Techno Track & Car-POV Footage Simulate The Ultimate Driving Experience.
Top Spot Credits
CLIENT
BMW of North America.
PRODUCTION CO.
Ritts/Hayden, Los Angeles. Lance Kelleher, director; Pascal Lebegue, DP; Pat Frazier, producer; Bill Hayden, executive producer. Shot on location.
AGENCY
Fallon McElligott, Minneapolis. Bruce Bildsten, creative director; Tom Lichtenheld, creative director/art director; Dave Pullar, copywriter; Bob Wendt, producer; Betsy Liegey, account planner.
EDITORIAL
Spot Welders, Venice, Calif. Michael Heldman, editor.
POST
Encore Video, Santa Monica, Calif. Jais Thierry LaMaire, colorist. Pacific Ocean Post, Santa Monica. Jim Bond, online editor/Fire. Area 52, Los Angeles. Ben Gibb, online editor/Henry.
AUDIO POST
Mess Hall, Montclair, N.J. Paul Robb, audio mixer.
MUSIC/SOUND DESIGN
Mess Hall. Paul Robb, composer; Doug Hall, creative director; Andy Messenger, executive producer.
It’s impossible to test-drive a car by just watching a commercial. But Minneapolis-based Fallon McElligott tries to simulate that experience in its new five-spot BMW “Responsiveness” campaign.
Like the others in the series–“Brilliantly,” “Test Drive,” “Shall We Dance” and “For Every”–the :30 “Happiness,” which broke Aug. 11, is intended to convey the exhilaration of driving a BMW. But this spot, with its emphasis on the car’s cornering ability, is the most visually interesting of the bunch–particularly for driving aficionados. The campaign was created by Fallon creative directors Bruce Bildsten and Tom Lichtenheld (who also served as art director), copywriter Dave Pullar and producer Bob Wendt.
Lance Kelleher of Los Angeles-based Ritts/Hayden directed the campaign; it represents the first American-airing advertising for a U.S. agency he has directed through the production company, which he joined two years ago (SHOOT, 7/7/95, p. 1). (Kelleher moved to the U.S. from Australia this past March.)
To simulate the driving experience, the black-and-white spot, which includes infrared footage, features many shots from the car’s POV. These visuals are complemented by, and were edited to, aggressive techno music composed by Paul Robb of Mess Hall in Montclair, N.J.
Kicked off by a loud pulsating beat, “Happiness” opens from the car’s perspective: a fast-moving view of the road and surrounding landscape. Quick-cuts then show the car from different vantage points–an aerial shot; an interior shot of the tachometer and of a hand shifting a manual gear; and a view of the car’s front hood, whose shiny metal surface reflects clouds.
Text blocks interspersed between the action proclaim: “Happiness is not around the corner. Happiness is the corner,” illustrated by the car taking a tight curve. The final text block reads, “The Ultimate Driving Machine,” and is followed by a graphic of the BMW logo.
The genesis of the spot was in research conducted by Fallon, which revealed that many consumers weren’t aware of “what made a BMW a BMW: the performance,” Bildsten said. “We thought this was the time to make people feel they’re behind the wheel.”
He explained that the creatives took some pre-existing BMW and auto-racing footage, plus some video they went out and shot. They first assembled a rip-o-matic, to get a feel for what they wanted.
Then, for the actual shoot, Kelleher had cameras mounted in a variety of different positions on the BMWs. The rigs were quite complicated, he recalled, so that the cars could be driven at excessive speeds without requiring much trick photography.
“Some of the rigs we devised put the camera only three to four inches above the ground,” Kelleher said. “I wanted to capture the very real sensations from all different angles of the car–but predominantly from the front of the car, to get the POV of the car, which we had travel through some very dynamic road conditions: bad roads, switchbacks, tight cornering.”
Kelleher said he and the Fallon creatives liked the notion of black-and-white film for its visual precision. They used infrared photography on select POV shots, he said, for its ability to “give an extra highlight to the black-and-white feel, that sensation of traveling at high speed.”
But infrared film, which reads heat waves rather than light images, is extremely fragile and requires strictly controlled conditions with regard to temperature, loading, transportation and processing. Kelleher said they began testing the film at the start of the 10-day shoot and had worked out most of the problems by the last third, when “the results we were hoping for started to materiaize.”
Concurrently, Robb–a former member of ’80s band Information Society, and a pioneer of the emerging techno trend–started work on the score, which he created with synthesizers and samplers laden with drum loops. Mess Hall executive producer Andy Messenger suggested that the spots be edited to the music.
“It was necessary, because the beat and pace of techno music is so steady,” Messenger said, adding that they sent tracks over ISDN lines to editor Michael Heldman of Spot Welders in Venice, Calif. “Like club music, it’s not as malleable after the fact.”
The agency considered many music options, but techno had the effect of making everything seem to move faster, Bildsten said. “Our one concern was that techno is in a lot of ad campaigns now,” he added. “We decided that if we were going to do it, we’d go to someone who could do the real stuff–not the watered-down commercial version.”
***
Primary Pictures Rings For MediaOne
CLIENT
MediaOne.
PRODUCTION CO.
Primary Pictures, Atlanta. Tim Wainwright, director/DP; Widdi Turner, executive producer; Richard Sampson, producer. Shot on location.
AGENCY
Austin Kelley Advertising, Atlanta. Jim Spruell, executive creative director; Lee St. James, creative director; Carolyn Baugus, copywriter; Bill Taylor, art director; Stacy Smeltzer, broadcast producer.
EDITORIAL
Primary Pictures. Paul Miller, editor.
POST
The Film Group, Atlanta. Richard Parker, colorist. Click 3X, Atlanta. Terry Boyer, online editor.
AUDIO POST
Doppler Studios, Atlanta. Steve Schwartzberg, engineer.
SOUND DESIGN
Doppler Studios. Steve Schwartzberg, sound designer.
THE SPOT
In the :30 “Ice Cream,” a truck drives through a neighborhood, ringing its bell. Instead of the frozen treat, people order their favorite cable channels.
Spot broke July 16.
***
Black Watch Helps Out Catholic Comm.
CLIENT
Catholic Communication Campaign.
PRODUCTION CO.
Black Watch Productions, New York. Rich Park, director; Peter Reniers, DP; John Anderson, executive producer. Shot on location.
AGENCY
Goldberg Marchesano Partners, Washington. Carol Marchesano, president; Norman Goldberg, chairman; Rich Park, creative director; Smitty Kumar, account supervisor; Howard Holt, business manager.
EDITORIAL
Interface Video Systems, Washington. Steve Lipton, editor.
POST
DC Post, Washington. Steve Lipton, online editor; Bobby Johanson, colorist.
AUDIO POST
DC Post. Kennedy Wright, engineer/mixer.
THE SPOT
“Dinner Date,” “Dog Wash” and “Little Helper” show people making a difference to those in need.
Spots broke in June.
***
DNA For Arizona Dept. Of Health Svcs.
CLIENT
Arizona Department of Health Services/Arizona Tobacco Education and Prevention Program.
PRODUCTION CO.
DNA Inc., Hollywood. Francis Lawrence, director; Jeff Cutter, DP; Patricia Judice, executive producer; Jody Jupiter-Margolis, producer; Robert Fox, production designer. Mechanical effects and models by Robert DeVine at Anatomorphex, North Hollywood. Shot at Arroyo Studios, Sylmar, Calif.
AGENCY
The Riester Corporation, Phoenix. Dave Robb, creative director; Roger Hurni, art director/ copywriter; Louise Parker, producer.
EDITORIAL
Red Car, Hollywood. Susan Munro, editor.
POST
525 Post Production, Hollywood. Clark Muller, colorist; Chris Staves, Henry artist.
AUDIO POST
Outpost Sound, Hollywood. Tony Friedman, mixer.
SOUND DESIGN
Outpost Sound. J. Eby, sound designer.
THE SPOT
In the :30 PSA “Mars,” a Mars Pathfinder mission discovers what happened to life on Mars–through the discovery of a cigarette butt.
Spot broke in late July.
***
Ink Tank Spells Out Phoenix Insurance
CLIENT
Phoenix Insurance Investments.
PRODUCTION CO.
The Ink Tank, New York. Tissa David, director of animation; R.O. Blechman, creative director; Brian O’Connell, executive producer/co-director; Liz Wassell, producer; Helena Uszac, coordinator. Wbmg Inc., New York. Milton Glaser, designer. Animus Films, New York. Daniel Esterman, cameraman.
AGENCY
Emmerling Post, New York. John Emmerling, creative director; Sara Selz, copywriter; Art Gilmore, art director; Loren Smith, producer.
EDITORIAL
The Ink Tank. David Courter, editor.
POST
The Tape House Editorial Company, New York. Stu Oppenheim, online editor; John Crowley, tape-to-tape colorist.
VISUAL EFFECTS
Tape House Ink & Paint, New York. Rob Issen, executive producer; Irina Vodar, digital compositor; Michele Dunn, producer.
AUDIO POST
The Mix Place, New York. Kenny Fredrickson, mixer.
MUSIC
Grayscore Music and Recording Studio, New York. John Gray, composer.
THE SPOT
“Boat” features sportily dressed letters that spell out the words “Fiscal Fitness” aboard a cruise ship. A photographer shoots a group picture of the letters, fixing them as they shift from side to side on the rocking deck. “We can help you to focus your financial picture,” a voiceover says, “no matter where life’s journey takes you.”
Spot broke July 17.
***
Pictures In A Row Navigates For Acura
CLIENT
American Honda Motor Co./Acura.
PRODUCTION CO.
Pictures In A Row, Los Angeles. Peter Lang, director/cameraman; Adam Gross, executive producer; Gillian McManus, producer; Electra Lang, associate producer; Franny Frieberger and Lori Stonebreaker, production managers. Shot on location.
AGENCY
Suissa Miller Advertising, Los Angeles. David Suissa, executive creative director; Bruce Miller, president; Mike Davison, executive producer; Mike Indgin, associate creative director; Mark Cohen, art director.
EDITORIAL
MWP Editorial, Hollywood. David Frame, editor; Paul Stone, assistant editor; Gary Le Vine, executive producer.
POST/VISUAL EFFECTS
CAD CAM animation created by Bruce Boulanger and Ray Call at Complete Post, Hollywood. Compositing and additional effects created by Wayne Shepherd, Henry operator, Editel/Los Angeles, Hollywood; and Mark Dennison, Henry operator, Complete Post. Telecine supervised by Stefan Sonnenfeld at Pacific Ocean Post, Santa Monica, Calif., Mark Griffith at Editel/Los Angeles; Bob Festa at Encore Santa Monica; and Rob Sciarratta at Hollywood Digital, Hollywood.
AUDIO POST
Margarita Mix, Hollywood. Tim Rock and Jeff Levy, mixers.
MUSIC
Les Hooper Music, Sherman Oaks, Calif. Les Hooper, composer. Musical direction supervised by Peter Lang.
THE SPOT
Four :30s and a :60 illustrate the performance, elegance and comfort qualities of the new model Acura RL, TL and CL series automobiles. The package includes “RL,” “CL,” “TL” and “RL Nav,” which tells the story of a musician whose trip to his concert performance is delayed. Unable to use his favorite route because of road construction, the man calmly accesses the satellite navigation system offered in the new RL series Acura. Finding an alternate route, the man quickly slips into the music hall just in time to play his solo.
Spots broke in May.
***
Tom’s Easy Way, Aberg Bag Frito-Lay
CLIENT
Frito-Lay.
PRODUCTION CO.
The Artists Company, New York. Skip D’Amico, director; Richard Fannin, DP; Lori Lober, executive producer; Alison Bari, producer. Shot on location.
AGENCY
DDB Needham Dallas. Jim Ferguson, creative director; John Adams, executive producer; Kimberly Grear, producer; Greg Wells, art director; Russell Lambrecht, writer; Jenni Roy, assistant producer.
EDITORIAL
Tom’s Easy Way, Dallas. Tom Aberg, editor; Samantha Downes, postproduction producer.
POST
The Filmworkers Club, Dallas. Drew Marsh, colorist. Reel FX, Dallas. Dale Carman, online editor.
VISUAL EFFECTS
Reel FX. Todd Shoemaker, Flame effects.
AUDIO POST
Video Post & Transfer, Dallas. Joe Macre, audio mixer.
MUSIC/SOUND DESIGN
Admusic, Burbank, Calif. Steve Hampton, composer; Steve Sauber, sound designer.
THE SPOT
In the :30 “Rare Coin,” a young boy takes a precious, two-headed quarter from his father’s prized collection to take part in Frito-Lay’s “Quarter Deal.”
Spot broke May 1.
***
A+R Group, Finish Line For Qualcomm
CLIENT
Qualcomm.
PRODUCTION CO.
The A+R Group, bicoastal. David Ramser, director; Toby Irwin, DP; Roberto Cecchini, executive producer; Suzanne Hargrove, producer. Shot on location.
AGENCY
dGWB Advertising, Irvine, Calif. Mandi Dossin, partner; Jon Gothold, partner/creative director; Joe Cladis, associate creative director/art director; Ed Crayton, associate creative director/copywriter; Amy Krause, producer; Jan Lansing, group account director; Lissa Mirkil, account executive.
EDITORIAL
Avenue Edit, Santa Monica, Calif. Andrew Borton, editor; Elizabeth Ryan, assistant editor; Christie Cash, producer.
POST
The Finish Line, Santa Monica. James Bygrave, online editor; Libor Zednicek, assistant online editor. Pacific Ocean Post, Santa Monica. Mike Pethel, colorist.
VISUAL EFFECTS
The Finish Line. James Bygrave, visual effects editor.
AUDIO POST
AudioBanks, Santa Monica. Sonia Castro, mixer.
MUSIC/SOUND DESIGN
Primal Scream, Santa Monica. Reinhard Denke, composer/sound designer.
THE SPOT
The Twilight Zone-ish :30 “The Stranger” opens on a car parked on the side of a desolate stretch of road. Sitting in the car as the radio plays, the driver hears that there have been reports of mysterious sightings in the sky. He begins to push the buttons of his Q Digital PCS phone when his car suddenly dies, but the phone still operates. Out of nowhere, a farmer appears and leans into the car window to ask the driver if he’s having car trouble. The driver begins explaining that he was on the Internet via his phone, but stops when he sees twin girls appear on the other side of the car. He also notices the farmer’s wife in his rear-view mirror. He mentions that his phone is a Qualcomm when his car suddenly starts up. He quickly drives away as the farmer says, “Weird guy, great phone.”
Spot broke in mid-June.
***
STA Gets Fresh Fruit At Shaw’s
CLIENT
Shaw’s Supermarkets.
PRODUCTION CO.
Sean Tracey Associates, Portsmouth, N.H. Sean Tracey, director; Romeo Tirone, DP; Bill Tracey, executive producer. Shot on location.
AGENCY
Creative Design & Marketing, Portland, Maine. Ken Kraus, creative director; Mark Henderson, agency producer; Scott Dinsmore, copywriter; Debbie Treadwell, account supervisor.
EDITORIAL
Lightning & Thunder Editorial, Boston. David Doob, editor; Matt Green, assistant editor.
POST
Lightning & Thunder Editorial. David Doob, online editor. Command Post/Toy Box, Toronto. Walter Biljan, colorist.
AUDIO POST
Soundtrack Studios, Boston. Rick Sweetser, audio post/mixer.
MUSIC
Michael McInnis Productions, Portland. Michael McInnis, composer.
SOUND DESIGN
Soundtrack Studios. Rick Sweetser, sound designer.
THE SPOT
“Fresh Start” focuses on the relationship between the local farm industry and Shaw’s Supermarkets in New England.
Spot broke in late July.
***
LinsmanFilm Drills With Porter-Cable
CLIENT
Porter-Cable.
PRODUCTION CO.
LinsmanFilm, Phoenix. Bill Linsman, director; Tim Eaton, DP; Kathryn Colvin, producer. Shot on location.
AGENCY
Sossaman Bateman, Memphis. Tom Bateman, executive creative director; Eric Christopherson, writer/producer.
EDITORIAL
Steve Hood Productions, Scottsdale, Ariz. Steve Hood, editor.
POST
Great Scott! Productions, Phoenix. Tony Blandford, online editor. Editel/Los Angeles, Hollywood. Mark Griffith, colorist.
AUDIO POST
Sound Design, Phoenix. Tim Jessup, mixer.
MUSIC
Sound Design. Tim Jessup, composer.
THE SPOT
A :30 features close-up shots of Porter-Cable power tools and the gradual destruction of a classic truck. Eventually it is revealed that the operator of the tools is a woman–the scorned ex-sweetheart of the owner of the truck. As a final gesture, she kicks the truck as she exits the scene.
Spot broke in June.
***
Michael Whalen Saves At Rite Aid
CLIENT
Rite Aid Corp.
PRODUCTION CO.
Headquarters, Hollywood. Robert Black, director; Chuck Minsky, DP; Alex Blum, executive producer; Naia Hali-West, producer. Shot on location.
AGENCY
MARC Advertising, Pittsburgh. Ed Fine, senior VP/executive creative director; Tony Jaffe, senior VP/creative director; Holly Humphrey, VP/creative director; John Swisher, associate creative director; Lisa Long, broadcast producer; Ken Brown and Jeff Mags, VPs/management supervisors.
EDITORIAL
A Cut Above Editorial, New York. Bob De Rise, editor; Larry Bobker, assistant editor.
POST
Post Production Services, Cleveland. David McLean, video post editor.
AUDIO POST
Michael Whalen Music, New York. Michael Whalen, mixer.
MUSIC
Michael Whalen Music. Michael Whalen, composer; Gena Greher, producer.
THE SPOT
The :30 “Remember” highlights Rite Aid’s Life Check computer system. A voiceover intones, “Maggie Brown almost died today,” as footage of the female firefighter at the scene of a blaze is shown. “But not fighting a fire. Her new doctor prescribed a drug that can have a fatal interaction with a medication she’s already on. She forgot to tell him about it,” the voiceover continues. The spot then shows Rite Aid’s Life Check computer system flashing a warning to the pharmacist about drug interaction. “Life is filled with risks. Going to the drugstore shouldn’t be one of them.”
Spot broke May 25.
***
Vito DeSario Editing Dances For Total
CLIENT
General Mills/Total.
PRODUCTION CO.
The Artists Company, bicoastal. Michal Utterback, director; Tammi Reiker, DP; Gower Frost, executive producer. Shot on location.
AGENCY
Saatchi & Saatchi Advertising, New York. Craig Miller, creative director; Sheldon Levy, executive producer; John Sullivan, art director; Doug Pippin, copywriter; Eric Korte, music producer.
EDITORIAL
Vito DeSario Editing, New York. Sue Lee and Stephen Cheifitz, editors.
POST
Nice Shoes, New York. Ed Patrowicz, online editor. The Tape House Editorial Company, New York. Tim Masick, colorist.
VISUAL EFFECTS
Manhattan Transfer/Edit, New York. Pat Portella, Henry artist.
AUDIO POST
Howard Schwartz Recording, New York. Roy Latham, engineer.
MUSIC
NY JAM Music, New York. Neil Jason, John McCurry and Sam Meridino, composers/arrangers.
THE SPOT
“Total Effect” stars dancer Gregory Hines rehearsing a tap number. “It’s not just eating right or exercise. It’s the Total effect. And for me it starts with Total,” declares Hines.
Spot broke May 27.
***
Mr. Big Prodns., MWC Fly With TWA
CLIENT
Trans World Airlines.
PRODUCTION CO.
Mr. Big Productions, Chicago. Tim Bieber, director/DP; Kate Zimmer, executive producer; Mike Sunseri, producer. Shot on location.
AGENCY
DMB&B/St. Louis. Tom Gow, group creative director; Greg Sullentrup, creative director; Peter Barg, producer; Brenda Bertts, copywriter/associate creative director; Lynn Brinker, group account director; Glenn B. Sundin, account director; Sherri Ragan, account executive; Mary Riggs, broadcast business manager.
EDITORIAL
NuWorld Editorial, Chicago. Bob Carr, editor; Tim Cloehn and Tom Brassell, assistant editors.
POST
i^3, Chicago. Arturo Cubacub, effects editor; Alex Scudiero, colorist.
AUDIO POST
NuWorld Editorial. Brian Leitner, audio engineer.
MUSIC
Music Works Chicago, Chicago. John Ovnik, composer; Ed St. Peter, executive producer.
THE SPOT
Two :30s–“Straight Talk” and “Message”–feature employees extolling the airlines’ improvements in customer service and on-time performance, intercut with footage of the company’s new fleet of airplanes. The spots showcase the new theme line, “We want to be your airline.”
Spots broke May 16.
***
Pavlov For Texas Conservation Comm.
CLIENT
Texas National Resources Conservation Commission.
PRODUCTION CO.
Pavlov Productions, Culver City, Calif. Barnaby Jackson, director; Garry Waller, DP; Tracy Hauser, executive producer; Anna Joseph, producer. Shot on location.
AGENCY
Sherry Matthews Advertising & Public Relations, Austin, Texas. Sherry Matthews, president; Doug Lyon, creative director; Gib Shellenberger, writer; Amy Fisher, production manager; Karen Purcell, VP/media director.
EDITORIAL
Aftershock Digital, Los Angeles. Patrick Fraser, editor; Michelle Berk, assistant editor.
POST
Aftershock Digital. Mike Cosola, colorist.
VISUAL EFFECTS
Planet Blue, Hollywood. Nathan McGuinness, digital-effects artist.
AUDIO POST
Margarita Mix, Hollywood. Tim Rock, mixer.
MUSIC
Head Arrangements, London. John Altman, composer.
SOUND DESIGN
Creative Cafe, Los Angeles. Dean Beville, sound designer.
THE SPOT
In “Don’t Be Crude,” a car chase through a winding Texas landscape provides the backdrop for a PSA about individual responsibility for recycling oil. A black Lincoln Continental is in hot pursuit of an Aston Martin driven by a James Bond-type, a female secret agent at his side. When the man attempts to foil his enemy by creating an oil slick, his companion admonishes, “Darling, don’t be crude.” Heeding her advice, he instead flicks the smoke-screen switch, causing the Lincoln to careen down a hill.
Spot broke June 23
