CLIENT
Audi of America.
PRODUCTION CO.
Bruce Dowad Associates, Los Angeles. Robert Logevall, director; Tobias Schliessler, DP; Heidi Nolting, executive producer; Leora Glass, producer. "Whistle" and "Lawn Chair" shot on location in Northern California and Bodega Bay, Calif. "Lives" shot at Leavenworth and Coulee City, Wash. "Dog" shot on location in Reardan, Wash. "Father & Daughter" shot on location in Leavenworth, Waterville and Coulee City, Wash., and Bodega Bay.
AGENCY
McKinney & Silver, Raleigh, N.C. David Baldwin, executive creative director; Christopher Wilson, group creative director/copywriter; Ralph Watson, art director; Joni Madison, VP/executive producer/head of broadcast production.
EDITORIAL
MacKenzie Cutler, New York. Gavin Cutler, editor.
POST/VISUAL EFFECTS
A52, Los Angeles. Scott Johnson, online editor; Simon Brewster, visual effects supervisor/Inferno artist/graphics designer; Liz Roewe, executive producer; Cassie Hulen, producer.
AUDIO POST
POP Sound, Santa Monica. Loren Silber, mixer.
MUSIC
Elias Associates, bicoastal. Alex Laserenko, creative director; Fritz Doddy, composer, "Lawn Chair"; Jimmy Haun, composer, "Lives"; Matt Fletcher, composer, "Whistle" and "Dog."
THE SPOTS
Five :30s in Audi’s new branding campaign—"Father & Daughter," "Lawn Chair," "Lives," "Dog" and "Whistle"—feature Audi owners enjoying their automobiles and passengers, as they reflect on personal values that appear as road signs along the way. The commercials promote Audi’s A6 Avant, A6 4.2, S4 and A4 automobiles.
Spots broke Oct. 11.
Review: Writer-Director Adam Elliot’s “Memoir of a Snail”
It's not your typical stop-motion film when characters name pets after Sylvia Plath and read "The Diary of Anne Frank" — or when the story's inspired by a quote from existentialist thinker Søren Kierkegaard. And it's certainly not your typical stop-motion film when you find yourself crying as much as the characters do — in their case, with huge droplets leaking from bulging, egg-shaped eyes so authentic-looking, you expect the screen to get wet. But those are just a few of the unique things about Adam Elliot's "Memoir of a Snail," a film that's as heart-tugging as it is technically impressive, a work of both emotional resonance and great physical detail using only clay, wire, paper and paint. One thing Elliot's film is not, though, is for kids. So please take note before heading to the multiplex with family in tow: this film earns its R rating, as you'll discover as soon as young Grace, voiced by Sarah Snook, tells us she thought masturbation was about chewing your food properly. Sex, nudity, drunk driving, a fat fetish — like we said, it's R-rated for a reason. But let's start at the beginning. In this, his seventh "clayography" (for "clay" and "biography"), the Australian writer-director explores the process of collecting unnecessary objects. Otherwise known as hoarding, it's something that weighs us down in ways we can't see, for all the clutter. Elliot also argues that it helps us build constrictive shells around ourselves — like snail shells, perhaps. Our protagonist is Grace Pudel, voiced with a quirky warmth and plenty of empathy by the wonderfully agile Snook. We first encounter Grace as a grown woman, telling her long, lonely life story to her pet garden snail, Sylvia (named after Plath), at a moment of deep sadness. Then we flash... Read More