Tiffany Meyers's Communication Arts advertising agency article for Dan Fietsam and Energy BBDO about their creative work for Wrigley, Jim Beam, Chicago White Sox and the culture of their agency in 2010.

1. Illustration Annual 201038
A
nd what could the “in-house” thing have been if not a schoolyard taunt?
So in 2004, the agency got its New York on. From Merkley Newman
Harty, Marty Orzio took the helm as Energy bbdo’s chief creative officer.
And until his 2008 departure, he accumulated new business wins like Jim Beam,
Dial, U.S. News & World Report and The Chicago White Sox.
“It’s not easy to shift perceptions,” says Tonise Paul, chief executive officer. “But we
didn’t put a lot of energy into that. We just kept our eye on the ball. And suddenly,
we’re winning awards across categories.” The shop’s pre-Orzio awards history:
A Mobius here, a Clio there. During his tenure: Recognition from Cannes, The
One Show and Communication Arts, among others. If the joke lingered in some
areas, the work made it hard to justify.
When Orzio first took his post, Dan Fietsam—a Chicago creative whose prior stints
included Leo Burnett (copywriter: Coca-Cola, Dewars) and y&r (creative director:
Sears, Jim Beam)—was blocks away at ddb, getting famous on Bud Light. His work
showed up on USA Today’s Super Bowl ad meter two years running, taking first
place in 2006; it also brought in Cannes Lions, One Show Pencils and a 2008 Emmy.
By the time Energy bbdo called several years later, Fietsam was co-executive creative
director at Publicis in the West, Seattle, working on T-Mobile and Washington
Lottery. “But I looked at the agency and said, ‘ok, here’s a place with momentum,’”
he says. “Marty had generated tremendous momentum in both creative and
business terms. My role would be to take that to the next level.”
Paul supplied the specs: Whoever filled the position would be responsible for
accomplishing the agency’s mission to be a leading-edge creative organization.
They’d need to have integrity, an ability to inspire people in all roles, a track
record of business success and a pile of creative awards. And more. Lots more.
“Perhaps Zeus is available,” she wrote. The shot of humor slayed any lingering
reservations Fietsam might have had about the gargantuan job.
“With Tonise, the chemistry was right,” says Fietsam. “It wasn’t just ‘I like Tonise
and I think she likes me, too.’ When we talk, there’s a synergy. There are
complementary points of view, supplementary ways of thinking.”
As Fietsam saw it, the agency structure also pointed to success. “We’re bigger than
a creative boutique,” he says. “But we’re not a big, lumbering, clumsy agency either.
We’re in a sweet spot in terms of scale, with enough people, clients and billings to
be that leading-edge creative agency.”
by Tiffany Meyers
Dan Fietsam wrote the captions and is chief creative officer on all projects unless noted otherwise.
Right: “Obviously, the heart and soul of baseball is nothing if not tradition but with White Sox fans,
tradition is taken to a whole other, idiosyncratic White Sox-ian level. So the agency team came up
with a creative insight and platform for the 2009 season—’traditions don’t have to be traditional’
celebrating the uniqueness of White Sox fandom. And if I were to actually utter the word
‘idiosyncratic’ out loud on the South Side of Chicago, I would get punched. Hard.” Isabela Ferreira,
art director; Jonathan Ozer, writer; Isabela Ferreira/Jonathan Ozer, associate creative directors; Mike
Roe, group creative director; Joe Wigdahl, photographer; Heather Beck, print producer; Liz Miller-
Gershfeld, art producer; Chicago White Sox, client.
During the early
2000s, the advertising
community thought it
was hilarious to refer
to Energy BBDO, the
Chicago branch of
Omnicom-owned
BBDO Worldwide, as
Wrigley’s in-house
agency. It’s not that a
massive account like
Wrigley was anything
to sneeze at. It’s that,
had the agency been
called to defend itself
on a playground,
it wouldn’t have
had much else to
brag about.
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2. 39Communication Arts
A tradition since 1982.
bbdo_main.indd 39 3/23/10 12:39 PM

3. Illustration Annual 201040
As the new chief creative officer, he set up his office in July
2008. For the agency, the show of creative might was some-
thing like hanging a huge sign over the proverbial industry
playground: “In-house what, you said? In-house who?”
Probably less apparent to those on the outside: Fietsam’s
business chops. “I don’t like random acts of marketing,” he
says. “I like things to be more purposeful. And I like to feel
the business problem in my bones.” By January 2010,
Fietsam was overseeing four new business pitches at once—
a “Pitchapalooza,” staffers called it internally.
Like a lot of the funniest writers you’ll meet, Fietsam is more
serious in disposition than his work would have you believe.
He’s best known for his observational humor, but he’s more
the contemplator than comic. In conversation, he’ll bring up
the fact that you can’t step into the same river twice (it’s not
the same river, you’re not the same person). And he’s slightly-
to-really obsessed with the simultaneously surreal, dystopian,
funny and scary film Brazil.
“Dan brought a swagger to the agency,” says Frank Dattalo,
group creative director. Dattalo’s work on Orbit—from his
2001 British spokesperson campaign (“What the French
toast!?”) to a 2009 gum-meets-haute-couture campaign shot
by illustrious fashion photographer Nadav Kander—helped
make that brand the category leader. “And he added the kind
of creative credibility that’s attracted incredible new talent.”
Like Noel Haan, for instance, a recently appointed group
creative director. And Kevin Lynch—co-founder of Hadrian’s
Wall, which he sold to mdc Partners’ zig in 2006. Now, Lynch
is creative lead of Proximity, Energy bbdo’s digital arm. And
based on the first account he touched, the Art Institute of
Chicago, Energy bbdoers ought to take cover, lest the flying
awards leave them concussed this season.
For “500 Ways of Looking at Modern,” Energy bbdo scattered
500 red cubes across the city’s streets, each a 3-d interpre-
tation of aic’s logo. The cubes directed their claimers to take
them home and visit 500-ways.com, where they registered
and received art assignments: Redo a Cy Twombly painting,
for instance, or write a love letter to someone on one side of
the cube.
When they finished, participants uploaded projects for dis-
cussion, building an organic, online community around art
and the aic. Aside from things sexual or scatological, there
aren’t many activities more personal than making art. Which
is how this campaign got people so emotionally invested in
a cultural institution they often otherwise take for granted.
On top of that, “500 Ways” cost zero in media spend.
“It’s a good indicator of the type of thinking we’re building for
the future,” says Fietsam, who, with Lynch, wants to make
integration, an agency-wide reflex, a matter of instinct.
Not that tv and print is on the wane. For the Illinois Lottery,
which awarded the agency its $105 million contract in 2009,
Energy bbdo research discovered a weird brain glitch people
have about the $12 million lottery: In their minds, $50
million is real money, but 12? Twelve won’t get you very far.
Which is, of course, crazy talk.
To clarify, Energy bbdo showed Illinoisans what $12 million
really looks like. “Office Pool” takes place in the kind of
sunless work environment on which lottery dreams are made.
Watching the winning numbers on tv, employees gradually
realize that they hold the winning ticket. In slow motion, $12
million in coins and bills fall from overhead—a rainstorm of
options and opportunity.
This page: Various and sundry, but not all, Energy BBDO peeps: Aaron Pendelton/Miller Jones/Dan Fietsam/Tonise Paul/Tina Roth/Rachel Wit/Tara
Dubbs/Pam Fraser/Liz Miller-Gershfeld/Linda Waste/Lara Tennison/Elke Anderle/Mike Roe/Frank Dattalo/Tim Mikus/Jonathan Ozer/Isabela Ferreira/Derek
Sherman/Jessica Campbell/Jillian Lamb/Mike McQuade/Gwen Rutledge/Elaine Perrie/Joe DeMarco/Derrick Ho/Kevin Lynch/Jacquelyn De Jesu/James
Wood/John Fiebke/Grant Tennison/Kelly Hardwick/Nate Gagnon/Marie McDonagh/Greg Auer/Laura Feeney/Tim Mattimore/Karen Tisel/Jeff Jachimek (aka
Gary Camaro)/Noel Haan/Liz Wzorek/Larry Geis/Jeff Adkins/Brigette Whisnant.
Right: “So we made the logo bigger. Literally. Eight feet cubed to be exact. And then put it outside Navy Pier. And then made 499 more of them. Not
quite as big, but big nonetheless, 500 total. Placed them all over the city. And then, instead of trying to convince Chicagoans to come to us and look at
world-class art, we gave them red cubes and let them make it themselves. This project does more than integrate traditional, digital and social media, it
exemplifies creative ‘interactive’ marketing in the truest sense of the word: We inspired people to interact with the Art Institute brand in a meaningful,
sustainable way. Check out what happened with the cubes at: www.500-ways.com. Or visit the Modern Wing when you’re in Chicago.” Mike McQuade,
design director; Kevin Lynch/James Wood, writers; Kevin Lynch, creative lead/curator; Tim Janczewski, information architect; Heather Beck/Liz Miller-
Gershfeld/James Pratt, agency producers; Shawna Ross, strategy; Proximity Chicago, digital agency; Art Institute of Chicago, client.
©NoelHaan
Energy BBDO
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4. 41Communication Arts
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5. Illustration Annual 201042
35 P I E C E S O F C L E A N
©2009 Wm. Wrigley Jr. Company. All Rights Reserved. Orbit, Big Pak and the O Design are trademarks of the Wm. Wrigley Jr. Company.
www.orbitbigpak.com
INTRODUCING
Over in the spirits corner of the universe, Energy
bbdo’s “Rent-a-Puppy” spot for Jim Beam
dramatizes a time-tested strategy for picking up
chicks: Walk around with a puppy or two to get
every smokin’ hot lady within a one-mile radius to
stop, coo and eventually give the dog owner (or
renter, in this case) her digits. “Guys never change,”
says the voiceover. “Neither do we.”
Timing. It’s a mystery. Just as the “guys never
change” campaign started rolling out, Beam Global
Spirits & Wine “parted ways” with Energy bbdo in
October 2009, reassigning creative to StrawberryFrog,
New York. But what did tbs care about all that? It
didn’t. The network named Rent-A-Puppy the
funniest commercial of 2009. And it’s not for
nothing either.
But the spot has a serious foundation. (Like someone
we know.) Back in the research phase, Energy bbdo
found that guys in their late 20s and early 30s live
with a lot of flux. Many are post-college—but they’re
not quite ready for the house and kids in the ’burbs.
A bad economy and job market confuses matters
still more. Given all that uncertainty, young Beam
loyalists like the brand because it hasn’t changed for
generations, and won’t any time soon.
Energy bbdo’s market research often digs up golden
insights like this one. And in the past year or so, the
research seems to have become, sort of, the best
part. Charged with inspiring creatives, the planning
department regularly brings in speakers with big
brains, including some who have nothing to do with
specific brand problems.
Tal Ben-Shahar, Harvard University’s happiness
expert, spoke on that ever-elusive state of mind
every marketer wants to bottle. And three tween
girls at the vanguard of the “kid-core,” punk-pop
music scene—the members of Care Bears on Fire
(“Barbie, eat a sandwich before you die”)—once
performed at the agency.
This page: Two print ads for Orbit gum. “This assignment
started out as print and then expanded into an event. When
the campaign broke, Elle magazine approached us about
doing a co-partnership during Fashion Week. Excited about
Nadav Kander’s original wardrobe designs for the shoot, our
Orbit models appeared on the catwalk and at Elle-sponsored
events throughout the week in New York.” Isabela Ferreira,
art director; Jonathan Ozer, writer; Isabela Ferrera/Jonathan
Ozer, associate creative directors; Frank Dattalo/Mike Roe,
group creative directors; Nadav Kander, photographer; Jackie
Lapides, print producer; Laura Feeny, art producer; Liz Miller-
Gershfeld, executive producer; Wrigley, client.
Energy BBDO
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6. 43Communication Arts
This page: TV spot for Wrigley. “This is elaborate
filmmaking, and brand building, with a purpose. There
was a conscious decision to eschew traditional CPG
behavior like trumpeting attributes such as chewier
and fruitier. This is about creating an alternate reality—
where all your senses are engaged, not just taste.”
“Zing” :30
Anncr. (VO): How it feels to chew 5 gum.
(Open on a guy in an immense 5 testing facility
with large geyser tubes. He presses a button and
leaps off of a platform. Yellow bubbles shoot up out
of the geysers and lift him up. Bubbles progress from
yellow to pink. He freefalls and just as he’s about to
hit the ground a large pink bubble-like object breaks
his fall, and rebounds him towards the camera)
Anncr. (VO): A bubble flavor that changes from sour
to sweet.
Super: Stimulate your senses. 5-gum.com
Tim Mattimore, art director; John Fiebke, writer;
John Fiebke/Tim Mattimore, creative directors;
Frank Dattalo/Mike Roe, group creative directors;
MPC-California, animation; Lucas Spalding, editor;
Spotwelders, editorial company; Stimmung, music
composer; Fredrik Bond, director; Pam Pietrowski,
agency producer; Brigette Whisnant, executive
director of production; MJZ, production company.
TV spot for The Chicago White Sox. “In the pre-
season creative, we focused on the fans’ traditions
that don’t have to be traditional. Besides some guy
that makes an Ozzie Guillen snowman every year,
this particular fellow was our favorite.”
“Beard” :30
(Open on a guy blow-drying a large beard in front
of the bathroom mirror. There is a disposable razor
taped to the mirror. Cut to man talking to camera)
Man: It’s a little tradition in honor of my White Sox.
I stop shaving from the last game of the season, all
the way until Opening Day.
(Cut to man pouring a box of cereal, but instead a
bunch of disposable razors pour out)
Man: My wife? She’s not crazy about it. She leaves
me little hints.
(Cut back to shot of man talking to camera)
Man: See, once it gets down to my belt I know it’s
time for pitchers and catchers report.
(Cut to man in White Sox jacket checking for his keys)
Man: And once it gets down to my zipper, it’s
Opening Day.
(Cut to man in White Sox jacket, who realizes his
keys are inside his beard. He pulls out his keys)
Man: I don’t need a calendar anymore. It’s like a sun
dial. Um...it’s like a hair dial.
Super: There are traditions. And there are White
Sox Traditions.
Michelle Timpone, motion graphic designer; Isabela
Ferreira, art director; Jonathan Ozer, writer; Isabela
Ferreira/Jonathan Ozer, associate creative directors;
Mike Roe, group creative director; Kurt Brandstetter,
director of photography; Sol Design, end graphics;
John Dingfield, editor; Cutters, editorial company;
Dave Gerbosi, sound designer/audio mixer; Another
Country, sound design; Brian Billow, director; Maria
Xerogianes, agency producer; Cindy Becker, executive
producer; Brigette Whisnant, executive director of
production; Hungry Man, production company.
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7. Illustration Annual 201044
This page: Illinois Lottery TV spot. “In Illinois, you can
win a minimum of $12 million dollars two times a
week. Problem is, people wait and won’t play until
the jackpot hits much, much higher. Which is crazy.
Who wouldn’t love to win $12 million dollars? Exactly.”
“Combo” :60
(Open on a car driving down the road. Cut to men
inside the car. Cut to a wide shot of an office)
Anncr. (VO): Three...
SFX: Music begins playing throughout. Coins falling.
(Cut to a man at his desk. A coin falls on his desk.
The man looks up at the ceiling. Coins fall on the car)
Anncr. (VO): Fifty-nine...Forty-two...
(Cut to woman sitting under her desk while coins
and bills rain down around her)
Anncr. (VO): Six...Thirty-one...
(Bills blow over the car. Quick cuts to people in their
offices with money piling up)
Anncr. (VO): And the Mega Ball number is fifteen
(Driver slams on brakes and skids into piles of money)
Anncr. (VO): That concludes last night’s Mega
Millions drawing.
(Cut to TV in office where winning Mega Millions
numbers are displayed. Office is filled with money
and screams of joy. Men in car high five)
Title: Mega Millions can find you twice a week.
Frank Dattalo, art director; Mike Roe, writer; Grant
Tennison, creative director; Frank Dattalo/Mike Roe,
group creative directors; Toby Irwin, director of
photography; Andrea MacArthur, editor; Peep Show
Post, editorial company; Spank Music, music company;
Jeff Van Steen, sound design; Dante Ariola, director;
Liz Zorek, producer; Brigette Whisnant, executive
producer; MJZ, production company.
Illinois Lottery TV spot. “This was a complicated
promotion, but a simple creative idea, that consisted
of collecting all your losing lottery tickets, turning
them in and then getting a second chance at winning.”
“Drums” :30
SFX: Drums beating.
(Open on a man at a desk. He looks up, confused)
Man: My Lottery dream?
(Cut to Dream Man dressed in bright red pleather
playing fiercely on the drums)
Man: Why are you here? My ticket didn’t win.
Dream Man: I got a second chance.
(Dream Man walks to desk and sits)
Dream Man: You can win 35 grand every weekday
this summer with old tickets.
Man: I have old tickets (holding a cup with tickets).
Dream Man: I know.
Man: I love those pants.
(He reaches out to touch them).
Dream Man: You don’t think they’re too much?
Man: Noooo.
Noel Haan, art director; Derek Sherman, writer;
Grant Tennison, creative director; Noel Haan/Derek
Sherman, group creative directors; Foundation
Content, animation; Matthew Wood, editor;
Whitehouse, editorial company; Earhole, music
company; Another Country, sound design; John
Binder, audio mixer; Harold Einstein, director; Liz
Zorek, producer; Brigette Whisnant, executive
producer; Station Film, production company;
I Cubed, visual effects company.
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8. 45Communication Arts
CanadianClub®BlendedCanadianWhisky,40%Alc./Vol.©2008CanadianClubImportCompany,Deerfield,IL
But Elke Anderle, svp, planning director, gets first
place for “Five Days of 5,” a program designed to
spark ideas for creating mystery and mystique
around Wrigley’s 5 Gum. She brought in Damon
Lindelof, co-creator and executive producer of
Lost, inviting clients and agency staffers to hear
him discuss his work.
Afterward: Drinks at The Peninsula. “We debated
the existence of God, Star Wars versus Star Trek
and whether or not robots would someday take
over the earth,” says Anderle. But creatives get way
more than the chance to geek out beyond
recognition during programs like “Five Days.”
They get buy-in. They get clients on the same page.
When creatives later present a nontraditional cam-
paign, clients are far more likely to get it, as in:
“That reminds me of what my good buddy Damon
told me about non-linear storytelling and letting
social media be the driver.”
Fietsam wants more of these initiatives. They keep
his teams open to possibilities. Which is one of his
secrets, actually. Somewhere along the line—when
Fietsam realized that the most successful creative
agencies share this tendency—he trained himself
to be ok with leaving problems unresolved longer
than is always comfortable.
“If you stay open to possibilities as long as you can,
the most interesting answers will come up,” he
says. “From there, it’s about confidence. And given
the brains, people and energy at this agency, I’m
confident that we’ll always get to the better
resolution, the most interesting answer.” CA
This page: “If this calendar doesn’t place Energy BBDO at
the forefront of bleeding edge, Web 3.0, social media, totally
wired, MIT Media Lab-esque, techno-app digital thinking,
I don’t know what will. Seriously—this was very popular
with distributors, we couldn’t keep the damn thing in print.”
Isabela Ferreira, art director; Jonathan Ozer, writer; Isabela
Ferreira/Jonathan Ozer, associate creative directors; Jason
Stanfield, creative director; Derek Sherman, group creative
director; Energy BBDO employees, photography; Jackie
Lapides, print producer; Liz Miller-Gershfeld, art producer;
Jim Beam, client.
“Yes he did.” Jason Stanfield, art director; Jason Hardy,
designer; Steve Denekas, design director; Derek Sherman,
writer; Derek Sherman/Jason Stanfield, creative directors;
Marty Orzio, chief creative officer; Robert Whitman,
photographer; Jackie Ampel/Linda Dos Santos/Jackie Van
Winkle, agency producers; Jackie Lapides, print producer;
Liz Miller-Gershfeld, art producer; Jim Beam, client.
Energy BBDO
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9. Illustration Annual 201046
GUYS THINK ABOUT SEX
EVERY SEX SECONDS
GUYS NEVER CHANGE
NEITHER DO WEJim Beam® Kentucky Straight Bourbon Whiskey. 40% Alc./Vol. ©2009 James B. Beam Distilling Co., Clermont, KY.
Jim Beam® Kentucky Straight Bourbon Whiskey. 40% Alc./Vol. ©2009 James B. Beam Distilling Co., Clermont, KY.
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10. 47Communication Arts
Left: Jim Beam print ads. “The ‘Guys Never
Change’ campaign centered on an insight that
in the midst of overwhelming and capricious
change, 25-year-old guys like connecting with
other like-minded guys, and brands, that stick
to fundamental unwavering truths: Guys being
guys drinking bourbon made by guys the same
way for over 200 years. Not to over-index on
research, but this work really connected with
the intended audience in a powerful way.” Noel
Haan/Tim Mikus/Jason Stanfield, art directors;
Mike McQuade, design director; Joe DeMarco/
Derek Sherman/Al Wyatt, writers; Jason
Stanfield, creative director; Noel Haan/Derek
Sherman, group creative directors; Tony D’Orio,
photographer; Liz Miller-Gershfeld, art producer.
“The ‘America’s Native Spirit’ campaign came
out of a discussion around Russia owning
vodka, France owning champagne, Scotland
owning scotch and Ireland owning beer. In the
U.S., our distinctive drink and spirit is bourbon.
And, as declared by Congress, it cannot be
legally labeled ‘bourbon’ unless it meets
uniquely American strictures about where and
how it’s made. So we boldly leveraged our
Americana heritage and storytelling around that
inherent, differentiating asset.” Jason Stanfield,
art director; Mike McQuade, design director;
Derek Sherman, writer; Derek Sherman/
Jason Standfield, creative directors; JJ Sulin,
photographer; Jackie Lapides, print producer;
Liz Miller-Gershfeld, art producer; Jim Beam,
client.
TV spot for Jim Beam. “Puppy rental was $17.50
an hour with a deposit of $100. Obviously, Labs
were the most popular, followed closely by
Pugs and Rhodesian Ridgebacks. Labradoodles,
however, didn’t seem to catch on as much.
Maybe next summer.”
“Puppy” :30
(Open on two pretty girls sitting on the grass in
a park. A puppy runs up to them and they start
petting it)
Park Girls: Puppy! Aw, he’s so cute!
(Cut to guy who comes up and bends down to
talk to girls)
Park Guy: I’m so so sorry, is he bothering you?
Park Girls: Aw, no. Come sit with us! (motion to
guy to sit)
Park Girls: (looking at puppy) Awww! (looking at
guy) Awwww!
(Cut to guy sitting in a chair. A pretty girls walks
up and sits on the edge of a fountain)
Pug Girl: (looking at something) Is he yours?
Pug Guy: Yeah, he’s my first mate.
(Cut to Pug sitting in a toy sailboat in a fountain.
Cut back to guy and girl. Guy gives salute to
Pug. Cut to guy sitting at a table outside a
yoga studio holding three puppies on leashes.
Two pretty girls run out of the studio to pet the
puppies)
Yoga Girls: Where did you get them?
Yoga Guy: I rescued them from a shelter.
Yoga Girls: Aw, you did that?
(Cut to guy nodding and smiling. Cut to park
with guys standing in line at a booth called
“Rent-A-Puppy.” Jim Beam representatives are
standing behind the booth and handing out
puppies to the guys)
Puppy Guy: (to another guy in line) Get the Lab.
Anncr. (VO): Guys never change. Neither do we.
Jim Beam. The bourbon since 1795.
Super: Guys never change. Neither do we. Jim
Beam bottle, logo and legal.
Noel Haan, art director; Derek Sherman, writer;
Noel Haan/Derek Sherman, group creative
directors; Filmworkers, animation; Matthew
Wood, editor; Whitehouse, editorial company;
Earhole, music company; Zack Math, director;
John Pratt, agency producer; Brigette Whisnant,
executive agency producer; BOB, production
company.
This page: “We didn’t actually script the
conversation-stopping glances in any of these
scenes. We just noticed it happening naturally
and then simply caught it on film.”
“Girls Trump All” :30
SFX: Music playing throughout.
(Open on two men in a barber shop getting
shaves from two other men. A pretty girl walks
by the window and all four men stop and turn to
look at her and then go back to shaving. Cut to
businessmen in a hotel lobby)
Man 1: The Dawson file, tell me about it.
Man 2: Yeah, the closing’s in Bo-
(A pretty girl walks by and both men stop and
stare at her)
Man 2: -ston.
Man 1: OK.
Man 2: So get your game face on.
Man 1: It’s on.
(Cut to a group of men clapping and standing
around a table with a cake celebrating an elderly
man’s birthday)
Men: (Clapping) Happy Birth-
(Men stop talking and clapping to stare at a
pretty girl walking by holding a plant)
Men: (Clapping) -day!
(Cut to a crowded bar. The door opens and a
pretty girl walks in. Everyone in the bar stops
and stares at her walking through the bar. Then
they start talking again)
Anncr. (VO): Guys never change. Neither do we.
Jim Beam. The bourbon since 1795.
Super: Guys never change. Neither do we. Jim
Beam bottle, logo and legal.
Noel Haan, art director; Derek Sherman, writer;
Noel Haan/Derek Sherman, group creative
directors; Dan Fietsam, chief creative officer;
Filmworkers, animation; Matthew Wood, editor;
Whitehouse, editorial company; Earhole, music
company; Zack Math, director; John Pratt,
agency producer; Brigette Whisnant, executive
agency producer; BOB, production company;
Jim Beam, client.
Energy BBDO
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