UPFRONT;HEINEKEN: IT'S THE BEER TALKING;ALL THE JUNK YOU CAN EAT;IT'S THE CLIFF FREEMAN COMEDY CORNER!;GOAL IN ONE

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Chicago agency Arian Lowe & Travis slices up a smorgasbord of visual icons in this bus campaign for Foodlife, a high-end international food court in Chicago. 'I wanted to make it look European,' says art director David Estoye, explaining the lush feeling of the ads. 'At the same time, I didn't want it to look like a Benetton ad,' he adds, pointing out the rave flyer-influenced funky type and the elliptical iridescent globe. The wry juxtapositions (a Japanese warrior uses his swords as corn-on-the-cob holders), he adds, were a subtle way to coax people into experimenting with different foods. Also credit art director Larry Ziegelman, writer Meg Kannin, creative director Mike Fornwald and photographer Debora Doffing

What do you get when you invite people to a Heineken night at a bar, get them juiced and let the tapes roll?

That's the technique behind an unusually fresh beer campaign for the import brand from Wells Rich Greene BDDP, New York, in which loose lips make great copy. Themed, "It's all true," the ads relate overheard (often subjective) truths with the authenticity of the beer's original recipe, explains writer Alon Shoval.

"Did you know the guy who invented the wave was actually getting arrested?" goes one print ad, a witless utterance credited to someone at Comiskey Park in the ninth inning. Commercials, which employ the underutilized talents of David Fincher of Propaganda Films, feature a locked-down shot of bar scenes with silhouettes of people talking, such as a simulated, awkward first date, with titles offering frequently amusing counterpoints.

Other TV credits to art director Ralph Yznaga, producer Sally Hotchkiss, CDs Steve Baer and Richard Mahan and executive CD Linda Kaplan Thaler.

A man stumbles out of the rain into an AM PM mini mart, mumbling to himself a Weight Watchers' mantra: "Just gum. Just gum. Nothing else." As soon as he grabs a pack, he looks up and panics, overcome by his junk food addiction. Someone is noisily filling a slush drink and he realizes he's surrounded by rows of chewy candy bars and barrels overflowing with ice and soda. "Uh, gum and a hot dog. Pepsi," he says, snatching one item faster than the next. "AM PM, too much good stuff," reads the logo that expands like Santa's tummy.

The :30 from Rubin Postaer & Associates in Los Angeles is part of a clever campaign for this division of Arco, which fesses up to the truth about people's nasty food habits. "We were just trying to be honest about what it's like to go into one of these places," says ACD/writer David Smith. When they showed the commercials in focus groups, he adds, there "was a resounding, 'Ohmigod, that's me.' "

Also credit ACD/art director Joe Baratelli, producer Monica Bunch and creative director Larry Postaer. Phil Morrison of Epoch Films directed the commercials; Michael Heldman of Spot Welders edited, and Elias Music in Los Angeles supplied the sound design.

We love violent slapstick at the Comedy Corner, the nastier the better, and Bud Light's "Pole" :30, from DDB Needham/Chicago, is smashingly wicked.

It's the usual painful parting of lovers at a train station: he's on the platform, she's at the sealed window, and they're communicating via hastily scribbled notes as he runs alongside the train. As the train picks up speed, a bizarre request for her Bud Light-the window doesn't open, after all-gets the answer, "pole," immediately upon which the unfortunate guy turns to look ahead down the platform and he gets one right in the kisser with enough force to send his nose into the middle of last week. He's later seen chasing the train, so "everyone realizes the guy didn't completely destroy himself," says group CD Dave Merhar. "Hey, it's funny, it's broad, it's a basic kind of humor that appeals to everybody. It's a nice little rug pull; it starts out as a sweeping movie saga, then it turns into a cartoon."

The spot was directed by Steve Chase of Jolly Roger, Santa Monica, and edited at Rock Paper Scissors, Los Angeles. Other agency credits to CD Michael Oberman, art director Dan Weeks, writer Vincent Warren and producer Bryan

Here's something clever and sporting, and Nike didn't do it. From Diadora America, an Italian-based soccer gear company, comes a shocking pink parody of the Italian sports paper La Gazzetta dello Sport, called La Gazzetta del Calcio (Soccer Journal), a four-page insert in April's Soccer America.

It features articles in Italian and English on Diadora's top three shoe endorsers-Roberto Baggio, Gianluca Vialli and George Weah-along with weather reports and horoscopes, just like the original, and Diadora says it was such a hit a second edition is coming.

It comes from Seattle's Hammerquist & Saffel, with writing by "editor" Ian Cohen

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