Joaquín is the founder and chief creative officer of the global creative agency, the community. Working his way up from copywriter, he became executive creative director at BBDO, before opening la comunidad (known as the community in the U.S.), with his brother, José Mollá, over 20 years ago. The community has offices in Miami, Buenos Aires, San Francisco, New York, and Mexico City.

Over the course of his career, Joaquin has worked for Verizon, Volkswagen, Converse, Diageo, Netflix, Apple, Sony, Coca-Cola, Pepsi, Nike and more.

Outside of the agency world, Joaquín spent 10 years as a communications advisor to the City of Buenos Aires (2009-15) and the president of Argentina (2015-19).

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

Joaquín, tell us …

Where you grew up, and where you live now.

I grew up in Argentina and now I live between Miami and New York. 

How you first realized you were creative.

I was the fourth kid in my house. By the time I came around my siblings had already worn my parents out, so I had a lot of freedom and was able to do whatever I wanted. Without many “No’s” in my life, I had the opportunity to explore without fear. For me, that might be one of the strongest definitions of what creativity is.

A person you idolized creatively early on.

Dan Wieden and David Abbott. 

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

When I was in college, a friend committed suicide. It was the saddest thing that I had ever experienced and the first time I felt that life could end. It changed my life forever. It pushed me to do things fast before it’s my turn to leave.

A visual artist or band/musician you admire.

Thom Yorke and Robert Smith in music. Both are brilliant. I love Thom’s ability to ceaselessly explore. He always takes risks. He never stops. With Robert, I love that he has a unique perspective about life and the world and the grief that being on this planet brings … and he’s stayed with that for the duration of his career. There is a consistency in how he expresses himself that isn’t tied to any fad.

George Baselitz and Willem de Kooning in visual arts. I love their craft. Their unfiltered stroke. You can see their soul. Their color palette is mesmerizing.

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

Movie: Magnolia. Best film ever. Book: RAYUELA by Julio Cortazar. TV show: Barry.

Your favorite fictional character.

Statler and Waldorf, the two elderly men in The Muppet Show. They consistently jeered the entirety of the cast and their performances from the balcony seats. Their harsh opinions and shared penchant for heckling is brilliant.

Someone or something worth following in social media.

@gabihuici is a brilliant artist who happens to also be a brilliant ECD. All his work is done in ink on Moleskin.

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

I will never forget the work we did for Bafici, the Buenos Aires International Festival of Independent Cinema. We read the moment very well. Everyone was doing big ads, and we said: “Why don’t we start with four people in a kitchen and write an amazing script?” The next year, we did four guys in a car. The insight was so simple … independent festivals are not for everyone, and we made that a positive feeling.

I love the work we did for the Argentina Board of Tourism because it mixes a very simple script with a magnificent cinematic environment. Every time I watch the videos, they make me want to hop on a plane to Argentina.

We’ve also made some nice work for Verizon over the years. But “Verizon vs. Verizon” and “Best for a Good Reason” are my two favorites. Maybe because the category is trapped in a price battle and these campaigns showed people the real difference of Verizon in an interesting way. People like to be in the know. They want to understand why they pay more for something. Both campaigns capture the DNA of this amazing brand.

Earlier this year, we brought Netflix and General Motors together for a Super Bowl campaign. That one was really special, not only because it was two big brands at a big cultural moment, but because the campaign was just the start of a much deeper push to normalize electric vehicles via the popularity of Netflix. I like that it has a simplicity and authenticity to it. Not every show is right for an EV and we demonstrate this in the spots. Plus, we had Will Ferrell. 

Someone else’s work that inspired you years ago.

The Guinness campaign “Surfer” by Abbott Mead Vickers. This is a classic. It changed the way I look at our industry, and I still love it just as much as the first day I saw it.

Someone else’s work you admired lately. 

The Apple work from Tor Myhren. He is one of the only people who has made consistently great work over the last seven years. His work is usually human, simple and beautifully executed. It’s also real work selling real things with real benefits. He’s showing us the way back to greatness. He is the Dan Wieden or the Lee Clow or the David Abbott of today. He is far ahead of everyone else.

Your main strength as a creative person.

I know when to say “no” to avoid people destroying a great idea.

Your biggest weakness.

I am the worst creative you can find to do bad work. I just die and become a plant. Stay away from me.

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

Painting, architecture or maybe a film director.

Next, Balvin grows to gigantic proportions and handsets float down from the clouds as part of an AR game called “Catch My iPhone.” You can dig his latest single, “Dainties” (with Usher and DJ Khaled), on the soundtrack.

Here’s a behind-the-scenes clip:

Finally, though Balvin doesn’t scale the heights in the Spanish-language ad below, he does change his hair color. Good for him!

All components boast canny ties to pop culture. Bateman and Hayes’ chemistry cooks, as usual. It’s an effective quickie that doesn’t overstay its welcome or get OTT foolish.

Meanwhile, Balvin exudes considerable charm at his normal size, while Jodzilla politely refrains from chewing the scenery—literally—in the AR scenario.

Ogilvy developed the Bateman/Hayes spot. R/GA and The Community worked with Balvin on his tall tale and new do, respectively.

Will Ferrell ponders a world with more EVs as he travels through Netflix content in a Super Bowl spot from the steaming service and General Motors. 

The funnyman’s journey begins with a swarm of zombies from Army of the Dead. Not letting a bite from the undead deter him, Ferrell is next voluntarily kidnapped in an EV, Squid Game-style. He then moves on to Bridgerton for some royal treatment, where assuring us that we won’t see EVs in that locale.

We also don’t see the vehicles in Stranger Things’ ’80s-era upside down world, where Will plays an older, weathered Dustin. He gets schooled from Erica Sinclair, who chases him off with the admonishment, “You’re ruining the show, you idiot.”

Next, a runaway bride from Love Is Blind flees in a Hummer EV with Ferrell. Queer Eye’s Jonathan Van Ness and Antoni Porowski put in cameos. It all comes around full circle, with Ferrell zombified behind the wheel.

Created by the community and directed by O Positive’s David Shane, “EVs on Screen” will air during the second quarter of the Sunday’s game.

“With this campaign, we wanted to get everyone thinking ‘Why not an EV,'” says Lucas Bongioanni, executive creative director at the community. “The brief was to bring the partnership to life, two big brands with big commitments to sustainability coming together to lean into the excitement about an all-electric future. And the storyline is just a small piece of the puzzle, showing how your favorite movies and shows can help normalize EVs.” 

For those keeping track of EV options, the GMC Hummer EV, GMC Sierra EV Denali, Cadillac LYRIQ, Chevrolet Silverado EV and Chevrolet Blazer EV are featured in the ad.

Cora Pérez is creative director at The Community. Since joining The Community in 2017, her creative efforts have been focused on brands like Volkswagen, Netflix, Corona Extra, PETA, Funky Buddha and Porsche, among others.

Proudly from the north of Spain, Cora kicked off her career in 2011 at Madre Buenos Aires. After that, she continued evolving as a creative working at agencies in different countries, such as Ogilvy Buenos Aires, Del Campo Saatchi & Saatchi Madrid, and finally, The Community.

While not working, she likes to embroider, foster animals, and surf. She also has friends. 

We spent two minutes with Cora to learn more about her background, her creative inspirations, and recent work she’s admired.

Cora, tell us…

Where you grew up, and where you live now.

I grew up in a little town in Galicia, Spain, called O Carballiño—most likely impossible to pronounce if you’re an English speaker. And now I live in South Beach, Miami. After spending many years in Buenos Aires and Madrid, it’s not as big of a change as it may look.

How you first realized you were creative.

When I was 22, freshly out of advertising college, I decided to do one year at a creative school in Buenos Aires, Argentina. More to see what it was about than being sure that it was what I wanted to do for a living. Well, 11 years later I’m still here, so guess I quite liked it.

A person you idolized creatively early on.

My mom. She was a bookstore owner in our little town, and it always amazed me how everything she did was so pretty. From the showcase windows to the wrapping paper, to restoring furniture and even doing early CorelDRAW collages. She may be the best unknown art director of all time.

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

My one year studying in Italy. A 19-year-old version of me who moved for the first time to a different country, with a language she didn’t know a word of, and zero friends. It was one of the most challenging—and fun—things I’ve ever done. Who knew it would prepare me for a never-standing-still future?

A visual artist or band/musician you admire.

About visual artists: Lately I’ve been a little obsessed with Stillz. But the list is long: Yosimoto Nara, Iris Apfel, Toilet Paper Magazine, the brand Bode, Calma Floral, Nadia Lee Cohen…

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

A book El Arte, conversaciones imaginarias con mi madre by Juanjo Saez. A movie: Recently watched Everything Everywhere All at Once and … well, please go watch it.

A TV show: The Boys, and believe me I’m not a superhero fan.

Your favorite fictional character.

Hermione Granger.

Someone or something worth following on social media.

@Stillz @pablo.rochat @ianpatrickoconnor

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

The hardest thing for me was not being able to see my family in Spain. But I gotta say it also had a lot of good side effects in my life. Thanks to not being able to do my normal routine, I had to look for new types of entertainment, so I decided to learn to surf and I’m now beyond addicted.

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

PETA “The Secret Lives of Animals” has a place on my heart. I’ve always been an animal lover, but this project changed the way I see animals and food (for me, two completely different things). Doing something that may help them, some way or another, makes my heart full.

A recent project you’re proud of.

“How to Become a Bridgerton” with Tanqueray and Netflix was a fun and really challenging project to work on. And seeing the Internet blowing up after we released it and even Jimmy Fallon speaking about it on The Tonight Show, was very, very satisfying.

Someone else’s work that inspired you years ago.

Carlos Bayala. Everything that Madre was doing in the 2010-ish would make me want to keep trying to make a living out of this profession.

Someone else’s work you admired lately.

What Google is doing. Black-Owned Friday was smart and really well executed, and Real Tone was just … necessary. 

Your main strength as a creative person.

I’m a hard worker, and I believe that work works.

Your biggest weakness.

A kitten. Every year I’m a step closer to a crazy cat lady.

One thing that always makes you happy.

Surfing.

One thing that always makes you sad.

Animal cruelty.

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

I would probably have an art, books, surfboards and cat café. 

Waiting with bated breath for Lady Whistledown to spill the latest tea seems like a typical day in Regency-era London, where the corsets are tight and the pinkies are up.

Season 2 of Netflix’s Bridgerton drops on Friday (March 25). Tanqueray is partnering with the show to elevate tea time to “T-Time” while giving the internet the Joe Jonas-Bridgerton crossover event it yearned for in a 2:15 video, created by agency The Community, that’s full of octane, fancy attire, raised pinkies and dancing.

Jonas, who has worked with Tanqueray since 2021, plays a Bridgerton-in-training alongside Jonathan Bailey, aka Anthony Bridgerton, and Bridgerton superfan and comedian Phoebe Robinson.

“Through our partnership, Tanqueray and Bridgerton will show fans how they can transform their everyday by boldly embracing their inner fancy and immerse themselves in the world of the show with a delicious tea-inspired Tanqueray cocktail,” says Christina Choi, SVP of rum, tequila and gin at Diageo.

The video begins with Jonas leaning into internet lore about the distinct similarities between the Bridgerton brothers and the Jonas brothers. But he needs help. Bailey coaches him in the Bridgerton ways by video call while Robinson provides in-person advice as “The Queen.” Step one is wearing the proper attire, sipping a Tanqueray martini and color commentary from Bailey. Step two is a lesson in proper sipping techniques. Robinson has Jonas lick her spoon so she can later sell it online. The final step is dancing. Sophistication is thrown out the window and we’re here for it. Yas King!

Bailey offers his overall feedback, describing Jonas as a Bridgerton who’s “a really distant, estranged cousin.” On the flip side, there’s no way Bailey is ready to be a Jonas. Perhaps by Season 3?

“The partnership with Joe Jonas comes at the perfect time as the internet took wind of the many similarities between the Jonas and Bridgerton families,” Choi tells Muse. “Aside from being a true Bridgerton fan, Joe Jonas embodies the Tanqueray “Damn Fancy” persona and continues to display meaningful engagement with key audiences for the brand. Through Phoebe’s interpretation of the show and Jonathan’s real-life experience in the role, the two of them were the perfect match for Joe Jonas to learn ‘How to be a Bridgerton.’ “

The video is running on Tanqueray’s social channels and Clevver News, Elle and Entertainment Weekly.

Fans can win one of three Bridgerton experiences by uploading videos and pics of how they #makeitTtime. The grand prize is a stay in NYC, with period piece attire, a “T-time” happy hour and VIP access to The Queen’s Ball. Remaining prizes are a Bridgerton watch party at a fancy hotel suite and a live oil painting, as in, you and your friends cosplay Bridgerton and someone will paint you on the spot.

If that’s not enough, limited-edition Tanqueray x Bridgerton cocktail kits are available for purchase that include recipes for custom cocktails, teacups, teaspoons and white elbow-length gloves. Because you’re fancy.

CREDITS

Netflix Marketing Partnerships
Creative: Chidera Ufondu
Strategy: Aneka Myles
Partnership Lead: Kevin Simms
Creative Producer: Nick Feder

Diageo
Christina Choi, Diageo SVP – Gin, Rum, Tequila
Jamie Hakim, Diageo Brands in Culture- Gin, Rum, Tequila
Dorothy DeVenecia, Diageo Brand Director, Tanqueray
Andres Romero, Diageo Senior Brand Manager, Tanqueray
Shomari Tomlinson, Diageo Associate Brand Manager, Tanqueray
Jill Mccaffrey, Diageo Customer Planning & Activation Director- Gin, Rum, Tequila
Caitlin Dorgler, Diageo Central Media Manager
Hannah Tanau, Diageo Senior Manager of Digital Activation
Mimi Wu, Diageo Digital Media Analyst
Kelley Campbell, Director of Marketing Procurement
Amanda Cassatta, Diageo Procurement Manager – Advertising Content & Production
Lindsay Wallner, Diageo Brands in Culture Director – Branded Entertainment

The community
Chief Creative Officer, Global – Joaquin Molla
Chief Creative Officer, Global – Jose Molla
Chief Creative Officer, NY – Frank Cartagena
Group Creative Director – Lucas Bongioanni
Head of Art & Design – Marc Schwarzberg
Creative Director -Federico Diaz
Creative Director – Juarez Rodriguez
Creative Director – Cora Fernandez
Associate Creative Director – Marcelo Maciel
Associate Creative Director – Martin Stuart
Associate Creative Director – Aldo Gonzalez
Associate Creative Director – Federico Aubone
Senior Art Director – Remy Law
Senior Copywriter – Lyndsey Stormer
Director of Communications – Kara Stockton
EVP, Head of Integrated Production – Laurie Malaga
Executive Producer – Chris Parke
Senior Producer – Henna Kathiya
Associate Producer – Kevin Hermanni
President – Marci Miller
Sr. Brand Lead – Jessica Patino
Brand Supervisor – Veronica Salgueiro
Senior Brand Associate – Madison Fortna
Brand Associate – Isabelle Feanny
VP, Strategy – Anthony Mariello
Group Strategy Director – Eric Tsai
Associate Connections Director – Jacqueline Hernandez
Strategist – Alejandro Cardenas
Sr. Business Affairs Director – Natalie Greenman
Sr. Business Affairs Manager – Daphne Papadopulos
Proofreading Manager – Ursula Carpio

DIAGEO PR & SOCIAL AGENCY
Company – Hunter PR

DIAGEO TALENT AGENCY
Company – StarPower LLC

DIAGEO MEDIA AGENCY
Company – PhD Media
Global Planning Director – Joe Castillo
Planning Supervisor – Grace Havard
Associate Digital Director – Justina Santiago
Strategist – Julia Baum
Associate Director – Jake Matz
Assistant Strategist- Grace Collins
Digital Director – Johnny Chappell
Digital Investment Analyst – Paige Walken
Associate Director – Joe Ann Park
Associate Director – Jennifer O’Halloran

PRODUCTION COMPANY
Production Company – Tool
Director – Adriana Robles
DP – Chris Blauvelt
Executive Producers – Laura Macauley
Line Producer – Melissa Murphy

EDITORIAL AND FINISHING
Company – MackCut
Editors – David Koza, Gus Roman
Assistant Editor – Cassi Waciega
Flame Artist – Jim Hayhow
Post Executive Producer – Gina Pagano
2D Artist – Maebe Wood

COLOR
Color Company – Company 3
Colorist – Kath Raisch
Head of Production, Short Form – Julia Paskert
Color Producer – Katie Andrews

MUSIC – HUMAN
Composer – Alexandra Gordon, Andrew Bloch
Production – Kenzo Perron, James Dean Wells

MIX
Mix Company – Sound Lounge
Audio Mixer – Tom Jucarone
Executive Producer – Dana Villarreal

PHOTOGRAPHER / ILLUSTRATOR
Photographer – Steven Lake

We spoke to Jen further about her approach and plans for the position.

Muse: Tell us how your background in planning led to a career in coaching.

Jen Patterson: Planning is about smarts and coaching is about hearts but the mechanic is similar. Planning is all about finding that aha moment—the place where the emotion sits within the conversation between a brand and a consumer. My favorite thing as a planner was just saying to someone “Talk at me for 15 minutes” about a brand or product. Within that was always the answer for a brief. Coaching is very much the same, except my job is to set someone up to hear their own aha. I try to clear the way for people to connect with their heart and body over their mind. We are such a cerebral culture, but our thinking is clouded by “education” from the dominant paradigm about what’s possible or what’s available to us. But our hearts and bodies are still connected to something essential.

What’s your overall philosophy or approach to mindfulness in a corporate/work setting?

My main anchor is the pause. In our culture we are trained to be in constant motion forward, especially at work. We have a productivity addiction that disparages anything that feels like rest or stillness. But we can’t have spring without winter. Mindfulness is the antidote. It allows for a pause. It allows us to ask the questions of “What’s really the goal here, what’s really important?” It allows for empathy and meaning to be first, and what we’re doing to be in support of it rather than working against it.

How will you engage employees to make meaningful change?

I really see my job as a language teacher. I’m trying to give people a new language—and with that, a new framework. I like working through real examples of where people feel themselves caught, constrained, less than. I can see how people come in for their first session and walk out somewhere totally different. My job is to point out all the ways that the corner they find themselves in is a taught belief system, and to show them all the space that is actually there. I have individual sessions and a few cohorts of group coaching for working moms, a segment that is probably the hardest hit by the pandemic in terms of support. I am doing agency-wide meditation and teachings, which I see as a way of seeding interest for the 1:1 coaching. I also coach the leadership team once a week—as I told them when I took the job, “the fish rots from the head”—the value system starts with them so change has to happen at all levels, all moving towards the same place, the same practices, and the same language.

Have you seen mental health challenges increase during Covid, and has that affected the way you think about mindfulness?

I see Covid as a magnifying glass to all the ailments that were already there. Working moms were already undersupported. People were already feeling burnt out or disconnected from their work. When these things aren’t so loud, it’s easy to power through and get by. But when the pressure mounts, these calls within us become impossible to ignore. The challenge is, we’re taught that the answer is to move forward in these logical, real-world ways—get a new job, find a new babysitter. But we inevitably take our patterns—our limiting belief systems—with us. What coaching and mindfulness is about is getting to the why’s behind the feelings and to see our possibilities from a wider, more expansive lens. We aren’t taught to cast the net wide and ask for all the things from our work. We’re told over and over again that this is a place of tradeoffs and constraints. But why? Why not assert that the place many of us spend the most time can support our spirits, not just our bank accounts? If anything, the spiritual pursuit has just gotten more important at work.

Where are we as a culture in properly addressing mental health and balance at work, and how could we be better?

It’s no coincidence that these mental health issues are happening at the same time as questions of racial equity, gender equity, neurodiversity. The pace and culture that dominates corporate America is not inclusive. Fundamentally, even in some of the best companies, there is a user-product relationship at work that we all feel forced to subscribe to. That’s why we take the Saturday phone call instead of saying we’re with our kids. I think there is a paradigm shift happening. Productivity will become second to intentionality. Doing will become second to being. Right now, we fear that financial gain will suffer by raising the vibration of the workplace. But even that is a learned, zero-sum perspective. When we’re able to believe that care of all people serves us, it will be so.

Laurie Malaga has spent over 28 years in production, including the last 16 at the community, a global creative agency. As EVP, head of integrated production, Laurie oversees the entire production department as well as The Makers Lab, a fully integrated production studio.

While at the community, Laurie has worked across a wide variety of brands, including Verizon, Amazon, Constellation, Converse, Oreo, Porsche, Samsung and Volkswagen.

Before joining the community, Laurie was an executive producer and head of the music video division at Propaganda Films, working with director talent such as David Fincher, Michel Gondry and Stephane Sednaoui and artists like the Rolling Stones, U2, Beck and Björk.

Outside of work, Laurie loves to travel, see live music, watch her son wakeboard, and take Friday night bike rides with her husband John.

We spent two minutes with Laurie to learn more about her background, her creative inspirations, and recent work she’s admired.

Laurie, tell us…

Where you grew up, and where you live now.

I grew up in East Brunswick, New Jersey, currently live in Miami, and did fun stops in between in New Orleans, Los Angeles and New York.

What you wanted to be when you grew up.

A writer for Rolling Stone magazine. I’ve always been a music junkie and thought it would be great to spend my days writing about it.

How you realized you were creative.

I spent many years in L.A. running the music video division at Propaganda Films. A dream job bringing together directors like Michel Gondry and Stephane Sednaoui with bands like the Foo Fighters, Björk and the Red Hot Chili Peppers. This is where I realized my strength as a second set of eyes, editor, and creative collaborator for people that inspired me with their talent and vision.

A person you idolized creatively growing up.

My Papa Charlie. My mom’s family was from New Orleans, and we would go visit for Mardi Gras every year growing up. He was a musician and just had a zest for life, a great laugh, and always lit up a room.

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

New Orleans is in my blood, and going to Tulane introduced me to many of my lifelong passions: music, great food, art and the spirit of enjoying the moment.

A visual artist you admire.

Jose Parla, Björk and Amos Ferguson, to name just a few.

A band or musician you love.

Sade and The Meters.

Your favorite fictional character.

Nancy Drew. Curious, funny and independent.

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

I’ve found comfort in films like The Peanut Butter Falcon and TV shows like Ted Lasso lately. They both surprised me with their humanity and filled me up in a way I really needed in these troubling times.

Someone worth following on Instagram.

@greyeveryday and @clarecrespo.

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

I need way more than two minutes for this one. I will stick to professionally. It’s taught me that adaptability is the only way to survive, and our production team at the community, and our partners at the Makers Lab, truly rose to the occasion in every way imaginable.

Your favorite creative project you’ve ever worked on.

I’ve worked with so many amazing artists and legends throughout my career, but none more so than when I was doing music videos. If I had to pick two to share, they would be working with the Foo Fighters on the video for “Everlong” and Björk for “Bachelorette,” both with Michel Gondry.

To hear Michel pitch an idea to a band was just so mind-blowing. He was always the only one in the room who ever knew how it was going to turn out. And it always sounded so out there, but in an amazing way.

A recent project you’re proud of.

The Oreo Doomsday Vault was an incredibly challenging but amazing project. We had one month from start to finish and I never thought I would send a producer to quarantine in Oslo and shoot at the North Pole. It was one of those projects where the collaboration between the agency, our client, the director, the editor and the music house were all just very in sync. Those are the gems.

I’m also really proud of the documentary film Speed of Thought that I worked on in partnership with our client Verizon about the first innovators using 5G to do incredible things. Firefighters creating masks that can see through smoke, remote surgery, incredible things. We worked with an amazing documentary filmmaker, Mila Aung-Thwin. Mila, his DP and producer, shot the entire film. Working in such a nimble way, and with real people making such an impact with new technology, was very inspiring.

Someone else’s work that inspired you years ago.

Everything Ruth Bader Ginsberg’s ever said. Really missing her these days.

Someone else’s work that you admired lately.

I really admire so much of what Melina Matsoukas is doing right now. We recently worked with her on a global 360 campaign. Having seen her film Queen & Slim, and then working with her and seeing her attention to every visual detail, I went back and watched the film again and saw so much more of her style in it.

A main strength of yours as a creative person.

Putting the right team together. The best projects always come from creative collaboration.

Your biggest weakness.

Coffee and ice cream.

One thing that always makes you happy.

Watching my son Lucas wakeboarding.

One thing that always makes you sad.

Running out of cold brew in my fridge.

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

I would open a center for music and art therapy.

The decision to use animation was as much a practical one as a stylistic one.

“When we looked into Pedro Rodríguez’s life, we discovered many noteworthy moments. But they only existed in books and paper articles from that time, and there was little footage,” says Rodrigo Gonzalez, associate idea director. “In the beginning, we viewed this as an obstacle but then realized it adds to his legend even more.”

He adds: “There are fables, stories, whispers, anecdotes from bystanders who saw him; so, we started to visualize these episodes of his life and fill in the gaps with animation and cartoons. Pedro Rodríguez’s legend has been passed by word of mouth for decades, and that makes his victories even more legendary.”

The use of animation helped bring a modern take to a historical story.

“The animation helps to bring his legacy back to life in a contemporary way, making it more interesting and appealing for those who are not [life-long] racing fans,” says Gonzalez.

“We aimed to tell his story in an unexpected and contemporary way,” Ricky Vior, executive ideas director at The Community. “Pedro’s story behind the wheel of his Porsche was already memorable, so it needed to be told memorably.”
 
See the Spanish version of the spot below:

CREDITS

CLIENT
Porsche Latin America
One of A Kind “Pedro Rodriguez”
Jan Kupen, Marketing Director – PLA
Barbara Scarabello – Marketing Manager – PLA
Pablo del Río Marketing Director – PdM
Cynthia Menendez – Marketing Manager – PdM

the community
Global CCO, Founder: Jose Molla
Global CCO, Founder: Joaquin Molla
Executive Creative Director: Ricky Vior 
Associate Creative Director: Gabriel Da Silva
Associate Creative Director: Rodrigo González
Content Creator Lead: Rosario Avila
EVP, Head of Integrated Production: Laurie Malaga
Maker/s (Producers)
Debi Rubiani, Executive. Producer
Juan Manuel Sosa, Sr. Production Lead
Account Team
Julieta Rey, VP, Managing Director Latam
Sandra Giraldo, Brand Lead Regional Latam
Barbara Palacio, Brand Supervisor
Julia Isabel Hernandez, Brand Supervisor
Connections Strategy: Sebastian Ibarra
Digital Content Director: Monica Godoy
Brand Strategy Director: Alessandra Noceda 
Brand Strategy Planner: Alejandra Margain
Business Affairs
Natalie Greenman, Business Affairs Director
Priscila Hourihan, Business Manager
Production Assistant: Aldana Beade
Studio Designer: Sergio Skarek

MAKERS LAB
Sound Engineer: Paolo Urquidi
Sr. Pos Production Manager: Sharon Campos

PRODUCTION COMPANY
Production Company: Clubcamping
Creative Director: Mariano Fernández Russo
Art Director: Juan Barabani
Executive Producers: Ana Sieglitz & Juliana Millán
Line Producer: Carolina Cantero

ANIMATION COMPANY
Company: Clubcamping
Animation Director: Mariano Fernández Russo
Art Director: Juan Barabani
2D Artists: Alan Mohamed, Ana Artaza, Clara Riavec, Daniela Donato, Emmanuel Zampolo, Fernando Lamattina, Franco Pelliciaro, Gabriela Bosco, Julieta Culaciatti, Katherine Pryor, Pablo Rago, Penblade, Rafael Pires, Sofia Diaz, Victoria Farelli
Online Editor: Yago López & Luciano Robba
VFX Executive Producers: Ana Sieglitz & Juliana Millán
VFX Line Producer: Carolina Cantero

SOUND DESIGN
Sound Design Company: Aumeta
Sound Designer: Tim Harrison & Seb Bruen
Audio assistant: Pär Carlsson

PHOTOGRAPHER / ILLUSTRATOR
Photographer: Richard Monning

At 13, skateboarder Sky Brown will become the youngest British athlete ever to compete at the Olympic Games. Under normal circumstances, she’d have a large group of friends and family along to provide support, plus scores of fans rocking stadiums to cheer her on.

This year, however, owing to pandemic concerns, spectators have been barred from the Tokyo Games, and athletes’ entourages will be kept to a minimum. Even so, technology helps provide connection, comfort and cheer on a global scale.

Samsung will provide mobile phones to to all 17,000 Olympic and Paralympic competitors. In this short film from The Community, Brown makes good use of her Galaxy S21 5G, sharing the love from thousands of miles away as she prepares to face the biggest challenge of her young life:

“Sports are inherently emotional—you’re cheering, celebrating wins, grieving loses with each other and with athletes,” Marcelo Padoca, executive idea director at The Community, tells Muse. “But this year we can’t all be together. So, the spot is a story about people being brought together over great distances by Samsung, giving them the experience that’s just like being at the Games in person.”

“We wanted to show that we’ll all be together, even though we’re apart,” Padoca says.

Such notions capture the enduring spirit of the Games, casting Samsung in the best possible light.

With skateboarding making its Olympic debut, sponsors are rolling big with the sport, which appeals to a youthful and often hard to reach demographic.

CREDITS

CLIENT Samsung
PROJECT NAME “Be there” 2020 Tokyo Olympics and Paralympics

the community
Founder & CCO Jose Molla
VP, Executive Creative Director
Executive Creative Director
Roger Baran
Marcelo Padoca
Executive Creative Director Fernando Reis
Associate Creative Director Federico Diaz
Associate Creative Director Juarez Rodrigues
Art Director Manfred Kruger
Group Strategy Director Anthony Mariello
Global Strategy Lead Ed Tsue
Associate Connections Director Amilynn Soto
EVP, Global Business Lead Publicis Groupe Radim Svoboda
SVP, Global Account Director Vesna Siftar
Senior Brand Lead Adam Caron
EVP, Head of Integrated Production Laurie Malaga
SVP, Executive Producer Scott Kemper
Business Affairs Priscilla Houlihan

PRODUCTION COMPANY
Production Company Reset
Directors Us
President Dave Morrison
EP & Director of Production Megan Moore
Producer Robby Mooring

EDITORIAL
Company Cabin Edit
Editor Robert Lopuski
Executive Producer Adam Becht
Producer Mary Stasilli

VFX
Company MPC
Sr Executive Producer Camila De Biaggi
Producer Colleen Valentino
Creative Director Alvin Cruz
2D Lead Thiago Porto
3D Lead Jessie Amadio

COLOR
Color Company Company 3
Colorist Joseph Bicknell
Color Executive Producer Ashley McKim
Color Producer Julia Paskert

MUSIC
Company KOM (Kay/Oskwarek Music)
Composer Philip Kae

MIX & SOUND DESIGN
Mix Company Ballad
Audio Mixer & Sound Design Philip Nicolai Flindt
Executive Producer Gregers Maersk Moeller

Always hot to bake news hooks into its marketing campaigns, Mondelez’s iconic Oreo brand is embracing the resurgent UFO craze in a big way.

Later this month, the U.S. government is expected to release a report about extraterrestrials visiting Earth, or not visiting Earth, or something. So, Oreo launched a multi-pronged response to any impending cosmic threat, or galactic convergence—or whatever.

First, the brand asked its Twitter fans which cookie/milk combo would make the best “offering” for snack-starved ETs preparing to land.

Let’s start with the ultimate question: Which type of OREO cookies should we offer to the aliens? ? #OREOOffering

— OREO Cookie (@Oreo) June 2, 2021

? POLL No. 2 WINNER IS HERE ? We’re pretty sure all lifeforms love to dunk OREO Cookies – the ?s are going to love Whole Milk. #OREOOffering pic.twitter.com/tm8Gm9SHvX

— OREO Cookie (@Oreo) June 2, 2021

Double Stuf and whole milk won. Lucky space aliens!

Then again, maybe our visitors would prefer a soft drink…

Pentagon taking longer to release UFO info than we did to release Dr Pepper Zero Sugar

— Dr Pepper (@drpepper) June 1, 2021

Getting back on brand, Oreo also carved a three-acre-wide product logo/crop-circle in the wilds of Kansas. It’s located along “The Paranormal Highway,” a stretch of heartland famous for UFO sightings through the years:

Cute video. Which one’s Scully? You can also “Make Your Own Oreo Offering at Home” with this handy kit.

Look, if Oreos vanish from that limited-edition pack overnight, I want to believe Martians took them. Of course, it might just be raccoons. Either way, the tooth is out there!

That putrid pun could spark an interstellar incident, but never fear. If some six-eyed, tentacled, laser-toting types decide to obliterate human civilization, we can still dunk our Oreos thanks to that brand’s apocalypse vault in Norway.

CREDITS

OREO
Justin Parnell – Senior Director
Marion Saenen – Marketing Director, Equity 
Olympia Portale – Sr. Brand Manager 
Eleanor Wedge – Leadership Dev. Associate 
Beth McMorrow – Production Specialist
Christina Woolston – Regional Content Producer

the community
Joaquin Molla – Founder & Chief Idea Officer
Jose Molla – Founder & Chief Idea Officer
Frank Cartagena – Chief Idea Officer, NY
Ramiro Raposo – VP, Executive Idea Director
Marc Schwarzberg – Head of Art and Design
Raul Vassena – Head of Art
Lucas Bongioanni – Group Creative Director 
Federico Diaz – Creative Director 
Juarez Rodrigues – Creative Director 
Michael Palma – Associate Idea Director
Gabriel Da Silva – Associate Idea Director
Rodri Gonzalez – Associate Idea Director 
Lyndsey Stormer – Copywriter 
Pauline Rode – Art Director 
David Egan – Art Director
Ian Reichenthal – Writer
Nick Divers – Writer
David Shafei – Writer
Marci Miller – VP, Managing Director
Tiffany Kimicata – Sr. Brand Lead 
Veronica Salgueiro – Brand Supervisor 
Gabriela Rodriguez – Brand Associate 
Laurie Malaga – EVP, Head of Integrated Production
Gustavo Gomez – Integrated Producer 
Duane Burgess – Senior Producer
Thomas Bolger – Manager, Studio Operations
Natalie Greenman – Sr. Dir. of Business Affairs
Priscila Hourihan – Sr. Business Affairs Manager
Mariana Sokolowski – Creative Services Director
Anthony Mariello – Group Strategy Director
Katya Kotlyar – Strategy Director

MediaMonks
Pete Marquis – Director
Debora den Iseger – Head of Film, North America
John Nguyen – Executive Producer
Jason Georgen – Executive Producer
Brian Walsh – Line Producer
Laura Davis – EVP, Group Account Director
Odalis Lopez – Senior Account Manager
Andrew Bell – Executive Producer, Post
Ari Kaye – Senior Producer, Post
Omar Haq – Producer, Post
Rehman Ali – Editor
Sandra Romani – Assistant Editor & Conform
Jack Pyland – Assistant Editor & Conform
Emilio Aranguren D’arcangelo – Graphics & Compositing
Dimitri Zola @ MPC – Colorist
Micaela Garagiola & Nicolas Failla – Sound Design & Mix
The Elements Music – Music
Nani Rios – Designer
Josh Dickinson – Photographer, Sunday Afternoon
Audrie Poole – Executive Producer/Partner, Sunday Afternoon
Sebastian Feldman – Retoucher

360i
Rachel Christensen – Director, Social Marketing & Strategy
Kristin Maverick – VP, Social Marketing & Strategy
Josh Safran – VP, Account Management
Cathy Tobon – Senior Strategist, Social Marketing & Strat
Jenna D’Ambrosio – Manager, Social Marketing & Strategy
Akanksha Swami – Manager, Social Marketing & Strategy

Weber Shandwick
PR Agency: Weber Shandwick

VaynerMedia
Tzeitel Haviland – Senior Vice President, Media
Ashley Judson – Vice President, Media
Gillian Curtis – Director, Media Planning
Yesha Shah – Manager, Media Planning
Ashley Park – Associate, Media Planning
Tanya Khorti – Media Analyst
Anthony Scarola – Vice President, Media
Shivanii Manglani – Associate Director, Media Buying
Abby Nodvin – Manager, Media Buying
Kyle Wenning – Analyst, Buying
Stephanie Halphen – Vice President, Strategy
Lisa Bernstein – Director, Strategy
Justin McMillin – Associate Strategist