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On a bare all-white set, an announcer is hyping a new magazine, while a "La Femme Nikita" lookalike approaches from behind. "It's engaging," he says; cut to a closeup of her sultry eyes. "It's provocative. It's totally modern, with so much vavoom." We see the temptress reach inside her jacket. "And it's called ....." A bullet blasts into his chest, and we watch her pump his body with slugs, blood bags exploding Peckinpah-style, till it's a lifeless mess. "Don't Tell It" appears on the bloodstained screen.

Not to be left out of the loop of glamorous gore, this cinema spot from Saatchi & Saatchi/London for the youth entertainment mag Don't Tell It is a way of reaching jaded Gen Xers, says writer Viv Walsh, who teamed with art director Jo Tanner. "People are tired of oversold, overstylized images," he adds. "We wanted to cut through the crap." And not only is the guy prevented from announcing the name of the magazine, Walsh points out, "he's blown away as well. In a way it's a double whammy."

Shot by a U.K. music video director known as Huds for London's Dancing Fleas, the spot is appearing as a warmup to films like "Pulp Fiction." And it's not the only sign of grue-viness in recent U.K. commercials: Saatchi also did a jeweler's spot in which an undertaker chases a severed hand wearing a ring.

Other credits to agency producer Sam Taylor. Music by Per Bertelsen.

Sure is a lot of Glock in this spiel

"Most PSAs are so scary or such a downer," says writer Susan Willoughby, that she and art director Peggy Redfern opted for the vibrant and energetic style of illustrator Bill Mayer in a Partnership for a Drug Free America spot aimed at preteens.

Created at Atlanta's Fitzgerald & Co., the spot tells a cute story about noses to show kids what happens when they sniff household products. Backed with a funky track, it begins with the clipped voice of former Python Eric Idle rattling off the different names for noses: "Schnozz, snout, ski slopes, booger factory," he says, as weird animals wearing fake noses parade by. But he warns if you use your nose to sniff "household stuff, you could get brain damage or die." We see a dinosaur popping a brain into its mouth, and a coffin. "And that's plain stooopid!"

Credits to Designefx, Atlanta, creative director Jeff Doud and animator Mark Falls. Other agency credits to CD Tim Paddock, producers Chris Sigety and Hallett Hirons. Music by AcousTech, Atlanta.

"Red usually works the best with the terror theme," says art director Damon Williams, by way of explaining the color accents in a bold poster campaign for the Skydiving Center, a chain in California and Maryland.

Created by Hughes Advertising in Atlanta, the posters combine wise-ass headlines like, "It's better than sex. And these days a whole lot safer," with sun-yellow tinted closeups of divers, whose faces have been digitally stretched for an extra distorted touch.

The campaign follows the opening of the Center's new California location. Other credits to writer Chris Jacobs, designer Troy King, CD Rudy Fernandez and photographer Chris Davis.

Goodby, Silverstein & Partners might have just topped the weirdness meter with a new spot for the California Milk Advisory Board that stars that cereal-seeking General Mills icon-the Trix rabbit.

Instead of featuring the devilish hare outright, art director Sean Ehringer says he and copywriter Harry Cocciolo thought it would be "cool to put the rabbit in a human disguise." The result is a distorted view of a nervous young guy who buys boxes of Cheerios, Wheaties and Trix, only to be told by the cackling convenience store clerk that "Trix are for kids." Panicked, the fellow rushes home, locks his door and sits down with the cereal, an empty bowl and a carton of milk.

"Finally after all these years of 'Trix are for kids, Trix are for kids," he whines, mimicking the cereal's well-known slogan. "Today, Trix are for rabbits," he adds, as he reaches up and unzips his face to reveal the animated rabbit beneath. Of course, the carton is empty, and a VO asks the now familiar, "Got milk?"

Kinka Usher directed through Smillie Films, Los Angeles. Other credits to agency CD Jeff Goodby, Digital Domain, which created the special effects, and editor

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