Cabrioni Cookies | STASH MAGAZINE

Behind the Scenes with Yves Geleyn for Cabrioni Cookies

The story of a man, his bird and the quest for perfect cookies as imagined by Hornet director Yves Geleyn and illustrator Peter de Sève for Italian food brand Cabrioni. [Read more]

McDonalds Yves Geleyn | STASH MAGAZINE

Yves Geleyn Makes Your Happy Meal Happier

Thirty crew, 12 weeks, six sets, plus hundreds of 3D-printed and hand-painted miniature characters culminate in director Yves Geleyn‘s intricate new stop-motion Happy Meal clip shot on Hornet’s stage in Brooklyn for McDonalds thru Leo Burnett UK. [Read more]

Yves Geleyn_Motorola | STASH MAGAZINE

Yves Geleyn and Droga5 Mix it Up for Moto G

The bright and bubbly end result of this new :60 from Hornet director Yves Geleyn for Motorola’s new Moto G thru Droga5 belies the mixed-media wizardry happening on set and in post. [Read more]

Hornet New Brunswick Power | STASH MAGAZINE

Yves Geleyn: Getting Smart about Power

Hornet director Yves Geleyn specializes in telling simple stories with style and charm. Witness this new :90 animated spot, the center piece of a cross-platform effort urging the good people of chilly New Brunswick to conserve electricity by switching to programmable thermostats. [Read more]

Hornet_Rice Krispies | STASH MAGAZINE

Yves Geleyn: Rice Krispies “Dinosuar”

Hornet’s Yves Geleyn, who established his animated animal-wrangling skills last Christmas co-directing the blow-out success “The Bear & The Hare,” keeps the charm of that multi-award winning John Lewis spot but slides the technique sideways into hand-crafted wooden puppets for Rice Krispies thru Leo Burnett, London.

Watch Geleyn’s previous adventure with woody puppetry here. [Read more]

Hornet_States United | STASH MAGAZINE

Yves Geleyn on the “Monster in the Closet”

Hornet director Yves Geleyn reveals to Stash readers his design and narrative goals behind the powerful new 90-second PSA for States United to Prevent Gun Violence:

“Most commercials would cut on the gunshot, but we felt strongly that we should show it. If it were live-action, broadcasting regulations would have stopped it. Animation allowed us to show the whole scene. People expect the climax even less because of the medium.

“Once we settled on using animation, the key to heightening the emotional impact is in the simplicity of the piece. Less is more. Your brain fills the gaps. You understand that you are in a kid’s room, but it is not filled with too many objects. It is about the mood. This gives more room for the characters to inhabit each scene.

“The character designs themselves are graphic. They have human proportions but in an illustrated way. It is about striking a balance between lovable characters while keeping them realistic so people can project themselves. The family also does not have any sort of key defining characteristics, which helps make them relatable to a wider range of people.

“Speaking in terms of lighting, it is designed in such a way that it points to areas we want you to focus on (something Renaissance painters used frequently). The lighting is sharp. There are no gradients. There are no shadows, just highlights. The lighting helps to build the scene.”

Facts about kids and guns in the US:

• 1.5 million American children live in homes with unlocked and loaded firearms.
• Every day at least 6 children age 0 to 18 are injured in an unintentional shooting.
• 75% of gun shot injuries to children under ten that are serious enough to require hospitalization are due to unintentional shootings. [Read more]