Advertising Agency: Taxi, New York, USA
Executive Creative Directors: Stephen Leps, Michael Pierantozzi
Copywriter: Daniel Ahern
Art Director: Didima Arrieta-Martinez
Agency Producer: Joyce Lee
Production House: Station Film
Director: Brendan Gibbons
Executive Producer: Thomas Rossano
Line Producer: Aaron Canto
Editing House: Cutting Room
Editor: Brian Sanford
Editorial Producer: Melissa Lubin
Advertising Agency: Taxi, New York, USA
Executive Creative Directors: Stephen Leps, Michael Pierantozzi
Copywriter: Daniel Ahern
Art Director: Didima Arrieta-Martinez
Agency Producer: Joyce Lee
Production House: Station Film
Director: Brendan Gibbons
Executive Producer: Thomas Rossano
Line Producer: Aaron Canto
Editing House: Cutting Room
Editor: Brian Sanford
Editorial Producer: Melissa Lubin
Advertising Agency: Taxi, New York, USA
Executive Creative Directors: Stephen Leps, Michael Pierantozzi
Copywriter: Daniel Ahern
Art Director: Didima Arrieta-Martinez
Agency Producer: Joyce Lee
Production House: Station Film
Director: Brendan Gibbons
Executive Producer: Thomas Rossano
Line Producer: Aaron Canto
Editing House: Cutting Room
Editor: Brian Sanford
Editorial Producer: Melissa Lubin
Advertising Agency: Publicis Conseil, Paris, France
Chief Creative Officer: Olivier Altmann
Creative Director: Frédéric Royer
Copywriter: Alexandre Boutry
Art Director: Léna Monceau
Account managers: Patrick Lara, Laëtitia Vitalis
PR Manager: Emilie Seid
Illustrator 3D: Antoine Mairot
Creative Retouching: MK Studio
Production: MK Studio
Art buyer: Jean-Luc Chirio
Advertising Agency: Adam & Eve/DDB, London, United Kingdom
Creative Directors: Aidan McClure Laurent Simon
Production company: Across the Pond Psycle
Producer: Karen Crookes, Greg Lepski
Agency producer: Sophie Smith, Budr Elnusairi
Arguably no marketer has done more to shape a modern-day British brand than Steve Sharp. After almost a decade heading up Marks & Spencer’s marketing he is bowing out gracefully from the bellwether retailer.
While you’re battling Wednesday workdays at the office, Geico has a new addition to their “Happier Than” campaign that gives a literal visual representation to Hump Day. Yes, a camel, with humps. The camel’s coworkers don’t look thrilled with their humped friend running through channels of cubicles and interrupting their productivity. Wednesdays should be a time of cautious optimism – by the end of the day, a majority of the week will be finished – but these guys look like they just got demoted.
The Hump Day spot – created by the insurance brand’s longtime ally The Martin Agency – won’t be going up on the Mount Rushmore of ”Happier Than” ads. That space is reserved for Dikembe Mutombo‘s supermarket exploits and Eddie Money’s entrepreneurial skills, commercials that dealt with clever concepts that riffed on pop culture. “Hump Day” is more of a cheesy pun dragging itself over 30 seconds of airtime. Re-strum the banjo, there’s always next time. A ridiculously long credit list awaits after the jump.
New Career Opportunities Daily: The best jobs in media.
Todo ser humano é curioso por natureza. É a curiosidade que nos estimula a aprender, descobrir o mundo… Nas crianças essa característica é muito mais evidente, já que o tempo todo elas estão fazendo todo tipo de perguntas, estabelecendo conexões interessantes e livres de julgamentos, como ocorre depois que a gente cresce, aprende um monte de regras e entra em uma caixa. E justo em um momento em que a gente está discutindo aqui no B9 o papel da internet (e também da tecnologia) nisso tudo, aparece Things Kids Say, filme da Jam para o Windows Phone no Reino Unido.
A situação retratada é típica dos dias de hoje: uma criança cheia de perguntas e pais ocupados (talvez até despreparados) demais para respondê-las. Mas com um Windows Phone não tem tempo ruim: o Kids Corner está aí para isso. Daí a mãe vai, pega o celular com um monte de joguinhos e pronto, consegue ter sossego para ler sua revista.
O que me mata é que, de repente, o menino para de fazer perguntas. É como testemunhar a curiosidade de uma criança sendo executada ali, a sangue frio. E isso não é uma boa mensagem.
A tecnologia não é ruim. A internet, muito menos. O que pode ser ruim é a maneira como nos relacionamos com estas e outras coisas, quando a gente deixa de vivenciar uma experiência para conhecer algo pelos olhos dos outros, em textos, filmes, etc. Quando ficamos tão distraídos com algo, que deixamos de fazer perguntas e buscar respostas em diferentes lugares. É um papo que ainda vai continuar.
Post originalmente publicado no Brainstorm #9
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Among the biggest stories in this year’s BrandZ ranking of the world’s top 100 valuable brands is the rise of the apparel and retail categories, which posted approximately 20% brand value growth over last year.
One highlight from this year’s retail story includes Amazon’s gain over Walmart. Amazon, with a brand value of $45.7 billion, saw its value grow by 34%, while Walmart grew by 5% to $36.2 billion. Amazon’s operational swiftness accounts for a good part of its financial success, namely, the retailer’s ability to quickly adapt to market and pricing fluctuations and normalize goods to real market value. Additionally, Amazon has been making the move to in-store selling, with a push in the UK and US to sell merchandise within highly trafficked convenience stores.
Walmart’s second place performance comes on the heels of a slowdown in the Chinese market, a major area of focus for Walmart. Despite this, the retailer is poised to gain in brand value over the next few years. With the major advantage over Amazon of owning its brick and mortar stores, the retailer is making great strides in becoming an in-store, online and mobile heavyweight. Perhaps the greatest indication of its auspicious future: a new i-Phone scan and checkout system available at more than 200 locations in the US. This is just one step toward meeting the customer through various mediums and making the shopping experience more interactive.
Brighton-based graffiti artists Pinky and Barney Chum101 used tweets using the hashtag #LynxAfrica18 to create a homage to Lynx Africa’s coming of age.
Global Radio is in discussions with the Competition Commission, after the competition authority upheld its provisional ruling that Global’s £70m merger with GMG Radio could lead to higher ad prices.
Meet Deadpool, a Marvel supervillain-turned-superhero who comic book fanatics regard as “awesome” and non-comic fans refer to as “who?” Deadpool came into existence during the early 90s, a time when a collector-driven mentality molded the industry into what some regard as the “Style Era.” With sales at an all-time high, comic books publishers made an effort to churn out as many different characters as they could, focusing more on pizazz (elaborate costumes, big muscles, and huge breasts) than actual storytelling. Many now regard the early 90s as a low-point for the industry, a time when publishers bankrupted themselves both morally and financially to put whatever they could on the shelves in the flashiest packaging possible only to have demand nosedive.
However, a few characters from this era didn’t get swift deaths when the industry adopted a back-to-basics approach to storytelling in the early 2000s. Among them is Spider-man’s black-suited monstrous nemesis Venom, who has a ridiculous backstory but looks too cool to dislike. Another is Deadpool, originally an X-Men villain whose Peter Parker-esque sarcastic, quippy persona endeared him to fans who enjoy honest-to-God humor in their superheroes’ repertoire.
In fact, the above trailer from Ignited alums and Activision for Deadpool: The Game actually hits the character’s personality right on the nose, even if his whole backstory of looking for a job at Marvel HQ makes abso-fucking-lutely no sense in context. Why would Deadpool look for a job at Marvel? It isn’t explained at all during this trailer’s 2-minute runtime, nor is it hinted at during the character’s public appearance at Comic Con. Either way there’s a Deadpool video game coming out in June, so fans are probably almost as stoked as they were when Ryan Reynolds played the character in 2009′s X-Men Origins: Wolverine. Have fun, you guys!
New Career Opportunities Daily: The best jobs in media.
This week, Thomas Laranjo, managing director at launch and growth media specialist Total Media, readies a big pitch, prepares to speak at Media 360 and enjoys the hospitality at Lords a little too much. Is this really the best week to give up smoking?
Grand Visual has hired Ben Putland as production director and Jeremy Taylor as account director.
Microsoft is touting its next generation Xbox One console as the “ultimate all in one home entertainment system”, but the jury is out on whether it will prove quite as revolutionary as the brand hopes.
(TrendHunter.com) ‘Baguette-Me-Not’ is a weird and wonderful Tumblr blog that consists of photos of comedians with bread in the place of expected objects. The series shows Kristin Chenoweth getting ready…
With this acquisition, Marissa Meyer’s new-look Yahoo has paid a high price for cool and in the long-term, things are far from certain, says Philip Dyte, paid social media manager at iProspect.
Research from the Pew Research Center points to how Twitter isn’t perceived by some teens as a social network in the same way as Facebook or LinkedIn.
Well, we tried to put two and two together when we reported last week about DJ Pierce resigning from his position as executive creative director on the BMW account at KBS+. But alas, we unfortunately failed to mention what the status was with his partner-in-crime and fellow ECD on BMW, Michael Craven, who joined up with Pierce 15 months ago to work on the account. We’ve now received confirmation that Pierce and Craven actually resigned together, though no word yet on what either person’s next move is yet (we’re checking). Prior to KBS+, Craven served as a VP/creative director at CP+B and has also published a couple of novels along the way.
As has been reported, the pair was essentially replaced at KBS+ by Paul Renner, who has taken over as ECD on said automaker’s account.
New Career Opportunities Daily: The best jobs in media.
Advertising Agency: Herezie, Paris, France
Executive Creative Director: Andrea Stillacci
Copywriter: Eva Ho
Art Director: Ali Al Sabbah
Agency Producer: Barbara Vaira, Louise Trojani
Account Supervisor: Julien Quidor Dit Pasquet
Head of planning: Luc Wise
Producer: Sylvaine Mella, Stink
Director: Arie Elmaleh
D.O.P: Pierre Edelmann
Lighting: Jeremy Fossoud
Editor: Eric Jacquemin
Editing Company: Firm
Music/Artist/Title: Bea Parks, Garo Nahoulakian, Rockabilly Sweet Shop
Sound Design/Arrangement: Le Chant Des Sirenes
Post Production: Firm
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