In Romania, gasoline brand Rompetrol keeps your engine clean like a horde of miniature, synchronized robot women wiggling and thrusting in skimpy French maid outfits. Because horny ad dudes in Romania are pretty sure that miniature, synchronized robot women wiggling and thrusting in skimpy French maid outfits will help sell gas to other horny dudes in Romania. Or at least, it will get them to watch an ad. It's Busby Berkeley meets every inside-the-engine oil-commercial animation ever. Its saving grace is its ridiculous low-budget pistons-firing-and-combustion computer graphics work, which help make it so absurd that it's impossible to take seriously. There's also that super-classy moment where one woman wipes—what exactly?—from the corner of her mouth, suggesting whatever. Agency: McCann Bucharest. Credits after the jump.
CREDITS
Client: Rompetrol
Agency: McCann Bucharest
Creative Director: Alexandru Aron
Director: Peter Dietrich
Director of Photography: Baldur Eythor Eythorsson
Editor: Andrei Iancu
Postproduction: Family Film
Music: Supreme Music
Not since The Gashlycrumb Tinies has there been so much exquisitely hilarious death on display as in this animated PSA from McCann Australia for the Melbourne Metro train system. Described aptly by one viewer as "Feist meets Itchy and Scratchy," the three-minute spot catalogs all manner of avoidable demises in a series of simple and amusing set-piece cartoons—with the ludicrously jolly and catchy tune "Dumb Ways to Die" by Tangerine Kitty playing in the background. The spot draws only slightly more attention to the one kind of death Melbourne Metro is particularly interested in avoiding—the getting-hit-by-a-train kind—but that just makes it more delightful. "This campaign is designed to draw people to the safety message, rather than frighten them away, especially in our younger segments," says Chloe Alsop, marketing manager of Metro Trains. It should help curtail deaths by superglue, too. Via Reddit.
It's not yet December, but tradition and commerce require you to get in the Christmas spirit pronto. Perhaps a giant creepy Santa Claus can help?
Coca-Cola is unleashing one, whether you like it or not, in its new global holiday spot from McCann Madrid that's now rolling out in some 100 countries. Coke has a fairly robust claim to the modern-day image of Santa Claus, having been among the first companies (though not the first) to feature the red-and-white version of St. Nick in its ads, back in the 1930s. The new spot, though, while making Santa even larger than life, manages to make him less lifelike than ever.
The ad opens with the great Claus packing a giant box onto a Coke truck. The box is then delivered on Christmas Eve to a lonely girl sipping a lonely Coke in a lonely apartment in a lonely city. She runs down to the street to take a look, and the box falls open to reveal a giant Santa marionette puppet. The woman and a swarm of strangers, apparently skilled at operating such giant contraptions, jump aboard and begin to operate it—walking Santa through town, where he spreads Christmas cheer with loping strides and sinister winks.
The message is clear: When people get together at Christmas, something magical happens. "We used the device of the puppet, as it has been a storytelling device for generations," says Leandro Raposo, executive creative director at McCann Madrid. "This puppet specifically, the one Santa sends to the human race, can only come to life when everyone gathers around it to make it work. We felt it was a beautiful metaphor for Christmas of this time and age."
That may be true. Still, the puppet feels like an odd choice for Coke. Particularly at the holidays, the brand is all about pure wonder and joy, nothing more complicated than that. Giant marionettes are good at provoking the former—see all the hubbub around Target's fashion-blogging marionette Marina last year—but not so great at the latter. People are fascinated with giant puppets, but unnerved by them as well. You're not simply opening happiness with this particular present.
The spot has some great images—in particular, the closing scenes with the Christmas tree. But overall, it feels like Coke wanted to take a real-world stunt and force it into the shape of a TV spot. In the end, it feels like neither. Perhaps they should have just gone with the real thing.
CREDITS
Client: Coca-Cola
Agency: McCann Madrid
Creative Directors: Leandro Raposo, Mónica Moro, Pablo Colonnese, Raquel Martínez
Art Director: Ricardo Rovira
Copywriter: Mikel Echeverría
Account Director: Lucía Guinea
Client lead: Michael Willeke
Directors: Marcus Svanberg and Linus Johanson
Production Company: Good Morning
Editor: David López
Post Production: Imasblue
Sound Design: Music Dealers, LLC
This week, "Ebenezer" Snoop learns a lesson from his (puff, puff) Christmas past, Canon inspires extreme photography and Honda knows you're really dreading spending time with your psycho family this holiday season.
Many of the hundreds of TV commercials that air each day are just blips on the radar, having little impact on the psyche of the American consumer, who is constantly bombarded by advertising messages.
These aren't those commercials.
Adweek and AdFreak have brought together the most innovative and well-executed spots of the week—commercials that will make you laugh, smile, cry, think and maybe buy.
IDEA: Safety PSAs are gloomy and tedious and largely ignored by young people hardwired to resist them—except when they're irresistibly fun and impossible not to share with friends. McCann Australia managed just such an evolution of the genre with "Dumb Ways to Die," its animated train-safety spot for the Melbourne Metro. The three-minute music video shows adorable blobs making the stupidest decisions ever—messing with animals, sticking forks in toasters, eating superglue, etc.—leading to all sorts of gruesome, fatal accidents. The dumbest way to die, the ad suggests at the end, is by being careless around trains. "The idea for a song started from a very simple premise: What if we disguised a worthy safety message inside something that didn't feel at all like a safety message?" said McCann executive creative director John Mescall. "So we thought about what the complete opposite of a serious safety message would be and came to the conclusion it was an insanely happy and cute song." With more than 30 million YouTube views, it seems happy, cute and grisly was the way to go.
COPYWRITING/SOUND: The song begins, "Set fire to your hair/Poke a stick at a grizzly bear/Eat medicine that's out of date/Use your private parts as piranha bait," before the chorus repeats the two lines, "Dumb ways to die/So many dumb ways to die." Mescall wrote most of the lyrics in one night at the agency. "It then took a few weeks of finessing," he said, "getting rid of a few lines that weren't funny enough and replacing them with new ones." The line "Sell both your kidneys on the Internet" was a late inclusion. "I'm glad it's there. It's my favorite," he said.
Australian musician Ollie McGill from the band The Cat Empire wrote the music. "We basically gave him the lyrics and told him to set it to the catchiest nonadvertising type music he could," said Mescall. McGill delivered something almost unbearably catchy. "The melody is easy to remember and sing along to, the lyrics are fun, bite-sized chunks of naughtiness, and the vocals have just the right amount of knowing innocence," Mescall said. "It's a song that you want to hate for living in your head, but you can't bring yourself to hate it because it's also so bloody likable." The singer is Emily Lubitz of another Australian band, Tinpan Orange. (The song is credited to Tangerine Kitty, which is a mashup of the two band names.) "Emily brought a great combination of innocence, playfulness and vocal integrity," Mescall said. "She brings a level of vocal quality you don't normally get on a video about cartoon death."
ART DIRECTION: Australian designer Julian Frost did the animation. "We gave him the most open brief we could: Just make it really funny and really awesome and do it to please yourself," said Mescall. The visual reference points ranged from Edward Gorey's The Gashlycrumb Tinies to Monty Python's "Always Look on the Bright Side of Life" (which showed men singing while being crucified) to "any number of hokey indie music-video flash mobs you see on YouTube," said Mescall.
"Julian was keen to contrast the extreme situations described in the lyrics with the simplest animation possible. Otherwise it would become just too much." After the spot blew up online, Frost wrote on his website: "Well, the Internet likes dead things waaay more than I expected. Hooray, my childish sense of humor pays off at last."
MEDIA: The spot lives online, in short bursts on music TV, and may reach cinemas. The campaign is also running in radio, print and outdoor. The song is on iTunes, where it reached the top 10. The agency is also producing a book as well as a smartphone game that should be ready by Christmas.
THE SPOT:
CREDITS:
Client: Metro Trains Melbourne
General Manager, Corporate Relations: Leah Waymark
Marketing Manager: Chloe Alsop
Agency: McCann, Melbourne, Australia
Executive Creative Director: John Mescall
Creative Team: John Mescall, Pat Baron
Animation: Julian Frost
Digital Team: Huey Groves, Christian Stocker
Group Account Director: Adrian Mills
Account Director: Alec Hussain
Senior Account Manager: Tamara Broman
Senior Producer: Mark Bradley
Producer: Cinnamon Darvall
Composer and producer: Oliver McGill
Zombies have been done to death. But that didn't deter Teddie Films and the crew from Utah's Rocky Point Haunted House from creating an undead-themed parody of McCann Australia's much-praised "Dumb Ways to Die" train-safety PSA. The animated spot's infectiously dark-humored musical safety message is re-animated as a primer for keeping Walking Dead-style zombies on the move amid the many hazards they face when looking to feast on the flesh of the living. The recently risen are warned: "Only travel in a herd/By yourself is not preferred … Take a hit right to the head/It's the only thing that makes you dead." OK, the lyrics don't approach the jolly death-rhymes of the real PSA, and the concept's a stretch. Even so, the gory visuals are great fun, and I admire the overall verve of the production. Lampooning the uber-popular original (33 million YouTube views!) took guts. And braaaains. But mostly guts.
Fun fact: Associating with David Bowie, whether in physical or purely musical form, instantly increases your cool factor by about 1 trillion percent. See: fashion model Iman, TV series Flight of the Conchords, the movie Labryinth and Lincoln Motor Co.
So, to elevate an otherwise just sort-of-neat ad for its new smartphone, the Xperia Z (pronounce it "zed" for full effect), Sony had the good sense to enlist the talents of the artist formerly known as Ziggy Stardust—or at least his vocals from a 1977 outtake of the song "Sound and Vision." (Yes, the same song Beck covered so memorably for Lincoln.)
The Xperia spot, from McCann London and director Tarsem—his credits include everything from REM's "Losing My Religion" video to the recent film Mirror, Mirror (also known as the Snow White retelling that didn't result in Kristen Stewart and Robert Pattinson's tragic breakup)—begins with the popular "Our brand through history" trope. But Bowie's soundtrack makes the slow-motion flashback scenes, from a group of people watching a rocket blast off on an early Sony TV to some kids playing with the first Sony PlayStation, seem substantially less cheesy.
The big finish, Tarsem's present-day depiction of the Xperia Z in action, is visually stunning: A pair of tourists in India use the smartphone to record a Holi festival celebration—in which the participants throw brightly colored powders at one another—before rinsing the apparently waterproof device in a stream of clear water.
Moving at half speed and set to this music, Tarsem almost makes you forget that you're watching your 30th smartphone ad of the day.
CREDITS
Client: Sony
Product: Xperia Z
Agency: McCann, London
Production Company: @radical.media
Director: Tarsem Singh
Last year, granola-bar brand Nature Valley and ad agency McCann Erickson, New York, unveiled one of the most ambitious digital campaigns of the year, Nature Valley Trail View, which created a first-of-its-kind interactive hiking experience thanks to teams who used Google Street View technology to map trails in three National Parks—the Grand Canyon, the Great Smoky Mountains and Yellowstone. The effort won two gold Lions at Cannes and legions of fans across the nation.
Today, agency and client unveiled the next evolution of the site, with three main improvements: more trail view footage (partly through the addition of 50 miles of footage from a fourth park, Sequoia); a comprehensive hub for the brand's past, present and future preservation activity; and fully interactive social functionality.
As mentioned in the video below, the preservation message is key. That part of the site now includes an interactive map with expert conservation content. Now, as users discover the trails, they can also get a sense of the preservation needs in each area and how Nature Valley is working to help.
In the past three years, Nature Valley has donated more than $1.3 million to support America's national parks. The brand will give $500,000 more this year to the National Parks Conservation Association.
"Nature Valley is about inspiring consumers to get outside and enjoy what nature has to offer," says Maria Carolina Comings, associate marketing manager for Nature Valley. "Our national parks are America's treasures that must be preserved and protected, and we hope to help raise awareness of the parks through Nature Valley Trail View and our ongoing restoration efforts. Through technology, we can help make the parks accessible to all, and encourage outdoor exploration for years to come."
More photos and credits below.
CREDITS
Client: Nature Valley
Project: Nature Valley Trail View 2.0
Agency: McCann Erickson, New York
Chairman: Linus Karlsson
Chief Creative Officers: Tom Murphy, Sean Bryan
Executive Creative Director: Leslie Sims
Group Creative Director: Mat Bisher
Creative Director: Jason Schmall
Copywriter: Sarah Lloyd
Chief Production Officer: Brian DiLorenzo
Executive Integrated Producer: Catherine Eve Patterson
Senior Integrated Producer: Geoffrey Guinta
Editor: Nathan Thompson
Executive Music Producer: Peter Gannon
Production: Traction
Creative Principal, Field Producer: Bryan Roberts
Producer: Adam Baskin
Digitech Cameraman: James deMuth
Lead Cameraman: Brandon McClain
Preservation Lead, Writer: Greg Jackson
Design and Development: Your Majesty
Executive Creative Director, Photographer: Jens Karlsson
Design Director: Riley Milhem
Tech Lead: Micah Acinapura
Developer: Raed Atoui
Executive Producer: Heather Reddig
The video features cartoonish blobs illustrating an original song about stupid and gruesome deaths (in the spirit of the Darwin Awards), and culminates in a couple of train-related examples. Posted to YouTube in November 2012, it has since racked up more than 45 million views.
P&G won Client of the Year thanks in part to ads promoting Old Spice, as well as for the global brand's Moms-themed, Emmy-winning "Best Job" commercial, both assignments handled by Wieden+Kennedy Portland. That agency was a top winner, collecting gold pencils for Old Spice's "Muscle Music," for "Best Job," and for Nike's "Jogger" ad.
When Coca-Cola discovered that part of its classic logo looks like the Danish flag, the brand (or at least agency McCann Copenhagen) decided to make an interactive airport ad that dispenses flags. Why? Apparently it's a Danish tradition to greet arriving travelers by waving flags, and Coke wanted to help make a bigger show of the fact that passengers were arriving in Denmark, ranked as "the happiest country in the world." You can watch the results in the case study below. I personally doubt this hidden flag was a real "discovery" on Coke's part so much as a forced connection, but it's a nice gesture.
There are now even more "Dumb Ways to Die"—and smart ways to live—as McCann Australia has made a video game out of its beloved, superviral train-safety ad from last year. "Starring all the characters from the viral hit Dumb Ways to Die for Metro Trains Melbourne, the game allows players to flick piranhas away from a character's private parts and defend another from a snake attack among other ways to avoid being dumb," the agency says. "Players can also pledge to 'not do dumb stuff around trains' at the click of a button." The game, developed by McCann in collaboration with local developer Barrel Of Donkeys, has been the No. 1 free app in Australia for a week, and is charting in 79 other countries. John Mescall, executive creative director of McCann Australia, said: "With the main Dumb Ways to Die video now close to 46 million views, we wanted to give young people another platform on which to enjoy the characters and, more importantly, to continue to remind them that being dumb around trains can and should be avoided."
McCann Melbourne's super-viral "Dumb Ways to Die" train-safety video for the Melbourne Metro stormed the Cannes Lions festival on the first day of awards here, picking up two Grand Prix and narrowly missing out on a third.
The three-minute, animated music video—in which adorable blobs make the stupidest decisions and gruesomely pay the ultimate price—took the Grand Prix in the Direct Lions and PR Lions contests. It also added a Gold Lion in the Promo & Activation Lions category.
The ad is closing in on 50 million YouTube views, but it was more than an online video. The song itself—written by Australian musician Ollie McGill from the band The Cat Empire and performed by Emily Lubitz of Tinpan Orange—was made available for sale on iTunes, and reached the top 10 in the global iTunes chart within 24 hours of its release. The integrated campaign also later led to a gaming app.
"Dumb Ways to Die" likely isn't finished winning Lions, either. It is considered a front-runner—perhaps even the favorite—to win the Grand Prix in the Film Lions contest later this week. It could get love in other categories too—such as Integrated Lions.
Two U.S. agencies won gold in the PR Lions contest. Draftfcb in New York picked up one gold for the Oreo Daily Twist campaign. And Saatchi & Saatchi in Los Angeles took home two golds for its Toyota campaign in which a Tundra towed the Space Shuttle Endeavor.
The U.S. silver winners in PR were: Ogilvy in New York for IBM's "The World's Smallest Movie" and Y&R in New York for Virgin Airways' "Upper Class Park Bench."
The U.S. bronze winners in PR were: Havas PR in New York for its #GivingTuesday campaign for the 92nd Street Y and the United Nations Foundation; Ketchum in Los Angeles for the U.S. Farmers and Ranchers Alliance; and Ketchum in Washington, D.C., for its "McKayla Maroney Is Finally Impressed ... With 7-Up Ten" campaign.
In the Direct Lions category, U.S. agencies won no golds but did pick up four silvers and one bronze. Draftfcb took home one silver for Oreo, and 360i picked up a separate silver for Oreo—for the famous blackout tweet from the Super Bowl. And Leo Burnett won two silvers for its "8 Million Protagonists" campaign for the Village Voice.
The bronze in Direct went to Pereira & O'Dell in San Francisco for Intel and Toshiba's "The Beauty Inside."
The PR judges awarded 95 Lions in all—the Grand Prix, 20 golds, 29 silvers and 45 bronzes. The Direct jury handed out 61 Lions—the Grand Prix, 13 golds, 19 silvers and 28 bronzes.
The awards were presented at a ceremony here tonight inside the Palais des Festivals.
McCann Melbourne's "Dumb Ways to Die" train safety campaign for Metro Trains Melbourne picked up its third Grand Prix of the week at Cannes Lions here tonight, adding the top prize in the Radio Lions category to its haul.
The campaign was honored in Radio for the three-minute radio version of the catchy song, which at its peak reached No. 6 on the global iTunes chart. The campaign earlier won the Grand Prix in Direct and PR—and it has an excellent chance to add more in Film and Integrated.
Barton F. Graf 9000 in New York led the U.S. agencies, winning gold for its Ragú ads.
Two Chicago agencies won silver: Leo Burnett for Fifth Third Bank, and DDB for its Milky Way work. DDB added a bronze for that same campaign, and won a second bronze for Wall's Ice Cream.
Also winning bronze were LatinWorks in Austin, Texas, for the Cine Las Americas International Film Festival; and Arnold in Boston for its anti-smoking work for the CDC.
CANNES, France—In the end, the dumbness was record breaking.
Visitors to the Cannes Lions festival here speculated all week about just how many Grand Prix the "Dumb Ways to Die" train-safety campaign from McCann Melbourne would pick up. Tonight, it added a Film Grand Prix and an Integrated Grand Prix, bringing its grand total to five. (It had already won in Direct, PR and Radio.)
That obliterated the old record of three, set in 2009 by Tourism Queensland's "Best Job in the World."
The three-minute, animated "Dumb Ways to Die" music video—in which adorable blobs make the stupidest decisions and gruesomely pay the ultimate price—just this week passed 50 million YouTube views. But it was more than an online video. The song itself—written by McCann's John Mescall and Australian musician Ollie McGill from the band The Cat Empire and performed by Emily Lubitz of Tinpan Orange—was made available for sale on iTunes, and reached the top 10 in the global iTunes chart within 24 hours of its release. The integrated campaign also later led to a gaming app.
Pereira & O'Dell in San Francisco also picked up two more Grand Prix tonight—in Film and Branded Content & Entertainment—for Intel and Toshiba's social film "The Beauty Inside." That brought the campaign's total to three Grand Prix—it had won in Cyber as well—matching the old record.
Click below to see the top winners, and all U.S. winners, in the four categories from tonight's awards ceremony—Film, Film Craft, Titanium & Integrated and Branded Content & Entertainment.
It was a long haul of judging for Sir John Hegarty, Joe Pytka and their jury teams at the Cannes Lions International Festival of Creativity last week.
Hegarty's Film Lions jury watched 3,125 commercials. Pytka's Film Craft Lions jury watched 2,029. In total, they awarded three Grand Prix, along with 21 Gold Lions, 38 Silver Lions and 70 Bronze Lions.
The Grand Prix and Gold Lions went to 21 different spots or campaigns. That work represented just 0.4 percent of all Film submissions this year—truly the cream of the crop.
Bucharest is many things. But one thing it is certainly not is Budapest. That's because Bucharest is the capital of Romania, and Budapest is the capital of neighboring Hungary. You could easily confuse them, of course, which is why Romanian candy bar ROM is out to end the confusion once and for all—with a new ad campaign from McCann Bucharest and MRM Romania.
As illustrated in the video below, it was all Michael Jackson's fault. In 1990, he started the trend by shouting "Hello, Budapest!" at his concert in Bucharest. In 1995, Iron Maiden did the same thing. They were followed by Morcheeba, Lenny Kravitz, Metallica, Ozzy Osbourne, Whitesnake and others. The problem reached comic proportions in 2012, when when 400 Athletic Bilbao fans missed the Europa League final after mistakenly flying to Budapest instead of Bucharest.
Bucharest didn't get mad, but now it wants to get even. Billboards have gone up in both cities, reminding everyone of which is which. A browser add-on adds the words "Not Budapest" next to every instance of "Bucharest." And fans on the ROM website are encouraged to share their Bucharest/Budapest stories and tag them #BucharestNotBudapest.
"It's a confusion that upsets us all, and if there is a brand that can take legitimate action towards this error, that brand is definitely ROM, because it's Romanian, authentic, daring and because it has BUCHAREST written on it," says client marketing manager Gabriela Munteanu. (You may remember ROM from the 2011 Cannes Lions festival, when it won two Grand Prix for a campaign that pretended to Americanize the candy bar, much to the horror of its fans.)
We will have an early indication of whether the Bucharest/Budapest campaign is working, as Iron Maiden returns to Bucharest on Wednesday as part of their current world tour.
Phubbing. It's not a dirty word—or at least, no more so than any other word created by advertising.
To illustrate the importance of having a current dictionary, McCann Melbourne (the agency behind the superviral, Cannes-conquering "Dumb Ways to Die" video) orchestrated an elaborate scheme to invent and disseminate the word "phubbing"—a gerund meaning snubbing the people in one's presence in favor of one's smartphone. The goal, hidden during the early portions of the campaign, was to sell more 6th-edition Macquarie print dictionaries.
McCann used a social media and PR strategy to spread the sniglet-like word, quite literally, around the globe—all without any mention of the product. (It doesn't appear in the case study until the final seconds.) And therein lies the rub. The marketing of the dictionary feels like an afterthought. Welcome as a crusade against bad smartphone etiquette may be, the paradox inherent in the strategy—proving how digital tools are making print products obsolete, then in the same breath trying persuade consumers to buy the print product, even one that claims to be forward-looking—is ultimately disingenuous and self-defeating. It's clever, but it's not persuasive. Why buy a hard-copy book that will soon be out of date?
Sure, that's a shortcoming of any print dictionary, and the beauty of a digital alternative. Maybe the campaign is effective, but only for a certain type of old-school, anti-technology target—the kind of people who like to curl up by the fire and read a dictionary.
McCann London filmed this initially explosive yet ultimately rather peaceful Sony commercial in Costa Rica, showing a volcano disgorging countless multicolored flower petals across rivers and fields and the streets, rooftops and denizens of a nearby town. About 8 million flowers were used, Sony says, to symbolize the 8-million-pixel display offered by its 4K Ultra HD TVs. (Did somebody actually count the flowers? Worst advertising internship ever!)
All the action was captured in camera, without CGI, and while it's certainly a satisfying visual spectacle, it seems subdued compared with Sony's earlier, more famous nods in this direction. In 2005, Fallon unleashed 250,000 colorful rubber balls on the streets of San Francisco for its Cannes gold Lion-winning Sony Bravia spot. A year later, the same client-agency team blasted a vacant housing estate in Scotland with 18,000 gallons of paint, drenching terraces, stairwells, walkways, courtyards and one random clown for a Bravia spot named best commercial at the British Television Advertising Awards.
Perhaps the new spot seems more laid back owing to its countryside/village setting, contrasted with the urban slopes of Filbert and Leavenworth in "Balls" and the imposing modernism of the Glasgow high-rise tower block in "Paint." Mainly, though, we're dealing with flowers—that's the key difference. Yes, there are a great many of them, and they're shot from a volcano, but are they really so impressive? The fast-bouncing army of balls and the rivers of paint from the earlier commercials had more presence and "personality." They were glorious, yet vaguely menacing. An errant ball could take out an eye. You could drown in all that paint or, at the very least, ruin your sneakers. Here, we have … flowers.
They're bright and memorable as they float on the breeze. But I just wasn't blown away.
Damon's actually on screen for more than 20 seconds, appearing in a trio of spots, including two with his Monuments Men co-star and fellow Oscar winner George Clooney, a regular in dopey overseas commercials. None of these Nespresso ads makes much sense. What's worse, even with the mega-star wattage, they're smug and completely dismissible. In one spot, a woman screams "George Clooney's inside!" to make other women stampede after the actor so she can enjoy her coffee alone.
Later, in a bizarre bit of bro humor between aging Hollywood hunks, Cloons pulls the same trick on Matt, but the Damonater escapes by somehow making the star-stuck women move in slow motion. Damon also expresses his affection for the Nespresso mobile app for no particular reason.
After watching these antics, I feel like I've bourne a grave injustice.
Remember the "map wars" of 2009, when AT&T and Verizon spent a combined $4 billion on ads (and went to court) to claim coverage-area supremacy? Well, it looks like Verizon is firing another round of salvos.
For a new installment of its "Reality Check" campaign, Verizon and McCann New York (and director Peyton Wilson of O Positive) created a modern art gallery featuring 4G coverage areas offered by competitors AT&T, Sprint and T-Mobile. Visitors are asked to describe what they see, with the point being that few can recognize the illustrations as maps of the U.S.
It's a clever gag and not overly aggressive, but will it mark the start of another round of cartography conflict?
