Cramer-Krasselt, Chicago, Traces A Day In The Life Of A Dirty Palm In Icky :30.
CLIENT
Gojo Industries/Purell.
PRODUCTION CO.
Ritts/Hayden, Los Angeles. Pierluca De Carlo, director/designer; Laurent Chanez, designer; Lance Acord, DP; Bill Hayden, executive producer; David Hofflich, producer; Paula Good, production manager. Shot at The Culver Studios, Culver City, Calif.
AGENCY
Cramer-Krasselt, Chicago. Marshall Ross, executive creative director; David Nien Li Yang, senior art director; Larry Lipson, copywriter/associate creative director; Pat Douglass, producer.
STOCK FOOTAGE
Nickerson Research, Los Angeles.
EDITORIAL
Lost Planet, bicoastal. Lee Cowan, editor.
POST/VISUAL EFFECTS
Planet Blue, Santa Monica. Maury Rosenfeld, visual effects supervisor/artist; Milt Alvarez, executive producer; George Sanchez, producer; Pierre LaQuierre, online editor. Encore Santa Monica. Jais LaMaire, colorist.
AUDIO POST
Avenue Edit, Chicago. Dan McClelland, mixer.
MUSIC/SOUND DESIGN
Amber Music, New York and London. Ross Gregory, composer/sound designer.
BY CAROLYN GIARDINA
Slimy subway straps. Filthy money. Uncooked chicken. If the thought of a germ-infested world makes you uncomfortable, wait till you see the latest spot for Purell.
"Hands Anthem," from Cramer-Krasselt, Chicago, follows a pair of hands unconsciously gathering germs in various situations over the course of a day. "As they go through the day, [hands] collect more and more of what is perceived as germs," explained associate creative director/copywriter Larry Lipson. After using Purell, however, hands are renewed and refreshed, he added.
This heavily stylized spot was directed by Pierluca De Carlo of Los Angeles-based Ritts/Hayden and designed by De Carlo and Laurent Chanez. Planet Blue, Santa Monica, created the visual effects.
It’s not difficult to become germ-sensitive-even to begin to squirm-while watching the spot. It begins with dark, grainy shots of hands covered with crawling CG germs. The spot transitions to a subway sequence with a close-up of a hand holding a strap. The camera zooms through another passing train to a billboard on the subway station wall, which bears a picture of hands. Cut to another hand trying to pass a dollar bill through a vending machine, followed by fingers retrieving change from a coin return. Next, hands reach for a package of raw chicken in a supermarket freezer and unwrap the salmonella-breeding fowl.
Then the hands rub themselves with Purell and are transported into a colorful world. The fresh, clean hands open to reveal a lily, symbol of all that is clean and germ-free. The tagline is: "To help stay well. Purell."
Planet Blue president Maury Rosenfeld, who served as visual effects supervisor/digital artist on "Hands Anthem," noted that color was an essential component of the spot. He explained that the chicken was intentionally tinted yellow, the vending machine a greenish black and the hands a brownish tone. He added that after Purell is applied, the images are more colorful and the skin tone more natural.
De Carlo said he aimed to make the first part of the spot as gritty as possible, and at the end convey cleanliness and freshness.
"The challenge was to show hands in many different ways," the director said. "[The billboard] was another way to suggest hands." To create this shot, De Carlo photographed hands and composited the frames in Photoshop. The final image was blown up for the shoot.
"We were trying to find this balance of attractive in the sense that we wanted to capture the viewers’ attention, but it needed to be disgusting. It was a funny balance," Rosenfeld said.
"Each scene in the first half is 20 and 30 layers deep with photography and graphic elements, which I processed extensively to get the film noir look," he explained. "Some elements came from Laurent’s photocopy textures and custom scratches, and others I added, like grain, film burns and lots of image-processing. [Encore Santa Monica’s] Jais LeMaire, the colorist, gave the spot part of its fantastic ‘painted’ look in the transfer. Laurent and I added more color-correction and grading and distress on the Flame."
Rosenfeld explained that stock footage of germs was layered onto the hands for the opening shots. He described the spot as very brave. "I haven’t seen stuff like this on American television before. … The look was very distressed," he commented.
De Carlo praised the agency and client: "They were fantastic because they were very open. They trusted us."
"We all pointed to the same goal," added Rosenfeld. "It was very harmonious."
Quiet Man Launches
Pepsi One For BBDO
CLIENT
Pepsi-Cola Co./Pepsi One.
PRODUCTION CO.
PYTKA, Venice, Calif. Joe Pytka, director/DP; Suellen Wagner, executive producer; Julie Ahlberger, producer. Shot at The Culver Studios, Culver City, Calif., and on location.
AGENCY
BBDO New York. Ted Sann, chief creative officer; Al Merrin, executive creative director/copywriter; Gill Witt, creative director/art director; Harry Woods, creative director/copywriter; Chris Donovan, producer.
EDITORIAL
Crew Cuts, New York. Clayton Hemmert, editor, "Parachute"; Chuck Willis, editor, "Wired."
POST/VISUAL EFFECTS
SMA Video, New York. Larry Trosko, colorist. Quiet Man, New York. Philana Dias, director of visual effects/Flame/effects artist; Amy Taylor, executive producer; Marie Lenz, associate producer.
AUDIO POST
Buzz, New York. Michael Marinelli, engineer.
MUSIC
"Wired" music by Sacred Noise, New York. Michael Montes, composer; Jeff Rosner, executive producer; Keith D’Arcy, producer.
THE SPOT
Two :30s feature Cuba Gooding Jr. inspiring viewers to check out Pepsi One. In "Parachute," Gooding flies through the open jump door and into a plane to join a class of nervous, novice skydivers seconds before they are to make their first jump. Holding a can of Pepsi One, Gooding pumps them up, saying "You wanna taste life? Well this one’s got it all." He then tosses Pepsi One cans out the door and the exhilarated parachutists leap out of the airplane after them. In "Wired," Gooding barges into an office of computer programmers, leaps onto a conference table and enthusiastically states, "You think you got it all, but there’s a tiny voice inside you saying, ‘There’s got to be something new. Put down that mouse and curl up with me, ’cause I’m all you’ll ever need.’ " At spot’s close, the computer guys dance and celebrate with Gooding. Both spots feature the tagline, "Only One has it all."
Spots broke Oct. 17.
Editing Concepts
Watches HBO Films
CLIENT
Home Box Office/HBO.
PRODUCTION CO.
Tate & Partners, Santa Monica. Baker Smith, director; Tim Ives, DP; David Tate, executive producer; Howard Potter, producer. Shot on location.
AGENCY
BBDO New York. Michael Patti, creative director; Bill Bruce, copywriter; Doris Cassar, art director; Deidre Henchy, producer.
EDITORIAL
Editing Concepts, New York. Nelson Leonard, editor; Janet Maya, assistant editor; Nancy Finn, producer.
POST
Nice Shoes, New York. Russ Bigsby and Mark Wilhelm, online editors; Scott Burch, colorist.
AUDIO POST
Sound Lounge, New York. Tom Jucarone and Peter Holcomb, mixers.
MUSIC
Rocket Music, New York. Phil Ashley, composer.
SOUND DESIGN
corncob, New York. Peter Lopez, sound designer.
THE SPOT
Five :30s humorously spotlight upcoming movies on HBO. Each opens with a humorous vignette and ends with a montage of quick-cut movie titles and scenes, concluding with the tag, "Because there’s real life, and then there’s the movies on HBO." "Romance" features a couple sitting silently over dinner at a restaurant; a woman searches for her keys in "Mystery"; a pair of elderly men on a park bench argue in "Drama"; a dog barks at a group of kids in "Scary"; and a cop plays with his speed gun in "Action and Adventure."
Spots broke Nov. 9.
(Colossal), Doner Fly
Santa For Blockbuster
CLIENT
Blockbuster Video.
PRODUCTION CO.
(Colossal) Pictures, San Francisco. George Evelyn, director; Mike Smith, creative director/ designer; Jana Canellos, executive producer; Velvy Appleton, producer; Mike Cavanaugh, post supervisor. Animation by Chuck Gammage Animation, Oakville, Ont. Chuck Gammage, animation director; Daryl Graham, animator.
AGENCY
Doner, Southfield, Mich. Dave Michalak, creative director/ copywriter; Sheldon Cohn, co-creative director; Amy Faulkner, executive producer; Gary Gottschalk, senior art director.
POST
Western Images, San Francisco. Bob Roesler, Flame artist; Gary Coates, senior colorist. Digital ink and paint by Chapow!, Jackson, N.J. Ed Mironiuk and Kris Tercek, contacts.
AUDIO POST
The Mix Place, New York. Kenny Fredrickson, mixer/engineer.
MUSIC
David Horowitz Music Associates, New York. David Horowitz, composer/arranger.
THE SPOT
In "Santa Japanimation," Santa tosses into the night sky Blockbuster Holiday GiftCards, which magically find their way down every chimney in town. Santa then finishes his rounds and heads back to the North Pole. In one of the houses, a happy child with a GiftCard says, "You know, since the Blockbuster GiftCard came along, Santa just seems a little cooler than he used to be."
Spot broke Nov. 23.
WI Casts A Shadow
For Lifeguard
CLIENT
Lifeguard HMO.
PRODUCTION CO.
t minus 30 Films, Venice, Calif. Jeff Kaumeyer, director; Ernesto Melara, DP; John Clark, executive producer; Larry Serraino, producer. Shot on location.
AGENCY
Hoffman/Lewis, San Francisco. Sharon Krinsky, creative director/copywriter; Tavia Holmes, art director; Patti Dudgeon, executive producer.
EDITORIAL
Bob ‘n Sheila’s Edit World, San Francisco. Sheila Sweeney, editor; Jennifer Suttlemyre, producer.
POST/VISUAL EFFECTS
Western Images, San Francisco. Susan Smith, creative director; Ali Laventhol, online editor/digital artist; Todd Lindo, producer. Encore Santa Monica. Bob Festa, colorist.
AUDIO POST
Crescendo! Studios, San Francisco. Jay Shilliday, engineer.
MUSIC
Michael Boyd Music, San Francisco. Michael Boyd, composer.
THE SPOT
In "Keeping a Distance," a Lifeguard health plan logo casts its shadow in place of the true shadows of live-action people. The :30 ends with the tag, "On your side. Not in your way."
Spot broke in October.
Jigsaw Is Cool Blue
For Apple iMac
CLIENT
Apple Computer/iMac.
PRODUCTION CO.
Coppos Films, Los Angeles. Mark Coppos, director; Rebecca Baehler, DP; Bill Bratkowski and Allison Nunn, executive producers; Michael Appel, producer. Shot at Sony Pictures Studios, Culver City, Calif.
AGENCY
TBWA/Chiat/Day, Playa del Rey, Calif. Lee Clow, chief creative director; Ken Segall, creative director; Susan Alinsangan, art director; Neil Hughlett, copywriter; Michelle Burke, producer; Tom Dunlap, assistant producer.
EDITORIAL
Jigsaw Editorial, Santa Monica. Brad Wetmore, editor; Andrew Charlton and Brian Freundlich, assistant editors; Deanne Mehling, executive producer.
POST
The Finish Line, Santa Monica. James Bygrave, Henry artist. Company 3, Santa Monica. Michael Pethel, colorist.
AUDIO POST
RavensWork, Venice, Calif. Robert Feist, mixer.
MUSIC
Asche & Spencer/Venice. Chris Beaty, composer; Thad Spencer, creative director; Hugh Barton, executive producer.
THE SPOT
Two :30s for Apple’s iMac feature actor Jeff Goldblum standing in front of a stark white background, talking about the Internet and e-mail in "E-Mail" and, in "Beige," comparing the cool blue color of iMac to the usual boring beige shade of PCs.
Spots broke Oct. 6.
Pinnacle StacksWood
At Home Depot
CLIENT
Home Depot.
PRODUCTION CO.
Pinnacle Studios, Seattle. Dale Fay, director; Bruce Donelan, DP; Bruce Nicholson, special effects supervisor; Trent Siegel, motion-control camera programmer; Mark Malcolm, producer. Shot at Pinnacle Studios.
AGENCY
The Richards Group, Seattle. Gary Gibson, creative director; Mike Gustafson, art director; Mike Fisher, copywriter; Sheri Cartwright, producer.
EDITORIAL
Pinnacle Studios. Wes Plate, creative editor.
POST/VISUAL EFFECTS
Pinnacle Studios. Sam Louis, Henry artist/online editor; Tim Maffia, colorist.
AUDIO POST
Real To Reel, Dallas. Ron Morgan, engineer.
SOUND DESIGN
Groove Addicts, Los Angeles. Jonathan Miller, sound designer.
THE SPOT
The :30 "Premium Cut" introduces Home Depot’s new grade of lumber. Wood is sawed, stacked and manipulated to display stenciled messages and the Home Depot logo on the product.
Spot broke Oct. 26.
Plum Prodns. Eats
At Golden Corral
CLIENT
Golden Corral.
PRODUCTION CO.
Plum Productions, Santa Monica. Bob Rice, director; Pat Darrin, DP; Thom Tyson, executive producer; Cara Tapper, producer. Shot on location.
AGENCY
The Richards Group, Dallas. Bill Cochran, creative director/copywriter; Dave Rucker, producer; Patrick Murray, art director.
EDITORIAL/POST
Post Op, Dallas. Gerlinde Scharinger, offline/online editor; Doug Bryan, assistant editor; Lisa Hill, executive producer. The Filmworkers Club, Dallas. Rob Lingelbach, colorist.
AUDIO POST
Post Op. Collyer Spreen, engineer/mixer; Lisa Hill, executive producer.
MUSIC/SOUND DESIGN
Soundscore-Music and Sound Design, Sherman Oaks, Calif. Jud Haskins, composer/arranger/ sound designer.
THE SPOT
Five humorous :30s spotlight the specials at Golden Corral restaurants. In "Odd Sweaters," a family receives unique sweaters made by Grandma as Christmas presents; an announcer mentions, however, that Golden Corral gift certificates fit everyone. A guy named "Wednesday" sits on a park bench feeling overlooked-until he finds out that Golden Corral has made Wednesday an "All-you-can-eat day." A young man scores a fabulous deal on a baseball bat while the voiceover talks about the equally great deal available at the restaurant, in "Garage Sale." "Cereal Meltdown," which spotlights Golden Corral’s breakfasts, features a guy losing his mind when he realizes that, once again, it’s cereal in the morning. A salesman attempts to sell a Golden Corral executive freeze-dried, hermetically sealed food items, in "Food Salesman."
Spots broke Oct. 26.
Mendelsohn Zien
Drips For Carl’s Jr.
CLIENT
Carl Karcher Enterprises/Carl’s Jr.
PRODUCTION CO.
Propaganda Films, Hollywood. Antoine Fuqua, director; Pascal Lebegue, DP; Colin Hickson, executive producer; Jeff Tanner, producer. Shot on location.
AGENCY
Mendelsohn Zien Advertising, Los Angeles. Jordin Mendelsohn, executive creative director; Claudia Caplan, associate creative director/copywriter; Jeff Nee, art director; Brittany Stevenson, producer; Amy Lyngos, associate producer.
EDITORIAL
Jigsaw, Santa Monica. Jon Hopp, editor.
POST
Company 3, Santa Monica. Michael Pethel, colorist. POP Television, Santa Monica. Andrew Eksner, online editor.
VISUAL EFFECTS
POP Television. Kristen Johnson, effects supervisor; Russ Fell, Inferno compositing.
AUDIO POST
Margarita Mix, Hollywood. Rich Rauh, engineer.
MUSIC/SOUND DESIGN
Decibel Architects, Los Angeles. Tom Page, composer/sound designer; Jonnie Peckham, executive producer.
THE SPOT
In the :30 "Prison," guards eat Carl’s Jr.’s Western Steak Sandwiches as they stand high above the condemned in a jail courtyard. As the drippings from the sandwiches drop down around the hungry incarcerated men, the screen freezes and a super appears: "Due to the preceding incident, eating a Carl’s Jr. Western Steak Sandwich in prison was declared cruel and unusual punishment."
Spot broke Sept. 16.
Air Force One For
ESPN/Drug Control
CLIENT
ESPN/The Office of National Drug Control Policy.
PRODUCTION CO.
Air Force One, New York. Trez Bayer, director; David Moribito, DP; Walter Thomas, executive producer; Kate Eisemann, producer; Stephan Romanoski, production manager. Shot on location.
AGENCY
Air Force One. Walter Thomas, creative director/copywriter; Kate Eisemann, executive producer.
EDITORIAL
Air Force One. Bryan Monzella, editor.
POST
Broadway Video, New York. Jon Howard, online editor; Sam Griglio, playback; Brian Enberg, coordinator. PrinczCo Productions, New York. Bill Willig, colorist.
VISUAL EFFECTS
Air Force One. Carla Bieniek, graphic designer.
AUDIO POST
Superdupe Recording, New York. Glenn Navia, engineer/ mixer.
SOUND DESIGN
Air Force One. Trez Bayer, sound designer.
THE SPOT
A campaign of 19 spots entitled "Talk. Listen. Stay Involved," uses ESPN on-air talent to encourage parents to talk to their children about drugs and alcohol, and to challenge adults to play a more active role in their kids’ lives. The spots feature portrait photography and type/graphic design, with each commercial addressing a specific issue.
Spots broke Nov. 22.
CP, Finish Line Say
"Oh Nooo!" For Lexus
CLIENT
Toyota Motor Sales USA/Lexus GS400.
PRODUCTION CO.
Complete Pandemonium, San Francisco, and Dreamsite Productions, Santa Monica. For Complete Pandemonium: Richard Kizu-Blair, co-director; Don Smith, DP; Stelio Kitrilakis, executive producer; Chris Whitney, producer; Carol Bernacchi, production manager; Kari Albert, associate producer. For Dreamsite Productions: Walter Williams, co-director; Jenna Shaunessy, coordinator. Shot on location.
AGENCY
Team One Advertising, El Segundo, Calif. Steve Levit and Tom Cordner, creative directors; Julie Shannon, producer; Stan Toyama, art director; Melissa Huffman, copywriter.
EDITORIAL
Lost Planet, Santa Monica. Keith Salmon, editor; Monique Eissing, assistant editor; Kim Sprouse, producer.
POST
The Finish Line, Santa Monica. James Bygrave, online editor. Company 3, Santa Monica. Stefan Sonnenfeld, colorist.
AUDIO POST
Margarita Mix, Hollywood. Jimmy Hite, engineer.
MUSIC/SOUND DESIGN
Primal Scream, Santa Monica. Reinhard Denke, composer; Jason Johnson, sound designer.
THE SPOT"Mr. Bill" takes a wild ride in the new Lexus GS400 after his nemesis Sluggo gets behind the wheel.
Spot broke in November.
Scene Three For
Onslow Memorial
CLIENT
Onslow Memorial Hospital.
PRODUCTION CO.
Scene Three, Nashville. Scott McCullough, director/DP; Scene Three, executive producer; Dee Butler, producer. Shot on location.
AGENCY
Notch/Bradley, Chattanooga, Tenn. Jeff Cole, creative director/ art director; Frank Bradley, producer; Jerry Rettie, copywriter.
EDITORIAL
Scene Three. Brian Puckett, editor.
POST
Scene Three. Brian Puckett, online editor; John Buchanon, colorist.
AUDIO POST
Scene Three Audio, Nashville. Nick Palladino, mixer.
MUSIC
Sound Resources, Chattanooga. Steve Babb, composer.
SOUND DESIGN
Scene Three Audio. Nick Palladino, sound designer.
THE SPOT
"Everyday Heroes" opens with slow-motion footage of runners on a beach, then shifts to fast-paced images of the services available at Onslow Memorial Hospital.
Spot broke in October.
J.J. Sedelmaier For
Children’s Sudafed
CLIENT
Warner-Lambert/Children’s Sudafed.
PRODUCTION CO.
J.J. Sedelmaier Productions, White Plains, N.Y. J.J. Sedelmaier, director; Rob Marianetti and Sean Lattrell, animators; Dave Lovelace, animator/production; Jose Velasco, assistant animator; Irene Cerdas, production coordinator; Sharon Alsheimer, Anthony DeLaurentiis and Rose Eng, production. Animus Productions, New York. Daniel Esterman, cameraman.
AGENCY
Bates USA, New York. Gary Boyd, creative director/art director/animation designer; Zinnie Johnson, producer; David Greenberg, copywriter.
EDITORIAL
J.J. Sedelmaier Productions. J.J. Sedelmaier, editor.
POST
The Tape House Editorial Company, New York. Jay Tilen, online editor; Milan Boncich, colorist.
AUDIO POST
Photomag, New York. Doug Senger, engineer.
MUSIC
Pomposello Productions, New York. Tom Pomposello, composer.
THE SPOT
In the :30 "Blockhead," a boy with a swollen, Rubik’s-cube head reports to his mom that he’s "all stuffed up." Mom saves the day with Children’s Sudafed, which unlike other cold and flu remedies, doesn’t give kids that "floating like a balloon on a string" sensation.
Spot broke Oct. 21.
A Band Apart, S&S
Eat Honey Nut Chex
CLIENT
General Mills/Honey Nut Chex.
PRODUCTION CO.
A Band Apart Commercials, Los Angeles. Rent Sidon, director; Steven Burun, DP; Michael Bodnarchek and Lawrence Bender, executive producers; Adam Bloom, producer. Food photography by Simpson Films, New York. Jerry Simpson, director/ DP; Nick Wollner, executive producer; Howard Potter, producer; Leslie Gyson, production manager. Shot at Shades of Light Studios, Burbank, Calif., and Simpson Films.
AGENCY
Saatchi & Saatchi, New York. Tod Seisser, chief creative officer; Sean Kiener, creative director/art director; Jay Taub, copywriter; Greg Hall, executive producer.
EDITORIAL
89 Greene Editorial, New York. Tim Cahill, editor; Neil Miller, assistant editor.
POST
The Tape House Editorial Company, New York. Mike Colao, online editor; Milan Boncich, colorist.
AUDIO POST
Mixed Nuts Recording Studios, New York. Joe Vagnoni, engineer.
MUSIC/SOUND DESIGN
tomandandy, bicoastal. Andy Milburn, composer/creative director; Sam Retzer, composer/sound designer.
THE SPOT
A conservative father and his punk-rock daughter have only one thing in common-their love for Honey Nut Chex-in the :30 "Odd Couple."
Spot broke Oct. 1.
The A+R Group, HSR
Get Involved For CP&L
CLIENT
Carolina Power & Light.
PRODUCTION CO.
The A+R Group, bicoastal. Michael Cuesta, director/DP; Roberto Cecchini, executive producer; Mike Downey, producer. Shot on location.
AGENCY
Carolina Power & Light, Raleigh, N.C. Bertelle Selig, executive producer/producer; Lori Shantz, copywriter; Steve Davis, art director.
EDITORIAL
Chinagraph, New York. Eric Carlson, editor.
POST
Nice Shoes, New York. Rich Schreck, online editor; Scott Burch, colorist.
AUDIO POST
The Mix Place, New York. Bobby Elder, mixer.
SOUND DESIGN
Howard Schwartz Recording, New York. Jun Mizumachi, sound designer.
THE SPOT
The :30 "Bluebirds" focuses on CP&L’s involvement with the Adopt State Parks program, in which company volunteers have helped kids build hundreds of bluebird houses. "Stories" spotlights how CP&L dismantled a polluted dam, helping local fishermen (and allowing them to continue telling their big-fish tales). "What I Want To Be," which focuses on CP&L’s educational activities, features kids describing what they want to be when they grow up: a dancer, a therapist, a schoolteacher, a policeman and a songwriter.
Spots broke Nov. 1.
Flipside Searches
Quickly With HotBot
CLIENT
HotBot.
PRODUCTION CO.
Wild Scientific, Santa Monica. David Wild, director; Dana Christaanson, DP; Lesley Boucher, executive producer; Andre Kumierz, producer. Shot at Jonas Jensen Stage, Seattle.
AGENCY
Goodby, Silverstein & Partners, San Francisco. Steve Simpson, creative director; Kristin Loudis, producer; Greg Bell, art director; Paul Venables, writer.
EDITORIAL
Goodby, Silverstein & Partners Post, San Francisco. Bob Morrow, editor.
POST
Flipside Editorial, San Francisco. Bob Gingg, online editor; Andrew Clark, assistant editor; Lisa Falvo, executive producer. Company 3, Santa Monica. Stefan Sonnenfeld, colorist.
VISUAL EFFECTS
Flipside Editorial. Scott Williams, designer.
AUDIO POST
Crescendo! Studios, San Francisco. Jay Shilliday, engineer.
MUSIC
Hum Music+Sound Design, Santa Monica. Jeff Koz, composer.
THE SPOT
"Investment Tips," "Political Scandals" and "Update" point out the importance of a modern, fast search engine. The :30s focus on a group of elderly men who symbolize the older Internet search engines. The men sit slumped in their chairs in a small room, awaiting orders to search. When the command comes over the loudspeaker, they are roused from their seats and offer outdated, useless and crazy information.
Spots broke in Octo
