Hasta La Motion!

Skittles Super Bowl advertising in 2015 focused on “Skittles Settle It”, a campaign featuring a town of arm wrestlers. A YouTube video released in the days leading up to the big game showed citizens with unusually well developed biceps on their right arms. “It will be settled”, the text played over a gonging bell. The 30 second commercial shown during the 2015 Super Bowl revealed the meaning of those arms. Settling it in the usual way means fighting over the rare lemon Skittle flavor. The 60 second extended version provides a new twist at the end.

Credits

The Skittles Settle It campaign was developed at DDB Chicago, by chief creative officer John Maxham, executive creative director Mark Gross, associate creative director/copywriter Kathleen Tax, associate creative director/art director Marisa Groenweghe, executive director of integrated production Diane Jackson, executive producer Will St Clair, production manager Scott Terry, global business director Heather Stuckey, group business director Kate Christiansen, group strategy director David Chriswick, strategy director Thomas Hehir, account director Gwen Hammes, global account supervisor Erin Leahy.

Filming was shot by director Dante Ariola via MJZ with president David Zander, senior executive producer Scott Howard, producer Natalie Hill.

Editor was Jay Nelson at Cut + Run with assistant editor Kendra Juul, executive producer Carr Schilling, head of production Amburr Farls, managing director Michelle Eskin.

Colorist was Stefan Sonnefeld at Company 3.

Post effects were produced at Method Studios by VFX supervisor Marc Weigert, VP of global production Gabby Gourrier, executive producer Stephanie Gilgar, producer Jennie Burnett, 2D supervisor Patrick Ferguson, lead Flame artist Mark Renton.

Special effects company Legendary created the bulging prosthetic arms worn on set by all of the cast. Method was brought on board to enhance the skin tone, muscle twitches and blend the fake arms seamlessly with the actors’ real hands. The most complex work took place on the baby’s arm and dog’s leg as they were both completely replaced with CGI.

Sound was designed at DDB Chicago by audio mixer Nicholas Papaleo.