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
Due to irresponsible use, the word “epic” is a shell of its former self, but it’ll have to do the heavy lifting here to describe Nike’s “Write the Future” campaign.
It included everything from 3-D sculptures to an interactive LED light show on the tallest building in Johannesburg, but the world cup initiative centered on Wieden + Kennedy Amsterdam’s three-minute showstopper of a spot, featuring soccer’s biggest names–Wayne Rooney, Didier Drogba, Cristiano Ronaldo, Cesc Fabrigas and others–and a supporting cast that included Kobe Bryant, Gael Garcia Bernal, and Homer Simpson. The premise is simple: In the biggest games of their careers, soccer stars consider the butterfly effect of a single action on the field. The spot takes viewers on an action-packed journey into possible futures. For Wayne Rooney, one path leads to a knighthood and ping-pong games with Roger Federer, another, trailer parks and baked beans.
The spot, which dominated the awards circuit this year, was directed by Alejandro Gonzalez Inarritu (Amores Perros, 21 Grams, Babel) and shot in locations including Madrid, Manchester, LA, and Kenya.
Eric Quennoy and Mark Bernath, Executive Creative Directors at Wieden + Kennedy Amsterdam, take us through the pivotal moments in the mind-bendingly complex process that brought the campaign to life.
Quennoy: 1. Pick the right director.
Getting the right director to pull off a piece with the epic scale and range of “Write the Future” was somewhat important. There aren’t many directors around who could have done what Alejandro Gonzalez Inarritu managed to do, and with such beauty and authenticity. When the script was sold, Alejandro was one of our first choices because we love the wonderful, human quality of his films, and how watching them can be such a visceral experience. We were very keen to make the future successes or failures of the athletes feel palpably real–not like a series of ridiculous, fanciful conceits–and Alejandro really had the same vision, which he executed to perfection. I’d say the day he accepted the job, a fairly large piece of the puzzle was put in place.
2. Work with producers who can tolerate high levels of stress and no sleep.
If ever there was a more Herculean effort invested into a commercial TV production than that given by our producers, Elissa Singstock and Ollie Klonhammer, I am yet to see it or hear of it. Literally every day we were confronted by at least one unforeseen obstacle which forced them to adapt, re-organize, re-jig, re-schedule, etc, etc., but they stuck at it with a singular mission and passion to get it finished that was mind-blowing. Every single shot that we planned to shoot, we did, which was an amazing tribute to their perseverance. I have a lasting memory of me saying goodnight to them in a hotel lobby in Madrid at about 1 a.m., both of them on their mobile phones. The next morning at 6 a.m., as I left the hotel bound for the African part of the shoot, they were exactly where I left them, still wrangling away on their mobile phones. That’s commitment.
3. Have a client as crazy passionate about the work as we are.
When Nike tells you at the World Cup briefing they want to see something that’s never been seen before and never been done before, you gulp, inhale deeply, try hard to not be sick, and then start working your ass off. As a client, that level of ambition and passion to do something great is at once butt-clenchingly scary and everything you’ve ever dreamed of. Nike gave us their full trust and support and pushed us every step of the way to make it better. It was one of those great, synergistic periods when everyone is working towards the same vision.
Bernath: 4. Find a song whose name rhymed with the name of the band.
The most subjective part of any piece of film is music. Everyone has different tastes. And no one can really rationally defend their opinion against someone else’s and win. You just dig something or you don’t. You don’t need to prove why, it is just an instinctual feeling. What one person turns up, the other turns down. Almost 20 years ago I went skydiving over the border of Mexico with a friend who was about to get married. We weren’t trying to kill him, of course, just send him off with one final adventure. When we landed they made half-inch tapes of our jumps for us thanks to the helmeted-cameramen who went with us. We chose the music. Well, my friend Jon put a song called “Hocus Pocus” by a band named Focus on his film. It immediately spoke to me. It was an insane track. Brilliant and crazy in equal measures. Not unlike the film I would try to help make 20 years later. It just seemed like the perfect match for the footage we were shooting with Alejandro. We used it to cut and the film and the music just became inseparable. It provided the hardcore feel of sport with the occasional madman humor that our story had. And the song title rhymed with the band name. So, I guess we felt good about it. Of course, there were still people who wanted to turn it down. But not enough of them.
5. Orchestrate a launch to rival those of NASA.
Huge credit to both our client and our cohorts at W+K for devising a launch plan to get this campaign circling the globe at top speed. The use of social media to activate exclusive premieres, concurrent takeovers on YouTube, Facebook, and Xbox live, and dangling just one carrot of opportunity on broadcast television helped the film portion of the campaign own the conversation on the eve of the world’s greatest football tournament. We followed by giving this newly formed online community of fans a plethora of ways to help spread the campaign and more importantly to help author it. Along with the guys from the Mill, Grand Central, and the whole Wieden family, we watched one airing of the spot after an afternoon on the canals of Amsterdam. It was a huge release for all of us. And Bobby Solo, who stars in the spot singing Ce Cannavarro, was there to do a halftime set live! A year later, we found ourselves at our annual Founder’s Day party with a live performance by Focus. I have a feeling this is one of those families you make while on production that will continue to see each other.
Creative Director: Mark Bernath, Eric Quennoy
Art Director: Stuart Harkness, Freddie Powell
Copywriter: Freddie Powell, Stuart Harkness
Production Company: Mokkumercials – Amsterdam
Production Company: Independent Films – London
Director: Alejandro Gonzalez Inarritu, Stuart Harkness, Pablo Casacuberto
Director of Photography: Jeroen van der Poel
VFX Company: The Mill
RT @adidas_ITA: “Il rugby è sulla mia pelle” è la voce del rugby
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