In celebration of our 25th anniversary, we're featuring a selection of the most memorable ads from our past along with their captivating stories.
BROMLEY COMMUNICATIONS
United Communities of San Antonio - “Devices”
2016
Devices / Bronze Film / Cannes 2016
By Darío Campos, Daniel Milán and Abe García
Let's be honest: creating ads for social causes often feels like the easiest way to go. You already have all the juicy ingredients—drama, tension, and a pressing issue. But when you add seriousness to this mix, things become even more intriguing. Seriousness leads to empathy, compassion, and authenticity, driving us to create truly relevant ideas.
This philosophy guided the development of 'Devices,' a campaign for the United Communities of San Antonio. We prioritized the seriousness of the cause.
After days of brainstorming, we realized that a simple device could inflict harm as severe as physical violence—that cyberbullying damages just as deeply. This recognition of the power of our idea, both visually and contextually, was pivotal.
Presenting this concept to our client was profoundly rewarding in many ways. One client, deeply moved, broke down in tears and expressed gratitude for our work. That was one of the most incredible experiences you can have as a creative person.
Thanks to the collaboration with Shooters Films USA and the vision of Seba Lopez, who directed and managed all post-production, this spot was brought to life, motivating action against cyberbullying.
'Devices' is more than just a visually striking piece; it embodies a comprehensive approach to handling such briefs—with seriousness, understanding, love, and the care these causes truly deserve.
Agency: Bromley Communications
Client: United Communities of San Antonio
Chief Creative Officer: Ron Landreth
Group Creative Director: Abe Garcia
Creative Director: Daniel Milán & Darío Campos
Art Director: Andrew Martínez
Group Strategy Director: Jessica Massay
Production House: Shooters Films USA
Executive Producer: Mauricio Jemal & Gerard Lodico
Director: Sebastian López
Music & SFX: The Sound Box + Claudio Leiva
CONILL
New Cinema Film Festival - “Llanto”
2009
Nota por Pablo Buffagni
Este comercial es mi favorito para mostrar que se pueden hacer grandes ideas con poquito presupuesto. También para contar que, al menos en esos tiempos, algunas ideas podían ganar “solitas” en Cannes. Un Cannes distinto al de ahora, donde un León de Oro en film valía un montón.
Fue un gran paso en el proceso de motivación del equipo y de la agencia. Un proyecto real pero pequeñito, que había llegado a Conill a través de Martín Donovan por medio de la productora Paraná Films, para el Consulado en Los Ángeles, y que terminó contagiando de inspiración a todo el trabajo que hacíamos en ese momento.
Hay varias historias que vale la pena comentar alrededor de esta idea. Un dato interesante de la producción es que la voz la grabó el mismo director de fotografía, Daniel Karp. Algo que empezó medio en broma y terminó quedando buenísima. Otra historia es que dicen que el jurado italiano fue uno de los que más empujó espontáneamente para que fuera Oro. Era fanático del fútbol y simplemente no podía creer que los argentinos nos estuviéramos riendo de nosotros mismos. El comercial no había tenido el apoyo de la red y yo creo que el tano nos salvó.
Por último, lo mejor de esa época siento que fue la camaradería del equipo creativo que habíamos formado y fue parte del proyecto. Todos ustedes saben quiénes son y los felicito. Y el hecho de que Martín haya tirado la idea inicial fue recompensado espontáneamente por los demás, ya que se hizo una vaquita para comprarle el preciado trofeo que lamentablemente Cannes no le regala a nadie.
Agencia: Conill Saatchi & Saatchi
Casa Productora: Parana Films
Sebastian Leda, Director
Francisco D'Amorim Lima, Director
Pablo Buffagni, Chief Creative Officer / Copywriter
Mario Granatur, Creative Director
Benjamin Levy, Copywriter
Abel Gonzalez, Copywriter
Jessica Cuevas, Copywriter
Martin Donovan, Art Director
Hernan Ibañez, Art Director
Veronica Elizondo, Art Director
Rob Casillas, Art Director
Tony Rhi, Art Director
Dieste and Partners
Pepsi - “Gooal”
1996
Golazo. The story behind the Pepsi spot, as I recall it.
By Aldo Quevedo
The “Gooal” spot for Pepsi, created by Dieste and Partners in 1996, marked a significant milestone as the agency's inaugural major project for the newly secured account. I would venture to say that Pepsi launched Dieste – although we already had other clients, “Nothing else is a Pepsi.”
Oddly enough, this spot was one of many presented during the pitch. As we all know, it’s rare for the client to select and produce something from a new business presentation created in a vacuum without having a chance to add their input. But there we were, in Querétaro, México, shooting this spot. The director? None other than Joe Pytka, a Twentieth-century legend responsible for work featuring Michael Jordan, Madonna, and Michael Jackson, among others. And Space Jam, a movie you might have heard of.
Anyway, there we were in México a couple of days before the shoot, having dinner and sipping tequila with Pytka, Andrés Cantor, Jorge Consuegra (Pepsi client), Jim Ferguson (CCO, DDB Dallas), Abel Barron (ECD at Dieste), Hal Dantzler (producer at DDB Dallas) and members of the crew.
It was a memorable night; the conversation centered on Super Bowl XXX, which just happened a few weeks before when the Pittsburgh Steelers imploded, and the Dallas Cowboys beat them 27-17 to win their third ring.
That night, we (I) learned that Joe is from Pittsburgh! I am from Mexico but have been a Steelers fan for as long as I can remember; despite our cultural differences, we bonded over how the game bitterly ended until he gave me shit all week about how Mexicans don’t know anything about football. I guess he liked me.
But back to the story, that spot put Dieste on the map as a real player in the US and then internationally when it was recognized with a Lion in Cannes, the first-ever won by a Hispanic agency. Our clients at Pepsi were used to winning awards year after year, especially in the mid-90s, of course, but the Hispanic work had never achieved this level of recognition. So, people got promoted in Purchase, NY, annual fees were secured in Dallas, TX, and more projects came to the agency.
All because of the work.
“Goal” is special because it’s not another cliché spot directed to Latinos in the US. It capitalized on the moment. The 1994 World Cup took the US by storm and Major League Soccer had just launched in 1996. With the 1998 World Cup in France around the corner, the momentum for the sport was at its peak in America.
In my opinion, few brands understood the power of a message centered around authentic cultural moments like Pepsi: delivering the right message at the right time.
After the excitement around the campaign, Pepsi Global decided to make “Goal” available to other markets and it ran in Europe and Asia.
En español. No dubbing or subtitles.
Having arrived in the country only a few months back, this showed me how an idea can transcend linguistic barriers when it relies on the inherent power of storytelling beyond celebrity recognition.
For all that has changed in this business in the last twenty-five years, the one constant that remains today is the power of an idea based on human truth and cultural moments. And to me, that is beautiful.
LAPIZ
Pepto Bismol - “Empanada”
2008
Nota por Javier Osorio
La estrategia de la marca para el mercado general consistía en destacar los cinco síntomas que el producto alivia. Este enfoque fue “testeado” en audiencias hispanas, pero resultó ser poco relevante y atractivo. Eso nos llevó a realizar investigaciones y descubrimos que las audiencias hispanas tienen una conexión emocional con la comida, aunque esta relación es “abusiva”ya que las comidas que más les gustan son también los que más les hacen daño. En este contexto, el producto soluciona un problema inherentemente latino, dando origen a la narrativa de 'La Historia de la Empanada'.
The brand's strategy for the General Market audience was to discuss the five symptoms the product alleviates. This approach was tested with Hispanic audiences and found to be less relevant and engaging. Subsequently, some research was conducted and we discovered that Hispanic audiences have an emotional connection with food, but it's a problematic one because the foods they enjoy most are often the most harmful to them. It is in this context that the product addresses a distinctly Latino issue, giving rise to the 'Empanada Story' narrative.
Agencia: Lápiz
Casa Productora: Landia
Agustin Alberdi, Director
Jose Funegra, Creative Director / Copywriter
Maria Bernal, Creative Director / Art Director
Jose Rivera y Pierola (aka El Coyote), Creative Director
Laurence Klinger, Chief Creative Officer / Executive Creative Director
Estratega: Enrique “Kike” Marquez (QEPD)
Cuentas: Pablo Miro