From Shots Magazine: Levi’s Sea of Blue

Levis encourage us to ditch our phones and get down to some double denim loving in a new spot.

Debuted during the Grammys, ‘Sea of Blue’ is the fourth ad launched as part of the brand’s ‘Live in Levi’s’ campaign. This ad was directed by Michael Haussman and Mike Piscitelli for Pulse Films Ltd, who created the film for FCB West.

In it, the only two people not on their phones at a party catch each other’s eye, and fake phone-based flirting ensues. The two get closer together, admire the sheer amount of denim each of them is wearing, then jump in the pool (they obviously haven’t been told that most denim experts advise against washing your jeans…).

This ad is to be part of a constellation of content, with related TV, cinema, and print campaigns running alongside digital and social media content.

Read the Full Article on Shots


From Creativity Online: Levi’s Pokes Fun at Smartphone Obsession in Its Latest Spot

By Alexandra Jardine. Published on 

Hooking Up In Real Life, Not Online

Editor’s Pick

In Levi’s latest TV ad, which broke during the Grammys, the denim brand puts a new slant on the brand’s sexy boy-meets-girl scenario, with a mischievous nod to its target audience’s smartphone obsession.

In “Sea of Blue,” boy and girl meet at a pool party at which everyone is clad in denim, and everyone is glued to their phone, not looking up to make contact with anyone “in real life.” The pair catch each others’ eyes, mime a phone call without phones, and then fall into each others arms (and the swimming pool.) The spot was co-directed by Mike Piscitelli and Michael Haussman, through production company Pulse.

Part of the brand’s ongoing “Live in Levi’s” campaign by FCB, the campaign spans digital and social platforms, TV, cinema and print globally. As well as the TV spot there are style videos, behind the scenes footage and additional stories captured during the shoot that were made into digital shorts to be featured across social media.

Read the Full Article on Creativity Online


Adweek Ad of the Day: United Turns Airport Security Into an Olympic-Level Obstacle Course

Do you ever feel like an Olympic track star while trying to navigate the maze that is the airport check-in experience? United Airlines feels your pain.

The 2016 Summer Olympics begin next month in Rio de Janeiro, and this week United debuted its first related ad as the official airline of Team USA.

The 60-second spot “One Journey. Two Teams.” will first air during the opening ceremony next Friday. It resembles past efforts from the brand in that it stars both United employees and American Olympians doing their best to get to the gate on time.

The athletes featured include volleyball star Kerri Walsh Jennings, two-time gold medal soccer player Carli Anne Lloyd and four-time gold medal swimmer Missy Franklin, among others.

The ad, created by United agency of record mcgarrybowen, also features a Rio-style remix of the client’s theme song “Rhapsody in Blue” courtesy of audio production company Yessian Music, which recruited authentic Brazilian street musicians to help create the very active re-imagining of Gershwin’s classic. The voiceover for this spot comes from Mr. Bourne himself, Matt Damon.

“Our 2016 Olympics advertising was a great way to engage and showcase our employees and our partnership with Team USA,” says United managing director of marketing and product development Mark Krolick. “The United team works incredibly hard year round to transport U.S. Olympians and Olympic hopefuls to training, competitions and the Olympics and this campaign demonstrates that in an upbeat, fun and optimistic way.”

The ad was filmed on a real 787 Dreamliner in Los Angeles, and the athletes performed all their own stunts.

Mcgarrybowen executive creative director and managing director Haydn Morris tells Adweek, “It’s an honour to have a client with such an intimate and longtime relationship with Team USA; they do the hard work of flying those guys wherever they need to go, year in, year out. Mcgarrybowen does the easy bit of bringing that story to life.”

Read the Full Article on Adweek



From MTV News: 7 Facts You Didn’t Know About Selena Gomez’s ‘Same Old Love’

By Emilee Lindner

Selena Gomez’s “Same Old Love” video follows the singer rolling through the city in a raindrop-speckled car, observing life from safely inside.

But after watching life go on around her, she’s ready to immerse herself in the human experience, so she ditches the car, which continues on to her concert empty. Don’t worry though, after drifting around city streets and a nightclub — something that she wouldn’t get to do in real life without fans and paparazzi smothering her — she runs back to the venue on foot to make it to her concert on time.

For the fans who got the first look of the video at Gomez’s Revival album event in L.A. last week, that’s where they thought it ended. But little did they know that Selena would come out for a surprise performance, and their reactions would be filmed for the end of the video, released on Tuesday.

We got on the phone with Michael Haussman, who directed “Same Old Love” — along with Justin Timberlake’s “SexyBack,” Madonna’s “Take A Bow,” Kanye West’s “Jesus Walks” and more — to get the behind-the-scenes stories that went into the carefully crafted visual.

Read the full article on MTV.com


News from Huffington Post: Selena Gomez Teams With Fans for New Music Video

Wednesday night, Selena Gomez invited fans to sit in the audience of the Palace Theater in Downtown Los Angeles with the promise of having them be part of the video shoot for her latest single, “Same Old Love”. The song would be the second song of her upcoming album, Revival.

Once the house lights went out, a giant screen descended on stage and began showing the “Same Old Song” video, directed by Michael Haussman. We were all curious – if we were there to be part of the shoot, why were we watching the finished product?

But the surprise was still to come.

In the video, Selena is being driven in a town car, where she sits in the back seat, singing the song as rain pours down the nighttime city. Her ultimate destination is still unknown at this point.

After observing enough brokenhearted people during her ride, which she subsequently abandons, it becomes clear that in the video Selena is expected to be at a concert venue for her own performance. There is panic by her handlers when the town car arrives with no Selena in sight.

Never fear, all is not lost. Though we’re not sure why she decided to take a pedestrian detour, Selena arrives at the back door of the venue just in the nick of time. We see her glam squad put the finishing touches on her already flawless face as her stressed out handlers guide Selena through the dark and narrow path of the theater halls and on to the curtained stage.

Then, in a seamless transition, as the curtain in the video begins to lifts and expose the audience, the actual video screen on the Palace Theater stage rises and there in front of us — as if she popped out of her own video — is Miss Gomez herself, singing the chorus of the song right on cue. It’s like she was there all along — same dress, same hairdo, same everything. The crowd went wild, and the camera crew was there to capture the genuinely excited and surprised fans sitting — actually now standing at their feet — in the theater, going nuts. (And yes, it was done in one take. No stops and starts or repeats.)

Afterward, a chair was brought to the stage and Selena sat down and began a heartfelt speech. She thanked her fans for always being there for her, told them how much she adores them, and how this is a new stage in her life which includes a switch to new record label with Revival.

Read more on Huffington Post


GRAVITY in Berlin

Haussman's GRAVITY presented by Iconoclast Berlin


Pulse Films Signs Michael Haussman

Via SourceCreative.comsmilingmike_052015

Pulse Films is excited to announce the worldwide signing of award winning filmmaker Michael Haussman to its roster of commercial directors. Pulse Films will serve as Haussman’s representation for commercials, music videos and branded content projects.

Haussman is a director, writer and artist who has received international acclaim for his compelling work. He has directed music videos for Justin Timberlake, Madonna, Kanye West, Usher and Shakira, among others, and his commercial campaigns include work for Levi’s, Diesel, Absolut, Bvlgari, BMW, Coca-Cola, and more.

In 2013, Haussman wrote and directed the short film THE AUDITION, which was selected to compete in the Venice International Film Festival, and his documentary THE UNSINKABLE HENRY MORGAN premiered at the Sundance Film Festival. Other films of Haussman’s include RHINOCEROS HUNTING IN BUDAPEST, BLIND HORIZON, and THE LAST SERIOUS THING. In addition to his work as a writer and director, Haussman recently created GRAVITY, a study of gravity’s effect on human emotion told through five high definition video sequences filmed at 2,000 frames per second.

“We are absolutely thrilled to have Michael join the Pulse team,” stated Pulse CEO Thomas Benski. “Michael is incredibly talented, and his ability to create content across many platforms and mediums is exactly what we are excited about in our artists.”

“At Pulse, we are interested in creators, not just directors,” said Pulse President of Commercials and Music Videos Kira Carstensen. “As a writer, director and artist working across many different creative platforms, Michael is the perfect fit for Pulse and our modern day studio.”

“For a filmmaker like me who is involved in commercials, films, documentaries, music video and art, I have never had a home in which I could facilitate all these projects. PULSE is this place,” said Haussman. “They have a unique philosophy on how to support a director and artist to find outlets for all his creative output. When I met with PULSE I was already mid-stride on a film I wrote and will direct called GOOD GUYS. Thomas Benski came on board and gave the project a new jolt of life. I see the difference between the ‘old model’ of promising a director a film, and the PULSE method, which is to immediately get involved, financially and physically. I’m very excited about our future collaborations in all art forms.”

As part of the Pulse Films roster, Haussman will be able to apply his skill for creating content across platforms and formats including through the Pulse strategic partnership with VICE.

Read on SourceCreative.com


Rolling Stone Madonnas 20 Greatest Music Videos – Take a Bow – Michael Haussman

Express Yourself: The Making of Madonna’s 20 Greatest Music Videos

Since first storming MTV in 1983 with the poetic, lo-fi “Burning Up,” Madonna’s music videos have spent more than 20 years sparking conversations about fashion, feminism, sex, religion and what you could and could not show on television. To help her realize these 67 clips — one of the most rapidly changing visions in pop history — she teamed up with some video and photography’s most celebrated artists, including David Fincher, Jean-Baptiste Mondino, Herb Ritts, Mark Romanek, Chris Cunningham, Stéphane Sednaoui, Jonas Åkerlund, Luc Besson and more.

“Madonna was the one you had to get,” says Michael Hausmann, director of her mid-Nineties clips for “Take a Bow” and “You’ll See.” “That was the video that would be the most airtime. It was, in some ways, kind of more important than having a movie out. More people were watching it, that’s for damn sure.”

To celebrate our cover star, we caught up with many of the directors behind some of the most iconic (and controversial) images in music history.

Remembers director Michael Haussman about this love story filmed in Spain, “She said, ‘OK, Here’s the song: It’s about a girl in love with a public figure. Write something, but just don’t make it dark.’ So, of course I went and wrote something really dark.” Madonna and the director met at the Ritz in Paris, tabled the discussion about his dark idea until dinner and started making small talk. “She says, ‘Well, what have you been doing?’ And I said, ‘Well, I’ve been really into filming bullfights and stuff.’ And I just saw this sparkle in her eye and suddenly I just kind of went with it. Pretty sure the while thing was written [that] night.” The sepia tinged video mixes shots of real life bullfighter Emilio Muñoz with Madonna for a clip that’s sensual, majestic and features steamy footage of the pop star writhing in front of a TV. “I thought it was going to be [difficult to direct] but then it was one of the sexiest things that I’ve ever seen,” says Haussman. “She would just play the song through and go for it.”

Michael Haussman, director: It became epic in proportions to try and actually do that video because it was such a taboo subject. There were several times when it was gonna be cancelled because of PETA getting involved, saying, “We understand you’re going to film a bullfight?” And originally I was. I was gonna try to film a bullfight where the bull gets killed and everything, and that was kind of the idea to stay true to it. And [it] became kind of obvious…we can’t stage a bullfight for a Madonna video, that’s not going to go across too well….And sure enough, it was such a fiery topic that we had to have to have the police in my office in London opening our mail because a lot of animal rights groups send letterbombs to scientists and things. The producer had a rose taped to his door and it said, “Hasta la vista, baby!” All kinds of really scary shit. I had to check under hotel under different names, which I’ve never had to do, when I was in Spain.

The bullfighting world didn’t want anything to do with someone that’s gonna come in and [try to be] commercializing them. What helped was that I had a super passion about it…I knew enough that I could say, “Listen: I want Emilio Muñoz and I can tell you about every fight he had last year, every outfit he wore and where he fought.” It was kind of funny because everyone said, “Well, he’ll never do it, Emilio Muñoz — why don’t you look at these other guys that are seeking publicity. And those are the guys you didn’t want! So that was a whole trip in itself — literally sitting in hotels in Seville, waiting to meet this guy. Waiting for four days passing — and it’s only his guys coming to scope you out and see if it’s real and it wasn’t some television show where they do pranks on people.

One thing we had to promise was that we’d never harm the bull in any way. And that became a real touchy subject because a bullfighter can’t really fight a bull unless he’s been harmed in some way. Usually they do a pick to his shoulder and that makes his head go down so that he could go use the smaller, red cloth called a muleta. So, if suddenly, we were not able to pick him or have any trace of blood on the bull, so how is he supposed to use this red cloth? She was set to fly out in two days and he was set to come the following day — it was right down to the wire. So I posed him the problem and he didn’t really say anything except, “OK, let me think about this.” And he just kind of of disappeared for two days. No one could get him on the phone. She gets on an airplane to come out. So, the drama was just fantastic! So he finally arrives and says, to the Spanish press, “I’m going to fight this bull, I’m not going to pick or bandeira him. it’s going to be the first time it’s ever done and I’m going to do it. I’m going to do it for my friend Michael.”

I don’t think [the bullfighting community] ever really wanted it to get out because he was able to fight that bull fine and it was beautiful and the bull never got hurt…at all. But you have to understand the reason that can’t happen is, unfortunately, [bullfighting is] about the celebration about killing of a bull. So it kind of took away the reason it why it exists for the Spanish. And also, when you’re looking at the footage, it’s pretty outstanding what he does. He’s not just fighting it — he’s fighting it beautifully. It’s gorgeous. It was all cloaked in secrecy. He wouldn’t do it unless no one saw. It was just too weird that a bullfighter’s fighting a bull that’s not picked or bandeira’d

Read more: Express Yourself: The Making of Madonna’s 20 Greatest Music Videos – Take a Bow – Michael Haussman

Rolling Stones Madonna Take a Bow by Michael Haussman

Rolling Stones Madonna Take a Bow by Michael Haussman

 

 


Haussman Boldly Goes for Norton

Majestic camerawork on global work for malware security giant Norton inspires us all to move boldly through life with our privacy intact …

Los Angeles, CA (June 4th 2014) – Person Films / HSI Productions have teamed up with Grey, San Francisco to release sweeping new work for malware protection giant Norton, breaking this week as part of the brand’s integrated global campaign.

Directed by Michael Haussman, “Boldly Go” features portraits of individuals moving through life with a sense of passion and adventure. Inspiring poetry plays alongside encouraging us all to move brazenly through life. It’s work that successfully personifies Norton in modern times – people busy living their technological lives in comfort, all along knowing that their security and self-assurance is intact.

“People’s intimate thoughts, cherished ideas and connections are shared in so many different ways – but all in ways that need to be shared safely,” explains Curt Detweiler, CCO at Grey, San Francisco on Norton’s modern demo. “It’s a different world than it was ten years ago.”

“Boldly Go” was shot in Rome through Person Films, Italy with an extensive list of characters, the city’s modern architecture and extensive locales imparting an attractive, international feel. “The agency approached me with an open script, the anchor being the poem,” explains Haussman on shaping the work. “The challenge became how to demonstrate the benefits of using the product’s intangible protection service. We recognized that Norton is selling a positive lifestyle and the action of people moving forward into the world would personify that.”

Haussman’s use of documentary-style filmmaking and hand-held camerawork also imparts an authentic feel to the work, while black and white photography adds a majestic feel – the only color used being Norton’s trademark yellow insignia in each spot.

“We all recognized Michael’s ability to stay focused and make decisions quickly without compromising on artistic vision,” notes Detweiler on the campaign, previously collaborating with Haussman while Regional Creative Director at TBWA\G1\Europe in Paris. “He knows what standard is needed creatively and gets to the story in a more emotional way, and creates work that is very honest and genuine.”

Digital spots from the campaign will be seen on YouTube plus sites including CNN, Inc., Forbes and CBS News. The work follows on from a slew of successful campaigns for Haussman this year including powerful spots for Budweiser and United Airlines.

Haussman is also in pre-production on “Good Guys,” the compelling tale of two Americans who meet in an Italian hotel. One dies, the other taking on his identity as a means to alter his bleak future – instead inheriting a life that changes him from a good guy to a bad guy. Stephen Dorff is set to star, while other casting is currently under way.

NORTON “BOLDLY GO” / CREDITS

Client: Norton
Agency: Grey, SF
Production Company: Person Films / HSI Productions
Director Michael Haussman
HSI Executive Producer / Managing Director Rebecca Skinner
Person Films Executive Producer: Cecile Leroy
Producer: Linda Masse
Line Producer: Fabiomassimo Dell’Orco
Cinematographer: Paolo Caimi
Editing Company: Union
Editor: Marco Perez

Simon Wakelin
Press Liaison
fastlens@icloud.com / t: 213.864.9439