Supercell, ‘Boomiversary’

Nothing’s what it seems as an amazing diorama comes to life for Finnish gaming giant Supercell. Prepare to experience “Boom Beach” in this gem developed with Waste Creative.

Surfshark, ‘The Cloak of Invisibility’

From the Netherlands: An unexpectedly audacious take on privacy with enough twists and turns for three campaigns.

Bashundhara City Mall, ‘Ultimate Destination for Shopping’

Is this the very best mall day ever? Watch the dazzling work below, created by Libanza Limited, to find out.

Volkswagen, ‘RooBadge’

A seemingly simple device that fits snugly over a VW’s front badge could save countless kangaroos and Australian drivers. Created by DDB Sydney.

Heineken, ‘When you Drive, Never Drink!’

“The best driver is the one who does not drink unless it is Heineken 0.0.” The beer giant and brand ambassador Checo Perez demonstrate this point a compelling social experiment.

Which brand will take home the 2024 Super Clio for the best Super Bowl commercial? We’ll find out on Feb. 12.

Volkswagen’s 2024 Super Bowl entry makes it official: VW is a quintessentially American car.

Sure, it hails from Germany. But since The Beetle arrived on these shores 75 years ago, the company’s makes and models have become as ingrained in the national psyche as any automobiles from Ford or General Motors.

With Neil Diamond’s pop anthem “I Am … I Said” reverberating on the soundtrack, VW offers a trek through time, weaving archival clips and fresh footage into “An American Love Story.” Johannes Leonardo helped develop the campaign.

Lance Acord, who lensed “The Force,” Volkswagen’s beloved 2011 SB spot, steers us on a nostalgic ride. Nodding to that classic, Little Vaders appear, along with references to various VW campaigns of yore.

It’s a smooth, engaging drive that reminds us of the brand’s ubiquity beyond America’s roads and highways. VW imagery, messaging and styles have permeated media and culture. It’s part of our extended reality—a fusion of steel, glass, pixels, hopes and dreams.

Here’s an extended cut:

On the one hand, it’s basically a clip show. But Accord puts it over with considerable panache. The brand’s underdog story feels very much in synch with traditional notions of the American dream. 

Nothing here’s just hype. The car’s an icon with sales in high gear. So, we’ve got truth in Super Bowl advertising. Imagine that.

“This year marks the 75th anniversary of Volkswagen in America, and the Super Bowl was the perfect stage to not only celebrate this moment, but to rekindle the love for VW in hearts and minds, and invite a new generation to continue with us,” JL ECD Jonathan Santana tells Muse.

“The center of gravity for this entire project was authenticity to the VW heritage and loyalists. It’s what informed all our production decisions—from design to talent to wardrobe, and even the paint samples of the 27 car models featured. The result is a true homage to this brand.”

As for Acord’s return, “He truly understands the tone and creative sensibility, wit and simplicity like no other,” Santana says.

Indeed, “An American Love Story” works because the team didn’t try to outdo “The Force” (good luck with that). Rather, they went in a different direction. It’s way more sweeping and grandiose than the spot from 13 years ago. Yet, it feels like an intimate story, too, with emotional resonance to spare.

Will advertising nerds herald “An American Love Story” as a classic? Probably not. But it succeeds on its own terms. It doesn’t roll big, but it works darn well.

The spot was shot on various film stocks, with old and new meshing seamlessly as the tale moves from monochrome to color.

“The first edit review brought with it an amazing find in song choice,” says JL group executive producer Rebecca O’Neill. “Kirk Baxter, our editor, along with Lance, found the Neil Diamond track, ‘I am … I said.’ Apart from the song’s inherent power, it is a story of finding oneself and making it.”

A Diamond song for the car’s diamond anniversary. Thankfully, they never considered Neil’s somewhat similar track “America.” That would’ve been too on the nose.

“‘I Am … I Said’ is such a rallying cry for being bigger than yourself and for those who seek to find a sense of belonging,” Santana says. “It captures a moment in time for the brand as well, being released at the height of counter culture in the ’70s.”

CLICK HERE to watch all of this year’s Super Bowl commercials as they’re released. 

“We wanted to maximize impact for a launch this big—small mobile screens and the like wouldn’t cut it,” JL executive creative director Jonathan Santana tells Muse. “At this stage, it isn’t about details and RTBs, it’s about impact. In addition to that, we wanted to take over contextual ‘bus’ placements, playing off the relevance of the original Bus.”

“The Bus is famous for its iconic two-tone paint job, and as such, we wanted the advertising for its successor to be just as simple and ownable,” Santana says. “We also tapped into the classic VW optimistic and witty tone to get all of America excited by its impending arrival.”

And that would be in summer 2024. The original model ended production in the 1970s, though a somewhat similar Vanagon was sold through the early 2000s. (Vanagon? Sounds like a Simpsons’ spoof name!)

Of the ID Buzz, Santana adds: “This is a very important moment for the brand in the U.S., because its most beloved vehicle is now reincarnated and modernized as an EV.”

Most beloved? Not quite. The most beloved VW is the Beetle, which JL saw off four years ago with considerable style.

If other cars on the road fade from view in a driver’s blind spot, imagine how easily a motorcycle or bicycle could go undetected?

Timed to Motorcycle Awareness Month, Volkswagen South Africa created “The Blind Spot,” an installation that illustrates an important safety issue while positioning VW’s tech as the solution.

“Dealerships are often crowded with cars, so we needed to disrupt the space with something that really caught the public’s eye,” says Alex Goldberg, creative director at Ogilvy S.A. “The bigger the installation (7.8ft x 7.8ft x 20ft), the greater the reveal when people discovered what was hiding in plain sight.”

VW placed installations at key dealerships and conferences, with a roadshow kicking off soon.

In the video below, people who were in accidents where drivers couldn’t see them view the work head-on. When they do so, they see what appears to be a large black circle.

The side-view, however, reveals what’s hidden inside the circle—either a bicyclist or a delivery driver on a motorcycle.

The campaign promotes VW’s IQ Drive, which helps drivers avoid accidents with objects in their blind spot. The concept was six years in the making. This BTS clip gives a glimpse of the prototype:

“To ensure the installations were as realistic as possible, we worked with specialized product designers to develop accurate to scale replicas of those most at risk on the road—food delivery drivers and cyclists,” Goldberg tells Muse. “These were then primed and treated with Black 3.0, a paint so black it removes definition, rendering 3D objects into 2D surfaces, essentially turning objects ‘invisible’ when placed on a background.”

Click images to enlarge:

CREDITS

Client: Volkswagen South Africa
Agency: Ogilvy South Africa
Product Design: Thingking
Production Company: Run Jump Fly

Client: Volkswagen South Africa
Product: Blind Spot Monitor
Title: Blind Spot
Agency: Ogilvy South Africa
Brand Chairperson and Managing Director: Martina Biene
Brand Director: Steffen Knapp
Marketing Communications Manager: Bridget Harpur
Global Chief Creative Officer: Liz Taylor
Chief Executive Officer & Creative Chairman: Pete Case
Managing Director: Vicki Buys
Executive Creative Director: Camilla Clerke
Creative Director: Alex Goldberg
Copywriter: Alex Goldberg
Senior Art Director: Annie Bekker
Art Director: Ryan Barkhuizen
Group Head / 3D Motion Designer: Neill Pretorius
Junior Motion Designer: Nina Roodbol
Producer: Sarah Rayner
Project Manager: Melissa Forgus
Business Director: Julian Hendrickse
Product Designer: Cliff Beckett
Product Design: ThingKing
Production Company: Run Jump Fly
Lead Producer: Devin Armstrong:
DOP & Editor: Sheldon Yoko
Producer & Editor: Dirk Coetsee
Executive producer: Tristan Coetzee
Welder: Kenny the legend
Spraypainter: Brendon @ Tinsley Woodcrafters
Production: Zahur Ameeroedien, Vincent Madziva, Ethan Elinhorn
Lead Production: Marc Nicolson

Volkswagen Brazil and AlmapBBDO deserve bonus points for their profound send-off honoring the VW Gol. That iconic best-seller, which inspired adoration on par with America’s love for the Beetle, recently ceased production after 42 years.

Now, Gol means “goal” in Portuguese, and VW—with other models named Polo and Golf—has long backed sports worldwide. So, in a fitting tribute, the automaker transformed one of its final Gols into a goalpost at venerated Vila Belmiro stadium. That’s the home of Santos F.C., the all-time planetary leader in gooooooooals! with close to 13,000 (including 1,091 by uber-legend Pelé).

“Just like football, the Gol is a national passion—it’s found a place in Brazilians’ hearts, and it deserved a farewell that did justice to its stature,” says Livia Kinoshita, VW executive director of marketing and communications.

So, they dismantled a Gol and melted down key parts in a furnace at 1,000ºF. The resulting Golpost debuted in a Santos win over Mirasssol.

“A symbol that unforgettable had to be immortalized,” says legendary forward Edu. “The team with the most goals in the world, the country with the most Gols in the world, all sharing the same Vila Belmiro—the same home.”

The very special goalpost will now reside at the venue’s victory museum, emblazoned with a QR code that links to video testimonials from Santos stars, who discuss their personal connection to the car. (The club once awarded Edu a Gol for his stellar play.)

CREDITS

Product: Gol
Agency: AlmapBBDO
President and CEO: Filipe Bartholomeu

CCOs: Luiz Sanches and Pernil
ECDs: Fernando Duarte and Henrique Del Lama
Creatives: Igor Cabó, Pedro Hefs
Client Approval: Livia Kinoshita, Cristiano Mineiro, Arthur Rocha, Eduardo Wolfsohn
Audiovisual Production: Diego Villas Bôas, Vera Jacinto, Murillo Moretti e Paula Buzzi
Liaisons: Christiano Bock, Mariana Nanes, Stephanie Gasparini, Juliana Stern
Planning: Sergio Katz, Bruno Ortiz Machado, Lavieri Junior

Media: Rafaela Alves, Luana Gallizzi, Everton Maciel
Content: Cristiana Uehara, Hannamy Layla, Samanta de Melo, Beatriz Amâncio          
Production: ilha 253
Stage Manager: Henrique Tupã
DP: Eduardo Auricchio
Editing: ilha 253
Executive Producers: Prisma Cultural e Carol Kern
Assistant Directors: Ba Silveira e Isabella Woelpl
Liaison: Beatriz Prado
Costuming Production: Karina Kohatsu
1st Assistant Camera: Alex Amati
2nd Assistant Camera: Brenno Carvalho
Video Assist: Jeferson Médice
Logger: Rebeca dos Santos
Direct Sound: Alfredo Guerra
Transmission: Guilherme Florian
Crane: Felipe Ramos
Drone: Henrique Moraes
Gaffer: Antonio de Souza Neto
Color: Clandestino
Colorist: João Paulo Geraldo
Post-production: ilha 253
Sound Production: GANSO MUSIC
Composition and Musical Production: Cezar Brandão Sound
Design: Equipe Ganso Music
Mix and Master: Equipe Ganso Music

Distefano comes off as a righteously miffed everyman, and he’s a fine fit for the sitcom-style material given his tenure on MTV’s “lessons”-oriented Guy Code and Girl Code.

Below, in his most ranty installment, Chris explains the nuances of the zipper merge. “It goes: one car, one car, one car, one car,” he pleads. “Don’t be the jerk who tries to get in there and disrupt the zipper merge!”

Though mildly edgy, Distefano’s takes don’t rise to Larry David-level whininess. That’s a good thing, because no one wants to see a peeved malcontent behind the wheel.

“We knew a quick witted, self-aware comedian would be perfect for these observational quips of life,” agency group creative director Jonathan Santana tells Muse. “Chris Distefano’s tone is just perfect to deliver these codes that are unsaid, unwritten, just respected and adhered to. Until they’re not. And that’s where Chris’ charismatic comedic style fits just perfectly.”

Shot in a single day by Eleanor Pictures director Kelsey Taylor, the spots feature some ad-libs, but “we definitely wrote these with Chris in mind, so a lot of his tone was already reflected in the scripts,” says Santana.

VW views the flight as an extension of its “Drive Bigger” platform, and the nameplate invites users to share their personal driving edicts with the hashtag #VWUnwrittenRules.

That’s all I have to say about the campaign. It’s time for me and Chris to wave goodbye:

CREDITS

CLIENT: Volkswagen Group of America, Herndon, VA, USA
President and CEO: Scott Keogh
EVP, Sales & Marketing: Andrew Savvas
SVP, Marketing: Kimberley Gardiner
Director, Brand and Retail Content: Jennifer Clayton
Manager, Advertising: Chanel Baresi
Senior Specialist, Brand Advertising: Annabel Lyon

AGENCY: Johannes Leonardo, New York City, USA
Co-Founder & Creative Chairman: Jan Jacobs
Co-Founder & Creative Chairman: Leo Premutico
Chief Creative Officer: Julia Neumann
Group Creative Director: Jonathan Santana
Sr Copywriter: Julian Cohen
Sr Art Director: Mikayla Lapierre
Jr. Copywriter: Tiah Marr
Junior Copywriter: Sonny Sirivong
Junior Art Director: Sonja Malic
Design Director: Charles Watlington
Group Executive Producer: Rebecca O’Neill
Senior Producer: Danica Rosen
Producer: Sharizma Budden
Director, Business Affairs: Alesa Blanchard-Nelson
Business Affairs Manager: Joe Bringuier
Broadcast Traffic Manager: Sargia Green
Managing Director: Emily Wilcox
Group Account Director: Sam McCallum
Account Director: Jackson Klein
Account Supervisor: Alexa Iliou
Account Supervisor: Andressa Paccini
Product Specialist: Ryan Callahan
Chief Strategy Officer: Steve Zaroff
Group Strategy Director: Mary Bakarich
Communications Strategy Director: Cooper Lemon
Senior Strategist: Jake Ullman
Jr Strategist: Mariah Sanchez
 
FILM PRODUCTION COMPANY: Eleanor
Director: Kelsey Taylor
Cinematographer: Adam Lee
Executive Producer: Sophie Gold

EDITORIAL: Wax
Founder/Editor: Maggie Sloane
Head of Production: Evan Meeker
Assistant Editor: Joseph David

FINISH / VFX / COLOR GRADE: Wax

AUDIO POST: Mr. Bronx
Executive Producer: Hanna Choi
Associate Producer: Maggie Norworthy
Senior Mixer/Sound Designer: Geoff Strasser

MUSIC HOUSE: Consortium
Founder / Composer: Seth Olinsky
Music Editor: Justin Miller
Head of Music / Composer: Seth Olinsky
Composer / Music Producer: Maggie Flatley

MUSIC PUBLISHING
Composition: Regras Não Escritas
Publisher: Consortium

You’re taking a drive in the country when some random sheep hops into your Volkswagen Tiguan. Now you’ve got a cute new pet, though you might need to wash that upholstery.

Johannes Leonardo and director Bryce Dallas Howard spin such a yarn in “Break Free,” a spot launching on TV next week as part of VW’s lifestyle-focused “Drive Bigger” campaign:

There’s just something about that woolly face hanging out the window like Fido that lifts our hearts!

“We loved the idea of a non-conformist sheep as a character,” JL group creative director Jonathan Santana tells Muse. “She became the metaphor to the independent spirit that VW drivers exhibit.”

Director Howard (Ron’s daughter) grew up with a pet sheep, so “we knew Bryce would be able to tap into the psyche of our fluffy little friend and depict her in a way that would feel charming and wonderful,” says Santana. “We had three sheep performing the role of our hero, each a star performer, delivering like pros. Rarely were we redoing takes because of the sheep, but rather because the humans weren’t hitting their marks. Whoever said animals were difficult to work with clearly has never worked with sheep before!”

Music frequently plays a key role in VW’s best spots, with classic selections of yore ranging from fringe-folkster Nick Drake to über-legend David Bowie. In similar fashion, a rousing, country-tinged take on “Make Your Own Kind of Music” propels “Break Free.” A 1969 hit for Mama Cass Elliot, the song harkens back to VW’s hippie-era heyday.

A terrific tune also benefits a second spot, “Those Guys,” created by JL with director Bjorn Ruhmann. Here, Doris Day’s sunny rendition of “It’s a Lovely Day Today” provides an ironic counterpoint as a phone-obsessed dude (Jonathan Kite from 2 Broke Girls) struts obliviously around town:

Frankly, the guy deserves to get creamed by that VW Atlas. Alas, we’re not making the ads, so the vehicle’s advanced safety features save the day when he obliviously saunters in front of the SUV. That’s probably more on brand, anyway.

Santana views “Those Guys” as a reintroduction of a “classic Volkswagen tone,” delivering a strong product message with humorous flair and a dash of irreverence. “Creating an ad with an anti-hero could seem like the wrong way to go,” he says. “But comedic tension was needed to talk about the Atlas, a car built to look out for everyone’s safety, even those outside of it. So naturally, showing a narcissistically guy happily going about his day without a care for anyone else seemed perfectly apt.”

VW rode high last year as U.S. sales spiked, though its fortunes have taken a sharp turn of late, mainly owing to supply-chain issues dogging the entire automotive industry. Moving forward, Santana believes “Drive Bigger” will spark momentum by aligning VW’s message with aspects of the human condition.

“We’re demonstrating how our cars enable them to live with more purpose and enjoyment,” he says. “We’ll be able to create big purposeful work that takes on societal issues and continue to build the brand’s perception as a leader in the EV space, demonstrating how that positively impacts the future of our world.”

CREDITS

—BREAK FREE

CLIENT: Volkswagen Group of America, Herndon, VA, USA
President and CEO: Scott Keogh
EVP, Sales & Marketing: Andrew Savvas
SVP, Marketing: Kimberley Gardiner
Director, Brand and Retail Content: Jennifer Clayton
Manager, Advertising: Megan Gross
Senior Specialist, Brand Advertising: Alyssa Young
Specialist, Brand Advertising: David Sperin

AGENCY: Johannes Leonardo, New York City, USA
Co-Founder & Creative Chairman: Jan Jacobs
Co-Founder & Creative Chairman: Leo Premutico
Chief Creative Officer: Julia Neumann
Group Creative Director: Jonathan Santana
Sr Copywriter: Lukas Pearson
Sr Art Director: Jennifer Yi
Design Director: Charles Watlington
Head of Production: Maria Perez
Group Executive Producer: Rebecca O’Neill
Executive Producer: Dave Evans
Director, Business Affairs: Alesa Blanchard-Nelson
Sr Business Affairs Manager: Denise Klapp
Broadcast Traffic Manager: Sargia Green
Managing Director: Emily Wilcox
Group Account Director: Sam McCallum
Account Director: Jackson Klein
Account Supervisor: Alexa Iliou
Account Supervisor: Andressa Paccini
Product Specialist: Ryan Callahan
Chief Strategy Officer: Steve Zaroff
Group Strategy Director: Mary Bakarich
Strategy Director: Kat Logan
Communications Strategy Director: 
Senior Strategist: Jake Ullman
Product Information Specialist: 

FILM PRODUCTION COMPANY: Prettybird
Director: Bryce Dallas Howard
Vice President/EP: Suzanne Hargrove
Head of Production: Rika Osenberg
Producer: Dennis Beier

EDITORIAL: Work Editorial
Founder/Editor: Neil Smith
Managing Director: Erica Thompson
Executive Producer: Alejandra Alarcon
Head of Production: Christopher Delarenal
Assistant Editor: Joseph Tuzzolino

FINISH / VFX / COLOR GRADE: The Mill
Executive Producer: Matthew Loranger
Senior Executive Producer | US Color: Meghan Lang Bice
Producer: Chanelle Larios
Sr Lead Compositor/VFX Supervisor: Siro Valente

AUDIO POST: Heard City
Managing Partner: Gloria Pitagorsky
Executive Producer: Sasha Awn
Executive Producer: Jackie James
Senior Producer: Liana Rosenberg
Producer: Nick Duvarney
Senior Mixer/Sound Designer: Evan Mangiamele
Sound Designer/Mixer/Engineer: T. Terressa Tate

MUSIC HOUSE: Soundtree
Founder / Composer: Peter Raeburn
Managing Director / Music Supervisor: Jay James
Head of Music / Composer: Luis Almau
Composer / Music Producer: Luke Fabia
Senior Producer: Neil Athale

MUSIC PUBLISHING: 
Composition: Make Your Own Kind of Music
Publisher: Screen Gems-EMI Music Inc.
Songwriters: Mann/Weil

—THOSE GUYS

CLIENT: Volkswagen Group of America, Herndon, VA, USA
President and CEO: Scott Keogh
EVP, Sales & Marketing: Andrew Savvas
SVP, Marketing: Kimberley Gardiner
Director, Content, Retail: Jennifer Clayton
Manager, Retail: Megan Gross
Senior Specialist, Retail: Alyssa Young
Specialist, Retail: David Sperin
Safety Engineer: Myles Wilson

AGENCY: Johannes Leonardo, New York City, USA
Co-Founder & Creative Chairman: Jan Jacobs
Co-Founder & Creative Chairman: Leo Premutico
Chief Creative Officer: Julia Neumann
Group Creative Director: Jonathan Santana
Sr Copywriter: Julian Cohen
Sr Art Director: Mikayla Lapierre
Design Director: Charles Watlington
Head of Production: Maria Perez
Group Executive Producer: Rebecca O’Neill
Senior Producer: Kelly Treadway
Director, Business Affairs: Alesa Blanchard-Nelson
Sr Business Affairs Manager: Denise Klapp
Broadcast Traffic Manager: Sargia Green
Managing Director: Emily Wilcox
Group Account Director: Sam McCallum
Account Director: Jackson Klein
Account Supervisor: Alexa Iliou
Account Supervisor: Andressa Paccini
Product Specialist: Ryan Callahan
Chief Strategy Officer: Steve Zaroff
Group Strategy Director: Mary Bakarich
Strategy Director: Kat Logan
Communications Strategy Director: 
Senior Strategist: Jake Ullman

FILM PRODUCTION COMPANY: Smuggler
Director: Bjorn Ruhmann
Co-Founder: Patrick Milling-Smith
Co-Founder: Brian Carmody
Managing Director US: Sue Yeon Ahn
Chief Operating Officer: Andrew Colon
Head of Production: Alex Hughes
Producer: Alexandra Lisee

EDITORIAL: Gattie & Lopez
Founder / Editor: Chuck Willis
Founder / MD: Sue Willis
Producer: Anna Peitti

FINISH/ VFX/ COLOR GRADE: The Mill
Colorist: Mark Gethin
VFX Lead: Kieran Hanrahan
Creative Director: Jimmy Bullard
Sr Executive Producer: Clairellen Wallen
Sr Producer: Ed Rilli
Producer: Ramya Shankar
Producer: Jessica Amburgey

AUDIO FINISHING: Sonic Union
Audio Mixer / Founder: Steve Rosen
Audio Mixer: Rob DiFondi
Audio Mixer: Kelly Oostman
MD/Studio Manager: Justine Cortale

LICENSED MUSIC: Premier Music Group 
Partner / EVP: Aaron Mercer
Music Supervisor: Ian Herbert

Lights! Camera! Alas, no action.

The plots of adam&eveDDB’s broadcast idents for Volkswagen—marking the renewal of the nameplate’s sponsorship of movies on ITV in the U.K.—feel eerily, entropically similar.

And that’s by design. The :15s in VW’s “Electrifying Movies” campaign seek to drive awareness of the automaker’s latest electric and hybrid vehicles. They do so by presenting climactic moments from familiar cinema fare—with a twist that brings each scenario to a grinding halt.

For example, the cast of this Jurassic World-style spoof can safely view a giant monster caged behind a mega-volt fence, until a VW owner comes along …

… and unplugs the power supply to charge his car. (Only Miro’s digital whiteboard can save them now!)

It’s a cute joke, well deployed above and in these sendups of cop films, Franenkstein and superhero fare:

That last one looks like an apocalypse/Marvel hybrid? And kinky to boot! All in all, Rattling Stick directors Jamie Cussen and Will Beauchamp (aka, Aircastle) deliver quick yuks in pleasingly campy style.

Here’s a supercut with extra footage that will fuel more than a dozen idents rolling out through 2023:

“Volkswagen has a long-standing relationship with film, so it’s been great to extend that further with our latest work as part of our partnership with ITV,” says Sarah Cox, head of marketing at VW U.K.

The new push follows 2019’s “Movie Star Confidence,” which also skewered tropes from the silver screen.

CREDITS

Client: Volkswagen UK 
Brand: Volkswagen Electric Range 
Project/Campaign name: Electrifying Movies 
Client: Sarah Cox (Head of Marketing), Glyn Butterworth (National Communications Manager) & Rhidian Taylor (EV Communications Manager) 
Chief Creative Officer: Richard Brim
Executive Creative Director/s: Ant Nelson & Mike Sutherland 
Creative Director/s: Ted Heath & Paul Angus 
Copywriter: Ted Heath
Art director: Paul Angus
Agency producer/s: Jessica Middleton & Charlotte Ellison 
Planner/s: Sarah Morning 
CEO: Tammy Einav
Managing Partner: Michael McConville 
Business Director/s: Steven Halliday
Account Manager/s: Lily Barber 
Designer/Typographer: King Henry 
Media agency: PHD 
Media planner/s: Alban Treglohan, Lauren Hertzenberg & Tom Rovery
Production company: Rattling Stick 
Producer: Stuart Bentham
Production Manager: Katy Smith
Director: Aircastle [Jamie Cussen & Will Beauchamp]
Cinematographer: 
D.O.P: Ekkehart Pollack
Service Company: Tuna+Icon
Executive Producer: Johnnie Frankel 
Editing Company: Assembly Rooms
Edit Producer: Daniel Breheny
Editor: Eve Ashwell 
VFX Studio: Untold Studios
ECD: David Fleet
VFX EP: Ian Berry
VFX Producer: George Reid
VFX Supervisor: Christian Barker
VFX Supervisor: Martino Madeddu
Colourist: Julien Alary
Music Supervisor: Wave
Audio Post Production: Wave
Audio Producer: Beth Tomblin
Sound Engineer: Parv 
Soundtrack name and composer: audio network

It’s standard practice these days to release your Super Bowl ad before the game even starts—pushing the PR engine for all it’s worth, and building fully integrated Super Bowl campaigns instead of just merely airing a spot. This tradition is barely a decade old, though—and it began with Deutsch LA’s “The Force” for Volkswagen in 2011. Hear our panel of experts discuss the heartwarming spot, and how the content and media strategy aligned to produce one of the game’s all-time classics.

Featuring:

• Tiffany Rolfe, Global Chief Creative Officer, R/GA
• Rob Reilly, Global Chief Creative Officer, WPP 
• Tim Nudd, Editor in Chief, The Clio Awards & Muse by Clio
• Tyler Cameron, Television Personality & Model
• Michele Tafoya , NFL Sideline Reporter 
• Daymond John, CEO, FUBU & The Shark Group

See more episodes of our series below:

Always ‘Like a Girl,’ From Online Viral Hit to Super Bowl Champion

The Sad, Somber Hilarity of Monster.com’s ‘When I Grow Up’

Chrysler and Eminem’s Epic Salute to Detroit and Its Auto Industry

The Enduring Charm of Coke’s Mean Joe Greene Ad

The Night Alexa Lost Her Voice but Spoke Louder Than Ever

Eli Manning on His NFL Ad and Those Sweet Dirty Dancing Moves

The NFL’s Epic Super Bowl Ad That Was 100 Years in the Making

When Every Ad Was a #TideAd: How P&G Hijacked the Super Bowl

Nothing but Net: Jordan and Bird’s Epic Showdown for McDonald’s

How Reebok’s Terry Tate Smashed His Way Into Super Bowl History

Cindy Crawford for Pepsi: Two Icons, One Perfect Super Bowl Ad

Budweiser’s ‘Puppy Love’ … the Cutest Super Bowl Ad Ever?

How Doritos and Mountain Dew Created a Rap Battle for the Ages

Betty White and Snickers: A Match Made in Super Bowl Heaven