Hasta La Motion!

Missing People, a charity in the UK, is using the current Pokémon GO craze to raise awareness for the real high-risk missing people who desperately need to be found and made safe. Vinyl posters of missing people borrow the look and feel of Pokemon balls to target gamers in the area the at risk individual was last spotted. They ask anyone with information to call the charity’s free, 24/7 and confidential helpline 116 000. The Vinyls were placed on the floor to be most visible to Pokemon gamers looking down at their phones. Posters will also run in high visibility sights in popular Pokemon hotspots as well as transport hubs, including London Waterloo station. To determine the most relevant places in which to activate the Pokemon Go Missing People campaign, BBH London interns cross referenced locations where high risk missing people were last spotted with popular Pokémon GO hotspots. The first of these took place at an organised Pokemon GO walk in Trafalgar square – a mass quest to catch Pokémon, battle and trade with others around central London, which attracted over four thousand attendees.

Missing People is an independent charity which offers a lifeline when someone disappears. The charity searches for missing people on behalf of their friends and families left behind, and provides specialised support to ease their heartache and confusion. Any sightings or information about any of the missing people featured in these appeals can be passed anonymously to Missing People through their free, 24/7, confidential helpline 116 000 or on their website at missingpeople.org.uk/sightings. CEOP have issued an online guide for parents advising them how to keep their children safe when playing the game. The NSPCC guide for parents with tips and advice to keep their children safe whilst playing Pokemon Go is available on their website.

Pokemon Go Missing People Credits

The Pokemon Go Missing People campaign was developed at BBH Barn, London, by art director Daniel Liakh and copywriter Joshua Croston, creative directors Jack Smedley, George Hackforth-Jones, Pablo Gonzalez de la Pena, business lead Cressida Holmes-Smith, TV producer Laura Graham, print producer Tandy Tatter, typographer Christian Tunstall, social media manager Damola Timeyin, account director Kayleigh Hall working with Missing People senior campaigns manager Clare Cook.

Filming was shot by director Rick Stanton via Black Sheep Studios with producer Michelle Hagan.

Media has been donated by JCDecaux.

Donate Life America, an organ donation advocacy charity in the USA, is encouraging millennial men to become organ donors through “The World’s Biggest Asshole”, a humorous commercial starring obnoxious character Coleman F Sweeney. This low-life guy makes a point of looking out for himself and abusing others, acting in ways that ruin the lives around him. He gives small kids cigarettes, steals laundry and is mean to animals, children and people with disabilities. The short film’s twist comes with Sweeney’s death in his diner. The waitress discovers on his license that for some reason he’s signed up as an organ donor. We go on to see the positive impact this decision has on the lives on deserving people. “Even an asshole can save a life”.

The World’s Biggest Asshole campaign was launched by The Martin Agency with a wake for Coleman F Sweeney at The Broadberry, a music and special events venue in Richmond, Virginia. Duncan Robertson painted a mural on the outside wall of The Broadberry featuring The World’s Biggest Asshole in a pink dressing gown he’d stolen from the laundry.

The strategy behind the campaign is to reframe a conversation most people want to ignore in order to motivate people to sign up to become an organ donor. Donate Life has seen a drop in millennials signing the paperwork to agree to be an organ donor in recent years. According to the organization, 120,000 men, women & children are awaiting organ donation in the U.S. right now. The campaign is designed to act as a wakeup call that will reinforce how easy saving a life can be, while pointing out that almost anyone can do it — even a total jerk.

“I think everyone knew it was the right way to talk to this group. The realization was that while I might not agree with the language in this, I’m not the target and therefore I can get over it,” said Wade Alger, creative director at The Martin Agency

The Martin Agency first got involved with Donate Life through managing director, account management, Chris Mumford. Mumford developed a personal relationship with the organization after his brother passed in 2008 after suffering a massive heart attack.

“After a few months on an artificial heart, he received a heart transplant. Unfortunately, he died unexpectedly shortly after his transplant. But the prospects of a transplant gave my brother and all of us hope … and ultimately allowed us an extra six months with him. We are forever grateful for the opportunity we were given by his donor,” Mumford said.

World’s Biggest Asshole Credits

The World’s Biggest Asshole campaign was developed at The Martin Agency by chief creative officer Joe Alexander, group creative director Wade Alger, associate creative director David Vogeleer, creative director Brig White, copywriter Miranda Morgan, designer Will Godwin, senior digital producer Jill McGrath, broadcast producer Steve Humble, managing director, account management Chris Mumford, account director Audyn O’Rourke, account executives Cori Kaylor and Carter Crenshaw, production business manager Karen Taylor, group project management supervisor Danielle Cin.

Filming was shot by directors Speck/Gordon via Furlined with executive producer Diane McArter, senior executive producer David Thorne, executive producer Jay Wakefield, line producer Greg Schultz, director of photography Jeff Cutter, production designer Andrew Reznik.

Editor was Graham Turner at Cut + Run with executive producer Carr Schilling.

Post production was done at The Mill by colourist Adam Scott, executive colour producer Thatcher Peterson, lead Flame artist Robin McGloin, additional 2D artist Don Kim, VFX producer Jordan Sharon, VFX supervisor Tim Davies, production coordinator Pat DeVaney.

Sound was designed at Lime Studios by sound designer Jeff Malen and executive producer Susie Boyajan.

Music, “Fix You”, composed by Coldplay and performed by Civil Brother, was produced at Duotone Audio Group by arrangers Ross Hopman and Jordan Lieb, managing director David Leinheardt, executive creative directors Jack Livesay and Peter Nashel, executive producer Ross Hopman, and producer Giovanni Lobato.

Coleman Sweeney is played by Thomas Jane. Sarah the waitress, host of the YouTube video, is played by Lyndsy Fonseca. The voiceover is by Will Arnett.

French TV channel Canal Plus is promoting its sports offering over 15 channels with “Commentator”, a commercial featuring an over-excited broadcaster. His play-by-play commentary on a soccer match reaches a climax with his scream, “Gooooooaaaallll!”. The scream continues long after the game finishes, at home with his family, in the public toilets, in the swimming pool, on the dentist’s chair, at the supermarket, and even in while performing in a karaoke bar. The Canal Plus Commentator ad finishes with the tagline, “Sur CANAL, le sport ne s’arête jamais” (On Canal, the sports never stops). The campaign was

press ads illustrated by Cyril Dosnon and a digital component makes shifted gifs.

Canal Plus Commentator Credits

The Canal Commentator Goal commercial was developed at BETC Paris by executive creative director Stéphane Xiberras, creative directors Jean Christophe Royer and Eric Astorgue, art director Steven Poindron, copywriter Victor Chevalier, and agency producer Isabelle Menard, strategic planner Guillaume Martin, account team Guillaume Espinet, Elsa Magadoux, Marie CHAPUIS, Alexis Delwasse working with Canal Plus marketing team Guillaume Boutin, Audrey Burgere, Jordane de Villeret, Estelle Delage, Eugenie Rodrigues, and Christopher Marchand.

Filming was shot by director Tim Bullock via Insurrection with executive producer Charlotte Lepot, and director of photography Marc Gomez del moral

Post production was done at Home Digital Pictures.

Sound was produced at Schmooze.

A short video about having too many thoughts. The subject I chose, over thinking, is something most people deal with at some degree. We tend to twist thoughts around our head until they lose any connection with reality, making billions of connections every minute and soaking up information like sponges. I wanted to share what is going on inside my head by creating a world, that like my thoughts – is sometimes restless and makes no sense. Music by Tomer Mor: https://soundcloud.com/leescratchterry

Five of independent film’s most adventurous filmmakers join forces to adapt each other’s dreams for the screen. The results are, “like nothing you’ve ever seen with your eyes open.” (Rolling Stone). DOWNLOAD THE DELUXE VERSION FOR FREE: https://bundle.media/bundles/collective-unconscious, featuring the dreams each film was based on, liner notes, deleted scenes, a 41-song mixtape, a remix of the entire film meant to fall asleep to, and much more. 00:04:31 Black Soil, Green Grass (Directed by Daniel Patrick Carbone // Dreamt by Lauren Wolkstein) 00:23:22 First Day Out (Directed by Josephine Decker // Dreamt by Lily Baldwin) 00:33:45 Beemus, It’ll End in Tears (Directed by Lauren Wolkstein // Dreamt by Frances Bodomo) 00:45:36 Everybody Dies! (Directed by Frances Bodomo // Dreamt by Josephine Decker) 00:55:41 Swallowed (Directed by Lily Baldwin // Dreamt by Daniel Patrick Carbone) Animation & Credits By: Maya Edelman Official Selections: SXSW, Maryland Film Festival, BAMcinemaFest, Cleveland International Film Festival, IFP Screen Forward, Atlanta Film Festival, Ashland Independent Film Festival, Dallas International Film Festival, Nashville Film Festival, Independent Film Festival Boston, Montclair Film Festival, Galway Film Fleadh Find Out Why We Decided To Give Our Film Away for Free: www.indiewire.com/2016/08/dan-schoenbrun-gives-movie-collective-unconscious-away-free-1201712250/ “Like nothing you’ve ever seen with your eyes open” -Rolling Stone “The American indie scene has rarely looked so creative.” -Brooklyn Magazine “The most ambitious and unnerving horror films to be released so far this year.” -Slant “Envelops you in five different dream worlds, each with distinct style and bracing originality.” -Screen Slate “Among the most potent and original of recent political films.” -Richard Brody “The most complex and cohesive anthology film since Fantasia 2000.” -The Austin Chronicle “This kind of ambition and willingness to play and experiment gives me hope for the future of indie film in America.” -Screen Anarchy