The 10 Most Impossible Trailers

1 – If The Incredibles was a Christopher Nolan film


2 – If Mary Poppins was a Horror Movie (Scary Mary)


3 – If Christopher Nolan directed Wall-E


4 – If Shining was a brillant comedy


5 – If Mrs Doubtfire was an horror movie


6 – If Back to the Future was a silent movie


7 – If Batman Begin was a comedy


8 – If Star Wars was a Tarantino film


9 – If Micheal Bay directed UP!


10 – If Harry Potter was a stupid teen comedy

Congratulations George! Congratulations Jim! Congratulations Steven!

In 1998, Titanic topped Star Wars as the #1 box office movie of all time. In congratulations, George Lucas bought this full-page ad inVariety, in which the Star Wars crew jumps out of the sinking ship and into the ocean of second place.

Apparently, it is a Hollywood tradition for directors who have their #1 records smashed to take out full page ads congratulating the new record-holders. When Star Wars broke Jaws‘ record, Steven Spielberg congratulated George Lucas by taking out a full-page ad with a picture of R2-D2 snagging Jaws on a fishing line.

Thereafter, E.T. beat Star Wars and held the record for a while. This was the message to Steven Spielberg from George Lucas in 1983 congratulating Spielberg for E.T passing Star Wars in the movie rental takings…

But Star Wars Special Edition reclaimed #1 in 1997. The result? Another full-page ad in which E.T. puts a crown on R2’s head…

Steven Spielberg, director of E.T., honored his friend Lucas with an advertisement in Daily Variety, the entertainment industry magazine, with a picture of E.T., the alien from the movie, putting a crown on top of R2-D2, the small robot from Star Wars.

“Dear George,” the ad read, “Congratulations for renewing the most enduring motion picture in cinema history. Your pal, Steven.”

Daniel Norris – Re-Designed Movie Posters

Daniel Norris is a creative freelance graphic designer with eight years experience in and around London agencies. Daniel created these amazing and single-color print-like movie poster redesigns. It’s fantastic how he turned iconic scenes into graphic icons for the posters.

For more information about him, you can visit his Flickr page

H-57/The Force Of Typography – Star Wars Posters For Charity (Complete Case History)

Digital art comes in a multitude of forms and shapes. Games, logos and website design are all forms of art in a certain way. But there is one form of digital art that always strikes a conversation when it is viewed, and that is typography. Sure, it doesn’t have to be digital at all. As a matter of fact, there are plenty of books out there that are entirely dedicated to typography in every form and shape. However, there is a rising trend of 3D typography art and typography where letters are used to create visual patterns that looks like ordinary image.

H-57 Creative Station, a Milan based advertising and design agency, has created posters depicting Star Wars characters using only typography. The well-received poster series, The Force Of Typography, has blown-up like the Death Star in popularity. With fans clamoring to purchase these posters, H-57 was unfortunately restricted due to licensing issues. With the use of a few characters H-57 has been able to create the heads of a StormtrooperDarth Vader and, of course, Yoda himself. There is no mistaking who they are supposed to look like, and at first glance, you won’t even be able to spot that they are created entirely out of characters.

With recent approval from Lucasfilm, H-57 plans on producing a limited run of 300 posters of each design, with all proceeds benefiting the Italy Make-A-Wish Foundation. The prints will be sold on eBay on October 21, 2011.

Matteo Civaschi, Executive Creative Director and Senior Designer at H-57 explains how the idea for these posters first began:

This project was born from a small home accident. My cat ‘Rommel’ was playing in the library and made my Darth Vader mask fall. When I picked it up, the mask was upside down, and I started examining all its elements. Looking at the upside down mouth, which is made in a shape of a pyramid with some slits, I realized that it formed a ‘W.’ From that point, I had the idea to recreate Darth Vader’s face using only typography.

Advertising Agency: H-57, Milan, Italy
Creative Director: Matteo Civaschi, Gianmarco Milesi
Art Director: Matteo Civaschi
Copywriter: Gianmarco Milesi

Darth Vader in advertising

Tom Tom Navigation Voices

Darth Vader struggles in a sound-studio to give the right driving instructions. We tried to explain the product in the most logical, natural and entertaining way possible, and by simply showing how it was made.
RESULTS: 5 million views combined for both virals, 1500% ROI (one YouTube view being valued at € 0.25), Number 1 & 2 on the Guardian Viral Video Chart. And best of all… Lucas Film requested that the Darth Vader viral and its sister viral starring Master Yoda be included in the Official Star Wars Blue Ray box set.  (Online Store)

Philips  (Light Bulbs)

Playstation 3

TeleCine Happy (The Star Wars Saga in dubbed version)


Silver Snail Comic Store



MCO (Sound Design Studios)

Saewookkang (Shrimp Snack)

Bed Club (Drag Show)

El Pais

Virgin Atlantic Airlines


Direct TV (Your movies in the language you prefer)

Direct TV

Orange (Mobile phone etiquette)

The ‘Goldspot’, so called because of its placement following film trailers and before the main feature, was provided to Orange with just one condition: remind audiences to turn their phones off. The Insight: If there’s one place where consumers reject brand intrusion, it’s in the entertainment arena. It was therefore crucial to make our communication rewarding and relevant to its environment.
Enter the Orange Film Commission Board, a fictitious department ‘inside’ Orange so obsessed with phones that every time a star pitches a project, the characters turn the idea on its head to shoe-horn mobile phones into the plot.

Hasbro (Mr.Potato Head)

Real product, real client and yes, it really ran. We took the famous scene from Return of The Jedi where Darth Vader’s identity is revealed, and substituted an animated ‘Darth Tater’ Mr Potato Head.

Target (Department Store Saled)

Sexual tension in the workplace. For operator Darth Vader, it’s hard concentrating on intimidating shoppers out of bed before Target’s after Thanksgiving 2 Day Sale with Heidi Klum traipsing around. If she can even rattle the Dark Lord of the Sith, just imagine what she’ll do to you at 5am.

IBCC (Cancer Research)

WWF (Earth Hour Direct & Promo project)

Describe the objective of the promotion.
In 2009 Earth Hour Belgium had 500.000 families, 329 companies and 193 cities participating. The objective was to promote Earth Hour in Belgium to get more families, companies and communities to participate than in 2009.
Describe how the promotion developed from concept to implementation
The campaign started streetwise in Copenhagen, in December 2009. Our Earth Hour ambassador and hero Darth Fladder promoted Earth Hour in the streets and from that moment on, one could follow his adventures on social media (FB, twitter, youtube, Flickr). Cities and companies were approached by mail and phone. From mid February on, the Earth Hour campaign with Darth Fladder was developed in WWF-media, boomerang cards throughout Belgium, website, and e-mails to associations. In March Darth Fladder appeared at some music and sport events and the last 10 days a national TV and radio campaign mobilised the whole country.
Describe the success of the promotion with both client and consumer including some quantifiable results
750.000 people participated (25% more than in 2009), 649 companies (3219 in 2009) and over 324 communities (193 in 2009). So, all significantly more than in 2009.
– 30.096 unique visitors at
– 1.222 friends on FB
– 85.000 views on youtube (Life of Darth Fladder)
567 publications in on- and offline belgian press.
Explain why the method of promotion was most relevant to the product or service
To get more followers we needed a leader. That’s what we created in the person of Darth Fladder.
And the Belgian population, as well as companies, cities, and families were enthusiastic. Not only had WWF more participants, the participants also used promotion material of Darth Fladder to promote by themselves Earth Hour towards their personnel/habitants/members.


H-57 Creative Station (Typography, design, illustration)

Hasbro (Star Wars Silver Anniversary)



Burger King (Star Wars Promotion)

Spike Channel

Volkswagen Passat (The Force)

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.

Shopping Total

Energizer Bunny



Disneyland (Star Tour Ride)

Full commercial for Disneyland’s new Star Tours ride. See what Darth Vader and his Stormtroopers decide to do at Disneyland Park to kill the time waiting for the new Star Tours 3D ride to open.
Darth Vader and some stormtroopers enjoy the Soundsational Parade as they anxiously await the opening of the Star Tours attraction at the Disneyland Resort in Anaheim, California.

Samsung Galaxy S

This video from Japanese network DoCoMo is an odd advert, but is so weird that its pretty damned brilliant.Well, they have Darth Vader just hanging around with people using the Galaxy S. There is no real explanation as to why he is there, but he is, and somehow it works out pretty good. Lets face it any advert with Darth Vader in it would cool so sit back and enjoy this.

Lego (1981/2011) – Builders of Creativity


An extremely clever ad — one from your childhood. A slightly surreal look at all the things you can make out of a box a Lego. Narrated by Tommy Cooper, a battle ensues between a mouse which, when threatened by a cat, turns into a dog. The cat turns into a dragon and so on, to a submarine and a submarine-eating kipper. The submarine eventually morphs into an elephant, the mouse rebuilds and the elephant faints. Lego: It’s a new toy every day — just like that!
Agency: TBWA London
Creative: Mike Cozens; Graham Watson
Director: Ken Turner
Production: Clearwater Films
Producer: David Mitten
Director of Photography: Tom Harrison
Editor: Patrick Udale
Year: 1981
Grand Prix

Lego representations of famous people: a dinosaur (Spielberg), a bed (Madonna), a football (Pele), windows (Bill Gates), a man levitating (David Copperfield), a broken man (Mike Tyson).
Agency: DM9 Publicidade
Creative Director: Nizan Guanaes
Copywriter: Nizan Guanaes
Production Company: Jodaf/Joao Daniel Film
Director: Joao Daniel Tikhmoiroff
Year: 1995
Gold Lion


Agency: JWT Publicidade
Creative Director: Anselmo Candido
Copywriter: Ricardo Adolfo
Art Director: Miguel Coimbra
Photographer: Chico Prata
Year: 1998
Bronze Lion

A group of officials arrive at the house of an ordinary boy to discover that he’s created something extraordinary, which he keeps in a box. All ideas start with imagination.
Agency: BBH
Creative Director: John Hegarty
Copywriter: Roger Beckett
Art Director: Andrew Smart
Photographer: Gorgeous Enterprises
Director: Frank Budgen
Year: 1999
Bronze Lion


Headline: All toys, in one
Agency: DPZ Propaganda
Creative Director: Jose Zaragoza/Carlos Rocca
Copywriter: Giovana Madalosso
Art Director: Janaina Pergira
Photographer: Lucio Cunha
Year: 2002


Headline: The power of the brick
Agency: Lowe, New York
Creative Director: Gary Goldsmith/Dean Hacohen/Bruce Hopman
Art Director: Elizabeth Maertens
Year: 2002


Headline: The most interactive toy.
Agency: DPZ, San Paulo
Creative Director: Carlos Silverio/Francesco Petit
Copywriter: Roberto Kilciauskas
Art Director: Fernanda Fajardo
Photographer: Marcel Vieira
Year: 2004


Agency: Ogilvy & Mather Santiago
Creative Director: Cesar Agost Carreno
Copywriter: Felipe Manalich
Art Director: Sergio Iacobelli/Sebastian Alvarado
Photographer: Juab Carlos Sotello
Year: 2005
Grand Prix (Outdoor Lions)


Agency: FCB Johannesburg
Creative Director: Bret Morris
Copywriter: Lance Vinning
Art Director: Lance Vinning/Charles Foley
Photographer: Gerard Turnley
Year: 2006
Grand Prix (Press Lions)


Agency: Saatchi & Saatchi Singapore
Creative Director: Andy Greenway
Copywriter: Stuart Harricks/Roger Makak
Art Director: Stuart Harricks
Photographer: Dean Zillwood/IDC
Year: 2006
Silver Lion for the campaign (Press)/Bronze Lion for the campaign (Outdoor)


Agency: Saatchi & Saatchi Singapore
Creative Director: Andy Greenway
Copywriter: Stuart Harricks/Roger Makak
Art Director: Stuart Harricks
Photographer: Sam & Boomerang
Year: 2006


Describe the communication goal
LEGO wanted their communication to focus more strongly on the core product: the basic blocks. And at the same time, they still wanted to inspire children of all ages and to stimulate creativity and innovation.
Innovative Media Strategy
Construction sites are normally very boring and makes the surroundings ugly. But by turning the containers placed there into giant LEGO blocks it gave consumers a surprise, making their everyday life a bit more colourful and creative. They could “play on” themselves and start imaging how to build on. As one consumer said: “I was just standing there, waiting for a giant boy to come and build”. The media became the talk of the town. Even the Mayor of Copenhagen was proud of what it did to the city and praised it in several newspapers and television.
Engaging Creativity
LEGO is known for stimulating creativity. Transforming containers on construction sites across the country into giant, colourful LEGO blocks confirmed this for the consumer. And with no logos it also became a pleasent surprise in their everyday life. Was it and ad or wasn’t it? Nobody doubted that LEGO was the brand behind it though.
Encompassing the Audience
By turning containers into outstanding giant LEGO blocks it gave consumers a big surprise, making their everyday life more colourful and creative. In several weeks, the LEGO blocks became the talk of the town.
– Massive media coverage in more than 20 national newspapers and magazines, national television and radio
– City mayors praising the project
– Hundreds of thousands consumers travelling by the blocks led to maximum awareness on the communication goal.
Agency: ADVANCE, Copenhagen
Copywriter: Michael Pedersen
Art Director: Kenneth Opsund
Year: 2006
Agency: IDB/FCB Santiago
Creative Director: Rodrigo Gomez/Michael Angel Cerdeira
Copywriter: Rodrigo Figueroa
Art Director: Michael Angel Cerdeira
Year: 2006
The image is a tribute to “Lunch atop a Skyscraper (New York Construction Workers Lunching on a Crossbeam)”, a photograph taken by Charles C. Ebbets on the 69th floor during construction of the GE Building at Rockefeller Center in 1932.
Agency: JUNG Von MATT, Hamburg

Creative Director: Arno Lindemann/Bernhard Lukas
Copywriter: Daniel Schaeferk
Art Director: Szymon Rose
Photographer: Achim Lippoth
Year: 2007

Agency: Blattler Brunner, Pittsburg
Creative Director: Jay Giesen/Dave Kwasnick
Art Director: Derek Julin
Year: 2007


Describe the objective of the promotion.
Like no other toy, LEGO is a symbol of fun and creativity. To mark the fiftieth birthday of LEGO in Germany, the idea was to rekindle media representatives’ and LEGO partners’ excitement for LEGO with a high-quality mailing.
Describe how the promotion developed from concept to implementation.
LEGO fan and designer Reginald Wagner conceived, designed and photographed his personal LEGO memories with a pinhole camera to keep them from fading. The book’s format is adapted from the form of an individual LEGO brick. The book cover and the flipside are made of real LEGO plates. Journalists were sent the book and could put their name on the cover and share their memories with the designer.
Explain why the method of promotion was most relevant to the product or service.
The title of the book POLYPLAYPYLENE means “plastic that has been played with often” and that’s precisely what this book is about. Endless imagination, an endless number of construction combinations and stories from the LEGO worlds: towns, castles and space.
Describe the success of the promotion with both client and consumer including some quantifiable results.
The first, exclusive edition is out of print; the feedback was overwhelming. A paperback edition of “Polyplaypylene” is currently in print for wider circulation.
Agency: Kolle Rebbe Werbeagentur GmbH/Korefe
Creative Director: Katrin Oeding
Copywriter: Alexander Barom
Art Director: Reginald Wagner
Photographer: Reginald Wargner
Year: 2007


Agency: Ogilvy & Mather Santiago
Executive Creative Director: Sebastian Alvarado/Nicolas Lopez
Creative Director: Felipe Manalich
Copywriter: Felipe Manalich
Art Director: Felipe Manalich/Sebastian Alvarado
Year: 2008
Shortlist (Press)/Shortlist (Outdoor)RUBIK’S CUBE/BRICK
Agency: JUNG Von MATT, Hamburg
Creative Director: Jan Rexhausen
Art Director: Keat Aun Tan
Photographer: Keat Aun Tan
Year: 2008

Agency: JUNG Von MATT, Hamburg
Creative Director: Fabien Frese/Daniel Frericks/Gotz Ulmer
Copywriter: Sergio Penzo
Art Director: Andre Price
Photographer: Ragnar Schmuck
Year: 2009
Agency: Naga DDB/Rapp Malaysia
Creative Director: Alvin Teoh
Copywriter: Raymond Ng/Ted Lim
Art Director: Chow Kok Keong
Photographer: Chem Kim Mun (360 Degree Studio)
Year: 2009
Headline: It start with a brick
Agency: Saatchi & Saatchi Singapore
Creative Director: Richard Copping/Andrew Pech
Copywriter: Andrew Pech
Art Director: Jon Loke/ichard Copping
Photographer: Teo Chai Guan
Year: 2009


Agency: JUNG Von MATT, Hamburg
Creative Director: Thim Wagner/Daniel Frericks/Gotz Ulmer
Copywriter: Mathias Muller
Art Director: Damjan Pita/Alexander Musgens
Year: 2009


Advertising School: Escola Cuca, Sao Paolo
Students: Diego Mourau/Gustavo Dorietto/Lucas Mohallem
Year: 2011


Agency: Ogilvy Malaysia
Executive Creative Director: Gavin Simpson/Robert Gaxiola
Creative Director: Eric Yeo
Copywriter: Greg Rawson/Ross Fowler
Art Director: David Stevanov
Year: 2011
Silver Lion for the campaign


Agency: Serviceplan, Munich
Executive Creative Director:Matthias Harbeck
Creative Director: Alex Schill/Oliver Palmer
Copywriter: Frank Seiler
Art Director: Sandra Loibl/Julia Koch
Year: 2011
Bronze Lion for the campaign


Agency: Leo Burnett, Moscow
Creative Director: Mikhail Kudashkin
Art Director: Arina Avdeena
Copywriter: Rodrigo Linhaners
Year: 2011
Gold Lion for the campaign


Agency: Pereira & O’Dell, San Francisco
Executive Creative Director: PJ Pereira
Creative Director: Kash Sree
Copywriter: Jaime Robinson
Art Director: Jason Apaliski
Production Company: Stimmung, Santa Monica
Director: Blue Source
Year: 2011


Creatives: Jacques Denain, Nicolas Dumenil
Year: 2011


Advertising Agency: TBWA, Costa Rica
Creative Director: Byron Balmaceda
Art Director: Gabriela Soto
Copywriter: Byron Balmaceda
Illustrator: Gabriela Soto
Year: 2011

BRICK Campaign

The ads appeared on four consecutive pages. LEGO is a company that has fostered imagination, invention and creativity for over 60 years. So it is unusual for these ads to feature only long copy with minimal imagery. However, upon reading each of these scenarios the ad comes to life in a way that is unique only to the reader and how they see these playtime scenarios in their mind’s eye. Typographic elements of kerning contrasted with tracking allow the reader to almost get lost in the copy selecting keywords for their imagination. The fourth ad in the series, “Yellow Brick” features a notepad with the tagline “Every LEGO brick tells a story. Build yours.”

Advertising Agency: Pereira & O’Dell, Brazil
Chief Creative Officer: PJ Pereira
Creative Director / Copywriter: Aricio Fortes
Creative Director / Art Director: Paulo Coelho
Account Executive: Lo Braz
Illustrator: Eduardo Gomes
Year: 2012