“Couch“¸ a spot directed by Jan Gleie for Febreze and Grey Worldwide was part of a campaign, dubbed “Breathe Happy,” that recently won Cannes 2012 Creative Effectiveness Lion. The same campaign earlier took Silver at the 2012 Global Effie Awards.nnGleie, represented in the U.S. by Madheart, directed English and German versions of “Couch,” which was shot in Berlin. In it, several adults are blindfolded and led into a squalid apartment filled with dirty laundry, smelly shoes, musty furniture and other malodorous objects—all of which had been treated with the air freshening product Febreze. The blindfolded subjects are asked to sniff things handed to them or found by crawling on the floor and told to describe what they smell. “Fresh air.” “A fresh, clean smell.” “Like flowers.” When the blindfolds are removed from their eyes, they gawk at their horrifying surroundings in disbelief.nnn nThe subjects of the commercial were real people who were recruited on the street and led directly to a trailer for blindfolding. They were then taken to an apartment that a crew had spent hours stocking with foul-smelling objects treated with Febreze. (The couch prominently featured in the spot was found in a dump.) The responses of the subjects, as they examine their surroundings with their noses, were entirely spontaneous and unrehearsed, and recorded via hidden cameras from a remote site.nnGleie often employs real people in the ads he directs (notably in his acclaimed work for Pampers, Target and Hallmark), but the clever ruse incorporated into this spot gave it a novel twist. nnThe spot has been wildly successful, earning a huge number of hits on YouTube (and spawning several spoofs). Since the campaign broke, Febreze has become Procter & Gamble’s fastest growing brand.nnCreditsnTitles: CouchnClient: Procter & Gamble (Febreze) nAgency: Grey Worldwide. Ingo Klein, creative director; Eric Straub, creative director; Anja Seibert, producer. nProduction: TwinFilm, Dusseldorf. Jan Gleie, director; Silvia Kirsch, producer.nnMadheart is based in Los Angeles. For further information, call 213.995.4555 or visit www.madheart.com. The company is represented on the West Coast by Lisa Gimenez Toliver (contact Lisa via email), Hot Betty in the Midwest (contact Hot Betty via email), and, on the East Coast, Dana Dubay (contact Dana via email) and Kelly Flint (contact Kelly via email).
Lisa Phillips Executive Producer Madheart Contact Lisa via email 213 995 4555
Contact:Media: Linda Rosner ArtisansPR 310.837.6008 Contact Linda via email
Goldcrest Post Speeds Delivery of “Severance” Season Two
The New York Times recently wrote that the just-released Season Two of Severance will “blow your mind”—and we couldn’t agree more. Created by Dan Erickson and Ben Stiller, the Apple TV+ drama is smart, spellbinding, distinctly original and packed with surprises. For those who aren’t already devoted fans, the show centers on Mark Scout (Adam Scott), leader of a team at Lumon Industries, whose employees have undergone a “severance” procedure that surgically divides their memories between their work and personal lives. Goldcrest Post provided post services for both seasons of the show, including picture editorial support, sound editorial, ADR and sound mixing. Editorial for Season One began in 2020. Due to the restrictions imposed by the pandemic, Goldcrest supplied both onsite production offices and edit suites, and remote editing systems for individual editors, with everything linked to a central server. "Mixing at Goldcrest with our team has been a great experience,” says Stiller. “Bob and Jacob are in sync with our creative process and so good at what they do that the experience is always one where it's about how we can enhance the creative vision, with a baseline of knowing everyone is totally committed to making something as good as it can be." Diana Dekajlo, the show’s co-producer, says that the arrangement worked so well, they chose to continue the hybrid approach for Season Two. “We’re a remote friendly show,” she explains. “Whether we’re at Goldcrest, our studio in the Bronx or at home, our workflow is seamless. I conduct remote daily meetings with my immediate staff, and weekly meetings with editorial and VFX, and we talk to each other as if we were just down the hall. It makes for great staff... Read More