Overall & McQuoid-Directed American Standard Spot Takes Best Of Show/Broadcast Honor
By Kristin Wilcha
NEW YORK --American Standard heating and air conditioning system’s “Basketball” won Best of Show/broadcast at the New York ADDY Awards, which were held earlier this week (3/22) at New York’s Sky Club. “Basketball” was directed by the team of Overall & McQuoid, Richard and Simon, respectively, of bicoastal Go Film for Foote, Cone & Belding New York. “Basketball,” along with American Standard’s “Fetch,” each won a Gold ADDY in the retail products category.
The New York ADDYs, presented by District Two of the American Advertising Federation (AAF), bestowed upon Ogilvy & Mather, New York, and client American Express the Grand ADDY award for continuing excellence in advertising. Saatchi & Saatchi, New York, won the Governor’s Award, presented to the shop that wins the most Gold ADDYs across print and broadcast.
Grey Worldwide, New York, and Saatchi & Saatchi, New York, scored five Gold ADDYs each. Three Dairy Queen spots, “Tongue Tied,” “Baby Bjorn” and “Napkin,” won honors for best campaign. “Tongue Tied,” “Baby Bjorn” and “Sharing” each individually earned a Gold honor in the restaurant category. Baker Smith of harvest, Santa Monica, directed all four spots. Rounding out Grey’s broadcast honors was Starburst’s “Backflip,” which was honored in the food category.
Saatchi scored its Gold honors across several different categories. General Mills’ “Adoption,” directed by Jim Sheridan and produced via bicoastal Moxie Pictures won a Gold in the food category and in the cinema category. A spot for Ariel detergent, “Tag,” directed by David Alcalde of Propaganda Producciones, Madrid, scored a Gold in retail products. A Gold for health and beauty went to Old Spice’s “Empty Desk,” directed by David Shane of bicoastal/international Hungry Man. Rounding out Saatchi & Saatchi’s honors was a Procter & Gamble’s “Bugs,” directed by The Brothers Strause, which scored a Gold ADDY for elements of advertising/animation or special effects. Hydraulx created animation for the spot. The Brothers Strause are with Santa Monica shop Tight.
O&M scored a total of four Gold ADDYs. Two ads for American Express, “Optometrist” and “Ellen,” garnered Gold in the professional services category. David Kellogg of bicoastal Anonymous Content directed “Ellen,” while Bryan Buckley of Hungry Man helmed “Optometrist.” Additionally in the category, O&M won a Gold for IBM’s “Prodigy III” directed by Joe Pytka of Venice, Calif.-based PYTKA. Rounding out O&M’s broadcast Gold wins was a cinema honor for “Gangsters,” promoting the Tribeca Film Festival. Brendan Gibbons of Hungry Man, and John O’Hagen, who recently shifted his representation from Hungry Man to bicoastal RSA USA, co-directed the ad.
Kirshenbaum Bond + Partners, New York, also won four ADDYs. Three spots for the Ad Council–“Couch,” “Lion” and “Band,” each one a Gold recipient for public service; the trio also earned a public service campaign Gold.
The Kaplan Thaler Group, New York, won three Gold honors. Two spots for Foxwoods Casino Resort, “3 of a Kind” and “Bluffing” won Gold awards for travel. David Levin of Hungry Man directed the ads. The spots, along with “Royal Flush,” also directed by Levin, won a Gold ADDY for best campaign.
Cliff Freeman and Partners, New York, won two campaign Golds, both for Snapple. The first honor went to “Bob/Lunch Ladies,” “Natalie/Dog” and “Tuckey/Single Twin.” The second campaign Gold went to “Bob/Kids,” “Brian/Dentist,” and “Tuckey/Junkyard.” Chris Smith of bicoastal Smuggler directed the Snapple work.
Deutsch picked up a pair of Gold honors: one campaign Gold for the Chiclets spots “Growing Up,” “5 Dirty Words,” and “Kung Fu.” Mike Overbeck of Wild Brain, San Francisco, directed the animation ads. Deutsch picked its second Gold for Microsoft and Intel’s “Digital Joy,” directed by Samuel Bayer of RSA USA.
Lowe, New York earned two Golds: one in automotive for GMC’s “Ideas,” directed by The Cronenweths of Untitled, Santa Monica; and one in health and beauty for Johnson & Johnson’s “Same Gift,” directed by Tony Kaye of bicoastal Supply & Demand.
TBWA/Chiat/Day earned two Gold ADDYs in the retail products category for Segway’s
“Crawl” and “Engineer” directed by Overall & McQuoid of Go Film.
Post Millennium, New York, scored a pair of Gold honors in the restaurants/media category for MTV’s “Not Suitable for Adults/Thanksgiving,” directed by David Horowitz of MTV, and “The Osbournes/Massive Spirit,” helmed by Roddy Scott of MTV.
DDB New York scored a Gold in the institutional category for Philips’ “Heartstart Ambulance,” directed by Paul Arden of Arden Sutherland Dodd, London. Arnold Worldwide, New York, won a Gold in the retail products category for Trivial Pursuit ’90s Edition, directed by Rick LeMoine of bicoastal/international @radical.media.Review: Writer-Director Andrea Arnold’s “Bird”
"Is it too real for ya?" blares in the background of Andrea Arnold's latest film, "Bird," a 12-year-old Bailey (Nykiya Adams) rides with her shirtless, tattoo-covered dad, Bug (Barry Keoghan), on his electric scooter past scenes of poverty in working-class Kent.
The song's question — courtesy of the Irish post-punk band Fontains D.C. — is an acute one for "Bird." Arnold's films ( "American Honey," "Fish Tank") are rigorous in their gritty naturalism. Her fiction films — this is her first in eight years — tend toward bleak, hand-held verité in rough-and-tumble real-world locations. Her last film, "Cow," documented a mother cow separated from her calf on a dairy farm.
Arnold specializes in capturing souls, human and otherwise, in soulless environments. A dream of something more is tantalizing just out of reach. In "American Honey," peace comes to Star (Sasha Lane) only when she submerges underwater.
In "Bird," though, this sense of otherworldly possibility is made flesh, or at least feathery. After a confusing night, Bailey awakens in a field where she encounters a strange figure in a skirt ( Franz Rogowski ) who arrives, like Mary Poppins, with a gust a wind. His name, he says, is Bird. He has a soft sweetness that doesn't otherwise exist in Bailey's hardscrabble and chaotic life.
She's skeptical of him at first, but he keeps lurking about, hovering gull-like on rooftops. He cranes his neck now and again like he's watching out for Bailey. And he does watch out for her, helping Bailey through a hard coming of age: the abusive boyfriend (James Nelson-Joyce) of her mother (Jasmine Jobson); her half brother (Jason Buda) slipping into vigilante violence; her father marrying a new girlfriend.
The introduction of surrealism has... Read More