Ogilvy & Mather, Atlanta, Creates Dark Comedy For World Championship Wrestling.
CLIENT
World Championship Wrestling.
PRODUCTION CO.
Coppos Films, bicoastal. Craig Gillespie, director; John Schwartzman, DP; Allison Nunn, executive producer;
Jay Shapiro, producer; Chris Goodmanson, freelance art director. Shot on location in
Los Angeles.
AGENCY
Ogilvy & Mather, Atlanta. Steve Saari, creative director; Toby Burditt, art director; Denise Rosenstein, copywriter; Cathy Weber, producer.
EDITORIAL
Crew Cuts West, Santa Monica. Bill Marmor and Dave Bradley, editors.
POST
Company 3, Santa Monica. Mike Pethel, colorist.
VISUAL EFFECTS
Click 3X, Los Angeles. Craig Price, Henry artist; Roger Mocenigo, Mac artist.
AUDIO POST
Margarita Mix, Santa Monica. Richard Rauh, mixer.
MUSIC
HUM Music+Sound Design, Santa Monica. Garron Chang, composer.
SOUND DESIGN
Crew Cuts West. Bill Marmor and Dave Bradley, sound designers.
BY CAROLYN GIARDINA
World Championship Wrestling (WCW) is aiming to increase its exposure with a comedic campaign created by Ogilvy & Mather, Atlanta, and directed by Craig Gillespie of bicoastal Coppos Films.
One :30, "Voodoo," begins with a woman sitting on a couch, changing TV channels via a remote control. She appears somewhat bored. On a table away from the sofa, a doll version of wrestler Kevin Nash pricks a doll replica of the woman, first in the stomach then on her leg as the woman reacts in pain. Next, the wrestler forces her to pick up the remote to put on WCW wrestling. When WCW appears on TV, she settles back on the couch to enjoy the program. The wrestler doll then rubs the female doll’s hair and pulls her head back, as the woman reacts pleasurably. Dramatic music is used in the sequence to add to the humor. The spot ends with the tag: "It’s out there."
Noting that due to scheduling conflicts, the actual wrestlers were unavailable to appear in the campaign, O&M’s Toby Burditt, art director on the spot, explained that the tag was used as a starting point. "We took the ‘Out There’ concept and ran with it," he said. In "Voodoo," the team created what Burditt described as a dark, but obscure, comedy in which they combined "a mechanical wrestler doll with a beautiful woman."
"The strategy is to increase viewership across the board by polishing the brand and bringing it up a few notches," he explained.
Gillespie had previously directed some WCW teasers that the agency was very pleased with, so he was brought back for this project. Gillespie was interested in the job because of the prior, positive experience with O&M. And he added, "the creative was so good."
The spot was shot on location in Los Angeles. The director selected a room that he said had clean lines and was graphic, with white walls and a pool outside. In casting the female character, he went with an actress that he described as sophisticated, natural looking, pretty, and accessible.
For the production, the director said he opted to avoid using visual effects and to instead shoot everything as live elements. Thus the Kevin Nash doll was actually a mechanical puppet (created by freelance art director Chris Goodmanson). "I wanted to keep it primitive," he explained. "I thought it would be funny if it were awkward. … I [also] wanted to keep it a strange humor, just bizarre."
The greatest challenge, Gillespie said, was working within a very tight production schedule. "Voodoo" and another :30 in the campaign, "Couch Tussle" were actually shot in their entirety on the same day. (The campaign is rounded out by a :60 and :30 version of "HOV.")
Bill Marmor and Dave Bradley of Crew Cuts West, Santa Monica, cut "Voodoo" and the other spots in the campaign. Like Gillespie, the editors said the biggest challenge was finishing the campaign on a very tight production schedule. The creative challenge, Bradley explained, was finding "a balance between a strange, scary world and bringing it back to a lighthearted mentality."
Marmor added that their advantage lay in Gillespie’s shots. "The film was there to make the story work," he commented.
Blue Rock Starts
With Hunter Douglas
CLIENT
Hunter Douglas Corp.
PRODUCTION CO.
Screen Gems, New York. Gabor Tarko, director/DP; Eli Feldman, executive producer; John Posimato, producer. Shot on location in Toronto.
AGENCY
Ferrell Calvillo, New York. John Ferrell, creative director; Frank DiSalvo, producer; Roz Makarechi, art director; Richard Griffin, copywriter.
EDITORIAL
The Blue Rock Editing Company, New York. Chip Smith, editor; Eun-Duk Cho, assistant editor; Ethel Rubenstein, executive producer.
POST
Nice Shoes, New York. Scott Burch, colorist. The Blue Rock Editing Company. Louie Yandoli, Henry artist.
AUDIO POST
The Mix Place, New York. Kenny Fredrickson, engineer.
MUSIC
Jon Gorr Customusic, Pittsburgh. Jon Gorr, composer/arranger.
THE SPOT
Based on the concept that the most beautiful rooms start with Hunter Douglas blinds, the :30 "Deconstruction" depicts furniture dissolving and reappearing to highlight the attributes of the shades.
Spot broke April 5.
Curious Has Rights
At Round Table
CLIENT
Round Table Pizza.
PRODUCTION CO.
Curious Pictures, San Francisco. Michael Bade, director; Peter Bagge, designer; Nick Hewitt, animation director; David Starr and Richard Winkler, co-executive producers; Maryann McClure, producer; Granger Davis, 2-D animator, "Rooster," "Full" and "Tornado"; Amy Nuara, 2-D animator, "Steam" and "Freedom of Speech"; Barbara Bayne, 2-D animator, "Tornado"; Sue Teagarden, production manager.
AGENCY
Wieden & Kennedy, Portland, Ore. Jim Riswold, creative director; Arrow Kruse, producer; Ned McNeilage, copywriter; Linda Knight, art director.
POST
Western Images, San Francisco. Greg Gilmore, online editor.
AUDIO POST
Gizmo Audio, New York. Sean McAuliffe, engineer.
MUSIC
Duotone, New York. Jack Livesay and Peter Nashel, composers/arrangers; Amy Sheldon, executive producer.
THE SPOTS
Five spots feature various animated characters eating pizza and celebrating Round Table’s "Bill of Rights," which includes the right to have fun while eating Round Table’s pizza, and the right to eat pizza made with quality ingredients. In the :15 "Rooster," a bird who is having some difficulty making his wake-up call is given pep by a slice of pizza. The :15 "Steam Dance" shows a pizza-eating woman who is seduced by rising steam from a pie. A man continues to stuff himself despite the fact that his stomach is already jammed with pizza, in the :15 "Full." In the :15 "Freedom of Speech," a little girl standing on a park bench eating pizza talks with her mouth full to her pet chihuahua, as an audience of pigeons listen. The :30 "Tornado" features a storm that wreaks havoc, taking a Round Table restaurant with it, and leaving only a teenager holding a slice of pizza.
"Steam Dance" and "Rooster" broke March 1. "Full," "Freedom of Speech" and "Tornado" aired April 1.
Carnaval Gets Artsy
For Wisc. Lottery
CLIENT
Wisconsin Lottery.
PRODUCTION CO.
Carnaval Pictures, Milwaukee. James O’Malley, director/executive producer; Helge Gerull, DP; Philip Johnson, producer; Bill Yunker, production designer. Shot on location.
AGENCY
Hoffman York, Milwaukee. Ken Butts, creative director; Michael Herlehy, copywriter; Scott Lawson, art director; Kiki Hayes, producer.
EDITORIAL
Carnaval Pictures. James O’Malley, editor.
POST
Independent Edit, Milwaukee. Robert Due, editor. The Filmworkers Club, Chicago. Lynette Duensing, colorist.
AUDIO POST
Independent Sound, Milwaukee. Rick Probst, engineer.
MUSIC
Stanislav Venglevski, composer/ arranger/performer, Milwaukee.
SOUND DESIGN
Independent Studios, Milwaukee. Rick Probst, sound designer.
THE SPOT
The :30 "Monte Carlo," a new game from the Wisconsin Lottery, features Bronson Pinchot and Second City comedian Joseph Nu˜ez critiquing a piece of art which is revealed to be a deer’s head mounted on a basement rec room wall.
Spot broke Jan. 31.
Vinton Is Heroic
For 3 Musketeers
CLIENT
M&M Mars/3 Musketeers.
PRODUCTION CO.
Will Vinton Studios, Portland, Ore. Matthew Brunner, director; Mark Eifert, DP; David Altschul, executive producer; Barry Bruce, creative director/head of animation; Sara Mullock, producer; Charlie Rehwalt, stop motion technical director; Halle Hennessy and Gary McRobert, motion control operators; Roy Bellows, gaffer; Ted Jackson, grip; Audrey Moore, assistant camera; James Winters, stage assistant; Mike Johnson, Tony Merrithew and Jean Poulot, animators; Tracy Prescott, art director; Guy Burwell, main character designer; David Vinicombe, additional character design/storyboard artist; Ken Min, storyboard artist; Mike Dietz and Phil Parker, reference animation; Julie Berghoff, art department manager; Elicia Harris, art department coordinator; Scott Foster, Bruce Weinkle, Ken Wright and Jamie Haggerty, sculptors/ armaturists; Rob Ronning, Matt Isackson, Marsha Breuer, Sean Dickson, Colleen Flanigan, Anne Hyvarinen, Liz Konsella, Kathryn Lippert, Charlotte McDonald, Gretchen Pflugh, Meghan Saunders, Katie Scott, Rick Sears and Lance Woolen, puppet fabricators; Adam Lovell, Steve Tucker, Tom Forsyth, Larry King, John Averill, Jim McAllister and Eric Bute, set fabricators; Jamie Duncan, Janet Karecki, Christine Chapman and Polly Robbins, set painters; Ken Wright, Eric Boulton and Richard Malinowski, riggers; Ken Sullivan, Clay Connally, Patrick VanPelt and Melissa Saul, CGI technical directors/animators; Kelly Hayes, Billy Halkinrude and Mahri Holt, production assistants. Food shot by Santiago Inc., New York. Santiago Suarez, director; Mark Eifert, DP; Joan Vitaliano, producer. Shot on stage at Santiago Inc.
AGENCY
Uniworld Group, New York. Robert Shaffron, group creative director/copywriter; James Williamson, art director; Darlene Samuels, producer; Carmon Johnston, director of broadcast production.
EDITORIAL
Will Vinton Studios. Albert Hensley, editor; Chris Tenzis, assistant editor; Phil Guzzo, tape operator.
POST
Will Vinton Studios. Rebecca Bowen, Flame artist. Downstream, Portland. Jim Barrett and Michael Mintz, colorists. Alpha Cine Labs, Seattle, laboratory. Food special effects by Quiet Man, New York. Johnnie Semerad, Inferno artist; Caray Gattyan, producer.
AUDIO POST
Margarita Mix a la Hollywood. Konrad Pinon, engineer/mixer.
MUSIC
Fearless Music, New York. Jamie Lamm, composer.
THE SPOT
A trio of 3-D stop-motion heroes-D’Artagnan, Porthos and Athos-fight evil and come to the rescue of a lovely lass in "Trailer."
Spot broke April 5.
jsm/music Savors
International Delight
CLIENT
Suzia Foods/International Delight.
PRODUCTION CO.
Stiefel & Company, Hollywood. Peter Darley Miller, director; James Whitaker, DP; Frank Stiefel, executive producer; Drew Bracken, producer. Shot on location in Los Angeles.
AGENCY
DDB Needham Dallas. Jim Ferguson, creative director; Jenni Roy, producer; Kevin Sutton, copywriter; Carrie Birnbaum, executive producer; David Ring, art director.
EDITORIAL
Tom’s Easy Way, Dallas. Tom Aberg, editor.
POST
The Filmworkers Club, Dallas. Rob Lingelbach, colorist; Michael Sullivan, assistant colorist.
AUDIO POST
Video Post & Transfer, Dallas. Joe Macre, mixer/engineer.
MUSIC
jsm/music, New York. Raymond Loewy, composer; Joel Simon, executive producer.
THE SPOT
In the humorous "Speeding," a couple who are pulled over by a cop are treated to coffee with International Delight non-dairy creamer. The policeman urges the duo to "Enjoy the moment," as the three run through a sun-lit field, blow bubbles, and play on swings. The :30 closes with the trio fishing, as the cop says, "Ah, the French. What they do with vanilla-it’s magical."
Spot broke in February.
Planet Blue Brakes
For Pep Boys
CLIENT
Pep Boys.
PRODUCTION CO.
Visitor, Santa Monica. Dave Merhar, director; Amir Mokri, DP; Olivier Katz, executive producer; Jim O’Donnell, head of production; Grayson Bithell, producer. Shot on location in Anchorage and Southern California.
AGENCY
DDB Needham, Chicago. Bob Scarpelli, chief creative officer; Richard DiLallo, creative director; Ann Rubenstein, producer; Tom Murphy, art director; Sean Bryan, copywriter.
EDITORIAL
The Lookinglass Company, Santa Monica. Livio Sanchez, editor; Sue Dawson, executive producer.
POST/VISUAL EFFECTS
Planet Blue, Santa Monica. Maury Rosenfeld, visual effects supervisor/Tulip animation; Milt Alvarez, executive producer; George Sanchez, producer; Konstantin Promokhov, CGI artist; Nathan McGuinness, visual effects artist; Pierre LaQuerre, online editor. Company 3, Santa Monica. Mike Pethel, colorist.
AUDIO POST
Chicago Recording Company. Mike Mason, mixer.
MUSIC
Steve Ford Music, Chicago. Steve Ford, composer; Elizabeth Bergman, producer.
THE SPOT
In the :30 "Moose Crossing," two guys driving along a highway notice increasingly urgent signs regarding the moose activity. Suddenly the driver slams on the brakes when a moose steps in front of the truck. The moose says to the duo, "Did you get them brakes at Pep Boys?" When they answer in the affirmative, the moose responds with, "I appreciate it."
Spot broke March 28.
Admusic Beats Up
Yoshi For Nintendo
CLIENT
Nintendo of America/Super Smash Bros.
PRODUCTION CO.
Crossroads Films, Los Angeles. Mark Story, director; Tom Krueger, DP; Mike Dill, executive producer; Norm Reiss, producer. Shot at the Disney Ranch, Los Angeles.
AGENCY
Leo Burnett Co., Chicago. Bob Akers, creative director; Tom Keramidas, producer; Scott Larsen and Dominick Maiolo, copywriters; Peter Lashley, art director.
EDITORIAL
Edit Sweet, Chicago. Jan Maitland, editor.
POST
The Filmworkers Club, Chicago. Michael Mazur, colorist; Ralph Churchill, online editor.
AUDIO POST
Chicago Recording Company. Dave Gerbosi, engineer.
MUSIC
Admusic, Santa Monica. Steve Hampton, arranger.
THE SPOT
Nintendo characters Donkey Kong, Pikachu, Mario and Yoshi frolic happily through a grassy field to the tune "Happy Together." Suddenly they begin attacking each other, as footage of Nintendo’s Super Smash Bros. game is displayed.
Spot broke April
