A camera moves over a bottle of pills. Typed before our eyes on the label is a prescription which reads, “Last year more than 2 million teens got high on…”
The sentence is first completed by the typed word “ecstasy,” which is then replaced by “cocaine.” The spot cuts to quick shots of a couple of pills, as well as a Rx symbol.
Finally the sentence on the bottle is completed with the words “prescription medicine” as a voiceover advises, “When you talk to your kids about drugs, start with the ones in the medicine cabinet.”
“Rx Label” was created by design director Guy Atzmon of rhinofx, New York, for Grey, New York. The spot uses nothing but digital still imagery to convey a sense of motion and drama.
“Abuse is so often associated with cocaine, marijuana, heroin and so forth–drugs kids buy on the street,” said Atzmon. “This drives home the dangers of something in their parents’ medicine cabinet that might otherwise be considered safe but is becoming the drug of choice for many teens.”
As the storyboard called for use of a prescription medicine bottle, Atzmon was careful not to make that bottle look too appealing. “We didn’t want a hero product,” he explained. “The subject called for more extreme angles and close-ups, which we shot as a test.”
The agency and client gave rhinofx a green light, and–working with digital still DP Ofer Zimchi–Atzmon created the ad incorporating little touches that took both creative and practical issues into consideration. “Rather than shooting the bottle with a blank label and comping the text in, we shot different versions with the text already on,” related Atzmon. “By painting over the film type and replacing it, we got a lot of texture.”
Atzmon’s support crew at rhinofx included still shooter Zimchi, Inferno artist Ronen Sharabani, digital artist Rodrigo De Laparra, senior producer Karen Bianca, senior VP of production Camille Geier, and partner/managing director Rick Wagonheim.
The core Grey creative duo consisted of creative director/art director Lulu Adams and producer Judi Dissin.
Composer was Leigh Roberts of Jeco Music, New York. Gus Reyes executive produced for Jeco.
Breakout Films and Major Takeaways From This Year’s Sundance Fest
Film wasn't the only thing on people's minds at this year's Sundance Film Festival, which comes to a close Sunday in Park City, Utah ( and online ).
The effects of the wildfires in Southern California loomed large, as did the bittersweet knowledge that this year will be the second to last Sundance based in Park City. Some films offered an escape from reality; others were a pointed reminder of the domestic and international political landscape, from transgender rights to the war in Ukraine.
Here are some of the key takeaways from the 41st edition of the festival.
The effects of the Southern California fires were deeply felt
The wildfires were still burning in parts of Los Angeles when Sundance began last week and reminders of its devastation were everywhere, even on screen. Max Walker-Silverman's "Rebuilding," starring Josh O'Connor as a cowboy who loses his ranch in a wildfire and forms a community with fellow survivors in a FEMA camp, hit close to home for many.
Filmmakers Meena Menon and Paul Gleason lost their home in Altadena where they filmed some of their zombie apocalypse movie "Didn't Die." Sundance artist labs head Michelle Satter lost her Palisades home as well. Satter had an audience of Sundance Institute donors in tears early in the festival while accepting an honor at a fundraising gala.
"It's a deeply devastating time for us and so many others, a moment that calls for all of us coming together to support our bigger community," Satter said. "As a friend recently noted, and I have to listen to this, 'Take a deep breath ... We lost our village, but at the end of the day we are the village.'"
The festival's move to another city dominated conversations
It was a topic... Read More