We hardly recognize the McDonalds we've come to know so well in this stop motion ad by DDB, Chicago and production company Vitamin.
Stop motion is, like, the new sex (Lux best demonstrates: 1, 2). Gotta say, the method that helps make soap sexy can also do wonders with McD's.
The only question is, can the crisp and health-savvy ad get rid of the perpetual moisture that seems to plague the restaurant's floor? Or the square-shaped eggs in the breakfast sandwiches that betray utter non-freshness? Or the unhappy-looking, sickly-colored cheese? Or the flat and unimpressive non-meat-tasting patties?
Like hook-ups on MySpace, McDs runs the risk of traumatizing the ad-charmed with its actual appearance.
Advertising for Peanuts points us to a Nike ad put together by Wieden & Kennedy, Amsterdam for the UK.
It's a lot more casual than other work they've done but maybe it's a precedent-setter for the type of tone their iPod collabo will take. Because really, we haven't seen jack out of this liaison since the OK Go liftoff.
Audi continues her campaign of lux nose-tweaking playfulness with this spot called Audi in Crescendo.
Word on the street (read: an Audi pressie) is the formula for this spot required 600 bottles, one Audi and several days of anal-retentive brain-drain in Cape Town before production company Agosto and agency Tandem DDB were able to pull this off.
The simple, bottle-tipping A3 spot is a suitable hat-tip to Mozart, a notorious mischief-maker himself, unless Amadeus lied to us. (And movies never do.)
In general, Spanish ads just do music right.
Dear Wieden + Kennedy (and most other ad agencies too),
Please repeat on the conference room white board 100 times: A commercial is not a film. A commercial is not a film. A commercial is not a film. A commercial is not a film. A commercial is not a film. A commercial is not a film. A commercial is not a film. A commercial is not a film. A commercial is not a film. A commercial is not a film. A commercial is not a film. A commercial is not a film. A commercial is not a film. A commercial is not a film. A commercial is not a film. A commercial is not a film.
Or at least stop your PR people from referring to :30's and :60's over and over again as films. They're commercials. They're ads. No matter how beautiful or creatively fueled they are (and your latest work for Nike certainly is, indeed , beautiful), they're ads. They're just ads. Sorry. No amount of creative puffery can change that. Most movies aren't even films let alone :30 and :60 bits of creativity that sell stuff.
So, please, can we lay off the inflated sense of ego and just realize all we do in this business is sell stuff? We can glamorize it all we want. We can give it fancy names. We can even go to Cannes a week after "real" filmmakers do to make ourselves feel as though we are they're equals. We are not. They make entertainment. We sell stuff.
The Pompous Assholes From Adrants
(who, at heart, are really, really nice people who totally understand the business of the press release which, for better or worse, must follow a format that is far removed from how normal human beings speak but, for better or worse, we are stuck with and make fun of from time to time which then causes unrest because of that fun-making which, in turn, causes us to profusely apologize to the very nice human whose job it was to write the standardized information delivery transferal, all of which, for better or worse, rightly earns us the the title Pompous Assholes)
While we do kinda like the production and FX work Martian Labs and Digital Kitchen did for this last Altoids spot from Leo Burnett, we do seriously have to question what was going on in the minds of the creatives when they thought it's be cool to show an atomic bomb-like mushroom cloud made from an Atoids package dropped into a sea of chocolate. Is the Altoids Chocolate mushroom cloud the next third world country threat? Curious, indeed. Perhaps it's just a fitting, insiderish finale to the years of mostly great work Leo Burnett has done for the brand.
Leo Burnett made this pretty little GreenPeace video for Japan, which is currently undergoing some drama having to do with whaling and such.
Because whale meat was the main source of protein for the island after WWII, Japan feels it has the right to go on whaling, even if there's no demand for the meat (according to the Greenpeace pressie, considering we don't ourselves know how much or how little the island folk need whale meat today).
So Greenpeace goes, okay, let's restructure this historical conversation and turn the notion of man-to-whale relationships into one of reciprocal respect, instead of a Giving Tree situation (we hated that book, by the way) - where one side keeps giving until there's just nothing left.
Here's some iPhone spec work from Ryan Landels, Director for a Santa Monica production company. Landels has taken the scene in the movie 2001: A Space Odessy where the astronauts first discover the monolith which Landels has replaced with the iPhone. It's a nice piece of work that could certainly be a part of Apple's official iPhone campaign.
If there's one thing we can say about Apple, we'll say it knows how to set the stage. iPod ads feel completely different from Mac ones without deviating too far from the ruling Apple geek-meets-hipster-osity.
With that in mind, the prospect of seeing the new iPhone ads was really exciting, especially since the debut draws near and the bar was set so high with the nostalgic Oscars piece.
Check them out here: Never Been an iPod, How To, Calamari.
Though the style was a little too minimal (did some kid bang out that tune?), by the third ad the whole concept had grown on us. Like, really. Like, check out the functionality on that sexy beast.
We only wish they'd shown off that spinning-straw-into-gold component we keep hearing about from friends who jizz all over our shoes before they're even done saying the word "iPhone."
Voila: an American Express ad for The Members Project, resulting from a collabo between Lost Planet and Martin Scorsese, via Ogilvy. It is surprisingly likable.
Poking fun at self-satisfied cause-whoring like Gap (red) and Kenneth Cole's Are You Putting Us On?, the spot includes Ellen, Andre Agassi and Sheryl Crow, sitting against a generic backdrop and admonishing the sympathetic to go forth and make a difference.
For those whose ears automatically perked up at Scorsese's name, there's no gunning-down for the cause. But amid the usual vagaries about doing your part, a casually-dressed guy (Tim from the office next door!) suddenly walks across the shot and points out the importance of keeping Lake Winnipesakee clean.
This sparks confusion between the stars and a general, if hesitant, admission that Lake Winnipesakee is probably worth keeping clean.
The spot ends with an empty stool and the usual closing jibjab about submitting your idea to website X. The winning entry gets not $10,000 (the going idea rate) but a whopping $5 million, which may mean this contest is actually worth someone's while.
Writing on Make the Logo Bigger, Bill Green questions Crispin Porter Bogusky's use of sexual harassment in the office place as the focal point of one of its commercials for Haggar. Because the spot focuses on male sexual harassment, it's perfectly fine to turn it into one big joke. Watch the spot. Now watch it again but imagine the men as women and the women as men. Would that approach be acceptable? Would it pass the PC test? We think not.
Yea, yea. We know. It's a joke. We get it. But consider this. Why is it OK to joke about male sexual harassment while, at the same time, it's not OK to joke about female sexual harassment?