earthmorphosis wrote:umm ok, they DID NOT BUILD THE PLANE SET SPECIAL. THERE IS THIS PLACE IN la CALLED UNIVERSAL STUDIOS THE NAME IS SELF EXPLANATORY.
OK, so whats your point. You go on and on about ad agencies and celebrities, but you dont know for sure what it is either. Do you work in the film industry? I do. And I've worked on a commercial in NYC where they built an plane interior set. It took them 2 days to build. One day to shoot. And one day to break it down.
Yes, actually, sets are built and taken down daily. Especially here in NYC where I work. The seats and interior bulkhead are rented from prop houses. I'm not saying that I'm 100% right about that machine, but why is it so hard for you people to believe that it's a specially made prop? It does NOT look like anything on the market.[/color]
ha, I ant beefin, my point is #1 they DID NOT FILM THAT COMMERCIAL IN NYC. It was filmed in LA, why? check out what ad agency does coors? I know its the agency of record Foote, Cone & Belding Worldwide in Chicago and San Francisco who did. They made it in LA, not NYC where there are airplane sets a pleanty.
#2 My point is, that the agency makes the decisions, and it dont matter what dre uses or says, he's either in or out. so, he simply shows up and uses the stuff they gave him.
#3 most ad agencies have really good relationships with manufacturers (ie akai) who would love a product of theirs, even tho the name of it aint mentined at all and it aint shown from an angle where u can see the name, to be in a major commerical. akai (99.99% sure of this, since this is how advertisiing works) got called up and asked to give an mpc to be in the ad, the ad was made at a time when the only mpc akai could give 'em was a 2000xl since they no longer manufactiured the 3000 or the old skool 2000. Akai is more then happy to get free advertising for theur highly recognizable sampler that even a profile is enough for people in the know to know what it is and those who dont to want to know what it is (that is the essence of advertising, get them interested in the commercial, not for the product but for something else. a strategy taken to the top of the ad game by Nike beginnning in the late 80's. thats why we got shoe ads with dope beats and Mcing, cuz they want us to know its about shoes, but pay atttention to the music/raps)the ad guys used what was available, they DID NOT GO OUT AND COP A MPC 3000 or other used gear, nor did they have someone "bring" one in, for legal resons too, If u used MY MPC (my own personal one) it is possible that I could be entitled to a share of profit genereated by the use of my property, to avoid the hassles this could create (lawsuits and stuff), they just go out and get a new one from akai. simple, they want simplicity, not compliactions.
thats my point, the mpc 2000xl le was the coolest looking, yet still available sampler that is an MPC<, simple logical deduction (why build a prop when u can have one given to you for free?) leads to the fact that it was some kind of mpc 2000xl.
of course it was not plugged in and working dre noddin his head is "Acting" (do you think peeps in music video's are really singing?)
that all I'ma saying, that and given that an agency made, it and they dont care what dre was working with, it could've been anything as long as they could get it free.
speak on it.
oh, and the ad agency i named is the coors agency, been the agency for coors for mad years and was the agency when the commercial was made.[/color]
Take another look man. You got to realize that they wouldnt actually use Dre in a commercial, he's way too busy. Plus, how could they afford Dre if they couldnt afford to build a set. That whole commercial was shot on a Jet Blue red-eye from Omaha to Cedar Rapids. :p Oh yeah, the director had to borrow his step-cousins broken MPC and paint it black because it was so scratched up. :laugh:[/color]
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