RKCR/Y&R, London for Virgin Atlantic – Flying in the Face of Ordinary

“The people at Virgin Atlantic are what make it special. I’m proud of every single one of them. See how we are flying in the face of ordinary in our new ad above.” Richard Branson, Founder of Virgin Group

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Virgin Atlantic is “Flying in the Face of Ordinary”  with its new global brand proposition. THe campaign brings to life Virgin Atlantic’s innovative and pioneering spirit, capturing the airline’s passion for flight and demonstrating how Virgin Atlantic goes beyond the norm to deliver unforgettable experiences for its passengers.

As a child, could you catch fish with your bare hands while standing knee deep in the local river? Did you have uncanny, almost otherworldly powers of clairvoyance that let you glimpse the future—and even change it for the better? Could you make paper airplanes before you could crawl?

If you answered yes to any of these questions, you should stop what you’re doing and go work at Virgin Atlantic.

All sorts of outlandishly precocious children grow up to become Virgin Atlantic workers in RKCR/Y&R’s stylish, fantastical, tongue-in-cheek launch spot for the carrier’s new global campaign. Styled as a kind of faux movie trailer—cut into 30-, 60- and 90-second TV edits, as well as a cinema version and a two-minute online spot—the spot celebrates the airline’s staff as literal superheroes. Their special gifts include rapid reflexes, preternatural intuition, creative problem solving and heightened empathy. Naturally, as adults, they rendezvous in Virgin’s ranks as cabin crew, ground staff, designers and pilots.

The tagline: “Virgin Atlantic. Flying in the face of ordinary.”

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Launched with the new year, the campaign is unapologetically nostalgic and retro, but knowingly so. Air travel hasn’t been glamorous in decades, yet Virgin brings back some of that attitude—along with the attendant fashion and sex appeal—but in a way that’s exaggerated and borders on self-parody. Promising superhuman staff, in the end, is no promise at all. But in typical Virgin style, the carrier builds the whole campaign around such false claims, and expects you to quit worrying and just enjoy it. And it works—largely due to the skillful direction by Partizan’s Antoine Bardou-Jacquet.

The airline explicitly wants to “bring the glamour and fun back into long-haul travel,” says Simon Lloyd, its director of marketing. Mark Roalfe, chairman and executive creative director at RKCR/Y&R, adds: “We wanted to bring to life that special spark that makes the people at Virgin different. I think the film really captures that, but with the tongue-in-cheek tone of voice that we’ve built with Virgin over the last 18 years.”

Sir Richard Branson, President of Virgin Atlantic said: “We’re always on the lookout for gifted young people to grow our business. Our staff hold the keys to the future of Virgin Atlantic, they work so hard and we are delighted to dedicate this new advert to them.

“At a time of soaring youth unemployment, our advertisement is a powerful New Year message encouraging everyone to look again at young people and the talents they have to offer to businesses and industries all over the country. People are at the heart of Virgin Atlantic and we believe this advert celebrates this”.

True glamour may be gone from air travel for good. But in the ads, if nothing else, you can still count on Virgin to make it fun.

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VFX Supervisor Rob Walker said, “It was great working with Antoine and Rainey Kelly. The guys came to us with some really cool ideas for us to realize, such as a little boy catching live fish with his bare hands. We had an intensive shoot in South Africa and a challenging deadline to meet, but this was the perfect job for MPC as it combined all of our disciplines.”

We’ve had an excellent team working on this project, everyone’s dedication and passion has helped to craft a wonderful piece of work. Our CG department has created holograms, paper planes, an aircraft and a DNA sequence. We’ve also completed extensive rig removal, multiple pass compositing and DMP work to embellish and create environments”

Advertising Agency: RKCR/Y&R, London
Executive Creative Director: Mark Roalfe
Creative Partners: Pip Bishop, Chris Hodgkiss
Production Company: Partizan
Service Company: Stillking
Director: Antoine Bardou-Jacquet
Year: 2012

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Cannes Alternative Grand Prix (2001/2011)

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

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Grand Prix 2002 – Nike (Tag)

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

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Grand Prix 2003 – IKEA (Lamp)

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

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Grand Prix 2004 – Playstation 2 (Mountain)

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

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Grand Prix 2005 – Honda (Grrr)

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

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Grand Prix 2006 – Guinness (Noitulove)

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

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Grand Prix 2007 – Dove (Evolution)

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

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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

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Grand Prix 2009 – Philips (Carousel)

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

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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

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Grand Prix 2011 – Nike (Write the Future)

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


Pergo/Battlebots – Floor Wars

 Pergo’s new floors are twice as durable as ordinary laminate flooring, as proven by a super-boring industrial test. But can it withstand interesting tests? To find out, Pergo held a contest to win a new Pergo floor – with just one small catch. The winner had to agree to let us film a product demonstration on the new floor. We didn’t tell the woman who won we’d be staging a full-scale BattleBot war on her brand new floor – featuring high school robotics students who we worked with to create floor-destroying robots shooting flames, kitchen knives and rocket-propelled pool balls.

Pergo & BattleBots is the latest in Pergo’s new series of floor torture-test events, created by Fitzgerald+CO. In last fall’s Pergo Vs. Everything, Pergo went up against wrestlers in high heels, steel wool breakdancers and a 9,000 pound elephant performing magic. And the recent Pergo Vs. Claws pitted the floor against the rescues at Best Friends Animal Society, raising a dollar per Facebook Like for the no-kill shelter.

CREATING THE ROBOTS

Chris Kawagiwa (concept artist) : “I had a little more involvement than usual for this production since I was also part of the robot concepting process. Sketching possible designs that would be both fun to watch clash, and present a scuffy challenge to the floors, was the challenge. I drew out about three dozen concepts that got whittled down to the 6 champion contenders.”

Botweiler

Foodfighter

High Heel Bot

Trick Shot

Chef-Bot

Pro-Pain

Advertising Agency: Fitzgerald+CO, Atlanta USA
Chief Creative Officer: Noel Cottrell
Creative Director/Copywriter: Mitch Bennett
Creative Director/Art Director: Wes Whitener
Director of Integrated Production: Christine Sigety
Production Company: Partizan
Director: Jeremy Konner
Year: 2012


The Saga of Jukka Bros. (an MTV advertising adventure)

Jukka Bros is a MTV campaign, created by Fallon McElligott.  Straight out of the movie, deliverance, Big Jukka and the Two Middle Jukkas are clearly losers – or, should I say, were losers. Thanks to their constant viewing of MTV programmes, the brothers now know what’s cool…

Unfortunately, Little Jukka lives in his own isolated shed and does not watch MTV. Therefore, he ’does not know what’s cool’. The other Jukka kin are ashamed of their little brother because he gives the wrong gifts, wears the wrong shoes and doesn’t know the latest dance moves. The solution? Every spot ends with big Jukka dragging his little brother outside by the ear and then, literally, paddling the MTV logo on to his ass.

What makes this campaign great is how unpolished it is. The facial expressions alone of the two middle Jukkas makes these spots hilarious when they wrestle each other, it is strangely sexual. And when little Jukka is paddled, the looks on the middle brothers’ faces again suggest something oddly sexual.

The appeal of the brothers is simple. They are not pretty. It is refreshing to see advertising that doesn’t preach to us with models or beautiful actors. It is especially refreshing to see MTV drop its guard, telling us what it is about through misfits who we can all relate to. Or, at least, people we can genuinely laugh at.  Too strange. Too different. Too weird. The very things that make  both campaigns brilliant.

Jukka Bros Intro

Meet the Jukka brothers – four ‘rednecks’ living in a forest. MTV provided their only interaction with the outside world. Only little Juka doesn’t watch it… he’s taught a lesson – for not being cool!

Sexy Dance

Little Jukka “bunny-hops” to MTV. Big brother has to teach him a lesson. “Be cool with MTV.”

Fashion Check

Little Jukka wears his jeans too high. Big brother has to teach him a lesson.

Wrong Shoes

Little Jukka wears the wrong kind of shoes. Big brother has to teach him a lesson.

Xmas Story

Little Jakka gives his big brother a woolly jumper for Christmas instead of a metallic-look jacket. Big brother teaches him a lesson.
Advertising Agency: Fallon New York
Creative Director: Jamie Barrett
Art Director: Paul Malmstrom
Copywriter: Linus Karlsson
Production Company: Partizan
Director: Traktor
Year: 2000
Gold Lion for the campaign

Honda – The story of Cog



In 2002 Honda Motor Company was the number-three Japanese automobile manufacturer in the world, behind Toyota and Nissan. While Honda’s automobile sales in Japan and the United States were considered strong, sales in the United Kingdom and mainland Europe were thought to be weak, even though automobile production in the United Kingdom had been ongoing for a decade. Further, Honda vehicle sales had been declining in these regions since 1998. In response to these problems Honda hired ad agency Wieden+Kennedy’s London office to create an advertising campaign that would directly address the issues. ‘‘The Power of Dreams’’, released in 2002, was an omnipresent campaign in the United Kingdom and beyond, using television, direct mail, radio, posters, press, interactive television, cinema, magazines, motor shows, press launches, dealerships, postcards, beermats (coasters), and even traffic cones. It built upon Honda’s company slogan, ‘‘Yume No Chikara,’’ which was first endorsed in the 1940s by the company’s founder, Soichiro Honda. Translated into English, it meant to ‘‘see’’ one’s dreams. Wieden+Kennedy used this phrase as the basis of its question to consumers: ‘‘Do you believe in the power of dreams?’. 

The global campaign, which centered on this tagline, included print and television components starring ASIMO, a humanoid robot developed by Honda. While the ASIMO ads gained widespread recognition, the 2003 television commercial called ‘‘Cog’’ was clearly a pinnacle of the campaign. In a single take with no special effects, more than 85 individual parts of the new Accord interacted in a complicated chain reaction.

Cog was first aired on British television on Sunday 6 April 2003. The full 120-second version of the advertisement aired only 10 times in all, and only in the 10 days after the initial screening. The slots were chosen for maximum impact, mostly in high-profile sporting events. The campaign was tremendously successful both critically and financially. The media reaction to the advertisement was equally effusive, with articles appearing in both broadsheets such as The Daily Telegraph, The Independent, and The Guardian.

The full version was then put aside in favour of a 60-second and five 30-second variations, which continued to air for a further six weeks. These shortened versions made use of newly-introduced interactive options on the Sky Digital television network. Viewers were encouraged to press a button on their remote control, bringing up a menu that allowed the viewer to see the full 120-second version of the advertisement. Other menu options included placing an order for a free documentary DVD and a brochure for the Honda Accord.



The DVD, which was also included as an insert in 1.2 million newspapers in the first week of the commercial’s rollout, contained a “making-of” documentary featuring interviews and behind-the-scenes footage of the production process, a virtual tour of the Accord, the original music video to “Rapper’s Delight” by the Sugarhill Gang, and an illustrated guide to all the parts shown in Cog. The interactive 30-second versions of Cog proved hugely successful. Over 250,000 people used the menu option, spending an average of two and a half minutes in the dedicated advertising area. A significant number watched the looped 120-second version for up to ten minutes. Of those who opened the menu, 10,000 requested either a DVD or a brochure, and Honda used the data collected from the interactive option to arrange a number of test drive.

The Script

Cog opens with a close-up on a transmission bearing rolling down a board into a synchro hub. The hub in turn rolls into a gear wheel cog, which falls off of the board and into a camshaft and pulley wheel. The camshaft swings around into the centre section of an mounted on top of an engine crankshaft assembly. The exhaust swings round and knocks into a series of 3 valve stems. The valve stems roll down a front bonnet placed on top of an alloy wheel rim, releasing an engine oil dipstick with a throttle actuator shaft on the end. The disptick flicks over an engine cam cover into a radiator.The radiator overturns, falling onto a wheel balanced on top of a water pump housing. This wheel rolls off and knocks into the first of a series of three weighted wheels, which roll up a ramp into brake disc. The disc falls onto a seatbelt which, using a suspension lower arm as a lever, pulls a rear seat back into an upright position. As it does so, the seat disturbs a front windscreen wiper blade attached to a pulley wheel. The wiper blade travels along a bonnet release cable and overturns a tin of engine oil. The tin empties its contents onto a lower shelf, which disturbs the balance of several valve springs against flywheel. The oil alters the balance enough to cause several of the springs to roll. The valve springs are slowed enough by the spilt oil to allow them to drop into a cylinder head assembly mounted on a seesaw constructed of a board placed on a rocker shaft and gear wheel cog. On the other end of the seesaw is a car battery. As the assembly drops, the battery is pushed into a cylinder block wired up to an engine fan. It completes the circuit, and the fan rolls across the open floor into an anti-lock braking system modulator unit. The modulator unit knocks a rear silencer box down a ramp and into a rear suspension link. The link pushes a transmission selector arm into a brake pedal loaded with a rubber brake grommet. The grommet launches into a tyre mounted on a front end assembly, knocking it off and onto a wire suspended between two brake discs. The wire pulls a con rod, rotating it into a cylinder liner. The liner rolls down an incline, slowed by another con rod, the electric window of a front door assembly, and a series of interior grab handles. It falls onto another battery, completing a circuit. The circuit powers a windscreen washer jet pointed at a windscreen. The automated water sensors in the windscreen activate a pair of wiper blades, causing them to crawl across the floor. The wipers release a handbrake lever keeping a quartet of suspended window panels in place. As the windows swing round, the resulting air draft knocks the liner panel of a rear tool tray into a rocker shaft, which rolls across the floor into a suspension coil spring. The collision causes enough of a vibration to knock a second shaft into a battery. This activates the Accord’s CD player (playing Sugarhill Gang’s “Rapper’s Delight”). The vibrations from the car speakers shake a coil spring just enough to set it rolling off a rear tailgate glass panel, and onto a brake pedal. Once pushed, the pedal causes a set of rear shock absorbers to depress, pushing a polenoid onto a button on an ignition key. The button remotely closes the hatchback of an assembled Honda Accord on a brake-disc-mounted trailer. The closing of the door causes the weight of the car to shift enough to start it rolling down the slope to its final position in front of a tonneau cover with “Accord” printed on it, weighted with a wheel hub assembly. The piece closes with a voiceover from writer Garrison Keillor, who asks, “Isn’t it nice when things just work?”. The screen then cuts to a plain white background, where the Honda logo fades into the centre of the screen. The black text “The Power of Dreams” fades in shortly after the Honda logo has completely faded in.

The Making of



The Honda executives were intrigued, but demanded a cut using actual automotive parts before giving permission to go ahead with the full-scale projects. Once Cog was green-lit with a budget of £1 million, Gooden and Walker wasted no time in recruiting a London-based team to go through the logistics of the shoot in detail. The team, which comprised engineers, special effect technicians, car designers, and even a sculptor, spent a month working with parts from a disassembled Honda Accord before the design for the advertisement’s set was even finalised. Approval for the script took another month. Honda insisted that several specific Accord features, such as a door with a wing-mirror indicator and a rain-sensitive windscreen, appear in the final cut. The company planned to highlight these features in sales brochures. Antoine Bardou-Jacquet was brought on to direct the piece. Bardou-Jacquet was mostly known for directing several award-winning music videos.

Bardou-Jacquet wanted to compose the advertisement with as little computer-generated imagery as possible, believing that the final product would be that much more appealing to its audience. To this end, he set two months aside for the creation of hundreds of conceptual drawings detailing various possible interactions between the parts, and a further four months for practical testing and development. For the testing phase, the script was broken into small segments, each comprising only one or two interactions. Ideas deemed unworkable by the testing crew, such as airbag explosions and collisions between front and rear sections of the car, were abandoned, and the remaining segments were slowly brought together until the full and final sequence was developed. The final cut of Cog consists of two continuous sixty-second dolly shots taken from a technocrane, stitched together later in post-production.
Four days of filming were required to get these two shots, two days for each minute-long section. Filming sessions lasted seven hours and the work was exacting, as some parts needed to be positioned with an accuracy of a sixteenth of an inch. Despite the detailed instructions derived from the testing period, small variations in ambient temperature, humidity and settling dust continually threw off the movement of the parts enough to end the sequence early. It took 90 minutes on the first day just to get the initial transmission bearing to roll correctly into the second. Between testing and filming, 606 takes were needed to capture the final cut. The team commandeered two of Honda’s six hand-assembled Accords—one to roll off the trailer at the end of the advertisement, the other to be stripped for parts. While several sections of the early scripts had to be abandoned due to the total unavailability of certain Accord components, by the time production finished the accumulated spare parts filled two articulated lorries.

Cog needed only limited post-production work, as the decision had been made early on to eschew computer-generated imagery wherever possible. To further reduce the work required in post, Flame artist Barnsley  from the post-production company The Mill, spent a lot of time on set during filming, where he advised the film crew on whether particular sections could be accomplished more easily by re-shooting or in post. Even so, the constant movement of the components on-camera made it difficult to achieve a seamless transition between the two 60-second shots. Several sections also required minor video editing, such as re-centering the frame to stay closer to the action, removal of wires, highlighting a spray of water, and adjusting the pace for dramatic purposes.

Plagiarism accusations

Shortly after Cog appeared on television, Wieden+Kennedy received a letter from Peter Fischli and David Weiss, creators of the 1987 art film “Der Lauf der Dinge”. The art film was well known in the advertising industry, and its creators had been approached several times with offers for the right to use the concept, but had always declined.

The letter pointed out several similarities between their work and Cog, and warned the agency that they were considering legal action on the basis of the “commercialisation and simplification of the film’s content and the false impression that [they] might have endorsed the use”. When interviewed by Creative Review magazine, the pair made clear that they wished they had been consulted on the advertisement, and that they would not have given permission if asked. Media publications quickly picked up the story, and asserted that Fishcli and Weiss were already in the process of litigation against the car manufacturer.  Ultimately, Fischli and Weiss never filed a lawsuit against either Wieden+Kennedy or Honda UK, but their accusations continue to colour perceptions of the work within the advertising community.

Awards

Having swept the majority of award ceremonies within the advertising community to date, Cog was widely believed to be the favourite for the industry’s top award, the Grand Prix at the Cannes Lions International Advertising Festival. Cog held a disadvantage in that the chairman of the Cannes voting jury, Dan Wieden, was one of the founders of Wieden+Kennedy, the firm responsible for creating Cog; tradition holds that it is bad form for the chairman of the jury to vote for a piece by his or her own agency. Despite the lingering shadow of these accusations, Cog drew an unprecedented amount of critical acclaim. It received more awards than any commercial in history; so many that it was both the most-awarded commercial of 2004 and the 33rd-most-awarded commercial of 2003. The jury for the British Television Advertising Awards gave the piece the highest score of any commercial ever recorded; the jury’s chairman Charles Inge commented: “My own opinion is that this is the best commercial that I have seen for at least ten years.” After awarding Cog with several Silver awards, the president-elect of the D&AD Awards, Dick Powell, said of the piece: “It delights and entrances, […] it communicates engineering quality and quality of thinking, and leaves you with a smile.”

The result at Cannes was a surprise; after the longest judging period in the festival’s history, the Grand Prix went to neither of the two event favourites. Instead, the jury awarded the prize to Lamp a U.S. advertisement directed by Spike Jonze for the IKEA chain of furniture stores. Chief among speculated reasons for the outcome was the plagiarism debate surrounding Cog. Ben Walker told “A couple of people on the jury told me the reason it didn’t win is ’cause they didn’t want to be seen to be awarding something which people in some corners had said we copied.”

Homages and Parody

The popularity and recognition received by Cog led a number of other companies to create pieces in a similar vein, either as homages, in parody, or simply to further explore the design area. The first of these was Just Works, a deliberate parody advertisement for the 118 118 Directory Assistance Service in the summer of 2003, in which the Honda parts are replaced with such oddities as a tractor wheel, a flamingo and a space hopper, although what makes this advertisement different is that the familiar 118 118 runners simply push the items forward to keep things going. Campaign magazine listed Cog, along with Balls for the Sony Bravia as one of the most-imitated commercials in recent times.


Advertising Agency:  Wieden+Kennedy, London
Creative Director:  Tony Davidson, Kim Papworth
Copywriter:  Ben Walker
Art Director: Matt Gooden
Production Company:  Partizan, London
Director:  Antoine Bardou-Jacquet
Year: 2003


BETC Euro RSCG for Canal+ | Never underestimate the power of a great creativity

VISIGOTHS/BLACK BANDS
A spectacular battle scene between two tribes, featuring thousands of warriors. We are on a film set. The take has to be re-shot, which will help us understand why actors are so good at playing dead.
This is a humorous spot revealing that the black bands you often see within the television viewing box are actually created, they are not the filming format which has not been adapted to the televisio
Creative Director: Stephane Xiberras
Copywriter: Marc Rosier
Art Director: Jean Marc Tramoni
Production: Premiere Heure/Harvest, Santa Monica
Director: Baker Smith
Year: 2003
Shortlist

MARCH OF EMPEROR
March of the penguins but with actual emperor’s not emperor penguins.
Creative Director: Stephane Xiberras
Copywriter: Pierre Riess/Luc Rouzier
Art Director: Romain Guillon/Eric Astorgue
Production: @radical.media, New York
Director: Glue Society
Year: 2006
Gold Lion

BROKEBACK MOUNTAIN
A woman tells her friend about a really good film that she had seen on CANAL+ ‘Brokeback Mountain.’ From this description, her friend interprets a totally different, totally absurd, scenario.
Creative Director: Stephane Xiberras
Production Partizan, Paris
Director: Les Elvis
Year: 2007
Shortlist

HOLD UP

Creative Director: Stephane Xiberras
Copywriter: Nathalie Dupont
Art Director: Francis de Ligt
Production Company: Sonny PH
Director: Fredrik Bond
Year: 2008
Shortlist

VERSAILLES/MAFIA
We are taken back in time to a period film set in the Chateau de Versailles where the characters are all bizarrely huffing and puffing through their lines. Final scene cuts to a woman jogging, recounting the plot to another woman, and huffing and puffing as she recounts it. The signature reveals “CANAL+ Movies are made to be seen”
We see a stereotypical scene from a mafia movie where all the characters have a strange tick. Final scene cuts to a boy recounting the plot to his friend, constantly flicking his hair as he does so. The signature reveals “CANAL+ Movies are made to be seen”
Creative Director: Stephane Xiberras
Copywriter: Nathalie Dupont
Art Director: Francis De Ligt
Production Company: Irene, Paris
Director: Xavier Gianolli
Year: 2009
Shortlist

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’.
Creative Director: Stephane Xiberras
Copywriter: Jean-Cristophe Royer
Art Director: Eric Astorgue
Production Company: Soixan7e Quin5e, Paris
Director: Matthijs van Heijningen
Year: 2010
Gold Lion and 2 Bronze Lions

THE INCLINATION (IPHONE)
The agency created a campaign that fits in with the advertising success story of Canal+: diving into the world of TV programmes with the now classic disrupting phenomenon, played out here through the characteristic functionalities of the iPhone. In the TV ad, it is the iPhoneʼs trademark tipping to the side into landscape format that completely disrupts the romantic scene of a great Hollywood film. A couple are about to kiss, when suddenly the entire set falls over to one side.
Creative Director: Stephane Xiberras
Copywriter: Benjamin Sanial
Art Director: Raphael Halin
Production Company: Moonwalk Film, Paris
Director: The Glue Society
Year: 2011
Shortlist

CARLOS

The trailer begins with a car bomb exploding. As the clip goes backwards we discover that the scene takes place in the middle of a tranquil Paris. Ending with a characteristic “Tick Tock” sound the trailer is designed to intrigue the viewer to watch the series and find out more about the character behind the bomb – Carlos – the terrorist who threatened the world. We wanted to pitch the right tone, a suitably sober approach across all media, to avoid controversy and to avoid falling into the trap of eulogising a character that is, after all, a murderer.
Creative Director: Stephane Xiberras
Copywriter: Charles Lefort
Art Director: Viken Guzel
Production Company: Wanda, Paris
Director: Wilfrid Brimo
Year: 2011
Bronze Lion

FLOWCHART CAMPAIGN: ACTION/ANIMATED/HORROR/PORN/SHORT FILM
Learn how to deal with tight budgets, hung over cameramen, actors not showing up and grumpy directors. TV Channel, Canal+ supports those who make movies simply because making a movie isn’t easy.





Executive Creative Director: Stéphane Xiberras
Creative Director: Olivier Apers
Art Directors / Copywriters: Gregory Ferembach, David Troquier
Illustrator: Les Graphiquants
Year: 2011
Silver Lion for the Campaign

THE BEAR


Canal+  has always been committed to cinema. It is more than a mere broad- caster. It has always sought to go the extra mile for its subscribers and portray the film industry as no one else has done: emphasising the diversity of the genres, deciphering current and future trends, empowering actors and directors, and in general, transmitting the passion of all those who work in the film industry to its subscribers.
Thanks to its varied and cutting-edge program- ming – from blockbus- ters to art films. Thanks to the unique, quality insight that it provides into what goes on in front and behind the camera. Thanks to the unique ties that it maintains with the film industry (Studio CANAL, partnerships, financing, Cannes Festival, the César awards, etc.).
Canal+ and BETC have now come up with a film, The Bear, to remind audiences of the channel’s continuing commitment: to transmit the passion of film- making to its subscribers.
The more you watch Canal+, the more you love cinema.
To make this film, BETC chose to work with Matthjis van Heijningen, who also directed The Closet, which was the most awarded film in 2010 (The Gunn Report).
The tone remains unique, enhanced by the use of 3D to make the bear as expressive as possible. The same creative team, which worked on The Closet, Éric Astorgue and Jean-Christophe Royer, under the supe vision of President and Chief Creative Officer of BETC, Stéphane Xiberras, once again contribute to the distinguishing tone that is so familiar about the ma- jor advertising campaigns of Canal+.

Global Creative Director: Stéphane Xiberras
Art Director: Eric Astorgue, Julien Schmitt
Copywriter: Jean-Christophe Royer
Production Company: Soixante Quinze
Director: Matthijs Van Heijningen
Year: 2011


Axe, Rexona, Impulse: The VegaOlmosPonce Effect

Axe Deodorant – MOON
An astronaut who has just landed on the moon is pursued by a beautiful woman. The power of Axe.
Creative Director: Fernando Vega Olmos
Copywriter: Hernan Gonzales
Art Director: Hernan Damilano
Production Company: Cinetauro Producciones Cinematograficas, Argentina
Director: Jojo & Bosco
Year: 2000

Axe Deodorant – JUSTICE OF THE PEACE
After her wedding, a bride finds herself under attack from her girlfriends who pelt her with rice. The power of Axe.
Creative Director: Fernando Vega Olmos
Copywriter: Hernan Gonzales
Art Director: Hernan Damilano
Production Company: Cinetauro Producciones Cinematograficas, Argentina
Director: Jojo & Bosco
Year: 200o
Silver Lion

Axe Deodorant – METAMORPHOSIS
Axe Boy gets bitten by a mosquito, then the new Axe fragrance gets passed from one character to another.
Creative Director: Hernan Ponce/Gustavo Taretto/Gabriel Vasquez
Copywriter: Pablo Minces
Art Director: Norberto Vatrano
Production Company: The Gang Films, Argentina
Director: Laurence Dunmore
Music: Love is in the air
Year: 2002
Golden Lion

Axe Body Spray – COAT STAND
A young guy sprays lots of Axe to his coat stand. A girl is reading a magazine, paying no attention to him. The girl starts dancing sensually, in an erotic way around the coatstand. The guy is lying on bed, enjoying the show. Then he sprays Axe over his chest.
Creative Director: Hernan Ponce/Hernan Jauregui/Pablo Batlle
Copywriter: Mario Crudele
Art Director: Martin Ponce
Production Company: La Doble A, Argentina
Director: Armando Bo
Year: 2003
Silver Lion

Rexona Deodorant for men – ROUND/CHEERLEADERS/ODALISQUE
A very tightly dressed man wearing girl’s sexy clothes comes in a box-ring showing the board with the number of the round up in the air. Then, the umpire, the boxwer’s assistant and even the boxer, begin to smell the terrible stench this guy emanates when he passes them by.
In a Basketball stadium five very masculine guys are dressed like cheerleaders. The choreography is perfect and their movements are synchronised. The spectators seem to enjoy the show when suddenly they begin to smell an awful perspiration odour emanating from the cheerleaders.
When Arabic music begins to play at an Arabic-style restaurant, men are expecting to see a belly dancer. The belly dancer appears but it’s a guy. The chubby guy moves seductively. People seem to enjoy it when suddenly they begin to smell an awful perspiration odour emanating.
Creative Director: Hernan Ponce/Pablo Batlle/Hernan Jauregui
Copywriter: Analia Rios
Art Director: Ricardo Armentano
Production Company: Ladoblea, Buenos Aires
Director: Armando Bo
Year: 2004

New Rexona Sensitive – REFEREE
Supporters are really furious with the referee as he doesn’t caution the players for their infractions in a soccer game with the red card. He makes signs to them to continue with the game without raising the arms because his armpits are irritated.
Creative Director: Hernan Ponce/Hernan Jauregui/Pablo Batlle
Copywriter: Mario Crudele
Art Director: Martin Ponce
Production Company: La Doble A, Argentina
Director: Armando Bo
Year: 2004

Rexona for men – SHIRTS
A man sweats very often during the day. To avoid being seen like this he decides to steal shirts and t-shirts of other men who do not sweat. He cannot stop stealing because he cannot stop sweating. Finally, tired of this, he decides to start using the Dry deodorant Rexona.
Creative Director: Hernan Ponce/Rafael D’Alvia/Sebastian Stagno
Copywriter: Matias Corbelle
Art Director: Diego Sanchez
Production Company: Rebolution, Buenos Aires
Director: Armando Bo
Year: 2005
Bronze Lion

Axe Body Spray – NO
The objective is to communicate that Axe’s effect and fragrance lasts 24 hs. A guy meets a girl on the street and asks her to have a coffee with him. She always turns down his proposals but he’ll continue asking her out to other places until he acomplishes the ultimate challenge.
Chief Creative Officer: Hernan Ponce
Creative Director: Rafael D’Alvia/Sebastian Stagno
Copywriter: Analia Rios
Art Director: Ricardo Armentano
Production Company: La Banda Films, Beverly Hills
Director: Josè Pratt
Year: 2005
Bronze Lion

Axe Body Spray – JEREMIAH
In this saga Jeremiah, a regular Brazilian guy who used squeeze for years, was wasting an amount of girls per application. The “City Of Girls Wasted By Jeremiah” is shown, a place inhabited only by gorgeous women and now Jeremiah using Axe Compact is determined to get them back.
Chief Creative Officer: Hernan Ponce
Creative Director: Rafael D’Alvia/Sebastian Stagno/Hernan Jauregui
Copywriter: Analia Rios/Angel Castiglia
Art Director: Ricardo Armentano/Hernan Ibarra/Sebastian Visco
Production Company: Ladoblea, Buenos Aires
Director: Armando Bo
Year: 2005
Bronze Lion

Axe Unlimited Body Spray – AXE ACADEMY CAMPAIGN
A boy is introduced to a series of courses in advanced seduction techniques for pulling a girl



Chief Creative Officer: Hernan Ponce
Creative Director: Rafael D’Alvia/Sebastian Stagno/Hernan Jauregui
Copywriter: Martha Kern
Art Director: Tamara Litovski
Production Company: La Banda Films
Director: Josè Pratt
Year: 2005
Shortlist

Axe Deodorant – SHOWER
Anchored in the seduction territory in which Axe is a leading brand around the world,the TVC shows the life of a guy who perspires excessively; so excessively, in fact, that he can’t seduce the girl he likes. The commercial presents an innovative aesthetic aspect for the brand given by the non-traditional camera use and by the settings in which it takes place. The kind of humor it uses and the way the story is told are also fresh approaches for the brand, which aims at consolidating the product in the minds of consumers.
Chief Creative Officer: Hernan Ponce
Creative Director: Rafael D’Alvia/Sebastian Stagno
Copywriter: Hernan Ponce
Art Director: Facundo Romero/Diego Sanchez
Production Company: CZAR.BE, Brussels
Director: Lionel Goldstein
Year: 2006
Silver Lion

Rexona Teen – GHOST TRAIN
Four teenagers are at an amusement park. They are in a car of a really strange Ghost Train that takes them on a sinister ride. It’s sinister for them as they are going through different situations where girls of that age always have a bad moment. A Dad who picks them up at the disco, a teacher who makes them come up to the blackboard or a little brother who reads their emails. All is really horrific for these girls who keep on screaming terrified during the commercial, until they come out from the ride and the nightmare ends.
Creative Director: Hernan Ponce/Rafael D’Alvia/Sebastian Stagno
Copywriter: Analia Rios
Art Director: Ricardo Armentano
Production Company: Gorgeous, London
Director: Peter Thwaites
Year: 2006

New Rexona Sport Fan – PLOT
The commercial tells the story of some football fans who hide Rexona deodorants from Ronaldinho so he is not able to use it and as a consecuence, he sweats. They steal the deodorant from his hotel bathroom. Ronaldinho notices this and starts a search on the streets of the city that finally ends in the Rexona´s Factory. A great surprise is waiting for him. Instead of deodorants, he finds rabbits. Coming to the end three more football players appear looking for a Rexona: Riquelme, Puyol and Borguetti.
The concept of the commercial is: Players have to sweat. Fans don’t.
Executive Creative Director: Hernan Ponce
Creative Director: Rafael D’Alvia/Sebastian Stagno
Copywriter: Matias Corbelle
Art Director: Diego Sanchez
Production Company: The Gang Films, France
Director: Laurence Dunmore
Year: 2006

New Rexona Men Maximum – REFLECTION
A man applies Rexona to go to work. His reflection behind the mirror is doing the same. There’s a dark world hidden into the mirror where all the human reflections live. All the reflections are running to reach the next mirrors. In the real world, the man drives to work unaware of it. Before a meeting, he goes to the restroom and his reflection gets there 2 seconds before. They both check their dry armpits in the mirror. The protagonist leaves the restroom and his reflection moves into the dark corridor to rest, but he has to start running again!
Executive Creative Director: Hernan Ponce
Creative Director: Rafael D’Alvia/Sebastian Stagno
Copywriter: Matias Corbelle
Art Director: Diego Sanchez
Production Company: The Gang Films/Wasabi, France
Director: Eric Hillebrand
Year: 2006

Axe 3 Fragrance – CRASHERS + CASE HISTORY


Describe the campaign
Axe needed a real product and communication innovation that would take its consumption rates to the next level.
To achieve this, we created the NEW AXE 3: two Axe that could be mixed to get a third fragrance.
To communicate the concept of “mixable fragrances” we came up with a simple, straightforward & 100% Axe media neutral idea: mixable Axe fragrances would give guys mixable women.
The campaign was based on this simple concept, showing guys in every form of media available that it is good to mix, and even better to mix different kinds of gorgeous women.
That’s how the craze of mixing women started.
Describe how the campaign was launched and executed across each channel in the order of implementation.
The first wave of communication established the concept on a large scale through the TV ad. We also used specific billboards that suggested ways for guys to mix girls from real parts of the city near the ad, and gave away leaflets where guys could combine different parts of women.
The second wave of communication was centered on an interactive billboard where guys could vote for their favorite combination using their cellphones or the Axe site.
These women combinations became real and visited radio shows and hot spots in the city to encourage guys to vote for them.
The winning combination was displayed on the billboard.
Give some idea of how successful this campaign was with both client and consumer.
“Crashes” TVC achieved above-average scores in Recognition, Enjoyment and Branding.
The campaign clearly generated new awareness for the brand & achieved huge engagement levels.
“Crashes” has proven to drive consumption to higher levels:
• In Latam, we got a 35% increase in consumption per application rate.
• The consumption in grams increased 50% by using both sprays at the same time and pack-life was reduced 10 days.
• This incremental consumption drove growth: 2% incremental share in Argentina and 10% incremental turnover.
To sum up, we are glad to say that this campaign exceeded our communication and business goals.

Chief Creative Officer: Hernan Ponce
Creative Director: Rafael D’Alvia/Sebastian Stagno
Copywriter: Angel Castiglia/Matias Corbelle
Art Director: Facundo Romero/Diego Sanchez
Production Company: Blink, London
Director: Lynn Fox
Year: 2007
Grand Prix Integrated/Bronze Lion

Impulse for men – HARD TIME FOR ROMANTICISM



The campaign shows typical situations of love films between couples where men are about to do a romantic and important declaration of love and finally it results to be a disappointing declaration for women.
Chief Creative Officer: Hernan Ponce
Creative Director: Rafael D’Alvia/Sebastian Stagno
Copywriter: Analia Rios
Art Director: Ricardo Armentano
Production Company: Rebolition, Buenos Aires
Director: Armando Bo/Lemon
Year: 2007
Silver Lion for the campaign

Axe Deodorant – FISHES
The TVC objective is to communicate the antiperspirant benefit of dryness but within the Axe territory of seduction.
Creative Director: Hernan Ponce/Rafael D’Alvia/Sebastian Stagno
Copywriter: Josè Pereira
Art Director: Pedro Losada
Production Company: Partizan, Los Angeles
Director: Traktor
Year: 2007
Shortlist

Axe Dark Temptation – CHOCOLATE MAN
The commercial starts with a guy in his bathroom spraying the new Axe Dark Temptation. When we see the guy again, we realise that now he has turned into a chocolate man. He goes out and starts meeting gorgeous girls in different situations and they go mad about him!
Chief Creative Officer: Hernan Ponce
Copywriter: Mario Crudele
Art Director: Martin Ponce
Production Company: MJZ, Los Angeles
Director: Tom Kuntz
Music: A sweet touch of love (Allen Toussaint)
Year: 2008
Golden Lion

Axe Deodorant – QUAKE
The commercial starts in a solarium. It is still daytime and we see a lot of people treating themselves to a drink. The place is quite large and has a huge pool. There is a guy standing next to the stairs. When a girl approaches him, we start hearing his heart beat. Then he places his hand on the wall and little by little the whole place starts falling apart. But he stays dry and calm to get the girl thanks to the new Axe Pulse.
Chief Creative Officer: Hernan Ponce
Copywriter: Mario Crudele
Art Director: Martin Ponce
Production Company: Rebolution, Buenos Aires
Director: Armando Bo
Year: 2008
Bronze Lion

Axe Shower Gel – CHURCH

We see a guy of about 18 at his home, taking a shower with a pink soap. He then goes out and we see him driving a truck with a church attached to it around the city trying to marry all the girls he meets but all of them run away from him. He returns home disappointed and, while he is taking a shower, he realises that the women’s soap he is using made him think like a woman.
Creative Director: Hernan Ponce/Rafael D’Alvia/Sebastian Stagno
Copywriter: Josè Pereira
Art Director: Pedro Losada
Production Company: Rebolution, Buenos Aires
Director: Luciano Podcaminsky
Year: 2008
Shortlist
Impulse Deodorant – BETWEEN A ROCK AND A HARD PLACE
The commercial tells the story of a young man who has to choose between the love of a girl and his bachelor’s life with friends. He takes the girl to her home and when he opens the car’s door, a squad of friends appears and sets up an operation to stop him. He has to make a crucial decision: open that door or go back to his friends.
Finally, he opens it. His friends go away, disappointed by his decision. While the couple kisses passionately, it can be read: True love still exists.
Executive Creative Director: Hernan Ponce
Creative Director: Walter Aregger
Creative Director: Hernan Ibarra
Production Company: Gorgeous Enterprise, London
Director: Peter Thwaites
Year: 2008
Shortlist

New Rexona Skin Care – PAPER DOLL CAMPAIGN
A paper doll comes to life and starts choosing what to wear. She tries some dresses on that she doesn’t like so she throws them away. Her underarm skin starts getting damaged, and her armpits rip while she struggles with the paper clothing. She finally chooses one dress and she realised how deteriorated her underarm skin is. Then she finds the solution in a magazine where we can read: “You know your underarm skin can get damaged. We know how to take care of it. New Rexona Skin Care, the line that helps your skin to keep itself healthy”.
The paper doll is running on a record player. First she has a smile on her face and moves her arms with great enthusiasm, but then she starts getting tired, sweating and her underarm skin starts getting red. She tries to stop the record player but she can’t reach the handle and she finally slips and falls.
We see the paper doll sitting on a hair brush, wrapped with a towel. She observes her underarm skin at the mirror and she notice that they are very red. The doll stands up with her arms on her waist and she kicks the razor. The razor doesn’t move but the dolls foot really hurt. “You know that shaving can damage your underarm skin. We know how to take care of it. New Rexona Skin Care, the line that helps your skin to keep itself healthy”
The paper doll is reading a book and protecting herself from the lamp with a paper parasol. She closes the parasol and puts on her glasses. She continues her reading but she feels the heat coming from this lamp and tries to fan some air with her hand. Her cheeks start getting red and so does her underarm skin. Finally the paper doll turns off the light.
Chief Creative Officer: Hernan Ponce
Executive Creative Director: Analia Rios/ Ricardo Armentano
Copywriter: Josè Pereira
Art Director: Pedro Losada
Production Company: Gorgeous Enterprises, London
Director:Peter Thwaites
Year: 2008

Axe Day & Night – SQUARES
The commercial shows us a day in the life of a man that uses Axe Day & Night. From the concept “one is suitable for general audiences, the other one is not”, we see situations of flirting during the day, while using Axe Day, but when we get to the night, the image starts to get pixilated.
Chief Creative Officer: Hernan Ponce
Executive Creative Director: Walter Aregger/ Hernan Ibarra
Copywriter: Analia Rios
Art Director: Ricardo Armentano
Production Company: Rebolution, Buenos Aires
Director: Armando Bo
Year: 2009
Bronze Lion

Axe Shower Gel – SO CUTE
The commercial shows the story of a guy that, after using a pink bar of soap, is confused by little animals for a fairy tale princess. We see animals trying to dress him up as a cute girl. And at the end, the solution to his problem: Axe Shower Gel, the liquid soap with fragrances created for men.
Chief Creative Officer: Hernan Ponce
Executive Creative Director: Walter Aregger/ Hernan Ibarra
Copywriter: Joaquin Cubria
Art Director: Ignacio Ferioli
Production Company: Garlic Film, Madrid
Director: Marcelo Burgos
Year: 2009

Impulse Summer Splash – SEAWEEDS
We are on the deep sea. A young man is feeding some fishes that are swimming near him when a pretty girl goes behind him. He smells her and turns around to follow the smell and sees her leaving. He immediately starts running to a seaweeds store. He grabs a bouquet, gives money to the owner and runs after the girl. He reaches her and gives her the seaweeds. We hear a voice-over saying: If suddenly someone you don´t know gives you seaweeds, this is Impulse Summer Splash, the new water resistant fragrance. She takes the bouquet smiling, and while they are standing close together on the deep sea, the camera cut to the packshot.
Executive Creative Director: Hernan Ponce/Walter Aregger/ Hernan Ibarra
Copywriter: Analia Rios
Art Director: Ricardo Armentano
Production Company: Rebolution, Buenos Aires
Director: Armando Bo
Year: 2009

Axe Deodorant – AXE BODY LANGUAGE CAMPAIGN
The commercial shows us a guy dancing in a clumsy way for two lovely girls sitting in front of him. The girls look at this and, analyzing his body language, run away. Once he sprayed Axe all over his body, he dances exactly as he did before, but this time the girls love the way he moves.
The commercial shows us a guy standing in front of two beautiful girls sunbathing next to a swimming pool. He is doing some weird movements. The girls think his body language means he is missing his mommy and instantly leave him alone. But when he shows up again using Axe all over his body, the girls can’t help seducing him.
The commercial shows us a man who is trying to seduce a girl talking and doing some strange movements as if he ws asking her to scratch him; the girl looks at him and runs away. Eveything is different when he sprays Axe all over his body and the girl jumps into his cowboy arms.
Chief Creative Officer: Hernan Ponce
Creative Director: Walter Aregger/ Hernan Ibarra
Copywriter: Rafael Santamarina
Art Director: Juan Manuel Montero
Production Company: Rebolution, Buenos Aires
Director: Luciano Podcaminsky
Year: 2009

Axe Sharp Focus – PARANOID EYE
The commercial tells us the story of a guy that couldn’t help checking his sweaty armpit every time he met a girl, blowing every chance to seduce them. But with the new Axe Sharp Focus, he finds the solution and starts feeling more confident.
Chief Creative Officer: Hernan Ponce
Executive Creative Director: Hernan Ponce
Copywriter: Joaquin Cubria
Art Director: Bruno Tortolano
Production Company: Pioneer Productions
Director: Traktor
Year: 2009

New Axe Twist – ARMS
This is a story about a guy who tries to seduce a girl, and the special feature is that he is assisted by 2 production line robotic arms that change his look every time the girl starts to get bored keeping it interesting. All thanks to the fact that he uses Axe Twist, the fragrance that changes during the day.
Chief Creative Officer: Hernan Ponce
Creative Director: Walter Aregger/ Hernan Ibarra
Copywriter: Ariel Serkin
Art Director: Hernan Cerdeiro
Production Company: Furlined, Santa Monica
Director: The Perlorian Brothers
Year: 2010
Bronze Lion

Axe Deodorant – DESTINY
Destiny is an inevitable force. It is written that what is meant to be will be. Thus, this piece shows us two soul mates on the day when their paths lead them to what would appear to be an inevitable encounter.
Chief Creative Officer: Hernan Ponce
Executive Creative Director: Walter Aregger/ Hernan Ibarra
Copywriter: Joan Ure
Art Director: Christian Rosli
Production Company: Prettybird, Los Angeles
Director: Paul Hunter
Year: 2010
Bronze Lion

New Axe Play 2010 – SOFAURUS
Three male friends are watching a televised football match sitting on a sofa. The particular aspect is that this sofa is actually the body of one of them, a sort of centaur with a human torso and a sofa body.
As soon as the match finishes, the friends leave and the sofa-man begins to get ready for a moment of seduction. He takes off his shirt, showers, cleans the pillows and sprays his body with deodorant. Finally, we see that he places himself in the bedroom and unfolds a bed which becomes his body. We see that the bed unfolds with two beautiful women on it which had been stored away inside him and they gaze seductively at the sofa- man. At this point we hear: “Because as soon as you stop thinking about football, you start thinking about women again. New Axe Play 2010.”
Chief Creative Officer: Hernan Ponce
Executive Creative Director: Analia Rios/Ricardo Armentano
Copywriter: Juan Pablo Lufrano
Art Director: Norberto Vatrano
Production Company: Rebolution, Buenos Aires
Director: Armando Bo
Year: 2010

New Axe Dry Sensitive – WINGS OF GLORY
The commercial shows, with irony, the rivalry between two men over a woman.
When two very masculine pilots who are taking off from an aircraft carrier using only their arms spread out like wings to fly with, start to compete as they are watched by a sensual female instructor. But the speed and the acrobatics becomes too much for one of them, as a strong discomfort in one of his armpits compels him to scratch and he falls, inevitably, into the water. Demonstrating thus that armpit irritation reduces the power of seduction and the new Axe Dry Sensitive is the answer to this.
Chief Creative Officer: Hernan Ponce
Executive Creative Director: Walter Aregger/ Hernan Ibarra
Copywriter: Juan Pablo Lufrano
Art Director: Norberto Vatrano/Gabriel Huici
Production Company: Pioneer Productions/Park Pictures, Buenos Aires
Director: Benzo Theodore
Year: 2010

Axe Musicstar – LIMO
It’s a classical hip hop video clip in which we see an eccentric rapper singing to the camera surrounded by beautiful women, an action that is interrupted when his groupies start to distance themselves until they surprisingly come upon a young man’s hands putting on Axe Musicstar.
Chief Creative Officer: Hernan Ponce
Executive Creative Director: Analia Rios/Ricardo Armentano
Copywriter: Juan Pablo Lufrano
Art Director: Norberto Vatrano
Production Company: Rebolution, Buenos Aires
Director: Armando Bo
Year: 2010

Impulse New Romantic Fragrance – STARES
Stares, is a clear demonstration of how sometimes a unique attraction can be generated between a man and a woman. A very special connection, one which absolutely nobody, or anything can come between. It starts with a stare, and ends with them together. All of this, thanks to the fragrance of Impulse
Chief Creative Officer: Hernan Ponce
Executive Creative Director: Walter Aregger/ Hernan Ibarra
Creative Director: Analia Rios/Ricardo Armentano
Copywriter: Joan Ure
Art Director: Christian Rosli
Production Company: Pioneer Productions/Park Pictures, Buenos Aires
Director: Lance Acord
Year: 2010

Rexona for men – ZOMBIES
Months before the World Cup begins, football fans begin to suffer from the anxiety of wanting to hear that initial whistle. The story – a parody of typical zombie movies – depicts how football fans become zombies because of the World Cup but, instead of roaming around the streets to the shout of “brain”, they do so to the shout of “football”. The idea is to draw a parallel in the behavior of zombies and of men during World Cup season.
Chief Creative Officer: Hernan Ponce
Executive Creative Director: Walter Aregger/ Hernan Ibarra
Creative Director: Analia Rios/Ricardo Armentano
Copywriter: Joan Ure
Art Director: Christian Rosli
Production Company: Hungry Man, Los Angeles
Director: Brian Buckley
Year: 2010

Axe Ex-Friend Body Spray – ZIPPER/BLANCHET
At a building porch, a girl of 17 years old asks her friend to lift the zipper of her dress. The guy accepts without any problem. At the moment when he is helping her, a huge construction worker appears. They start fighting to raise and low the zipper. Finally the guy gets to lift it up. The construction worker can´t believe it. He looks at him like saying “you are lost, you don´t know what you´re doing” and he gives the guy the New Axe Ex-Friend. The guy applies it under his t-shirt. What you add as a friend, you take away as a man. Finally the girl lows down the zipper and looks at him like inviting him to her house. We see the pack over a table, and the construction worker appears behind. New Axe ExFriend. Fewer friends, more women.
We are on a beach and we see a group of boys and girls sitting around a fire, one of the girls falls asleep on one of the guy’s legs. While the guy covers her with a blanket, a huge fisherman appears. From now on we see how the guy and the fisherman start fighting removing and putting the blanket. Finally the guy gets to cover her. The fisherman completely disappointed with the guy´s attitude, hits him a little in his head and then gives him the New Axe ExFriend. The guy applies it under his t-shirt. What you add as a friend, you take away as a man. Finally we see the fisherman moving away. He makes a move with his arm making the blanket blows off the frame. The girl wakes up for a few seconds, and grabs stronger the guy´s leg. We see the Pack on a trunk, and the fisherman appears behind. New Axe ExFriend. Fewer friends, more women.
Chief Creative Officer: Hernan Ponce
Executive Creative Director: Analia Rios/Ricardo Armentano/Joaquin Cubria
Copywriter: Ezequiuel Soules
Art Director: Martin Insua
Production Company: Epoch Film, USA
Director: Matt Aselton
Year: 2011
Shortlist

Impulse Glamour – INEVITABILITY
When a woman uses Impulse, everything is possible. Even the most casual encounter of the world, can turn into the beginning of an amazing story; something unique, magical and inevitable.
Chief Creative Officer: Hernan Ponce
Executive Creative Director: Walter Aregger/ Hernan Ibarra
Creative Director: Juan Manuel Montero/Rafael Santamarina
Copywriter: Mario Crudele
Art Director: Facundo Romero
Production Company: MJZ Los Angeles
Director: Dante Ariola
Year: 2011

New Rexona Men Body Spray – RABBIT/SNAIL/SHEEP
We see a guy around 25 years old who is about to apply the New Rexona Men Bodyspray under one of his arms. A male voice in off interrupts him and explains – first – how he should use it properly and, then, how long it lasts. The way he explains how long it lasts is by showing a rabbit solving an equation. Since this is not enough, the equation becomes even more complex. since this is not enough either, the rabbit has his eyes covered. OK. NOW you can see how much this new fragrance really lasts. New Rexona Men Bodyspray. At the end of the day you smell as good as in the beginning.
We see a guy around 25 years old who is about to apply the New Rexona Men Bodyspray under one of his arms. A male voice in off interrupts him and explains – first – how he should use it properly and, then, how long it lasts. The way he explains how long it lasts is by showing a snail that is moving from point “A” to point “B”. Since this is not enough, a motorhome/ trailer appears and is attached to the back of the snail. OK, NOW you can see how much this new fragrance really lasts. New Rexona Men Bodyspray. At the end of the day you smell as good as in the beginning.
We see a guy around 25 years old who is about to apply the New Rexona Men Bodyspray under one of his arms. A male voice in off interrupts him and explains – first – how he should use it properly and, then, how long it lasts. The way he explains how long it lasts is by showing a farmer shearing a sheep. Since this is not enough, he changes the blade shear by a small pair of scissors. Since this is not enough, a bush moves and a much bigger sheep appears. OK, NOW you can see how much this new fragrance really lasts. New Rexona Men Bodyspray. At the end of the day you smell as good as in the beginning.
Chief Creative Officer: Hernan Ponce
Executive Creative Director: Analia Rios/Ricardo Armentano/Joaquin Cubria
Copywriter: Ezequiuel Soules
Art Director: Martin Insua
Production Company: Nunchaku Cine, Buenos Aires
Director: Nicolas Kasakoff
Year: 2011

New Rexona Men Sensitive – SENTIVE ARMPITS
A tough lumberjack is chopping down a tree. As he rearranges his cap, we notice at the same time he does that his underarm begins to song a sweet song. The corny melody is really annoying him. At this point, we see different cliché images of rough and tough men all undergoing the same situation. Finally, one of them applies the New Rexona Men Sensitive and succeeds in shutting up the underarm voice. A male voice in off says: New Rexona Men Sensitive. Even the most insensitive guy can have sensitive underarms.
Chief Creative Officer: Hernan Ponce
Executive Creative Director: Walter Aregger/ Hernan Ibarra
Creative Director: Analia Rios/Ricardo Armentano/Joaquin Cubria
Copywriter: Joan Pablo Lufrano
Art Director: Norberto Vatrano/Gabriel Huici
Production Company: Hangry Man, New York
Director: Bryan Buckley
Year: 2011
Shortlist

Axe Full Controll – PREMATURE PERSPIRATION CAMPAIGN
Premature perspiration is a disorder that affects millions of guys. To help them overcome this difficult problem, we develop Axe Full Control. We created a TV campaign to let everyone know that the problem that embarrassed them, now has a solution.




Chief Creative Officer: Hernan Ponce
Executive Creative Director: Analia Rios, Ricardo Armentano, Joaquin Cubria
Creative Director: Juan Manuel Montero, Rafael Santamarina
Art Director: Juan Manuel Montero
Copywriter: Rafael Santamarina
Production Company: Primo
Director: Nico, Martin
Year: 2011
Gold Lion for the campaign

Axe Deodorant 2012 Limited Edition – Noah’s Ark

Executive Creative Director: Ricardo Armentano/Analia Rios/Joaquin Cubria/Hernan Ponce
Creative Director: Juan Pablo Lufrano
Art Director: Juan Pablo Curioni
Copywriter: Alejandro Blanc
Production Company: Park Pictures/Pioneer Productions
Director: 300ml