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


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.

Kalahari.net  (Online Store)

Philips  (Light Bulbs)

Playstation 3

TeleCine Happy (The Star Wars Saga in dubbed version)

Premiere

Silver Snail Comic Store

McDonald’s

Vespa

MCO (Sound Design Studios)

Saewookkang (Shrimp Snack)

Bed Club (Drag Show)

El Pais

Virgin Atlantic Airlines

Canal+

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.
Contacts:
– 30.096 unique visitors at wwf.be/earthhour
– 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.

Snickers

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

Hasbro (Star Wars Silver Anniversary)

Comfort

 

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

Pepsi

M&M’s

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.