TBWA Chiat/Day Spot Drives Home G20’s Journey From Autobahn To America.
CLIENT
Infiniti.
PRODUCTION CO.
OneSuch Films, bicoastal. John St. Clair, director; David Darby, DP; Brian Donnelly and Al Califano, executive producers; Michael Tillman, producer. Shot on location.
AGENCY
TBWA Chiat/Day, Venice, Calif. Lee Clow, chief creative officer; Richard O’Neill, director of broacast; Rob Siltanen, creative director; Chris Graves, art director; Eric Grunbaum, copywriter; Mila Stein, producer; Lorraine Kraus, assistant producer.
EDITORIAL
Venice Beach Editorial, Venice. Dan Bootzin, editor; Hunter Connor, postproduction supervisor.
POST
Company 3, Santa Monica. Stefan Sonnenfeld, colorist. Hollywood Digital West, Santa Monica. Brian Robinson, online editor.
AUDIO POST
Asche & Spencer, Minneapolis and Venice. Al Wolovitch, engineer.
MUSIC
Asche & Spencer. Chris Beaty and Jason Heinrich, composers; Thad Spencer, creative director; Hugh Barton, executive producer.
By KATHY DeSALVO
A new spot for the Infiniti G20 out of Venice, Calif.-based TBWA Chiat/Day shows how far the automobile has come–literally, across the ocean. Directed by John St. Clair of bicoastal OneSuch Films, the :30 "Crossing the Pond" sweeps viewers along with an energetic montage that traces the G20’s journey across Europe to America.
Propelled by a driving techno track out of Asche & Spencer, Minneapolis and Venice, the spot opens with driving and interior shots of the Infiniti (exteriors were shot at a Long Island, N.Y. air base), as a voiceover explains that the G20 began as the product of meticulous Japanese design. "But it was sent to Europe for finishing school," continues the VO, followed by a succession of frenetic sequences from the car’s POV, starting in Paris, cutting from the car speeding along a road, the Eiffel Tower in the distance, to another POV on the road directly under the tower.
The POV then zips through the narrow streets of Heidelberg, Germany (which supplied a classic Old World village look and obvious European iconography), and continues through twisty, snowy Austrian Alpine roads down which locals on touring motorcycles fly by. Images continue in quick succession, complementing the voiceover, which explains that the car was "refined on Germany’s autobahns, chased on England’s racetracks."
"Now the car that’s proven itself in Europe is crossing the pond," says the VO: The automobile seems to be launching off a dock–as we see a sunlit body of water, the spot transitions to a helicopter shot moving swiftly past the Statue of Liberty. It concludes with a shot of the car landing; the final triumphant shot shows the G20 sitting under the Brooklyn Bridge with a panoramic view of the Manhattan skyline in the background.
Chris Graves, art director at TBWA Chiat/Day, explained that the brief was to introduce Infiniti’s newly revamped G20 to a younger (age 30-39) audience. "They needed to get a commercial that was a little more youthful and energetic than the ones they’ve traditionally done for the Q45 model and the 50-plus target audience," said Graves, who teamed with copywriter Eric Grunbaum on the job. "The G20 has a unique background. It was designed in Japan and has spent the past few years being refined in Europe. They thought it was a unique position that no one else could claim, so we took that and translated it into a POV of its journey through Europe."
Logistics made this an intense job. The vacationing St. Clair, in faxed comments to SHOOT, said the schedule was very tight: six days of shooting in Europe (including travel) and four days in New York and surrounding areas. The prep/scouting schedule, however, was "a complete nightmare": five days to scout and prep four countries.
According to St. Clair, they decided where to shoot by pinpointing the areas that would provide the "greatest variety of terrain and architecture along the shortest possible line of travel." They knew they needed an Atlantic port, a European icon instantly recognizable to Americans, a specifically German racetrack and autobahn and some Alps. They figured the shortest route encompassing all these elements ran from Normandy, France (a harbor in Port-en-Bessin supplied the setting for the car’s "launch"), to Paris to Germany (where they shot the racetrack at Hockenheim Ring) and on to the Austrian Alps (Timmelsjoch, a pass between Austria and Italy). "Everything else," wrote St. Clair, "consisted of grabbing useful material that was available along the way."
DP David Darby created the illusion of breakneck speed by shooting at varying frame rates–6, 12 and 24fps–and a variety of film speeds, said Graves. He added that much of the POV footage is comprised of twilight scenes. Graves explained they tried to shoot around dusk and dawn because they liked how the light looked (the colors were also enhanced in telecine), and also because the streets were a little emptier at those times. This was important, particularly as filming took place in France during the World Cup.
Driving the giant camera truck on the German autobahn course (from Munich to Heidelberg) was an interesting experience, recalled Graves. "The German drivers got very, very nervous," he said. "The etiquette there is you go fast in the passing lane; you don’t sit in the passing lane and block it like we did. It’s a cultural thing–it’s just not done."
After the European leg of the shoot in late June, they spent four days shooting the New York scenes. Because the footage was so voluminous, one of the toughest tasks fell to Venice Beach Editorial editor Dan Bootzin, who was flown to New York to begin cutting while they were still filming. (Venice Beach Editorial is the in-house editing arm of TBWA Chiat/Day.)
The final touch was the music track, composed by Chris Beaty and Jason Heinrich. Asche & Spencer creative director Thad Spencer said they assembled a "loping, slower" techno piece. "It’s kind of a hybrid," said Spencer. "There’s a ’60s swing drumbeat going on with a really weird, filtered, synthesized part. We were trying to make the car tough. The whole idea is this tough-ass car going to finishing school."
Despite the time pressures, the spot was completed in time to meet its July 18 deadline and be shown at a dealer’s meeting. The spot broke earlier this month. "As an intro spot," said Graves, "[Infiniti] really liked the idea that this was, in every sense, a real launch spot."
***
Ear To Ear Tells
A Saturn Story
CLIENT
Saturn Corp.
PRODUCTION CO.
radical.media, Santa Monica. Frank Todaro, director; Jack Donnally, DP; Frank Scherma, executive producer; Gregg Carlesimo, producer. Shot on location.
AGENCY
Publicis & Hal Riney, San Francisco. John Doyle and Dave O’Hare, executive creative directors; Dennis Lim, creative director/art director; Greg Ketchum, creative director/copywriter; Damian Stevens, producer.
EDITORIAL
Crew Cuts West, Santa Monica. Adam Liebowitz, editor; Robin Hall, postproduction producer.
POST
Hollywood Digital, Hollywood. Brian Robinson, online editor/colorist.
AUDIO POST
POP Sound, Santa Monica. Peter Rincon, mixer.
MUSIC/SOUND DESIGN
Ear to Ear, Santa Monica. Brian Banks, composer/sound designer; John Author, producer.
THE SPOT
The :30 "Dorm Room" presents the chaos of dorm life, from an indoor basketball game to a roommate who wants to borrow everything (including deodorant). When a pizza delivery arrives at the door, one of the room’s denizens asks, "Somebody order a pizza?" Throughout this mayhem, one guy sits at his computer using the Internet to shop for his Saturn. Later, a knock at the door signals the arrival of the Saturn salesperson, come to deliver the car. The same dorm-dweller who greeted the pizza asks, "Somebody order a Saturn?" In "Sam Foster," the titular runner/driver sets out to cost-compare both pursuits. The :30 cuts back and forth between examples of expenses–"Six pairs of socks, four oil changes"–until Foster determines that it costs 34 cents per mile to run, 33 cents per mile to drive his Saturn. Foster says he won’t give up running but has learned a great deal. "$70 for a wheel alignment, $90 for a back alignment," he says from the chiropractor’s table.
Spots broke in July.
***
Moxie Favors Honey Bunches Of Oats
CLIENT
Kraft Foods/Post Cereal/Honey Bunches of Oats.
PRODUCTION CO.
Moxie Pictures, bicoastal. Bob Purman, director/DP; Gary Rose, executive producer; Ken Flisak, producer. Shot on location.
AGENCY
Ogilvy & Mather, New York. Kevin Kelly and Terril Smith, creative directors; Rob Farber, broadcast producer; Lisa Mayer, senior copywriter; Garett Jowett, senior art director.
EDITORIAL
Crew Cuts, New York. Chris Hellman, editor; John Young and Andrew Wilcox, assistant editors.
POST
SMA Video, New York. Larry Trosko, colorist; Jim Hayhow, online editor.
AUDIO POST
Buzz, New York. Michael Marinelli, mixer.
MUSIC
Crushing Music, New York. Gary Schreiner, composer/arranger.
THE SPOT
The :30 "Favorite Spot" for Honey Bunches of Oats features Post factory employees responding to the question, "What’s your favorite cereal?" Playful vignettes highlight the workers enjoying the cereal both at the factory and with their families.
Spot broke June 22.
***
CPB Tells A Story
For State Of Fla.
CLIENT
State of Florida Anti-Tobacco Pilot Program.
PRODUCTION CO.
Voyeur Films, New York. Jim and Vezna Tozzi, directors; Eric Schmidt, DP; Rob Aden, executive producer; Ed McNamara, producer. Shot at Propmasters Miami.
AGENCY
Crispin Porter & Bogusky Advertising, Miami. Alex Bogusky, creative director; Paul Keister, art director; Tim Roper, copywriter; Terry Stavoe, executive producer.
EDITORIAL
Jefferson Edit, Miami. Jeff Sternberger, editor.
POST
Broadcast Video Inc., Coconut Grove, Fla. Jeff Burke, online editor; John Berringer, colorist.
AUDIO POST
Broadcast Video Inc. Scott Pringle, sound engineer.
MUSIC
Asche & Spencer/Minneapolis. Thad Spencer, arranger.
THE SPOT
The :30 PSA "Second Hand Smoke" uses the familiar "boxed" opening credits of the ’70s television show The Brady Bunch to focus on the dangers secondhand smoke can have on children.
Spot broke in July.
***
Crew Cuts West
E-mails IBM ThinkPads
CLIENT
IBM Corp./IBM ThinkPad.
PRODUCTION CO.
PYTKA, Venice, Calif. Joe Pytka, director/DP; Sue Ellen Wagner, executive producer; Linda Masse, producer. Shot on location.
AGENCY
Ogilvy & Mather, New York. Chris Wall, creative director; Chris Curry, art director; Lee Weiss, executive producer; Dan Burrier, associate creative director; Brendan Gibbons, copywriter; Oritte Bendory, assistant producer.
EDITORIAL
Crew Cuts West, Santa Monica. Adam Liebowitz, editor; Conor O’Flynn, Adam Light, Carrie Sandler and Dave Beekman, assistant editors.
POST
Nice Shoes, New York. Russ Bigsby and Eric Gelgand, online editors. Post Perfect, New York. Victor Mulholland, colorist.
AUDIO POST
Buzz, New York. Michael Marinelli, mixer.
MUSIC
Ear to Ear, Santa Monica. Brian Banks, composer.
THE SPOT
In "Flame Mail," two employees compose a nasty e-mail to send to their boss regarding a third employee’s IBM ThinkPad, while they were stuck with an outdated model of another brand. As they press the "send" key, another worker informs them that their ThinkPads have arrived, leaving the two to frantically attempt to retrieve their e-mail.
Spot broke May 9.
***
Big Picture Raps
For Partnership
CLIENT
Partnership for a Drug-Free America.
PRODUCTION CO.
Big Picture Communications, New York. David Leach, director; Marc Blandori, DP; Ava Seavey and Marc Campana, executive producers; Sandy Curry, producer. Shot on location.
AGENCY
Big Picture Communications. Steve St. Clair, creative director/art director; Ava Seavey and Marc Campana, executive producers; Jonathan Moore, writer.
EDITORIAL
Lost Planet, New York. Cass Vanini, editor.
POST
SMA Video, New York. Billy Gabor, colorist. Chromavision, New York. Robert Bader, online editor.
AUDIO POST
C&J Sound, New York. Jeff Lin, mixer.
MUSIC
Lost Planet. Roland Alley, composer.
THE SPOT
The :30 PSA "Any Way You Can Talk" opens on a suburban family at home in their living room. The parents call a family meeting with their son to discuss drugs, but instead of a sedate, sober talk, Mom whips out a radio and Dad begins to rap his anti-drug message to the stunned boy. The spots ends with a voiceover: "Any way you choose to talk to your kids about drugs is a good way."
Spot broke July 1.
***
DNA Takes Flight With Mobil, R. Kelly
CLIENT
Mobil.
PRODUCTION CO.
DNA, Hollywood. Francis Lawrence, director; Jeff Cutter, DP; Patricia Judice, executive producer; Suzie Greene Tedesco, producer. Shot on location.
AGENCY
Burrell Communications Group, Chicago. Thomas Burrell, chairman/CEO; Alma Hopkins, executive creative director/executive VP; Quincy Cherry, creative director; Lisa Von Drehle, producer; Reginald Jolley and Stanley Yorker, creative team.
EDITORIAL
The Lookinglass Company, Chicago. Greg Snider, editor; Brian Hilburger, assistant editor.
POST
The Filmworkers Club, Chicago. Michael Mazur, colorist; Rob Churchill, online editor.
VISUAL EFFECTS
BUF Compagnie, Sherman Oaks, Calif. Gilles de Bonfilhs, executive producer; Pierre Buffin, creative director; Francesco Grisi, technical producer.
AUDIO POST
Swell Pictures, Chicago. Bill Kovach, mixer.
SOUND DESIGN
Swell Pictures. Bill Kovach, sound designer.
THE SPOT
The :30 "Airman" features singer R. Kelly as a jet aviator who walks to a Mobil station where he fills his car with Mobil Super Plus gasoline. He speeds off down the highway, passes another vehicle and is free and clear on the open road. As R. Kelly’s "I Believe I Can Fly" plays, Pegasus–the mythological flying horse and Mobil icon–fuses with the car. Pegasus then flies into the Mobil logo as the spot concludes with the tag, "Mobil. The energy to make a difference."
Spot broke June 18.
***
Cutting Vision
Loves Post Cereals
CLIENT
Kraft Foods/Post Cereals.
PRODUCTION CO.
Moving Image, West Hollywood. Orlando Leal, director; Tim Eaton, DP; Tammy Franklin, executive producer; Craig Houchin, producer. Shot on location.
AGENCY
The Bravo Group, New York. Yehudit Mam, creative director/ copywriter; Yury Vargas, art director; Allan M. Rivera, producer.
EDITORIAL
The Cutting Vision, New York. Jeff Beckerman, editor.
POST
The Cutting Vision. Jeff Beckerman, online editor. Post Perfect, New York. Joe Bond, colorist.
AUDIO POST
The Cutting Vision. Joe Casalino, engineer/mixer.
MUSIC
Freiberg Latin Music, Riverdale, N.Y. Daniel Freiberg, composer/arranger/producer.
SOUND DESIGN
The Cutting Vision. Joe Casalino, sound designer.
THE SPOT
Two :30s shot at the Post factory–"From Our Family to Yours" and "Toughest Judges"–showcase the love between family members and their cereals (Honeycomb and Honey Bunches of Oats). The spots feature such antics as kids wearing hardhats as they check out an assembly line of moving cereal boxes.
Spots broke May 13.
***
Western Images Climbs Walls For Gap
CLIENT
Gap Kids.
PRODUCTION CO.
Satellite, Hollywood. Mark Kohr, director; Julian Whatley, DP; Jeff Armstrong, executive producer; Emily Fincher, producer. Shot at Occidental Studios, Hollywood.
AGENCY
Gap Marketing, San Francisco. Lisa Prisco, creative director; Stephen Neidzwiecki, art director; Susannah Nukes and Amy Maniatas, agency producers.
POST/VISUAL EFFECTS
Western Images, San Francisco. Alan Chimenti, creative editor; Bob Roesler and Dylan Way, digital artists; Todd Lindo, producer.
AUDIO POST
Eric Valentine, engineer, Redwood City, Calif.
MUSIC
Smashmouth. Eric Valentine, engineer.
THE SPOT
In the :30 "Gravity," youngsters show off the latest Gap Kids fashions inside and up and down a series of stylized white rooms.
Spot broke in July.
***
Bednarz Protects
Floors With Pergo
CLIENT
Pergo.
PRODUCTION CO.
Bednarz Film, Dallas. Jeff Bednarz, director; Curtis Wehr, DP; Tammie Edwards, VP/partner; Lisa Kleypas, executive producer; Gene Walker Black, producer; Khrista Hollingsed, production manager. Shot on location.
AGENCY
The Richards Group, Dallas. Dennis Walker, creative director/art director; David Culp, copywriter; Chelle McDonald, producer.
EDITORIAL/POST
Post Op, Dallas. Michael Van de Kamer, offline/online editor; The Filmworkers Club, Dallas. Drew Marsh, colorist.
AUDIO POST
Post Op. Collyer Spreen, mixer.
SOUND DESIGN
Juniper Music Productions, Dallas. John Hunter and Jon Slott, sound designers.
THE SPOT
Flaming cherries jubilee, accidentally spilled on a wooden floor during a dinner party, demonstrates the durability of Pergo flooring in the :30 "Party."
Spot broke July 1.
***
CFM Switches To
Quaker State Oil
CLIENT
Quaker State Motor Oil.
PRODUCTION CO.
Creative Film Management International, New York. Matthew Penn, director; Adam Kimmel, DP; Lou Addesso and James Kadonoff, executive producers; Nancy Marks, producer. Shot on location.
AGENCY
The Tucker Partnership, New York. Bill Tucker, president; Walt Mitze, senior producer; Einar Einarsson, copywriter/art director.
EDITORIAL
MacKenzie Cutler, New York. Michael Douglas, editor; Lucas Spaulding, assistant editor.
POST/VISUAL EFFECTS
SMA Video, New York. Mike Morrissey, president; Dave Satin, VP/chief of engineering/visual effects supervisor; Eli Friedman, colorist; Russell Booth, online editor; Todd Ruff, Hal artist.
AUDIO POST
Nutmeg Recording, New York. Bobby Sorrentino, mixer/engineer.
SOUND DESIGN
MacKenzie Cutler. Chuck Smith, sound designer.
THE SPOT
Denis Leary uses his "charm" to convince viewers that it’s time to "change their oil" in the :30s "Pure Protection" and "Hammer."
Spots broke June
