down a giant 200-ft tree for an athlete to catch. He is not successful. Super: Sports news from the only region you care about. Yours. Fox Sports Net.
A Russian sports reporter is covering a ‘slapping contest’ in a smokey, seedy bunker. Two large men take turns slapping each other in the face. Suddenly, an impressive slap causes the drunken crowd to erupt. Super: Sports news from the only region you care about. Yours. Fox Sports Net.
The host of a Mumbai sports show is interviewing the National Clubbing Champion. Two blindfolded men chase each other with clubs in front of a large crowd. They swing wildly at each other … but miss. Then one loses his bearings and starts pounding a gentleman in the crowd. Super: Sports news from the only region you care about. Yours. Fox Sports Net.
Advertising Agency: Cliff Freeman and Partners, USA Creative Director: Eric Silver Copywriter: Dan Morales Art Director: Rossana Bardales Production Company: Partizan NY Director: Traktor
Alternative Grand Prix – John West (Bear)
At a river, a man fights a bear for a salmon. Voiceover: John West endure the worst to bring you the best. Super: John West Red Salmon.
Advertising Agency: Leo Burnett UK Creative Director: Mark Tutssel Copywriter: Paul Silburn Art Director: Paul Silburn Production Company: Spectre UK Director: Daniel Kleinman
A young man is tagged in an elaborate game, involving the entire city. He races off to tag someone else, and they elude him to the very end.
Advertising Agency: Wieden + Kennedy, USA Creative Director: Dan Wieden, Hal Curtis, Jim Riswold Art Director: Monica Taylor, Andy Fackrell Director: Frank Budgen
Alternative Grand Prix – Levis (Odyssey)
A man and a woman hurtle through a string of solid walls. They crash out of the building, land on a tree, and run up it into the night sky.
Advertising Agency: BBH, UK Creative Director: Stephen Butler Art Director: Gavin Lester Production Company: Academy, UK Director: Jonathan Glazer
An old lamp is thrown out to make way for a new one from Ikea.
Advertising Agency: Crispin Porter + Bogusky, USA Creative Director: Alex Bogusky, Paul Keister Art Director: Mark Taylor, Steve Mapp Copywriter: Ari Merkin Production Company: MJZ, Los Angeles Director: Spike Jonze
Alternative Grand Prix – Honda (Cog)
Cog is a two-minute chain reaction using only parts from a Honda Accord. Each car part cleverly triggers off the next, showing the beauty and precision of the pieces, and the ingenuity of the engineers who built it, prompting the V/O to comment “Isn’t it nice when things just work?”.
Advertising Agency: Weiden + Kennedy, London Creative Director: Tony Davidson, Kim Papworth Art Director: Matt Gooden Copywriter: Ben Walker Production Company: Partizan, London Director: Antoine Bardou-Jacquet
Hundreds of thousands of people are forming a human mountain higher than any of the other buildings in the city. At it’s zenith a variety of people enjoy a moment of exhilaration before others scramble over them and take their place.
Advertising Agency: TBWA/London Creative Director: Trevor Beattie Art Director: Tony McTear Copywriter: Paula Marcantonio, Tony McTear Production Company: Gorgeous Enterprises, UK Director: Frank Budgen
Alternative Grand Prix – Lynx 24-7 (Getting Dressed)
A man and woman wake up in bed. They start getting dressed. We soon discover that their clothes are scattered right across the city. The last shoe sits by two opposite-facing shopping trolleys in a supermarket. The couple met there only hours ago. The man was wearing Lynx 24/7 bodyspray.
Advertising Agency: BBH, UK Creative Director: Rosie Arnold Art Director: Nick Gill Copywriter: Nick Gill Production Company: Small Family Business, UK Director: Ringan Ledwidge
Can hate be a good thing? Honda ‘Grrr’ sets out to prove just that. A tranquil world is invaded by flying, dirty old Diesel engines. However, the population get angry and even, using their hate for the better, destroying every last one. Finally, they herald the brand new Honda Diesel.
Advertising Agency: Weiden + Kennedy, London Creative Director: Tony Davidson, Kim Papworth, Chris O’reilly Art Director: Sean Thompson, Michael Russoff, Richard Russell Copywriter: Sean Thompson, Michael Russoff, Richard Russell Production Company: Nexus Production, London Director: Adam Foulkes, Alan Smith
Alternative Grand Prix – Adidas (Hello Tomorrow)
Adidas 1 is the first shoe with a computer. “Hello Tomorrow” demonstrates that with every step these magical shoes can create an entirely new world out of nothing. It is a story of rebirth and
taking your first steps – again.
Advertising Agency: TBWA/Chiat/Day, San Francisco Creative Director: Lee Clow, Chuck McBride, Joe Kayser Art Director: Joe Kayser Copywriter: Chuck McBride Production Company: MJZ, Los Angeles Director: Spike Jonze
Three young men at a bar drink Guinness. Suddenly the action pauses and the film starts to play in reverse. The men walk backwards out of the bar. As they walk they seamlessly go back down the evolutionary chain through hundreds, thousands, millions of years. Super: GUINNESS. Good things come to those who wait.
Advertising Agency: Abbott, Mead, Vickers, BBDO, UK Creative Director: Paul Brazier Art Director: Matt Doman Copywriter: Ian Heartfield Production Company: Kleinman Productions, London Director: Danny Kleinman
Alternative Grand Prix – Sony (Balls)
Dropping 250,000 brightly coloured bouncy balls down the streets of San Francisco for real = colour like no other.
Advertising Agency: Fallon London Creative Director: Richard Flintman Art Director: Juan Cabral Copywriter: Juan Cabral Production Company: MJZ, London Director: Nicolai Fuglsig
“We created a film that exposed the manipulation of the female image in the media. The objective was to encourage discussion around the subject of real beauty and lead people to the campaignforrealbeauty website.”
Advertising Agency: Ogilvy & Mother Toronto Creative Director: Janet Kestin, Nancy Vonk Art Director: Tim Piper, Mike Kirkland Copywriter: Tim Piper Production Company: Reginald Pike, Toronto Director: Yael Staav, Tim Piper
Alternative Grand Prix – Epuron (Power of Wind)
Wind has a strong nature. Better keep him busy…
Advertising Agency: Nordpol + Hamburg, Germany Creative Director: Lars Ruehmann Art Director: Bjoern Ruehmann, Joakim Reveman Copywriter: Matthew Branning Production Company: Paranoid Projects, USA Director: The Vikings
Grand Prix 2008 – Cadbury (Gorilla)/Microsoft (Halo 3 Campaign)
We hear ‘In the air tonight’ by Phil Collins as we realize we’re in front of a calm looking gorilla. ‘I’ve been waiting for this moment for all of my life…’ The ape stretches its neck like a heavyweight boxer would do before a fight. He’s sitting in front of a massive drum kit as the best drum fill of the history of rock is coming. The Gorilla knows this. He smashes the drums phenomenally – feeling every beat. The camera leaves the ape and his drum. United, the way they are meant to be.
Advertising Agency: Fallon London Creative Director: Richard Flinthan, Juan Cabral Art Director: Juan Cabral Copywriter: Juan Cabral Production Company: Blink, London Director: Juan Cabral
On-line, the Halo 3 website served as a virtual museum, providing an interactive fly through of the entire John 117 monument and putting visitors right in the middle of the fight. They could also learn more about our enemies and hear first hand stories from the men who were there. For that we filmed interviews with surviving veterans of the battle who served with Master Chief. They talked about their experiences and spoke with reverence and awe about what it was like to serve with mankind’s greatest hero.
Advertising Agency: T.A.G. San Francisco/McCann Worldgroup Creative Director: Geoff Edwars, Scott Duchon Art Director: Ben Wolan Copywriter: Rich Herrera Production Company: Go Film, Hollywood/RSA Films Los Angeles Director: Simon McQuoid, Rupert Sanders, Neil Blomkamp
Alternative Grand Prix – Nike (Next Level)
“Next Level” is new take on Football from Nike. Made to inspire football obsessed teens, the film is a first-person journey up the football ranks–from being discovered by Arsenal in a youth match to a life-defining moment playing for our national side. Along the way we experience success (finishing a cross from Cesc Fabregas) as well as frustration (getting burned by Ronaldinho). The film celebrates playing the game with purpose and passion. It shows what it takes to become a modern, brilliant fofotballer – to take your game to the next level.
Advertising Agency: 72 And Sunny, USA Creative Director: Glen Cole, John Boiler, Bryan Rowles, Jason Norcross Production Company: Anonymous Content, USA Director: Guy Ritchie
Philips set out to own the idea of a cinematic viewing experience at home. From the start the strategy was to create a film that movie lovers would want to see.
The film is hosted within a site that, through interaction, educates the audience about the three main features of Philips televisions – Ambilight, Cinema 21:9 and Picture Quality – and ties these features to the act of film making. So, what would movie lovers want to see? We decided on a seamless tracking shot, one long take that a film loving audience could marvel at and be fascinated by. Within the ‘housing’ of a tracking shot we inserted behind the scenes glimpses where the experts could talk about their craft and the decisions they made whilst filming the shot. The DOP on lighting, the Director on the 21:9 format and VFX supervisor shows why picture quality is so important. To allow for more interaction, we decided that a frozen time film, shot using a state of the art motion control rig, would give the audience control upon interaction allowing them to literally move the camera back and forth frame by frame. This is done intuitively through a ‘grabbing hand’ cursor when the screen is moused over.
What makes this interaction really special is the interactive cinematic score. The score, composed by Michael Fakesch, was composed as a linear piece, but was then handed over to a flash music developer to carve up and distort as the user moved back and forth through time, frame by frame – all designed to pull the audience in and hold them there longer whilst they try to unravel the mystery of how the film was made.
The second main element of interaction is the way the audience is able to trigger the three behind-the-scenes educational scenes from the film’s timeline. When the user clicks on the timeline, they reveal films within the film. The timeline unfolds and expands, the post production disappears, each expert walks in and the rigging reappears revealing that all along the actors were simply holding their position whilst a state of the art motion rig captured them in frozen time. All this was designed to be as seamless as possible with maximum visual reward ensuring the audience clicked all three of the hotspots.
In addition to the interaction within the film, the ratio of the film itself could be changed at anytime through first person interaction. This simple, but effective comparison tool really did get across the spectacle of the new Philips 21:9 TV. The other elegantly simple piece of interaction is Ambilight on and off, in the words of the DOP – “you really miss it when it’s not there.” A final point worth noting is the dynamic title sequence. Instead of a traditional loader, we crafted a title sequence correspond to the speed of the users internet connection. The slower the connection, the longer the sequence.
Advertising Agency: Tribal DDB Amsterdam Creative Director: Michael Fakesch, Chris Baylis, Andrew Ferguson Art Director: Mariota Essery, Maximilliano Chanan Copywriter: Carla Madden Production Company: Stink Digital, London Director: Adam Berg
Alternative Grand Prix – T-Mobile (Dance)
On 15th January at 11am, a single commuter started dancing in the middle of a train station. The dance grew as more dancers joined in, until there were over 300 people perfectly choreographed. The excitement caused hundred’s of genuine unsuspecting members of the public to join in and share the moment.
Advertising Agency: Saatchi & Saatchi, London Creative Director: Paul Silburn, Kate Stanners Art Director: Rick Dodds Copywriter: Stephen Howell Production Company: Partizan, London Director: Michael Gracey
Grand Prix 2010 – Old Spice (The Men Your Man Could Smell Like)
This TV commercial was created to appeal to men as well as women, showing them both how great a man can smell when they use Old Spice Body Wash.
Advertising Agency: Wieden + Kennedy, Portland Creative Director: Mark Fitzloff, Susan Hoffman Art Director: Craig Allen, Eric Kallman Copywriter: Craig Allen, Eric Kallmacanal Production Company: MJZ, Los Angeles Director: Tom Kuntz
Alternative Grand Prix – Canal + (Closet)
Canal+ launched its new ‘Original Creativity’ campaign in September 2009. The objective highlight to Canal+’s showcase of original programming, consisting of series, documentaries and fictions, created exclusively by and for Canal+, scripted by prestigious writers such as Olivier Marchal and Jean- Hugues Anglade. To launch this new campaign, we produced THE CLOSET. The film unites quality, humour, originality and a touch of impertinence inherent to the brand’s communications: ‘Never underestimate the power of a great story”
Advertising Agency: BETC EURO RSCG, Paris Creative Director: Stephane Xiberras Art Director: Eric Astorgue Copywriter: Jean Christophe Royer Production Soixan7e Quin5e, Paris Director: Matthijs van Heijningen
Every four years, the keys to football heaven are dangled in front of the international elite. One goal, one pass, one game saving tackle can be the difference between fame and forgotten. What happens on the pitch in that split second has a ripple effect that goes beyond the match and the tournament.
‘Write the Future’ was a messaging platform that allowed Nike to show how football creates this ripple effect. It allowed us to give a glimpse into the future to see what the players were really playing for, in their own lives and the lives of those that follow them. Our goal was to weave the brand into the conversations around this major tournament in a way that celebrated the participating teams and athletes and engaged football fans around the world.
Advertising Agency: Wieden + Kennedy, Amsterdam Creative Director: Jeff Kling, Mark Bernath, Eric Quennoy Art Director: Stuart Harkness, Freddie Powell Copywriter: Stuart Harkness, Freddie Powell Production Company: Independent Films, London Director: Alejandro Gonzales Inarritu
Alternative Grand Prix – Volkswagen (The Force)/Crysler (Born of Fire)
For the all-new 2012 Passat , Volkswagen brings Star Wars™ to one of TV’s most talked about events. Accompanied by John Williams’ iconic “The Imperial March,” the spot features the most infamous villain in the galaxy, a pint-sized Darth Vader who uses the Force when he discovers the all-new 2012 Passat in the driveway. The two iconic brands leverage humor and the unforgettable Star Wars score to create an emotional spot and make Super Bowl ad history.
Advertising Agency: Deutsch, Los Angeles Creative Director: Eric Springer, Michael Kadin Art Director: Ryan Mclaughlin, Craig Melchiano Copywriter: David Povill Production Park Pictures, Santa Monica Director: Lance Acord
Of the big three American car companies, Chrysler was in the most danger of failing. Had there not been a last-minute vote of confidence from the U.S. Government, they would not exist. This was public knowledge, debated throughout the country—should we have loaned Chrysler the money? When it came time to introduce a new product, we had a car to sell and also had to win back America’s confidence. To do this, we took the unlikely position of embracing Chrysler’s Detroit heritage when every other American car company was distancing themselves from the city. We created a 2-minute homage to Detroit, a city primed for a comeback, and ran the spot only once, on Super Bowl Sunday.
Advertising Agency: Weiden + Kennedy Portland Creative Director: Mark Fitzloff, Susan Hoffman, Aaron Allen Art Director: Jim Lasser Copywriter: Mark Fitzloff, Joe Staples, Kevin Jones, Greg Rutter, Dan Kroeger Production: Serial Pictures, Culver City Director: Samuel Bayer
Four men transport a heavy box with precious contents to a waiting ship. The box survives lots of dangers and finally arrives safe. Unfortunately the ship is the Titanic. Advertising Agency: DDB Needham, Netherlands Year: 1993 Gold Lion
Der Spiegel Magazine
Advertising Agency: Springer & Jacoby Year: 1998
Gradiente Home Theatre
Advertising Agency: Young & Rubicam, Brazil Year: 1998
Alka Seltzer
Advertising Agency: BBDO Portugal Year: 1998
Audi
Advertising Agency: Tandem DDB, Spain Year: 1999
Titanic Food Festival
Advertising Agency: PSL Erickson, India Year: 1999
Advertising Agency: Contract Advertising, India Year: 2000
Canal +
Advertising Agency: EURO RSCG BETC, France Year: 2000
Star Channel
In a scene reminiscent of “Titanic”, the workers in an office try to fix a broken shelf. Advertising Agency: Dentsu, Tokyo Year: 2001
Fisherman’s Friends
Advertising Agency: Springer & Jacoby Year: 2003
Meio & Mensagem Magazine
Advertising Agency: Neogama BBH, Sao Paulo Year: 2003
Citroen XSara Picasso
Advertising Agency: Duezt EURO RSCG, Sao Paulo Year: 2003
Soken DVD
This series show the problems when you play a DVD player. It then recommends a Soken DVD player instead. The office girl talks to her friend at the elevator about the ‘Titanic’ DVD she saw yesterday. However, she isn’t speaking smoothly. Why? Because her DVD player can’t play smoothly either. Advertising Agency: EURO RSCG Flagship, Bangkok Year: 2004 Gold Lion
Sony Wega Home Theatre
Advertising Agency: BBDO Chile Year: 2004
L’Equipe Sport Magazine
Advertising Agency: DDB Paris Year: 2005
Dakino Film Festival
Advertising Agency: Lowe & Partners, Romania Year: 2005
Volkswagen Fox
A ship, a man, a woman. Ship sinks. Man dead. Woman alive. Watch Hollywood’s legendary blockbuster “Titanic” in 30 seconds. Short and fun. Just like the VW Fox. Advertising Agency: DDB Dusseldorf Year: 2006 Silver Lion
LG Home Theater
Advertising Agency: Lowe Porta, Chile Year: 2004
Blockbuster
We see the memorable scene where the Terminator is going to be melted in the industrial plant, everything occurs as normal, but the soundtrack we hear is “My Heart Will Go On” from Titanic. In the credits we read “Terminator or Titanic? Take Both, Tuesdays 2X1 at BlockBuster” Advertising Agency: BBDO Guatemala Year: 2006 Shortlist
Panasonic Veira Plasma TV
Advertising Agency: Lowe Porta, Santiago Year: 2006 Shortlist
History Channel
Advertising Agency: Ogilvy South Africa Year: 2006
TV Guide
Advertising Agency: Jung von Matt, Germany Year: 2006
We see the Titanic sailing over the dark waters of the Atlantic Ocean. In the crow’s nest there’s a watchman, personified by a Yellow chocolate Rocklets. Suddenly, he spots a huge iceberg and informs the other Rocklets who desperately trie to alert the Captain. As soon as he takes off to do so, a huge human hand takes it away and eats it. The Rocklet was never able to inform the ship that it is about to crash into an iceberg. Super: The beginning of the history of a Rocklets is very close to the end. Advertising Agency: Leo Burnett Argentina Year: 2009
Advertising Agency: Del Campo Nazca Saatchi & Saatchi
Execuitve Creative Directors: Maxi Itzkoff, Mariano Serkin
Creative Director: Joaquin Espagnol, Miguel Usandivaras
Production Company: Garlic
Director: Marcelo Burgos
Post Production Company: Serena
Sound Company: Sonomedia
Song: ”Young at heart” by Frank Sinatra
Sony’s digital imaging branch sure has a history of wondrously eccentric and eye-catching ad campaigns. Over the last several years they’ve dropped 250,000 super balls down a San Francisco street, exploded 17,000 liters of paint in Glasgow, and most recently used two and half tons of Play Doh to have bunnies invade a New York City square. It should come as no surprise then, that their next campaign is just as if not more monolithic than their previous efforts.
When the folks at Fallon London and Sony approached the film friendly city of Miami to see if they could fill a few downtown blocks with foam for their latest ad campaign, city officials thought they were joking. Rest assured, this was no joke. We saw it with our own eyes. Over the last several days a team consisting of 150 crew people (eighteen on foam detail) led by director HLA’s Simon Ratigan, took several city blocks by storm, or foam rather. With the help of the world’s biggest foam machine, capable of churning out two million liters of foam per minute and filling an Olympic sized pool in twenty-four seconds, Miami was turned into Foam City.
The idea behind the Foam City ad campaign is that bubbles are beautiful, but it’s extremely hard to capture that beauty in an image. However, since the latest in Sony’s digital imaging arsenal, including the new Alpha 350 with tilt screen, CybershotW175 with smile shutter, and HD Handycam, specialize in ‘capturing images like no other’ we can finally see bubbles the way they’re meant to be seen or in a larger sense any truly unique moment. How’s 200 locals wading around a city block covered in foam taking pictures with the latest Sony gear for a unique moment?
In addition to the 80,000 plus feet of film shot for the campaign, the commercials will also feature images shot by those wandering through the sea of suds, as well as the documentary filmmaker on hand. We know you can’t wait to see the finished product, neither can we. However, we’re all going to have to wait until the staggered release of the various incarnations of the ad, set to debut in the Spring and Early Summer. Until then, you’ll just have to be satisfied with the images we snapped while on the shoot.
Advertising Agency: Fallon, London
Creative Director: Juan Cabral
Creatives: Samuel Akesson, Tomas Mankovsky
Production Company: HLA, London
Director: Simon Ratigan
Editor: Bruce Townend
Editorial Company: The Quarry
VFX: MPC
Audio Post: Wave
Composer: Warren Ellis
