Director’s First Spot An Obstacle (Course) To Overcome.
CLIENT
Nike International.
PRODUCTION CO.
A Band Apart.35mm, bicoastal. John Woo, director; Gale Tattersall, DP; Lawrence Bender and Michael Bodnarchek, executive producers; Danny Wolf, producer. Zohar/Bakker, Humaita, Brazil, production services. Shot on location.
AGENCY
Wieden & Kennedy, Amsterdam. Dan Wieden and John Matthews, creative directors; John Boiler, art director; Glen Cole, copywriter; Charles Wolford, producer.
EDITORIAL
The Whitehouse, London. Russell Icke, editor; Stewart Reeves, assistant editor.
POST
The Mill, London. Fergus McCall, colorist.
VISUAL EFFECTS
Glassworks, London. Jonathan Hicks, Flame artist; Sean Feeney, producer. Digital Domain, Venice. Fred Raimondi, visual effects supervisor; Paul Kirsch and David Stern, compositers; Joe Mandia and Mark Brown, CG animators; Holly Port, producer.
AUDIO POST
Scramble Sound, London. Rowan Young, engineer.
SOUND DESIGN
Mit Out Sound, Sausalito, Calif. Ren Klyce, sound designer.
BY REGINALD OBERLAG
For Nike’s Wieden & Kennedy/Amsterdam, action speaks louder than words. That’s why it tapped a grand master of action films, John Woo, to helm “Airport ’98” for Nike’s sneakers.
The :90 spot–from which four other versions (including some additional footage from the shoot) were created–started airing worldwide beginning March 25. The commercial, Woo’s first ever, was the result of a multimillion-dollar project that required 12 days of shooting in Rio de Janeiro, Milan and Barcelona. The spot is a supremely choreographed and wordless “ballet” featuring Brazil’s soccer team, the members of which strut their stuff in Rio’s international airport while waiting for a (fictional) delayed flight to a Paris-based match. Set to a lively samba, the action and comedy is nonstop from the moment the soccer world’s Player of the Year, Ronaldo, unzips his duffel bag and pops up a soccer ball with his toe as the Brazilian hit song “Mas Que Nada” strikes up, to the ending’s goal attempt. His restless teammates join the fun as each Brazilian soccer star shows off his trademark speciality, including Roberto Carlos’ famous banana kick–which blasts the ball across the runway tarmac and through a moving luggage cart–and Denilson’s dribbling, which he does over and between passengers on a moving walkway. The players–still kicking that ball–are chased by security guards until Ronaldo kicks the ball toward what appears to be an easy goal, only to miss as several starstruck kids cover their eyes in disappointment.
While the elaborate project was a logistical nightmare for agency producer Charles Wolford–who had to coordinate the players’ schedules with the Rio airport’s availability (the shoot took place during the busy Christmas holidays)–he noted that it was an ideal spot for Woo to cut his commercial teeth on.
The Chinese director, who is repped for spots through bicoastal A Band Apart.35mm, began his feature career shooting ultra-violent gangster thrillers in Hong Kong; he gained a cult reputation in the U.S. for The Killer in 1989. Woo was soon snatched up by Hollywood for big action movie projects including Hard Target, Broken Arrow, Face/Off and King’s Ransom. He’s currently preparing to shoot Mission: Impossible 2.
Although the creative team at Wieden & Kennedy/Amsterdam was doubtful it would be able to book the busy director, they knew he would be perfect for the job. His mastery of the action genre is so well-respected that a reportedly true Hollywood story has a studio executive saying, “I suppose Woo can direct action scenes,” and director Quentin Tarantino responding, “Sure, and Michelangelo can paint ceilings.”
According to W&K art director John Boiler, who’s a big fan of Woo’s movies, the concept of shooting the soccer players cavorting through the airport was a natural for both Woo and the Brazilian footballers, who are known for their childlike joy on the playing field.
“The whole premise of the spot was [to see] what happens when you get a bunch of these football stars who are really like kids … trapped in the most boring place in the world–an airport,” said Boiler. He remarked that in many ways the stagnant downtime between shots was as trying for the athletes as the fictional airport wait was intended to appear, and that they would start kicking around balls and sometimes even disappear. But Woo, he said, who handled it all with aplomb, was surprisingly comfortable with both the non-actors and the collaborative nature of advertising.
The spot was storyboarded to highlight each of the player’s special soccer talents, but it was Woo, said Boiler, who decided to choreograph a field of obstacles that “let them look spontaneous and natural by letting them just play soccer. … It was a brilliant way to handle the problem.”
“We wanted to produce a musical commercial that showed the beauty and energy of the players and the product,” explained Woo. He added that the crew was able to capture the players’ incredible football skills with a special Steadicam rig mounted on a motorized mountain bike.
“When John films, it’s like a dance; he moves his cameras as if they were street performers or actors on a set and carefully crafts every shot–nothing is ever photographed in a mundane fashion,” said W&K copywriter Glen Cole.
“Although we came from so many different backgrounds,” added Woo, “we ended up playing like kids.”
***
Lewin, Finish Line Stack Up Drypers
CLIENT
Drypers.
PRODUCTION CO.
Lewin Pictures, Los Angeles. Elyse Lewin, director; Tom Ackerman, DP; Harvey Warren, executive producer; Madelyn Curtis, producer. Shot at Raleigh Studios, Hollywood.
AGENCY
Suissa Miller Advertising, Los Angeles. David Suissa, creative director; Mike Indgin, associate creative director; Betty Meadows, producer; Sandi Silbert, art director; Allyson Ranallo, copywriter.
EDITORIAL
t minus 30 Post, Venice, Calif. Derek Seelig, editor.
POST/VISUAL EFFECTS
The Finish Line, Santa Monica. Jon Merrifield, online editor; Nancy Hyland, Flame artist. Company 3, Santa Monica. Michael Pethel, colorist. t minus 30 Films, Venice. Derek Seelig, editor; Carol Lombard, executive producer.
AUDIO POST
Margarita Mix, Hollywood. Jimmy Hite, mixer.
MUSIC
Saparoff Music, Topanga, Calif. Andrea Saparoff, composer.
THE SPOT
In the :30 “Stacks,” three babies balance on packages of Drypers, Huggies and Pampers. As the voiceover tallies the benefits of Drypers over the competition, the Drypers stack experiences spurts of growth, leaving the other babies looking up at the Drypers baby.
Spot broke Feb. 16.
***
NBA Entertainment, Houston Clean Up
CLIENT
National Basketball Association.
PRODUCTION CO./AGENCY
NBA Entertainment, Secaucus, N.J. Jamie Most, director/creative director; Jim Fealy, DP; Adam Silver and Gregg Winik, executive producers; Lynne Robinson, producer; Carol Albert, director of production; Michael Myers and Eric Schmid, art directors; Ethan Eichrodt, copywriter; Cheryl Stallings, production manager. Shot on location.
EDITORIAL
NBA Entertainment. Kim Mahorn, editor.
POST
NBA Entertainment. Dick Seebach, online editor. SMA Realtime, New York. Billy Gabor, colorist.
AUDIO POST
East Side Audio, New York. Bobby Giammarco, mixer.
SOUND DESIGN
Leigh Roberts, New York, sound designer.
THE SPOT
The PSA “Allan Houston,” for the NBA’s TeamUp program, features the park cleanup efforts of the New York Knicks guard, and the music of Wynton Marsalis and the Lincoln Center Jazz Orchestra.
Spot broke Dec. 25.
***
Jump Ship Brightens University Games
CLIENT
University Games.
PRODUCTION CO.
The Washburn Company, San Francisco. Jon Torcassi, director/DP; Jane Washburn, executive producer. Shot on location.
AGENCY
Zuckerman/Fernandes & Partners, San Francisco. Al Fernandes, creative director/art director; Alex Cichy, copywriter; Wicktoria Markula, producer.
EDITORIAL
Jump Ship Studios, San Francisco. Mike Murray, editor; Tomas McCabe and Tim Kennedy, assistant editors; Susan Conklin, executive producer.
POST
Jump Ship Studios. Ron Atik, online editor. Varitel, San Francisco. Mike Kennen, colorist.
VISUAL EFFECTS
Jump Ship Studios. Ron Atik and Ray Penezic, title design/animation and effects.
AUDIO POST
One Union Recording, San Francisco. Eric Eckstein, engineer/mixer.
SOUND DESIGN
Jump Ship Studios. Mike Murray, sound designer.
THE SPOT
In the :30 “Suits,” agents confront a boy at his home regarding recent “sightings.” The boy takes the men up to his room, warns them of a powerful event and switches off the light. The room takes on an eerie glow as University Games’ Way to Glow stickers phosphoresce on the ceiling.
Spot broke Feb. 15.
***
Chris Bell, Coppos For Network Assocs.
CLIENT
Network Associates.
PRODUCTION CO.
“Bummer” by Mars Media, Venice, Calif. Samuel Bayer, director/DP; Kerstin Emhoff, executive producer. “Killer Factoid,” “Killer Factoid-Janitor,” “Killer Factoid-Hacker” and “Killer Factoid-Vixen” by Coppos Films, Los Angeles. Mark Coppos, director; Peter Brown, DP; Bill Bratkowski and Allison Nunn, executive producers; Michael Appel, producer; Sharon Lorick, production manager. “Bummer” shot at Sony Pictures Studios, Culver City, Calif.; “Killer Factoid,” “Janitor,” “Hacker” and “Vixen” shot at Raleigh Studios, Hollywood.
AGENCY
Think New Ideas, Los Angeles. Larry Kopald, president/chief creative officer/copywriter; Rich Frankel, creative director; Bruce Adelhoch, copywriter; Amy Wagoner, director of broadcast; Gordon Melcher and Mia Ellis, art directors; Robert Parker, producer.
EDITORIAL
Lost Planet Editorial, Santa Monica. Hank Corwin and Steve Jess, editors.
POST
Company 3, Santa Monica. Noel Castley-Wright, Henry artist/online editor; Michael Pethel, colorist.
AUDIO POST
Mike Recording Services, West Los Angeles. “Bummer” mixed by Bruce Bueckert; “Janitor,” “Hacker” and “Vixen” mixed by Bob Gremore.
MUSIC/SOUND DESIGN
Chris Bell Music & Sound Design, West Los Angeles. Chris Bell, composer, “Bummer”; Andy Snavely, sound designer, “Hacker” and “Janitor”; Nathan Dubin, sound designer, “Vixen” and “Killer Factoid”; Andrea Crook, executive producer.
THE SPOT
In the :60 “Bummer,” two Russians launch a nuclear missile from their silo and then wonder if the coded message received via computer was legitimate, pointing out the hazards of inadequate network security. The other spots highlight Network Associates’ role providing companies with computer network security. Each opens with people placed in front of brilliant white backgrounds. “Factoid” makes viewers aware that 80% of Fortune 100 companies manage and protect their computer networks through Network Associates. “Hacker,” “Vixen” and “Janitor” focus on people with evil intentions. For example, in “Janitor,” a voiceover cites FBI statistics that show that more than half of all computer network espionage is done by disgruntled employees. A custodian looks toward the camera and says with disgust, “The chairman gets a half-million-dollar bonus … I get a 3% raise.” Each spot ends with the tag, “So who’s watching your network?”
“Janitor,” “Hacker” and “Vixen” broke Jan. 3. “Bummer” aired Jan. 25.
***
Plum Prodns. Spans An Iams Lifetime
CLIENT
The Iams Co.
PRODUCTION CO.
Plum Productions, Santa Monica. Carroll Ballard, director; Riggs Murdoch, DP; Thom Tyson, executive producer; John Marias, producer; Nancy Sandberg, production manager. Shot on location.
AGENCY
W.B. Doner & Co., Southfield, Mich. Bryan McPeak, senior VP/ creative director/division head; Mike Rutka, senior VP/creative director; Allyson Raynes, senior producer.
EDITORIAL
Harvey’s Place, Southfield. Warren Silverstein, editor.
POST
Grace & Wild Digital Studios, Farmington Hills, Mich. Jeff Fleck, online editor; Tom Martin, colorist.
AUDIO POST
Producer’s Color Service, Southfield. Bob Meloche, engineer/mixer.
MUSIC
Michael Levine Music, New York. Michael Levine, composer/arranger.
THE SPOT
“A Lifetime with Iams” promotes the varieties of Iams dog food through a story that spans the life of a girl and her Irish setter. The :30 consists of three scenes, each showing a little girl and her dog on a long wooden staircase–but at different stages of their lives. In the first scene, the adolescent girl coaxes her puppy up the stairs. Next, the same girl as a teenager races up the stairs with her now adult Irish setter. In the final scene, the girl, now an adult, welcomes home her slightly graying canine friend as he stuggles up. A similar point is made about cats in “Is Iams Good for Life?” The :30 weaves product information with a series of vignettes featuring special moments of cats and their owners, ranging from a young girl to a gray-bearded man.
Spots broke in January.
***
Crushing Kisses Dr Pepper For Y&R
CLIENT
Cadbury Beverages/Dr Pepper.
PRODUCTION CO.
Giraldi Suarez Productions, New York. Bob Giraldi, director; Peter Repplier, assistant director; Tim Ives, DP; Joan Babchak, producer. Shot on location.
AGENCY
Young & Rubicam, New York. Manny Perez, group creative director; Chris Grabenstein, copywriter; John Lucci, art director; Mootsy Eliot, producer; Hunter Murtaugh, music producer.
EDITORIAL
mad.house, New York. Craig Warnick and Rob Tortoriello, editors; Ron Len, assistant editor.
POST
Empire Video, New York. Lenny Davidowitz, online editor. Manhattan Transfer/Edit, New York. Ron Brauer, colorist.
AUDIO POST
Howard Schwartz Recording, New York. Roy Latham, engineer; Jimmy Cruz, assistant engineer. Mixed Nuts, New York. Joe Vagnoni, mixer.
MUSIC
Crushing Music, New York. Alfred Hochstrasser, arranger, “Nursery”; Kenny White, arranger, “Kisses”; and Jeff Southworth, arranger, “Vending Machine.”
THE SPOT
Three :30s feature music from the ’60s and ’70s, affirming the timeless quality of Dr Pepper. In “Nursery,” a teacher adds to her growing pile of apples and then notices that one of her students is missing from the classroom. Young Danny shows up, dazzling classmates with his slick dancing to the Bee Gees’ “Staying Alive” and surprising the teacher with a can of Dr Pepper. “Kisses” features a diverse group of people displaying their love for Dr Pepper, each in their own individual style. The flirty, sexy, sometimes demure, sometimes quirky action is illuminated by the Everly Brothers’ “’Til I Kissed You.” In “Vending Machine,” two little girls cut the power supply to a vending machine, denying a thirsty Dr Pepper-craving Rollerblader his drink of choice, to the tune of The Pipkins’ “Gimme Dat Ding.” He proceeds to make a scene, pounding the buttons on the machine and trying to reach into the door of the dispenser. A policeman finally arrives to find out what’s going on, as the girls are shown enjoying a Dr Pepper.
Spots broke in January.
***
Cabana Drives Happy For Foote, Cone
CLIENT
Alamo Rent A Car.
PRODUCTION CO.
Superior Street, Chicago. Steve Farr and Barry Poltermann, directors; Jim Zabilla, DP; Dick Gillespie, executive producer; Maria Xerogianes, producer. Shot on location.
AGENCY
Foote, Cone & Belding, New York. David Curtis, executive producer/creative director; Joel Sobelson, senior VP/group creative director; Dave Martin, VP/creative director/art director; Larry Spector, VP/creative director/copywriter; Stuart Raffel, producer.
STOCK FOOTAGE
The Image Bank, New York.
EDITORIAL
Cabana, New York. Billy Senia, editor.
POST
Post Perfect, New York. Victor Mulholland, colorist. Manhattan Transfer, New York. Ted Pishko, online editor.
AUDIO POST
Photomag, New York. Rex Recker, mixer.
MUSIC
Crushing Music, New York. Jeff Southworth, arranger.
THE SPOT
“Drive happy” features Alamo customers enjoying their vacation right from the start, with drivers and passengers having fun in their Alamo Rent A Cars. Using the message “Don’t worry … drive happy!,” the spot focuses on Alamo’s “unlimited smileage” and “Drive happy deals.”
Spot broke Feb. 23.
***
Anchor Editorial Works Hard For Ford
CLIENT
Ford Motor Co.
PRODUCTION CO.
Giraldi Suarez Productions, Beverly Hills, Calif. Bob Giraldi, director; Marco Mazzei, DP; Debbie Merlin, executive producer; Eileen Gillen Burgess, producer; Carie Krumme, production coordinator. Shot at Universal City Studios, Universal City, Calif., and on location.
AGENCY
J. Walter Thompson, Detroit. Bruce Rooke, executive creative director/copywriter; Mike Priebe, creative director/art director; Lauren Crane, associate creative director/copywriter; John Kamerer, art director; Carl Spresser, Phyllis Shook and Bob Ammon, producers.
EDITORIAL
Anchor Editorial, Santa Monica. Steve Wystrach and Richard Clark, editors; Jay Rogers and Virginie Strub, assistant editors; Suzanne LeAnce, producer.
POST
Company 3, Santa Monica. Michael Pethel, colorist. Encore Santa Monica. Bob Festa, colorist.
VISUAL EFFECTS
The Finish Line, Santa Monica. James Bygrave, Jon Mueller and Jon Merrifield, Henry artists.
AUDIO POST
Margarita Mix, Hollywood. Jimmy Hite, mixer. POP Sound, Santa Monica. Peter Rincon, mixer.
MUSIC
Trivers/Myers Music, Manhattan Beach, Calif. John Trivers and Elizabeth Myers, composers. Wojahn Brothers, Santa Monica. Roger Wojahn, Scott Wojahn and Greg Wojahn, composers.
THE SPOT
“The Wedding,” “Race for the Cure,” “The Getaway,” “The Town,” “The Bet” and “Surprise Birthday” launch Ford’s new “Stories” campaign. Each spot tells a tale involving people and their cars, trucks, sport utility vehicles and minivans. The campaign also defines the Ford slogan: Hard-working cars and trucks for hard-working people.
Spots broke in February.
***
MTE Goes To The Edge For Pizza Hut
CLIENT
Pizza Hut.
PRODUCTION CO.
Smillie Films, Venice, Calif. Peter Smillie, director/DP; Stephanie Swor, producer. Shot on location.
AGENCY
BBDO New York. Ted Sann, chief creative officer; Michael Patti, executive creative director; Ted Shaine, senior creative director/art director; Tom Darbyshire, creative director/copywriter; Gene Lofaro, producer.
EDITORIAL
Crew Cuts, New York. Clayton Hemmert, editor.
POST/VISUAL EFFECTS
Manhattan Transfer, New York. Chris Laite, head editor/compositor; Jim Monteg and Rich Siciliano, online editors; Kenny Hope, assistant editor.
AUDIO POST
Buzz, New York. Mike Marinelli, engineer/mixer.
MUSIC
David Horowitz Music Associates, New York. David Horowitz, composer/arranger.
THE SPOT
“Gorbachev” features Mikhail Gorbachev and his 10-year-old granddaughter Anastasia eating an Edge pizza at a Pizza Hut near Moscow’s Red Square. His countrymen who are dining at the same restaurant become involved in a debate, ultimately concluding that without glasnost, there would be no Pizza Hut.
Spot broke in January.
***
Chicago Story Cleans Up With Dupont
CLIENT
Dupont Stainmaster.
PRODUCTION CO.
Chicago Story, Chicago. David Rosen, director; Gary Katz, DP; Mark Androw and Dan Bryant, executive producers; Ed Jelinek, producer. Shot at Red Star Stages, Chicago, and on location.
AGENCY
James Bunting Advertising, Lancaster, Pa. Kevin Teevens, creative director; Jack Crifasi, associate creative director; Puffer Thompson, writer; Nancy Cole, producer.
EDITORIAL
Harvey’s Place, Southfield, Mich. Richard Smith, editor.
POST
The Filmworkers Club, Chicago. Michael Mazur, colorist. Grace & Wild Digital Studios, Farmington Hills, Mich. Steve Lovill and Dan Fox, editors; Mark Lomax, assistant editor.
AUDIO POST
GTN, Oak Park, Mich. Jay Scott, engineer/mixer.
MUSIC
Gary Nester Music, Detroit. Gary Nester, composer/arranger.
THE SPOT
In “Date,” a woman greets a man who comes calling with a bouquet of flowers. As they exchange pleasantries, the action suddenly shifts inside her head to reveal what she’s afraid he’s thinking–namely smart-alecky remarks about her 1970s vintage carpet. Similar scenarios play out in “Neighbor,” “Cousin” and “In-Laws” with owners of embarrassingly old or worn-out carpet.
Spots broke in February.
***
Morrison Eats At Long John Silver’s
CLIENT
Long John Silver’s.
PRODUCTION CO.
Morrison Productions, New Orleans. Brian Bain, director; David Stern, DP; Holly Vega, executive producer; Pam Moriarty, producer. Shot on location.
AGENCY
Doe Anderson Advertising, Louisville. Gary Sloboda, senior VP/creative director; Christian Urtin, art director; John Sweeney, copywriter; Delane Wise, producer.
EDITORIAL
Storyville, New Orleans. Kyle Curry, editor.
POST
The Filmworkers Club, Nashville. Rodney Williams, colorist. Video Park, New Orleans. Jim Land, online editor.
AUDIO POST
Power Plant, New Orleans. Larry Peter, engineer.
MUSIC
Power Plant. Larry Peter, composer.
THE SPOT
In the :30 “Digging for Change,” a man furiously collects all the change in his car to purchase Long John Silver’s $.99 meal. Just as he gathers 99 cents, he drops it into the sewer. The final shot shows the man under the grate attempting to get the money together. “Bad Builder” features an untalented home workshopper who can’t construct anything well–except Long John Silver’s Build Your Own Value Meal.
Spots broke Jan. 5.
***
CP&B Is Spicy For Checkers Drive-In
CLIENT
Checkers Drive-In Restaurants.
PRODUCTION CO.
Hundred Street Productions, Miami. Rocky Lane, director; Romeo Tirone, DP; Scott Durban, executive producer. Shot on location.
AGENCY
Crispin Porter & Bogusky Advertising, Miami. Alex Bogusky, creative director; Sara Gennett Lopez, executive producer; Bill Wright, copywriter; Markham Cronin, art director.
EDITORIAL
Third Floor Editing, Toronto. Brant Lambermont, editor.
POST/VISUAL EFFECTS
Soho Post & Graphics, Toronto. Lee Maunde, online editor/visual effects editor. Bill Ferwerda, colorist.
AUDIO POST
Manta/Eastern Sound Limited, Toronto. Jim McBride, mixer.
SOUND DESIGN
Manta/Eastern Sound Limited. Stacy Hertzman and John Hurlbut, sound designers.
THE SPOT
In the :30 “Spicy Chicken,” a mom and her kids pull up to a Checkers Drive-In and order the $.99 Spicy Chicken sandwich. “We make everything fresh including this commercial, what’ll it be?” asks the Checkers employee. “How about a commercial with a spicy, cuddly spokeschicken?” the woman suggests. The spot cuts to a fire-breathing chicken mascot who flame-broils everything in his way. The man hands the woman her sandwich, as she remarks, “Very spicy–could be more cuddly.”
Spot broke Jan. 5.
***
FilmCore Calls In For EA Sports, OWN&P
CLIENT
EA Sports.
PRODUCTION CO.
Stiefel & Company, Hollywood. Peter Darley Miller, director/ cameraman; Frank Stiefel, executive producer; Drew Bracken, producer. Shot on location.
AGENCY
Odiorne Wilde Narraway & Partners, San Francisco. Jeff Odiorne, creative director/copywriter; Michael Wilde, creative director/art director; Erich Pfeifer, Paul Foulkes and Mike Lewis, art directors; Jim Lansbury, Tyler Hampton and Peter Crosby, copywriters; Tiffany Richter, producer.
EDITORIAL
FilmCore, San Francisco. Doug Walker and Paul Bertino, editors; Jon Ettinger, executive producer.
POST
Varitel, San Francisco. Bob Campbell, colorist. Western Images, San Francisco. Orin Green, Henry artist; Jimi Simmons, online editor.
VISUAL EFFECTS
The Post Group, Hollywood. Barbara Genicoff, Cineon artist.
AUDIO POST
One Union Recording Studios, San Francisco. Eric Eckstein, engineer.
SOUND DESIGN
FilmCore. Doug Walker and Paul Bertino, sound designers.
THE SPOT
“Football Movies,” “Signature Moves,” “Liquid D,” “Dunk On ‘Em,” “Fundamentals,” “Wake-Up Call,” “Speed,” “Sponsor” and “Not a Sport” center on a sports-radio talk show hosted by Andrew Anthony, the voice of EA Sports. Anthony is seen only from the back or in tight close-ups that reveal only a small part of his face. He trades opinions with callers, including such sports figures as John Madden, Dale Earnhardt and Reggie White, while his assistant, played by D.J. Jazzy Jeff, mans the switchboard.
Spots broke in January.
***
C&C Films Gives Thanks For Sears
CLIENT
Sears, Roebuck & Co.
PRODUCTION CO.
C&C Films, New York. Steve Conner, director; Paul Cameron, DP; Sheila Simmons, executive producer; Lorraine Williams, producer. Shot on location.
AGENCY
Burrell Communications Group, Chicago. Alma Hopkins, senior VP/executive creative director; Vida Cornelius, art director; Lisa Nixon, copy supervisor; Sharon Kimbrough, VP/director of broadcast services; Michael Wright, associate producer.
EDITORIAL
The Lookinglass Company, Chicago. Greg Schneider, editor; Brian Hilburger, assistant editor.
POST
The Filmworkers Club, Chicago. Bill Ebel, online editor. Swell Pictures, Chicago. Joe Wohl, colorist.
VISUAL EFFECTS
The Filmworkers Club. Heidi Anderson, compositor.
AUDIO POST
Chicago Recording Company, Chicago. Gus Mossler, engineer/mixer.
MUSIC
Third Sound Music, Chicago. Fred Nelson III, composer.
THE SPOT
“Thanks” saluted African-American women during Black History Month. The :30 featured vignettes of women and focused on their individual strengths.
Spot broke Jan. 24.
***
Robbie Kondor Gets Saucy For Prego
CLIENT
Campbell Soup Co./Prego.
PRODUCTION CO.
Dektor Higgins & Associates, Hollywood. Paul Dektor, director; Mark Dektor, DP; Faith Dektor, executive producer; Sven Shelgren, producer. Shot on location.
AGENCY
Foote, Cone & Belding, New York. Mackie Rosen, creative director/art director; Phil Guthrie, copywriter; Lewis Kuperman, producer; Carl Westman, music producer.
EDITORIAL
McKenzie Cutler, New York. Gavin Cutler, editor.
POST/VISUAL EFFECTS
The Tape House Editorial Company, New York. Milan Boncich, colorist. Empire Video, New York. Lenny Davidowitz, online editor. Type design by Holly Dickens, Chicago.
AUDIO POST
The Mix Place, New York. Bobby Elder, mixer.
MUSIC
Robbie Kondor Music, New York. Robbie Kondor, arranger; Bob Montero, producer.
THE SPOT
“Prego Tastes the Best” features scenes of various families eating spaghetti with Prego sauce to the classic Italian song “Oh Ma Ma.”
Spot broke Jan. 3.
***
t minus 30 Keeps It Clean With Valvoline
CLIENT
Valvoline/Durablend Motor Oil.
PRODUCTION CO.
t minus 30 Films, Venice, Calif. Jim Zoolalian, director; Kevin Ward, DP; John Clark, executive producer; Sarah Bennett, producer. Shot on location.
AGENCY
Bozell Worldwide, New York. Rodney Underwood, creative director; Andrew Jeske, copywriter; David Lloyd, art director; Carolyn Roughsedge, executive producer.
EDITORIAL
t minus 30 Post, Santa Monica. Scott Yound, editor; Brett Nicoletti, assistant editor.
POST/VISUAL EFFECTS
Encore Santa Monica. Verdi Sevenhuysen, online editor/Flame artist. Company 3, Santa Monica. Michael Pethel, colorist.
AUDIO POST
The Mix Place, New York. Ken Fredrickson, engineer/mixer.
THE SPOT
Four versions of “Junkyard” feature a serious-looking man in horn-rimmed glasses and a white lab coat standing in a junkyard between an older station wagon and a gleaming late-model sports car. The man introduces Valvoline’s new Durablend Motor Oil, noting that while a car may look clean on the outside, it is just as important to keep it clean on the inside. His point is punctuated by an enormous electromagnetic weight that falls on the sports car next to him, flattening it.
Spots broke in Januar
