Brilliantly shot, compelling, intriguing, entertaining and (most crucially) with a satisfying payoff.
Well done, all concerned.
Also we donts want too see it again.
So fare to say we donts love it as much as you does.
Playstation Mountain/Double Life.
Old Spice The Man Your Man Could Smell Like.
Dumb Ways To Die.
The Most Interesting Man In the World
etc. etc. etc.
You must in consideration the brand certainly. This could Mercedes or Toyota or VW yes.
I don’t know any of the ads you are referenced to but Sony ball which is a god ad that set the tone of the brand and others after that not were generic because they bunched to a family of thinking.
This ad does ad nothing to the brand of Audi
Bronze at Cannes the advertisement festival in the south of France
I can’t tell if you’re pretending to be ignorant for a laugh or you actually are ignorant.
HA HA HA
Does it matter? The guy is amusing.
I am just presenting honesty. You are allowed to be not very nice and show smarts as this is your house but that’s a shame because you are asking what’s for desserts when you have the main meal under your nose.
I think this is lots of things (broadly all very good), but generic isn’t one of them.
I like it a lot.
Would be interested to know what you actually mean by generic and what examples you have that Trump this one?
Reminded me of this, but done backwards.
I say it’s a fine one.
As with the excellent iPhone 7 Midnight ad, it’s hard to picture being the writer and claiming credit for it when so much of it is in the execution.
(Unless everyone was working from a poetic 20-pp treatment.)
Do you bow out of the process straight after you write the script?
Not trying to be a prick, just curious. I find clients in the US insist on being walked through exactly how you envision the script before they sign off on the concept. And then I’ve never not been involved in every step of the process after.
(In case you were asking me) It depends on who’s the CD, the agency, the client, the director etc. Personally I don’t do much TV (unfortunately) but theoretically the copywriter-and-art-director team comes up with a basic 3 or 4 frame idea (this may be outdated!) that’s selected and presented to the client, then a production company contacts a director who often has his or her own people write out a detailed treatment, sometimes as a pitch and sometimes after hiring, and the people I’ve met who do this are not ad copywriters. I am sure 90% of the people who come here know a lot more about it than me, and I’m sure it varies by agency. Can anyone set me straight on this? Thanks.
I’ve written loads of TV scripts. However I never have a clue how I think they will look when their filmed. I never have any clue what my “vision” for the script is. I leave that up to the art director and the director. Frankly I’m more of a hindrance on set so I try to keep out of the way and not say anything.
If I’m honest I hate shoots except for the toilet paper in the hotels being folded into a little point and cakes. There’s always people always asking your opinion on things and I can’t say “I have no opinion on this…ask the director..whatever his opinion is…that’s mine too.
Yeah, that’s nothing like how it works.
Especially with US auto spots.
I agree with A writer, that’s nothing like how it works in the UK either.
I’m always annoyed when I read “what did the creatives do? That’s just the VFX guy / director etc” The creatives work bloody hard to get each film on air.
Not only are you writing the script, in the case of the commercial above, there would be an edited script to simplify the idea, and a more detailed one with what happens throughout the fight. There would be mood boards and possibly a mood film made too before presenting to the client.
Then after pouring over directors reels and meeting with them, we’d get treatments from maybe three.
We work closely with the chosen production company and director to get the best possible film. Involved in casting, wardrobe, locations etc.
Things change in the process as you work with the new team – hopefully for the better and on the shoot you have to be constantly on it, to make sure you get everything you promised the client, everything you wanted from the initial idea and everything the director wants from the ad.
We always find ourselves bouncing between the client and the director to keep things running smoothly.
We’re at the edit, we’re at the sound mix, we’re searching for or commissioning the music, we’re at the post and grade and we’re the ones doing all the cut downs and versions and we’re there when it’s clocked and goes out.
You always hope the film with turn out better than the version you had in your head and if you want any chance of that happening you don’t draw 4 frames and hand it off to a director then avoid the shoot.
Apart from anything else, you’ll learn nothing that way.
Feels a tiny bit cheesy 90s action movie: Mr and Mrs Smith. Or True Lies with Arnie. But great edit reversal decision, if the ad had played in the chronological way it’d be a bit forced. Still, it’s entertaining and different. A lot better than anything I’ll ever do. Ever. So, yes ‘applause’ but not standing ovation.
Sorry, I take this back. It is really a very fine piece, as admittedly I caught myself thinking about it again. Out of interest, someone has put the reverse version up on youtube. https://www.youtube.com/watch?v=wxRK4k-3-Dk&t=0s
I genuinely have no idea what that J&J comment is about.
Love this spot. The craft is in every single frame.
Damn his eyes!
Judge & Jury of what exactly?
Not sure what the presidential thing added to it, think it would have been simpler and worked just as well without it.
Very well executed, if not a particularly new concept.
I think A Writer misinterpreted my point and then I misinterpreted his (?) question and answered a different one, unhelpfully. I wasn’t describing how I thought things should be done. I’m glad it can work the way Steve describes it and don’t diminish any of that. I am not sure how it works for A Writer, but I hope it’s a positive experience. My original point was about the outstanding execution on both spots that make them stand out, based on ideas that might sound common if boiled down to the original concepts (valets fight over the keys and cause chain reaction; skateboarder discovers another side of his world at night). If the style and atmosphere are things the writer can control later, then so much the better. I don’t think I know anyone at Venables well enough to ask, but I wonder if the backwards chain reaction part was a director’s pitch, or part of the agency’s pitch.
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