Four years ago, Ireland suffered a stinging defeat at the Rugby World Cup. In 2023, the squad’s a favorite to prevail at the competition, which starts today in France.

But if you love the team … don’t talk about it, not a whisper, not a peep, zip it!

Ronan Keating’s laid-back “When You Say Nothing at All” works well on the soundtrack. And Biscuit Filmworks director James Rouse adopts a comic-documentary style well-suited to the subject. Note the cute reveal that lunfurls at the end.

“Heading into another enormous tournament with their team ranked #1 and previous years heartbreaks fresh in their minds, this insight has never been truer for Ireland fans,” say AMV BBDO creative Will Brookwell and Louis Prenaud. “So, our campaign aims to get ahead of the loose lips and remind everyone to support safely, and to never say that one forbidden thing.”

Oddly, they don’t wager any quatloos via Paddy Power. (It’s a Classic Trek reference! Aways bet on the newcomers!)

“Reviewing the market today, it’s clear that the surreal and humorous quadrant was a wide-open space for us,” explains Vodafone brand and marketing manager Maria Koutsoudakis. “We also know how important social media access is to this generation, and wanted to celebrate the positive, entertaining, educational and career aspects that it provides.”

How would it feel to spend eternity on social media? The spot promises, “The Fun Never Ends.” No way! Twitch will have an outage eventually.

As for campaign development, “We thought, who needs unlimited data more than two immortal characters—aka, a pair of formaldehyde brains in jars, keeping each other entertained for all of eternity with endless social content,” Mike Kennedy and Sophie Beard, the creative team behind the work, tell Muse. “As a visual, it’s quite arresting on its own. Pair that with two distinctive voices and a Gen Z sense of humor. and we hope we’re onto a memorable combo.”

As it turns out, CGI wasn’t required.

“We opted for the more tactile approach of building our brains out of silicone,” say Kennedy and Beard. “For two lead actors with no ears or eyes, they took direction particularly well.”

Director Low previously filmed weird, jiggly stuff once before, during the 2022 holidays, to hype Ocean Spray cranberry sauce. Dude also delivered great offbeat vibes for Barclaycard and Rustlers.

CREDITS

Client: Vodafone
Brand: VOXI
Campaign title: Immortals
Client name: Maria Koutsoudakis, Jo Wedlock and Sara Belardi
Creative Agency: AMV BBDO
CCO: Nicholas Hulley and Nadja Lossgott
Creative Director: Dalatando Almeida and Michael Hughes
Creative Team: Mike Kennedy and Sophie Beard
Strategy Team: David Edwards and Summer Taylor
Account Management Team: Anna Covell, Pink Kitsawat and Sasha Barrett
Project Management Team: Sam Eggleton and Alice Balland
Agency Production Team: Trish Russell, Bertie Murch, Rhiannon Nicol and Joe Sloane
Design Team: Chris Chapman, Javier Auguste, Dan Mead and Dian Sofia
Media Agency: Carat
Production Company: Biscuit Filmworks
Director: Jeff Low
Production Co. Producer: Adam Oyejobi
Post-production Company: Untold Studios
Sound Studio: Wave Studios

They’ll be OK. Probably. (Actually, they’re actors. The cat’s real, though.)

Launching this week to introduce Sheba Perfect Portions Wet Kitten Food, the work acknowledges that 1 in 4 cat owners are allergic—but love their pets so much they’d never dream of giving them up.

Creatively, it’s a concise approach that somewhat subverts category tropes and benefits from simplicity. A sappy song (that’s an original from Finger Music) and tabby time herald a stuffy-nose, puffy-cheek reveal. What else could you ask for? A sneezing fit or dead faint would’ve been a step too far.

Videos will run across digital and social, plus 100 OOH screens near pharmacies in NYC.

When agency creative directors Polina Zabrodskaya and Andre Sallowicz first considered the idea, “Our immediate reaction was, ‘This is brilliant! There’s no way we can make it.’ And that, in our experience, is a sure sign of something special,” they tell Muse.

“We extensively researched what real cat allergies look like and made sure we portrayed the horrible (and hilarious) reality as accurately as we could,” they say. “All the characters in our campaign are based on photos of real people with cat allergies.”

Requisite cute ending: “One of the kittens was even adopted by a member of our team who is also allergic. Our conclusion? Humans are weird, and cats are our masters.”

Click the images to enlarge:

CREDITS

Client: Mars Pet Nutrition
Brand: Sheba
Campaign title: You’ll Do Anything For a Kitten
Client name: Fernando Silva, Liz Franks, Bernardo Simoes and Corinne Cordell
Creative Agency: AMV BBDO
CCOs: Nicholas Hulley and Nadja Lossgott
Creative Directors: Polina Zabrodskaya and Andre Sallowicz
Creative Team: Rachel Tweedy and Jamie Chang
Agency Planning Team: Phoebe Fielding, Kerrie Boyes and Lola Neves
Agency Account Team: Alice Lindsay, Richard Mitchell, Poppy Wilson and Laura Balfour
Agency Producer: Lindsay Hughes and Kieran Sadler
Art Producer: Sophie Alliott
Agency Designer: Marion Rossignol and Mario Kerkstra
Media Agency: EssenceMediacom
Production Company: Biscuit Filmworks
Director: Angelo Cerisara
Production Co. Producer: Tom Ford
Editor: Amzek Vladislav 
Post-production Company: No. 8
Post-production producer: Glen Percival 
Grade: Tim Smith
Audio Post-production: No. 8
Sound designer: George Castle
Photographer: Sam Gregg
Producer: Sylvie Champenois @ Picture Club
PR Agency: Weber Shandwick USD

Incontinence brand TENA shares the joy, pain and transcending love of family caregivers in an initiative breaking today across Europe and Canada.

Developed with AMV BBDO and tagged “No Love Like It,” the campaign’s centerpiece film, directed by Oscar nominee Darius Marder, strikes a muted, extremely moving tone.

Real people caring for children, parents and spouses tell their stories. The style’s straightforward and unadorned, brutally honesty and emotionally fraught. These carers struggle mightily against uncompromising odds, their realities hijacked by forces beyond their control.

“For me to get an eight-hour sleep would be heaven,” says Andrew. “But I’ve still got a 21-year-old [daughter] who wants a cuddle every night. It’s very special.”

“I do feel lonely sometimes,” says Simone, who watches over her husband. He was diagnosed with M.S. shortly after their marriage. “You’ve got to keep riding the waves no matter what gets thrown at you.”

And yet, they perceiver and even thrive—providing better lives for other human beings despite heart-rending circumstances. 

Andrew sums it up: “Phoebe’s got potential like any other. We want her to fulfill her life the best she can.”

Unpaid caregivers account for 10 percent of the U.K.’s population. Across the world, they’ve struggled for decades in desperation and anonymity. Lately, however, brands and organizations such as TENA, Teva and the Alzheimers Society have begun driving awareness and understanding of their indispensable contributions.

In many cases, these folks—usually with no medical training—take responsibility for keeping others fed, clothed, bathed, housed and nurtured. Put another way: for keeping someone else alive. They do so selflessly, often enduring terrific stress and financial hardship. Perhaps only laying down one’s life constitutes a greater sacrifice.

“We wanted to support them beyond just our products,” says TENA global brand communications manager Paul Dennis. “With our #NoLoveLikeIt campaign, our ambition is to recognize their varying experiences and contributions and help to shine a light on something that will be a reality for many of us at some point.”

CREDITS

Client: Essity
Brand: TENA (Global)
Campaign title: #NoLoveLikeIt
Client name: Oscar Ayala, Paul Dennis and Emma Ottosson
Creative Agency: AMV BBDO
CCO: Nicholas Hulley and Nadja Lossgott
Creative Director: Jim Hilson
Creative Team: Ben Smith and Dan Kennard  
Agency Planning Team: Tom White and Jack Swain
Agency Account Team:  Anna Covell, Harry Bugge and Phoebe Selby
Agency Producer: Yvonne Chalkley
Media Agency: Zenith
Production Company: Caviar TV       
Director: Darius Marder
Production Co. Producer:  Campbell Beaton/Nisha Mullea   
Edit: The Assembly Rooms/Eve Ashwell
Post-production Company: Glassworks
Sound studio: 750 Sound
Audio Post-production: Twenty Below Music     
PR agency: Ketchum

Through the Dove Galaxy chocolate brand, Mars Wrigley has made a commitment to help 1 million people—specifically women, their families and communities—”thrive” by 2030.

The work, fetchingly tagged “Your Pleasure Has Promise,” from AMV BBDO, includes partnerships with NGOs such as CARE International.

This promo was directed by Kenyan filmmaker Amirah Tajdin, known for championing women of color:

The initiative earmarks some profits from the sales of Galaxy chocolate to fund programs like the Women for Change Village Savings & Loans Associations (VSLA). Set up by Mars and CARE, these help empower women in cocoa-growing communities. 

The use of chocolate as the vehicle for funding such change is poetic. Chocolate’s discovery and export was instrumental in fueling the first major transatlantic slave trade. That’s grim history, and something Mars is especially sensitive to.

But it’s a shame that the campaign fails to provide clear details of how it incorporates its goals into larger systems, beyond the promise of a few financial infusions. How are Galaxy’s 1 million “helped” people being counted? (Notably, they’re not helping 1 million female entrepreneurs; they’re helping 1 million people, which includes women, their families and communities. That means helping one local woman might count, to Dove Galaxy, as helping 5,000 people, depending on a community’s size.)

What percentage of profits is used to fund these programs? And are communities given long-term stability and resources to ensure they can “thrive” on their own, once such assistance ends? 

A system that exclusively prioritizes growth is by nature extractive. In the midst of climate crisis, brands and governments are vowing to improve carbon emissions, reduce footprints or meet other goals by a certain date, usually more than 5 years into the future.

We’ve seen how such vague targets can quickly become forgotten or deprioritized, because they aren’t accompanied by meaningful structural shifts. The ultimate changes usually revolve around donations, structuring non-profit arms or buying carbon credits. None of these models are sustainable.

But this isn’t Dove’s fault specifically. It’s a challenge every business, government and citizen appears to be grappling with, and without cohesion.

“At Dove Galaxy, we’re committed to creating a world where our chocolate does as good as it tastes,” says Tiana Conley, who leads global portfolio strategy at Mars Wrigley. “It’s what our consumers expect of us, and what we demand of ourselves. Which is why I’m so proud of our ambitious new pledge to help one million people thrive by 2030. A commitment, driven by our belief at Mars that brands should be a force for good, which we hope will create a lasting legacy.”

The campaign breaks in Britain and China before meeting broader audiences.

OMG, they could drink you!

The song is Jim Steinman’s “Holding Out for a Hero,” made famous by Bonnie Tyler almost 40 years ago. Steinman’s bombastic tracks make any ad better, regardless of what’s being hyped. But this particular tune fits especially well, with the theme-line “Holding Out for a Zero” closing the ad.

Thankfully, they didn’t change the words and record a new version of the song. That would’ve been silly. Well, sillier than what’s actually on screen, anyway.

“This has been a dream brief to work on, to find an approach to the moderation message in a way only Guinness could,” says agency managing partner Nick Andrew.

The Diageo-owned brewer will make 50,000 free pints of Guinness 0.0 available across Ireland over the holiday weekend as part of what brand director Alan McAleenan calls, “our largest ever responsible drinking campaign.”

CREDITS

Client: Diageo
Brand: Guinness
Client execs: Alan McAleenan, Anna Sablovscaia and Anne Zahan

Creative Agency: AMV BBDO
CCO: Nicholas Hulley and Nadja Lossgott
Creative Director: Nicholas Hulley, Nadja Lossgott and Andre Sallowicz
Creative Team: Scott Kelly, Alexandra Sandford-Smith, Colin Jones, Phil Martin, Nellie Santee and Sergio Takahata
Agency Planning Team: Joe Smith
Agency Account Team: Nick Andrew, Elana Murphy and Harry Frohlich
Agency Producer: Nick Godden, Kieran O’Malley and Sophie Alliot

Media Agency: PHD

Production Company: Red Studios
Director: Scott Kelly
Production Co. Producer: Nick Godden, Stan Stanworth
Edit: Sam Allen
Post-production Company: Daydreamervfx
Sound studio: sounds good
Photography Production Company: Yoke Production c/o Patrick Daly 
Photographer: Greg White c/o Picture Club
Post-Production: One White Chair c/o Karl Hugill
PR agency: WHPR

A native of the Netherlands, Mario Kerkstra moved to London in 2004 to study graphics at Central Saint Martins and fell in love with “the big idea thinking of advertising combined with the craft of design.” Mario has been at AMV BBDO since 2012, earning recognition and awards across a range of clients. From Trash Isles, which is now part of the Design Museum’s permanent collection, to Addresspollution.org and Wombstories, his passion for ideas that positively impact the world have led him to collaborate on some of the most innovative campaigns in recent  memory.

We spent two minutes with Mario to learn more about his background, his creative inspirations, and recent work he’s admired.

Mario, tell us…

Where you grew up, and where you live now.

I’m originally from a small city in Holland called Alkmaar, but I’ve lived in London for the past 17 years.

How you first realized you were creative.

Through drawing. I used to draw a lot as a kid and was particularly interested in animation art from a young age. It fascinated me for some reason. My mom would buy me books about it which I would read and trace. One book in particular, about the animation art of Batman, was my favorite. 

A person you idolized creatively early on.

Wim Crouwel. I got introduced to his work while going to a design school in Amsterdam. He is seen as the godfather of Dutch graphic design. It was after having seen his work that something clicked in my mind, and I realized that I wanted to be a designer.

A moment from high school or college that changed your life.

After I finished design school in Amsterdam, I said to my mom that I wanted to go abroad to work. She went, “why don’t you have a look at London? Maybe you can go and study there instead. Go to art college.” Seen as I’d never gone to art college. 

The reason she suggested London was because my mom was in London on the day of Lady Diana’s funeral. Everything was closed that day so she was strolling through the city and happened to walk past the old St Martins building which said “Central Saint Martins College of Art & Design” on the outside next to the entrance. 

For reasons still unclear to me to this day she wrote down that name in a notebook completely unaware of its reputation as an art college. Now mind you, I would’ve been around 14 or 15 years old then. I was still in secondary school. So, who knows why she wrote it down. Must’ve been a mother’s intuition or something.

Then around six or seven years later when I said I wanted to go abroad she pulled out this notebook and went “why don’t you try this place?” So, if it wasn’t for that note my mom made all those years earlier, who knows? I might’ve never moved to London.

A visual artist or band/musician you admire.

Walt Disney. 

A book, movie, TV show or podcast you recently found inspiring.

I just finished reading Talent Is Overrated by Geoff Colvin. It talks about talent alone not being worth much if you don’t put in the hours to develop your particular skill set through deliberate practice. 

Your favorite fictional character.

I finally got around to watching Mad Men recently. I wouldn’t say Don Draper is my all-time favorite fictional character but I found the complexities of him as a human being combined with the settings of New York’s 1960s adland mesmerizing. Plus, I’m a sucker for ’60s set design.

Someone or something worth following on social media.

Christoph Niemann.

How Covid-19 changed your life, personally or professionally.

I think it actually cleared my mind both personally and professionally.

One of your favorite creative projects you’ve ever worked on.

Trash Isles. I worked on this project around five years ago and it was the first project I ever did that got awarded internationally. Among other awards, it won two Cannes Lions Grand Prix in 2018 one of which was the Design Grand Prix for identity design. I think what made that particular award very rewarding was that it felt like the culmination of a lot things I’d been working towards for a number of years. 

A recent project you’re proud of.

Hope Reef. This was a project about coral reef restoration where AMV and Sheba planted a living coral reef in 2019, which grew to a fully thriving reef, on a site near Indonesia that was once barren. When viewed from the air the reef spelled out the word hope. A bespoke digital font that grows coral was created and formed the basis of the campaign identity for the project. This project genuinely did something good in the world and is continuing to do so which is what I’m most proud of.

Someone else’s work that inspired you years ago.

Paul Rand. From his advertising work to his visual identities to his children’s books and everything in-between. He really opened my eyes. 

Someone else’s work you admired lately.

I’m a big fan of all the work that’s been done at the New York Times Magazine in recent years. 

Your main strength as a creative person.

A combination of patience and impatience.

Your biggest weakness.

I always think something can be improved.

One thing that always makes you happy.

Projects that make a positive impact no matter how big or small.

One thing that always makes you sad.

Small mindedness.

What you’d be doing if you weren’t in advertising and design.

Have my own flower shop. Not sure if that’s what I’d actually be doing but I’d like to think I would’ve made it happen somehow.

There’s hope in the end, however, as a hand enters the frame to help Rice get off the ground. “You don’t have to be alone to feel alone,” the ad says. “Let’s tackle it together.”

Prettybird director Robert Wilkins delivers a succinct, powerful metaphor for loneliness, and the spot, which dropped in the U.K. last week, ranks as a worthy follow-up to last year’s CALM effort with boxer Tyson Fury. If anything, the new film feels even more affecting. Soccer is a team game, after all, so Rice’s intense isolation mirrors emotional disconnection and reminds us that no one can solve life’s problems on their own.

The Fury PSA helped boost the public’s awareness of CALM by 50 percent in the past year, the group says. Now, with 125 suicides per week in Britain, many of those driven by loneliness, the organization is encouraging more people to seek support. (In June, CALM specifically addressed suicide through an installation and ads showing the last photos of people who took their own lives.)

“Elite sportsmen and women can play an important role in changing perceptions about mental health,” AMV BBDO strategy partner Joe Smith tell Muse. “By opening up about their own struggles, or encouraging others to get support, they can reduce the stigma around issues like loneliness or depression.”

Though the campaign kicked off with boxing, “we had this football idea from the beginning,” Smith says. “The ‘Invisible Opponent’ concept was always designed to work across different sports over time. Football gave us the opportunity to talk about loneliness specifically. Seeing one man alone on a football field, with 21 teammates and rivals removed, illustrates the insight that you can feel lonely even when surrounded by people.”

The crew mixed new and existing footage to impressive effect, with much of the action gleaned from 2021’s UEFA Euro tournament.

“We managed to get access to multiple cameras from the games which gave us unseen footage, and then frame by frame went about removing everyone in post-production,” explains Seven Stones managing director Dan Russell. “To tell our story and go one bigger and better than our Tyson film, we also shot with Declan at a local stadium to make it feel more documented and epic—not your average game highlights. This required a computer-generated crowd, and there was also a challenging drone running shot that we superimposed over the same angle of footage we had of a full house at Wembley.”

Though Rice isn’t struggling with mental health issues, “he is passionate about the topic and is a role model for millions of people around the country,” Smith says. “With all eyes on the World Cup in Qatar, the England star is a relevant and credible ambassador for those struggling at this time of the year.”

“Everyone suffers at different times in their life, and there’s so many people out there who feel like there isn’t a light at the end of the tunnel—but all it takes is a conversation,” says Rice. “It’s about having that support network and having people you can speak to. Because no matter who you are or what you’re going through, it should be easy to speak to the people you love. Just one conversation can make a positive difference.”

CREDITS

Client/Brand: Campaign Against Living Miserably (CALM)
Campaign title: The Invisible Opponent 2
Client name: Matt Jennings (CMO), Simon Gunning (CEO)
Ambassador Lead / Photographer: Harvey Aspell
PR Lead: Shervin Behzadi
Creative Agencies: AMV BBDO and Seven Stones
Creative Director: Zac Ellis
Writer: Zac Ellis
Strategy Team: Joe Smith
Agency Account Team: Dan Russell and Katie Gorrod
Media Planning: the7stars, Chris Gilfoy, Ben Edwards, Zachary Al-Moajil Cole
Production Company: Prettybird
Director: Robert Wilkins
Co-Founder / Exec Producer: Juliette Larthe
Head of Production: Fiona Bamford-Phillips
Executive Producer: Ted Thornton
Production Manager: Lottie Lindsay-Bevan
Production Assistant: Enrique Da Silva
Production Intern: Aljoe Joby
Hero Talent Casting: Entourage Sport & Entertainment
Entourage Head of Production: Sophie Cowan
Head of Talent casting: Rob Hughes
Sports Choreography: Andy Ansah
1st AD: Samuel Powell
DOP: Tat Radcliffe
1st AC: Lucie Seymour
2nd AC: Joshua Dadson
Camera Trainee: Ted Kelly
Video Playback: Alex Bates
DIT: Matt Cole
Gaffer: Mark Evans
Drone Pilot: Magnus Honeybourne, Surface 2 Air Media
Sound Recordist: Matt Bacon
Hair and Make-up Artist: Leila Karalic
BTS: Entourage Sport & Entertainment
Edit: Trim Editing
Editor: Paul Hardcastle
Assistant Editor: Helena Teixeira
Assistant Editor: Joey Henshaw
Executive Producer: Noreen Khan
Lead VFX: ETC
ETC Head of Production: Matt Williams
ETC Producer: Alex Carswell
Colourist: Jason Wallis
VFX support: The Hot Spring
Producer: Gemma Humphries
Production Manager: Mayumi Borah
Senior Producer: Anshul Gattani
Assistant Producer – Saurabh Thakur
Creative Lead – Pushkar Rawat
VFX Supervisor – Asha Parakhal
VFX Artists – Soumik Ghosh, Palash Ghosh, Sreejith
Tracking Artists – Varsha Jain, Harit Chavda
Sound Studio: Factory Studios
Sound Design & Mix: Mark Hills
Creative Director Audio: Anthony Moore
Executive Audio Producer: Deborah Whitfield
Audio Producer: Ethan Day
Music Composer: Adem Ilhan
Hero talent: Declan Rice
Supporting talent: Henry Lkeije, Aaron Clarke
Thanks to: The Hive London, Jon Crownshaw, Sports On Screen, Darren Eastwood

“Football is not just about what we see, but what we feel,” says Abidemi, an African soccer fanatic who shares an intense love for the game with his brother, Miracle, in a fresh Guinness spot from AMV BBDO. The 30-second spot, airing across Africa in the run-up to the 2022 FIFA World Cup, celebrates the joy of fandom and the transcendent quality of sports.

We meet the brothers—portrayed by actors who aren’t actual siblings—in a local viewing center, where folks congregate night after night, like fervent parishioners, to worship at the altar of Messi, Pogba and other gods of the game. It’s a simple story imbued with considerable power, and a twist near the end that puts the noisy, joyous experience in perspective:

When we learn Miracle is blind—indeed, the actor has been sight-impaired since birth—the tale gains deeper meaning. He’s an avid “spectator” of these games, even though he can’t see. Moreover, everyone here is equal in their exuberance, brothers and sisters in a family of fans, their senses transported to a realm of pure excitement and delight.

Eschewing flashy visuals and CGI distractions, director Paul Ward creates an intimate, instantly relatable meditation on the human condition. “Brothers” casts football, sports and Guinness in the best possible light, as the Diageo brand, though not an official World Cup sponsor, seeks to bask in the tournament’s glow (diminished somewhat amid criticism of host nation Qatar’s record on human rights).

The heartfelt outing, part of Guinness’s broader “Black Shines Brightest” platform, provides a refreshing take on the fan phenomenon. It shares themes with recent ads from the NBA, TNT, the Brooklyn Nets and Detroit City F.C., but makes its point in an entirely different though no less compelling way.

Sightlessness has also played into a pair of other notable sports-minded campaigns. It drives this powerhouse film for Swiss sneaker brand Oh about the world’s fastest blind sprinter and informs a riveting mini doc chronicling an ad exec’s quest to run the Paris marathon while blindfolded. Both campaigns pack immense punch because of their focus on friendship, shared struggles and sweet triumphs. Such notions play into “Brothers” as well, elevating the brand message.

Below, Nicholas Hulley and Nadja Lossgott, CCOs at AMV BBDO London, discuss the campaign’s development.

Muse: Can you talk about the genesis of the idea?

Nicholas Hulley and Nadja Lossgott: The game of football is usually seen through a purely visual interpretation, but this story was written with a twist through comradery and communion, to make us experience it in a different way. It led to writing about two brothers that make the game brighter for everyone. Of course, the reveal is you don’t know Miracle is blind until the end. He brings the charisma, energy and flair to a game that makes the experience and the world even brighter.

Who’s the target audience, and what’s their big takeaway about the brand?

The core audience for this campaign is passionate football fans in Nigeria, Kenya, Uganda, Tanzania, Cameroon and Ghana. Football is a major part of their social lives, from watching the games—at home or in bars and viewing centers—to following the sports news, social media conversations and discussing football throughout the week with friends. It’s a key source of entertainment and escapism. Guinness is a huge brand across the continent, popular with men and women of all ages, and has a strong association with football thanks to long-term sponsorship of the key broadcaster’s Premier League coverage.

Talk a bit about filming the spot.

It was filmed across two days: one day in our viewing center set (in Johannesburg), one in a car park which we morphed into a 5-a-side pitch where local footballers and fans were drawn in by Miracle’s commentary. This was done to show that his love for the game extends way beyond the really big “important” matches.

He gives a great performance.

Working with Miracle was fantastic. He embodied the character fully, bringing his own visually impaired experience to the performance. His charisma and spirit on set was so infectious that the energy on the shoot was electric. Football chants broke out spontaneously, with Miracle leading the way.

CREDITS

Client: Diageo
Brand: GUINNESS
Campaign title: “Brothers”
Client name: Olawale Adetula

Creative Agency: AMV BBDO
CCO: Nadja Lossgott and Nicholas Hulley 
Creative Director: Nadja Lossgott and Nicholas Hulley          
Creative Team: Ben Smith and Dan Kennard
Agency Planning Team: Joe Smith
Agency Account Team: Ella Dolding and Elana Murphy
Agency Producer: Leo Rowbotham 

Media Agency: PHD and OMD South Africa

Production Company: Giant 
Director: Paul Ward
Production Co. Producer: Emma Lundy
Edit: Strangelove, Xander van der Westhuizen, and Emily Bussac
Post-production Company: UNIT 
Colour Grading: Alex Greory @ No8
Sound studio: Sam Ashwell @ 750mph
Audio Post-production: 750mph
Business Affairs: Maxine Thompson