Feature Director Lasse Hallström Takes Break To Helm "Driving Range" For W&K.
CLIENT
Nike.
PRODUCTION CO.
Independent, Hollywood.
Lasse Hallström, director; Philippe Rousselot, DP; Susanne Preissler, executive producer; Jeff Roehr,
producer. Shot on location in
Orlando, Fla.
AGENCY
Wieden & Kennedy, Portland, Ore. Jim Riswold, executive creative director; Hal Curtis, creative
director/art director; Chuck McBride, creative director/copywriter; Bill Karow,
art director; Kash Sree,
copywriter; Vic Palumbo,
producer; Shannon Worley,
production assistant.
EDITORIAL
Joint, Portland, Ore. Peter Wieden-Smith, editor; Patty Brebner, producer.
POST/VISUAL EFFECTS
Company 3, Santa Monica. Stefan Sonnenfeld, colorist. Sight Effects, Venice, Calif. Michael Cosola, tape
to tape/final color; Phil Brennan, visual effects artist/online
editor; Adrian Hurley and Melissa Davies, visual effects supervisors; Andrea Morland, visual effects
producer.
AUDIO POST
RavensWork, Venice, Calif. Robert Feist, mixer.
BY SANDRA GARCIA
Watching Tiger Woods play golf is an inspirational experience. In fact, watching Tiger Woods do anything
is kind of nice. He’s young, cute and extremely talented. So who wouldn’t want to see him in a Nike
commercial hitting a few golf balls? Exactly the point Wieden & Kennedy, Portland creative directors Hal
Curtis and Chuck McBride made with their recent Nike Golf spot, "Driving Range," which broke during
the U.S. Open."Tiger is such a phenomenal golf player that he really embodies what Nike Golf represents,"
said McBride.
The :60 spot opens on an average day at the driving range when a not-so-average occurrence takes place.
As a single row of people leisurely swing and hit, Tiger Woods steps up and joins them. A young man in
the position next to him stops what he’s doing and watches Woods place the ball, pull back, and with a
mighty swing send it soaring far beyond the 300-yard mark. Amazed and inspired, the man next to him
places his own golf ball down in sync with Woods, the two swing at the same time, and amazingly the balls
land at the same distance and bounce at the same time. Tiger Fever has hit.
As the tension of Johann Strauss’ "Blue Danube Waltz" swells in the background, every person in the row
starts to catch Woods’ momentum. Before long, everyone is swinging with Woods, hitting with Woods and
succeeding with Woods in a beautiful moment of human synchronicity. Then Woods leaves. And like a
needle scratching across a vinyl record, the next swing everyone takes is an ugly display of massive discord
as balls hit trees, ponds and the poor guy who drives the golf cart. The Tiger has left the building.
There are some things you can digitally master and some things you can’t, but finding a bunch of people
who can hit a golf ball like Tiger Woods is just, well, impossible. That’s why McBride and Curtis put all
their efforts into finding people who could actually swing a golf club, and left synchronizing the ball
landings to the effects experts at Venice, Calif.-based Sight Effects. "It was too hard to get them to all hit
the ball at the same time and get their swings in time too, so we just told them to swing without a ball and
we’d put the ball landings in later," related McBride.
Early on, the agency met with Woods to present the idea to him. "We showed him the work we’ve done for
him over the years, talked about where the work is heading for the brand, and told him that we wanted him
to become a key player," said McBride. According to McBride, Tiger looked at them with a smile and said,
"There is no way in hell anyone is going to be able to keep up with my swing." McBride’s response:
"Don’t worry, we’re going to get pros."
The agency recruited pros from country clubs in the Orlando area (where the spot was shot) and then
recruited director pro Lasse Hallström of Independent, Hollywood, a division of bicoastal Propaganda
Films. Hallström, who normally directs features and was in postproduction on his latest film The Cider
House Rules, agreed to shoot the spot. "Lasse, like any film director, does commercials that have great
creative," said Propaganda Independent executive producer Susanne Preissler. Hallström already had
developed a relationship with Wieden & Kennedy last year, when he shot a campaign for ESPN that
included "Bully," "Fence" and "Kitchen." Now, according to Preissler, Hallström is interested in pursuing
more commercial gigs in the future.
In addition to Hallström, director Doug Liman, also of Propaganda Independent, lent a hand as second
cameraman. Liman directed two additional spots for the Nike Golf campaign, including "Hackeysack" and
"Tree," and co-directed "Walk" with Hallström. Meanwhile, Hallström directed "Wind" and "Quiet Ball"
for the same campaign.
With Hallström acting as the ringmaster and Liman operating the second camera, the two were able to
achieve several interesting angles of the action. For instance, the opening shot looks like someone was
sitting in a tree nearby, pointing a camera at the golfers. "I applaud Propaganda Independent for really
giving us what we needed to achieve something great. The fact that Doug came out and that everyone made
sure the job was done in the best way possible was admirable," said McBride.
According to McBride and Curtis, Woods was very cooperative during the shoot in terms of motivating the
golfers and letting them catch up to his incredibly fast swing. While the swings were not perfectly
synchronized, they came pretty close, and to McBride, it was better to have everyone at least try to time it
rather than manipulating the movements on a Mac. "To a certain point, it was about the acting and what
was going to happen to them. We just wanted it to be your everyday driving range that didn’t look too
slick," McBride said.
Blue Rock Builds
For Aluminum Assoc.
CLIENT
The Aluminum Association.
PRODUCTION CO.
Backyard Productions, Chicago. Chace Strickland, director; Michael Steven Harris, DP; Sheila Stepanek,
executive producer; Dianne Jackson, producer. Shot on location in Chicago.
AGENCY
Adworks, Washington, D.C. Mark Greenspun, creative director; Shirley Tibbetts, art director; Jeff
McElhaney, copywriter; Claire Hartman, producer.
EDITORIAL
The Blue Rock Editing Company, New York. Sylvette Artinian, editor; Richard Morse, assistant editor;
Ethel Rubinstein, executive producer.
POST
The Blue Rock Editing Company. Rich Siciliano, Henry editor. The Tape House Editorial Company, New
York. Milan Boncich, colorist.
AUDIO POST
Sound Lounge, New York. Peter Holcomb, mixer.
MUSIC
Clean Cuts Music, Baltimore. Kevin Packard, composer.
THE SPOT
The :30 "Habitat for Humanity" showcases The Aluminum Association’s participation in the program,
which builds homes for families in need by donating a portion of its profits from the sale of aluminum cans.
Spot broke June 6.
Crash Has Medical
Miracles For UniCare
CLIENT
UniCare.
PRODUCTION CO.
Crash Films, Santa Monica. Gerald V. Casale, director; Welles Hackett, DP; Bill Fortney and Gary Ward,
executive producers; Raub Shapiro, producer. Shot at GMT Studios, Culver City, Calif., and on location in
Huntington Beach, Calif., Pasadena, Calif., and Los Angeles.
AGENCY
Rubin Postaer and Associates, Santa Monica. Richard Bess, creative director/art director; Todd Carey,
creative director/copywriter; Tony Stearns, producer.
EDITORIAL
Straight Cut, Santa Monica. Tom Schachte, editor; Mitch Gardiner, assistant editor; Lisa Kelley, producer.
POST
Riot, Santa Monica. Mark Wilkins, colorist. The Finish Line, Santa Monica. Stan Kellam, Henry artist.
AUDIO POST
POP Sound, Santa Monica. Loren Silber, mixer.
MUSIC
Elias Associates, bicoastal. Christopher Kemp and Michael Sherwood, composers; Jonathan Elias, creative
director; Ann Haugen, producer.
THE SPOTS
Spoofing the television show Unsolved Mysteries, two humorous spots showcase examples of "Medical
Miracles"—namely a healthcare provider that is responsive to its clients’ needs. In the :30 "Medcall," a
man phones for medical information in the middle of the night, and is amazingly put in touch with a
helpful, perky qualified professional. In the :60 "Affordable," a man is examined by his doctor and then
reluctantly heads down the hall, dreading the cost and paperwork involved in the visit. The man ends up
thrilled when the receptionist asks only for his co-payment.
Spots broke May 17.
Plum Prodns. Expects
For Chevy Venture
CLIENT
General Motors Corp./Chevy Venture.
PRODUCTION CO.
Plum Productions, Santa Monica. Nick Piper, director; Dana Christiaansen, DP; Thom Tyson, executive
producer; Cara Tapper, producer. Shot on location in Malibu, Calif.
AGENCY
Campbell-Ewald, Warren, Mich. Joe Puhy and Jim Gorman, creative directors; Mark Freeman, art director;
Jim Dolab, copywriter; Dennis Plansker, head of production; Craig Mungons, producer.
EDITORIAL
Anchor Editorial, Santa Monica. Buzz Wein, editor; Suzanne Leance, producer.
POST/VISUAL EFFECTS
Company 3, Santa Monica. Mike Pethel, colorist. Stolen Property, Los Angeles. Nick Piper, Henry artist,
completed online and visual effects at The Finish Line, Santa Monica.
AUDIO POST
GTN Inc., Oak Park, Mich. Dave Collie, engineer/mixer.
MUSIC/SOUND DESIGN
Elias Associates, bicoastal. Jonathan Elias, composer/arranger/ sound designer.
THE SPOT
The :30 "Clothesline" shows a row of bedclothes on an outdoor line. The camera pans past the garments,
finally settling on a mom’s nightgown. As family members appear in the background and climb into their
Chevy Venture, a gust of wind lifts the nightgown and causes it to swell around the midsection.
"Introducing the Chevy Venture," states the voiceover. "Perfect for when you’re expecting the
unexpected."
Spot broke in May.
Atomic Drives Out
Smells For OdorFree
CLIENT
Bio Shield/OdorFree.
PRODUCTION CO.
Atomic Pictures, San Antonio. Troy Davis, director/animation director; Bill Hayes, DP; Steve Urbano,
creative director/Flame operator; Charles Self, producer; Jaime Vera, line producer; Lawrence Nimrichter
and Scott Norris, animators. Shot at Maverick Video Productions, San Antonio.
AGENCY
Fricks/Firestone Advertising, Atlanta. Elliot Firestone, creative director/copywriter; Jerome Smith, art
director; Kathy Adkins, producer.
EDITORIAL/POST
Atomic Pictures. Murray Breit, editor; Troy Davis, Flame operator. FilmGroup, Atlanta. Cassandra Fore,
senior colorist.
AUDIO POST
Tequila Mockingbird, Austin, Texas. Marty Lester, mixer; Shay Levin, assistant engineer.
MUSIC/SOUND DESIGN
Tequila Mockingbird. Daniel Levin, composer; Kathryn Korniloff, sound designer.
THE SPOT
A CG OdorFree bottle disposes of "evil" stench fumes throughout a home in the :30 "Surrender."
Spot broke in June.
J.J. Sedelmaier
For Quilted Northern
CLIENT
James River Corp./Quilted Northern Bathroom Tissue.
PRODUCTION CO.
J.J. Sedelmaier Productions, White Plains, N.Y. J.J. Sedelmaier, president/director/executive producer; Rob
Marianetti, head of production/animator; Irene Verdas, production coordinator; Tony Eastman, art director;
Steven Mead, Maria Vidny and Matt Oldfield, assistant animators; Bonnie Timmons, designer.
AGENCY
DDB Needham, New York (now DDB New York.) Charlie Piccirillo, creative director/art director; Ed
Zazzera, producer; Tony Romeo, associate creative director/copywriter.
EDITORIAL
J.J. Sedelmaier Productions. J.J. Sedelmaier, editor.
POST
VirtualMagic Animation, North Hollywood. Andrea Romeo, digital ink & paint; Ryan Robertson and
Chrisie Russell, colorists.
AUDIO POST
Cool Dry Place, New York. Mark Cobrin, mixer.
MUSIC
Robbie Kondor Music, New York. Robbie Kondor, composer.
THE SPOT
The Quilted Northern Quilters discuss the amount of lint in other tissue brands as compared to Quilted
Northern tissues in the :30 "Lint Brush."
Spot broke April 1.
Brian Bleak Sky
Surfs For Winston
CLIENT
Winston Tires.
PRODUCTION CO.
Brian Bleak Films, Pacific Palisades, Calif. Brian Bleak, director/DP/executive producer; Deke Anderson,
assistant director; Marlon Parry, producer; Manuel Bracamonte, production manager. Shot at Hayvenhurst
Studios, Van Nuys, Calif., and on location in Lake Elsinore, Calif.
AGENCY
Dayton Associates, San Diego. Glenn Dayton, creative director; Trish Dayton, art director; John Caroka,
copywriter.
EDITORIAL
Propeller, Santa Monica. Luis Ruiz, editor; Brad Herbst, executive producer.
POST
HMA Digital, Burbank, Calif. Greg Maher, online editor; Jod Soraci, colorist.
VISUAL EFFECTS
HMA Digital. Greg Paul Malone, Flame artist.
AUDIO POST
HMA Digital. John Jackson, engineer/mixer.
MUSIC/SOUND DESIGN
DV8, Los Angeles. David Livingston, composer; John Carlson, sound designer.
THE SPOTS
The :30 "Stop on a Dime" shows a standoff between several brake mechanics and a sports utility vehicle.
As the SUV screeches toward the group, the second-rate brake mechanics flee, leaving only the Winston
brake mechanic who calmly stands in front of his product. The SUV, fitted with Winston brakes, skids to a
controlled stop inches in front of the mechanic. In the :15 "Markdown," a parking enforcement meter maid
makes her way through a Winston Tire Center chalking off select tires to be marked down for the
company’s 4th of July Sale. Another :15, "Sky Surfer," features brand-name SUV, family and truck tires
plummeting to earth from 14,000 feet. A sky surfer follows the products, performing a series of radical
maneuvers while attached to a Winston tire.
Spots broke in June.
Vito DeSario Drives
For MetLife Auto
CLIENT
MetLife Auto & Home.
PRODUCTION CO.
Morton Jankel Zander, Los Angeles. Sean Thonson, director/DP; David Zander, executive producer; Rita
LeRoux, producer. Shot on location in Malibu, Monterey and Big Sur, Calif.
AGENCY
Young & Rubicam, New York. Eric Steinhauser, creative director; Hallett Parisi, producer; Marshall
Taylor, art director; George Watts, copywriter; Peter Greco, music producer.
EDITORIAL
Vito DeSario Editing, New York. Mark Nickelsburg, editor; Sandrine Cheyrol, assistant editor.
POST
The Tape House Editorial Company, New York. Milan Boncich, colorist. Post Logic Studios, Hollywood.
Thom Whitehead, online editor.
VISUAL EFFECTS
Bill Melendez Productions, Los Angeles. Bill Melendez, animator. Renegade Animation, Burbank, Calif.
Darrell Van Citters, animation director; Ashley Postlewaite, executive producer. Sight Effects, Venice,
Calif. Melissa Davies, visual effects supervisor; Angie Smith, visual effects producer; David Neuberger,
visual effects artist.
AUDIO POST
Sound Lounge, New York. Tom Jucarone, mixer.
MUSIC
Duotone, New York. Peter Nashel and Jack Livesey, composers.
THE SPOT
The :30 "Car" opens on aerial footage of an ocean, waves, mountains, and a long and winding road. As the
narrator points out that this "perfect drive" is possible due to "awesome car insurance," a red convertible
Alfa Romeo sportscar is shown driving along the stunning scenery. The driver is eventually revealed to be
Snoopy, the MetLife mascot, who motors into the sunset as the MetLife Auto & Home logo appears
onscreen.
Spot broke in Jun
