TELEVISION - Part 3
Part: 1 * 2 * 
Moo Cow Milker
agency Crispin Porter + Bogusky, Miami
creative director Alex Bogusky
associate creative director Paul Keister
art directors Mark Taylor, Steve Mapp
writer Ari Merkin
agency producer Rupert Samuel
production company Morton Jankel Zander
editor Michael Heldman, Spot Welders
director Clay Williams
We open on a couple playfully making out in the dining room. They naturally move on top of the dining room table. We cut to a close up of the woman's face as she notices something in the corner of her eye. A little ceramic cow creamer lovingly staring up at her.
With reckless abandom, she pushes everything off the table, including the little cow creamer.
(The opera music grows more tragic)
The cow creamer goes crashing down to the hard wood floor,
shattering to pieces.
We cut to the couple now making out even more furiously.
We cut to a broken piece of the cow creamer's face staring up at the couple. A single drop of milk oozes from its tiny little mouth.
We cut to the outside of the house where a quirky sweedish man has just pulled up with his bicycle.
Swedish man: you feel sad for the little creamer? that is because you are crazy. Tacky items can easily be replaced with better IKEA.
agency Wieden + Kennedy, Portland
creative directorsCarlos Bayala, Hal Curtis
art director Hal Curtis
writers Mike Byrne, Kash Sree
agency producer Vic Palumbo
production company RSA
producers LeAnne Amos
director Jake Scott
editor Adam Pertofsky, Rock Paper Scissors
music Jonathan Elias, Elias Associates
sound design Jeff Elmassian, Endless Noise
(During the entire spot, the camera tracks with each individual athlete. Edits from one athlete to another occur when the athletes share similar body positions.)
We open as the camera slowly moves right to left in a suburban neighborhood. No one is in frame.
The camera finds a kid who looks over his shoulder in a startled way, and begins sprinting down the street. He turns to look at what's following him, momentarily running backwards.
At which point we cut to A.J. Mleczko wearing a hockey helmet and holding a hockey stick. She's skating backwards on the ice, pumping her legs sideways. Left. Right. Left. Right. She suddenly pivots and turns forward.
Cut to Landon Donovan executing some amazing footwork with a soccer ball on a pitch. He flicks it up, juggles it and then kicks it into the air.
Cut to an old man on a pommel horse, finishing off his routine. The camera stops rotating. He dismounts, lands.
Cut to a 45-year-old softball player standing on third base in the same position as the gymnast. He's following a ball in the air. Realizing it's a base hit he turns and starts to run for home.
Cut to a Pee Wee football player. He runs for a bit and then gets hit, causing the ball to pop out of his hands. We follow the ball along the ground.
Cut to a rugby ball as a rugby player picks it up, pulling it close to him just before getting hit. Bam.
Cut to a female kickboxer throwing a vicious roundhouse kick on a bag. We follow her as she turns around to unleash another kick, but she surprises us by throwing a rock-hard right hook.
Cut to a man viciously rolling the white plastic ball on the deck of the video game “Golden Tee.”
Cut to the video screen as the digital golf ball goes up. The ball travels over a sand trap and heads straight for a green side pond. The digital golf ball hits the digital water, making a digital splash.
Cut to a real splash, as a basketball lands in a small puddle on a wet sidewalk. Luis da Silva, Jr. grabs the ball, moves it through his legs, off the wall and over his shoulders. He's doing this walking down the street. He passes a TV shop with its windows full of TV screens. We push in and pan along them to see Vince Carter doing an amazing dunk. We follow the move from set to set before seeing the dunk completed on screens in the window on the other side of the door. We pull back to Luis and continue tracking with him around the corner.
We cut back to the corner in sunlight, a woman comes back running on her daily run and stops on the curb to check for traffic.
Cut down to her pair of Air Max Sphere.
Cut to a pair of running shoes worn by base jumper Lottie Aston. She leaps off the edge of a bridge and into the abyss. The camera falls with the base jumper. Lottie pulls the rip cord and lands her jump.
Cut to long jumper Savante' Stringfellow moving down the runway, jumping and falling back after landing in the sand pit.
Cut to a toddler jumping on a bed and falling on his rear end.
Cut to Barrett Christy getting up from the same position and heads back down an incline. She glides, picking up velocity, then turns and speeds up as she goes for a jump. We see her catch air.
Cut to a skateboarder in the same position. We follow him. As he moves along, he suddenly takes off and we follow him through his jump. He's way up, having just jumped off a roof or a high ledge.
Cut to Picabo Street in a tight tuck, hurtling down a snowy mountainside. We track with her. We see her turn.
Cut to Apolo Ohno turning sharply on a short track. He swings his arm in front of him as he races along the ice. He swings his arm back. Then forward. Then back. Then forward.
Cut to Lindsay Davenport pulling the racquet back, then ripping a backhand.
Cut to a kid's arm continuing the motion as he releases a Frisbee. We follow the Frisbee as it glides across a beautiful park. Suddenly a Jack Russell terrier leaps into frame and catches the Frisbee in its mouth.
Cut to a woman diver falling toward the surface of a pool. The camera follows the diver as she hits the surface and goes underwater. Once underwater, sound and music immediately diminish. We see frothing water and movement.
Super: Just do it.
The camera emerges from underwater, revealing that we are at the end of the swimming portion of a triathlon.
Music and sound return forcefully.
Cut to the bikes collectively taking off around us and in front of us. Camera tracks with the lead biker. We track past him for a moment and all we see is the street.
We cut to a suburban neighborhood. The camera tracks to find the kid from the start looking over his shoulder and running.
agency Bartle Bogle Hegarty, London
client Levi Strauss Europe, Middle East & Africa
creative director Stephen Butler
art director Gavin Lester
writer Antony Goldstein
artists Antoinette Sugier, Nicholas Duvauchelle
agency producer Andy Gulliman
production company Academy
producers Nick Morris, Simon Cooper
director Jonathan Glazer
editor Sam Sneade
music Jeff Wayne
arranger John Altman
recording studio Johnny Burn, Wave
cinematographer Dan Landin, DOP
special effects Framestore CFC
We open on a man in a nondescript room he's wearing Levi's Engineered Jeans. Suddenly he turns and runs at full pelt through a doorway to an adjoining room. He carries on running and approaches the wall. Instead of slowing down he continues, he makes contact with the wall and despite its apparent solidity, he runs through it almost as if it were not there, debris flying off him.
We see him running through other rooms, still as fast as he can. He runs through walls as if there were no obstacles in his path.
We cut to a corridor in a building, suddenly both a girl and our man come charging through the wall, unscathed, at opposite ends of the corridor. We follow the girl as she runs freely through some rooms, running through walls as though they were made of paper.
We cut back to them running through some rooms.
Once again the couple appear simultaneously into another corridor, motionless. They exchange looks.
We cut to them emerging out of the side of a building, once again through the wall. It is nightime. They now appear to be running along a tree.
Cut to reveal that they are actually running up a tree, totally defying the laws of gravity. As they approach the top of the tree they jump off, upwards into the night sky.
Super appears: Levi's Engineered Jeans. Freedom to Move.
agency Euro RSCG Mezzano Costantini Mignani, Milan
creative director Roberto Greco, Giovanni Porro
art directorGiovanni Porro
writer Roberto Greco
agency producers Carole Casolari, Simon Chater-Robinson
production company Bandits
producer Philippe Dupuy Mandel
director Matthijs Van Heijingen
music Original Music
recording studio Strengholt Music Publishing
We are in Madras, South India. A young Indian, cheaply but stylishly dressed in a psychedelic shirt and thong sandals, sits in front of a small house watching his car, a huge old car, the typical Indian car.
He gets into the car. He starts the engine and drives straight into a wall. Then he reverses back into it, crushing the boot too.
The young Indian then bashes the car into the wall slightly side on, once, twice, first one side then the other, as to round off the Ambassador's nose.
Then he gets out of the car and makes a big elephant sit on the Ambassador's boot.
He stands now in front the car studying it with care. He doesn't
He goes inside the house and comes back with a 20-pound hammer. He starts bashing and bashing the car, then he jump on its roof flattening it very hard.
We cut to a creased photograph of a Peugeot 206 that has been ripped out of a magazine. The young Indian, who's holding the sheet of paper in his hand, lowers it to reveal the Ambassador from the side.
It now has a profile that corresponds almost perfectly with the 206's.
But one side of the roof is still a little higher than the other. So he gives another bash with the hammer. Now the car is perfect and our hero is at last satisfied.
Super: PEUGEOT 206. IRRESISTIBLE
We cut to a street at night outside a club crowded with young people and beautiful girls. In the distance we see two headlights that look like they belong to a 206.
Indian style techno music thud closer.
Our hero is driving his ambassador-turned-206 with some friends. They pass with their elbows poking out of the windows looking very pleased with themselves.
Everyone stares as the car passes by and drives off into the distance, loosing a mudguard as it goes.
agency Wieden + Kennedy, Portland
creative director Hal Curtis, Ty Montague, Mike Byrne
art director Matt Stein
writer Jonathan Cude
agency producers Jennifer Smieja
production company Gorgeous
producer Paul Rothwell
director Frank Budgen
editors Paul Watts, The Quarry, Angus Wall, Rock Paper Scissors
music Elias Arts
recording studio POP Sound
special effects Russel Fell, Method
Open on a soccer game, we see the ball kicked to the goalie and the goalie has the ball.
MT: Its absolutely atrocious Alan, I can't believe he missed that.
AG: The reverse angle showed that was a good call for the offside
Cut to a streaker coming on the field. He runs up to the goalie and steals the ball. He kicks the ball and continues to run across the pitch. He is being chased by police and security. He escapes their grip.
MT: Oh my word, I think we've got an…
AG: Extra man on the pitch.
MT: Can't imagine he'll get too far though.
Cut to close up of the crowd cheering.
AG: Well I don't know though so far he's given the police nothing but
a good look at his backside (laugh).
Cut to the streaker as he does a cartwheel then turns around running backwards and beckoning the crowd to cheer louder.
MT: I don't know if this is a cry for help, but it's certainly got
Cut to a close up of the team on the sidelines laughing.
MT: Oh dear, that image is going to stay with me for a very long time.
Cut to the streaker as he grabs the flagpole and does a little dance.
The streaker then takes the flagpole out of the ground and runs
across the field with it. As he runs away you see him on the
jumbotron behind him.
Cut to a close up of the streaker running.
AG: Scorched onto my retina.
Cut to a close up of the crowd.
MT: I do hope he's not heading for the royal box.
Cut to the streaker running toward the stands he jumps over the gate and into the stands he jumps over the gate and into the stands and into the stadium. The policeman chasing him falls as he jumps the gate.
MT: Ooh, that's going to leave a mark.
Cut to a close up of the crowd.
MT: Back to the game.
Cut to the players on the field starting the game again.
Cut to the field with players, camera facing the stands.
AG: Furlong to Denick.
Cut to a man in the crowd pointing.
MT: We have contact.
Cut to the streaker coming back through the stands and back over the gate and onto the field.
MT: Looks like he has more souvenirs for the crowd.
Cut to the streaker standing on the field raising his arms to the crowd.
AG: I think he's go the shoes to thank.
The police start chasing him and he runs fast down the field.
MT: A minute ago they were all chanting who had all the pies.
Cut to a wide shot of the chase.
Cut to a close up of the streaker.
MT: I think there's you answer.
Super: "More Go".
Cut to a wide shot of the chase.
AG: And he's off like a bull with gas.
Super "Mike Shox".
Swoosh appears in lower right hand corner.
agency Leo Burnett Company, Chicago
client United Nations Foundation/Aids Awareness and The Ad Council
Deputy Chief Creative Officer Mark Tutssel
creative directors Per Jacobson, John Condon
art director Per Jacobson
writer John Condon
agency producer Mike Antonucci
production company @Radical.Media
producer Robert Fernandez
director Ralf Schmerberg
music Bobby McFerrin "Common Threads"
Open on looming office building
Child is walking down the center of an empty highway
Mangey dogs run through the empty streets dirty
Little girl wanders in dirty blanket
Children are seen sleeping alone on the floor of an empty building
Children sending buckets over a bridge to get water from the river to wash
A young boy cuts another's hair
Children fingerpaint on the wall of a bedroom
2 children jump on an un-made bed
Little girl does another's hair
An unattended baby sobs in his playpen
Children rummage through a pile of junk in front of a ransacked store
A little girl attempts to pull a large stuffed animal up a flight of stairs
Children cooking cans of food over a fire outside- eating with fingers
Boys and girls washing their clothes clumsily in an outdoor fountain
2 children cry in front of a broken store window
Little girls pushes baby through the street, then waves as she leaves it alone
AVO: aids has created over 14 million orphans worldwide. That's the equivalent of every child under five, in America, with no one to watch
Little boy pulls skateboard through the street
Title: Aids is preventable
Title: Apathy is lethal
Logos: Ad council and Un foundation
AVO: Please, won't you help?
Part: 1 * 2 *