Step aside wise-crackin' eTrade babies. There's a new posse in town and they don't live their life behind a keyboard. Nope. They drink Evian and they rock out some serious rollerblade-style breakdancing.
This BETC Euro RSCG-created commercial is most certainly Super Bowl quality. It's got all the right ingredients. Babies, retro music and physical stunts. Not to mention a message that makes sense.
While it's formulaic (babies getting digitally manipulated), it's a musing. And it's fun. And, besides, it's way better than the original dancing baby.
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Agency websites: the ultimate canvases.
We were pretty impressed by Modernista's attempt to embrace the stripped-down future of client relations, but BooneOakley's new website made us grin wryly and raise a glass.
Yeah, that's a YouTube video. The buttons in the video are clickable, and a timeline across the X axis lets you leap to whatever section you want to see first: "Featured work," "About Us" and "Billy" -- the story of a mild-mannered marketing director, who dies.
The work is joyful, the animation crappy and the humour shameless. We were like, here's an agency that's not concerned abut being the future; it's the present, and it's not afraid of embracing all its possibilities.
It's also not afraid to put a bullet in somebody's head shortly after he's been axed.
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And that's all Intel has to say about that. Oh, and as an addendum: "Our rock stars aren't like your rock stars" -- which is also the name of this campaign, which we so far think is fantastic, because we're members of the Revenge of the Nerds! techieverse.
Big thankee to Adrants reader David for this bad-boy.
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Created 15 months ago by Weiden + Kennedy and directed by Buck Production, this "epic rock opera" for Coke Zero features "a singing bear, candy-pooping birds, an elk with sausage antlers, g-string wearing antelopes and honeycomb encrusted sheep."
And after a long 15 months, the spot has finally aired. In Brazil. Because awesomeness like this never makes its way to America.
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This is drive safely commercial for Auckland's Rodney District is an amazing piece of work. Truly amazing. Not as technically amazing as Honda Cog or as emotionally charged as the classic The Faster the Speed The Bigger the Mess (which you can view here) but still, amazing.
Saatchi New Zealand, working with production company Flying Fish and a demolitions engineer, blew up a car with ten grenades and then reassembled the vehicle, piece by piece, creating a work of art. The finished piece is stunning. And the music. Well, that works too.
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We're diggin' Apple's new(ish) banner ad on The New York Times which has PC and Mac in a skyscraper ad to the right of the page commenting on a leaderboard banner at the top of the page which highlights a Forrester study touting Apple as #1 in customer experience as two guys in a hair replacement ad on the left join in.
It's so engaging it's as if news headlines like, "Pakistan Is Rapidly Adding Nuclear Arms, U.S. Says" are just supporting characters in the ever expanding worldwide webisode that is Apple verus Mac.
These sorts of interacting banners are not a new thing. But this effort is among the better ones we've seen.
In a coup to position itself as the refresher of choice for discriminating grown-ups, last year Schweppes Europe launched the Schweppes Short Film Festival.
Like Little Minx's Cadavre Exquis ("Exquisite Cadaver") project, five directors from The Sweet Shop were tasked with creating short human dramas for the 'net, the only requirement being that each film contain a "Schhh Moment."
"Consequently all the shorts make reference to Schweppes at some point, however this product placement is thankfully subtle and clever," says Creative Review, which posted the films on its blog.
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"Eras" marks the start of Bacardi's newest campaign. So many beautiful things are packed into it, and knitted together so nicely, that our cups runneth over. This is us, incoherently gushing.
We'll start with the end, because the end is the beginning: "Bacardi Mojito. Since 1862." Pan to the present, where a guy at a club realizes his mojito's spent, and walks to the bar for a fresh one. As he cuts unassumingly through the crowds, the decades slip slowly backward.
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Okay. Just imagine for a sec that 24 were -- work with us here -- a French New Wave film.
Beautifully-coiffed, but crucially helpless, blonde in bath towel: Millions of people are going to die ... and we only have 24 hours to save them!
Blase half-dressed hubby: Yeah, but, oh, it's Saturday. Then he lifts a copy of The Stranger back up to his face and adds, 24 hours is tons of time. I could do save them in two.
The lady over-protests, as women are wont to do, so he gets all existentialist on her ass: Aren't we all going to die eventually?
Outfitted with Brigitte Bardot knockoffs, abstract antiheroes and -- in the instances of 8 Kilometres -- a painfully mod '60s style battle of linguists, Stella Artois re-imagines three contemporary action flicks in the style of old-school French cinema. The videos are best seen with the stunna shades off, a glass of vermouth, and an extra-long unfiltered cigarette, held in that special way.
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McCann Erickson/Madrid's "Encounter" is an increasingly emotional progression toward the meeting of a centenerian and a just-born child. The music, timely words and that final culmination -- wedding the tail-end of a life to the naissance of new -- brought us near tears.
And then we saw the Coca-Cola silhouette. And it was like, "Jesus Christ, this came from the same people that brought us Happiness Factory."
Nothing against Coke, whose ads are consistently good, but there has to've been a more graceful way to incorporate the brand into this message.
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