Well it’s been almost a year since our last post about ad’s we love. This time round there were no rules, we just asked the team to pick one of their favourite ads of all time and tell us why. Check them out.
|Sony - “Bravia”|
Fallon / Jose Gonzalez “Heartbeats”, originally by The Knife
PYB: “I wonder whether this seems like an obvious choice? Perhaps, but this ad for me is simply the most memorable. I think it is the sheer spectacle of watching all those thousands of colourful balls bounce down the street; such a simple concept, but executed wonderfully and in an organic, ‘this could be my street’ kind of way. In terms of the music, I think that Gonzalez’s cover of “Heartbeats” was a clever choice - it gives a beautiful sense of calm paired with the slow-motion visuals. The whole thing just feels really generous, like there is oodles of time to take everything in.”
AMV BBDO / Tracie London-Rowell / “Phat Planet” by Leftfield
Kamal: “At the tender age of 12 I had no idea what Guinness tasted like and even less of a clue of what it had to do with waiting. But why did that matter? This ad didn’t need to make sense to me. Its brilliance was in its mystery. That, and the fact that it featured two things that were both tantalising enigmas and unreachably cool — surfing and Leftfield.
So much praise has been showered on “Surfer” already for all manner of valid reasons, such as the incredible visual effects and the irreverent Moby Dick-inspired script, but it’s the audio that I still can’t get my head around. It seems to break so many rules. A good amount of the film is reduced to silent/static/noise, and there are multiple hard cuts of the music and sound effects, which are just so brash and wild. And then there’s that bass! It’s just one sound! So simple but so good.
Some say that Leftfield wrote Phat Planet as a bespoke piece for the ad, but I can’t seem to work out for certain whether this is true. At any rate, the track was definitely unreleased at the time and in hindsight the use of the track becomes more than just an ad sync, it’s a like a perfect album promo for Rhythm & Stealth, which was released six months later. The fact that the drums (that are in the album version) don’t appear on the ad is just brilliant. Because when I eventually heard the full track and those drums finally hit me, blowing my tiny mind as they did so, the Guinness slogan was proved absolutely right — good things come to those who…”
Will:It’s incredibly difficult to whittle down such a mass of creative work and highlight one particular piece of ad work as a personal favourite. After much deliberation, I’ll tell you what brought this one to the front of my mind.
As an 8 year old in primary school, only two things were important on the playground. One was getting ahold of a shiny Charizard. The other was knowing about “Whaaaasssuuuppppppp?!!”. No one honestly wanted an answer to the question, it was just so satisfying to shout repeatedly. I’m pretty confident in saying that we weren’t the target market, but it was certainly the first time I recall an advert being such a juggernaut that it spilled over into everyday lexicon. Still memorable to this day, Whassup? was a powerhouse of a catchphrase, which birthed a whole series of ads and went on to win countless awards. Big.
Wieden and Kennedy / Steve Sidwell / Hollywood Film Choral Sound Effects Choir
DDB London / [email protected] Films / Jungle / “Don’t Blow It” by Cliff Martinez (feat. Under Milk Wood read by Richard Burton)