Axe, The Morning After Pillow. Typical Axe advertising...enjoy
Finally we provide you with the solution to the ONE "problem" AXE has! AXE Morning After Pillow!
Credits: Advertising Agency: DDB Latina Puerto Rico Creative Directors: Enrique Renta, Santiago Cuesta, Manuel Bordé, Leslie Robles Copywriting: Manuel Bordé, Santiago Cuesta Art Direction: Juan Carlos López, Luis Figueroa. Account Team: Edgardo Manuel Rivera, Rafa Muñiz, Alexandra Arroyo, Hecmarylys Ortiz, Luis Velazquez Director: Alejandro Pedrosa Prod. Co.: Buena Vibra Agency Producer: Loren Ortiz, Ive Negrón Producer: Emil Medina Music: Estudios Machina
Credits: Agency: Villar-Rosas Client: Honda Creative Director: Oriol Villar Creative Director: Isahac Oliver Creative Director: Jon Lavín Art Director: Oriol Gil Copywriter: Richard Browse Copywriter: Carles Gómez Project Head: Merche García Head of Production: Iria Martínez Prod. Co.: Good Morning Director: Luis Gerard DOP: Jos Luis Alcaine Producer: Josep Galí Post Prod/Music/Sound: Postpoambgracia
The art of seduction and being free starring model Daphné Groeneveld for the Dior ADDICT Fragrance. The commercial/ad features the song "I Love You ono" by Stereo Total.
jumP editor Luis Moreno teamed up with RAF Films director Jonas Åkerlund recently to cut Addict Fragrance, a vivacious modern take on the Brigitte Bardot-starring classic, And God Created Woman, for Dior’s eponymous scent. The spot follows a Dior-scented model as she struts through the beaches, streets and barrooms of scenic French Riviera in St. Tropez, France drawing the stares from her male audience with her every move.
Credits: Client: RAF Films Spot Title: Addict Fragrance Agency/Prod Co.: RAF Films Director: Jonas Åkerlund Producer: Eva Tempelman Editorial Co: jumP Editor: Luis Moreno EP: Alexandra Leal Producer: Alexandra Leal Assistant: Adrianna Merlucci Post/Effects Co: Chimney Pot Stockholm
Skoda Fabia, a car advertised for the most spacious cabin in its category, was transformed into a real hostel: with a comfortable double-bed, pillows, free wi-fi, and everything needed for a comfortable stay. Yes, it had a bathroom next to the car just in case. The hostel was placed at «Izmaiolovo Park», one of the most pleasant parks in the city to provide a great view for the guests.
The project was created by the advertising agency Proximity (BBDO Russia Group), in a partnership with the accommidation website Tripping.com: every time someone was searching for a place to stay in Moscow, surprisingly, the Skoda Hostel appeared in the results, and users could book it online and spend one night there. The only payment accepted were likes, tweets and shares.
Guests could also take the car for a ride around the city, so each booking became a full scale test drive. The hostel was fully booked, and had great feedback from its guests.
Credits: Creative Ad Agency: Proximity, Russia Luis Tauffer — Creative Director Andres Vergara — Creative Director Luis Tauffer — Art Director Ivan Malakhov — Art Director Polina Zabrodskaya — Copywriter Ilya Andreyev — Creative Technologist Natalia Ten — Client Services Director Julia Bogdanovich — Managing Director Oleg Malyutin — Group Account Director Valery Gorokhov — Producer Giuliana Giora — Producer Production Company E:mg, Hype Production, Lógico Music, All Awards, Goudron Music Factory, Guto Chicanelli
This 45 second film debuted on 12 in-arena screens and projected on the court before player introductions at Nets season opener on November 3, and will be shown at home games throughout the season and used in other promotional capacities. Three important elements came into play with the film. Not only would it be debuted before the team’s season opener, but the game also marked the first game of the high-visibility Brooklyn franchise and the initial game at the NBA’s newest arena, the Barclays Center.
The Famous Group, who have worked with the Nets since 1997, developed the theme “Arrival in Brooklyn” and conducted a live action shoot portraying Nets players in and around the new arena. Stars such as Deron Williams, Joe Johnson, Gerald Wallace and Kris Humphries, are shown arriving by taxi, subway and sidewalk, intercut with shots of uniformed players inside the Barclays Center. The film adheres to the Nets‘ iconic black & white branding, shot entirely in b&w and featuring players dressed in white shirts and black suits and ties. The film’s feel is reflected in the score, an original hip-hop track composed and performed by John Forté entitled “Brooklyn.” “We wanted an idea that was as big and grand as the Barclays Center, and fresh and cool as Brooklyn,” said Andrew Isaacson, executive producer, The Famous Group. “This film captures that attitude.”
Credits: Client: Brooklyn Nets Project: “Arrival to Brooklyn” in-arena game day open Production Company: The Famous Group, LA/NY The Famous Group Directors – Jesse Austin and Hemu Karadkar Executive Producer – Andrew Isaacson Producer – Will Hyde Art Director – Jesse Austin Editors – Steve Davis and Jaron Halmy Production Coordinator – Brandon Grabowski Animator – Luis Gonzalez Animator – Rachel Arnold Animator – John Dougherty Line Producer — Jennifer Pearlman Production Supervisor – Jessica O'Brien Director of Photography – Connor O'Brien Music: “Brooklyn – Something to Lean On” – John Forté Brooklyn Nets Senior VP, Event Marketing & Community Relations — Petra Pope Director, Game Presentation — Paul Kamras Video Manager — Rich Mallon Video Coordinator – Paul Connors
here is a great new ad from the creative ad agency Y&R, Peru for the League Against Cancer. The ad, featuring an attractive young lady at the beach in a typical beach like setting, add some Jaws theme music and unless you didn't read the ad title you would have been pleasantly surprised to learn this is a PSA for Cancer awareness.
Credits: Advertising Agency: Y&R, Peru Executive Creative Director: Flavio Pantigoso Head of Art: Christian Sánchez Copywriter: André Toledo, Gino Bernabè Art Director: Alejandro Bottas Agency Producer: Fiorella Barrantes General Manager: Eduardo Grisolle Account Director: Manuel Ahumada Account Executive: Gabriela Misari Production: Chita Films Director: Mikael Stornfelt Photography / Camera: Beto Gutiérrez Camera Assistant: Luis Enrique Cateriano Assistant Director: Juan Diego Servat, Quique Anaya Art Director: Brissa García Checa Art Assistant: Wendy Gonzales Line Production: Cecilia Bracco Executive Producer: Diane Varela Field Production: PSV Producciones
Justice, New Lands official music video debut by Production company Canada. No not the entire country of Canada, the Barcelona based production company Canada. There is a Red Bull connection to Justice but who cares this video rocks even if the start of the song sounds a lot like the AC/DC song For Those About To Rock.
Credits: Client: Justice Directed, Edited and Written by: Canada's trio of directors; Luis Cerveró, Nicolás Méndez & Lope Serrano. Production Company: Partizan.
Enjoy the new "Movement" premiere commercial for MICROSOFT SURFACE from Director Jon M. Chu (DS2DIO, G.I. Joe: Retaliation, The LXD, Step Up 3D) and cast of great dancers (full list below).
"From touch to type, office to living room, from your screen to the big screen, you can see more, share more, and do more with Surface."
The Surface tablet is set be released 10.26.12 and will run on Windows 8, the ad stars Daniel "Cloud" Campos and features some of the world's top dancers, they are: Anderson, Corey Andrews, Kendra Azizian, Paulette Boedekker, Stacy Bonnevay, Marie Brewton, Bianca Brown, Jesse Burns, Leon Chapman, Lorenzo Chynoweth, Jade Clemmons, Vincent Davis, Kylie Exum, Kelli Germar, Marko Grahms, Daniel Graves, Corey Gutierrez, Jay Guzman, Gabe De Hoffman, Sky Holt, Bailey Hott, Julian Inniss, Marc Johnson, Josh Kadish, Jake Keller, Jessica Kitama, Mayuko Koumaev, Ivan Lamkin, Brandy Livingston, Emilie Loftis, Will Maas, Taylor Markarian, Rachel Medina, Marie Monaco, Tony Monnie, KC Mour, Linda Nairobi, Saidah Nino, Ashlee Prudich, Bill Radomski, Kayla Rodriguez, Ricardo Rosado, Luis Russell,Brittany Perry Sandvig, Melissa Scott, Christopher Shaw, Brandon Sherbman, David Shibata, Tracy Sims, Jamal Smith, Chadd (Madd Chadd) Spencer, Terrence Stecklein, Tyne Steffens, Timar Stewart, Britt Stewart, Nicholas Tanaka, Bryan Tanner, Jean Thompson, Larsen Todey, Kersten Velez, Ivan (Flipz) Washington, Tyrell Williams, Brooklyn Wilson, Dana Wong, Alex All Choreography by Christopher Scott and Jamal Sims.
What are men truly made of when taken out of their daily lives and dropped into the great unknown? To find out, Heineken dropped the Irish Murray and the Polish Jakub on a deserted island in the Philippines. And they got to know each other very very well. Legends aren't born, they're dropped.
Credits: Agency: Wieden + Kennedy, Amsterdam Production: Wefilm Country: Netherlands Director: Roel Welling Executive Creative Director: Eric Quennoy Creative Director: thierry albert Creative Director: Faustin Claverie Executive Creative Director: Mark Bernath Art Director: Philip Brink Copywriter: Hugo van Woerden Producer: Tobias Wilbrink Executive Producer: Bas Welling Agency Producer: Niko Koot Global Brand Director: Cyril Charzat & Gianluca Di Tondo Global Communications Director: Sandrine Huijgen Global Digital Director: Paul Smailes Global Communications Manager: Sarah Nisenbaum Global Digital Manager: Nourdin Rejeb Head of Production: Erik Verheijen Planner: Nick Docherty Communications Planner: Richard Oldfield Episode Directors: Joeri Holsheimer & Lennart Verstegen Episode Producers: Sara Nix & Bo Polak Editor: Julien Mangois, Robin Pijpers AUDIO POST PRODUCTION: Wave Amsterdam Sound Engineer: Alex Nicholls-Lee Group Account Director: Jordi Pont Account Director: Clare Pickens Account Manager: Luis Ortiz Project Manager: Jackie Barbour Business Affairs: Justine Young
This Saatchi & Saatchi created commercial for Trident Total Gum is a wonderful example of the power us women can have over men. The ad features a young woman who seems to have some difficulty parking her car...as she sits in her car wondering what to do a police officer approaches, knocks on her window asking for her drivers license. As she struggles to find it she ultimately gives up and innocently smiles her pearly white teeth to which the stone cold faced officer falls victim.
Credits: Advertising Agency: Saatchi & Saatchi, Bogota, Colombia General Creative Director: Juan Pablo Navas Creative Directors: Juan Carlos González, Margarita Olivar Copywriter: Juan Carlos González Art Director: Margarita Olivar Account managers: María Cecilia Arciniegas, Luis Miguel Ortíz Director: Alejandro Carreño Production company: Los Notarios Producer: Nathalie Burnside Production manager: Juan Pablo Bernal Post-production: Dr. Pepe Sound production: Laika Studio via: AdsoftheWorld
If the modern woman uttered these lines from her balcony, you can bet your bard Romeo would not be there to hear them. In fact, the modern Romeo would most likely be at his best friend Julian’s place having a few beers while watching `the game’. Sure, it is not the traditional plot of a romance, but stories of a man and woman falling in love are of little importance to cinema audiences these days. The new niche market is man and man love stories.
No, I’m not referring to Brokeback Mountain syndrome, rather the current cinema trend of bromantic comedies. Gone are the days when audiences would fork out their hard earned cash to see any film where Hugh Grant would stutter, twitch and be British for two hours before sweeping the girl off her feet. No longer do people turn to butter at the sight of Julia Roberts flashing her signature smile whilst wondering whether they can climb into her mouth. Instead, audiences now want their romantic comedies served with a large side of testosterone.
Coined in the nineties, the term bromance refers to a close but non-sexual relationship between straight men. The portrayal of this form of homosocial intimacy on the big screen isn’t a new phenomenon. One only has to look at films such as Wayne’s World and Dumb and Dumber for examples of early bromantic comedies, whilst themes of bromance are evident in movies like Good Will Hunting and Clerks. However, only recently has the bromantic comedy formula emerged as a stand-alone genre.
Why, you ask? Blame filmmaker Judd Apatow and his uber-successful films Talladega Nights: The Ballard of Ricky Bobby and Superbad which highlighted the box-office earning potential of the male love story. Initially the first two or three films were a clever twist on the formula of a tired genre; boy meets boy, boy loses boy, boy gets boy back. Yet bromantic comedies are now as frequent as Lindsay Lohan at a bottle shop.
I guess you cannot blame Apatow for every entry into the never-ending stream of bromantic comedies. That would be like blaming George Clooney for Ocean’s Twelve, when really he was only partially responsible. Plus there have been some hilarious films under the bromantic comedy umbrella such as Pineapple Express, The Wedding Crashers and Role Models. But their entertainment value is dimmed under the sheer weight of unoriginal movies raining down.
It is ironic that given bromantic comedies were initially a fresh take on a spent genre, their greatest problem is the same as the original genre from which they were born. After just seven years of mainstream success, already this cinema trend has become generic. All it takes to make and sell one of these films is a blossoming bromance (obviously), two semi-appealing lead actors and a few penis jokes. Done. Before you can say `dude’, males in their teens to late twenties are queued up down the block to see the latest thing they have seen before.
The reality is that as long as the formula continues to create box-office revenue, Hollywood studios will keep pumping out bromantic comedies as often and fast as they can until audiences spontaneously self-combust under the sheer weight of onscreen homosocial intimacy. In the meantime, the success of the genre (within a genre) makes me wonder whether we will see the emergence of a bromantic comedy sub-genre. Perhaps fromantic comedies will be the next big earner. After all, who would not want to watch a love story between two people with Afros? Or perhaps toemantic comedies will take over. A price cannot be put on the entertainment value of seeing two kindred spirits’ united by their love for feet and toes in the manner to which Luis Bunuel was accustomed. It would have my ticket. Oh, what a grande take it would be on the notions of timeless romance.
“Romeo, Romeo, where are thou Romeo?”
Memo to Juliette: he is over at Julian’s placing playing footsy and sucking his toes.
In order to provide everybody the chance to celebrate Friendship Day with a friend, Ogilvy & Mather Argentina developed with Huggies an original idea, putting together two infants to share this special day in a very particular way.
With Maximiliano Maddalena and Javier Mentasti as ECDs, the agency designed a special crib so that on Friendship Day two newborn babies could spend this event together. The idea was registered at the Bazterrica Clinic and was supported by the baby's parents, obstetricians and nurses.
In order to accompany each family during the last minutes before giving birth, the agency got involved with the obstetricians and couples who were expecting their babies to be born on Friendship Day. We shared with them the anxiety of all the previous preparations and their way to the hospital. Few hours after the babies were born, they both had their first friend right alongside.
The song and music are just perfect and really make the film that much better, if anyone has the song title please share.
Credits: Advertising Agency: Ogilvy & Mather, Argentina Executive Creative Directors: Javier Mentasti, Maximiliano Maddalena Head of Art: Diego Grandi Creative Directors: Juan Marcos Besagni, Juan Pablo Raimondi Art Director: Tiago Salgueiro Copywriter: Felipe Autran Account Manager: Constanza Archain Account Supervisor: Rosario Gonzáles Puig Head of Production: Valeria Pinto / Parson Agency Producers: Federico Faralla, Gastón Sueiro / Parson Production House: Ringo Director: Ariel Evasio Executive Producer: Jorge Larrain Production Coordinator: Liz Campi Production: Azul Crespo Postproduction Director: Luis Staffolani Photography Director: Manuel Bullrich Edition: Mario Nhamod Post Production: Barraca Post Music Company: C.C.C.I. Producciones
Stardust acted as the fully integrated creative agency + production arm, from concept through final distribution, for a new campaign for China's wildly popular messaging app WeChat. The app is expanding its global reach, kicking off an international ad campaign this month, featuring soccer superstar Lionel Messi. Both spots have a fatherhood theme. In the first, Messi is shown trading voice messages (in Spanish) with Grandma, who is trying to soothe his crying infant son. He gets the baby to laugh by — surprise! — performing soccer juggling tricks shown to the baby via WeChat's video chat function. The video posted on YouTube by WeChat India netted more than 1.7 million views after just one week. The global campaign targets 15 markets, including Argentina and Spain where Mr. Messi is a superstar. The others are: Brazil, Hong Kong, India, Indonesia, Italy, Malaysia, Mexico, Nigeria, the Philippines, Singapore, South Africa, Thailand and Turkey. In addition to being posted on YouTube, the two spots will air on television in the 15 markets. There will be accompanying print and outdoor advertising in at least some markets. “Our goal was to show Messi in relatable, down-to-earth scenarios so our audience could easily identify with him and his use of the product; versus building the more common, larger-than-life concept around him that only puts distance between him, the product and the consumer base," Stardust Co-Owner/Managing Partner Dexton Deboree said in a statement provided by Tencent. “The opportunity for Stardust was one that really allowed Stardust to rely on our unique strengths to tackle a large brand’s challenge. We worked hand-in-hand with the team at Tencent and WeChat to concept a campaign that would work for launching their product to a large number of new countries, around the globe, while utilizing some consistencies between other non-US campaigns they had done in other markets, all within a single campaign, all within very tight logistics in both the execution and deployment.” “We were intimately involved from beginning to end. Both cultural and time zone challenges presented hurdles we don't usually have to jump. In this case, I think it is the versatility of the Stardust team that allowed us to work across 3 time zones seamlessly,” added Stardust Co-Owner and ECD Seth Epstein. WeChat already has more than 300 million registered user accounts, including 70 million outside China, mostly in Asian markets. WeChat started as a messaging app similar to WhatsApp, but the addition of video calls, photo sharing, location-based services and other Social features also make it similar to Instagram, Facebook, Twitter and Skype. WeChat's popularity outside of China has soared recently, growing by 20 million registered user accounts to reach 70 million in only six weeks. The growth is attributed to promotional campaigns, special WeChat deals provided through some Asian telco operators, and the increasing number of smartphone users in target markets. WeChat has not officially launched in the U.S., though Tencent has an American office doing groundwork and studying the market.
Credits: Client: WeChat Spot Titles: “Good Luck”: 30; “Father’s Day”: 30 Creative Advertising Agency & Production Company: Stardust Executive Creative Director: Seth Epstein Managing Partner/Executive Producer: Dexton Deboree Copywriter(s): Seth Epstein & Dexton Deboree Director: Seth Epstein Live Action Executive Producer: Dexton Deboree Producer: Sarah Casillas Local (Spain) Live Action Executive Producer: Esther de Udaeta & Ernest Gual Line Producer: Thersea Lucas
Visual Effects Company: Stardust Art Director/Lead Designer: Ling Feng Designers: Lynn Cho, Luis Salcedo, Karen To Editor: Fred Fouquet Flame Artist: Todd Mesher 2D Animators/Compositors: Taekyu Kim, Richard Taylor, Pietro Desopo Rotoscope/Clean-Up Artist: Michael Plescia
Music & Sound Design Company: Stardust Sound Design & Mix: Brian Peyton Music Composer: Jesse Mattson
The new John West commercial, "Lucky Pete" wants you to know the story behind every can. All you have to do is visit http://www.john-west.co.uk and enter the code on your tuna can and find out exactly where your wild tuna came from. Credits: Ad Agency: Cheethambell JWT Client: John West Director: Luis Gerard Art Director: Martin Smith Copywriter: Andy Huntingdon Creative Director: Andy Cheetham Production Company: Uber Content