For those times when holding that perfectly fake smile is important Canadian Green Beaver Toothpaste will keep your teeth pearly white as we see in this new ad campaign for the Beaver toothpaste. Above is the "Wedding" commercial and below the "Politician" and "Office" spots. See all of Green Beaver's product line made with all natural ingredients at www.greenbeaver.com.
Holding a natural smile in an uncomfortable situation can be a tiresome thing, so if you have to do it, you had better do it with a bright clean smile.
This three-spot campaign for The Green Beaver Company's all-natural Frosty Mint Toothpaste was created direct from client by Untitled Films director Jamie Travis. The other two spots feature an uncomfortable office worker and some tense nuptials.
Credits: Agency: Untitled Content, Toronto Creative Directors: James Davis, Jamie Travis Art Director: Daniel Del Toro Copywriters: Adriana Leite, Ridley Yung Production Company: Untitled Films, Toronto Director: Jamie Travis Director of Photography: Sean Valentini Line Producer: Tom Evelyn Editorial Company: Rooster Editor: Paul Jutras On-line: Mike Bishop, Track & Field Color: Wade Odlum, Alter Ego Music and Sound Design: Grayson Matthews
Here's a great new commercial for McDonald's (France)all set to classic song "Eye Of The Tiger", a lumberjack and farmer show us their brute strength just as they earn themselves a McTimber and a McFarmer.
Credits: Client: McDonalds, France Ad Agency: TBWA Paris Director: Trevor Cornish DP: David Lanzenberg CD: Jean Francois Goize CW: Jean Marie Gateau Producer: Virginie Chalard
Production Company: Spyfilms / Smile Unlimited Executive Producer: Luc Frappier (Spy) / Jean Jaques Grimblat (Smile Unlimited) Producer: Mark Fetterman / Marie Bordaz (Smile Unlimited)
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
Your dad has always had the power to make you smile, now Oral-B wants to help you power up his smile in return.
Make your dad smile by sending him this video, or by sharing your favorite dad memory on http://powerofdad.com or by just letting him know that Oral-B is donating $25,000 to March of Dimes in his honor
Credits: Agency: Publicis Kaplan Thaler, NY, USA Senior Vice President, Creative Director: Mark Ronquillo Art Director: David Drayer Copywriter: Heather Stiteler Senior Producer: Deanna Shenn Sound: Sound Lounge Mixer: Glen Landrum Post Production: Cutting Room Editor: Conor O’Flynn Post Executive Producer: Melissa Lubin Post Producer: Kristine Polinksy Finishing: Light of Day Finishing Producer: Aynsley Connell Smoke Artist: Peter Charles GFX: Leo Nguyen Flame Artist: Colin Stackpole Head of Production: Kristen Barnard
Coca-Cola wanted to say thank you to those who make the world a little happier. Ogilvy & Mather, NY created The Wearable Movie — an interactive film that you not only watch but actually star in.
Each individual frame of the film was printed on a t-shirt, and sent around the world with a personalized thank you note. The recipients were asked to take a photo wearing the shirt and upload it to http://wearablemovie.com.
There, hundreds of frames were pieced together to create The Wearable Movie. It told the tale of two friends, and their dog, who do whatever it takes to create happiness and put a smile on a pair of lips.
Credits: Advertising Agency: Ogilvy & Mather, New York, USA Chief Creative Officer: Calle Sjoenell Executive Creative Director: Corinna Falusi Creative Directors: Abe Baginsky, Tom Elia Art Director: Jen Lally Associate Director / Project Management: Akiko Nakashima Account Directors: Nicole Pinochet, Marianne Pizzi Senior Technology Manager: Nate Schilling Music Producer: Michael Freeman Design Director: Lucas Camargo Associates: Justin Bettman, Swati Prasad Animation: Psyop Digital Production: Bossa Original Music: Found Object
THE 2012 VOLKSWAGEN BEETLE OFFERS THE SAME SMILE WITH SHARPER TEETH
The Volkswagen Beetle has been many things over the years. But whether playing the role of the friendly, utilitarian car of the people, or a smile-on-wheels with a flower vase by the steering wheel, it’s also always been a single-minded exercise in progressive, iconic design. The latest incarnation of the Beetle is no exception. Although lurking beneath a shell that harkens back to the original is a machine that’s dedicated to performance and driving enjoyment.
While a focus on performance is definitely a new direction for the Beetle, innovation has always been a hallmark of the car’s personality, so Volkswagen Canada and Toronto advertising agency, Red Urban, agreed that innovation must also inform the marketing effort to launch the Beetle in Canada. To this end, much of the Beetle out of home advertising in Toronto and Vancouver offers an enhanced experience, using augmented reality (AR), a technology that allows people to use mobile devices like iPhones and iPads to see animations on the advertising that are triggered by markers embedded in the ads themselves.
The AR animations can be seen on gigantic billboards in Toronto’s Dundas Square, as well as on transit shelters throughout Vancouver and Toronto. The animations themselves show the Beetle launching itself through billboards, jumping off of a massive ramp that appears to emerge from the side of a building, and smashing through transit shelters after racing through a long tunnel that appears to be built behind the shelter itself. All the animations serve to demonstrate that this is a much more aggressive, performance-oriented Beetle than any of its predecessors.
“Previous Beetles have been kind of cute and friendly, but this one has a lot more attitude, so we thought the advertising better live up to that,” notes Bruce Rosen, Director, Marketing and Communications of Volkswagen Canada. Steve Carli, President of Red Urban adds, “The car is a nod to the past and the future at the same time, so using the AR overlay on a very traditional out-of-home media buy really seemed like a solid conceptual fit.”
The out-of-home campaign runs from September 26 to October 30 in Vancouver, Toronto and Montreal. In addition, an online digital campaign will run from October 26-November 26. The free app can be downloaded at vwjuicedup.ca, and people can experience the AR at home through the “Volkswagen Beetle. Juiced Up.” video on the Volkswagen Canada YouTube channel.
Credits: Agency: Red Urban Canada Creative Director: Christina Yu Writers: Matt Syberg-Olsen, Jon Taylor Art Directors: Damian Simev, Liam Johnstone Producers: Andrea Hull, Sam Benson Account Director: Nicole Milette Tech Consultant: Joe Dee Production: Pixel Pusher Animation/Design: Bully! Entertainment Video Director/Editor: Tyler Williams Billboards (Atrium at Bay and 10 Dundas St. West, Toronto): Clear Channel
This funny 2-minute short film will definitely make you smile. The video is part of the latest Rubik's Cube ad campaign, which incorporates humorous editorial content into their advertisements.
Detectives Tanner and McGloin are in big trouble because of a little package. Will they be able to foil a puzzling scheme by their tiny arch-nemesis, Little Bad Guy? Presented by FunnyOrDie.com, “Little Bad Guy” features the world’s top-selling puzzle game, the famous Rubik's Cube.
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
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.
Saatchi & Saatchi have just launched 'Toyota Positive', a new ad campaign for the Prius Plug-In Hybrid. The ad campaign launches with a series of films. The first features MTV news presenter Joel Dommett and his sidekick, T4’s Rising Star of 2012 Eric Lampaert. The comedy duo tour London, offering lifts to random passengers with the aim of bringing a little joy to the streets of the capital.
“Toyota Positive is a really fun way of highlighting the launch of Toyota's next generation Plug-in Hybrid Vehicles, using the power of positivity and optimism to discover something better", said Lisa Fielden, Manager, Brand and Digital Marketing, Toyota GB.
“With the Toyota Positive campaign we want to show how a small number of people can create a large amount of positivity. To help people take part, we are offering them a car that runs on electricity, fuel and kindness. All we are asking anyone to do is to come up with a positive idea that brings a smile to people faces”, said Mark Norcutt and Laurence Quinn, Toyota Creative Directors at Saatchi & Saatchi.
McDonald's France has begun airing two new commercials, above is the ad entitled "Killer" and below the "Prison" spot. In Killer, the bad guy who all too closely resembles Jason from Friday The 13th is the victim this time as two young ladies chase him down through a forest for his bag of McDonald's food...not just any food either, in France the chessy goodness burgers are topped with goat cheese and raclette.
Credits: Agency: TBWA, Paris CD: Jean-Francois Goize AD: Alexandre Mba-Nze Copywriter: Mehdi Hamzaoui TV Producer: Amer Zoghbi Agency Producer: Smile Unlimited Director: Greg Gray Sound: Else Sound Director: Fabrice Pouvreau
The Co-operative Funeralcare, part of The Co-operative Group, unveils a new integrated advertising campaign today.
The campaign, which includes TV, press, radio, outdoor and digital activity, has been devised by Leo Burnett – lead advertising agency for The Co-operative. It is the agency's first output for The Co-operative Funeralcare, and has been developed following extensive consumer research.
The TV commercial was directed by Peter Cattaneo, Oscar-nominated director of The Full Monty, who has also directed ads for brands including Volkswagen, McDonald’s and The National Lottery.
In the ad, a bereaved wife is taken on a detour on the way to her husband's funeral, passing along a bridge that looks down over his favourite fishing spot, where fellow fisherman bow to pay their respects. The narrator tells us “a funeral is more than just flowers, cars and music”, and at Funeralcare it's about “finding those personal touches”, such as changing the route to prompt a happy memory.
Actress Katherine Kelly provides the voiceover and real-life Funeral Director, Lynsey Ward, from Funeralcare’s Bolton funeral home also stars. The first 40-second commercial will air on ITV and a shorter 30-second execution will also be circulated.
Lorinda Robinson, Head of Marketing, The Co-operative Funeralcare said: “The advert focuses on personalisation and The Co-operative Funeralcare's ability to deliver personal touches to make a funeral more memorable and respectful. The business has been a pioneer in TV advertising in the funeral industry and the new advert highlights how, as the UK's leading Funeral Director, we ensure that every funeral we arrange is completely personal and unique.”
Credits: Project name: The Co-operative Funeralcare: ‘Smile’ Client: Lorinda Robinson, Head of Marketing, The Co-operative Funeralcare Brief: Co-operative Funeralcare wanted to show that the tiniest touches are important to their business of helping their clients as much as possible. This has been achieved in this script by diverting the hearse to show fishermen standing to show their respect to our heroine's husband. Creative agency: Leo Burnett Copywriter: Graham Lakeland Art Director: Richard Robinson Creative Directors: Tony Malcolm and Guy Moore Executive Creative Director: Justin Tindall Planner (Leo Burnett): Ian Hilton Media agency: Rocket Media Planner (Rocket): Faye Turner Production Company: Academy Films Director: Peter Cattaneo Editor: Scot Crane, Quarry Post-production: MPC Audio post-production: 750MPH Exposure: National television; Press, Outdoor, online Press/Poster Credits: Designer: Tim Fletcher
Brand activation agency Arc London has created a campaign that sees London's graffiti get a spellcheck, in aid of tuition service The Tutor Crowd.
Spelling and grammatical mistakes in graffiti around London have inspired a new tongue-in-cheek campaign by Arc, a division of the Leo Burnett Group, for the online English tuition service The Tutor Crowd.
The campaign shows the offending graffiti on walls, toilet doors and public areas around London corrected with paint pens and stickers.The stickers direct children and their parents to The Tutor Crowd’s online service for a free English tuition trial.
As well as highlighting the need for English tuition, the work aims to debunk the myth that it’s stuffy, old-fashioned and expensive, repositioning it as online and available from expert tutors anytime and anywhere.
The campaign, called “Take The Classroom To The Streets”, is running outdoor across London, in areas including Shoreditch, Old Street, Brick Lane, South Bank and Camden and will appear online at thetutorcrowd.tumblr.com The work, which breaks online this week, and was written and art directed by Dan Kennard and Ben Smith.
Patrick Wilson, founder of The Tutor Crowd, said: “Good spelling and grammar is fundamentally important to young people. But teaching it doesn’t have to be old fashioned and stuffy. We wanted to engage parents and young people alike, and make them realise that online tuition is an option that’s available to try.”
Beri Cheetham, Executive Creative Director at Arc said: “To change the traditional perception of English tuition, we needed a non-traditional approach. It’s tongue-in-cheek, free and makes people smile. But most importantly, we hope it helps young people engage in grammar and spelling and get support they need.”
DDB’s The Car-iest Car Ad for the new Honda Ballade is a parody that looks like a billion dollars.
Using an operatic narration, the spot sends up the traditional car commercial formula, from the moody car intro shot to the closing slow-motion beauty shot. There’s even a panther.
“It’s an excuse to see all the features of the new Honda Ballade, with a smile,” says Frieze Films director Tony Baggott.
One of South Africa’s most experienced car directors, Tony knows the formula backwards, having shot commercials for everyone from Mercedes to Mazda.
While the ad’s tone is humorous, the execution is anything but slapstick, earning Tony and DOP Peter Tischhauser a special mention in Ididthatad’s Monthly Ereel for July. “The lighting on the Honda spot shows real skill; it’s not small thing to light a car, let alone a moving car,” said guest judge and Net#work BBDO executive creative director Jenny Glover.
Credits: Agency: DDB, South Africa City & Country: Johannesburg, South Africa Agency Producer: Rachel Andreotti Creative Team: Simon Keeling and Emile Spies Director: Tony Baggott Production Co & City: Frieze Films, Johannesburg Producer: Saskia Rosenberg Director of Photography: Peter Tischhauser Editor & Company: Saki Bergh, Left Post Production
You don't have to be a rock star to feel like a rock star, that's what the Ford dealership Jubilee in Saskatoon and the creatives at Kenetic Design came up for this commercial entitled "Night Club Crasher"....and we like it! Credits: Advertising Agency: Kinetic Design, Saskatoon, SK, Canada Creative Director/Copywriter: Drew Sebesteny Account Executive: Christopher Kleiter Production Company: Fahrenheit Films Director/Editor: Tony Hrynchuk Director of Photography: Ray Dumas Online: Cheshire Smile
Ad agency Saatchi & Saatchi reinvents the iconic Kool-Aid man and "Oh Yeah" he's still busting through walls.
Kool-Aid is unveiling a new look for its big red mascot Monday, as the powdered drink brand looks to refresh its image and tout a new liquid mix. The Kool-Aid Man, known for busting through walls and his "Oh yeah!" tagline, will now be computer-generated and take on the personality of a celebrity trying to show he's just a normal guy. In past ads, the character was played by an actor in foam costume and had little to say or do besides crashing through a wall with a big, smiley face. The campaign comes as Kool-Aid plays up its liquid mix, which debuted in January. The new mix reflects a push by Kraft Foods to adjust to changing tastes and replicate the success of its liquid flavour enhancer called MiO. MiO, which people squirt into water for flavour, has already spawned copycats including Coca-Cola Co.'s Dasani Drops. Executives say people like them because the small bottles are easier to carry around than powder mixes and let people add as much or as little flavour as they like. The growing popularity of liquid mixes hasn't been good for Kool-Aid. In 2012, the brand's U.S. sales were down 5 per cent to $338 million, according to the market researcher Euromonitor International. That was following a 4 per cent drop the previous year. The liquid mix is a return to Kool-Aid's roots. It began as a syrup called "Fruit Smack" in 1920. The product wasn't modified into a concentrated powder until 1927, when it was renamed "Kool-Ade." The current spelling followed in the early 1930s. The Kool-Aid Man, meanwhile, made his first appearance in 1954 and has taken on various looks through the years. Kraft says his last big makeover was in 2000. 'He didn't really have a developed personality'Erica Rendall, senior brand manager at Kraft Foods Group Inc., says the new ads are intended to fill in the blanks in Kool-Aid Man's character so people can relate to him. "He said a few things here and there [in the past], but he really didn't have a developed personality," she said. In one of the new commercials, the scene opens with the character's round silhouette behind a shower curtain. When he steps out, he's a clear pitcher of water and he explains in a voiceover that his life isn't all "cherry and sweetness." "I put my pants on one leg at a time," the voiceover notes, as he stands in front of a pantry full of Kool-Aid mixes deciding what to wear. "Except my pants are 22 different flavours. I've got grape pants, I've got watermelon pants." But Kraft isn't abandoning trademarks of its past campaigns in the new ads, which were developed by the ad agency Saatchi & Saatchi. At the end of the commercial, the Kool-Aid Man heads out to work by calming busting through the front door. When he emerges, he waves cheerily to two awestruck kids riding their bikes past his front lawn. via: CBCnews — AP
Macy's new Black Friday commercial with Justin Bieber, Wink, Nod, Smile. Bieber’s signature (and dreamy) look proves to be too powerful for Black Friday shoppers and Macy’s employees, Harold and Carolina.
Credits: Ad Agency: JWT, New York Executive Creative Director: Ben James Creative Director: Donnell Johnson Art Director: Raihana Halim Copywriter: Justine Cotter Co-Chief Creative Officers, New York: Matt MacDonald & Ryan Kutscher
Chief Creative Officer, North America: Jeff Benjamin Chief Strategic Officer, North America: Robin Bardolia Executive Producer: Robin Feldman Senior Producers: Holly Otto, Andrea Curtin Producer: Loretta Rae Director of Music: Paul Greco Project Manager: Lindsey Allen Director: Hank Perlman Production Company: Hungry Man Post-Production: Framestore Editing House: Cut & Run Music: Andrew Knox Music
One browser for your laptop, phone, tablet and for the moments you get interrupted Google Chrome is there. The four new: 15 second web ads from Google include Family Guy's Stewie, Mum Mum Mother Mother Ma Ma Ma spot, an adorable teething baby who finds relief in sucking on your laptop in the "Chrome: For Your Little Man", the third features those marvelous BreadFish swimming in the ocean waters in the "For Just Cuz" spot.
Just wait, we aren't done yet...the last is of your dog chewing up your directions, not to worry Chrome is there "For Finding Directions."
