6.8/10
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Art & Copy (2009)

TV-PG | | Documentary | 21 August 2009 (USA)
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ART & COPY is a powerful new film about advertising and inspiration. Directed by Doug Pray (SURFWISE, SCRATCH, HYPE!), it reveals the work and wisdom of some of the most influential ... See full summary »

Director:

Doug Pray

Writers:

Gregory Beauchamp (original concept), Kirk Souder (original concept) | 1 more credit »
2 wins & 2 nominations. See more awards »

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Cast

Credited cast:
Lee Clow ... Himself
Jim Durfee Jim Durfee ... Himself
Cliff Freeman Cliff Freeman ... Himself
Jeff Goodby Jeff Goodby ... Himself
David Kennedy David Kennedy ... Himself
George Lois ... Himself
Charlie Moss Charlie Moss ... Himself
Hal Riney Hal Riney ... Himself
Phyllis K. Robinson Phyllis K. Robinson ... Herself
Ed Rollins ... Himself
Rich Silverstein Rich Silverstein ... Himself
Mary Wells Mary Wells ... Herself
Dan Wieden Dan Wieden ... Himself
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Storyline

ART & COPY is a powerful new film about advertising and inspiration. Directed by Doug Pray (SURFWISE, SCRATCH, HYPE!), it reveals the work and wisdom of some of the most influential advertising creatives of our time -- people who've profoundly impacted our culture, yet are virtually unknown outside their industry. Exploding forth from advertising's "creative revolution" of the 1960s, these artists and writers all brought a surprisingly rebellious spirit to their work in a business more often associated with mediocrity or manipulation: George Lois, Mary Wells, Dan Wieden, Lee Clow, Hal Riney and others featured in ART & COPY were responsible for "Just Do It," "I Love NY," "Where's the Beef?," "Got Milk," "Think Different," and brilliant campaigns for everything from cars to presidents. They managed to grab the attention of millions and truly move them. Visually interwoven with their stories, TV satellites are launched, billboards are erected, and the social and cultural impact of their... Written by Anonymous

Plot Summary | Add Synopsis

Taglines:

Creativity can solve anything

Genres:

Documentary

Certificate:

TV-PG | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Official site

Country:

USA

Language:

English

Release Date:

21 August 2009 (USA) See more »

Also Known As:

Tehni kai diafimisi See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Color:

Color
See full technical specs »
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Did You Know?

Quotes

Dan Wieden: I think most of the creative people are so damn insecure that they want to think they know everything, but they know deep in their hearts they're just in deep trouble from the minute they get up in the morning. So if you can tell them "that's what you're supposed to be", that's kind of liberating.
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User Reviews

 
Self-serving twaddle
10 October 2010 | by dhyderSee all my reviews

This film starts off strongly and contains some interesting interviews with some famous and some less well-known admen and women. But aside from brief and half-hearted questioning towards the end of the film, most of the subjects interviewed display the typical pathology of ad industry "creatives": they denigrate their clients for their lack of imagination (Hal Riney says outright that the personality he creates is more important than the product) while presenting themselves as creative artists. Deep down, they know they are whores, and thus they never tire of explaining why they are not.

Countless times we are treating to disquisitions on the creative nature of what they do, how it "reaches so many people" and this "at the same time", as if this meant something. Comparisons to the work of Toulouse-Lautrec are made. The suggestion that the work consists in getting people to buy useless products is rebuffed with the argument that it is impossible to get people to do what they don't want to do. Yet many of the subjects boast that they can get people to feel whatever emotion they want and that they can create mass movements out of thin air.

While there are occasional inserts of ad-industry data which might or might not shock you (likely not), no consequences are drawn. Many of the interviews are intercut with shots and images that flatter the subjects' self-image as mavericks. If the director has any critical distance on his subjects, it is so well-camouflaged as to be indetectable.

Towards the middle of the film, one adman explains that great ads are based on truth, and that people can tell whether you are telling the truth and will react to it. If this film is telling the truth, then Michelangelo missed his calling.


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