McCann Australia for Metro Trains Melbourne – Is “Dumb Ways To Die” the new “Chipotle”?



“Dumb Ways to Die”, is an integrated advertising campaign designed to curb the number of train-related deaths in Victoria. The campaign is centred around a three-minute animated music video, highlighting the many dumb ways there are to die, with being hit by a train – a very preventable death – among them. The video and iTunes single are accessible online at, with animated gifs being released on Tumblr, on radio, in posters on small and large space outdoor and throughout the Metro Trains network, with the lyrics to the song on the art work.


The Idea: Safety PSAs are gloomy and tedious and largely ignored by young people hardwired to resist them—except when they’re irresistibly fun and impossible not to share with friends. McCann Australia managed just such an evolution of the genre with “Dumb Ways to Die” its animated train-safety spot for the Melbourne Metro. The three-minute music video shows adorable blobs making the stupidest decisions ever—messing with animals, sticking forks in toasters, eating superglue, etc.—leading to all sorts of gruesome, fatal accidents. The dumbest way to die, the ad suggests at the end, is by being careless around trains. “The idea for a song started from a very simple premise: What if we disguised a worthy safety message inside something that didn’t feel at all like a safety message?” said McCann executive creative director John Mescall. “So we thought about what the complete opposite of a serious safety message would be and came to the conclusion it was an insanely happy and cute song.” With more than 30 million YouTube views, it seems happy, cute and grisly was the way to go.

The Song: The song begins, “Set fire to your hair/Poke a stick at a grizzly bear/Eat medicine that’s out of date/Use your private parts as piranha bait,” before the chorus repeats the two lines, “Dumb ways to die/So many dumb ways to die.” Mescall wrote most of the lyrics in one night at the agency. “It then took a few weeks of finessing,” he said, “getting rid of a few lines that weren’t funny enough and replacing them with new ones.” The line “Sell both your kidneys on the Internet” was a late inclusion. “I’m glad it’s there. It’s my favorite,” he said.


Australian musician Ollie McGill from the band The Cat Empire wrote the music. “We basically gave him the lyrics and told him to set it to the catchiest nonadvertising type music he could,” said Mescall. McGill delivered something almost unbearably catchy. “The melody is easy to remember and sing along to, the lyrics are fun, bite-sized chunks of naughtiness, and the vocals have just the right amount of knowing innocence,” Mescall said. “It’s a song that you want to hate for living in your head, but you can’t bring yourself to hate it because it’s also so bloody likable.” The singer is Emily Lubitz of another Australian band, Tinpan Orange. (The song is credited to Tangerine Kitty, which is a mashup of the two band names.) “Emily brought a great combination of innocence, playfulness and vocal integrity,” Mescall said. “She brings a level of vocal quality you don’t normally get on a video about cartoon death.”

The Art Direction: Australian designer Julian Frost did the animation. “We gave him the most open brief we could: Just make it really funny and really awesome and do it to please yourself,” said Mescall. The visual reference points ranged from Edward Gorey’s The Gashlycrumb Tinies to Monty Python’s “Always Look on the Bright Side of Life” (which showed men singing while being crucified) to “any number of hokey indie music-video flash mobs you see on YouTube,” said Mescall.



“Julian was keen to contrast the extreme situations described in the lyrics with the simplest animation possible. Otherwise it would become just too much.” After the spot blew up online, Frost wrote on his website: “Well, the Internet likes dead things waaay more than I expected. Hooray, my childish sense of humor pays off at last.”







The spot lives online, in short bursts on music TV, and may reach cinemas. The campaign is also running in radio, print and outdoor. The song is on iTunes, where it reached the top 10. The agency is also producing a book as well as a smartphone game that should be ready by Christmas.

Advertising Agency: McCann, Melbourne
Executive Creative Director: John Mescall
Creative Team: John Mescall, Pat Baron
Animation: Julian Frost
Digital Team: Huey Groves, Christian Stocker
Year: 2012

H-57 Milan/Life in Five Seconds: Over 200 Stories for Those With No Time to Waste


“In our jet-fuelled, caffeine-induced, celebrity-a-minute world, who actually has the time to learn a thing or two? C’mon, let’s face it, life’s too bloody short. What you need is instant knowledge. Life in Five Seconds takes 200 world events, inventions, great lives, places, animals and cultural icons that you really need to know about, and then, hey presto!, cuts away all the useless details. The Last Supper, Lady Gaga, the moon landings, the Mona Lisa, the invention of electricity, Ikea, the Berlin Wall, celebrity chefs and everything in-between. This is the perfect gift for anyone with a sense of humour…” 



It is true that the “information overload syndrome” (infobesity) often pushes us to the limit of complex thinking …
To cope with this phenomenon, a concept has recently taken up the challenge of simplicity, with a book entitled “Life in 5 seconds” and directed by agency H-57 Milan (Matteo Civaschi & Gianmarco Milesi). A super simplified storytelling to narrate the life of fictional characters, historical figures, or even social phenomena in less than 5 seconds. The result is pretty funny.

“We want to create many of them to give our point of view on the most famous world stories. Unfortunately, the ones with tragic ending are the funniest and most interesting.” H-57

Here’s one of our awesome stories from “Life in Five Seconds” brought to life by our Quercus Eye app. Select Quercus books have pages that spring to life. All you need is a web enabled mobile phone or tablet and to download the free app now available on Android or Apple platforms.

You will have to wait until November 8 for for the book’s publication, but a preview is already available on the official website:

Adidas: Adicolor Project – United Colors of adidas

The adicolor podcast is a series of seven short films created for adidas to celebrate “colour, costomization and personal expression”. The films were created to be specifically viewed on iPods, PSPs and online, which was still a fairly revolutionary proposition back in 2006 when the films were made. A team of excellent directors was put together, with Neill Blomkamp, Psyop, Happy, Tronic, Roman Coppola and Andy Bruntel, Saimon Chow and Charlie White each given an entirely open brief to create a film based on their emotional response to a particular colour. The podcasts related to the adicolor global digital campaign for which adidas had asked 20 artists to design a shoe based on their response to a colour. The films feature such surreal scenes as an orgiastic dinner party involving green paintball splashes and a pink-loving teenager’s transformation into a bejewelled figurine. With an original goal of achieving one million views globally, the campaign actually achieved over 25 million views in just seven weeks.

Adicolor BLACK
Stills from Saiman Chow’s film for the colour BLACK. The film is a surreal tale about a lonely, crazed panda.

Adicolor PINK
Charlie White directed the adicolor PINK film, which sees a teenager turn into a bewelled figurine while her pink teddy looks on helplessly.

Adicolor BLUE
Psyop is behind the adicolor blue film, where New York City is turned black and white, apart from the odd splashes of blue.

Adicolor GREEN
Adicolor green by Happy shows a space-age dinner party where everything gets a little out of hand after some green treats are consumed.

Adicolor WHITE
Adicolor WHITE was directed by Tronic and sees Jenna Jameson enthusiastically playing a funfair game.

Adicolor YELLOW
Neil Blomkamp directed the adicolor YELLOW film, a gripping tale about robots and artificial life.

Adicolor RED
Roman Coppola and Andy Bruntel created this animated history of the colour red for the adicolor RED film.

Advertising Agency: Idealogue, New York
Year: 2006

Microsoft Xbox/BIG SHADOW – The Very Beginning of Video Projection Trend

In Japan it’s not unusual to come across outdoor street events promoting one brand or another. However, about 7 years ago, Microsoft Japan caused a bit of a sensation when it initiated the “Big Shadow” project in the Shibuya area of Tokyo. Shibuya is a part of town that’s especially popular amongst people 15-35—ideal targets for the product spotlighted at the event, the Blue Dragon video game for the XBox 360.

GT Tokyo drew on a certain function within in the XBox game, Blue Dragon – where the protagonist’s shadow becomes a dragon when he fights – for its promotion of the game in Japan. Focusing on the primordial human experience of shadows, the agency projected magnified shadows of ordinary people against buildings in Shibuya, Tokyo, and created a system whereby they could play with them. The projected shadow could suddenly change into the shape of a dragon, adding to the fun.

Technology formed the backbone of the project – the “shadow” cast were not real, but were projections of images captured by a video camera and manipulated with a specially developed program before being cast onto the wall by four powerful projectors. This combination of technology enabled the “shadow” to morph into shapes such as the dragon shadow images. The dragon would appear when partecipants performed certains actions, such as raising their arms over their heads. Minotaur and Phoenix shadows were also programmed to appear alongside projections of a giant hand, a foot and a cup of water.

Extra shadows could be added to the on-site wall projection in real time via the internet. All the relayed images were the archived online, where users could view them as a sequence of still images arranged along a time axis.

The event and website were awarded gold lion in Cannes and a gold medal in the interactive campaign category of the Tokyo Interactive Ad Awards for 2007.


26 Movie Opening Sequence with a Great Idea

The first impressions are important, right? Well, the same goes for film. The opening title sequence of a film is that film’s opportunity to make a good first impression on you, the viewer. A well-crafted title sequence introduces the audience to the tone and theme of the film as well as the cast and crew.

This list is for your enjoyment and inspiration. I have chosen some of our favorite selections from all eras and genres.


1. “Se7en” (1995) – Directed by David Fincher

A credits sequence that has itself been credited with reviving the great tradition of elaborate credits sequences, the indelible, unsettling opening titles of “Se7en,” David Fincher’s meticulously tailored serial killer procedural, have prompted many grubby, psycho-chic imitators over the years. Fincher hired a designer named Kyle Cooper to take on the sequence, but he was very much involved in its conception and execution. Cooper watched the film numerous times then set out to create a mood piece that would engage with the theme and plot of the film in both abstract and concrete ways. Capturing the insular, obsessive quality of the killer at the center of “Se7en” was the driving aesthetic force: distant, mechanical beats clang and squeak on the soundtrack — the song is Nine Inch Nails’ “Closer” re-mixed by Coil and Danny Hyde — as though rising up from some dank, isolated cellar. Preceded by an image of a sleepless Morgan Freeman’s detective setting a metronome ticking, the credits suggest the X-ray opposite of a morally ordered mind. Fingers are shaved of their prints and then the nasty, bandaged versions scribble out a psychotic’s manifesto in nightmare flashes alternated with the actual titles, which were hand-scratched onto the film stock and then edited together in layers to pulse with jittery light. Even the names seem like fragments recovered from some unspeakably dark corner of the subconscious. The sequence took two days to shoot and five weeks to edit (those stubby fingers don’t belong to Kevin Spacey, either, a choice that upset Fincher at first). Artisan work, not animation, achieved the texture and impact of this sequence; the grime of that toil feels embedded in the film itself.

2. “Watchmen” (2009) – Directed by Zack Snyder

Regardless of one’s feelings towards Zack Snyder’s ambitious mounting of Alan Moore’s tale of outcast superheroes, the one thing everyone could agree upon when “Watchmen” hit theaters back in March of 2009 was its incredible opening title sequence. At six minutes, the scene may run long by conventional film standards, but what it accomplishes — condensing this alternate world history into a comparatively tiny package — is nearly impossible. The sequence wasn’t an easy one to pull off — the “300” director had to fit bits and pieces of the shots into his busy shooting schedule while design firm yU + co was brought in to create 3D credits that playfully interacted with scenes like the recreation of the Last Supper at Sally Jupiter’s retirement dinner or Dr. Manhattan’s meeting with President Kennedy at the White House. The sequence is wordless but we can tell, even without Bob Dylan singing it, that “The Times They Are a’Changin’.”

3. “Saturday Night Fever” (1977) – Directed by John Badham

Without a single line of pertinent dialogue, the opening of “Saturday Night Fever” perfectly demonstrates the disconnect between Tony Manero’s glamorous dreams and unglamorous reality. The sequence opens with symbolic shots of New York’s Brooklyn and Verrazano Bridges and then zooms in to an elevated subway train pulling into the station in Bay Ridge, foreshadowing Tony’s climactic subway ride after his final dance contest late in the film. Down to the street level we meet Tony (John Travolta), walking with a can of paint. The Bee Gee’s disco anthem “Staying Alive” blasts on the soundtrack, but only Tony walks in perfect time with its beat, a choice that emphasizes his importance within the film and his powerful connection with music. Tony’s gorgeous polyester clothes and syncopated strut suggest he’s a big shot, but no big shot sneaks slices of pizza while running errands for a hardware store or puts five bucks on a shirt for layaway. Tony’s walk hints at his desire for freedom while his ultimate destination, back at his dead-end job, emphasizes the fact that wherever he goes, whatever he does, he can’t escape his provincial Brooklyn home. Excitement lay just over those bridges in Manhattan. But you can’t get there by walking.

4. “Catch Me If You Can” (2002) – Directed by Steven Spielberg

A stand-alone graphic sequence reminiscent of those prefacing 1960s capers like “Charade” and the “Pink Panther” films, the opening titles of Steven Spielberg’s “Catch Me If You Can” are a startling blend of style and narrative invention. Designed by the crazy hip Paris-based duo of Oliver Kuntzel and Florence Deygas, the sequence blends hand-stamp and computer animation for an atmospheric look that situates the story to come — that of the notorious mid-century con man Frank Abagnale and the FBI agent on his tail — in its native era. Stylized, silhouetted figures of Abagnale and Agent Hanratty interact with the titles themselves, which are stretched and pulled into backdrop duty for the cleverly detailed scenarios. Those scenarios anticipate the film’s story: Abagnale is depicted as a pilot, then a doctor, then a businessman, and in each brief sequence Hanratty is shown in pursuit and gaining ground. Kuntzel and Deygas create a sense of forward movement by giving the chase a left-to-right trajectory, with Abagnale slipping down corridors, passing through transformative walls and at one point using the elongated stem of a ‘p’ as an escape rope. Conducting the entire exercise are the hushed, tip-toe syncopations of longtime Spielberg collaborator John Williams’s score.

5.  “Dawn of the Dead” (2004) – Directed by Zack Snyder

To remake a genre classic is to court fanboys’ immediate ire. But Zack Snyder quickly won many over with the intro to his re-do of George A. Romero’s beloved zombie saga, kickstarting the action with a balls-to-the-wall opening that culminates with a hood-of-the-car POV shot of a suburban apocalypse. When Sarah Polly’s car crashes into the ditch and the screen goes black, it’s like a gunshot exclamation point, and leads immediately to a montage that blends credits (smearily wiped away like blood), schizo verité footage of mass unrest and hysteria, staged images of zombie madness, and a fictional TV press conference in which an official claims not to know anything helpful about the zombie outbreak. Cue Johnny Cash’s “The Man Who Comes Around,” an unforgettably beautiful song of biblical desolation and apocalyptic hopelessness that’s so chilling and so apt for an end-of-the-world saga that it transforms the sequence into the high watermark of the entire film.

6.  “The Warriors” (1979) – Directed by Walter Hill

The distant neon lights of Coney Island’s Wonder Wheel introduce us “The Warriors,” which updates the ancient story “Anabasis” by the Greek author Xenophon to 1970s New York City. In that context, the Wonder Wheel is something of a modern day rota fortunae, one which is about to spin in a rather unlucky direction for our heroes. A charismatic gang leader has invited all the biggest gangs of New York City to a meeting in Queens so the Warriors from Coney reluctantly board a B train to head uptown. Little by little the tension mounts: Barry De Vorzon’s electronic score pulsates, angry and violent, as point-of-view shots from the front of the subway suggest the Warriors are being unwillingly ferried toward a dark and uncertain future. As the train passes more neighborhoods, more gangs are introduced, like the mime-faced Hi-Hats of Soho and the purple-clad Boppers of Harlem. The titles themselves are designed to resemble graffiti sprayed in the Warriors’ signature crimson, which their war chief Cleon (Dorsey) instructs their resident artist Rembrandt (Marcelino Sanchez) to use liberally. “I want you to hit everything in sight,” Cleon tells him. “I want everybody to know The Warriors were there.” Thirty years later, this sequence is a big reason why the Warriors haven’t been forgotten.

7. “The Naked Gun: From the Files of Police Squad!” (1988) – Directed by David Zucker

For the film adaptation of their cult TV show “Police Squad!” David Zucker, Jim Abrahams and Jerry Zucker (ZAZ) carried over the big-band theme song by Ira Newborn, but radically altered the credit sequence. “Police Squad!” began with a brief shot of a police siren underneath the title followed by a mock-serious rundown of the actors. The movie expands that opening shot into three minutes of jokes. ZAZ fixed the camera behind the siren, and rode it through an increasingly outrageous series of locations. It begins on the cop movie cliché of rain soaked streets, but soon it veers onto the sidewalk, stops off for a car wash, goes on a tour of a McMansion, sexually harasses a woman’s locker room, speeds down a roller coaster, and finally rolls to a stop in front of a donut shop. It’s the perfect introduction to ZAZ’s gift of gag.

8. “Lord of War” (2005) – Directed by Andrew Niccol

“There are times when people work for nothing on a movie,” “Lord of War” director Andrew Niccol says on the film’s DVD commentary. “In this case, people actually paid the production to work on this sequence.” Although he was referring to the fact that he had to “beg” for additional funds four months after production wrapped for this brilliant sequence, it is the rare opening credits good enough for some sequence designers to waive their fee to work on. Ultimately, French visual effects specialist Yann Blondel did the heavy lifting, creating the bullet we follow from factory to AK-47 out of CGI, as well as much of the machinery that creates it; Niccol shot the rest in three days in South Africa with cinematographer Amir Mokri operating his own motion control camera. The result is a perfectly executed preface that sets up the reality of the film immediately (in terms of detailing the process, if not necessarily the overly pixilated bullet) while employing Buffalo Springfield’s anti-war “For What It’s Worth” as a tongue-in-cheek nod to what’s to come.

9. “Psycho” (1960) – Directed by Alfred Hitchcock

Saul Bass is one of the cinema’s great unsung giants, and his opening credit sequence for “Psycho” remains one of his true masterpieces, a striking work of abstraction that, when combined with Bernard Herrmann’s iconic violin-dominant theme, captures the essence of the film. Bass’s titles race onto the screen from the left and right amidst rectangular lines that shove, push and splinter the text, creating visual tension and anxiety from the outset by moving in harmony with Herrmann’s music. Then the film’s actual title appears, and it fragments, a gorgeous expression of Norman Bates’ fractured psyche. Barreling forward with frantic rapidity, the scene suggests the film’s bifurcated structure in its use of symmetrical lines in addition to reflecting the formal control of Hitchcock’s forthcoming direction. When the lines finally give way to the famous wide-to-tight aerial shots of Phoenix, one’s nerves are already thoroughly rattled.

10. “JCDV” (2008) – Directed by Mabrouk El Meckri

By the time he made 2008′s “JCVD” Jean-Claude Van Damme was a joke. Relegated to the straight-to-video ghetto, he was cranking out one forgettable programmer after another with titles that seemed to poke cruel fun at the moribund state of his career (“Derailed,” “Until Death,” et. al.). Before he could even attempt to convince audiences to take him seriously as an actor he had to first reassure them they should still take him seriously as an action star, hence the thrilling three-and-a-half minute action-packed sequence which kicks off “JCVD,” wherein our titular hero kicks, spins, stabs, shoots, tosses grenades, and evades explosions, all in a single, incredible take. The whole thing culminates with a great joke, as Van Damme survives this insane gauntlet of choreography and stunts, only to see the shot ruined by a clumsy extra. That means the star has to go begging his director — a young kid throws darts at a picture of the Hollywood sign — to ease up on him. He’s 47-years-old, he reminds him, and this stuff isn’t as easy for him anymore. Which makes what he does in “JCVD” that much more impressive.

11. “Shaft” (1971) – Directed by Gordon Parks

Everyone knows the titles to “Shaft” — Richard Roundtree walking to his office in Times Square to the sounds of Isaac Hayes’ supremely funky title song. That wakka-cha-wakka beat, Roundtree’s brown leather trenchcoat, his middle finger to the cab that tries to cut him off in a crosswalk, it’s a familiar classic. But most miss the richness of the sequence’s details: in particular, the clever way director Gordon Parks uses the Deuce’s grindhouse marquees to comment upon Shaft’s status as one of Hollywood’s first black action heroes. In one take, Roudntree walks toward the camera from deep in the background along a bustling sidewalk; the top right of the frame is filled with a marquee, but most of the writing on it is obscured by a subway entrance lamppost. The only words we can make out are “NEW POLICY,” as in, the fact that “Shaft” even exists represents an exciting new policy for studio filmmaking. A few shots later Shaft pushes his way through a crowd of protesters beneath another marquee. This part of this one that we can make out reads “All Color.” The significance is clear again, for those who can dig it.

12. “The Man With the Golden Arm” (1955) – Directed by Otto Preminger

Given that Saul Bass is widely thought of as the greatest title sequence designer of all time and that dramas about drug use have proliferated significantly since “The Man With the Golden Arm” was produced in 1955, it’s easy to forget the daunting challenge Bass faced with Otto Preminger’s drama about Frank Sinatra as a heroin addict trying to kick his habit. There was no template for what Bass did with just some little white lines and a brassy score from Elmer Bernstein, either in terms of tackling the issue of drug abuse so starkly or of film credits’ design, which up until then had mostly been reduced to lists in cursive fonts. The MPAA never approved the film, but Bass made it so they couldn’t have taken any issue with how it was presented, only implying with the white lines that manifested out of every corner of the frame the sensation of shooting up and the craving for more. When Preminger’s name finally is presented with the craggy arm at the end, the same that was at the center of the film’s entire advertising campaign, it’s the audience that’s hooked.

13. “The Graduate” (1967) – Directed by Mike Nichols

he’s on the same belt as his suitcase.” The sequence has been imitated and plundered numerous times — Quentin Tarantino’s “Jackie Brown” slyly updated it by suggesting Pam Grier was at a similar crossroads later in life to the score of “Across 110th Street” — but its power has yet to be replicated, capturing the fears and ambivalence of that moment when you don’t know where life is going to take you.

14. “Austin Powers: The Spy Who Shagged Me” (1999) – Directed by Jay Roach

Everything about the “Austin Powers” aesthetic got bigger in the 1999 sequel to Mike Myers’s spy-spoofing paisley juggernaut. References — known and private — drove the original film’s parodic humor: James Bond’s sober silliness, abysmal punning, cartoon villains, and pneumatic women are played against Benny Hill body humor and Myers’s antic, inventive mania. For Austin Powers’s theme, Myers chose a song familiar to many of his fellow Canadians: “Soul Bossa Nova,” a 1962 number by Quincy Jones that was also the theme song of “Definition,” a popular Canadian game show in the 1970s and ‘80s. The song accompanies the title sequences of all three “Austin Powers” movies, a reference within a reference that now refers chiefly to Austin Powers himself. “The Spy Who Shagged Me” begins with a prelude in which Dr. Evil plots to steal Austin’s mojo and Austin’s beloved Vanessa self-destructs in a tragic Fembot incident. He mourns for a moment, then realizes he’s single again: Cue the soundtrack! The elaborate visual joke of the opening sequence is actually an extension of one of the funniest bits in the first film. If you smirked twice during the previous sentence, you were probably also broken up by the scene in which Austin moves about an apartment stark naked, with various objects and implements ingeniously covering up his naughty bits. For the titles sequence of the sequel Austin is cavorting about a posh hotel in the raw, covered only by a vulgar thatch of chest hair. He flashes the lobby, meets and greets in the dining room, then dashes out to the pool for a little synchronized swimming, all by way of saying: Welcome back, baby!

15. “Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb” (1964) – Directed by Stanley Kubrick

The brilliant opener to “Dr. Strangelove” is a deadpan depiction of airplane intercourse. A refueling tanker dips its wick into the small fighter plane below it, gently bouncing up and down as the strainingly romantic tune of “Try A Little Tenderness” plays over their union. A jittery and unprecedentedly huge font lists the credits in between the steel thrustings.This short piece nails the macho self-aggrandizement of the military industrial complex in under two minutes. Stanley Kubrick drafted Cuban-born graphic designer Pablo Ferro to craft this title sequence, and also endorsed his hand-drawn font that itself acts as a caricature of straight Hollywood text. Ferro had made his name in commercials with a quick cut style, but “Strangelove” launched a long career in film, including work on the title sequences for everything from “A Clockwork Orange” to “L.A. Confidential.” This might be his crowning achievement though, with the most elegant dick joke ever filmed.

16. “Life of Brian” (1979) – Directed by Terry Jones

Monty Python’s “Life of Brian” takes direct aim at faith, organized religion and true believers, so what better way to start than with a credit sequence that demolishes, literally, old-world totems? Terry Gilliam’s irreverently animated sequence is awash in classical Roman architecture and sculptures, all of which crumble and collapse while attempting to be constructed by faceless workers, a motif that subtly conveys the film’s overriding aim of cheeky biblical reconstruction. With a ridiculousness befitting a Python effort, the sequence offers up the titular Brian as a baby plummeting down a cavern, people being crushed beneath frontages, and a winged angel who, while ascending to Heaven, is burnt by the sun. The real coup de grace, however, is the scene’s grand theme song, which — with lyrics about the titular faux-holy man such as, “And he started to shave, and have one off the wrist, and want to see girls, and go out and get pissed” — encapsulates the entire endeavor’s impertinent absurdity.

17. “Kiss Kiss Bang Bang” (2005) – Directed by Shane Black

Even though Danny Yount has credited Saul Bass as an inspiration for the design of the opening titles for Shane Black’s murder mystery “Kiss Kiss Bang Bang,” the sequence is a true original. Yount’s job — striking the right tone somewhere between classic and contemporary — had to be intimidating. But he managed to hit that perfect note of retro cool, and his creation bursts at the seams with affection for the crime genre, honoring every element of detective story lore from blood splatters to jail breaks to the promise of guns and curvy femme fatales. Yount’s abstract imagery — expressionless figures and undefined locations — and composer John Ottman’s nimble score build anticipation for a great mystery while allowing the film that follows to pay it off. According to, producer Joel Silver had planned to commission just a fraction of what ultimately made it into the film before being impressed enough by Yount’s ‘60s-style concept to extend the sequence. The impression it left on moviegoers who saw this underrated gem lasted even longer.

18. “Snatch” (2000) – Directed by Guy Ritchie

Opening credits for actors are commonplace, obviously, but opening credits for characters are comparatively rare. Rather than name Dennis Farina, Brad Pitt, and Benicio Del Toro, guys we’re all quite familiar with anyway, the titles for “Snatch” introduce us to the men they’re playing: Cousin Avi, Mickey, and Franky Four Fingers, respectively. This technique is particularly welcome in a film like “Snatch” which contains so many plot threads featuring so many characters, all of whom speak with incoherently thick British accents. Director Guy Ritchie also gets bonus style points for fluidity. The transitions between characters are insanely clever: The camera zooms in on the enormous diamond in Franky’s four fingered hand and when it zooms out, it’s in the mitts of Cousin Avi. He puts the diamond in his safe, and the camera pans through the wall to another room, where Sol (Lennie James) is pulling some cash from his safe. He tosses the cash into the air and it lands on a table in front of Mickey, and so on. Ritchie isn’t just introducing us to all the characters, he’s introducing us to the connections between them, and preparing us for the idea that the plot of this movie can careen off in a new direction at any moment.

19. “Vertigo” (1958) – Directed by Alfred Hitchcock

Saul Bass’ brilliant opening titles for “Vertigo,” our pick for the finest ever made, distill the film’s 128 minutes into 156 visceral seconds. Bass designed everything to reflect the film to follow. James Stewart’s credit appears over an extreme closeup of a woman’s face, just above its enormous pair of lips; idt won’t be the last time Stewart asserts his influence on a woman’s appearance in the film. The camera pans up to the anonymous woman’s eyes, which dart left and right and then stare straight ahead as Kim Novak’s name materializes, suggesting her character’s discomfort under Stewart’s controlling gaze. Voyeurism plays a key role in the film, and so we zoom in on a single eye and the screen turns red — symbolizing the blood (or perhaps the passion) to follow. The title appears from the depths of woman’s pupil followed by the a series of spiraling geometric shapes. Bass’ Spirograph-style images, set to the repetitive rise and fall of Bernard Hermann’s lush string loops, gives us the disorienting sensation that we are falling even as we’re sitting in our theater seat — a small taste of Stewart’s character’s titular affliction. By the time we return to the woman’s face for Alfred Hitchcock’s credit — which also comes, appropriately, from the depths of an eye — the film’s mood is perfectly established: mystery and menace, exhilaration and madness. The combination of imagery and sound suggests horror, but also the allure of horror, our secret desire to learn what lurks in the dark recesses of each others’ minds. Bass’ great sequence does to the viewer what the sight of Novak does to Stewart: freaks him out and turns him on.

20. “Juno” (2007) – Directed by Jason Reitman

The combination of live action and animation used for the opening credits in Jason Reitman’s Juno meshed well with the theme of a teenage girl who is forced to grow up. Reitman is clearly a fan of cool opening credits…

21. “The Incredibles” (2004) – Directed by Brad Bird

Only the creative folks at Pixar would think to open a CG animated movie with some stylish 2D animated titles. Awesome.

22. “Zombieland” (2009) – Directed by Ruben Fleischer

Featuring the second best use of classic Metallica (the first being Joe Berlinger and Bruce Sinofsky’s Paradise Lost: The Child Murders at Robin Hood Hills) the title sequence to Zombieland does not back down. Flashes of jarring death slathered with slow speed splatter document a kinetic finality that does not force its humor. We see every black bauble of biohazardous blood upsurge and dot the landscape of a crippled Earth.

23. “Panic Room” (2002) – Directed by David Fincher

I may get some crap for this one but I don’t care. I always loved the simplicity of this sequence. David Fincher clearly loves his title sequences. Subtle yet cold with Howard Shore’s danger-brewing score. What makes this sequence stand out is how real and right-there the titles look. They float against skyscrapers and downtown churches as if they belonged. At first glance you’re not even sure whether or not they’re really there.

24. “Thank You for Smoking” (2005) – Directed by Jason Reitman

A very clever title sequence with the credits written on vintage cigarette packaging.

25. “Delicatessen” (1991) – Directed by Marc Caro & Jean Pierre Jeunet

The picture above depicts what type of film Delicatessen is, through the colours used and how they are presented. The pig in the top left suggests there is going to be a butcher character within the main characters. Also the shots that are used allow there to be a use of the title along the differnet items that appear in the shots. This technique is good and effective, i think that this is the sort of thing that i wish to do within my film introduction. This title sequence also shows the importance of the title, probably more important than fully setting out a story. This is because it starts the film as a slow build up to the story. The continous shot is almost like a montage of item waitng to be used for the titles, which i think is an effective way of presenting your opening titles. The music within the sequence also creates an atmospheric feel to the opening, which is important in displaying the genre to the audience. In this case it is a French sounding music, which links in to the fact that the French are famous for food and the film is about a butcher. Automatically it is giving of the right signals for the understanding of what it is going to be about.

26. “Music & Lyrics” (2007) – Directed by Marc Lawrence

A perfect 80’s music video parody…

Villarrosas Barcelona for Honda (2007/2008) – The Power of Dreams (Imported from Spain)

Honda Motors – Dreaming about Campaign (2007)

Creative Director: Oriol Villar/Fernando Codina
Illustrator/Typographer: Brosmind
Gold Lion and Silver Lion for the campaign

Honda ACC – Starlings (2007)

Campaign to present the latest technological innovation by Honda, ACC. A system that allows you to keep your distance from the vehicle in front.
Creative Director: Oriol Villar/Fernando Codina
Copywriter: Miguel Angels Alizalde
Production Company: Agosto, Barcelona
Director: Nacho Gayan

Honda CR-V – Landscapeometer (2008)

The idea is to replace the numbers of a odometer with images of landscapes because with the Honda CR-V you don’t cover miles, you experience them.
Creative Director: Oriol Villar/Fernando Codina
Art Director: Michele Salati
Production Company: Agosto, Barcelona
Director: David Ruiz

Honda CR-V – Landscapeometer/Internet Film (2008)

SUVs (Sport Utility Vehicle) are very appreciated by the consumer because of their versatility. However, although their technology has evolved a lot, SUVs are still less efficient on asphalt. Honda engineers designed the new CR-V with the idea to get a SUV with real on-road performance – basically because it is where consumers cover the biggest part of the kilometers.
So the communication objective was to present a car made to enjoy any kind of travel from the beginning till the end and to do it with the specific Honda’s tone of voice: human and passionate. The idea behind this internet commercial is to replace the numbers of a mileometer with images of landscapes because with the Honda CR-V you don’t cover miles, you experience them.
Creative Director: Oriol Villar/Fernando Codina
Art Director: Michele Salati
Production Company: Villarrosas, Barcelona
Director: Brosmind

Titanic in advertising

 Centraal Beheer

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


Advertising Agency: Tandem DDB, Spain
Year: 1999

Titanic Food Festival

Advertising Agency: PSL Erickson, India
Year: 1999

Publicaciones Semana

Advertising Agency: Lowe & Partner, Colombia
Year: 1999

Canal +

Advertising Agency: Equator Belgium
Year: 2000

Priya Village Cinema

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


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

Panasonic Veira Plasma TV

Advertising Agency: Lowe Porta, Santiago
Year: 2006

History Channel

Advertising Agency: Ogilvy South Africa
Year: 2006

TV Guide

Advertising Agency: Jung von Matt, Germany
Year: 2006


Advertising Agency: Duval Guillaume, Brussels
Year: 2006

HENKEL Loctite

Advertising Agency: DDB Milan
Year: 2007

Montex Carbon Paper

Advertising Agency: Percept H, Mumbai
Year: 2007

Utopia Groups Cinema

Advertising Agency: Duval Guillaume, Belgium
Year: 2007

McDowell’s Diet Mate Whisky

Advertising Agency: Mudra Communication, Bangalore India
Year: 2007


Advertising Agency: TBWA Paris
Year: 2007


Advertising Agency: Bambuck, Paris
Year: 2007

Megastar Cineplex

Advertising Agency: Ogilvy & Mather, Vietnam
Year: 2007

TAM Airlines

Advertising Agency: Young & Rubicam Sao Paulo
Year: 2008

Toys ‘R Us

Advertising Agency: Volcano Advertising, South Africa
Year: 2008

Cape Times

Advertising Agency: Lowe Bull
Year: 2008

Kaercher (immersion pump)

Advertising Agency: FJR Werbeagentour, Munich
Year: 2009

RIOS Illustration Studios

Advertising Agency: Artplan, Brazil
Year: 2009

Textliner Faber-Castell

Advertising Agency: Young & Rubicam Malaysia
Year: 2009

Show Off Film

Advertising Agency: Fuel Lisbon/Euro RSCG
Year: 2009

Orange Foundation

Advertising Agency: Ignitionk, Madrid
Year: 2009

Rocklets Chocolate Candies

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: BBDO Mexico
Year: 2010


Advertising Agency: Scholz & Friends Duesseldorf
Year: 2010

Canal + 

Advertising Agency: BETC EURO RSCG, Paris
Year: 2010

Iffco Financial Service

Advertising Agency: Publicis India
Year: 2010


Advertising Agency: BBDO Santiago
Year: 2010

 Melody Enterteinment

The first all Arabic movie channel makes its take on ‘Titanic’.

Advertising Agency: Leo Burnett Cairo
Year: 2010
Bronze Lion

Ford KA

Advertising Agency: Bassat Ogilvy Group, Madrid
Year: 2011

Washin Bifocal Glasses

Advertising Agency: Grey Tokyo
Year: 2011


Advertising Agency: JWT Mumbai
Year: 2011

Braun Silk-Epil

Advertising Agency: Impact BBDO, UAE
Year: 2011

Electrolux – The Art of Performance

The Art of Performance Track is a true manifestation of the promise that Ergorapido is the most stylish and most effective handheld vacuum cleaner in the world. It allows Electrolux to talk to consumers and press about performance in an emotional and engaging way. The outcome became a mobile art installation/vacuum cleaner product test that will be on display on different venues around Europe.

The sculpture shows how Ergorapido manoeuvres around obstacles and even under tables with a twist of the handle, thanks to its double-jointed floor nozzle. Tobias used magnets to show how the handheld unit snaps out to clean furniture, tables or the interior of the car.

The latest performance test for AEG-Electrolux Ergorapido was conducted by Swedish artist and set designer Tobias Allanson. Experienced in working with the overlap of art and technology, he built a machine to take Ergorapido through a number of challenges.

With Electrolux  test labs as a benchmark, he put together a test track that any good instant cleaner should pass. “Pick up, easy handling and flexible steering are three important qualities we have developed to excellence”, says Christer Månsson, Product Manager for the Ergorapido at Electrolux. “With this exciting experiment we wanted to see how Ergorapido performs in a test situation outside laboratories.”

“Building a moving piece around a vacuum cleaner was an unusual assignment”, says artist and set designer Tobias Allanson, who has created works for among others Urbanears, WESC, Modart and Freitag. “The biggest challenge for the machine was to show the two in one function, since the movements are more complex and I really went through some struggles with strong magnets. But my favourite one is the one where a bunch of shoes draggle the floors and Ergorapido picks it up right away.”

The machine was filmed and is now touring Europe at different exhibitions.

“I have never been this close to a vacuum cleaner before and after the project decided to get the yellow one myself. It just seems weird to not have one around anymore.”

When artist Tobias Allanson was commissioned to illustrate Electrolux Ergorapido’s performance in real-life situations, he decided to create a kinetic sculpture using a real Ergorapido vacuum cleaner. His sculpture showcases Ergorapido’s effective dust pick-up, manoeuvrability, LED headlights and 2-in-1 function in four situations in the home environment. This is a behind the scenes film about building the Ergorapido test machine.

Advertising Agency: Great Works, Stockholm, Sweden
Creative Director: Frederic Sebton
Art Director: Karl Sundin, Jakob Nielsen
Year: 2011

TBWA/Paris for Amnesty International – Death to the Death Penalty (the story behind the campaign)

On October 10 2010, the fourth European Day Against the Death Penalty, Amnesty International France launched a commercial to mobilise support amongst decision-makers and the general public for its campaign against the death penalty.

The film, created for Amnesty International France by advertising agency TBWA Paris, used life-like wax figures to depict four different methods of execution: firing squad, hanging, beheading and the electric chair. In each scenario, the wax figures melt then crumple – powerfully illustrating the campaign’s strap line: ‘Death to the Death Penalty’.

In a chiaroscuro mood, a firing squad is pointing guns to a prisoner. Characters made out candle wax start to melt down. Then, a hangman is just about to knock down the stool of the prisoner but the rope of the Gallows starts melting down and the scene dissolves. The sword of an executioner and the executioner himself melt down. And eventually, an electric chair meets the same fate. As a reveal, the sentence shaped in candle wax “Death to the death penalty” followed by the very own Amnesty candle logo explain us that Amnesty has put a death spell on the death penalty, that it’s own flame is burning down executioners.

French broadcasters agreed to show the ad at no cost to Amnesty International during an initial run of 30 ad slots. The commercial was then shown in independent cinemas across France for a further four weeks and the creative idea featuring wax figures was also used in accompanying print ads – including posters in Paris – and also direct mail.

The ‘Death to the Death Penalty’ campaign generated significant media coverage and interest both in France and further afield. The commercial was viewed more than 400,000 times online with 30,000 views via the Amnesty International France web site. The advertising has since been used by Amnesty international in more than a dozen other countries – an unusual step as the organisation usually commissions then implements its marketing campaigns locally, market by market.

“We were amazed that support for the work among Amnesty International activists was unanimous – which for us is extremely rare,” says Sylvie Haurat, Communications Director of Amnesty International France.

The Story
Although 96 countries have formally abolished it and many more have not used it in years, 58 nations still actively practice the death penalty. Campaigns for all countries to end capital punishment are ongoing, however, and at a General Assembly meeting in November 2010 the United Nations renewed its call for a moratorium on the death penalty. Ahead of this Amnesty International France, part of global human rights organisation Amnesty International, decided to run a publicity campaign about the issue. France was one of the first countries to formally abolish the death penalty. Amnesty International France wanted to remind the French public that 58 countries were yet to follow their country’s lead, and it hoped France would step up its influence to persuade governments yet to abolish the death penalty to do so.

Amnesty International France is one of 72 national ‘sections’ of Amnesty International, the organisation that campaigns for internationally-recognised human rights for all. Typically, it runs campaigns around three or four different human rights-related issues each year with advertising created and then implemented locally, market by market. Budgets are always very tight so much if not all of the creative development and production work involved is done for free with media space either provided pro bono or at a reduced cost.

We are very demanding client,” Sylvie Haurat says. “Not only do we have very little budget, we are extremely demanding when it comes to our concerns about ethics. And with the cross section of activists working for us, who all have strong opinions, it can be difficult to find campaign ideas on which everyone can agree.” 

In early 2009 Amnesty International France approached TBWA-Paris to develop the death penalty campaign. The organisation had worked with the agency for almost a decade on an ad hoc basis – a relationship that had already produced a number of highly successful campaigns – and the brief was clear.

“Amnesty International already has a worldwide initiative called ‘Count Down for a World Free from Capital Punishment’,” explains Anne-Laure Brunner, TBWA-Paris’ Account Director and Director of New Business. “They gave us the historical background and the Count Down context. They made it clear we needed to mobilise support and to do so by being positive about how close they now are to realising their goal. And they told us to make sure that nothing we produced was directly critical of any particular, individual country.”

A significant feature of the brief – and the TBWA-Paris creative team’s starting point – was how different the death penalty brief was to others for previous Amnesty International campaigns. Unlike most of the other issues Amnesty International campaigns on, the death penalty is a fight that’s close to being won. Because of this, Amnesty International France wanted to do something different to most of our other campaigns – to be more positive. “It was about raising awareness,” says Sylvie Haurat. “And we wanted it to be a message that would appeal to everyone.” 

The Strategy
The agency team’s initial discussions focused on different ways to present the death penalty as outdated and irrelevant – building on insight into the varied and often conflicting ways in which it is used in different countries, and the fact that there is little evidence to suggest capital punishment effectively dissuades others from repeating the same crime. The creative team were concerned that imagery such as an electric chair overgrown by nature might lack impact, however. Attention then turned to Amnesty International’s logo, which features the image of a candle signifying hope out of darkness. Their idea was to use figures of executioners made of wax melting.

“The thought of using wax figures came to us quite quickly because the Amnesty International logo stands for light and hope, and because the melting wax would simply show the time was right to make the death penalty simply melt away,” says TBWA-Paris Art Director Philippe Taroux. “We felt this was a positive way to get the message across – with only a final push in the campaign needed to bring it to its end, it was important to be engaging rather than shocking which people might have felt was alienating.”

Though the creative solution was found early executing it would take almost another 18 months, however. “If you don’t have the money to spend you need time,” Taroux adds. “We began by researching how we could film melting, life-size figures for TV. We approached production collective Pleix who we have worked with many times before to see if we could build and film the figures for real then melt them in post-production. But then we realised how difficult it would be to shoot what we wanted for real.”

Early tests showed it would be too difficult to film melting wax without it looking like stop-motion animation. The logistics involved combined with the limited budget available, meanwhile, meant a more cost effective way to do it was needed that look as realistic as shooting it for real.

“We then began working with post-production company Digital District to find a way to create figures using CG that looked life-size and realistic that we could then melt convincingly,” Taroux continues. “It was really hard as nothing like this had been done before and only in the last week could we be sure what we had was good enough. We ended up pushing the software to the limit on what turned out to be one of the most complicated ads I’ve ever done.” 

So, the figures were sculpted in CG then melted using special software. Facial scans were also used to create extra details on the faces. An important balancing act, however, was ensuring that while realistic the figures did not too closely resemble any particular nationality, Brunner points out: “While we wanted the executioners to be realistic they couldn’t look too like one nationality.” 

Creating the texture of the wax was relatively easy compared to simulating realistic melting. CG software is highly effective for quick water splashes but less suitable for melting more viscous substances very slowly. “Everything had to be really precise – which is always the case to get the best out of 3D,” Taroux adds.  “We drew lot of storyboards to know exactly what we wanted in each shot working closely with the director. We then focused closely on the special effects. Editing was about making sure each of the four ‘stories’ had equal weight.” 

Music choice was another important consideration. “The images were critical, but as important was creating the right ‘climate’ through the sound to provide an emotional dimension,” Taroux explains. The track eventually chosen after months of research was a stirring piece of music called ‘Everyday’ by Carly Comando. “We did not want anything that would over-dramatise the subject. The music was chose had to keep the human dimension – to be stirring and hopeful.”  

Amnesty International France was closely involved throughout the extended development and production process.

“This meant a number of lengthy discussions among our executive committee – about the storyboards, for example,” says Sylvie Haurat. “Because one scene they suggested would show an executioner’s face melting. We had lots of discussions about the ethics of whether Amnesty International could be seen to melt an executioner. This might seem bizarre to an outsider but as I say, we are very demanding. But the idea was strong. And the scene with the melting face is still there.”  

The finished film featured four different vignettes, each depicting a different form of execution: beheading by sword, a practice still used in some Middle East countries; firing squad, still used in China; hanging, used in parts of Asia; and electrocution, practise still used in parts of the US. Each vignette was carefully lit and shot against a simple black background with the audience’s viewpoint guided around the different figures and their equipment as the wax models began to melt.

Though the commercial took almost 18 months to produce the client was closely involved throughout the project. “We have a close relationship and so a strong degree of trust,” says Brunner. “There was much talking around the brief and first concepts as nothing had been done like this before. Then there was more talking around the realisation. Ultimately, however, it all turned out well and no modifications by the client to any of our work at all were made.”

The Impact
Amnesty International France’s ‘Death to the Death Penalty’ campaign launched on October 10 2010, the fourth European Day Against the Death Penalty.  With an extremely limited budget, the campaign needed unpaid media coverage to extend its reach. So ahead of launch, the agency produced CDs and press releases about the campaign to distribute to the media along with scaled down wax models of an electric chair. This generated editorial coverage on four major TV shows and in numerous magazines. The commercial was then shown in French independent cinemas over the next four months.

The ‘Death to the Death Penalty’ film went on to have a significant and far-reaching impact. It generated a large amount of interest at home and abroad and, in the months that followed, the French-produced advertising was used by Amnesty International sections in more than a dozen other countries – a highly unusual move for an organisation where individual markets usually produce and use they own campaign materials, locally.

In the months since, the campaign has won more than two dozen advertising industry awards including a D&AD Yellow Pencil in the Animation category in 2011.

“The campaign’s success is down to the emotional power of the subject and the way it was presented which touched people without over-dramatising,” Brunner believes. “The film is positive and motivating. The technology behind it makes it look real. And the use of wax makes a direct link to the Amnesty candle. It is a perfect combination of pictures, music and message.” 

Sylvie Haurat adds: “The strength of the campaign lay in the quality of the creative concept and its symbolic resonance. The length of time it took to make did cause us problems – we had hoped to run the campaign in October 2009 but it wasn’t ready until a year later. But pro bono work is never straight forward. And we were amazed that support for the work among Amnesty International activists was unanimous – which for us is extremely rare.” 

Advertising Agency: TBWA/Paris
Executive Creative Directors: Eric Holden, Rémi Noël
Copy Writer: Benoît Leroux
Art Director: Philippe Taroux
Director: Pleix
Production Company: Warm & Fuzzy
Composting: Philippe Aubry, Dan Elhadad, Jimmy Cavé, Guillaume Nadaud, Guillaume Martin
Music: Artist/Song Title: Carly Comando – Everyday

DDB Paris for Tiji children’s channel – The imagination of children

A marvellous advertising campaign celebrating the imagination of children.

Childrens Campaign (2008)

Creative Directors: Alexandre Hervé, Sylvain Thirache
Copywriter: Matthieu Elkaim
Art Director: Pierrette Diaz
Peintre: Richard N’Go
Illustrator: Pierrette Diaz
Year: 2008


The Balloon (2008)

In this spot, a face-shaped helium-filled balloon embarks on an epic journey into the sky and beyond. A red helium filled balloon with eyes narrowly escapes being burst by a weather cock before launching into the sky to fly with the birds, hang out with a hot air balloon, call in on a mountaineering expedition, flirt with the Yetis. The journey takes the balloon through air traffic, past an astronaut and beyond. The ad finishes with the creator of this fantasy, the girl who lost her balloon.

Creatives: Pierrette Diaz, Mathieu Elkaim
Production Company : Wanda Productions, Paris
Director/Animator: Yoann Lemoine
Post-Production : Digital District
Music: The


Colours (2011)

A black and white forest is colored in vibrant hues under our eyes except for one sad little panda, which sets off the compassion of an imaginative little boy. In the beginning the world existed in black and white. After that, it became enriched with colors. Forests, rivers, animals, flowers… everything changed.

Executive Creative Director: Alexandre Hervé
Copywriter: Charlotte Roux
Art Director: Héloise Condroyer
Director: Akama
Production Company: Wanda
Music: Swing Jungle Colors