Celebrities in Ad Campaigns
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I'll try and find a few photos, but I ran across this article about celebrity ads from nydailynews.com that I thought was interesting! I can't believe SJP made $38 million from those Gap ads!
New York Daily News - http://www.nydailynews.comIt's the sell-ebrities
By MICHELE INGRASSIA
Thursday, March 31st, 2005
It wasn't that long ago that the only way an Academy Award-winning actor would appear in a television ad was to sneak off to Italy or Japan. They'd put in a few days' work, collect a fat paycheck, then head back home, secure that their fans would never know that a Jodie Foster was pitching Hondas or a Dustin Hoffman was hawking Audis.
No one's hiding anymore.
From Catherine Zeta-Jones to Robert De Niro, Hollywood's A-listers are calculating not just what juicy roles their Oscars can net them, but what high-profile ads they're going to nab.
The list is as competitive as who gets to wear Harry Winston on Oscar night.
Every one of the last six best-actress winners is headlining an American print or television campaign:
Hilary Swank (Calvin Klein underwear), Charlize Theron (Dior perfume), Nicole Kidman (Chanel No. 5), Halle Berry (Revlon), Julia Roberts (AOL) and Gwyneth Paltrow (Damiani jewelry).
And that doesn't even begin to count the number of Golden Globe, Emmy and Grammy winners, from Brad Pitt to Sarah Jessica Parker to U2, who've walked off with starring ads in the last year.
"If you dangle a nice rock or a treasure chest full of money or a few cars in front of a celebrity and say, 'Do you want to get in?' they say, 'Sure,'" says Brandweek editor Karen Benezra.
Jonathan Taplin, who teaches entertainment and marketing at the University of Southern California's Annenberg School of Communications, is even more blunt: "Everybody is for sale."
Indeed, the payoff can be huge. According to one high-profile Hollywood publicist, stars can snag anywhere from $50,000 to several million for a single pitch. Parker, who just wrapped up a year-long stint for the Gap, reportedly earned a whopping $38 million. Small wonder her colleagues, who can command $10 million or $20 million per picture, are lining up.
Among the latest: Oscar-winner Marisa Tomei, who this month launched a new Hanes campaign. And Susan Sarandon (who has one Oscar and four more nods), who teamed up with Berry and Julianne Moore this year as the faces of Revlon.
What's changed? "There used to be an artistic penalty for selling out - you wouldn't get your 'hip' card punched, as Bob Dylan once said," says Taplin, a former producer for stars like Dylan (who, not coincidentally, did a Victoria's Secret ad last year).
"Now, kids assume that anyone who is a movie star is selling out," says Taplin. "To them, what's the difference between Brad Pitt doing a cheesy toga movie like 'Troy' or a Heineken beer ad?"
Of course, not everyone thinks this is a good thing. Russell Crowe recently blasted George Clooney, Harrison Ford and De Niro for making ads, telling GQ magazine, "It's kind of sacrilegious, a contradiction of the contract with your audience."
But in a world where every movie overflows with name-brand products - none more blatantly than "Be Cool," where John Travolta helped negotiate a Cadillac placement and agreed to appear in a Cadillac ad - it's hard to raise objections.
And in a world of instant communication, it's impossible to keep moonlighting a secret. "If an A-lister was doing a spot in Japan 10 years ago, no one outside of Japan saw it," says AdAge editor Scott Donaton. "Today, the same day it's on Japanese TV, it's on the Internet, so why not just do it in the States and get your paycheck here?"
Insiders say the ads let stars get their faces out to new audiences - yes, even $20 million actresses want new audiences - and allow them to control their own image.
"I'd rather do a campaign than a bad movie," says the Hollywood publicist, who asked not to be named for fear it would identify his A-list celebs.
"Between In Touch and Life & Style, you're going to be in the magazines anyway, and the photos are not always flattering. So you might as well put something out there that's pretty at the same time." Many celebs are demanding to work with the best. Kidman's Chanel ad, for instance, was made by her "Moulin Rouge" director, Baz Luhrmann. Pitt's moody Heineken commercial was done by his "Fight Club" director, David Fincher. De Niro's Amex valentine to downtown was the work of pal Martin Scorsese. The Sarandon-Moore-Berry campaign was directed by Robert Altman and photographed by fashion icon Peter Lindbergh. No one expects the ranks of celebrity pitchmen to thin out anytime soon. "The arguments against doing it are flimsy," says Donaton. "It's a real convergence of entertainment and marketing and the willingness of audiences to accept it."
New York Daily News - http://www.nydailynews.comIt's the sell-ebrities
By MICHELE INGRASSIA
Thursday, March 31st, 2005
It wasn't that long ago that the only way an Academy Award-winning actor would appear in a television ad was to sneak off to Italy or Japan. They'd put in a few days' work, collect a fat paycheck, then head back home, secure that their fans would never know that a Jodie Foster was pitching Hondas or a Dustin Hoffman was hawking Audis.
No one's hiding anymore.
From Catherine Zeta-Jones to Robert De Niro, Hollywood's A-listers are calculating not just what juicy roles their Oscars can net them, but what high-profile ads they're going to nab.
The list is as competitive as who gets to wear Harry Winston on Oscar night.
Every one of the last six best-actress winners is headlining an American print or television campaign:
Hilary Swank (Calvin Klein underwear), Charlize Theron (Dior perfume), Nicole Kidman (Chanel No. 5), Halle Berry (Revlon), Julia Roberts (AOL) and Gwyneth Paltrow (Damiani jewelry).
And that doesn't even begin to count the number of Golden Globe, Emmy and Grammy winners, from Brad Pitt to Sarah Jessica Parker to U2, who've walked off with starring ads in the last year.
"If you dangle a nice rock or a treasure chest full of money or a few cars in front of a celebrity and say, 'Do you want to get in?' they say, 'Sure,'" says Brandweek editor Karen Benezra.
Jonathan Taplin, who teaches entertainment and marketing at the University of Southern California's Annenberg School of Communications, is even more blunt: "Everybody is for sale."
Indeed, the payoff can be huge. According to one high-profile Hollywood publicist, stars can snag anywhere from $50,000 to several million for a single pitch. Parker, who just wrapped up a year-long stint for the Gap, reportedly earned a whopping $38 million. Small wonder her colleagues, who can command $10 million or $20 million per picture, are lining up.
Among the latest: Oscar-winner Marisa Tomei, who this month launched a new Hanes campaign. And Susan Sarandon (who has one Oscar and four more nods), who teamed up with Berry and Julianne Moore this year as the faces of Revlon.
What's changed? "There used to be an artistic penalty for selling out - you wouldn't get your 'hip' card punched, as Bob Dylan once said," says Taplin, a former producer for stars like Dylan (who, not coincidentally, did a Victoria's Secret ad last year).
"Now, kids assume that anyone who is a movie star is selling out," says Taplin. "To them, what's the difference between Brad Pitt doing a cheesy toga movie like 'Troy' or a Heineken beer ad?"
Of course, not everyone thinks this is a good thing. Russell Crowe recently blasted George Clooney, Harrison Ford and De Niro for making ads, telling GQ magazine, "It's kind of sacrilegious, a contradiction of the contract with your audience."
But in a world where every movie overflows with name-brand products - none more blatantly than "Be Cool," where John Travolta helped negotiate a Cadillac placement and agreed to appear in a Cadillac ad - it's hard to raise objections.
And in a world of instant communication, it's impossible to keep moonlighting a secret. "If an A-lister was doing a spot in Japan 10 years ago, no one outside of Japan saw it," says AdAge editor Scott Donaton. "Today, the same day it's on Japanese TV, it's on the Internet, so why not just do it in the States and get your paycheck here?"
Insiders say the ads let stars get their faces out to new audiences - yes, even $20 million actresses want new audiences - and allow them to control their own image.
"I'd rather do a campaign than a bad movie," says the Hollywood publicist, who asked not to be named for fear it would identify his A-list celebs.
"Between In Touch and Life & Style, you're going to be in the magazines anyway, and the photos are not always flattering. So you might as well put something out there that's pretty at the same time." Many celebs are demanding to work with the best. Kidman's Chanel ad, for instance, was made by her "Moulin Rouge" director, Baz Luhrmann. Pitt's moody Heineken commercial was done by his "Fight Club" director, David Fincher. De Niro's Amex valentine to downtown was the work of pal Martin Scorsese. The Sarandon-Moore-Berry campaign was directed by Robert Altman and photographed by fashion icon Peter Lindbergh. No one expects the ranks of celebrity pitchmen to thin out anytime soon. "The arguments against doing it are flimsy," says Donaton. "It's a real convergence of entertainment and marketing and the willingness of audiences to accept it."
Nicole Kidman Stars in Her First TV Commerical
HELLO MAGAZINE
[size=-1]23 AUGUST 2002
A year after the acclaimed thriller movie The Others sent shivers down audiences’ spines, its famous Hollywood star and shy young Chilean-born director have teamed up once again – and just like last time, they’ve been shooting sequences in a mysterious old mansion.
However, the project that’s brought Nicole Kidman and Alejandro Amenabar back together isn’t a spooky new film, it’s a TV commercial for El Corte Ingles, Spain’s ubiquitous department store.
The location on this occasion is a 1920s Beverly Hills house where films like The Witches Of Eastwick were shot, and while it’s situated thousands of miles away from the northern Spanish mansion where The Others was filmed, the billowing curtains, tiled floors and shadowy light definitely recapture Alejandro’s BAFTA-nominated movie.
It’s the first time that Nicole has agreed to star in a commercial, and what may have persuaded her to do so is the huge respect she has for the promising 30-year-old director.
“Alejandro has a great future ahead,” she has said. “He’s passionate about his work and is completely committed. I am very fond of him.”
The director, who has long been based in Spain, was at first very reluctant to consider a Hollywood star for the lead role in The Others. However, he was quickly won over. “Nicole turned out to be so intelligent, so brilliant, and her criticisms always helped improve the film’s quality,” he said after working with her.
[/size]
HELLO MAGAZINE
[size=-1]23 AUGUST 2002
A year after the acclaimed thriller movie The Others sent shivers down audiences’ spines, its famous Hollywood star and shy young Chilean-born director have teamed up once again – and just like last time, they’ve been shooting sequences in a mysterious old mansion.
However, the project that’s brought Nicole Kidman and Alejandro Amenabar back together isn’t a spooky new film, it’s a TV commercial for El Corte Ingles, Spain’s ubiquitous department store.
The location on this occasion is a 1920s Beverly Hills house where films like The Witches Of Eastwick were shot, and while it’s situated thousands of miles away from the northern Spanish mansion where The Others was filmed, the billowing curtains, tiled floors and shadowy light definitely recapture Alejandro’s BAFTA-nominated movie.
It’s the first time that Nicole has agreed to star in a commercial, and what may have persuaded her to do so is the huge respect she has for the promising 30-year-old director.
“Alejandro has a great future ahead,” she has said. “He’s passionate about his work and is completely committed. I am very fond of him.”
The director, who has long been based in Spain, was at first very reluctant to consider a Hollywood star for the lead role in The Others. However, he was quickly won over. “Nicole turned out to be so intelligent, so brilliant, and her criticisms always helped improve the film’s quality,” he said after working with her.
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