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Travel has become more accessible for Londoners, thanks to easyJet, whose latest "Why Not?" campaign by VCCP has a pretty basic premise: It's the story of the many adventures awaiting a woman whose flight is about to take off.
Strange little details give the ad unexpected vivacity. It opens with a molting man made of flowers running across the runway like Alice's White Rabbit. He's late, he's late! Suddenly our heroine is yanked right out of the plane and into the hangar, where tropes of a European vacation—open-air markets, street artists—are given the Gulliver's Travels treatment, transforming the exotic into the surreal.
In one scene, the protagonist even appears relaxing on a beach, surrounded by a spray of tiny humans.




The ad ends where the real adventure begins—in the seat of the plane, where we're told easyJet offers 300,000 seats to Europe for £29.99 each. That's around $40, less than what some people pay for underwear.

"Dinner in Barcelona? Why not? Trumpet festival in Budapest? Why not? Six hours in Amsterdam? Seriously, why not?" VCCP probes.

The ad was shot by Canada. The pan-European brand campaign will include print, out-of-home and digital out-of-home, where travelers will be prettily choreographed by the Wade Brothers. EasyJet will also run an immersive element in the heart of London, where it will "bring a European city" to the locals. A social competition will give people the chance to win their own adventure.

"Why Not?" may be unusual, but it's a return to basics for easyJet. In May, it tried encouraging people to discover more of the continent by promoting Sneakairs—sneakers that vibrate to subtly guide travelers to their destinations, so they don't have to stare down at Google Maps while exploring.

VCCP, for its part, has always been a bit out of this world. Earlier this year, in a First Utility spot, it positioned unicorns as a bold new power source.




Trucks is giving thanks this holiday in classic Fiat Chrysler style with a big, sweeping, poetic paean to blue-collar American workers—in a 90-second spot from The Richards Group, airing Thursday, that gives praise to waitresses, janitors, mill and factory workers, fishermen and more, as well as the work they do.



The spot honors the "true everyday heroes" who may often struggle to make ends meet but always "labor to make their families and this nation strong," according to press materials. Each line of the poetic voiceover begins with the word "praise," lending an almost religious feel to the sacrifices these men and women make—the grueling workdays that help make their family time at home possible. The spot will air on Thanksgiving Day during the NFL games on CBS and Fox.

Ram Trucks Salutes Blue-Collar Workers


Ram is encouraging viewers to share what they are thankful for with the hashtag #RamGivesThanks. Ram country music partners, including Easton Corbin and Maddie and Tae, are also involved in the campaign—they will be performing in this year's Macy's Thanksgiving Day Parade, which Ram also sponsors.

The "Praise" spot is the second big new Ram commercial of the week. On Sunday, the brand aired the 60-second spot below—an ode to Fifth Harmony's "Work from Home" music video—during the 2016 American Music Awards. That spot aired on TV just that once, and was another example of the value Fiat Chrysler and Francois put in event programming.



Fiat Chrysler aired a second major spot on the AMA's, too—the two-minute video below, "Music Brings Us Together," in which it thanked its music-label partners for driving 7.8 billion YouTube video views and connecting the company's vehicles to the world.



Credits


Client: Ram Trucks/Fiat Chrysler
Agency: The Richards Group, Dallas



Holiday ad for MondelÄ“z's Milka chocolate, an enterprising alpine lad just can't wait a whole month for Christmas to arrive. So, he constructs a cool steampunk-style time machine in a bid to travel into the mysterious, eggnog-scented future of 2412 … the 24th of December, that is.

A Boy Impatient for Christmas Builds a Time Machine in Charming Ad for Chocolate
Impatient brat! Hey, H.G. Wells Jr., Santa keeps his own schedule! Anyway, thanks to his family, a sweet surprise awaits the little dickens once he reaches his destination.

The festive ad is extremely well executed by Wieden + Kennedy Amsterdam and director Jean-Pierre Jeunet, of Amélie fame, who calls the 90-second film rolling out in European markets "one of my favorite ads I've ever made."

Kudos for using a Milka-filled Advent calendar, counting down the final weeks before the yuletide arrives, as both a plot point and product integration.

Credits

Client: Milka/Mondelēz
VP Marketing Communication and Brand Equity: Phillip Chapman
Marketing Director, Chocolate: Celine Berg
Marketing Manager, Chocolate: Martha Miralles
Global Milka Equity Director: Karine Chik
Global Milka Equity Manager: Chiara Missio
Milka Seasonal Activation Manager MEU: Beata Kucejko-Pelka
Agency: Wieden + Kennedy Amsterdam
Executive Creative Director: Mark Bernath, Eric Quennoy
Creative Director: Szymon Rose, Daniel Schaefer
Art Director: Victor Monclus, Jeff Lam
Copywriter Will Lowe, David Neevel
Head of Broadcast Production: Joe Togneri
Broadcast Producer: Samantha Cox, Soey Lim
Planner: Martin Weigel
Communications Planner: Wes Young
Group Account Director : Clare Pickens
Account Director: Will Oakes
Account Manager: Nick Pirtle
Project Manager: Katie Finn
Business Affairs: Emilie Douque
Film Production Production Co.: Tobago Films, Paris
Director: Jean–Pierre Jeunet
Director of Photography: Thomas Hardmeier
Producer: Olivier Thaon, Nicolas Maman
Executive Producer: Michèle Arnould
Editing Company: McMurphy, Paris
Editor: Maryline Monthieux
Audio Post - Wave Studios, London
Sound Designer/Mixer: Aaron Reynolds
Music Composer: Phil Kay
Music Co.: Woodwork Music
Postproduction: McMurphy, Paris
Flame: Bruno Maillard, Christophe Croidieu, Tristan Barbaron
3D: Guillaume Nadaud, Thomas Lefebre, Charles Blanchard
Colorist: Didier Le Fouest
Producer: Alexandre Boiron, Sébastien Gros



The new Ford Edge is so enchanting, it will turn the vicious assassin that an arms dealer hired to kill you into a smitten guardian angel—though the killer with the heart of gold might still steal your ride as payment for his protection.

So says a new eight-minute short film for the automaker from agency GTB, starring actor Mads Mikkelsen as the hitman, and directed by Jake Scott. Tracking the story of a couple turned state's witness against a weapons smuggler, it follows them into hiding as Mikkelsen's character stalks them, and their bright orange SUV, which apparently they've decided to bring with them to their new Mediterranean village home. (Presumably it was just too good to give up, even if they didn't mind changing their faces with a little casual plastic surgery.)



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Mikkelsen, playing the titular "Le Fantôme" or "The Ghost," is ultimately so charmed by the car that he refuses the bounty, and even protects the couple from the second murderer sent to replace them—swapping their Edge for an old two-seat motorcycle and a couple of plane tickets to Peru. In other words, the film straddles the line between the somber and the absurd—though how intentionally isn't, at first, entirely clear. The stakes are high—life and death. The hero is blocky. His motivation is goofy—a point that seems most deliberate when he pauses his hunt to nuzzle the car. The Ford seems woefully out of place, a point the story halfway strives to acknowledge but doesn't quite defuse. Its modern profile sticks out like a sore thumb against the lush, classic, dilapidated backdrop that the production so beautifully shapes.

Ultimately, it doesn't feel believable. This isn't a luxury automobile, and it's not obvious whether Ford is asking people to laugh at the car without quite giving reason to do so, or to applaud the car as a down-to-earth antidote to the hackneyed, dazzling underworld tropes the film goes to great lengths to polish.

Ultimately, it's most likely the latter. A fair reading would find the whole film a delightfully arch send-up of gangster narratives, and a celebration of modesty and morality. Regardless, the visuals are wonderful, and Mikkelsen's performance is eminently watchable—enough in its own right to keep the audience hooked, and guessing. In fact, the only real crime may be the color of the car.




WWF made a donation ad about WildLIfe Once Again.

This time they come up with ad to Display A concern On Tigers, A Mighty Wild Cat.

In Ad they are displaying a urban family who are caring a injured tiger.

By this Ad WWF try to bring a notice to a people that we have to take care of Wild Life as much as we can.

They are urging people to donate a money to participate in a work of WWF.











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Credits
Advertising Agency: J. Walter Thompson, London, UK
Executive Creative Director: Russell Ramsey
Creative Director: Jaspar Shelbourne
Creatives: James Humphreys, Craig Hunt
TV Producer: Denise Connell, Edmund Thorn
Planner: Chris Bailey
Global Director in Charge: Emma Howath
Account Director: Anna Hall
Senior Account Manager: Sophie Christiansen
Project Manager: Steve Hedge
Media Agency: ARM
Media Planners: Oliver Bertwistle, Tom Parker
Director: Martin Stirling
Production Company: Partizan
Editor: Steve Ackroyd
Sound: Chris Turner



There are things we just don't see—remote places under the sea, in the savannah or covered in snow, whose joys, dramas and tragedies we aren't privy to. And yet we affect them.

In "Dream," a beautiful stop-animation video by DDB New York for the Wildlife Conservation Film Festival, four animals facing extinction tell their stories through the words of "I Dreamed a Dream"—a song you'll recognize if you're a Les Misérables fan.

The animals appear, majestic and undisturbed, in their natural habitats. The drama begins when a sinister group of men arrive, their battered ship piercing through the darkness. They're scary, twisted figures. Unlike the warm, living faces of the animals, their eyes transmit an eerily commercial luminosity that matches the lights of their cars and ships.

It all goes downhill from there. The ending constricts the heart, and reminds us that our comforts come at a painfully parasitic cost.

oil spills in sea


whale killing












Human As A WildLife Killer




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Since "The Scarecrow," we've rarely seen a standalone piece of animated brand work this strong, though it clearly owes an inspirational debt to that Chipotle ad, which came out three years ago.

Beautifully brought to life by production company Zombie Studio, the video includes guest vocalists Natalie Bergman (who plays the rhino), Ryan Merchant (the whale), Keenan O'Meara (the pelican) and Tal Fisher Altman (the seal), whose wrenching close does lots of emotional heavy lifting. The Wildlife Conservation Film Festival takes place from Oct. 17-23 at the Marjorie S. Deane Little Theater in New York. You can buy a festival pass for $175, or individual "Film Series" tickets for $18 in advance or $25 at the door.

The goal of the WCFF is to develop public awareness programs to teach people about global biodiversity protection. "Dream," created pro-bono for the campaign, will run online, in social and at WCFF events before, during and after the festival.

CREDITS

Client: Wildlife Conservation Film Festival (WCFF)

Christopher J. Gervais, F.R.G.S. - Founder & CEO




A boysuffering from kidney failure isn't weak. He's a gladiator about to step into the ring for battle.

So says a gorgeous, jaw-dropping new campaign from SickKids Hospital—or as it's more formally known, The Hospital for Sick Children—in Toronto.

In the centerpiece anthem, titled "SickKids VS: Undeniable," ailing children, alongside their families, doctors, nurses and other hospital staff, all gird for battle—as medieval soldiers, pro wrestlers taking baseball bats to dialysis machines, and comic book superheroes.

It's a gripping two-minute argument from agency Cossette—more than anything, for the power of imagination as a vehicle for hope, and metaphor as a medical tool. Anyone who has struggled through a serious illness, or watched someone else do it, knows that defiance isn't to be undervalued.

This takes that basic insight to new heights, with enough of a playful tone to match and address its core subjects.

More than 50 SickKids patient families agreed to participate in the film, and 100 staff members from the hospital also lent a hand, on or off camera.



Check Out the Video


CREDITS
Client: The Hospital for Sick Children
Agency: Cossette
Chief Creative Officer(s): Carlos Moreno, Peter Ignazi
Creative Director/CW: Craig McIntosh
Creative Director/AD: Jaimes Zentil
Agency Producer: Dena Thompson
Account Supervisor(s): Olivia Figliomeni, Daniel Dolan
Account Director: Hanh Vo
VP, Brand Director(s): Michelle Perez, Steve Groh
Chief Strategy Officer: Jason Chaney

Production House: Skin & Bones
Director: Mark Zibert
DOP: Jackson Parrell
Executive Producer: Dan Ford
Line Producer: Joan Bell
Editing House: Skin & Bones
Editor: Marka Rankovic
Transfer/Online Facility: The Vanity
Flame Artist: Sean Cochrane
Colorist: Andrew Exworth
Animation: The Mill NYC
Animation: a52
Audio House: SNDWRX
Music Creative Director: Didier Tovel
Song: Undeniable - by Donnie Daydream Feat: Richie Sosa

​Clients​
VP, Brand Strategy and Communications: Lori Davison
Director, Integrated Brand Marketing: Kate Torrance
Director, Digital Projects: Mark Jordan
Manager, Patient Ambassador Program: Lisa Charendoff
​M​arketing Manager: Tina Tieu
Marketing Manager: Harleen Bhogal
Coordinator, Public Relations: Madeline Salerno

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