In a scenario that is becoming more and more of a pattern, a major network has fallen in love with an original track from PrimalScream Music:After an exhaustive and highly competitive search, FX fell head over heels for the original track PrimalScream created to promoteSons of Anarchy, a star-studded new drama that will focus on the seedy and corrupt world of motorcycle clubs and the familial lines that run through them.
The high-octane campaign is informed by the PrimalScream score, which perfectly captures the tone and dramatic weight of the show.
For "The Dreams We Left Behind," PrimalScream Creative Director/Executive Producer Nicole Dionne assembled a band specific to the project, as she did in April for Starz with an expansive rebranding campaign.
Client: FX Network, Sons of Anarchy Spots Title(s): "The Dream We Left Behind" First Air Date: 7/1/08
Agency: FX Staff (in house) FX Network, EVP of Promo: Stephanie Gibbons FX Network, SVP of Promo: John Varvi
Editor: Julia DeGalzain
FX Design VP: Albert Romero VFX/Inferno Artist(s): Royal Pictures
Video Opens Show as Part of Massive Attack's Meltdown Festival
NEW YORK, NY, July 22, 2008 - Music and film icon Grace Jones has made a career of toying with and reinventing her image, putting an indelible stamp on popular culture. A video for her song "Corporate Cannibal," directed by Nick Hooker of Rabbit, and cut by Union's Sloane Klevin, manipulates that image like never before and wowed fans and critics alike in London recently when it opened Jones' show as part of Massive Attack's Meltdown Festival. Jones had approached Hooker about a collaboration after seeing his art work and the animated projections he created for U2's Vertigo tour, also cut by Klevin.
Hooker worked with DP George Steel and shot the video in London. "Corporate Cannibal" depicts Jones's iconic face warping and distorting like a demonic digital voodoo doll come to life. Hooker pushed the imagery as far as possible, trying to find a look that would be simultaneously disturbing and beautiful.
Once Hooker finished working with the raw footage he turned to Klevin to pull the visual story together in the edit. "As an artist, Sloane is really quick, making wonderful, deliberate choices and showing a great editorial sense when it comes to cutting music," the director said. "She's very intuitive, hitting it on the nose. It's something to see."For Klevin, the project was an opportunity to help create a piece of unique digital art. "Once we found the core images and the most intense moments in the performance, it was a matter of going with the music and Nick's concept, and feeling our way through the edit."
Klevin is currently completing a global Toyota brand campaign - "Less is More" - via Dentsu America and directed by Lenard Dorfman of @radical.media; her next assignment is a series of promos for the season premiere of ABC's Desperate Housewives, helmed by Peggy Sirota of Pretty Bird USA.
The opening of MassiveMusic's LA office with Scott Cymbala on board as West Coast Managing Partner/EP makes news in trades covering advertising production and music...
LOS ANGELES, CA, July 21, 2008 - "I used to resist taking on female-oriented work, and in fact I went the other way - action, sports, 'guy stuff'," muses director Ramaa Mosley of trio films. "But now that I have kids, I've become much more comfortable with my ability to convey emotion" Mosley is referring to her new campaign for Wal-Mart via The Martin Agency, a series of spots that capture the perspective of a mother sending a child off to school.
The four spots - "Apparel," "Laptop," "Kiss," and "Goodbye" - are comprised of vignettes in which parents convey a longing to guide and look after their kids even when they can't be there. "These boards were really insightful," Mosley recalls. "The creatives' commentary on the mother/child relationship was exactly what was going on in my world. I was wishing I could watch my kids during their day and peek in on their life."
"I was so impressed with how the creative team hit the nail on the head," says Mosley, "and they sought my perspective as a wife and mother, which created another touch point for me." Mosley adds that she had been following Wal-Mart's creative for a while, noting that it has been offering something more meaningful to viewers, a more personal connection, in its advertising. "When the project came through, I was really excited to be involved," she says. "I loved the humanness and realism of this campaign."
Mosley says that working with The Martin Agency was "a total pleasure. They've been renowned for doing fantastic work, and not only were extremely creative in the moment, but really kind and collaborative to work with." On the "Goodbye" spot, for example, which has a mother sending her daughter off to college, Mosley says she and the creative team brainstormed about what this would be like for a woman. "They came up with some really wonderful ideas," she says. "I haven't had that level of collaboration in a long time; everyone was concerned about the story and creating a spot that was truly believable and relatable."
As a director who made her first film at age sixteen - the documentary We Can Make a Difference, about global pollution's effect on children in local communities - Mosley feels that any filmmaker - male or female - has to persevere to make it in the business. "People always say it's harder for a woman, but it's hard for all directors. Mine is more of a director's story than a woman's story. I did not want to be conventional in my choices, I did not want to take what I might get being a woman, so I made the conscious decision to pursue work that wouldn't limit me."
Mosley signed with trio films in January of 2007. Her recent work includes spots for Lee Jeans, Lojack, Juicy Juice, Disney, and Dannon. Her short film "The Brass Teapot" garnered the Best Director award at the First Glance Film Festival.
"Being at trio is the culmination of everything I looked for," says Mosley. "As a director, you strive for that connection with executive producers that understand your goals and who have the passion to make it happen. Like any relationship, it's really about chemistry."
"Ramaa pours her heart into every project and has this incredibly well-rounded life," says trio films Partner/Executive Producer Taylor Ferguson. "When she is on set, she gives her all, every moment...she's a gem." Of the Wal-Mart campaign, and The Martin Agency collaboration, Ferguson adds, "This was an incredibly professional and respectful agency, all around a pleasure and great team to work with."
"I am very motivated and excited by storytelling and spots that create a strong narrative," Mosley concludes. "When I first started directing commercials I had literally just graduated college. Ten years later, I feel like there is still so much that I'm excited by in this industry. Since signing with trio I've been able to work with my executive producers as a team. They are helping me book jobs that I've been obsessing about for years."
Client: Wal-Mart Spot Title(s): Back to School Campaign "Kiss," "Laptop," "Apparel" Back to College Campaign "Goodbye"
First Air Date: July 14, 2008 ("Goodbye" July 21, 2008)
Creative Director: Sean Riley Copywriter: Ken Marcus Art Director: Sean Riley Strategic Planner: Katherine Wintsch Account Supervisor: Kathryn Leake Agency Broadcast Producer: Chad Garber Agency Assistant Producer: Katie Chirgotis
Production Company: trio films, Los Angeles Director: Ramaa Mosley Director of Photography: Danny Moder Executive Producers: Erin Tauscher, Taylor Ferguson Line Producer: James Graves
Editorial Company: Filmcore, bicoastal Editor: Doug Walker, Tiffany Burchard ( "Kiss," "Apparel," "Laptop" only) Assistant Editor(s): Andrew Leggett, Matt Toder, Joe Dillingham Post Facility: Company 3, NY
Visual Effects Company: Click 3x, NY Visual Effects Artists: John Budoin
Audio Post Company: Audio Engine, NY Engineer: Hillary Martell
Music: Singing Serpent, New York, NY Composer/Arranger: Araby Harrison, Paul Hogan, Justin Pinkerton, Kenseth Thibideau, Lucas Van Lenten ("Goodbye" only)
LOS ANGELES, CA, July 18, 2008 - Fresh off the triumphant global launch of the Scarlet HDTV LCDadvertising and marketing campaign for LG Electronics USA, Inc. - a collaboration among TBWA, Tequila, and Agency.com - famed helmer David Nutter has signed with Looking Glass Films. Known for directing some of the most honored and high-profile work in Television, including THE SOPRANOS and ENTOURAGE, Nutter will pursue advertising projects on a worldwide basis via Looking Glass Films, in concert with Great Guns London.
Nutter is the Emmy-Award-winning director of HBO's acclaimed mini-series BAND OF BROTHERS, and has the distinction of having all 14 of the Television Pilots he's directed be picked up for series on major networks, and currently has five shows on the air: WITHOUT A TRACE, SMALLVILLE, SUPERNATURAL, TERMINATOR: THE SARAH CONNOR CHRONICLES, and THE MENTALIST (which debuts in Fall 2008).
The director has worked hand-in-hand with Steven Spielberg, Tom Hanks, Jerry Bruckheimer, James Cameron, McG, and Laura Ziskin, and won a Golden Globe award as one of the chief architects of THE X-FILES, having directed 15 of the program's episodes during the course of its initial three seasons.
In addition, he has directed episodes of highly acclaimed dramas ER and THE WEST WING. In 2007, he was nominated for Emmy and DGA awards for THE SOPRANOS, and was nominated for a DGA award in 2008 for his episode of ENTOURAGE.
Nutter recently wrapped production on two episodes of HBO's prestigious mini-series THE PACIFIC, Tom Hanks' and Steven Spielberg's follow up to BAND OF BROTHERS.
Guterman noted that the success of "Scarlet" makes for an auspicious beginning to Nutter's spotmaking career. "David was already well-established as a versatile talent," she said. "He has now shown tremendous dexterity and facility working within the advertising industry."
David Nutter joins a diverse and distinguished Looking Glass Films roster comprised of David Mamet, Alek Keshishian, Alfonso Arau, Jean-Jacques Annaud, Steven Antin, Danny Boyle, Kerry Conran, Chad Einbinder, Renny Harlin, Anjelica Huston, Marc/Andy, Francine McDougall, Marine Panossian, Roman Polanski, Jay Roach, Chris Rock, Mark Simmons, and Cliff Watts.
SANTA MONICA, CA, July 18, 2008 - With offices in the US and UK, digital marketing and media company The Viral Factory has hired award-winning interactive copywriter and creative director Glenn Sanders. Sanders will serve as Creative Director for the agency, and will be based out of its Santa Monica, CA, office.
Most recently, Sanders (pict., r.) was Associate Creative Director at TBWA\Chiat\Day\Tequila on the Infiniti automotive account. He managed a team of interactive art directors, copywriters and designers, and oversaw the development of a groundbreaking kiosk using cutting-edge "augmented reality" technology to allow consumers to interact in real time with 3D animations of Infiniti vehicles.
"While at Tequila, I worked closely with The Viral Factory on several campaigns," Sanders recalled, "and the impact they had on our endeavors was powerful. So I'm extremely excited to be joining forces with them in this capacity." At The Viral Factory, Sanders will focus on fortifying the creative infrastructure and process, and expanding their interactive capabilities. "The Viral Factory already has tremendous knowledge and experience. As someone who's seen the value and reach of viral marketing from the agency perspective, part of my role is to help agencies and clients understand that they can successfully answer the needs and story of their brands by taking a more offbeat approach."
Sanders joined Tequila\Los Angeles in 2004, where he was copywriter for brands such as PlayStation, Nissan, and Infiniti. He has worked on wide spectrum of interactive work; banner ads, microsites, blogs, viral videos, minigames, screensavers, and even the world's first virtual cat; and, in a limited capacity, on more traditional content for print and broadcast. Most notable may be his efforts on PlayStation, which included co-creating and writing a staggering amount of content for the complex viral campaign known as "Giantology," a collaboration with The Viral Factory, in which a blogger discovers video and photographic evidence of giants hidden in various sites around the web, all to promote the game "Shadow of the Colossus." Other projects included the web-based reality series "SOCOM Hell Week," a parody of western movies filmed with live chimps, and an epic viral video in which 50 "live action role players" waged a fake war dressed as Greek Gods. Sanders' projects earned the agency a series of awards and accolades, including a Grand Effie, One Show Pencil, Yahoo! Big Ideas Chair, and the first Beldings Sweepstakes Bowl awarded to an interactive campaign.
"We are thrilled to welcome Glenn to The Viral Factory," stated TVF Senior Partner Don Block. "We have been intrigued by the notion of inviting Glenn to join our company ever since our successful collaborations at Tequila, and the timing was right to act on that, given our rapid growth. Glenn not only has a natural instinct for viral marketing executions, but also brings a deep knowledge of other forms of online marketing and content development. We expect that his past experience in leading major brands into new online marketing frontiers will help The Viral Factory's current and future clients recognize the true potential of Viral Marketing campaigns."
Sanders pointed out that as brands face huge changes in the way consumers accept (and sometimes reject) marketing messages, the time has come for viral to be viewed more as an ongoing part of their marketing plan - as an agency of record - and less as a one-off, hit-or-miss experiment. "People no longer have to watch ads on TV, and are getting their information from the web instead of print publications. As a result, brands are looking beyond traditional advertising because the public isn't paying as much attention anymore. Viral is a way to connect with people on a more personal level. And it doesn't have to resort to shock value to be effective. As a creative, it's exciting to work on projects that have fewer restrictions, but the science of viral justifies the liberties we take. Viral allows for more strategies and methods than other types of advertising, and the results are measurable."
Stressing that effective viral marketing comes down to a good story, Sanders cited storytelling as his original inspiration for entering the advertising industry. For him, viral has proven a most effective outlet in that regard. "It's easier to tell compelling stories about brands and products when you can play with format and execution," he concluded. "If we develop stories based on the central question, 'who's the audience?' - as opposed to 'who's the client? ' - we can draw the viewer in rather than invading their space. And that's the ultimate goal of viral marketing."
Edited by Nicholas Wayman-Harris of bicoastal Union, the new video for Radiohead's "House of Cards" has been the talk of the town, pushing the bleeding edge of technology by eschewing cameras and lights for laser scans and 3D image capture. Within 24 hours of its release, the video was topping charts and inspiring chats across the Web.
Credits
Radiohead: House of Cards
code.google.com/radiohead
Production Company: Zoo Films, Los Angeles Director: James Frost Producer: Dawn Fanning Technical Director: Aaron Koblin Executive Producers: Justin Glorieux, Gower Frost Director of Photography: Yon Thomas
3D Real-time capture engineered by Geometric Informatics Inc. (performance and party) Software and Hardware Development: Dale Royer, Luke Farrer, Song Zhang
3D Laser Imaging Equipment: Velodyne Lidar Inc. Field Application Engineer: Rick Yoder Business Development Manager: Mike Dunbar
Processing of Lidar Data: 510 Systems Chief Engineer: Pierre-Yves Droz System Administrator: Troy Thompson CEO: Suzanna Musick
Editorial Company: Union Editorial Editor: Nicholas Wayman-Harris Assistant Editor: Nathan Cali Executive Producer: Michael Raimondi
Visual Effects: The Syndicate Visual Effects Supervisor: Ben Grossmann Visual Effects Producer: Magdalena Wolf Managing Director: Kenny Solomon CG Supervisor: Adam Watkins CG Technical Director: Rodrigo Teixeira FX Animators: Sam Khorshid, Attila Zalanyi CG Artist: Duane Stinnett Compositing Supervisor: Alex Henning Flame Artists: Verdi Sevenhuysen, Mike Ek, Kevin McDonald Editorial Consultant: Adam Gerstel Chief Engineer: Albert Soto System Administrator: Lap Luu IT Assistant: Thuy Le
Stats (from the Radiohead site)
IN ITS FIRST 24 HOURS.........
#1 viral video on the internet (source: viralvideochart.com) with 343 sites linking to the video in the first 24hrs...
MAKING OF is #2 viral video on the internet ( source: viralvideochart.com) with 104 sites linking to the video in the 1st 24hrs...
The most talked about video on the internet with 1,000+ web posts discussing the video and "making of" (source: Google)
Posted on every major and minor music and technology site in the last 24hrs
320k+ VIEWS ON YOUTUBE
YOUTUBE CHARTS: #3 - Most Viewed (Today) #1 - Most Viewed (Today) - Music #2 - Top Favorites (Today) #1 - Top Favorites (Today) - Music #9 - Top Rated (Today) #1 - Top Rated (Today) - Music
"Google has quite a bit in common with British rock band Radiohead: both have reputations for shattering corporate and artistic boundaries, both make constant headlines in the tech press regardless of what they do, and both will likely be seen as icons of early-21st-century futurism for years to come." CNET
"a clip that looks at once spectral, dazzling and eerie - not unlike the song itself" The GUARDIAN, UK
"Totally weird and yet totally accessible and moving" STEREOGUM
"their best video since ‘Street Spirit' " ANTVILLE.ORG
Attention aspiring pro footballers: it's time to lace up your cleats and bring out your 'A' game, as Nike teams up with Manchester United boss Sir Alex Ferguson to determine who is Most Wanted on the field. In the latest spot helmed by Jorn Threlfall of Outsider, one of the best managers in the history of world football (and winner of more trophies than any other manager in the history of English football) dispenses a tough but inspirational message to British football (aka soccer) hopefuls. His objective? To bring their game to the "Next Level" at an elite training camp run by Ferguson and sponsored by Nike.
Client: Nike Title: "Next Level" Air Date: July 7, 2008
Agency: AKQA Films ECD: Daniel Bonner CW: Nick Bailey AD: Andrew Tuffs Executive Agency Producer: Emily Bull Agency Producer: Siouxi Mernagh
Production Company: Outsider Director: Jorn Threlfall DOP: David Luther Producer: Jeremy Bannister
Editorial Company: Work/London Editor: Bill Smedley
NEW YORK/LOS ANGELES, JULY 16, 2008 - Rad-ish, the directing duo of Moritz Friedel & Cristoph Chrudimak, has returned to bicoastal GO Film, signing with the company for exclusive US spot representation. The team previously spent four years at GO, and most recently was on the roster at Park Pictures.
"Cristoph and Moritz are brilliant, in my opinion, and are two of the most talented people I've worked with," said Partner/Executive Producer Robert Wherry. He described Rad-ish's style as "a unique mix of visual choreography, rhythm, and storytelling, employing a rye humor and distinct point of view to bring a storyboard to life."
"We took a time out, and realized that living so far away, the comfort of working with people you get along with and who understand your work is so valuable," explained Friedel. "Our re-teaming with GO and Robert provides us with an established business relationship that has consistently proven to be a very productive way to work."
Wherry said that GO and Rad-ish maintained their friendship through their time apart, and agreed that the union clicks. "We've always had a certain shorthand," he noted. "Not only are we very hands-on in terms of the work, we understand how Rad-ish wants to be perceived."
While clients often turn to Rad-ish for the duo's keen visual storytelling and design sense, the directors are expanding their repertoire to include more dialogue-driven pieces. "To an extent, we were typecast as visual storytellers," Chrudimak said. "At GO, we're looking forward to exploring a more varied array of projects."
Rad-ish has been directing as a team for twelve years, and Friedel admits that their unique brand name always piques curiosity. "When we started working in the US, we were called by our last names, which were not so easy to remember or pronounce," he mused. "We needed something simpler, and it seems to have worked out so far."
The duo's most notable work includes projects for Cherry Coke via 72 and Sunny, Mercedes Benz via TBWA/Chiat/Day, Puegeot via Euro RSCG, and Guiness via Weiss Stagliano & Partners.
The opening of Union's NY office is featured in trades covering the world of advertising production and post…Also covered: work for No Subtitles, and a Clio win for Corona’s “Finishing Touch”
LOS ANGELES, CA, July 21, 2008 - "I used to resist taking on female-oriented work, and in fact I went the other way - action, sports, 'guy stuff'," muses director Ramaa Mosley of 
LOS ANGELES, CA, July 18, 2008 - Fresh off the triumphant global launch of the 
media company 