"Acrobats" was part of the global launch of a new moisturizer from Unilever that penetrates all three layers of skin. The commercial, as well as digital videos, were shot at the biggest sound studio in the world in Sydney, Australia and was seen around the world and featured in Lurzers Int'l Archive Magazine.
This global integrated campaign was shot around the world to launch Cadillac’s exciting new car, the ATS.
I had the incredible good fortune to work with an amazing client - and an incredibly talented and dedicated team to create over a dozen commercials, 30 digital films a microsite, experiential, digital, and interactive print.
The campaign was featured in CA, Forbes, Cool Hunting, The FWA, WEBBYS, One Show, Entertainment, and won two EFFIES, including Gold for best Automotive Advertising. It also made Cadillac the fastest growing brand in America, as well as the fastest growing luxury brand the same year.
This is just a small sample of the campaign that spanned across every medium.
Soon after I was assigned to be Group Creative Director on The Saint Paul Insurance Company it merged with The Travelers. And shortly after that, the brand brought back the iconic "red umbrella" that had been on haitus at Citi.
This work was awarded just about everywhere - from the The Kellys, The Webbys, The FWA, and The One Show. It also appeared in Communication Arts, and Creativity and won a Cannes Lion.
This public service campaign for The Harvard School of Public Health was created to raise awareness for the incredible impact that even a couple hours a week of mentoring can have on a troubled kid.
The campaign ran nationally recruiting mentors across the country and created such media attention, that I was invited to The White House by Hillary Clinton where the work was on display in The East Room for the press. In addition to The White House, the campaign also appeared in D&AD. Nadav Kander, photographer.
Credits include Art Director, Writer and Creative Director .
One of the best things about living in Minnesota for five years was having the Bahamas Ministry of Tourism as a client. Besides having a great client that demanded great work, we also helped them attract 5 million tourists in a single year for the first time ever.
Much of this integrated work was part of that effort and appeared in The One Show, Communications Arts, and the Webbys. The television campaign received a Cannes Lion and even a simple banner ad had the good fortune to win a One Show Pencil.
For decades Volkswagen has been one of the world's most iconic brands when it comes to the quality of its advertising. It's been an unbelievable privilege for the last few years - over-seeing all creative across every channel - including brand, retail, and digital including the brand's website. Here are just a few examples, including the recent epic launch of Volkswagen's biggest SUV, the Atlas -- and a shout out from Gene Simmons.
These commercials were the answer to our client's request to "put something on television that has never been on television before." With an annual budget a fraction of the nearest competitor's, we set out to break new ground with a campaign of bold and daring commercials. Born from the legendary "Real Life, Real Answers" campaign created well over a decade before, the challenge was finding new situations that had not previously been explored on network television and use the medium of television as a catalyst for a national conversation.
Amongst some of the ground-breaking work is the story of a lesbian couple bringing home their adopted daughter from Asia. The spot was given the title of "Commercial of The Decade" by GLADD for being the first ever commercial featuring a lesbian couple - well before it was mainstream.
Before people were talking about "creating buzz" or "targeting influencers" this campaign was written about in virtually every major newspaper in the country including The New York Times, The Wall Street Journal and USA Today. It also inspired tens of thousands of viewers to write letters and emails - both in support, and in protest. I even received a death threat at the time.
In this campaign I have both writer and art director credit as well as Associate Creative Director.
I have had the pleasure to work on a number of great iconic brands, and Holiday Inn ranks at the top of the list as far as creative opportunity and shear joy to work on. This work, including television, print, digital and experiential appeared in The One Show, CA, and Creativity and won awards at The Kellys, and Athena's. The television spot "Noses" won a Cannes Lion and was nominated for an Emmy.
The campaign even inspired a book that featured some of the work (see below).
Creative credits include Art Director and Group Creative Director.
With this campaign we set out to try and capture the spiritual side of fly-fishing for the oldest fly-fishing company in America, Stoddards, conveniently located a short walking distance from our office. It won a couple of awards along the way including CA and a One Show Pencil, but it truly was a passion project as we donated our time and resources.
Credits include Art Director and Creative Director.
This print campaign was aimed at artists and photographers showing them how Polaroid Instant Film is not just a throw away piece of instant imaging, but a bonafide artistic medium worthy of hanging in a gallery. The phenomenon was already well under way when Polaroid decided to feature a few such artists (and their work) who were already breaking all the rules and exploring new and creative ways to use Polaroid Instant Film.
This campaign won a number of awards and appeared in Communication Arts and The One Show.
Credits include Art Director, Writer and Associate Creative Director
The first all-type newspaper ad was part of an anti-smoking campaign for The Department of Pubic Health. Titled "Baby Lungs," the typography takes the shape of an infant's lungs while the body copy explains the adverse effects of second-hand smoke on children. The ad won a Gold Pencil at The One Show among other awards.
The second print ad is a program ad placed in the One Show Program Book, courtesy of Fallon. It tells the ficticious story of Janis Goodwink who fought the Germans in World War II, helped prisoners escape, and went on to have the most fantastic life ever imagined. Janis did not however, ever win a One Show Pencil. The ad cost $300 to produce and won virtually every award imaginable including a Cannes Lion. I wrote and art directed the ad as well as had Creative Director credit for it.
Every year I try to take on at least one new creative personal project to expand my knowledge and experience in a creative area I'm less familiar with - but interested in.
I've found I've universally taken something from every experience that I use in my job as a Creative Director - or later apply to other projects down the road. The bucket list of experiences so far include writing screenplays and television pilots, doing a painting series and having a show in a gallery in New York, writing and recording music tracks, writing and directing music videos, editing a film, building websites, writing and directing a short film, playing and singing on a music track and photographing a fashion photogrpahy series.
These are a few pieces from some of those projects. There are also links above to view a few of them in more depth.
I had the incredible opportunity to lead the creative team and be intimately involved with the design of the debut record of Grammy-Nominated artist Charlie Puth and the folks at Atlantic Records. Charlie's CD was one of the most highly anticipated releases of 2016 and went platinum in early 2017.
Seperately, the first music video I wrote and produced for a track I have singer/songwriter credit for (We Didn't Know) was Vimeo's pick of the day - picking up tens-of-thousands of views almost instantly. With zero media spend, the video was written about in articles and blogs all around the world as far away as Turkey and Japan. The complete record is currently in production. Special thanks to The Mill and Red Car New York.