It’s hard to believe this is from 1985. Super cool and ground-breaking work. I’m sure this is what Michel Gondry and so many others must have been watching. But then again, probably not, since he was in another country. Anyway, this is great stuff even for today’s standards.
Rattling Stick’s Pete Riski directs campaign for Oululainen through Directors Guild Helsinki and Miltton Creative.
EDITOR: Mikko Savinainen @ Grade One
POST PRODUCTION / VFX
COLOURIST: Henri Pulla @ Pullapost
ONLINE ARTIST: Mikko Löppönen @ James Post
PRODUCTION COMPANY
PRODUCTION COMPANY: Directors Guild Helsinki
PRODUCER: Juha-Matti Nieminen
DIRECTOR: Pete Riski
DOP: Jean-Noël Mustonen
SOUND
SOUND ENGINEER: Timo Anttila @ Humina
CLIENT
ADVERTISER: Fazer Bakery
CREATIVE AGENCY
CREATIVE AGENCY: Miltton Creative
CREATIVE DIRECTOR: Erkko Mannila
COPYWRITER: Maria Hakala
PRODUCER: Elena Virolainen
CLIENT DIRECTOR: Minna Berg
From: Little Black Book
Back in the day, I would wait with the VCR remote control in hand,waiting for this to pop up and press REC. So I could watch it again and again and again and again. Until the tape would break!
This is probably the best music video I’ve ever seen. 2019 and the ’10s are coming to a close as I write this, but this still is THE best.
Félicitations Michel!
This is brilliant! Makes me want to make an adfilm right now!
Click here for the SHOTS interview with director/producer duo Ben and Adam Callner.
Also featured on Short Of The Week.
WRITER/DIRECTOR: Ben Callner
PRODUCER: Adam Callner
DP: Doug Chamberlain
PRODUCTION DESIGNER: Christian Stone
EDITORS: Ben Callner, Joe Kell, Alex Pirrone, Ben Suenaga
CAST: Ted Cannon, Jocelin Donahue, Judy Kain, Dar Dixon, Jarrod Crawford, Tim Karasawa, Josh Covitt, Erick Chavarria, Bill O’Neill, Sam Carson, Niko Posey, David Aaron, Paul Vinson, Michele Lainevool, Adam Nemet, Harrison Polo
REMIX the film via individual spots at the official website!
http://www.callner.com/
“It’s a rather ingenious approach, and while the hit-rate isn’t perfect, creativity abounds—it’s astonishing how good some of the spots are, as well as how familiar—its clear how many of the tactics and techniques of the medium Callner has absorbed and re-appropriated. Yet within the jokes there is a tension. Advertising is designed to provoke feelings, and to be relatable to lived experience, but when grafted onto a life’s story arc, complete with joy and tragedy, the result is unnerving. How the film experiments with context in the way the scenes are shot and arranged within the story arc, and the juxtapositions therein, is compelling and slightly subversive.” S/W Curator, Chelsea Lupkin