PLANO, Texas, Sept. 20, 2012 /PRNewswire/ — In one of the most highly anticipated Super Bowl announcements of the year, Doritos — one of the marquee brands from PepsiCo’s Frito-Lay division — today revealed the details for this year’s Crash the Super Bowl contest. Following six previous contests, $5 million in prize money awarded and three No. 1 USA TODAY Ad Meter rankings, the Doritos brand is doing the unthinkable for the seventh anniversary of the program — raising the stakes higher than ever before. In a message direct to fans via webcast yesterday evening, acclaimed Hollywood film director Michael Bay and the Doritos brand announced the biggest, boldest contest grand prize to date: an opportunity to work with Bay on the next installment of the “Transformers” movie franchise, along with a shot at a $1 million bonus. From Paramount Pictures and Hasbro, the next installment in the hit series will be released on June 27, 2014. The webcast is now archived on the Doritos Facebook Page (www.facebook.com/DoritosUSA) — the main hub of this year’s contest.
As one of Hollywood’s boldest and most bankable feature film directors, Bay’s repertoire includes such blockbuster hits as the “Transformers” franchise, “Armageddon,” “Pearl Harbor,” “Bad Boys” and “The Rock.” Bay’s films combined have grossed $5.4 billion in worldwide ticket sales, and his most recent hit, “Transformers: Dark of the Moon,” ranks as the fifth-highest grossing movie of all time, earning $1.2 billion at the box office. Bay began his career as a creative force in the advertising world, winning many of the industry’s top accolades, including being honored as “Commercial Director of the Year” by the Directors Guild of America at the young age of 27.
“Having started my career in the advertising business, creating television spots and trying to make a name for myself, I can definitely relate to those who enter the Crash the Super Bowl contest,” said Bay, who began directing commercials and music videos one week out of film school in 1989. “I know firsthand how challenging it can be to succeed in such a competitive industry, so I’m excited to help someone else truly make a name of their own.”
As in previous years, the Crash the Super Bowl contest invites consumers to create homemade ads for the Doritos brand, with two finalist consumer-created spots ultimately airing during the Super Bowl broadcast. One of those ads will be selected by America’s votes; the other by the Doritos brand team. The finalist whose ad scores highest on the USA TODAY Ad Meter rankings will be awarded the grand prize-career opportunity working with Bay. In addition, if a consumer-generated Doritos ad scores No. 1 on the USA TODAY Ad Meter, the Doritos brand will award its creator a $1 million bonus. The Super Bowl XLVII broadcast is set for Sunday, Feb. 3, 2013, on CBS.
“Over the past six years, our fans have created thousands of Doritos ads, dominating the USA TODAY Ad Meter year after year and making Doritos the brand to watch on Super Bowl Sunday,” said Ram Krishnan, vice president of marketing, Frito-Lay North America. “Every year, our fans deliver for us, so this year we’re bringing them a contest grand prize that we know will be a true game changer. The opportunity to work on a blockbuster film like ‘Transformers 4′ is an experience we know will help catapult our lucky winner to the big time.”
For the first time in Crash the Super Bowl history, the contest will be run from a Crash the Super Bowl-branded app on the Doritos Facebook Page (www.facebook.com/DoritosUSA). There, participants can upload their :30 homemade commercials from Oct. 8, 2012 to Nov. 16, 2012, but the app is designed to engage and socialize with consumers in a much broader way than ever before. New to this year’s contest, the app will feature a “Pitch In” collaboration tool that allows fans from all walks of life to interact with each other and assist with the creation of Crash the Super Bowl entries by requesting or offering up props, talent and other items contestants need to create their potentially winning ads. Now, anyone from any background can play a role in the creation of the next great Doritos masterpiece. The app will also house the traditional toolbox where Doritos logos, product shots, music and animations are available for download and use, as well as the gallery of all contest submissions where fans can view submissions and weigh in on their personal favorites.
Five finalist ads will be announced in January 2013. Then it will be up to fans to vote for their favorite consumer-created ad. Each of the five finalists will win $25,000 and a trip to New Orleans to attend Super Bowl XLVII in a private luxury suite at the game, where they will tune in to learn for the first time which consumer ads will compete for the top spot in the USA TODAY Ad Meter before a worldwide audience. Bonus prizing will be awarded, based on how each ad ranks on the USA TODAY Ad Meter:
- $1 million will be awarded for an ad that scores the No. 1 spot on the USA TODAY Ad Meter
- $600,000 will be awarded for an ad that scores the No. 2 two spot on the USA TODAY Ad Meter
- $400,000 will be awarded for an ad that scores the No. 3 spot on the USA TODAY Ad Meter
Created in 1989, USA TODAY’s Ad Meter has been regarded as the most influential Super Bowl ad rating in the advertising industry. USA TODAY Ad Meter does not sponsor and is not affiliated with the contest.
Welcome to the new and improved Michael Bay Dot Com!
As you can see there have been some cosmetic and structural changes.
A little bit of backstory from my end. For the past six years or so the web site was maintain using Rapidweaver—which was so awesome—but after a while, this site grew too big. Updates where taking a bit longer than usual due the fact that each time there was some sort of a change—and depending which kind of change—it would sometimes take up to ten minutes to update the entire web site. Even though there are thousand of files, it might not seem much, but it’s an eternity in web site maintenance. The site is now based and structured on Word Press.
What this all means for you:
- Faster loading pages
- Integrated search mechanism for searching on Michael Bay Dot Com
- Multiple language support (just scroll top the bottom lower left of the page and select you language)
- Responsive-width layout optimized for viewing on your iPhone, Ipad, and other smart phone/tablets
- Integrated social media buttons so you can share pages, pic, videos, and news on sites like FaceBook, Twitter, Flickr, Google+, Tumblr, & Reddit
In the next couple of days we’ll be adding more to the web site. Questions, feedback or comments, please visit our forums.
Thank you for your patience.
It’s a little strange to listen to Michael Bay complain about how difficult it was to get his next feature film, “Pain & Gain,” financed and produced. Especially when you consider that Bay’s last three films — all installments in the “Transformers” franchise — have earned more than $2.7 billion worldwide. Oh, and that the budget for “Pain and Gain” — starring Mark Wahlberg and Dwayne Johnson as two Miami bodybuilders who become involved in a kidnapping plot that’s much too bizarre to sum up in a few words — is only $25 million. Again, remember, this is Michael Bay we’re talking about. No matter what you think of his movies, you can’t deny that they make heaps of money.
I won’t lie: Bay is making the rounds to promote not a movie but a corn-chip contest. For the last few years, Doritos has run a contest giving aspiring filmmakers the chance to direct the company’s Super Bowl ad. This year, as an added bonus, the winner will also get to “work with” Bay on “Transformers 4.” Bay admits that it’s unclear what kind of “work” this person will do, but he promises it won’t be too menial. Ahead, Bay explains why he wants to work on “Transformers 4″ after so adamantly declaring that “Dark of the Moon” would be his last chapter. He also confirms that the series will pick up where the last one left off in Chicago — with Peter Cullen back as the voice of Optimus Prime — and describes just how hard it is for even a multi-billion-dollar director to get a $25 million dollar movie off the ground these days.
Yes it’s coming in April!
It’s my $26 million dollar film that I’ve had for many years, finally I had a moment to shoot it, and it that was a blast! I filmed it in Miami. Pain & Gain is still in the cutting room.
But what I can say this film is a funny, twisted, true crime story. The people who have seen it say to me it’s totally original in its style. But you guys will be the judges. One thing I do know is studios are now a days so shy to make these type of movies, but I know audiences love to still see them.
What I really like about the film are the quirky and rich characters. Why was it fun? Because, simply, my amazing cast. Marc Wahlberg, Dwayne Johnson, and Anthony Mackie were a great trio together. But also working with Ed Harris, who I loved working with in The Rock. Also Tony Shalhoub, not only the greatest guy but an amazing actor. Rebel Wilson, Rob Cordry, Ken Jeoung, and Michael Rispoli round out the cast. And also a new find, Bar Paly.
But I must say Wahlberg and Johnson play totally fresh characters and that’s why it’s so fun to watch them on screen. The editing process is a bit slower on this one because I’m in the middle of launching my three TV shows and prepping Transformers 4–which is going in a total new direction and in a way to really broaden the franchise to give it lasting legs.
As for the teaser poster, we just wanted to create a bit of curiosity for the title, so don’t take it too seriously.
The next Transformers movie could have an unlikely film credit: yours.
Doritos, the Frito-Lay brand that has embraced the Super Bowl as the salty snack’s sweet spot for consumer-generated commercials, on Wednesday will announce plans to seriously boost the booty in its seventh annual Crash the Super Bowl contest.
Doritos will link up with one of Hollywood’s most successful directors, Michael Bay, whose Transformers films have created a movie empire.
Transformers: Dark of the Moon, ranks as the fifth-highest-grossing movie of all time by raking in $1.2 billion at the box office. Bay also directed Armageddon, Pearl Harbor, Bad Boys and The Rock.
The consumer who creates the top-ranked Doritos commercial aired during the Super Bowl — as determined by USA TODAY’S Ad Meter consumer poll of best-liked Super Bowl commercials — wins the chance to work with Bay on the next installment of the Transformers movie franchise, to be filmed in 2013.
In an age of social-media hype and online overload, marketers are increasingly looking for ways to stand out. With this PR-seeking promo, Doritos aims to not only break through the Super Bowl clutter but to add another notch to its recent history of generating some of the Super Bowl’s top commercials.
If a Doritos spot tops the USA TODAY Ad Meter, the creator also wins $1 million.
For those people and press asking: I stopped being an officer or director of the company over three years ago, and have not owned stock in the company for some time. I have remained a loyal client and supporter of the company however. It has amazing people and talent, and it still can be a great company! During this difficult time, my thoughts are with the great people I’ve had the pleasure to work with at DD.
I’m really bummed at losing such a great guy in my life today, Michael Clarke Duncan.
I gave him his first big movie role in Armageddon as Bear. We found him in a gym. He cried at the first audition because he was so proud to audition for a “Michael and Jerry movie”, he just wanted to make his mom proud. We gave him the role in the room.
His first day on Armageddon he sucked. I remember looking to Ben Affleck and thinking we might need to fire him. But I told him “Mike, I hired you for you, I want the sweet, Mr Clarke Duncan I met in that room”. I said, “the audience is going to fall in love with you”.
He looked and smiled with deep voice and said “Ok”.
From then on out he became the most improved actor on the set. That was the award he got at the end of the film. Everyone loved him, his infectious spirit and great belly laugh.
It was a great time I will always remember, how proud I was to watch him grow into an actor. Watching him study all the guys from Bruce Willis, Ben Affleck to Steve Buscemi, and Owen Wilson. When he said in the movie he ” wanted to stay in the White House for the summer” he killed it. In his N.A.S.A. evaluation I told him to cry like a baby. He looked at me with his macho Duncan eyes and said “Mike I can’t do that” I said “yes you can” and it became the biggest laugh in the movie.
I’m really sad to lose him. Rest in peace buddy.
The leaked script for Ninja Turtles that different sites continue to comment on was written well before I, or anyone at Platinum Dunes, was involved with the project.
That script saw the shredder a long time ago.
This is tired, old news — Wait for the movie!
P.S. To end this stupid merry go round and explain the math. Yes we signed on two years ago to Turtles, but with no deal in place. Deal completed towards end of last year. And yes, thats how long deals sometimes take. So no work was done on the script. Blame Paramount, not us for the first draft.
Thanks to Transformers: Dark of the Moon, Bay had a spectacular year financially. The 3-D movie (the third in the Transformers series) was panned by the critics but audiences around the world flocked to see it, spending $1.1 billion on tickets. Bay has a great deal on the films that gives him a healthy share of the profits and money from Transformer toys. We estimate Bay earned $160 million between May 2011 and May 2012.
I heard when I was at dinner tonight. I thought it was one of those pranks on the internet. There was only one story on line and the story was removed, it had to be a prank. Tony would never…
He was the guy that was always so nice. He knew I looked up to him over the years, and he always had that smile whenever we would see each other. He’d always be interesting in talking shop. Then I called Jerry, and he told me it’s true. We are both baffled.
Tony was a guy who was so full of life. He will be really missed.
From left to right: Michael Bay, Jerry Bruckheimer, Tony Scott, and Ridley Scott
We wish you a happy and safe 4th of July!
To everyone else, we thank you for visiting Michael Bay Dot Com!
From the LATimes:
Transformers’ taking new shape with Universal ride and fourth film
Optimus Prime, voiced by Peter Cullen, greets guests as they enter the ride’s “battlegrounds.” (Universal Studios Hollywood)
Film critics who put down Michael Bay’s “Transformers” movies by calling them theme-park rides in disguise won’t change their mind after hopping on Transformers: The Ride — 3D at Universal Studios, but they might have a dramatically improved opinion of theme-park rides.
The $100-million ride, which officially opened May 24, is being hailed as a game-changer by the reviewers and bloggers who cover such things (yes, there is quite a bit of room on the Internet), and even rivals at Disney Imagineering have, in private, acknowledged that the shiny new kid on the block is pretty impressive and possibly, well, transformative.
Cars Land at Disney’s California Adventure in Anaheim, opening this month, has been the big theme park story this summer due to the scale of the project and the stakes involved for a Disney destination that was not the hoped-for success story in its first decade. Years from now, though, this summer’s opening of Transformers: The Ride might also be viewed as a milestone moment for its intriguing hybrid of digital illusion, real-world velocity and assorted atmospheric effects.
“It’s pretty amazing what they do and how they do it,” said Bay, who was a key creative consultant to the ride team of Universal Creative (the in-house counterpart to Imagineering) and Industrial Light & Magic, the illustrious effects house that also works on the Bay robot films. “They’ve got it down to a science and they grab you, take you through this world and this story, and it’s impressive.”
Bay’s consultation may have been limited to the story, but his cinematic fingerprints are everywhere. The “physics” of the ride — like the slow-motion, whizzing metal, groaning-whirl effects used at key points — and the robot design are all from the Bay and ILM trilogy, which, for young male moviegoers, is their era-defining franchise. And despite the reviews, last year’s “Transformers: Dark of the Moon” stands as the third highest-grossing film of all time (trailing only “Avatar” and the final “Harry Potter” film) in international box office.
The Transformers brand dates back to the Reagan era and it may be the ultimate example of the reuse and recycle principle applied to pop culture if you consider the fact that Transformers: The Ride — 3D is a theme-park attraction based on a movie franchise based on a cartoon based on a toy. And, yes, there’s a gift shop right next to the exit with Hasbro’s latest line of mecha-heroes.
There’s plenty more Transformer action to come with a major new video game release, “Transformers: Fall of Cybertron,” due in August and another Bay movie in the works. (The director, by the way, says that the fourth film will include some redesign of the robots and an entirely new cast. He also said it will be his last and set the franchise up “for the next guy.”)
But a fan’s affection for a toy or a movie will only get them to stand in line once for a new theme-park ride, said Chick Russell, the creative director for Universal Creative, as he walked through the dim corridors of the ride in January.
“We want this to be a true state-of-the-art experience and we think we have something really special,” he said. “This is a world that, with these characters and story, is just perfect for us too.”
Veteran observers agree that the ride is pretty close to perfect. Brady MacDonald, reviewing for The Times, ranks the “state-of-the-art marvel” as one of the three best rides in the world and declared its digital accomplishments to be “far more immersive and engaging” than Disney’s Star Tours ride. Theme Park Insider, meanwhile, rates it as the new No. 1 ride in Southern California and calls it a game-changer for the way it uses 3-D to place riders within a world.
There have been some glitches. The ride seized up a number of times on its opening weekend, becoming instantly still and quiet (it’s more like a Blu-ray player than a roller coaster when in distress). There’s also a military problem; the Universal theme park employees at the entrance to the ride are dressed like soldiers and, like drill sergeants, some shout and scold the riders to enhance the illusion that a crisis situation is underway. The problem is not all the riders connect the dots or they just don’t enjoy the being yelled at by a kid in camouflage.
As tweaks are made, Russell’s hope is that the ride becomes a milestone like the one that arrived in Anaheim in March of 1967. That’s when the definition and (more importantly) the ambition of theme-park attractions changed with the opening of Pirates of the Caribbean, the first truly immersive, in-the-dark storytelling ride, with its animatronic buccaneers, music, flickering flames, the rolling water below and the cannon fire overhead — even the fireflies that catch your eye in the inky bayou night.
Bob Gurr, one of the best known Disney Imagineers (he was named a Disney Legend in 2004, a sort of Hall of Fame status within the company), who is noted for his work on Haunted Mansion, Autopia and the Matterhorn, says that the Pirates ride was a pivotal moment. He said it ranks on a short list — along with the Wizarding World of Harry Potter at Universal Orlando Resort in Florida, Cars Land and the Matterhorn — of the “huge leaps forward” he’s seen in his 57 years in or near the business. He may add Transformers to that list in the weeks to come, he said.
“Transformers has pushed the envelope out a bit,” Gurr said, when asked what he’s hearing from peers. “It’s similar to the ‘Harry Potter’ machine, and with a bit tighter 3-D projections. I will see it soon.”
The new ride’s story finds Chicago being leveled by giant space robots called Transformers (the good guys) and Decepticons (the bad guys), and visitors must help protect the AllSpark, a sliver of shiny rock that apparently is of cosmic consequence. The attraction puts riders inside a car of sorts — it’s actually Evac, a sentient robot on wheels — that seats 12 people and then races, swerves, careens, soars and tumbles across (and under and then above) the streets of downtown Chicago, shown on 14 massive screens. Those front- and rear-projection screens display images at quadruple the resolution of HD images (to fend off the picture degradation and dimming tendencies of 3-D) and presented unique challenges in their nontraditional sizes and shapes.
The ride is not quiet (there’s 5,000 watts of sound being pumped by a 14-channel audio system) nor is it peaceful (the cars zoom over 2,000 feet of track and reach a perceived speed of 60 mph), but it is clever. The juxtaposition of urban props (chunks of masonry, mangled pipes, etc.) and the Evac car itself create a tactile foreground. Curved-screen lighting, steam and mist are some of the ways that Russell’s team masked the distance between the props and the pixels.
The most impressive trick of the senses that the ride accomplishes is the one that it does on the sly. To extend the duration of the ride, the designers wanted two levels, so riders start on the first floor, do a lap and rise to the second floor for a loop there. The trick is that riders never feel themselves going up — the elevation moment and movement are disguised by the sensation of wind at their backs (which is created by an evil, sucking Decepticon named Vortex, if you’re curious) and the wobbling struggle of the Evac car as it fights to save its occupants.
There is a moment of oven-hot heat and the splash of fat-drop mist that speak to a long tradition of Universal rides creating atmosphere — the Terminator 2 ride has a squirt moment as well and the old King Kong attraction famously roared with banana-scented breath — but here they are delivered in a concentrated and cohesive way.
That was powerful stuff to Humberto Flores, who brought his 5-year-old grandson, Elijah, to the opening weekend of the ride.
“I don’t know what to say,” Flores said with his hand on gray-bearded chin. “That is art. Really, that’s the ultimate art. It’s like being inside of a movie. I don’t know anything about [the characters] or what was going on there, but that’s something.”
(Miami-Dade County, FL) — Miami-Dade County Commissioner Sally A. Heyman is sponsoring a special proclamation on June 5th, 2012 for world renowned film director and producer Michael Bay, to be presented during the Miami-Dade Board of County Commissioners meeting. The Miami-Dade Film & Entertainment Advisory Board and the Miami-Dade Office of Film & Entertainment requested the proclamation as a way to celebrate and recognize Mr. Bay’s contributions and the positive economic impact his films have had on Miami-Dade County.
Michael Bay’s first feature-length film, Bad Boys I starred Will Smith and Martin Lawrence, was shot in Miami in 1994 and grossed over $141 million at the box office. Bad Boys II was also shot on location in Miami and has grossed $273 million worldwide. Bad Boys I and II together expended approximately $60 million into the local economy. As the director of such films as The Rock, Armageddon, Pearl Harbor, Texas Chainsaw Massacre, and Transformers to his credit, Michael Bay’s worldwide box office totals make him one of the highest grossing directors of all time. The recipient of numerous film awards, he has won nearly every award bestowed by the advertising industry as well.
Mr. Bay is currently shooting Pain and Gain throughout different locations in Miami-Dade County. The project is expected to infuse approximately $25 million into the local economy between March and May 2012. Mr. Bay, who also owns a home in Miami Beach, is committed to the success of the industry here in South Florida.
“The film and entertainment industry brings millions of dollars into our economy each year, creates thousands of jobs, and supports local businesses. Public recognition is a great way to show our appreciation and support for Michael Bay who has contributed so much to the growth and success of the film industry here in Miami-Dade County,” Commissioner Sally Heyman said.
Miami-Dade County Commissioner Sally A. Heyman
The Miami-Dade Film & Entertainment Advisory Board
The Miami-Dade Office of Film & Entertainment
Proclamation – Film Director and Producer Michael Bay
June 05, 2012, 9:30 a.m.
Stephen P. Clark Center (SPCC)
111 NW 1st Street
2nd Floor Commission Chambers
Miami, FL 33128
Paramount marketing changed the name. They made the title simple. The characters you all remember are exactly the same, and yes they still act like teenagers. Everything you remember, why you liked the characters, is in the movie. This script is being developed by two very smart writers, with one of the original creators of Ninja Turtles. They care VERY MUCH about making this film for the fans. Everyone on this team cares about the fans. Just give them a chance. Jonathan the director, is a major fan of the whole franchise. HE’S NOT GOING TO LET YOU DOWN.