Independent commercial director Nickolas Duarte directs his first US national broadcast spot, "Bear Down" for the University of Arizona.
The commercial takes a different approach to university advertising, showcasing the inner strength of the university and its community through the legend/myth of a former quarterback's dying last words "Bear Down" (http://www.arizonawildcats.com/trads/bear-down.html). The visual style and poetic tone were selected to take the heart of that message and present it in a contemporary and artistic manner.
Nickolas is currently self-represented through his company, Crown Chimp Productions, and has earned a National ADDY for his work with Adidas, along with recently directing an international broadcast campaign with the NBA airing in Asia.
Credits: Client: The University of Arizona Title: Bear Down Director: Nickolas Duarte Production Company: Crown Chimp Productions Voice Over: Chris Andrews 1st AD/Editor: Matthew King Project Producers: Ben Lopez, Rosie Zwaduk Co-Writer/Creative Consultant: Drew Grubich Director of Photography: Will Turner 1st AC/2nd Unit DP: Oscar Rivera Sound Design/Mix & Location Audio: Mike Clark Production Design: Adam Ray Make Up: Sonia Campbell Set Design: Jessica Van Ravenswaay 2nd Unit Director: Jacob Turrentine Color/Mastering: Copper Post Colorist: Robert Beadle Production Assistants: Keith Wagner, Ben Oman, Schuyler Copeland, Monty Montemayor Talent: Dancer: Piper Stoeckel; College Guys: Tad Sallee, RJ Markham, Jesse Pickering; Artist: Janet Henderson; Mirror Lab Engineer: Hector Ayala; LEO Project Researcher: Chris Koval; Business Man: Paul Tumarkin; Construction Worker: Alan Zwaduk
Coca-Cola's Polar Bear wants to share a moment of happiness with you at the World of Coke.
http://www.worldofcoca-cola.com Our Coca-Cola Polar Bear is one happy bear. Check out how the bear celebrates moments of happiness inside the World of Coca-Cola!
A 300m super tanker longer than the Empire State building has inevitably crashed into the shoreline of the Great Bear Region of coastal BC sending thousands of barrels of toxic diluted bitumen directly into the heart of the Great Bear Sea.
WWF, Canada (World Wildlife Foundation) launches a new public awareness ad campaign to garner support and action to stop the proposed construction of the Northern Gateway Pipeline through British Columbia’s ecologically sensitive Great Bear region. The campaign centers on "The Inevitable News", a news channel that covers the news "before it happens". A series of 4 segments will roll out on WWF-Canada’s Facebook page over the next two weeks – capturing the "breaking news" of an "inevitable" oil spill in the Great Bear region and highlighting some of the fallout in the region as a result of the disaster.
Credits: Advertising Agency: John st., Canada Creative Directors: Angus Tucker, Stephen Jurisic Ass. Creative Director / Art Director: Nellie Kim Ass. Creative Director / Copywriter: Chris Hirsch Producers: Christine Stephens, Shawna McPeek Digital Producer: Cas Binnington, Ryan O'Hagan Account Team Lead: Melissa Tobenstein Account Executive: Amelia MacGregor Director: Christopher Hutsul Production Company: Soft Citizen Editor: Ross Birchall / Bijou Editorial Visual FX: Track & Field Music / Audio: Vapor Music Colour: Redlab Digital 2nd Unit: Nicole Dorsey Photography: Todd Duym
"The more you watch Canal+, the more you love cinema."The Bear ad was developed at BETC Euro RSCG by exective team Raphaël de Andréis, Alexandre George, Guillaume Espinet, Sébastien Jauffret, global creative director Stéphane Xiberras, art director Eric Astorgue, assistant art director Julien Schmitt, copywriter Jean-Christophe Royer, strategic planner Clarisse Lacarau, traffic director Loren Hecker, agency producers Isabelle Ménard and David Green, working with Canal+ marketing team Maxime Saada, Samantha Etienne, Béatrice Roux, Mathieu Mazuel, Périne Long. Filming was shot by director Matthijs van Heijningen via Soixante Quinze, Paris. Special effects were produced at Mikros Image. Sound was produced at Gum. Music was by Éric Cervera (Near Deaf Experience).
1.Bear vs. Trailer In this classic Twinkies ad, a bear tears open a yellow trailer because it looks like a Twinkie, and is disappointed to find that all there is to eat inside is humans and mutters “Where’s the cream filling?”
2."Celebrating 90 years as America's favorite chocolate cupcake"
Happier times, back in 2009 Hostess celebrated 90 years of goodness with the cup cakes.
Credits: Advertising Agency: Bernstein-Rein. Executive Creative Director: Arlo Oviatt. Creative Director: Elizabeth Paolini. Art Director: Paul Prato. Copywriter: Becky Ervin
3. From 1970 The Twinkies "Space Kids" Commercial
4. Bye bye to the Hostess Ho Hos — Another 70's Commercial
5. Another vintage ad celebrating 40 years of the Hostess Ding Dongs
Ding Dongs — named for chiming bells used in vintage Hostess television commercials — are ringing 40 sweet years as one of America's all time favorite snack cakes. Just one bite of the iconic chocolate cake enrobed with chocolate icing and Hostess' signature rich creamy filling leaves little doubt as to the source of Ding Dongs' enduring appeal.
6. "It's A Kids World" A 1976 Hostess Commercial
A kid's world is a special world and Hostess is a part of it- Hostess and kids, they go together...well they did but not anymore: -(
7. Hostess Fruit Pies The Magician commercial from 1973
Fruit Pie the Magician was first introduced in 1973! Created by artist Don Duga.
8. Let's Not Forget The Hostess Chocodiles.
These chocolate-covered Twinkies had a fierce following.
9. 1986 Hostess Pudding Pie Commercial
From 1986, this Pudding Pie ad featured a young Joey Lawrence.
The news that Hostess Brands Inc. is shutting down operations in the U.S. is particularly sad as it represents the death of an iconic brand, a brand that has been part of American pop culture for years.
Thomson Travel presents a film about a smile, the story is told (to the tune of Queens Bohemian Rhapsody) by the one and only William Shatner. Watch as the one-eyed bear is removed from his day-to-day life of being toyed with by a typical young child and forced to participate in doll's tea parties, to eventually "discover his smile" and a vacation romance with a unicorn.
Credits: Advertising Agency: Beattie McGuinness Bungay Executive Creative Director: Trevor Beattie Creative Director: Pat Burns Creative: Rachel Miles Creative: Michael Tsim Agency Producer: Gill Loftus Production Company: Park Pictures Director: Tom Tagholm Executive Producer: Stephen Brierley Producer: Fran Thompson Production Manager: Ananda Coulier DOP: Martin Ruhe Model Maker: Anarchy Soft Technician/Teddy Bear Wrangler: Danielle Boyne Post Production: Realise Studio
This holiday season white is the new red as Coca-Cola changes its red cans white to show support for WWF Canada's polar bear conservation efforts. Coca-Cola and WWF have partnered with MacGillivray Freeman Films, who are working with Warner Bros. Pictures and IMAX Corporation produce the new IMAX® film "To The Arctic 3D."
“This campaign is about working together to save one of the most important places on Earth,” said Gerald Butts, President and CEO of World Wildlife Fund. “As sea ice continues to melt at alarming rates, polar bears and local communities alike are threatened. With Coca-Cola’s support, we can expand our reach and impact to help chart a sustainable future for this critical Arctic ecosystem.”
New powerful advert from Greenpeace to save the Arctic features a homeless Polar Bear wandering about in London.
Credits: Greenpeace, Jude Law, Radiohead and hundreds of thousands of people around the world are coming together to demand we save the Arctic from oil drilling, industrial fishing and militarization. Join us at http://www.savethearctic.org
Mother have created a new ad for PG tips, ‘Mountain’ featuring the beloved duo Monkey and Al. This time, Monkey and Al go on an epic journey and catch-up with their loved ones over a cup of tea.
The new advert gives us a chance to get to know the duo a little better. On their trip we learn that the pair are in fact keen singers — we also learn that they are average singers. They burst into a gutsy rendition of the Motown classic, “Ain’t No Mountain High Enough” as they take the train and trek through country lanes to visit their loved ones. We also see that Monkey is the proud owner of some rather lovely dance moves.
When they arrive at their destination they’re greeted by their mothers, who they both bear a striking resemblance to. The mums join in the singing and the foursome sit down to enjoy a cup of PG tips together. The ad finishes with the end-line “You, me and a cuppa PG”.
Craig Ainsley, creative at Mother said, “To show the true power of the PG tips catch-up cuppa Al and Monkey had to leave their kitchen and head back home to visit the ones they love the most (except each other). It’s great to see them out in the real world, catching a train, walking in the country. It’s also great to see Monkey full length; there’s something about seeing his little legs that just makes you smile”.
Credits Creative Agency: Mother Art Director: Mother Copywriter: Mother Planner: Mother Agency Producer: Mother Director: Steve Bendelack Production Company: Hungry Man Producer: Pam Ashbury Editor: Mark Burnett @ Speade Post Production: Framestore Audio post-production: Factory Sound designer: One More Music DoP: Baz Irvine
Credit Unions of Canada will have you Dinging from Sea to Sea for free as explained to us via this new ad campaign created by the Ad Agency Dead Famous.
Belonging to a national ATM network means you can bank ding free at credit unions and other financial institutions across Western, Central and Eastern Canada. Just look for a ding free sign on any participating ATM, and say goodbye to those pesky surcharge fees.
Credits: Advertising Agency: Dead Famous, Vancouver, Canada Creative Directors: Mike Fiorentino, Michael Bryden, Chris Kostyal Director: Shaun Lawless Assistant Director: Scot Proudfoot Animation: Hardedge Creative Post Production: Bear Studios Make-up and Hair: Jenn Kaminski Styling: Tanus Lewis
Pro Infirmis the Swiss organization that helps those with disabilities conducts an experiment: there are only a few people who don`t have empathy with disabled people. Nevertheless, the passenger seat in the public bus next to Fabian often stays empty but it is a very different world when Fabian suits up in cuddly bear costume. The music is by the band "The Band Of Horses" song title "The Funeral" from the album "Everything All the Time."
Chivas Regal have partnered with Academy Award winning short film-maker Joachim Back to make two cinematic films that focus on the trials, tribulations and idiosyncrasies of modern male friendships. The films will act as the online centerpiece to a campaign that spans TV, print, and social media.
Joachim Black takes the audience through break-ups, breakdowns and good times and brings his trademark comic sensibility to celebrate real friends and the stories that bind them forever.
Film and Chivas lovers alike can raise a glass to Big Bear or Twinkle and discover the full story online here at the Chivas website.
The films form part of Chivas Regal’s ongoing Live with Chivalry campaign which launched in 2008 and encourages men to aspire not just to have more, but to be more.
A series of stylish and amusing print ads for high-end shave shop Barber will be appearing in washrooms across Amsterdam from today. Each of the four posters in the range, created by ad agency 180 Amsterdam, depicts one of the wildest beasts on earth – the bear, the hippo, the caribou and the buffalo – sporting elaborately refined facial hair, with the strap line ‘TAME THE BEAST’.
Facial hair may be all the rage, but if it gets out of hand you can end up looking like a wild animal. A trip to Barber keeps the wildness at bay with a premium shave experience. If they can tame the untameable, just imagine what they can do for a regular man. Petra Van Room, Owner of Barber, says: “The 180 campaign really reflects what we wanted to communicate with our concept.”
Executive Creative Director for 180 Amsterdam, Al Moseley, adds: “This is a campaign that says male grooming isn't just for Derek Zoolander, but for the ordinary man on the street. Its insight draws on the fact that inside every male, there is a hairy, unkempt, animal clawing to get out. And that's a beast that needs taming".
Credits Ad Agency — 180 Amsterdam Executive Creative Director – Al Moseley Creative Director – Galen Graham Art Director – Victor Monclus Copywriter – Will Lowe Account Directors – Iona Ratcliffe & Stephen Corlett Producers – Emma Pirie & Pamela Prior
In the plots created Volcano Advertising for a toy shop, it is easy to guess known films.
Without restraint popular thanks to the effective marketing policy the network of toy shops Toys R Us represents to the USA to attention of target audience the media department. Shops Toys R Us in which computer games, and entertaining DVD are on sale not only toys, but also, now has filled up the counters with cinema classics.
An island at the crossroads of the Mediterranean, Sicily occupied a pivotal place in antiquity between Greece, North Africa, and the Italian peninsula.
Statue of a Youth (The Mozia Charioteer), Sikeliote (Sicilian Greek), 470–460 B.C. Marble. Courtesy of the Servizio Parco archeologico eambientale presso le isole dello Stagnone e delle aree archeologiche di Marsala e dei Comuni limitrofi–Museo Archeologico Baglio Anselmi. By permission of the Regione Siciliana, Assessorato dei Beni Culturali e dell’Identita Siciliana. Dipartimento dei Beni Culturali e dell’Identita Siciliana. Sicily: Art and Invention between Greece and Rome, on view at the Getty Villa April 3–August 19, 2013, will showcase ancient Sicily as a major center of cultural innovation from the fifth to the third centuries B.C., when art, architecture, theater, poetry, philosophy, and science flourished and left an enduring stamp on mainland Greece and later on Rome.
“This is the first major exhibition to arise from the Getty’s 2010 Cultural Agreement with Sicily, presenting masterpieces that are among the most accomplished examples of ancient Greek art in the world,” said Timothy Potts, director of the J. Paul Getty Museum.
“We are especially thrilled to have on view the exceptional statue of a victorious Charioteer from Mozia that the Getty has recently conserved. This object is a unique expression of the marvelous artistry of Greek sculptors at the dawn of the Classical era.”
Sicily: Art and Invention between Greece and Rome, co-organized by the J. Paul Getty Museum, the Cleveland Museum of Art, and the Assessorato dei Beni Culturali e dell’Identita Siciliana, features some 150 objects, a major portion on loan from institutions in Sicily, including stone and bronze sculptures, vase-paintings, votive terracotta statuettes and reliefs, carved ivory, gold and silver metalwork, jewelry, inscriptions, architectural revetments, and coins.
“These splendid objects bear witness to the athletic and military victories, religious rituals, opulent lifestyles, and intellectual attainments of the Sicilian Greeks, which shaped Greek culture at its peak,” explains Claire Lyons, acting senior curator of antiquities at the J. Paul Getty Museum and curator of the exhibition.
The Mozia Charioteer
The Mozia Charioteer, widely considered one of the the finest surviving examples of Greek sculpture, serves as the exhibition’s centerpiece. Recently on view at the British Museum in London during the 2012 Summer Olympics, the statue has since undergone conservation treatment at the Getty Villa. Part of the Getty’s cultural agreement with Sicily, this 18-month collaborative conservation project involved remounting the sculpture and the provision of a seismic isolation base, which will accompany the object when it is reinstalled at the Whitaker Museum on the island of Mozia.
The triumphant Mozia Charioteer, discovered in 1976 on the island of Mozia in western Sicily, is believed to represent a charioteer who competed at Olympia on behalf of one of the Sicilian rulers. The extraordinary style of the sculpture, especially notable in the sinuous pleating of the long linen xystis that sheathes the figure’s athletic physique, is a tour-de-force of stone carving. Clearly a master of his craft, the sculptor was able to reveal the torso and limbs beneath the thin fabric. With its confident gaze and proud stance, this statue conveys the high level of originality and experimentation achieved by Greek sculptors working in Sicily.
The “Signing Masters”
Important evidence of Sicilian artistic innovation is also apparent in the exquisite coins of the time. Beginning in the late fifth century B.C., a group of Sicilian Greek coin engravers, mainly based in Syracuse, added their signatures to the dies used to stamp coins. Known as the “Signing Masters,” these remarkable craftsmen created extraordinary works of art on a miniature scale. Departing from the traditional profile view, they devised novel ways of representing the human body in a lively three-quarter perspective or striking frontal pose. This testimony of individual mastery of the medium is virtually exclusive to Sicilian Greek coins created around 400 B.C. Often abbreviated in tiny but legible script, the artists’ signatures are typically all but hidden in locks of hair or elements of jewelry.
Known as the “coin of coins,” the unique Aitna tetradrachm from the Royal Library of Belgium is one of the most precious ancient coins in the world. On view in the exhibition along with 50 other exceptionally crafted Sicilian Greek coins, the image on the tetradrachm depicts the head of Silenos on the obverse and on the reverse, Zeus enthroned with an eagle perched beside him, imagery that alludes to the cult of Zeus on Mt. Etna. Greek settlers and their gods
Sicily: Art and Invention between Greece and Rome will also examine how settlers from the Greek mainland brought their myths and religious practices to Sicily. To sanctify new colonies and maintain ties with mother cities, they built altars and temples to such gods as Apollo, the patron deity of colonists, as well as the deified hero Herakles. Included are terracotta heads of Apollo, Hades, and Persephone, created as cult or votive images of deities that played a central role in ancient Sicilian worship. The skillfully modeled clay, embellished with striking polychrome pigments, compares favorably with the most accomplished works in marble and bronze. An exceptional example of metalwork is a religious offering dish made of two and a half pounds of gold. Known as a phiale mesomphalos, the vessel is embossed from the center outward with bands of beechnuts, acorns, and bees above blossoms; the owner’s name —Damarchos, son of Achyris— is inscribed beneath the rim, together with its equivalent weight in gold coins.
The divine hero Herakles was also embraced by Greek settlers, who linked his deeds to their cities. Contrasting aspects of Herakles’ identity —peaceful healer, solitary herdsman, and violent aggressor— heightened the appeal of his cult among the men of rural Sicily, who tended flocks and worked as mercenary soldiers. Among the objects on view is a finely preserved bronze statuette of Herakles recovered from a river-bed in Contrada Cafeo (Modica), which suggests that a shrine to the hero was situated nearby.
Preeminent among the honored deities was Demeter, goddess of agriculture, and her daughter Persephone (or Kore). Sanctuaries of the goddesses dotted the island, but their cult was most enthusiastically embraced in central Sicily, where, according to myth, Kore descended to the Underworld as the bride of Hades. Depictions of these deities include a terracotta bust with a rare painted figural scene that may represent part of a ritual honoring or celebrating the goddesses, and a cult statuette disc overed near an altar in Gela together with an offering jug of carbonized seeds of grain.
Archimedes of Syracuse
A section of the exhibition will focus on Archimedes of Syracuse (about 287–212 B.C.), one of history’s foremost scientists and mathematicians. More than a millennium ahead of its time, his work laid the foundation for branches of math, physics, engineering, and even computer science. When Syracuse’s King Hieron II asked him to determine whether a crown was made of pure gold, Archimedes made his legendary deduction that a solid displaces a volume of liquid equal to its own volume, a discovery that supposedly caused the scientist to leap from his bath and run naked through the streets crying “Eureka” (“I have found it!”).
On view is a leaf from the Archimedes Palimpsest, the only surviving manuscript containing copies of Archimedes’ writings. The medieval prayer book that included this leaf was inked by a scribe onto recycled parchment that originally bore the theories of Archimedes. The pages were scraped clean before being overwritten, but with the use of advanced imaging technology, the original writing is visible. The leaf on view is a section of text from “Proposition 1” from Archimedes’ Method, a work integrating geometry and physics.
Literature on Sicilian art
Finally, the exhibition examines the reflections of literature in Sicilian visual arts. Many mainland Greeks became familiar with Sicily through the epic poetry of Homer, including Odysseus’s wanderings after the Trojan War, which took him to the western Mediterranean.
Often depicted in vase-painting and sculpture, Odysseus’s encounters with strange creatures like the Cyclops and Scylla were allegories for early colonial settlement and trading enterprises that spread Greek culture to distant, exotic regions. The pastoral genre created and perfected by the Syracusan poet Theokritos (about 300–after 260 B.C.) flourished as Sicily was falling under the dominion of Rome in the third century B.C. He is renowned for his Idylls (literally, “little pictures”), which paint nostalgic word-images of Sicilian country life from the point of view of a sophisticated urbanite. Theokritos’s rustic characters—including satyrs, shepherds, and the woodland deity Priapos—also populated the visual arts of the period, attesting to the appeal of rural fantasies during a time of civic turmoil. On extended loan from Syracuse, a life-size statue of the fertility god Priapos, the earliest such figure in Greek art will be featured in the exhibition. Like the Mozia Charioteer, it was also the subject of a collaborative conservation project undertaken by the Getty Museum.
The importance and popularity of Greek comedy and drama outside of Athens is evident in the theatrical figurines, masks and scenes on vases, many of which come from the island of Lipari. The celebrated “Father of Tragedy,” Aeschylus (Greek, 525–456 B.C.) traveled to Sicily on at least two occasions, where his plays found fertile ground in the strong local tradition of performance on the island.
On display is a terracotta mixing vessel with the earliest known depiction of the myth of Perseus and Andromeda, which likely reflects a performance of Sophocles’ Andromeda (about 450 B.C.). The Greek inscription painted above the figure of Perseus—“Euaion, the son of Aeschylus, is handsome”— names the actor, son of the great tragedian.
Rich harvests, bountiful seas, and a favorable trade location brought immense wealth to the Sicilian city-states, and the exhibition highlights their widespread reputation for luxurious lifestyles with five gilt-silver vessels, part of a larger group of fifteen. The silver treasure had been buried for safekeeping beneath the floor of a house in Morgantina during the Roman sack of the city in 211 B.C. The entire hoard comprises religious vessels as well as a set for the symposion, a convivial drinking party for men that was an important part of the social life of well-to-do Greeks.
Sicily: Art and Invention between Greece and Rome is the latest in a series of cooperative efforts between the Getty and the Sicili an Ministry of Culture and Sicilian Identity arising from a 2010 agreement that calls for a number of collaborative projects, including object conservation, seismic protection of collections, exhibitions, scholarly research, and conferences. Recent related projects include the 2010 loan of the Gela Krater, a monumental red-figured volute krater (wine mixing vessel) attributed to the Niobid Painter; The Agrigento Youth, a rare example of an early classical marble statue called a kouros (an idealized nude young man), loaned to the Getty from the Museo Archeologico Regionale in Agrigento (2010/2011); and most recently the loan of thirty-six objects from the sanctuaries of Demeter at Morgantina (2012/January 2013).
The exhibition is co-organized by the J. Paul Getty Museum, the Cleveland Museum of Art, and the Assessorato dei Beni Culturali e dell’Identita Siciliana, and celebrates 2013 as the Year of Italian Culture in the United States, an initiative of the Italian Ministry of Foreign Affairs, realized under the leadership of the President of the Republic of Italy.
Tempur-Pedic knows that when you get a great night's sleep, the world notices. And when you don't? Well, the world notices that, too.
Credits: Creative Ad Agency: Carmichael Lynch Chief Creative Officer: Dave Damman Executive Creative Director: Marty Senn Art Director: Brad Harrison & Doug Pedersen Director of Integrated Production: Joe Grundhoefer Producer: Jon Mielke Account Executive(s): Stacy Janicki, Jesse Simon, Sarah Brehm Senior Project Manager: Lisa Brody Production Company: The Directors Bureau Director: Mike Mills Director of Photography: Kasper Tuxen Executive producer: Lisa Margulis Line Producer: Youree Henley Editing House: Rock Paper Editor: Grant Surmi Producer: Joanna Hall & Marguerite Olivelle Composer: Roger Neill Sound Design: BWN Music and Sound Sound Designer & Mix: Carl White
Isaiah Mustafa is back in a new ad campaign for Old Spice, MANta Claus and Old Spice plan to give out 7 billion gifts.
Day 1 — The Man Your Man Could Smell Like begins his quest to give a gift to every single person on Earth this holiday season, including an elegant pair of ladyshoes made out of necklaces to a close, personal friend.
Day 1 — 25 friends get 25 bear-shaped deodorant protectors, and 25 criminals get 25 reasons to not steal any deodorant.
Day 1 — "The Greatest City in America" gets a promotion-promoting letter-gift in the December 6th edition of the Baltimore Sun.
Day 1 — After 1.5 kabillion years, The Man Your Man Could Smell Like finally gets around to explaining how Australia got awesome.
Day 1 results as of December 5,2011....Isaiah Mustafa, The Old Spice MANta Claus has given gifts to 25,390,651 people.
Directorz’ Jeff Bednarz Directs New Texas Tourism Campaign For Traveltex.com. A Travelers’ Passport To A Place So Diverse and Original It’s Like A Whole Other Country. As bold and unique as the state it promotes, the new Texas Tourism campaign directed by Jeff Bednarz for agency Slingshot, recently launched on cable networks nationwide. “Great Outdoors,” “Live Music” and “Cowboys” highlight just a few of the amazing adventures that await travelers in Texas, from majestic vistas, to music country – a place that inspires exceptional music in all genres. Each spot concludes with an invitation to discover more at the Texas Tourism passport to the region: www.traveltex.com.
Director Bednarz and his crew traveled throughout the state for 15 days to film a range of experiences, from natural wonders to those created by Texans. “The state of Texas is so vast and so diverse, and people are wonderfully intriguing wherever you go,” says Bednarz. “As we embarked on the project, I looked at Texas – my home – as a different land, and through this road trip we enjoyed, and captured, just some of the awe-inspiring discoveries that await travelers.” To find out more about Jeff Bednarz and Directorz, please visit www.directorz.net.
Credits: Client: TEXAS TOURISM Director of Texas Tourism: Brad Smyth Deputy Director of Texas Tourism: Tim Fennell Advertising Coordinator: Jenny Poon Advertising Specialist: April Bear Advertising Agency: SLINGSHOT VP, Account Services: Tony Balmer Group Account Director: Drew Holmgreen Account Supervisor: Danielle Rector Account Executive: Rachel Massey ECD: Susan Levine Art Director: Clay Coleman Executive Producer: Ann Vorlicky Production Company: Directorz Director: Jeff Bednarz DP: Mark Thomas EP: John Gilliland Editorial/Post: Lucky Post Editor: Marc Chartrand Sound Design: Scottie Richardson
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