Chipotle have followed this up with another film, this time a trailer for it’s mobile game ‘The Scarecrow’. The film and game are designed to highlight the different choices that fast food manufactures make and the impact that it has on our environment, society and the choices consumers make. Chipotle & CAA went with the whole ‘if it aint broke, don’t fix it’ concept here, but in my opinion, elevated beyond what Back to the start achieved. A darker edged Pixar feel permeates the film (from production company Moonbot Studios,) which is heightened by the (genius) use of Fiona Apple singing a wildly re-imagined ‘Pure Imagination’ from Willy Wonka. While in the film, the song is a lush and optimistic ditty, the songs double meaning is bought to life brilliantly by Fiona Apple and adds to the heightened drama in the Chipotle film. It’s beautifully paired duo, and sets the dramatic tone that the game itself is trying to achieve. (From what we can tell, it looks like a fully immersive platform game – Mario with Scarecrow’s.)
Shot at night, the lights track the sound at the speed the car went around the track, combining to create a hugely atmospheric piece of content. It’s both a wonderful tribute to Ayrton Senna himself, but also re-affirms the long lasting influence that Honda has had as a car and engine manufacturer. It’s a nice use of (very obvious) data sets to tell a great story. Some of the cutaways capture people in sheer delight at this experience, and I can’t say I blame them. A fantastic piece of work.
André is not exactly an artist that sits on his hands. His handiwork adorns everything from whisky to hotels and clubs. But, beyond the dilution of the André brand still lurks an artist at heart, which is why I was pleased to find that these mysterious posters that popped throughout downtown Manhattan were André (Via pseudo patron Kitsuné…) handiwork.
The Dream Concert Poster Series is exactly that. What would it look like if your favorite bands of all time had shared the same bill? How seismic would the impact of been of seeing all 5 Britpop titans at one venue have been? What collaborations would have been sprung from Leonard Cohen, Neil Young, Bob Dylan, Simon & Garfunkel, Joan Baez and Rodriquez sharing the same bill?
Covering almost all genres and decades of musical culture, these pieces tug at the emotions of ‘I was there’. We’ve all had it; the concert that could never be replaced or forgotten, the iconic moment where you knew you were part of history… It’s one of the ever-lasting great allures of live music; finding that holy grail, that ‘Manchester Free Trade Hall’ moment. (For reference, mine are Daft Punk 2007, David Axelrod 2004, Brian Wilson performs ‘Pet Sounds’ 2002, and Spiritualized® ‘Acoustic Mainlines’ 2006 & ‘Ladies & Gentleman We Are Floating In Space 2009.) The posters tap into that longing, and frankly, would look great as a series of prints, (which, from previous André experience, these almost certainly will be.)
Another (relatively) enforced hiatus has prevented posting too much recently. So I’m going to start again with something small and smart to get the get the ball rolling again…
Years ago, Ji Lee (@pleaseenjoy) was one of the first artists/designers to truly realize the power of street art as a communication tool as much as a promotional tool. The Bubble Project provided a forum for people in NYC to create their own comments on the advertising that dominates the city. Happily timed around the rise of social sharing, the Bubble Project took on a life of it’s own. Spreading around the world.
Ji is now back with a follow up project of sort. Mysterabbit sees small (what looks like 3D Printed rabbits) dotted around the world. A collaborative project designed to ‘spread a little mystery around the city’ it has a simplicity and calmness that I love. It resonates even more so as someone who has moved to a new city recently, and am experiencing the joy of discovering the nuances and the gaps that make up the many layers of city living. It’s in that sense that projects like Mysterabbit always surprise and delight.
I love this thank you film from BReel & Google Chrome for the Google I/O Conference a couple of weeks back. It’s a simple idea exceptionally well executed, and doubles as a great succint guide to how fast the quality of the web has evolved. It makes you excited for the future. Which should surely be the point of I/O; which proved itself to be the most exciting and ambitious conference around.
Sometimes the most interesting ideas are sparked by the most throw away of conversations. Just such a conversation became the evolution of this presentation: ‘Death To Online’ (a deliberately punchy title I’ll admit…) was conceived at one of the many, many portfolio nights that we have in and around the world of advertising. While not to give too much away, a seemingly throwaway line by one of the junior’s presenting their work, led to an exploration of where Advertising is going, and where it needs to head to keep Brands evolving and innovating. And, how the nature of our digital language is hindering this evolution.
One way of moving beyond the language of online is to delve into the vibrant arguments around ‘digital duality’. This debate is spinning back and forth between a series of cultural anthropologists with fervour and verve (and a smattering of pretension.) Their arguments are well worth the time to read and digest, for they form the backbone of what I’ve come to dub the ‘Semi-Internet State’ as it relates to Brands and Advertising/Marketing. It only takes a minute to look at the interest around Douglas Rushkoff’s most recent tome ‘Present Shock’and the disquiet and debates around Google Glass to know that we are at a next significant stage of our relationship evolution with the internet. And the Semi Internet State is only getting more pronounced and difficult to penetrate. No matter how big, tagged, or trailered your ‘online ad’ is.
So… take a look, share and comment. I’m really interested in hearing people’s thoughts around this idea and the role of language in our industry.
I love this idea. So simple, so nicely done, and a great use of YouTube. The problem was pretty simple (and one that I guess Orchestra’s around the world have…) How do you engage a younger audience in the delights of Classical Music? Using YouTube and some of the most iconic movie soundtracks of all time, the Brazilian Symphony Orchestra achieved a 40% increase in youth audiences for their new season of concerts. I love how this embraces YouTube as a communication tool, as much as a viewing platform to really bring home the point. It’s fun, it works and it strips away much of the pretension of Classical Music; which can only be a good thing…