By Robert Goldrich
A woman is seated in a beauty salon as her hair is being combed and blow-dried. However, this mundane scene is anything but, eliciting interest because it appears that her tresses are being tended to by an invisible stylist. We see the lady’s hair being teased, yet we are also being teased in that her hair seems to have taken on an animated life of its own.
The woman looks into the camera to tell us of her new health plan. “My company now offers Harvard Pilgrim, so I decided to switch,” she relates. “I heard some really great things about them but I never expected that they would call and welcome me as a new member just to make sure I understood my new benefits and how everything works.
“With all the new members they get, they still took the time to make me feel like I’m the ONLY one,” she concludes, at which point we see the unseen stylist appear out of thin air. Similarly, other customers are conjured up, sitting at other stations and being tended to by stylists.
An end tag contains the Harvard Pilgrim Healthcare logo and an identifying slogan, echoed by a voiceover, that reads, “America’s highest rated health plan.”
“Salon” is one of three spots in a campaign playing off the theme that Harvard Pilgrim Healthcare of New England provides personalized attention that makes each everyday person we see feel as if he or she is the only one around. Another commercial shows a school crossing guard at an empty intersection, with seemingly invisible pedestrians and traffic. The remaining ad centers on a construction worker who is holding one end of a ladder–the other end being held up by an unseen fellow worker.
Tom Foley directed the campaign via Independent Media, Santa Monica, for agency Hill Holliday, Boston. The DP was Robert Richardson, ASC, who recently won an Oscar for his cinematography of Martin Scorsese’s The Aviator. Susanne Preissler executive produced for Independent Media, with Linda Levine serving as head of production and Dominick Ferro as line producer.
The Hill Holliday creative team consisted of creative director Kevin Moehlenkamp, copywriter Eivind Ueland, art director Doug Gould, and producer Scott Hainline.
Editor/sound designer was Steve Hamilton of Mad Mad Judy, New York. Colorist was Chris Ryan of Nice Shoes, New York. Audio post mixer was Glen Landrum of Sound Lounge, New York.
Visual effects were done at Brickyard FX, Boston and Santa Monica. Brickyard’s ensemble consisted of lead visual effects artist Geoff McAuliffe, visual effects artist Mandy Sorenson and producer Kirsten Andersen. Brickyard did extensive rig removal on “Salon,” replacing a rig that manipulated the woman’s hair with footage of the male hairstylist. The woman was portrayed by actress Camden Singer.
Review: Writer-Director Andrea Arnold’s “Bird”
"Is it too real for ya?" blares in the background of Andrea Arnold's latest film, "Bird," a 12-year-old Bailey (Nykiya Adams) rides with her shirtless, tattoo-covered dad, Bug (Barry Keoghan), on his electric scooter past scenes of poverty in working-class Kent.
The song's question — courtesy of the Irish post-punk band Fontains D.C. — is an acute one for "Bird." Arnold's films ( "American Honey," "Fish Tank") are rigorous in their gritty naturalism. Her fiction films — this is her first in eight years — tend toward bleak, hand-held verité in rough-and-tumble real-world locations. Her last film, "Cow," documented a mother cow separated from her calf on a dairy farm.
Arnold specializes in capturing souls, human and otherwise, in soulless environments. A dream of something more is tantalizing just out of reach. In "American Honey," peace comes to Star (Sasha Lane) only when she submerges underwater.
In "Bird," though, this sense of otherworldly possibility is made flesh, or at least feathery. After a confusing night, Bailey awakens in a field where she encounters a strange figure in a skirt ( Franz Rogowski ) who arrives, like Mary Poppins, with a gust a wind. His name, he says, is Bird. He has a soft sweetness that doesn't otherwise exist in Bailey's hardscrabble and chaotic life.
She's skeptical of him at first, but he keeps lurking about, hovering gull-like on rooftops. He cranes his neck now and again like he's watching out for Bailey. And he does watch out for her, helping Bailey through a hard coming of age: the abusive boyfriend (James Nelson-Joyce) of her mother (Jasmine Jobson); her half brother (Jason Buda) slipping into vigilante violence; her father marrying a new girlfriend.
The introduction of surrealism has... Read More