“Welcome to New York” is being released, but it’s not the film Mr. Ferrara, the director, made.
Basée à New York, l’artiste Ana Strumpf est l’auteur de la série « Re.Cover » à travers laquelle elle customise à sa manière des couvertures de magazines tels que W, Interview, Dazed & Confused, Esquire, Vogue ou encore I-D. Avec des feutres Sharpie et DecoColor, elle dessine sur des corps de mannequins, des visages connus d’acteurs, de musiciens et d’icônes sportives ou politiques.
-NBC and WWE released the brand campaign “For The Hero In All Of Us” (video above).
-Mixed-media production studio Roger hired Dane Macbeth as creative director and promoted Brandon Stevenson to head of production.
-Momentum Worldwide (which recently won new business from Verizon) promoted Jason Alan Snyder to the newly created position of chief technology officer. The MRM McCann/Digitas veteran previously served as SVP/group director, creative technology and integrated production.
-Porter Airlines selected Usability Matters to help enhance its online customer experience.
-Winners were announced for the 7th annual Shorty Awards.
-Production company Savage added Mike G to its directorial roster.
-Karmarama appointed Liz Wilson as chief operating officer.
-Adore Creative hired Adrian Fulle as an executive producer and Patrick ‘PK’ Creedon as director, digital marketing.
Here’s a fun stunt from the West Coast: one week ago, a Berkeley man made local headlines by leaving a typed message for an unfriendly neighbor who had been stealing his daily copy of The Wall Street Journal “so many times over so many years,” promising to allow him to read it every day as long as he returned it “around 10 or 11 the same morning.”
The Berkeley paper later identified that man as Richard Nagler, who clarified that he subscribes to the WSJ because of “the quality of its journalism” despite finding its various editorial stances “reprehensible.” He also told reporters that his note (and the security camera he installed to go along with it) worked:
“I have gotten the WSJ every day since the note went up.”
Once the story began getting more attention, The&Partnership, which works with the WSJ, saw an opportunity for its client. The agency convinced the paper’s Editor in Chief Gerard Baker to write two notes — one for Nagler and one for the thief.
Here’s a pic of client reps placing the notes on the door in question (image via Berkeleyside):
…and here are the notes as shared by Baker:
— Gerard Baker (@gerardtbaker) March 25, 2015
We do like the stunt and the “subscribe don’t steal” URL, though we wonder why Baker chose not to defend his own paper’s “reprehensible” op-eds…
iCrossing, the Hearst-owned digital search-specialty agency “beset by turnover” according to a January 2014 Adweek report, went through a bit more of that turnover today.
Here’s the agency’s statement:
Our source tells us that the three percent mentioned above totals approximately 28 staffers. The agency clarifies that the layoffs occurred across its network while the source claims that the group dismissed approximately half of all New York-based employees.
As noted in the earlier Adweek story, an earlier round of staffing changes included the 2013 resignation of CEO Don Scales (who was replaced by McCann veteran Nick Brien) and the departure of Head of Social Amanda Peters (who left to join Grey as its global senior digital strategist).
In this case, there’s nothing to indicate that it’s anything more than a standard round of cuts or, as the agency’s 2013 statement read, “a realignment of skills based on client needs.”
So we have little in the way of details, but here is the current “people” lineup as listed on the agency’s homepage.
America’s homeless face myriad challenges, from mental illness to problems with addiction and substance abuse to amateur typography. The last of those is something that a Chicago art director is trying to address through a project called The Urban Type Experiment.
“As an art director it’s my job to grab people’s attention with great design every day. So I set out to see if great design could have an impact on people in the most ignored platform,” the site says.
Basically, the art director makes the acquaintance of a new homeless person every week, re-letters his or her signage, then checks back to see if the efforts helped at all. The site is pretty honest about how helpful the work has or hasn’t been, which makes it seem less like a roundabout self-promotion tactic and more like genuine outreach.
See more of the work below. Via Design Taxi.
Après Fruit Ninja, le studio de design italien Mathery revient avec la chaise Josie : une chaise qui s’inspire du film « Never Been Kissed » et du personnage Josie Grossie (joué par Drew Barrymore) qui est toujours seule, assise sur une chaise, pendant des fêtes. Les designers ont voulu concevoir une chaise qui lance des confettis colorés afin de « ramener la fête à Josie »
Product Design and Art Direction: Mathery Studio
Video: Coco & Maximilian – music: Alex Albrecht
Photography: Reuben Gates
Chair manufactured by: James Devery, Luke Macmahon, Abde Nouamani Laraichi, Michael Chazan
Models: Cass Froese and Tobias Mugabe
Time Warner is considering broadening its planned HBO Now online service to include shows from its Turner Broadcasting networks such as TBS and TNT, according to people with knowledge of the plans.
Executives at New York-based Time Warner are still debating whether HBO Now should include shows from a channel lineup that also includes Cartoon Network and Adult Swim, said the people. Turner won’t be part of the debut of HBO Now, said one of the people. HBO, Time Warner’s premium pay-TV channel, plans to debut the Web-only service on Apple products in time for the April 12 season premiere of its hit “Game of Thrones.”
A wider array of shows would fortify HBO Now as it competes for young viewers with web-only rivals Netflix, Hulu and Amazon’s Prime service. HBO CEO Richard Plepler said in October that HBO Now is aimed at 10 million or so broadband-only homes, consumers who will now have access to HBO without a cable subscription.
Existem inúmeras maneiras incomodar um concorrente. Você pode pensar: “faça seu produto / serviço ser melhor” ou “seja mais inteligente na comunicação”. Mas no mundo real, nem todas as formas são éticas, nem todas são honestas. E ainda assim, algumas chegam a ser engraçadas.
É o caso da Penised, um site que vende um serviço peculiar. Ele transforma qualquer logo em um pênis. Simples assim.
Aí vai uma amostra do portfólio deles:
São mesmo muitas as ideias:
Se você se interessou pelo serviço, saiba que basta mandar um logo para eles e, por apenas 25 doletas (a opção mais barata), uma versão novinha em folha será criada. Algumas inclusive com direito a um trocadilho no nome.
Mas se você achou a ideia genial e queria ganhar dinheiro com isso, aparentemente eles estão contratando.
Sem ter mexido uma palha, a agência de relações públicas Periscope, de Minneapolis, nos EUA, acordou com centenas de menções e novos seguidores. O que tinha acontecido para tamanho frisson sem que eles tivessem feito nada?
A confusão entre as arrobas – @PeriscopeCo para o app do Twitter, @Periscope para a agência de RP – levou muita gente a mencioná-los erroneamente. Até mesmo Emmanuel Evita, diretor de comunicações LATAM do Twitter, mencionou a @ errada ao falar do app (!!)
You know those times when you say you won’t get addicted to a piece of tech, then it happens? @periscope I’m talkin’ to you.
— Emmanuel Evita (@Emm7E) March 26, 2015
O curioso é pensar que o Twitter não tenha se movimentado para comprar a @ da Periscope para o seu próprio app. Segundo o gerente de marca da agência Periscope, houve até um certo receio de que a rede social simplesmente tomasse o nome de usuário deles, mas isso não aconteceu. O app Periscope se estabeleceu com um “Co” no final, e seguiu em frente.
— Periscope (@Periscope) March 26, 2015
— Periscope (@Periscope) March 26, 2015
Para a agência, tem sido uma situação complicada e trabalhosa, mas eles tem feito o possível para levar tudo no bom humor. Em grande parte das vezes, eles respondem aos tuiteiros que os mencionam, redirecionando-os para o perfil correto e aproveitando pra fazer uma propagandazinha de si mesmos.
Até a bio do Twitter mereceu um ajuste. Logo depois da descrição da agência, eles esclarecem: “Não somos o @PeriscopeCo”.
Muito antes de eu aprender o que significava a palavra ocre, eu conhecia aquele como o lápis “cor de pele”. O que pra mim não fazia o menor sentido. Tá, algumas pessoas que eu conhecia até tinham a pele daquele jeito, mas aquela não era a cor da minha pele.
Eu sempre fui branquinha, e representar a minha cor sempre foi complicado. O mais próximo que eu chegava da realidade era com o lápis salmão, e isso era quase que a minha cara de vergonha, não o meu real eu.
Se você já teve esse problema, ou conhece alguma criança que já lidou com isso, vai automaticamente entender a importância dessa caixa de giz da UniAfro. São 12 “cores de pele”, desde as mais claras até as mais diversas variações de cor de pele negra e mulata.
A ideia é parte de uma ação para escolas infantis, que distribuiu as caixas de giz para os professores do Rio Grande do Sul, em um curso sobre história e cultura africana, focado no corpo docente de escolas públicas.
A iniciativa foi tão bem recebida que agora a fabricante do giz de cera, a Koralle, colocou o item a venda na sua loja virtual. Cada caixinha com 12 cores de pele sai por 18 reais, e você pode comprar nesse link.
O bacana é que as crianças parecem ter curtido a ideia, e rapidamente perceberam que o novo kit de giz de cera melhorava a representação que eles queriam fazer.
Ten days ago we shared BBDO’s “Legneds” March Madneess campaign for AT&T, featuring Shaquille O’Neal, Julius “Dr. J” Erving, Clyde Drexler and Christian Laettner. Now, BBDO has released the next round of ads for the campaign, with four more 30-second spots and a 15-second spot for good measure.
The ads all follow the same formula as their predecessors, with the legends presenting a series of questionable advice on how to stay strong through the end of the tournament. If you liked the previous efforts, the new broadcast spots (“Strong Dunk” and “Strong Bracket”) may appeal to you as well. But, as shouldn’t come as a surprise for a campaign that now totals nine spots, the newest pre-roll ads (“Strong Science” and “Strong Song” in particular) sort of feel like throwaways. The broadcast spots debut today during the NCAA Sweet 16, as the tournament kicks into high gear.
Agency: BBDO New York & Atlanta
Campaign: March Madness Legends
Title: “Strong Dunk” “Strong Bracket”
Pre-Roll: “Strong Grip” “Strong Science” “Strong Song”
Chief Creative Officer, Worldwide: David Lubars
Chief Creative Officer, New York: Greg Hahn
Executive Creative Director: Matt Macdonald
Senior Creative Director: Rob Munk
Senior Creative Director: Mark Voehringer
ACD/Art Director: Jesse Snyder
ACD/Copywriter: Tim Wassler
Group Executive Producer: Julie Collins
Senior Producer: Angela Narloch
Music Producer: Melissa Chester
Managing Director: Doug Walker
Group Account Director: Lesley Brown
Account Supervisor: Andrew Woodruff
Assistant Account Executive: Katie Bowers
Production Company: Imperial Woodpecker
Director: Stacy Wall
Director of Photography: John Lynch
Line Producer: Jenn Barrons
Editing Company: Arcade NY
Editor: Jeff Ferruzza (Strong Grip – Strong Song)
Editor: Dave Anderson (Strong Dunk – Strong Brackets – Strong Science)
Executive Producer: Sila Soyer
Producer: Lauren Cancelosi
Visual Effects: Framestore
VFX Producer: Nicholas Dziekonski
Audio Mixing: Heard City
Audio Mixer: Phil Loeb
F/Nazca Saatchi & Saatchi launched a new campaign for Mizuno, entitled “It’s Runderful,” which brings the brand back to TV with its first broadcast ads since 2008.
The pair of 30-second ads use two different scenarios to introduce the “It’s Runderful” platform and tagline. In “Baby Carriage,” viewers are presented with what initially looks like a baby carriage speeding down a hill out of control. Viewed from the first person, the carriage is about to approach an intersection and imminent danger when it is revealed that it is, in fact, being pushed by a running mother. The reveal is slow, as the camera focuses on her shoes and slowly pans up. “Signs,” meanwhile, presents a pair of running buddies, as they ignore signs such as those informing them not to turn and to slow down. The broadcast spots are supported by print, digital, OOH and point-of-sale initiatives.
“We want to show the wonderful world of running, its characteristics, and curiosities,” explained Eduardo Lima, executive creative director at F/Nazca Saatchi & Saatchi, in a statement. “It is a very rich universe that goes way beyond suffering, waking up early, overcoming obstacles. Running is cool, it’s fun. Interesting things happen while you are running.”
AGENCY: F/Nazca Saatchi & Saatchi
TITLE: “Signs” | “Baby Carriage”
1st AIRING: 3/20/2015
GENERAL CREATIVE DIRECTORS: Fabio Fernandes | Eduardo Lima
CREATIVE DIRECTORS: Rodrigo Castellari | Pedro Prado
CREATION: Eduardo Lima | Rodrigo Castellari | Pedro Prado
ACCOUNT MANAGEMENT: Marcello Penna | Thiago Iusim | Andrea Almeida | Maria Eduarda Navarro
MEDIA: Fabio Freitas | Maurício Almeida | Luana Gallizzi | Henrique Fogaça | Gabriela Guedes
PLANNING: José Porto | André Foresti | Danilo Lima | Gabriela Sanchez | Flavia Nogueira
RTV: Victor Alloza | Renato Chabuh | Gisele Campos | Maira Massullo | Rafael Paes
FILM PRODUCTION: Landia
SCENE DIRECTOR: Rodrigo Saavedra
ART DIRECTOR: Cecilia Guerriero
DIRECTOR OF CINEMATOGRAPHY: Pierre De Kerchove
EXECUTIVE PRODUCERS: Carolina Dantas | Sebastian Hall
ASSIST. EXECUTIVE PRODUCER: Marcelo Maximo
POST PRODUCTION/EDITTING: Nash/ Clan VFX
SOUND PRODUCTION: Satélite Áudio
MAESTRO: Equipe Satélite
ART BUYERS: Juliana Gardim | Edna Bombini
PHOTOGRAPHY: Thierry Des Fontaines
ILLUSTRATION: Gabriel Guedelha
GRAPHIC PRODUCTION: Jomar Farias | Leandro Ferreira
PROJECT MANAGEMENT: Aline Verissimo | Luiz Ortega
CONTENT: Renato Pazikas
CLIENT APPROVAL: Marcio Utsch | Rui Porto | Fernando Beer | Rogério Barenco | Mariana Pires | Tereza Amorim
L’agence canadienne Rack & Pinion Creative a pensé une campagne pour Psiphon : un outil conçu pour contrer la censure dont sont victimes des millions d’utilisateurs d’Internet se trouvant dans les 25 pays où la liberté d’expression n’est pas un droit acquis. Sur chaque poster, on voit des sculptures de papier représentant Youtube, Instagram, Twitter, Facebook et Google avec une phrase qui atteste de la censure.
mcgarrybowen has launched a new campaign for Marriott Residence Inn entitled “Take Residence,” targeting a younger demographic for the brand.
The campaign attempts to show how business travelers can enjoy their limited leisure time at the hotel chain. In a 90-second anthem ad, viewers are invited to “Take advantage of your extended stay and take it all in.” Shot in the first person, the ad depicts a guest enjoying their stay in various ways. At times the spot switches to a split screen view with three small screens. A related interactive video at the Residence Inn site invites users to switch between three separate videos playing simultaneously. As Lee Remias and Kevin Thoem, creative directors, put it, the interactive video “basically allows you to become your own video DJ, while giving you a sense of all you can do while staying at a Residence Inn.”
In addition to the anthem ad and interactive video, the campaign also includes two 30-second broadcast ads, digital and social content, and a newly designed website. The shorter brodcast ads both feature the tagline, “It’s not a room, it’s a residence.”
Chief Creative Officer: Ned Crowley Group Creative Director: Kevin Thoem Group Creative Director: Lee Remias Creative Director: William Cannon Copywriter: Kate Steinberg Director of Broadcast Production: Steve Ross Broadcast Production: Justin Lee Managing Director: Ida Rezvani Account Director: Jennifer Holmes Account Supervisor: Elizabeth Eldred Executive Planning Director: Shawna Ross
Here’s an easy way to make sure the product is the hero. Make everything else around it really, really tiny—and leave the product at regular size.
It works great in this campaign for Frooti, one of India’s oldest and most beloved mango juice brands.New York agency Sagmeister & Walsh designed a whole new visual language for the brand around this idea of a miniature world—which it then brought to life in a stop-motion commercial with help from Aaron Duffy’s agency SpecialGuest, 1stAveMachine director Marc Reisbig and animation house Stoopid Buddy Stoodios.
See the spot here:
As Duffy says, the colorful spot really is an “absurdly ear- and eye-catching little film.” The spot features a miniature version of Bollywood superstar and longtime Frooti spokesman Shah Rukh Khan, who then appears in person at the end to deliver the pitch.
“The goal was to introduce the new packaging in a fresh, bold, and playful way,” Sagmeister & Walsh says of the rebranding. “We introduced four bold colors to the brand which complement the yellow of Indian mango and add a sense of playfulness across the imagery.”
See a bunch more imagery below.
Creative Agency: Sagmeister & Walsh
ECD/Partner: Jessica Walsh
ECD/Partner: Stefan Sagmeister
Creative Agency: SpecialGuest
Co-Founder/ECD: Aaron Duffy
Business Director: Ashley McGee
Creative Director/Copywriter: Jonathan Emmerling
Creative Development: Edward Choi and Chloe Corner
Production Company: 1stAveMachine
Director: Marc Reisbig
EP/Partner: Sam Penfield
EP: Melinda Nugent
EP: Garrett Braren
Producer: Leanne Amos
Head of Production: Lisanne McDonald
Associate Producer: Christina Jang
VFX Director: John Loughlin
Editor: Jonathan Vitagliano
Compositor: Chris Russo
Colorist: Seth Ricart/Ricart and Co.
Music Composer and Supervisor: Amit Trivedi
Animation/Post-Production/Online: Stoopid Buddy Stoodios
Executive Producer: John Harvatine IV
Executive Producer: Eric Towner
Executive Producer: Matt Senreich
Executive Producer: Seth Green
Supervising Producer: Janet Dimon
Producer: David Brooks
Line Producer: Barb Cimity
Production Manager: Mario De Jesus
Director of Photography: Helder Sun
Animation Director: Harry Chaskin
Animator: Matt Manning
Animator: Alfonso Estrada
Director of Character Fabrication: Tennessee Norton
Character Fabricator: Tommy Keiser
Editor: Jenny McKibben
VFX Lead: Jack Hamilton
Dans la vidéo « Subconscious Cinema » imaginée par Gabriel Adelman (aka Dreamscience Films), on peut voir les plus belles scènes de rêves et de cauchemars issues de récents et vieux films cultes. Sur une musique de Trent Reznor & Atticus Ross – « Hand Covers Bruise, Reprise », les scènes de Shutter Island, Inception, The Big Lebowski, American Beauty, Alien et bien d’autres ont été insérées dans ce sublime supercut.
List of films :
Sherlock Jr. 0:00
8 ½ 0:07
Little Nemo in Slumberland 0:09
The Big Lebowski 0:14
Eternal Sunshine of the Spotless Mind 0:16
Blade Runner 0:20
A Nightmare on Elm Street 0:24
American Beauty 0:27
Inception 0:30 0:55
Vanilla Sky 0:32
Un Chien Andalou 0:35
Waking Life 0:38
The Wizard of Oz 0:46
Take Shelter 0:50
Scott Pilgrim vs. the World 0:59
Alice in Wonderland 1:03
The Matrix 1:06
Waltz with Bashir 1:12
The Cell 1:14
Shutter Island 1:22
Terminator 2 1:30
Quotes – Waking Life, Spellbound, Inception.
The NFL will not expand its 10-game playoff package for at least another year, although the addition of two bonus teams to the current roster of a dozen postseason contenders is all but inevitable.
Speaking Wednesday after the final session of the league’s annual owners meeting, NFL Commissioner Roger Goodell said that while all parties concerned have had a “healthy discussion” about the matter, expansion of the playoff field is on hold for another season.
“This is something we’ve been evaluating over the last couple of years and several factors went into the decision to at least postpone the expanded playoffs,” Mr. Goodell said, noting that scheduling issues made adoption of a new postseason format tricky. “We’ve looked at Monday night, but college football has the National Championship on Monday night and we certainly don’t want to conflict with that.”