By CAROLYN GIARDINA

Top Spot Credits

CLIENT

Kia Sportage.

PRODUCTION CO.

Shelter Films, New York. Jonathan David, director; Steve Shore, executive producer; Kevin Ward, DP; Buzzy Cancilla, producer; Amy Faust, production manager. Shot on location.

AGENCY

Goldberg Moser O’Neill, San Francisco. Jim Noble, creative director; Paul Golubovich, executive producer; Karena Dacker, producer; Chuck Meehan, copywriter; Matt Mowat, art director.

EDITORIAL

Bob ‘n Sheila’s Edit World, San Francisco. Bob Spector, editor; Tim Fender, assistant editor; Gina LoCurcio, executive

producer; Jennifer Suttlemyre, producer; Joe Wenkoff, graphics artist.

POST

Western Images, San Francisco. Orin Green and Danielle Ciccarelli, digital artists; Gary Coates, senior colorist.

AUDIO POST

Crescendo! Studios, San Francisco. Tim Claman, mixer.

SOUND DESIGN

Bob ‘n Sheila’s Edit World. Bob Spector, sound designer.

Look out, Matt and Katie–you’ve got competition. For its latest Kia Sportage spot, “Sasquatch,” San Francisco-based agency Goldberg Moser O’Neill played off the Today format, adding some offbeat humor–and a surprise guest.

The spot opens on location in the woods, where a straight-faced host introduces his first guest, Sasquatch, who is brought on to compare the benefits of the Kia Sportage to the Toyota RAV 4. Sasquatch sits with his legs crossed, sips espresso and announces that he favors the Kia. As he describes features like the anti-lock brakes, cutaways show the vehicle moving through the forest.

The spot concludes with the host asking Sasquatch for an autograph, and handing the creature a black-and-white photo. “That’s not me,” Sasquatch responds. “That’s my cousin, Earl.”

According to Goldberg Moser O’Neill producer Karena Dacker, the team wanted to create a “rugged and outdoors” spot to demonstrate the benefits of the vehicle. Agency art director Chuck Meehan added that the team had to come up with a way to get a lot of information into the spot in an entertaining way–thus, the talk-show format. And Bigfoot, Meehan said, was the ultimate off-road spokesperson.

New York-based Shelter Films’ Jonathan David, the spot’s director, noted that “comedy, when it’s good, is very logical.” That’s why he decided to put Sasquatch into a realistic talk-show setting, down to details like a sun graphic that reads “7:33 a.m.” in the corner of the screen, and what David called “classic Jack Paar-type furniture.”

The director added that a great deal of thought was given to exactly who Sasquatch would be. “He didn’t have to be a mean-spirited, gruesome creature,” David noted. “He’s TV-ready. He probably just testified in a Senate hearing on off-the-road vehicles and their effect on the environment. He’s a consultant for anti-lock brake systems. He’s involved in environmental issues, dines at fine restaurants and has been on corporate retreats.”

David likened the character to TV’s Frasier Crane, noting that the spot’s Bigfoot is “sophisticated, a little bit self-congratulatory and very professional.”

Juxtaposed details, like the large character drinking from a tiny demitasse, were meant to reveal Sasquatch’s “softer side,” Dacker said. She explained that finding a good Sasquatch costume was also key–prosthetics were used for the creature’s face, she pointed out.

“Sasquatch” was shot in only one day, on location in Battle Ground State Park in Vancouver, Wash. “We were budget-challenged,” Shelter executive producer Steve Shore admitted, noting that the talk-show dialogue was shot in the morning, while vehicle footage was handled in the afternoon. Shelter, Shore pointed out, was already familiar with shooting in and around nearby Portland, Ore., from its copious work for the Oregon State Lottery.

Bob Spector, editor/partner at San Francisco-based Bob ‘n Sheila’s Edit World, completed the spot’s editorial and sound design on the Avid. Spector said he cut the work to look like a morning program: He started with the time, music and a tight shot of the host, followed that with a two-shot of the host with his guest and went on from there.

“It was directly from the Today show,” Spector said. “It’s such an outrageous concept.”

***

The A+R Group Tees Off With Odyssey

CLIENT

Odyssey Golf Clubs.

PRODUCTION CO.

The A+R Group, bicoastal. David Cameron, director; Tim Ives, DP; Roberto Cecchini, executive producer; Brian Kilcullen, producer. Shot on location.

AGENCY

VitroRobertson, San Diego. Alan Bonine, general manager; Deborah Drumm, agency producer; Brian Gold, copywriter; John Robertson, partner/copywriter; John Vitro, partner/art director; Gerry Widmer, account manager.

EDITORIAL

Crazy Horse Editorial, Santa Monica, Calif. Steve Svendsen, editor; Darcy Feinstein, executive producer.

POST

The Finish Line, Santa Monica. Noel Castley-Wright, online editor. Pacific Ocean Post, Santa Monica. Stefan Sonnenfeld, colorist.

AUDIO POST

Margarita Mix, Hollywood. Jimmy Hite, mixer/engineer.

MUSIC/SOUND DESIGN

Machine Head, Venice, Calif. Claude Letessier, composer/sound designer.

THE SPOT

Three black-and-white :30s–“The Player,” “The Course” and “The Finale”–highlight the confidence and edge a player gets when he knows he is playing with Odyssey clubs.

Spots broke in late April.

***

Mumford Throws A Strike For AMF

CLIENT

AMF Bowling.

PRODUCTION CO.

Tool of North America, Santa Monica, Calif. Chris Hooper, director; Michael Trim, DP; Dierdre Harrington, executive producer; Johanna Wollcott Busby, producer. Shot on location.

AGENCY

Mumford Marketing, Richmond, Va. Scott Corbett, art director; Mark Cohen, writer; Ilana Stuppel, producer; Ed Coleman, account executive.

EDITORIAL

Swietlik Inc., Hollywood. Dan Swietlik, editor; Paul Hendricks, assistant editor; Rebecca Jasmine, executive producer; Vicky Velvet, producer.

POST

Hollywood Digital, Hollywood. Rob Sherada, telecine colorist. Post Logic Studios, Hollywood. Rob Blue, conform.

AUDIO POST

Mix Magic Post Sound, Hollywood. Peter Cole, engineer.

MUSIC/SOUND DESIGN

Haven, Santa Monica. Jeff Elmassian, composer; Rich Pavone, sound designer; Lori Rose, executive producer.

THE SPOT

“Trash Cans” opens on a group of kids on a neighborhood block. One of them spots a man–bowling legend Dick Weber–walking towards them carrying a bowling ball in a case and yells, “He’s coming!” The kids grab garbage cans and set them up as though they were bowling pins. Using his AMF Bull Whip bowling ball, Weber throws a strike.

Spot broke June 26.

***

Headquarters For

Great Western

CLIENT

Great Western Financial Corp./Great Western Banks.

PRODUCTION CO.

Headquarters, bicoastal. Philip Kates, director; Doug Koch, DP; Alex Blum, executive producer; Scott Siegal, producer; Tom Mooney, director of sales. Shot at Raleigh Studios, Hollywood, and on location.

AGENCY

Bozell Worldwide, Costa Mesa, Calif. Harvey Hoffenberg, managing partner/chief creative officer; Ken Sakoda and Scott Montgomery, creative directors; Lisa Clearlite and Deidre Fitzpatrick, creative writers; Eric Spiegler, art director; Scott Seltzer, head of production; Kathie Van Kerckhoven, senior producer; Janet Regan, broadcast business affairs; Debbie Zimmerman, senior partner/management supervisor; Dori Levenson, account supervisor; Sabina Bologna, account coordinator.

EDITORIAL

Mojo/L.A., Santa Monica, Calif. T.G. Herrington, editor.

POST

The Finish Line, Santa Monica. James Bygrave, online editor/colorist.

AUDIO POST

POP Sound, Santa Monica. Peter Rincon, mixer.

MUSIC

Piece of Cake, North Hollywood. Don Piestrup, composer.

SOUND DESIGN

Trivers/Myers Music, Manhattan Beach, Calif. Elizabeth Myers and John Trivers, sound designers.

THE SPOT

“Hair” shows a man attempting to comb his thinning hair over his bald head. In “Rollercoaster,” a boy strains to make himself tall enough for a “You must be this tall” sign. “Sarge” focuses on a dog trying to attack a cat lounging on a comfortable chair, only to be rebuffed by a short chain. The :30s all end with a voiceover (by Denis Leary) stating how two percent more could make a big difference, like the two percent more interest Great Western pays, in comparison to other banks.

“Hair,” “Rollercoaster” and “Sarge” broke May 3, May 15 and June 3, respectively.

***

non*fic*tion Teams Up For Cheerios

CLIENT

General Mills/Team Cheerios.

PRODUCTION CO.

non*fic*tion spots, Santa Monica, Calif. Peter Gilbert, co-director/DP; Steve James, co-director; Loretta Jeneski, executive producer; Jim Shippee, producer. Shot on location.

AGENCY

Saatchi & Saatchi Advertising, New York. Chris McKee, executive creative director; Sean Kiener, associate creative director/art director; Ken Opalsky, copywriter; Jerry Levenson, executive broadcast producer; Eric Korte, music director.

EDITORIAL

Spot Shop, Santa Monica. dB Bracamontes, editor; Brian Hoey, assistant editor.

POST

Optimus, Chicago. Scott Yurks and Mike Weber, online editors; Craig Leffel, color correction.

VISUAL EFFECTS

Voodoo, Hollywood. Mariko Ishihara, graphics designer.

AUDIO POST

Howard Schwartz Recording, New York. Bill Higley, mixer.

MUSIC

Big Foote Communications, New York. Kari Maria Steinert, composer.

THE SPOT

The :30 “The Taste Teams Love,” opens with the question, “Who loves Team Cheerios?” It then answers by showing high school teams like the Sharks, Barracudas and Stingrays digging into the new cereal.

Spot broke June 16.

***

bbm Is Fired Up For The Honda Civic

CLIENT

Honda Regional Marketing.

PRODUCTION CO.

Tuesday Films, Encino, Calif. Jon Yarbrough, director; Tracey Trotter, DP; Mardi Minogue, executive producer. Shot at South Bay Studios, Long Beach, Calif., and on location.

AGENCY

RP Alpha, Santa Monica, Calif. Jon Yarbrough, creative director; John Tripp, executive producer; Eric Harnett, producer; Ian MacDonald, copywriter; Jeff Kemhadjian, art director; Leticia Martinez, production assistant.

EDITORIAL

The Reel Thing West, Santa Monica. Jerry Weldon, editor; Leticia Holmes, assistant editor.

POST

Encore Santa Monica. Bob Festa, colorist; Vikki North, online editor.

AUDIO POST

POP Sound, Santa Monica. Peter Rincon, engineer/mixer; Ray Hahnfeldt, assistant engineer/mixer.

MUSIC

bbm (bill bodine music), Pacific Palisades, Calif. Bill Bodine, composer/arranger; Rob Hart, engineer.

THE SPOT

In “Fire,” a man stands on a highway with his car in flames behind him. As an officer writes him a ticket, voices in his head admonish him for buying a less-than-reliable car. The spot ends with the tagline, “The Civic. No excuses. No regrets.”

Spot broke April 15.

***

Butler Films Cares For Baptist Hosp.

CLIENT

Baptist Hospital.

PRODUCTION CO.

Butler Films, Annapolis, Md. David Butler, director; Tom Loizeaux, DP; Lindsey Thomas, executive producer; Adie Moray, producer. Shot on location.

AGENCY

Walker & Associates, Memphis. Joe Pizirrosso, creative director; Stacey Hall, associate creative director.

EDITORIAL/POST

Henninger Baltimore. Sean Murphy, Avid offline editor; Jamie Campbell, online editor; Bob Sliga, colorist.

AUDIO POST

Clean Cuts, Baltimore. Andy Peterson, mixer/engineer.

MUSIC

Clean Cuts. Wall Matthews, composer; Jack Heyrman, executive producer.

THE SPOT

“Generations” focuses on patients and families who have had positive experiences at Baptist. In “Leaders,” doctors discuss the hospital’s facilities.

Spot broke June 1.

***

Spontaneous Circles Toyota For S&S

CLIENT

Toyota Dealers Association of Greater New York.

PRODUCTION CO.

Nicolella & Co. Film Productions, New York. Richard Nicolella, director/DP; Ralph Taragan, executive producer. Shot at Sony Pictures Studios, Culver City, Calif.

AGENCY

Saatchi & Saatchi Advertising, New York. Jon Fisher, creative director; Jim Hondorp, art director; David Uskali, copywriter; Janet Fogarty, producer.

EDITORIAL/POST

Horn/Eisenberg Film & Videotape Editing, New York. Jo Faull, offline and online editor.

VISUAL EFFECTS

Spontaneous Combustion, New York. Tony Robins, effects artist. Brian Diecks Design, New York. Brian Diecks, graphics artist.

AUDIO POST

The Mix Place, New York. Kenny Fredrickson, engineer.

MUSIC

Richie Cannata, composer/producer, Glen Cove, N.Y.

THE SPOT

Stylized text moves around the body of a new white Toyota Avalon in the :30 “Body Language.”

Spot broke June 1.

***

Pomann, Chelsea Team For Hebrew Natl.

CLIENT

National Foods/Hebrew National.

PRODUCTION CO.

Chelsea Pictures, New York. Robin Willis, director; Trish Govoni, DP; Maddi Carlton, executive producer; Carol Haak, producer. Shot on location.

AGENCY

Grey Advertising, New York. Rich Kushel, VP/group creative director; Sheralyn Silverstein, VP/associate creative director, copy; Ken Barre, VP/associate creative director, art; Sylvia Brooks, producer.

EDITORIAL

Palestrini Post Production, New York. Brent Prince, editor.

POST

Nice Shoes, New York. Scott Burch, colorist. Image Group Post, New York. Gary Scarpula and Joe Rodriguez, colorists.

VISUAL EFFECTS

Spontaneous Combustion, New York. Tony Robins, compositor/artist.

AUDIO POST

Pomann Sound, New York. Bob Pomann, engineer/mixer.

MUSIC/SOUND DESIGN

Pomann Sound. Stanley Schwartz, composer; Bob Pomann and Lou Esposito, sound designers; Richard Bates, engineer.

THE SPOT

The :30 “Hot Dog Vendor” continues the tongue-in-cheek campaign in which the voice of God is the “higher authority” upholding the standards of Hebrew National’s all-beef kosher hot dogs. The camera sees the world from God’s point of view as he poses as a hot dog vendor on a boardwalk. He spots a “regular guy” and calls him over by name (“Hank”). An amusing dialogue occurs, as God tells Hank about his past and future.

Spot broke in late May.

***

Pavlov Is On Target For Calif. Lottery

CLIENT

California State Lottery Commission.

PRODUCTION CO.

Pavlov Productions, Culver City, Calif. Marty Weiss, director; Jan Bruggeman, DP; Tracy Hauser, executive producer; Lesley Chilcott, producer. Shot on location.

AGENCY

J. Walter Thompson, San Francisco. John Buckley, creative director; Therese Vreeland, executive producer; Lew Willig, art director; David Mann, copywriter; Patricia Juckett, account executive.

EDITORIAL

Phoenix Editorial Services, San Francisco. Bob Frisk, editor; Michele Dennis, producer.

POST

Pacific Ocean Post, Santa Monica, Calif. Mike Pethel, colorist; James Dileonardo, assistant colorist.

VISUAL EFFECTS

The Finish Line, Santa Monica. Noel Castley-Wright, online editor; Nancy Hyland, Flame artist.

AUDIO POST

Mike Recording Services, West Los Angeles. Michael Chandler, mixer.

MUSIC/SOUND DESIGN

Chris Bell Music & Sound Design, West Los Angeles. Chris Bell, composer; Alan Schlaifer, sound designer; Andrea Crook, executive producer.

THE SPOT

In “Hoop Dreams” and “Ducks,” humorous takes on athletic ineptitude demonstrate that losing can be turned into winning when you play the California Lottery’s new “Match None” game.

Spots broke May 12.

***

NBA Ent. Dunks Cancer For WNBA

CLIENT

WNBA/National Cancer Institute.

PRODUCTION CO./AGENCY

NBA Entertainment, Secaucus, N.J. Scott Weinstock, director/creative director/copywriter; Christian Hoagland, DP; Adam Silver, Don Sperling and Gregg Winik, executive producers; Nancy Baldwin, producer; Carol Albert, director of production. Shot on location.

EDITORIAL

NBA Entertainment. Scott Wein-stock and Nancy Baldwin, editors.

POST

NBA Entertainment. Dick Seebach, online editor. Manhattan Transfer/Edit, New York. Dino Regas, colorist.

AUDIO POST

Parallax Audio, New York. Bill Gardner, engineer.

MUSIC

Cut Time Music, New York. Bob Burke, composer.

THE SPOT

A :30 PSA features Cynthia Cooper of the WNBA’s Houston Comets speaking about the risk of injury an athlete faces on the court. Cooper then adds that she also faces the risk of breast cancer, since it runs in her family.

Spot broke June 21.

***

Crew Cuts, Machine Head For Nike

CLIENT

Nike Inc.

PRODUCTION CO.

Epoch Films, New York. Jeff Preiss, director; Conrad Hall, DP; Mindy Goldberg, executive producer; Dodonna Bicknell, producer. Shot on location.

AGENCY

Wieden & Kennedy, Portland, Ore. Jim Riswold, John Jay and Ben Grylewicz, creative directors; Dan Duffy, producer; Josh Gold, copywriter; Brett Ridgeway, art director.

EDITORIAL

Crew Cuts West, Santa Monica, Calif. Adam Liebowitz, editor; Brian Durkin, assistant editor; Robin Hall, producer.

POST

Hollywood Digital, Hollywood. Steve Rodriguez, transfer; Brian Robinson, online editor. Encore Santa Monica. Jais, transfer.

AUDIO POST

RavensWork, Venice, Calif. Robert Feist, engineer.

SOUND DESIGN

Machine Head, Venice. Stephen Dewey, sound designer.

THE SPOT

Four :30s focus on four international soccer stars who are relative unknowns in the U.S. Brian McBride is featured in “Our Football/McBride”; “In America/ Campos” and “Professional Athlete/Lassiter” introduce Jorge Campos and Roy Lassiter, respectively; and Mia Hamm is spotlighted in “Best Player/Hamm.”

Spots broke in May.

***

Will Vinton Studios Passes Clorox Test

CLIENT

Clorox Liquid Bleach.

PRODUCTION CO.

Will Vinton Studios, Portland, Ore. Barry Bruce, director; Tim McGilvery, DP; David Altschul, executive producer; Paul Diener, producer; Steve Bailey, technical director; Bob Deaver, Tracy Larson and Allan Steele, computer animators; Robin Ator, storyboard artist/character design; Colin Baty, character design; Paul Harrod, set design; Eric Bute, Rebecca Grace, Doug Hout, Larry King, Tracy Prescott, Steve Tucker and David Waddle, model- and set-builders; Rob Ronning, moldmaking; Russ Eaton, gaffer/grip; Kine Arnold, motion-control operator; Octavia Hunter, motion-control operator/stage support; Jim Dunn, gaffer/grip/stage support; Gary McRobert and Halle Hennessey, motion-control operators/stage support; Richard Malinowski and Curt Brown, stage support; LuAnn Graver, assistant producer; Wes Johnson and Lori Kingston, production assistants. Shot at Will Vinton Studios.

AGENCY

DDB Needham San Francisco. Hillary Bradley, producer; Darrel Fiesel, art director; Ben White, copywriter.

EDITORIAL

Will Vinton Studios. Geno Foster and Scott Sundholm, editors.

POST

Will Vinton Studios. Rebecca Bowen, Flint operator. Pacific Ocean Post, Santa Monica, Calif. Mike Pethel, colorist; Lisa Tomei, Henry artist.

AUDIO POST

Music Annex Audio Post Production, San Francisco. Mary Ellen Perry, mixer; Chris Barrick, assistant engineer.

MUSIC

Keller & Cohen, Sausalito, Calif. Mark Keller and Jeff Cohen, composers.

THE SPOT

In the :30 “Metal Test,” two CGI containers of “bargain bleach” on a conveyer belt attempt to blend in with live-action Clorox bottles, only to be rejected by a metal test.

Spot broke May 12.

***

Crash Films Takes A Seat For IKEA, M-E

CLIENT

IKEA Seattle.

PRODUCTION CO.

Crash Films, Santa Monica, Calif. Billy Kent, director; Ramsey Nickell, DP; Bill Fortney and Gary Ward, executive producers; Nick Bandouveris, producer; Ivan Johnson, production coordinator. Shot at Robert Blakeman Studios, Los Angeles.

AGENCY

McCann-Erickson, Seattle. Jim Walker, president/creative director; Bobby Pearce, copywriter; Karla Childers, art director; Stacy Chatfield, producer; Katie Fabbro, broadcast business affairs.

EDITORIAL

McCann-Erickson. Kelly Vander Linda, editor.

POST

Pinnacle Post, Seattle. John Davidson, telecine; Rick Barbarino, online editor; Lucy Woodworth, Paintbox.

AUDIO POST

Clatter & Din, Seattle. Vince Werner, mixer.

SOUND DESIGN

Clatter & Din. Vince Werner, sound designer.

THE SPOT

“Rock,” “Nail Chair,” “Body Parts” and “Shopping Cart Chair” poke fun at pretentious attitudes toward furniture. The spots, which feature Toby Huss as a trendy interior designer, end with the tagline, “Sometimes all you want is a piece of furniture you can actually sit on.”

Spots broke May 20.

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