New Gorditas Spot Is Literally Revolutionary
CLIENT
Taco Bell.
PRODUCTION CO.
Morton Jankel Zander, Hollywood. Rocky Morton, director; David Zander, executive producer; Lisa Rich, producer; Stefan Czapsky, DP.
AGENCY
TBWA Chiat/Day, Venice, Calif. Chuck Bennett and Clay Williams, creative directors; Lori Schulson, producer, Karen Scott, associate producer, Bernie O’Dowd, art director; Chris Ribeiro, copywriter.
EDITORIAL
Superior Assembly Editing Company, Santa Monica. Jim Haygood, editor; Marc D’Andre, assistant editor; Kris Matheney, producer; Debbie McClasky, assistant producer.
POST/VISUAL EFFECTS
Sight Effects, Venice. Melissa Davies, visual effects supervisor; Darcie Tang, visual effects producer; Phil Brennan, Chris Stevesn, Doug Spilatro and Scott Polen, visual effects artists.
In-Sight Pix, Venice. Nicole Tidwell, producer; Michael Capton, Andrew Orloff and Rick Sevy,
animators. Company 3, Santa Monica. Michael Pethel, colorist. Post Logic, Hollywood. Michael Killion, animator; Les Sorentino, producer.
AUDIO POST
Brian Boyd Productions, West Los Angeles. Brian Boyd, mixer.
MUSIC
Elias Associates, bicoastal. Jonathan Elias, composer; Ann Haugen, producer.
SOUND DESIGN
Warner Brothers Studios, Burbank, Calif. Barry Snyder, executive producer.
Autocratic South American dictatorships may have gone out with the Cold War and the first Mrs. Trump, but in the world of advertising no topic is ever left simply to find its place in the annals of consumerism. A current pop-cultural rise-from-the-dead is “Viva Gorditas,” a new :30 Taco Bell spot directed by Rocky Morton of Hollywood-based Morton Jankel Zander via TBWA Chiat/Day, Venice, Calif., which broke earlier this month.
The spot–which launches Taco Bell’s new Gorditas product, which itself is intended to launch a “taco revolution’–centers around the Taco Bell Chihuahua as a dictator-like character in a nameless Latin American nation who is rallying his countrymen around the new Gorditas at a massive gathering. There are red flags aplenty, prominent Soviet-style murals and banners, a Che-esque beret on the dog’s head, and the requisite women and children needed to represent the mother country. The piazza is massive, bordered on each side by dozens of Eastern-bloc styled administrative-looking buildings, gray and weathered, flanking a crowd easily numbering in the six digits.
The spot’s for real, of course, but the piazza isn’t. It’s entirely CGI created, as is most of the spot, the handiwork of producer Nicole Tidwell and her animation team at In-Sight Pix, a visual effects shop in Venice.
Initially Morton and the creatives at TBWA Chiat/Day envisioned themselves jetting to the Southern Hemisphere to shoot imagery of a real Latin-style capital. Brazil and the Dominican Republic were likely targets, and Morton and crew were set to go. “Our biggest challenge was first of all trying to find a location that was in the `taco revolution’ world,” Morton said. “What we wanted to do was sort of create this mythic place which is kind of South American looking, but still with a North American feel.”
But when time constraints meant original footage was out and CGI in, things became a bit more complex. Instead of shooting in some grand Sao Paolo square, Morton and crew were now on a soundstage in Century City. The dog itself, Gidget, was filmed first, perched on the “Evita”-style balcony of the presidential palace. Gidget and the balcony are real, as is the sky above, shot by Morton from the stage’s roof. But the palace and just about everything else was created in postproduction.
This includes the crowd–which was made by shooting some 100 extras against a bluescreen and then multiplying the group 1,000 times–the buildings and all the square’s shadows. According to Tidwell and Chris Ribeiro, a TBWA Chiat/Day copywriter, the entire team referenced a slew of architectural, cinematic and historical data to ensure the spot’s authenticity. Ribeiro, for example, readily admits he watched Evita along with the film I Am Cuba for inspiration, though he stressed the spot does not take place in Havana–lest anti-Castro consumers in Miami take offense. Ribeiro also added a shot showing a young boy waving a flag, a direct appropriation of a photo he’d seen recently of a young Albanian boy waving a flag in the Los Angeles Times.
Tidwell explained that her team turned to architectural books for clues to how existing structures in similar cities might appear. These images essentially formed the model for the buildings, of which eight were created on each side of the square, and then multiplied to form perspective. Architectural books were also used to scan in texture and other indications of wear and tear that a struggling nation’s capital might possess. Alias Power Animator was used for modeling the building, Tidwell said, and Photoshop Press CGI was used for texturing them afterward. The dog’s mouth was manipulated by animator Michael Killion at Hollywood-based Post Logic Studios using Flame to create an illusion of speech.
“We wanted to give these images a real quality rather than simply hand painting them,” said Tidwell, who noted that the entire project took about three weeks.
The spot’s sheer complexity and grandeur, coupled with its almost total reliance of effects technology, proved to be a tremendous–and worthwhile–challenge. “This was different from most of my previous projects because I had never worked on something that was so close to 3-D before,” Tidwell said. Added Ribeiro, “I was nervous because I’d never worked on something with so many effects. So it was like taking all of our eggs and putting them in one basket and then like hanging that basket from an anvil; with each step so dependent on the steps before, we knew we could not decide halfway through the process [that] it was not working.”
Even though revolution and political upheaval is hardly new to advertising, Morton said using references from Che Guevara and Latin influences gives this trope a new twist.
“Che has always been a chic and sexy hero,” Morton said. “And using that element helps make the entire spot look good.”
***
FCB Keeps In Touch With AT&T
CLIENT
AT&T Corp.
PRODUCTION CO.
Omaha Pictures, Hollywood. Michael Grasso, director; Joe Grasso, DP; Phillip Detchmendy, executive producer. Shot on location.
AGENCY
Foote, Cone & Belding, New York. Ted Littleford, senior executive VP/executive creative director; Gordon Hasse, senior VP/senior creative director/copywriter; Nick Scordato, senior VP/senior creative director/art director; Lewis Kuperman, senior VP/executive producer; Andrea Tormey, assistant producer; Karl Westman, music producer.
EDITORIAL
mad.house inc., New York. Craig Warnick, editor.
POST
Empire Video, New York. Lenny Davidowitz, online editor. The Tape House Editorial Company, New York. Milan Boncich, colorist.
AUDIO POST
The Mix Place, New York. Bobby Elder, mixer.
MUSIC
NY JAM Music, New York. Neil Jason and John McCurry, composers.
THE SPOT
“Cammi” features Cammi Granato of the USA Olympic women’s hockey team using AT&T’s services to keep in touch with friends and family.
Spot broke Feb. 6.
***
Plum Prodns. Warms Up For Pro Player
CLIENT
Pro Player.
PRODUCTION CO.
Plum Productions, Santa Monica. Bob Rice, director; Bobby Bukowski, DP; Thom Tyson, executive producer; Cara Tapper, producer. Shot on location.
AGENCY
Harris Drury Cohen, Ft. Lauderdale, Fla. Mike Tesch, executive VP/co-creative director; James Cheung, senior writer; Lynn Sarnow, art director; Lisa Stephens, director of broadcast.
EDITORIAL
Engine Room, Miami. Doug Hempel, editor.
POST
Broadcast Video Inc. (BVI), Miami. Guillermo Vega, online editor; Richard Kluft, colorist.
AUDIO POST
BVI. Marcello Gandalo, engineer/mixer.
MUSIC/SOUND DESIGN
Music Works, Hollywood, Fla. John Martin, composer/arranger/sound designer.
THE SPOT
The :30 “Girlfriend” shows an enthusiastic football fan and his date seated in a crowded football stadium. While he roots, she suffers from the chilly weather. He suggests she blow on her hands or do the wave, but balks when she demands his Pro Player jacket. As she leaves in a huff, he implores the guy next to him to lend her his jacket.
Spot broke in January.
***
Manhattan Transfer Dunks For Reebok
CLIENT
Reebok International.
PRODUCTION CO.
Picture Park, Boston. Kyle Cooper (Imaginary Forces, Hollywood), director; Guillermo Navarro, DP; Mark Hankey, producer. Shot on location.
AGENCY
The Heat, Boston. DeMane Davis and Khari Street, creative directors; Mark Hankey, producer.
EDITORIAL
Red Car, New York. Peter Barstis, editor; Jose Lopez, assistant editor; Jennifer Silverman, producer.
POST/VISUAL EFFECTS
Manhattan Transfer, New York. Kieran Walsh, visual effects designer; Mary Maffei, producer; Greg Grusby, Mac artist. The Tape House Editorial Company, New York. Milan Boncich, colorist.
AUDIO POST
Sound Techniques, Boston. D. David Porter, engineer/mixer.
MUSIC/SOUND DESIGN
Sound Techniques. David Steele, composer/sound designer; D. David Porter, sound designer.
THE SPOT
In the :30 “Lightning,” Nick Van Exel of the Los Angeles Lakers and Chauncy Billups of the Toronto Raptors go one-on-one, as the two players and Reebok director of research engineering Spencer White discuss Reebok’s DMX technology via video conferencing.
Spot broke Feb. 18.
***
Us 2 Warms The Soul With Campbell’s
CLIENT
Campbell Soup Co.
PRODUCTION CO.
House Of Usher Films, Santa Monica. Kinka Usher, director/ cameraman; Tom Sidoti, producer; Candes Kehn, production supervisor; Taylor Ferguson, head of production. Shot on location.
AGENCY
BBDO New York. Bob Emerson, producer; Ted Shaine, senior creative director, “Foster Kid”; Tom Darbyshire, creative director/ copywriter, “Foster Kid,” and copywriter, “Party of Eight”; David Johnson, senior creative director, “Party of Eight”; John Leu, associate creative director/ art director, “Party of Eight,” and art director,“Foster Kid.”
EDITORIAL
Us 2 Editorial, Venice, Calif. Elisa Bonora, editor.
POST
Manhattan Transfer, New York. Jim Montag, online editor; Ron Brower, colorist.
AUDIO POST
East Side Audio, New York. Steve Weisbrot and Bobby Giammarco, mixers.
MUSIC
David Horowitz Music Associates, New York. David Horowitz, composer, “Foster Kid”; Jack Cavari and John Fields, composers, “Party of Eight.”
THE SPOT
In “Foster Kid,” a mom breaks the ice with her foster child by offering a bowl of Campbell’s Soup and some quiet conversation. In “Party of Eight,” a group of meddling kids tries to get their parents together by planning a dinner based on Campbell’s Soup recipes taken off the Internet. The kids find out their plans are foiled when Dad “pops the question” early.
Spots broke in late February.
***
FilmCore Invests In Transamerica
CLIENT
Transamerica.
PRODUCTION CO.
cYclops productions, New York. Albert Watson, director; Peter Donahue, DP; Mike Jurkovac, executive producer; John Benet, producer. Shot on location.
AGENCY
Blazing Paradigm, San Francisco. Ron Walter, creative director/art director; Sam Pond, creative director/copywriter; Gale Gortney, executive producer.
EDITORIAL
FilmCore, San Francisco. Doug Walker, editor; Jon Ettinger, executive producer; Peter Jarit, producer.
POST
Western Images, San Francisco. Orin Green, editor. Company 3, Santa Monica. Stefan Sonnenfeld, colorist.
AUDIO POST
DubeyTunes Studios, San Francisco. Vance Walden, engineer/mixer.
SOUND DESIGN
Michael Boyd Music, San Francisco. Michael Boyd, sound designer.
THE SPOT
Three :30s illustrate how people are building dreams for $50 a month by investing in Transamerica Premier No-Loan Mutual Funds. “Grad Student” tells the story of a young African-American man who each day rides a subway from his blue-collar job to night school. In “Minor Leaguer,” a young ballplayer is determined to do well on the field and be a good family man. In “Mother,” a woman balances a nursing career and motherhood.
Spots broke in January.
***
11/11 For N.Y. State Nurses Assoc.
CLIENT
New York State Nurses Association.
PRODUCTION CO.
11/11 Productions, New York. Joe Zaidman, director; Joe Piccirrilo, DP; Charlie DiComo, executive producer; Andrea Allen, producer. Shot at Stage 513, New York.
AGENCY
Quinn Fable Advertising, New York. Kathy Fable, president/ copywriter; Todd LaRoche, VP/creative director; Ed Raldiris, art director; Mitch Simchowitz, producer.
EDITORIAL
Stolen Car Productions, New York. David Kuther, editor.
POST
National Video Center, New York. Hugh Fitzpatrick, colorist. C A P Productions/Comp Art Plus, New York. Clive Hayes, online editor.
AUDIO POST
ServiSound, New York. Charles Lopresti, engineer.
THE SPOT
“The Smart Consumer/Granny” opens on a grandmotherly type dusting off a car’s hood in front of a white background. “Any smart consumer knows only a highly qualified trained professional should take take of your car,” she says. “But what about for real body work, like when you’re a patient?” She points out a phone number to obtain a “Consumer Guide to Being a Confident Patient.” The spot ends with the woman stating, “And above all, ask for a real nurse–ask for an RN.”
Spot broke Feb. 1.
***
SBK Pictures Is Juicy For Butterball
CLIENT
Butterball Chicken.
PRODUCTION CO.
SBK Pictures, Ardmore, Pa. Jim McGorman, director; David Norton, DP; Barbara J. Hennessy, executive producer; Larry M. Schwartz, producer. Shot at Goraj Lighting & Studios, Haddon Heights, N.J., and on location.
AGENCY
Grey Advertising, New York. Richard Kushel, senior VP/group creative director; Lou Maurio, VP/creative director/ copy; Mike Algieri, VP/creative director/art direction; Zeynep Aksoy, producer.
EDITORIAL
Palestrini Post Production, New York. Niko Sheers, editor; Rose Pagano, assistant editor.
POST
Palestrini Post Production. Louis Yandoli, online editor. Manhattan Transfer, New York. John Bonta, colorist.
VISUAL EFFECTS
Spontaneous Combustion, New York. Scott Sindorf, compositor.
AUDIO POST
East Side Audio, New York. Steve Weisbrot, engineer/mixer.
THE SPOT
“How Do You Know?” features consumers poking and squeezing packages of chicken at the supermarket, trying to determine freshness. A voiceover informs them that the only guarantee for fresh, tender, juicy chicken is shrink-wrapped Butterball chicken.
Spot broke in February.
***
VDE Calls Mom On Sunday With MCI
CLIENT
MCI Communications.
PRODUCTION CO.
Reactor Films, Santa Monica. John Mastromonaco, director; Scott Buttfield, DP; Christina Richman, executive producer. Shot on location.
AGENCY
Messner Vetere Berger McNamee Schmetterer/Euro RSCG, New York. Joe O’Neill, creative director; Ric Palin, executive producer; Jessica Yin, assistant producer; Marcus Kemp, art director; Larry Silberfein, copywriter.
EDITORIAL
Vito DeSario Editing, New York. Mark Nickelsburg, editor.
POST
Screaming Pictures, New York. Amber Wilson, online editor. The Tape House Editorial Company, New York. Milan Boncich, colorist.
AUDIO POST
Photomag, New York. Peter Holcomb, engineer. East Side Audio, New York. Bobby Giammarco, engineer.
MUSIC
Big Foote Communications, New York. Darren Solomon, composer/arranger.
THE SPOT
“Mother’s Day” features stylish portraits of moms, as the voiceover points out that more phone calls are made to mothers by their children on Sundays than are made on Mother’s Day because of MCI’s five-cent Sunday rates.
Spot broke in Janua
