There Is Safety In Jumping Ship, After All, In Eric Saarinen-Directed "Lifeboat."
CLIENT
General Motors/
Chevy Blazer.
PRODUCTION CO.
Plum Productions, Santa Monica. Eric Saarinen, director/DP; Chuck Sloan, executive producer; Line
Postmyr, producer; Leanne Amos, production supervisor; Hans Bjerno, Space Cam operator. Shot on
location in Long Beach, Calif.
AGENCY
Campbell-Ewald Advertising, Warren, Mich. Bill Ludwig, vice chairman/chief creative officer; Jim
Gorman and Joe Puhy, executive VPs/creative directors; Dennis Plansker, executive VP/director of
broadcast production; Jon Stewart, copywriter; John Clarey, art director; Jim Gilmore, producer.
EDITORIAL
Anchor Editorial, Santa Monica. Steve Wystrach, editor; Jay Rogers, assistant editor; Suzanne LeAnce,
producer.
POST/VISUAL EFFECTS
Company 3, Santa Monica. Mike Pethel, colorist. Sight Effects, Venice, Calif. Alan Barnett and Adrian
Hurley, visual effects supervisors; Phil Brennan, digital effects supervisor/artist; Danny Mudgett and Scott
Polen, visual effects artists; Angie Smith, producer.
AUDIO POST
POP Sound, Santa Monica. Peter Rincon, mixer;
Dave Barnard, assistant mixer.
MUSIC
Elias Associates, bicoastal. Jimmy Haun, composer. Jonathan Elias, creative director.
SOUND DESIGN
Machine Head, Venice. Stephen Dewey, sound designer.
BY JEREMY LEHRER
There’s nothing more refreshing than a new tack on the traditional car spot. Whether it’s Volkswagen’s
"Synchronicity" via Arnold Communications, Boston, or Honda’s "Art Gallery" via Rubin Postaer and
Associates, Santa Monica, advertisers who have fresh takes on the automobile spot genre have proven
again and again that the subtle sell is more effective in creating a memorable brand presence than a laundry
list of a car’s capabilities. In "Lifeboat," a :30 spot for Chevy Blazer via Campbell-Ewald Advertising,
Warren, Mich., director Eric Saarinen of Plum Productions, Santa Monica, sails into those waters for the
Chevy Blazer.
The spot opens on a shot of an ocean liner skimming through a stormy sea at dusk, the ship’s prow plowing
through the turbulent waves. The flags strung from the ship’s lines flap in wind and falling rain, as an
ominous gray sky and breaking waves loom around the ship. The ship’s fog horn sounds while the camera
begins to sweep along the port side of the ship towards the stern. Leo and Kate are nowhere to be seen. A
figure dressed in dark rain gear clambers down a staircase on the ship’s side, holding tightly onto a rain
cap. But the parade inside the ship won’t be rained on—despite the dismal seascape, a somewhat
melancholy tango which is evidence of a gathering in progress, becomes audible from the ship’s innards.
Continuing along the port side promenade, the ship’s lifeboats, covered in blue tarp to keep out water, are
revealed. We see one lifeboat, a second, a third, and a fourth. Everything seems to be in order as the camera
rotates to reveal the fifth lifeboat. … Er, wait a minute. It’s not a lifeboat at all. It’s a Chevy Blazer. "Chevy
Blazer," the narrator intones. "A little security in an insecure world." The spot ends with the tag, "Blazer.
Like A Rock," which the narrator imbues with dramatic gravity as the tango music rolls to a close.
The spots are part of a larger campaign that includes the Saarinen-directed "Lighthouse" and "Bathtub."
Two other spots in the campaign—"Vault" and "Armor"—were directed by Nick Piper, also of Plum
Productions.
The TV campaign evolved out of a currently running print campaign that Campbell-Ewald created for
Chevy Blazer. Similar to its TV counterpart, the "Lifeboat" print ad shows the Blazer hanging in the midst
of a ship’s lifeboats. Joe Puhy, executive VP/creative director at Campbell Ewald, explained that the idea in
both the print and TV version of "Lifeboat" was to associate the Blazer with the lifeboat while at the same
time maintaining a lighthearted tone. "The idea of finding metaphors for security and then replacing that
metaphor with the truck seemed to be a very smart approach," he noted. "We wanted to make [the spot]
very smart, very simple, and have it end with a smile."
Once the creative team decided to do a TV campaign, they did a test of what "Lifeboat" would look like by
videotaping a pan across an image of the print ad. "We found that it was too simple," said Puhy. "We
needed to bring some drama and realism and more excitement to the party."
Saarinen brought those elements to the spot in his bid for the project, in which he suggested that the ship be
moving through inclement weather in a dusk setting. And while he had three options as to how to shoot the
footage of the ship—CGI, reduced-scale models, or live-action full scale—Saarinen opted for the real
McCoy, and the agency liked that approach.
"It’s a slightly dark, dramatic positioning," Saarinen said of his take on the spot, while concurring that the
spot has a lighthearted and witty tone since the Blazer would never really be used as a lifeboat. "It’s like an
insurance commercial. You never know when something’s going to happen. If something does happen, this
is the car to have."
Putting the spot together was an effects endeavor extraordinaire that involved assembling a variety of
elements—both real and computer-generated—to create the finished product. Saarinen worked closely with
personnel, including visual effects supervisor Alan Barnett and digital effects supervisor/artist Phil Brennan
of Sight Effects, Venice, Calif., to hash out his approach to shooting and compositing the necessary pieces.
Saarinen gave extensive kudos to his collaborators at Sight Effects.
To begin with, the full-scale boat shot for the spot was the Queen Mary, a structure that is now used as a
hotel and is dry-docked on rocks in Long Beach, Calif. Saarinen did "15 or so" helicopter fly-by shots of
the Queen Mary using a Space Cam camera stabilization system operated by Hans Bjerno. (The helicopter
was piloted by Craig Hosking, and Saarinen had deep praise for both of his fly-by co-horts). Having elected
not to use motion control, Saarinen then shot footage of the Blazer with "rain" falling on it against a green
screen, matching the original camera move on the ship by eye when shooting the car. Other elements that
Saarinen obtained for the spot included waves and a patchwork of sky that were used by Sight Effects to
help build the environment needed to accompany the camera choreography around the boat.
Once Saarinen obtained the various live-action bits, Sight Effects’ Brennan composited all of the
elements—the Queen Mary, the Blazer, the waves, and the sky—together in Flame as well as created other
intricate nuances such as the falling rain and the smoke that emerges from the ship’s smokestacks.
Completing the visual effects for the spot was a grueling and intricate process that had many steps.
"We never try to push in a certain direction unless we’re sure it’s going to work," said Sight Effects’
Barnett of the method used for the spot. "The give and take is figuring out what’s best in each stage once
we’ve determined how we’re going to approach it."
With the effects contributing very effectively to the spot’s concept, "Lifeboat" is ultimately a charming
piece of car advertising. "It’s one of those viewer-must-participate commercials, which I think is much
more interesting than someone telling you about airbags," said Saarinen.
Chris Bell Hops
For Lexus RX-300
CLIENT
Toyota Motor Sales USA/Lexus RX-300.
PRODUCTION CO.
Tony K., Santa Monica. Tony Kaye, director/DP; Natalie Hill, executive producer; Suzanne Hargrove,
producer. Shot on location at the Tejon Ranch, north of Los Angeles.
AGENCY
Team One Advertising, El Segundo, Calif. Tom Cordner, executive creative director; Julie Shannon,
producer; Steve Levit and Josh Miller, creative directors; Dave Uible, copywriter; Nic York, art director.
EDITORIAL
Mad River Post, Santa Monica. Michael Elliot, editor.
POST
The Finish Line, Santa Monica. James Bygrave, online editor. Company 3, Santa Monica. Stefan
Sonnenfeld, colorist.
AUDIO POST
Mike Recording Services, West Los Angeles. Bob Gremore, mixer.
MUSIC/SOUND DESIGN
Chris Bell Music & Design, West Los Angeles. Chris Bell, composer/sound designer.
THE SPOT
The :30 "Pogo Sticks" pokes fun at the bouncy, rough ride offered in most sport utility vehicles by showing
drivers commuting to work on pogo sticks, alongside a Lexus RX-300.
Spot broke in mid-May.
Crushing Taps Toes
For Pepsi, BBDO
CLIENT
Pepsi-Cola Co.
PRODUCTION CO.
PYTKA, Venice, Calif. Joe Pytka, director/DP; Suellen Wagner, executive producer; Cathy Rhodes,
producer. Shot at Universal Studios, Universal City, Calif. "Aretha" was also shot at Grace & Wild Studios,
Farmington Hills, Mich. "Radio Station" was also shot on location in Los Angeles and Austin, Texas.
AGENCY
BBDO New York. Ted Sann, chief creative officer; Michael Patti, executive creative director/ copywriter;
Don Schneider, senior creative director; Ted Shaine, senior creative director/ art director; Tom Darbyshire,
senior creative director/copywriter; Regina Ebel and Maria Amato, producers; Rani Vaz, music producer.
EDITORIAL
Crew Cuts, New York. Sherri Margulies, editor, "Aretha" and "Alonzo"; Clayton Hemmert, editor, "Radio
Station."
POST
Manhattan Transfer, New York. Peter Flack, online editor, "Radio Station"; Chris Laite, online editor,
"Aretha" and "Alonzo." Nice Shoes, New York. Scott Burch, colorist.
VISUAL EFFECTS
Quiet Man, New York. Johnnie Semerad, director of visual effects, "Aretha" and "Alonzo"; Philana Dias,
Flame artist, "Radio Station."
AUDIO POST
Sound Lounge, New York. Tom Jucarone, mixer.
MUSIC
Crushing Underground, New York. Mary Wood and Clifford Lane, composers/arrangers for "Alonzo" and
"Radio Station"; Leon Pendarvis, arranger, "Aretha."
SOUND DESIGN
Crew Cuts. Clayton Hemmert, sound designer. Marshall Grupp Sound Design, New York. Marshall Grupp,
sound designer.
THE SPOTS
Pepsi’s "Joy of Cola" campaign features child actress Hallie Eisenberg and her many "voices." In
"Alonzo," she channels the voice of Marlon Brando when a diner employee hands her a Coke instead of a
Pepsi. "Aretha" features the vocals of Aretha Franklin, who belts out the Pepsi anthem through Eisenberg.
In "Radio Station," the entire country is tapping its feet to the tune, as the voice of Isaac Hayes is heard
over the airwaves. The disc jockey is eventually revealed to be the girl.
Spots broke March 21.
CP+B And Sprewell
Dream For AND 1
CLIENT
AND 1.
PRODUCTION CO.
Tank, New York. David Leach, director; Bob Gantz, DP; Jim Czarnecki, producer. Shot on location in
White Plains, N.Y.
AGENCY
Crispin Porter+Bogusky Advertising, Miami. Alex Bogusky, creative director; Alex Burnard, art director;
Bill Wright, copywriter; Terry Stavoe and Rupert Samuel, executive producers.
EDITORIAL
Jefferson Edit, Miami. Jeff Sternberger, editor.
POST
Manhattan Transfer, New York. Jim Montague, online editor; Ron Brower, colorist.
AUDIO POST
East Side Audio, New York. Steve Weisbrot, engineer.
MUSIC
jsm/music, New York. Ray Loewy, composer/arranger; Joel Simon, executive producer.
THE SPOT
A :30 for sports apparel and sneaker manufacturer AND 1 features Latrell Sprewell of the New York
Knicks getting his hair cornrowed in his signature style, as he ruminates on his very public career and the
pursuit of the "American Dream."
Spot broke May 10.
Ebel Productions
Celebrates For TCBY
CLIENT
TCBY Enterprises.
PRODUCTION CO.
Ebel Productions, Chicago. Bob Ebel, director; Jason Schettler, assistant director; Charlie Peich, DP; Larry
Byrne, executive producer; Diane Jackson, producer; Kara Buhl, production manager. Shot at WTTW
Stage, Chicago.
AGENCY
Stone & Ward, Little Rock, Ark. Larry Stone, CEO/creative director; Kathy Scharff, director of broadcast
production/producer; Tish McClure, art director; Robert Manley, copywriter.
EDITORIAL
Bass Edit, Chicago. Mike Johnson, editor.
POST
The Filmworkers Club, Chicago. Bill Ebel, online editor; Lynette Duensing, colorist.
AUDIO POST
Dempsey Film Group. Little Rock. Bryan Frazer, mixer.
THE SPOT
In the :30 "It’s Time to Celebrate," kids dressed in grown-up garb, celebrate life-changing moments while
enjoying TCBY ice cream.
Spot broke May 24.
Bob ‘n Sheila’s Goes
3 Ways For Pac Bell
CLIENT
Pacific Bell.
PRODUCTION CO.
Shelter Films, Hollywood. Jonathan David, director; Mark Dektor, DP; Steve Shore, executive producer;
Buzzy Cancilla, line producer. Shot at Hollywood Center Studios, Hollywood.
AGENCY
Goodby, Silverstein & Partners, San Francisco. Paul Venables, creative director; Debbie King, executive
producer; Melanie Menkemiller, art director; Matthew Winks, producer; Colin Nissan, copywriter.
EDITORIAL
Bob ‘n Sheila’s Edit World, San Francisco. Sheila Sweeney, editor; Ed Feldman, assistant editor; Gina
LoCurcio, executive producer.
POST
Bob ‘n Sheila’s Edit World. Joe Wenkoff, Smoke artist/online editor. Riot, Santa Monica. Bob Festa,
colorist.
AUDIO POST
Crescendo! Studios, San Francisco. Jay Shilliday, engineer.
THE SPOT
In the :30 "Date," Larry, who lives in his parents’ basement, uses Pacific Bell’s three-way calling in an
attempt to charm two women at the same time, thus increasing his chances of a date. Ultimately he is
turned down by both.
Spot broke March 15.
J.J. Sedelmaier
Sprays For Ortho
CLIENT
Ortho Weed-B-Gon.
PRODUCTION CO.
J.J. Sedelmaier Productions, White Plains, N.Y. J.J. Sedelmaier, president/director/executive producer; Rob
Marianetti, head of production; Irene Cerdas, production coordinator; Tony Eastman, head animator; Rob
Marianetti, Steven Mead and Maria Vidny, assistant animators; Peter Spacek, designer.
AGENCY
Partners & Shevack/Wolf, New York. Mike Rogers, creative director; Erin Murray, producer; Debra
Hovhannesian, copywriter; Karen Grant, art director.
EDITORIAL
The Tape House Editorial Company, New York. David Donovan, editor.
POST
The Tape House Editorial Company. John Crowley, colorist; David Donovan, online editor.
AUDIO POST
East Side Audio, New York. Todd Miller, engineer.
MUSIC
Art Labriola Productions, New York. Art Labriola, composer.
THE SPOT
In the animated :30 "Killer Weeds," Pete tries to rid his lawn of weeds but they keep popping up
everywhere. His frustration ends when he learns about the new Ortho Weed-B-Gon.
Spot broke April 1.
Concrete Prodns.
Insures State Farm
CLIENT
State Farm Insurance.
PRODUCTION CO.
Concrete Productions, Dallas. Greg Kiefer, director/cameraman; Lisa Cobb, president/executive producer;
Greg Gibson, executive producer; Patti Lancaster, producer; Sim Parker, production supervisor. Shot on
location in Los Angeles.
AGENCY
DDB Needham, Chicago. Jim Cass, creative director; Mike Browne, associate creative director/copywriter;
Anne Delaney, associate creative director/art director; Bob Jackson, executive producer.
EDITORIAL
Optimus, Chicago. Katy Maguire, editor; Jonna Walsh, assistant editor; Julia Finlayson, executive
producer.
POST
Optimus. Craig Leffel, colorist; Mike Weber, online editor.
AUDIO POST
Deaf Dog Music, Chicago. John Ovnik, engineer/mixer.
MUSIC
Deaf Dog Music. John Ovnik, composer.
THE SPOTS
Two :30s feature vignettes of young adults beginning their lives together and how State Farm takes care of
them. In "First Love," a man settles down, buys a home and starts a family. "Independent Woman" focuses
on a woman who fixes up her place and then surprises her mom by announcing her engagement.
Spots broke in mid-February.
Gartner Learns
With Snap.com
CLIENT
Snap.com.
PRODUCTION CO.
Gartner, Santa Monica. Ray Dillman, director; John Stanier, DP; Rich Carter, executive producer; Jennifer
Berry, head of production; Denise Rocchietti, line producer. Shot on location in Los Angeles.
AGENCY
NBC On-Air Promotion, Burbank, Calif. John Miller, executive VP advertising and promotion and event
programming; Val Nicholas, director; Bob Holmes, executive in charge of production; Jim Vescera, VP/on
air promotion; David Landau, producer; Dan Holm, writer/producer; Mark Bennett, writer; Vince Manze,
senior VP advertising and promotion.
EDITORIAL
Superior Assembly Editing Company, Santa Monica. Jim Haygood and Nicholas Erasmus, editors; Renee
Schroeder, producer.
POST
Digital Magic, Santa Monica. Steve Behar, colorist. The Finish Line, Santa Monica. Stan Kellam, online
editor/Henry artist.
AUDIO POST
POP Sound, Santa Monica. Peter Rincon, engineer.
MUSIC
Elias Associates, bicoastal. Jonathan Elias, creative director/ composer.
THE SPOT
The :60 "New Friend" tells the story of a young boy named Tommy who notices a deaf boy on his school
bus. Later, Tommy goes home and learns sign language from a Website powered by snap.com. Tommy
again meets up with the deaf boy on the bus and is able to communicate with him.
Spot broke March 14.
PFC Has A Room
With A View For BHVB
CLIENT
Beverly Hills Visitors Bureau.
PRODUCTION CO.
Porter Film Company, Hollywood. J. Brown, director/cameraman; Fred Porter, executive producer; Jon
Derovan, producer. Shot on location in Beverly Hills, Calif.
AGENCY
McCann-Erickson/Los Angeles. Peter Serchuk, executive VP/executive creative director; Ed Ball, senior
VP/associate creative director; Pieter deKoninck, senior VP/art director; Wendy Schwartz, copywriter;
Paulette Osterhage, producer.
EDITORIAL
Jigsaw, Santa Monica. Adam Parker, editor; Deanne Mehling, executive producer.
POST
DKP Effects, Santa Monica. Jeff Sutherland, online editor. Riot, Santa Monica. Mark Wilkins, colorist
VISUAL EFFECT
DKP Effects. Jennifer Chang, graphics designer; Jeff Sutherland, composite artist.
AUDIO POST
RavensWork, Venice, Calif. Robert Feist, mixer.
MUSIC
DV8, Los Angeles. David Livingston, composer.
THE SPOT
The :30 "Hotel/View" showcases the luxury of Beverly Hills’ hotel room interiors, as well as the view of
an outdoor pool surrounded by palm trees and beautiful grounds from a balcony. The onscreen text points
out that one’s view is identical to the one from Faye Dunaway’s room. Another :30, "Lobster/Restaurant,"
features celebrity chef Wolfgang Puck at his restaurant Spago, preparing his famous spicy lobster dish. As
Puck divides the dish between two identical plates, the copy points out that one plate is headed for "Elton
John, Table 5," and the other for "You, Table 6." The voiceover by Charlton Heston states, "Beverly Hills.
Some things can only happen here."
Spots broke in March.
Brouillard Puts
People First At AFSB
CLIENT
Astoria Federal Savings Bank.
PRODUCTION CO.
SBK Pictures, Ardmore, Penn. Jim McGorman, director; Bob Gantz, DP; Larry Schwartz, executive
producer; John Ficalora, producer. Shot at Silvercup Studios, Long Island City, N.Y.
AGENCY
Brouillard Communications, New York. Malcolm End, creative director; Marilyn Rodan, executive
producer; Eileen Nash, copywriter; Jim Courtright, art director.
EDITORIAL
Image Editorial, New York. Tim Kelly and Stephen Hoppe, online editors. Post Perfect, New York. Victor
Mulholland, colorist.
AUDIO POST
Howard Schwartz Recording, New York. Roy Latham, engineer.
THE SPOTS
"Rose and Phil/Free Checking" features a couple talking about their son Phillip who works in a pizzeria,
and "Zoran and Lena/ Mortgage" focuses on a romance which eventually included buying a home. Both
:30s end with the tag, "Putting people first."
Spots broke June 9.
Crash Films Bites
Into A Wash. Apple
CLIENT
Washington Apple Commission/ Washington Apples.
PRODUCTION CO.
Crash Films, Santa Monica. Billy Kent, director; Ramsey Nickell, DP; Gary Ward and Bill Fortney,
executive producer; Paul Manix, producer. Shot on location.
AGENCY
McCann-Erickson, Seattle. Jim Walker, creative director; Zach Hitner, art director; Jennie Meyer,
copywriter; Michelle Berman, producer.
EDITORIAL
Bob ‘n’ Sheila’s Edit World, San Francisco. Sheila Sweeney, editor; Gina LoCurcio, producer.
POST
Encore Santa Monica (now Riot). Bob Festa, online editor. Company 3, Santa Monica. Noel Castley-
Wright, online editor/ Henry artist.
AUDIO POST
Clatter & Din, Seattle. Vince Werner, mixer.
MUSIC
Admusic, Santa Monica. Steve Hampton, composer; Korbin Kraus, producer.
THE SPOT
Three humorous :30s—"Mall," "Office" and "Zoo"—feature "Apple Guy" patrolling the streets on a
motorbike, equipped with radar to detect the location of exhausted citizens. After several acrobatic feats
with his motor scooter, he revives fatigued shoppers, office workers and zoo patrons with a Washington
apple.
Spots broke Feb
