With this Canadian spot for the 2012 VW Jetta GLI, agency Red Urban Canada put a lot of work into a visual trick that looks like Tron doing doughnuts in an outlet mall parking lot. And I mean a lot of work. The ad’s principal light-painting stunt, which employs beam-splitting techniques you don’t see much outside of 3D filmmaking, may look fake, but the making-of video exposes just how real it was.
Dedicated to Lucy Zhang
Norway:
Advertising Agency: Bates United, Oslo, Norway
Art Directors: Thorbjørn Naug, Kim Tannevig
Copywriter: Per Kristian, Voss Halvorsen, Ola Øvrelid
Director: Thorbjørn Naug
Photographer: Daniel Voldheim
Additional Credits:
Account Executive: Tor Anton Bjørge
Producer: Kaja Marie Amundsen, Fredrik Pryser
Edit: Perry Eriksen
Online: Christian Hvatum
Sound: Christian Schaaning
Published: September 2010
Spain:
Japan:
Advertising Agency: Ogilvy & Mather Japan
Creative Director: Mark Collis
Art Director: Alex Noble
Copywriters: Tim Schultz, Motonori Sugiyama, Takamori Kadoi
Pro: San Takashima
Music: Song Zu
Director: Antony Redman
Production Pro: Jamie Popham
Planner: David Vroland
Account Service, Yosei Matsuhashi, Ako Ohya
Aired: May 2009
South Africa:
Advertising agency: Ogilvy Johannesburg, South Africa
Creative Director: Fran Luckin
Art Director: Robyn Bergmann
Copy Writer: Stephanie van Niekerk
Producer: Lisa Jaffee
Director: Kim Geldenhuis, Egg Films SA
Aired: March 2009
and the Q5 ABT (Sportsline) Commercial in Germany:
and the extra bonus (not commercial). An Orange Q5 ABT in Hamburg, Germany:
It’s always interesting when a famous feature-film director decides to make a commercial. My favorite of all time is probably Wes Anderson’s American Express spot, illustrating the fictitious (or maybe not) insanity on a typical Wes Anderson film shoot. Sadly, most such glamor projects aren’t nearly as intriguing—they’re just more glamorous. Indeed, most feature-film directors seem to gravitate toward high-fashion (or at least high-class) clients when they take commercial jobs, even if they’re known for grittier fare on the big screen. And rarely does this lead to anything too creative. The latest example is Darren Aronofsky, whose features (Pi, Requiem for a Dream, The Fighter, Black Swan) have always had backbone—but who this year has decided to direct spots for an Yves Saint Laurent fragrance and, now, a Revlon mascara. His partners in crime in the 60-second Revlon spot below are Jessica Biel and Pharrell Williams, who are seen in a stylized black-and-white scene of seduction, with Biel applying the brand’s new Grow Luscious Plumping mascara and Williams making his way down a hallway to her bedroom while singing his own original song about her lashes’ plumpitude. “You got me girl, you got me girl/You look at me, you blink those eyes/You plump it up, I’m hypnotized,” he sings. The lyric might not be Grammy worthy, but you get the point. Visually, the spot is lush, with recurring themes of reflection and distortion, and of course close-ups of the eyes—could it be a wry commentary on how one’s self-perception gets skewed in a world where you can make yourself up to look like someone else entirely? (She doesn’t look much like Jessica Biel, anyway.) Of course, it’s nothing that subversive. Aronofsky has clearly delivered just what Revlon wanted—something stylish, glamorous and completely safe, while haute enough for the director to justify his involvement in the first place. The lashes plump, and so does the wallet.
CREDITS
Client: Revlon
Agency: DDCD Partners
Spot: “Hypnotized”
Director: Darren Aronofsky
VFX & Design Co.: Charlex
What Now?

