For the second year in a row, director Noam Murro and his production company Biscuit Filmworks, Los Angeles, topped the field of honorees at the Association of Independent Commercial Producers (AICP) Show, “The Art & Technique of the American Television Commercial.” Murro and Biscuit earned a total of seven honors.
Meanwhile, teaming to also score seven accolades were bicoastal Tool of North America, with three, and its sister company, Paranoid Projects: Tool, which received four honors. The latter quartet came for Hewlett-Packard work directed by Francois Vogel.
And continuing to build on its awards season momentum was Honda’s “Grrr,” out of Wieden+Kennedy (W+K), London. AICP Show judges recognized the spot in the advertising excellence/international category. (See last week’s Creative Voice column, p. 4, for an agency perspective on “Grrr.”) Smith & Foulkes–Allan and Adam–of Nexus Productions, London, directed “Grrr.” Also honored in the category was “Getting Dressed” for Lynx out of Bartle Bogle Hegarty, London, and directed by Ringan Ledwidge of Small Family Business, London–he works stateside via Park Pictures, New York. Rounding out the international category was “Holiday” for Telstra Big Pond, directed by Ben Lawrence of caravan.pictures, Balmain, Australia, via agency Belgiovane Williams Mackay, Ultimo, Australia.
The 14th annual AICP Show screening and gala was held earlier this week at the Museum of Modern Art (MoMA). The show was a homecoming of sorts–for the past four years, the Show was held at The Metropolitan Museum of Art, while MoMA underwent an extensive, multimillion-dollar renovation. As in years past, the 2005 honorees will be made a part of the permanent archives of MoMA’s Department of Film and Media. Dan Lindau, partner at Crossroads Films, bicoastal and Chicago, chaired this year’s show.
Biscuit’s Murro scored three honors for the adidas spot “Carry,” out of TBWA/Chiat Day, San Francisco–advertising excellence/single commercial; visual style; and visual effects. (A team of artisans at Method Studios, Santa Monica, created effects for the spots. Method credits go to: Alex Frisch, lead 2-D visual effects artist/visual effects shoot supervision; Gil Baron, CG technical supervisor; Alex Kolasinski, Andrew Eksner, Brandon Sanders, Cedric Nicolas and Todd Hemsley, 2-D visual effects artists; Katrina Salicrup, junior 2-D visual effects artist; Andrew Bell and James LeBloch, technical directors; Neysa Horsburgh, visual effects executive producer; and Sue Troyan, visual effects producer.) A trio of spots for eBay, “Toy Boat,” “Belief” and “Clocks,” all helmed by Murro, for Goodby, Silverstein & Partners (GS&P), San Francisco, was honored in the advertising excellence/campaign category. “Toy Boat” was additionally honored for original music, which was created by a team from bicoastal Elias Arts comprising composers Christopher Kemp and Jonathan Elias, executive producer Ann Haugen, and creative director David Gold. Murro’s honors were rounded out by the Holiday Inn ad “The Nose,” via Fallon, Minneapolis, which was recognized for visual style; and Starbucks’ Glenn,” out of Fallon, New York, which was honored for copywriting. Allon Tatarka was the agency copywriter on the spot.
Director Vogel and his U.S. production roost, Paranoid Projects: Tool, Santa Monica, sister company to Tool of North America, was behind work for Hewlett-Packard out of GS&P that was honored in four categories. The spot “Picture Book,” along with “François” and “Relay,” teamed to score in the advertising excellence/campaign category. “Picture Book” additionally scored honors for advertising excellence/single commercial, visual style and visual effects, which were created by Vogel and Christopher Jones, creative director/visual effects supervisor at Zoic Studios, Los Angeles.
Tool of North America was behind spots honored in three categories. American Express’ “DeNiro,” directed by Martin Scorsese and produced via Tool for Ogilvy & Mather, New York, was honored for editing–Hank Corwin of bicoastal Lost Planet cut the spot–and cinematography. Bob Richardson, who directs spots via Tool, served as DP on the spot. “Elizabeth,” for Full Participation Voting, and directed by Tool’s Sean Ehringer for 56A filmarts, was honored in the PSA category.
Three production companies–bicoastal Anonymous Content, bicoastal, RSA USA, and Partizan, bicoastal/international, were each behind four honored spots. (Three of Partizan’s honors were produced in conjunction with Traktor, Santa Monica.).
RSA’s honors came on the strength the Jake Scott-directed Nike ad “Magnet,” out of W+K, Portland, Ore. The spot was honored for advertising excellence/single commercial, editing–Angus Wall of Rock Paper Scissors, Los Angeles cut the spot–and original music. Music credits on the spot go to a team from Elias, which included composers Dave Wittman and Jimmy Haun, creative director Gold, and head of production Dayna Turcotte. Rounding out RSA’s honors was the Mountain Dew ad “Iditarod,” out of BBDO New York, and directed by Samuel Bayer, which gained recognition in the production category.
Anonymous was behind work honored in the dialogue/monologue category–for Egg’s “New Pyramid,” out of Mother, New York, and directed by Brett Morgen. Director David Fincher had two honored spots, Hewlett-Packard’s “Constant Change,” out of GS&P, which was recognized for production design–done by Don Burt–and Heineken’s “Beer Run,” out of W+K, Amsterdam, which gained a kudo for cinematography. Claudio Miranda served as DP on the spot. Cadillac’s “Barrels,” out of chemistri, Troy, Mich., and directed by Peter Thwaites, with co-production by Anonymous and Gorgeous Enterprises, London, was honored for sound design, which was created by Owen Griffiths of Jungle Studios, London, and Neil Smith, who edited the spot via the Whitehouse, Santa Monica and London. (The Whitehouse also has offices in New York and Chicago.)
For Partizan and Traktor, a trio of Mountain Dew spots via BBDO New York, was honored. “Canopy” and “Hallway” were both singled out in the production design category; Tom Hartman served as production designer on both spots. “Helicopter” was honored for sound design, which was created by François Blaignan of Nomad Editing Company, Santa Monica. Full Tilt Poker’s “Ivey,” directed by Jim Hosking of Partizan, for DDB Los Angeles, was honored for sound design, which was created by sound designers Tom Ozanich and Mikael Sandgren of Soundelux Design Music Group, Hollywood.
Bicoastal/international Morton Jankel Zander (MJZ) was behind work honored in three categories. Kuntz & Maguire–Tom and Mike, respectively–of MJZ directed Virgin Mobile USA’s “Thing,” “2 a.m.,” and “Call Waiting” for Fallon, New York, which teamed to score an honor for advertising excellence/campaign. (Maguire is now an associate creative director at GS&P, while Kuntz directs solo via MJZ.)Two Craig Gillespie-directed spots–“Surprise Dinner” and “Mini Mart”–for Ameriquest via DDB Los Angeles, were honored in the humor category.
Directors from harvest, Santa Monica, were behind spots honored in three categories. Baker Smith helmed “Hollywood Man,” out of Mad Injection, New York, for the Independent Film Channel, which gained recognition in the dialogue or monologue category. Smith also directed International Dairy Queen’s “Tongue Tied,” out of Grey Worldwide, New York, and featuring the talents of Jonathan Mangum and Kasey Wilson, which was singled out in the talent/performance category. Michael Downing of harvest directed “Static Cling,” for Loyola Marymount Univeristy/LMU Basketball, out of Ignited Minds, Marina del Rey, Calif., which was honored in the low budget category.
Bicoastal Smuggler was also behind three honored spots. “Unstoppable” for adidas, directed by Brian Beletic for TBWA/Chiat/Day, San Francisco, gained recognition in the production category. Another Beletic-helmed spot, “Cerner” for Sprint Business Solutions, out of Publicis & Hal Riney, San Francisco, was honored for original music. Ben Mohr of Master Grip, Los Angeles, composed the spot’s score. Nextel’s “The Build,” out of TBWA/Chiat/Day, New York, and directed by the StyleWar collective via Smuggler, was honored for agency art direction. Joel Rodriguez of TBWA/Chiat/Day served as creative director/art director.
Lance Acord of Park Pictures, New York, directed two honored spots. “Laila,” for adidas, out of TBWA/180, Amsterdam, gained recognition for visual effects, which were created by Digital Domain, Venice, Calif. The visual effects artisans on the ad were: Fred Raimondi, visual effects supervisor; Ed Ulbrich, senior VP of production/executive producer; Gabby Gourrier, executive producer; Stephanie Gilgar, visual effects producer; Chris Fieldhouse, visual effects coordinator; Flame compositors Mark Loso, Katie Nook, Narbeh Mardirossian, Ryan Yashimoto, Michelle Steinau, Dave Stern, Anthony Mabin and Anita Razzano; Chris Holsey, Todd Sarsfield, Celine Jackson and Debra Wolf, scan/record; Hilery Johnson, lead roto artist; Dolores Pope, Karin Last and Wally Chin, roto artists; and James Blevins, technical assistant. The Acord-directed “Progressions” for Audi out of McKinney & Silver, Raleigh, N.C., was honored in the musical arrangement category. Jeff Elmassian of Endless Noise, Los Angeles, served as arranger/producer on the spot.
The now defunct Omaha Pictures produced two honored spots: “Made to Perfection,” for adidas, out of TBWA/Chiat/Day San Francisco, and directed by Rupert Sanders–who is now with MJZ–was singled out in the production category. GEICO’s “French,” directed by Speck/Gordon–Josh and Will, respectively–was recognized in the talent performance category. Geoff Pierson was the principal talent in the spot.
Two spots for PBS, out of Fallon, Minneapolis, and produced by Independent Media, Santa Monica, were honored. “Bucket Brigade,” directed by Elias Merhige gained recognition for cinematography–Bruno Delbonnel served as DP on the spot–while “Bedtime,” directed by Francçois Girard, was honored for copywriting. Mike Gibbs served as copywriter on the spot.
Pes, of Czar.US, New York, directed two of the honorees in the animation category: Coinstar’s “Inspired Coins,” out of Publicis, NY; and Diesel’s “Kaboom!,” out of KesselsKramer, Amsterdam.
Bicoastal Playroom was behind two spots for the Ad Council/American Red Cross/American Association–“Julie” and “Charlie”–which were honored, respectively, in the editorial and PSA categories. David Jaffe directed both spots; Damion Clayton of Bikini Edit, New York, cut “Julie,” which, like “Charlie,” was created by Euro RSCG Worldwide, New York.
Two spots for MTV via its in-house MTV Promotions unit, and directed by Randy Krollman and Aaron Stoller, garnered honors. “Foosball,” was honored for agency art direction–art director was Krallman. “Sales Rep” was singled out in the copywriting category; Krallman served as copywriter.
AGENCY TALLY
GS&P, San Francisco, was the most-honored agency, with seven accolades, all for Hewlett-Packard and eBay. (Ironically, the eBay account left the shop earlier this year, and is now at BBDO New York.)
The San Francisco and New York offices of TBWA/Chiat/Day combined to score a total of seven honors, with five going to the San Francisco office for its work on adidas. The New York office was honored for the aforementioned Nextel spot “The Build,” and for Nextel’s “Dance Party,” directed by Jim Jenkins via bicoastal/international Hungry Man, which was honored for humor.
Fallon, Minneapolis, and Fallon, New York, also combined to score seven honors–five for the Minneapolis office, and two for New York. For the former, its honors were for the aforementioned PBS and Holiday Inn ads, as well as the United Airlines spot “A Life,” which was honored in the animation category. Michael Dudok de Wit, Acme Filmworks, Hollywood, was the director/animator; Arjan Wilschut and Claire Armstrong, served as animators, while Ron Diamond, executive produced and Holly Stone produced for Acme. Rounding out Fallon Minneapolis’ honors was a spot for Citi’s “Chassis,” which was honored for dialogue or monologue. Kevin Thomas of Thomas Thomas, London, directed. The New York office of Fallon scored its honors for the aforementioned Starbucks and Virgin Mobile work.
BBDO New York was honored across five categories, with four accolades going to the shop’s work for Mountain Dew. Guinness’ “Exercise Machine” was also honored, in the agency art direction category. Joel Rodriguez, now with TBWA/Chiat/Day, New York, served as art director on the ad; Shaun Sewter, of Moo Studios, Burbank, Calif., was the director/editor/production designer/animator on the spot.
Three offices of W+K combined to receive a total of five honors. Nike from the Portland office was singled out three times, while the Amsterdam office received mention for its Heineken work, and London was awarded an honor for Honda.
DDB Chicago and Los Angeles had a total of five honors–three to the Los Angeles office, and two to Chicago. Spots for Ameriquest and Full Tilt Poker earned the Los Angeles offices its trio of honors, while Chicago was singled out in the musical arrangement category for Office Max’s “Santa’s Helper,” directed by Chel White of Bent Image Lab, Portland, Ore. Spank! Music & Sound Design, Chicago and Santa Monica, worked on the ad, with Mat Morse serving as composer/arranger, Ken Kolasny as executive producer, Rick Fritz, mixer/engineer, and Brian Calhoon, assistant engineer. A DDB spot for Budweiser was honored for tabletop. The ad, “Fresh Pour,” was produced via Digital Kitchen, Chicago and Seattle, with Paul Schneider serving as creative director.
MORE HONORS
In talent/performance, Volkswagen’s “Cornering,” out of Arnold Worldwide, Boston, and directed by Chris Hooper of Bob Industries, Santa Monica, was honored. Nate Torrence and Johnny Seed were the talent in the ad.
Two spots were honored in the graphics category: Nike’s “Shoxploitation Trailer,” done in-house for Nike, was created by a team at Psyop, New York, which included Todd Mueller, director; Kylie Matulick, director/graphic artist; Justin Booth-Clibborn, executive producer; Boo Wong, producer; Eben Mears, editor/visual effects artist; and technical directors Domel Libid, Vadim Turchin, Todd Akita and Marki Vukovic. Also honored in the category was Target’s “Raining Bullseyes,” out of Peterson Milla Hooks, Minneapolis, and directed by Matt Badger of bicoastal Epoch Films. Ring Of Fire Advanced Media, West Hollywood, did graphics, with Jerry Spivack serving as visual effects creative director/supervisor, and John Myers as visual effects executive producer.
Dove’s “Rose Bud,” out of Ogilvy & Mather, Chicago, was honored for tabletop. Sara Marandi and Robert Bryant directed the spot out of bicoastal Imaginary Forces. (Marandi is now with bicoastal/international @radical.media, while Bryant is with bicoastal Order.)
In musical arrangement, the NYC2012 ad “Bugler’s Dream” was honored. Joe Pytka of Venice, Calif.-based PYTKA, directed the spot via Young & Rubicam, New York. Scott Salinas of Machine Head, Venice, Calif., and Sherman Foote of Big Foote, New York, served as arrangers on the spot.
In the public service category, “Butt,” for the Ad Council/Healthy America, was honored. Frank Todaro, then of @radical.media, directed the spot for McCann Erickson, New York. Todaro is now with bicoastal/international Moxie Pictures.
Three ads were honored in the spec spot category: AMC’s “Little Busey,” directed by Tom DeCerchio of Incubator Films, West Hollywood; Tapatio’s “Muy Salsa,” directed by Scott Gillen of A Band Apart Commercials, Los Angeles; and “Samurais” for Sapporo, directed by Butch Belair of Butch Belair, New York.
Suburban Auto Group’s “Trunk Monkey Bridge,” directed by Jeff Gordon of X-Ray Productions, bicoastal and Chicago, for agency R/West, Portland, Ore., was honored in the low budget category. Also honored in that category was “Love Salad,” for the Chicago Music Exchange, done via Element 79 Partners, Chicago. Evan Bernard of bicoastal/international Chelsea Pictures directed the ad.
In the student category, three honors were bestowed. The ads singled out were: Coca-Cola’s “Being Reel,” directed by Brett Levner, who also served as copywriter/editor; “Laundromat” for Berlitz International and directed by Dennis Liu and Corydon Wagner, who also served as copywriters; and The History Channel’s “Marilyn,” helmed by FG, who also served as editor/visual effects artists.
A complete list of AICP honorees with full credits is below:
Advertising Excellence/Single Commercial
HP, “Picture Book” (:60). Paranoid Projects: Tool, Santa Monica. Francçois Vogel, director/visual effects artist; Claude Letessier, Jennifer Siegel and Phillip Detchmendy, executive producers. Goodby, Silverstein & Partners, San Francisco. Rich Silverstein, creative director; Josh Reynolds, producer; John Norman, art director; Steve Simpson, copywriter. Chrome, Santa Monica. Hal Honigsberg, editor. Zoic Studios, Los Angeles. Christopher Jones, creative director/visual effects supervisor.
a didas, “Carry” (:60). Biscuit Filmworks, Los Angeles. Noam Murro, director; Barry Peterson, DP; Shawn Lacy Tessaro, executive producer; Jay Veal, producer; John Reinhart, production designer. TBWA/Chiat/Day, San Francisco. Lee Clow, worldwide creative director; Chuck McBride, executive creative director; Jennifer Golub, executive producer; Geoff Edwards, creative director/art director; Scott Duchon, creative director/copywriter; Jennifer Suttlemyre, postproduction supervisor. Bikini Edit, New York. Avi Oron, editor; Lisa Houck, assistant editor; Gina Pagano, executive producer. Company 3, Santa Monica. Stefan Sonnenfeld and Steve Rodriguez, colorists; Denise Brown and Missy Papageorge, executive producers. Method, Santa Monica. Alex Frisch, lead 2-D visual effects artist/visual effects shoot supervision; Gil Baron, CG technical supervisor; Alex Kolasinski, Andrew Eksner, Brandon Sanders, Cedric Nicolas and Todd Hemsley, 2-D visual effects artists; Katrina Salicrup, junior 2-D visual effects artist; Andrew Bell and James LeBloch, technical directors; Neysa Horsburgh, visual effects executive producer; Sue Troyan, visual effects producer. Lime, Santa Monica. Loren Silber, mixer; Sam Casas, assistant mixer; Bruce Horwitz, executive producer. Special effects by Full Scale Effects, North Hollywood. Motion control by Go Moco, Venice, Calif.
Nike, “Magnet” (:60). RSA USA, bicoastal. Jake Scott, director; Max Malkin, DP; Jules Daly, president; Fran McGivern, executive producer; Michele Abbott, producer. Wieden+Kennedy, Portland, Ore. Mike Byrne and Hal Curtis, creative directors; James Selman, art director; Vic Palumbo, producer. Rock Paper Scissors, Los Angeles. Angus Wall, editor; Dave Anderson, assistant editor; Dave Sellars, producer. Company 3, Santa Monica. Stefan Sonnenfeld, colorist; Missy Papageorge, producer. A52, West Hollywood. Mark Tobin, executive producer; Scott Boyajan, producer/on-set visual effects supervisor; Westley Sarokin, on-set visual effects supervisor/2-D animator; Patrick Murphy, visual effects supervisor/lead Inferno artist; Denis Gauthier, 3-D supervisor/3-D animator; Jeff Willette and Craig Halperin, 3-D animators; Ben Looram, Inferno artist/online editor. Eleven, Santa Monica. Jeff Payne, mixer. Elias Arts, bicoastal. Dave Wittman and Jimmy Haun, composers; David Gold, creative director; Dayna Turcotte, head of production. 740 Sound Design/Danetracks, Santa Monica. Eddie Kim, sound designer; Dane Davis, creative director/sound designer; Scott Ganary, producer.
Production
adidas, “Unstoppable” (:60). Smuggler, bicoastal. Brian Beletic, director; Jeff Cronenweth, DP; Brian Carmody, executive producer; Aris McGarry, producer; Justine Madero, production supervisor; Steve Sumney, production designer. TBWA/Chiat/Day, San Francisco. Lee Clow, worldwide creative director; Chuck McBride, executive creative director; Geoff Edwards, associate creative director/art director; Scott Duchon, associate creative director/copywriter; Jennifer Golub, executive producer; Andrea Bustabade, assistant producer; Monika Prince, post producer. PS 260, New York. Maury Loeb, editor; Michelle Thibeault, executive producer; Lauren Tuttman, assistant producer. Company 3, Santa Monica. Stefan Sonnenfeld, colorist; Missy Papageorge, producer. Digital Domain, Venice, Calif. Gabby Gourrier, executive producer; Stephanie Gilgar, producer; Brad Parker, visual effects supervisor; Chris Fieldhouse, visual effects coordinator; Piotr Karwas, animation supervisor; Brad Hayes, CG supervisor; Rob Moggach, lead compositor; Johnny Hicks and Pilon Lectez, compositors; Larry Butcher, Janelle Croshaw, Dave Lockwood, Alan Precourt and Greg Teegarden, Nuke compositors; David Chan, Karl Denham, Ron Herbst, Errol Lanier and Troy Slough, Lightwave artists; Tony Montana-Vela and John Riggs, set-up and animation; Ben Cinelli and Mike Warner, animators; Apirak Kamjain, Ian Doss, Marco Maldonado and Scott Edelstein, tracking artists. Lime, Santa Monica. Loren Silber, mixer. Mit Out Sound/M.O.S., Sausalito, Calif. Ren Klyce, sound designer; Misa Kageyama, producer.
adidas, “Made to Perfection” (:60). Omaha Pictures, Santa Monica (now defunct). Rupert Sanders, director; Jess Hall, DP; Eric Stern, executive producer; Chris Nelson, line producer; Dominic Watkins, production designer. (Sanders is now with bicoastal/international Morton Jankel Zander.) TBWA/Chiat/Day, San Francisco. Chuck McBride, executive creative director; Jennifer Golub, producer; Geoff Edwards, art director; Scott Duchon and John Patroulis, copywriters. The Whitehouse, New York, Chicago, Santa Monica and London. Neil Smith, editor. Telecine completed by The Syndicate, Santa Monica. Method, Santa Monica. Cedric Nicolas, lead 2-D visual effects artist/visual effects shoot supervision; Laurent Ledru, CG creative director; Katrina Salicrup, 2-D visual effects artist; James LeBloch, 3-D visual effects artist; Paul Perez Hahn, visual effects shoot supervision/visual effects producer; Neysa Horsburgh, visual effects executive producer. Audio mixed by Lime, Santa Monica.
Mountain Dew, “Iditarod” (:60). RSA USA, bicoastal. Samuel Bayer, director/DP; Jules Daly, president; Tracie Norfleet, executive producer; Leslie Vaughn, line producer; Tracy Landon, post supervisor; Charles Croughwell, stunt coordinator; Colleen Atwood, stylist. BBDO New York. Ted Sann, chief creative officer; Bill Bruce, executive creative director/copywriter; Hyatt Choate, executive producer; Doris Cassar, art director; Loren Parkins, executive music producer. Nomad Editing Company, Santa Monica. Tom Muldoon, editor; Jared Coller, assistant editor; Susye Melega, executive producer; Nicole Steele, producer; Francçois Blaignan, sound designer; Tom Stamatio, assistant sound designer. Company 3, Santa Monica. Stefan Sonnenfeld, colorist; Missy Papageorge, producer. Method, Santa Monica. Alex Frisch, visual effects supervisor/artist; Neysa Horsburgh, executive producer; Sue Troyan, visual effects supervisor/producer; Andrew Elksner, Cedric Nicolas and Russell Fell, visual effects artists; Brandon Sanders, Katrina Salicrup and Mike Vaglienty, visual effects junior artists. Sound Lounge, New York. Tom Jucarone, mixer. Groove Addicts, Los Angeles. Stewart Copeland, composer. Dain Blair, creative director; Gerhard Joost, audio engineer.
Visual Style
Holiday Inn, “The Noses” (:60). Biscuit Filmworks, Los Angeles. Noam Murro, director; Tim Maurice-Jones, DP; Jiri Ostry, first assistant director; Shawn Lacy Tessaro, executive producer; Holly Vega, head of production; Jay Veal, producer; John Reinhart, production designer. Stillking Films, Prague. Zuzana de Pagter, producer; Andrea Havlickova, production manager. Fallon, Minneapolis. Bruce Bildsten, creative director; Todd Riddle, creative group head/art director; Reuben Hower, copywriter; Brian DiLorenzo, director of broadcast production; Kate Talbott and Robert van de Weteringe Buys, executive producers; Nicholas Gaul, associate producer. The Whitehouse, New York, Chicago, Santa Monica and London. Rick Lawley, editor; Louise Crane, assistant editor; Sue Dawson, executive producer; Joni Wright, associate producer. Sea Level, Venice, Calif. Brian Buongiorno, visual effects/Inferno artist; Amy Russo, producer. Company 3, Santa Monica. Stefan Sonnenfeld, colorist; Missy Papageorge, producer. Stardust, bicoastal. Jake Banks, creative director; Jason Doherty, art director; Matthew Marquis, executive producer; Dan Sormani, producer. Lime, Santa Monica. Rohan Young, mixer. Human, New York. Andy Bloch, Gareth Williams, Morgan Visconti, Lindsay Jehan, Sloan Alexander and Gordon Minette, composers; Marc Altschuler, executive producer. Noises Digital, Berkeley, Calif. Kim Christensen, sound designer.
HP, “Picture Book” (:60). See credits above.
adidas, “Carry” (:60). See credits above.
Dialogue or Monologue
Citi, “Chassis” (:30). Thomas Thomas Films, London. Kevin Thomas, director; Bob Pendar-Hughes, DP; Philippa Thomas, executive producer. Fallon, Minneapolis. David Lubars and John Matejczyk, creative directors (Lubars is now chairman/chief creative officer at BBDO North America); Steve Driggs, creative director/art director; Ryan Peck, copywriter; Brian DiLorenzo, director of broadcast production; Robert van de Weteringe Buys and Sofia Akinyele-Trokey, producers. Bug Editorial, New York. Josh Towvim, editor. Music by Human, New York.
Independent Film Channel, “Hollywood Man” (:60). harvest, Santa Monica. Baker Smith, director; Bill Pope, DP; Bonnie Goldfarb, executive producer. Mad Injection, New York. Mikal Reich, creative director/copywriter; Ella Wilson, copywriter. Lost Planet, bicoastal. Paul Martinez, editor; Betsy Beale, executive producer. The Syndicate, Santa Monica. MB Emigh, visual effects artist.
Egg, “New Pyramid” (:40). Anonymous Content, bicoastal. Brett Morgen, director; Ellen Kuras, DP; Andy Traines, executive producer. Mother, New York. Ben Mooge, creative director. MacKenzie Cutler, New York. Jun Diaz, editor.
Humor
Ameriquest, “Surprise Dinner” (:30). Morton Jankel Zander, bicoastal/international. Craig Gillespie, director; Rodrigo Prieto, DP; David Zander, executive producer. DDB Los Angeles. Mark Monteiro, executive creative director; Connie Myck, producer; Feh Tarty, senior art director: Feh Tarty; Pat McKay, senior copywriter. Spot Welders, Venice, Calif. Haines Hall, editor.
Ameriquest, “Mini Mart” (:30). Morton Jankel Zander, bicoastal/international. Craig Gillespie, director. David Zander and Lisa Rich, executive producers. DDB Los Angeles. Mark Monteiro, executive creative director; Connie Myck, producer; Michael Mittlestaedt, art director; Josh Fell, copywriter. Spot Welders, Venice, Calif. Haines Hall, editor.
Nextel, “Dance Party” (:30). Hungry Man, bicoastal/international. Jim Jenkins, director; Tim Ives, DP; Steve Orent and Dan Duffy, executive producers; Ralph Laucella, producer. TBWA/Chiat/Day, New York. Gerry Graf, executive creative director; Scott Vitrone, creative director/art director; Ian Reichenthal, creative director/copywriter; Nathy Aviram, senior producer. MacKenzie Cutler, New York. Dave Koza, editor; Mona Salma, assistant editor; Melissa Miller, executive producer. Schmigital, New York. Matt Monson, online editor. Company 3, New York. Tim Masick, colorist; Luana Ayres, producer. Sound Lounge, New York. Philip Loeb, mixer.
Talent/Performance
Volkswagen, “Cornering” (:30). Bob Industries, Santa Monica. Chris Hooper, director; Christina Ritzmann, executive producer. Arnold Worldwide, Boston. Ron Lawner and Alan Pafenbach, creative directors; Paul Shannon, producer; Tim Vaccarino, art director; Joe Fallon, copywriter. Bug Editorial, New York. André Betz, editor. Music by Music for Picture, New York. Nate Torrence and Johnny Sneed, talent/performers.
International Dairy Queen, “Tongue Tied” (:30). harvest, Santa Monica. Baker Smith, director; Curtis Wehr, DP; Bonnie Goldfarb, executive producer; Steve Saklad, production designer. Grey Worldwide, New York. Tim Mellors, chief creative director; Jonathan Rodgers, executive creative director; Steve Krauss, creative director/art director; Ari Halper, creative director/copywriter; Diana Gay, producer. Crew Cuts, New York. Chuck Willis and Bill Cramer, editors. (Willis is now with the New York office of Cut+Run, which also has bases of operation in Santa Monica and London.) Jonathan Mangum and Kasey Wilson, talent/performers.
GEICO, “ French” (:30). Omaha Pictures, Santa Monica (now defunct). Speck/Gordon, director; Anthony Wolberg, DP; Eric Stern, executive producer; Dave Thorne, producer; Floyd Albee, production designer. The Martin Agency, Richmond, Va. Steve Bassett, creative director; Brad Powell, producer; Noel Ritter, art director; Joe Lawson, copywriter. FilmCore, Santa Monica. Paul Norling, editor. Geoff Pierson, talent/performer.
Editorial
Nike, “Magnet” (:90). See credits above.
American Express, “DeNiro” (:90). Tool of North America, Santa Monica. Martin Scorsese, director; Bob Richardson, DP; Jennifer Siegel, executive producer. Ogilvy & Mather, New York. Chris Mitton, John Liegey and David Apicella, creative directors; Alice Mintzer, Be Garrett and Gail Zeldin, producers; Tom Drymalski, art director; Jon Koffler, copywriter. Lost Planet, bicoastal. Hank Corwin, editor/sound designer; Betsy Beale, executive producer. Phillip Glass, composer.
The Ad Council/American Red Cross/American Association of Blood Banks/America’s Blood Centers, “ Julie” (:30). Playroom, bicoastal. David Jaffe, director; Carol Case, executive producer. Euro RSCG Worldwide, New York. Jason Holzman and Kevin Roddy, creative directors (Roddy is now executive creative director at Bartle Bogle Hegarty, New York); Dave Cuccinello, art director; Bob Cohen, copywriter. Bikini Edit, New York. Damion Clayton, editor/sound designer. JSM, bicoastal. Jimmy Harned, sound designer. Technicolor Creative Services, New York. John Dowdell and Joe Gawler, colorists. (Gawler has since joined Manhattan Transfer Miami.)
Production Design
Mountain Dew, “Canopy” (:30). Traktor, Santa Monica, and Partizan, bicoastal/international. Traktor, director; Bill Pope, DP; Jim Bouvet, executive producer/line producer; Tom Hartman, production designer. BBDO New York. Ted Sann, chief creative officer; Bill Bruce, executive creative director/art director/copywriter; Doris Cassar, copywriter/art director; Hyatt Choate, executive producer; Loren Parkins, executive music producer. Nomad Editing Company, Santa Monica. Tom Muldoon, editor; Francçois Blaignan, sound designer. Stan Winston Studio, Van Nuys, Calif. Alan Scott, producer; Shane Mahan and Chris Swift, model designers. Company 3, Santa Monica. Stefan Sonnenfeld, colorist; Missy Papageorge, producer. Method, Santa Monica. Alex Frisch, lead 2-D visual effects artist/visual effects shoot supervision; Laurent Ledru, CG creative director; Gil Baron, CG technical supervisor/visual effects shoot supervision; Alex Kolasinski, Andrew Eksner, Cedric Nicolas and Russell Fell, 2-D visual effects artists; Hatem Benabdallah, James LeBloch and Jeremy Butler, 3-D visual effects artists; Brandon Sanders, Katrina Salicrup and Mike Vaglientv, junior 2-D visual effects artists; Neysa Horsburgh, visual effects executive producer; Sue Troyan, visual effects producer. Sound Lounge, New York. Tom Jucarone, mixer.
Mountain Dew, “Hallway” (:30). Traktor, Santa Monica, and Partizan, bicoastal/international. Traktor, director; Bill Pope, DP; Jim Bouvet, executive producer/line producer; Tom Hartman, production designer. BBDO New York. Ted Sann, chief creative officer; Bill Bruce, executive creative director/art director/copywriter; Doris Cassar, copywriter/art director; Hyatt Choate, executive producer; Loren Parkins, executive music producer. Nomad Editing Company, Santa Monica. Tom Muldoon, editor; Francçois Blaignan, sound designer. Stan Winston Studio, Van Nuys, Calif. Alan Scott, producer; Shane Mahan and Chris Swift, model designers. Company 3, Santa Monica. Stefan Sonnenfeld, colorist; Missy Papageorge, producer. Method, Santa Monica. Alex Frisch, lead 2-D visual effects artist/visual effects shoot supervision; Laurent Ledru, CG creative director; Gil Baron, CG technical supervisor/visual effects shoot supervision; Alex Kolasinski, Andrew Eksner, Cedric Nicolas and Russell Fell, 2-D visual effects artists; Hatem Benabdallah, James LeBloch and Jeremy Butler, 3-D visual effects artists; Brandon Sanders, Katrina Salicrup and Mike Vaglientv, junior 2-D visual effects artists; Neysa Horsburgh, visual effects executive producer; Sue Troyan, visual effects producer. Sound Lounge, New York. Tom Jucarone, mixer.
HP, “Constant Change” (:30). Anonymous Content, bicoastal. David Fincher, director; Gary Waller, DP; Dave Morrison, executive producer; Don Burt, production designer. Goodby, Silverstein & Partners, San Francisco. Steve Simpson, creative director; John Norman, creative director/art director. Rock Paper Scissors, Los Angeles. Angus Wall, editor. Visual effects by Digital Domain, Venice, Calif.
