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When the European Passenger Services launched its Eurostar service, the first-ever high-speed train from London to Paris, an ordinary commercial just wouldn't suffice, explains Jonathan Budds, writer at Young & Rubicam/London, who teamed with AD Anita Davis.

"We wanted it to look like this fantastic journey," Budds says of acinematic spot directed by newcomer Thomas Krygier of Arden Sutherland-Dodd, London. "This train is very fast and direct," he says, noting the commercial's sharp-angled outdoorsy imagery. But, he adds, they also wanted to visualize the ride emotionally, by depicting the in- side of the train as round, connoting "comfort, liberation and spaciousness."

The spot opens as a female archer releases a metallic train-shaped bullet, and we see a runner in a body suit blazing along a train track. Intercut with these are fisheye lens shots of the train's interior, where Felliniesque characters engage in highly stylized activities: A man does backflips; a midget in an afro wig bounces a beach ball; a beautiful pregnant woman poses in a striped jumpsuit. Other credits, in a collaboration that includes many acclaimed features tal- ents, to Academy Awarded cinematographer Freddie Francis, composer Gabriel Yared, who wrote the music for "Betty Blue," and makeup artist Gian Carlo Del Brocco of "8 1/2" fame.

The Philadelphia Creative Directory is inviting written submissions from madly frustrated creatives, AEs or anyone else with a tortured tale to tell for its Client from Hell Competition.

Those infernal clients, "so beastly and repellent," as the press release has it, will get their fiery comeuppance, and the long-wronged winner will be rewarded

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