“In the future, emails will make written words a thing of the past,” declares narration for a 1999 television commercial for French telecom giant Orange. “In the future, we don’t have to travel. We don’t have to meet on video. In the future, we don’t have to play in the wind and rain. Computer games provide all the fun you need. Not in it Ours Speaking of Orange’s corporate vision in the future, voices hurry to add: A bit ironic to us looking here in 2025, it is possible that we can be allowed to think that the predictions that lead to it have summed up the advances of the 21st century so far. It doesn’t surprise us to know that the spot was directed either Ridley Scotta dystopian glossy film artist.
Skek Futures is part of Scott’s advertising portfolio. Look up A full-length edit of his commercials (assembled by YouTube channel shots, drones and cuts), the wealth of close, deep sea expeditions, war trench, Australia’s outback waste, Cold War spy waste, neon-lined 1950s diners, and the arrival of small outdoor aliens.
It’s not that Scott is a brand loyalist. That means he did a lot of work for America’s second largest soda brand. Miami Vice– Theme was the theme, but Don Johnson himself starring, but he never stopped him from directing the Coca-Cola spot featuring Max Headroom. Of course, the decade was in the 198s, but at the beginning Scott created his most enduring mark as a visual stylist. Blade Runner.
Barclays Bank’s set of spots (the prosecutions of computerized services now seem to be foresighted about the reality of “supporting” our rapid approach) Blade Runner The aesthetics that they could be part of the same production as well. But nothing is praised for Scott’s dystopian ads as much as the Apple Macintosh Super Bowl Spectacle, which Hammer Throw breaks. 194 people-Style Dictator-on-Video. The edit also includes commercials that I don’t remember much for the Macintosh’s technically innovative but commercially failed predecessor, Apple Lisa. Scott was associated with cutting-edge technology, so it’s easy to forget that he rose to the ad world of his hometown in Britain by repeating his hometown in his UK advertising world over and over again for the big quaint brand, McDougal’s pastry mix, Findus Frozen Fish Pies.
A long synonymous word for the massive Hollywood genre’s huge hit, Scott, which would have started out by creating such nostalgia-filled miniatures, may seem like a contradiction. And it certainly requires careless viewers when the man who directed the vision of the definitive film of a terrifying Asian-influenced urban dystopia will end up making a commercial for the Sony Mini Disc and Nissan 300ZX. It all makes sense if you consider Scott’s artistic interests to be less related to culture, and more to bureaucracy, architecture, machinery, and other systems in which humanity is contained. Certainly, he continues to work in advertising, bringing cinematic grandeur to multi-minuto promotions for brands like Hennessy and Turkish Airlines. Each of them was featured as a “Ridley Scott film.”
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Based in Seoul Colin marshall Write and broadcasting stationTS about cities, languages, and culture. His projects include the Substack Newsletter Books about cities And the book The Stateless City: Walking through 21st century Los Angeles. Follow him on social networks previously known as Twitter @colinmarshall.
