Name a brand or media channel and Bill Green’s probably worked on and in it. An art director by trade, he’s focused on an overall holistic approach to brand madness that merges the worlds of traditional, digital and social – whatever it takes.
Having worked previously with Darryl and Humongo and current AdVerve podcast partner with Angela, he’s currently doing creative strategy and pitch development with BFG in Hilton Head. The ad blog Make The Logo Bigger is about his experiences in the world of advertising and beyond.
Angela Natividad is a strategist, copywriter and journalist based in Paris. She writes MarketingProfs’ #SocialSkim, is a frequent guest on marketing podcast The Beancast, and co-hosts AdVerve the podcast. Most of her secret thoughts are on her blog, Live and Uncensored.
Darryl Ohrt is a former punk rocker, and Executive Creative Director at Carrot Creative, in NYC. In addition to his posts here, he also writes for Advertising Age’s Small Agency Diary, as the voice of the small guy in a big, big world.
After founding the legendary agency Humongo, he sold out to the man, left the entrepreneurial life and joined Carrot. Now he’s the self proclaimed Prime Minister of Awesome, and he’s tweeting, blogging, and exploring the internets as if it matters. He knows just enough to be dangerous, and is always ready for action.
It was gonna happen sooner or later, and now we can all go back to working again because it finally has. We give you the Vine trailer for Wolverine 3D.
But does it beat Felicia Day’s official Vine-based announcement for hosting the Shorty Awards? Of that we can’t be sure.
Any sword, any era, $29 while you wait! Or not. Check out blacksmith Tony Swatton of the Sword & Stone and a look at what goes into the making of some famous movie fight props. (Via.)
To celebrate the 85th Oscars, and in response to a brief that demanded he find a way to reference every film that ever won Best Picture, Olly Moss gave us this magnificent official Oscars poster. It’s hours of guaranteed movie buff fun!
Okay, you already know the answer to that. But a lot of these may not be so intuitive. And anyway, it’s a nice thing to have handy when you’re sitting around wondering who underwrote that last awesome movie you liked.
This vid’s a few months old, but we wanted to share it anyway because:
1) It’s hilarious
2) It illustrates how music and scene cuts can affect perception of a story
3) It actually made us want to watch Men in Black 3 and Moonrise Kingdom simultaneously, if only to check for hidden messages, like watching the Wizard of Oz to Dark Side of the Moon.
It’s part alchemy, part typography, part sex and drugs and symbols and design, interspersed with our feelings about the film itself. CreativeBloq.com goes through the 20 most iconic movie posters of our generation and asks creatives what makes them so compelling.
For a taste, here’s digital artist/animator Alex Mallinson’s reflections on ET:
E.T gave us two iconic images: the Elliot-on-flying-BMX symbol that graces later posters (and the Amblin logo) and the image of E.T. and Elliot’s fingers coming together on a starfield backdrop.
The former image embodies the Spielbergian modern urban fantasy but the latter is the more interesting. It’s a reference to Michelangelo’s depiction of the creation of Adam in the Sistine Chapel, and that simple allusion heaps meaning on the poster.
But that’s hardly everything there is to look forward to. Read about the stark cadaverous terror personified by Silence of the Lambs, the choice of the approaching priest for The Exorcist, the sketch that made The Thing, the movie that flowed from the image of The Usual Suspects, sexing-up Princess Leia for Star Wars, and — another of our favourites — how the white-against-orange Helvetica typography of Trainspotting played against shots of the cast.
AKQA’s CCO James Hilton also makes an appearance to drop wisdom on Ghostbusters, which he calls “the most iconic movie poster. Show that logo to anyone over the age of say, 25, and they’ll tell you what it is.”
Here’s a film that’s just begging to be holiday-torrented. Branded will most likely be awful (we had doubts until the CGI snakies started rearing their liquid-pixelly heads), but it does pose a frightening question: to what degree will we be programmed by others — advertisers, specifically — in the near future?
And for that matter, how much are we programmed already?
Because the scariest thing about this premise is the notion that our minds, that most intimate self-defining organ, may not entirely be our own creation. It may not even fully be under our control. Can you reasonably say that you understand all your desires?
But let’s not dig too deep. Like we said, this movie will probably suck, and bad, and it likely won’t help us answer any of those burning questions, of which this may be the most pertinent: Seriously though, the best generic name they could come up with to replace “Apple” was “Yepple”?
Ouch. You’re probably bored to pieces with The Dark Knight Rises executions by now, but I still dug this billboard, which nixed slick imagery and even the name of the film in favour of a distinctive Batman-shaped hole, flanked by the theatre release date.
Did they really need to say more? …No? Then why are so many marketers tempted to?!
Fastcocreate has written a short piece about how Wes Anderson found the enchanted wilderness that serves as setting in his latest, Moonrise Kingdom: instead of sending scouts, he used Google Earth.
At bottom right is Narragansett Bay in Rhode Island, the ideal spot for shooting. Its coastline, ravines, forests and beaches present plenty of opportunities and are readily visible. At bottom left is Comfort Island in northern New York, which provides all the homey comforts that his characters grew up with. Decorators and a coproducer went ahead to scout it once it was found, “Then we actually borrowed and rented their paintings and furniture and things,” said Anderson.
Can’t wait to see the film. And if Wes is finding dreamscape from the comforts of his desktop, what’s your excuse? Whip out your cam and start Googling for uncharted footage.
The Paris métro system includes a number of stations no longer in operation. You pass through them on your way to open ones, and if you peek out your window while underground you might see what’s left of a platform that’s been largely abandoned.
Now, the Saint-Martin station on Line 9 — closed since 1939 — is hosting a “phantom station” promotion for Prometheus, whose movie trailer falls flat but whose ancillary marketing has been exemplary. Catch it through May 25th. We’re not sure what the overall message is supposed to be but judging by the photos it’s sure to lend chills.