Sometimes pivotal career moments teach us something about our craft, and sometimes they teach us something about ourselves. That’s exactly what Rob Lambrechts discovered when he wrote Intel’s short film, “What Lives Inside” in 2015. “The whole experience made me realize, maybe the issue is not with the industry, maybe the issue is with me,”
How do you package concepts like freedom, patriotism, inclusivity, and war into one neat package? For most agency creatives, it may seem like an insurmountable task, a brief you’d rather not see come across your desk. But, for Vida Cornelious, the answer was simple: Be authentic. “The industry may tell us to chase a trend
When you ask a Creative Director at DAVID to talk about important projects, it doesn’t narrow down the conversation much. It’s really all they do. The agency has been on a winning streak since they started nearly ten years ago, and Fernando Pellizzaro is one of the creatives responsible for some of their most iconic
Josh Hillman is the perfect person to tell you about negotiating with real estate agents. Or, how to keep chocolate at a constant 15 degrees celsius. Or how to keep cameras from scratching the floor. In other words, he’s a producer—a very good one at that. He’s currently the senior producer at TCO London, a
Ultimately, any great creative is a servant to the idea. Egos disappear, collaboration happens, and the work becomes the main focus. But, this mindset also creates some obstacles, too—particularly when it means you have to produce 1,000 songs for Coca-Cola, at any cost. There are only a few people in the world who’ve faced this very specific problem and Noel Cottrell is one of them.
Margaret Johnson’s credentials speak for themselves. As the Chief Creative Officer at Goodby Silverstein & Partners, she’s been redefining the ad industry for more than 21 years. Ad Age named her Executive of the Year in 2018, and over the years she has been named one of the industry’s top chief creative officers by Forbes,
If there’s one thing every filmmaker needs more of, it’s time. More time to craft the scene, more time to shape the story. But a longer run time can also mean more challenges. Which is what filmmaker and branded content veteran Dan DiFelice discovered after being tapped to direct a new spot for Volvo titled, appropriately, Long Distance.
“There’s no hiding behind half-realized characters when you’re shooting longer form pieces,” says Dan.
When it comes to content, general agency wisdom says that in order for a commercial to be effective, the product has to be shown within the first three seconds. They think this way because dozens of studies about the science of marketing have trained them to. They believe that if you haven’t blatantly connected the consumer to
More than mere flourishes or eye candy, visual effects have become an essential part of our moviegoing histories. The space battles in Star Wars. Bullet time in The Matrix. These weren’t just milestones for the industry; they were unforgettable moments in our lives. There’s a reason we call these effects special. Over the years and as the cost of pulling them
Rogue Films’ latest commercial for Virgin Fibre, “Delivering Awesome,” is a breakneck joyride through a fiber optic cable, featuring a mash-up of every character and character type you can imagine. Cowboys. Superheroes. Dandies. Dames. Rather than relying entirely on computer graphics to create this beautiful, surrealistic spot, director Sam Brown did things the old-fashioned way: