I’m an Executive Creative Director. And if you ask people who work with me, they’ll tell you that when it comes to judging our own works, I’m always hypercritical. That’s why I’ve never posted here any campaign coming from my agency.
But today I’m pretty proud of this project, so I decided to share it. Hope you’ll like it like I do.
Election time is near and Italian politicians, the most aged in Europe, never miss an opportunity to show their distance from young people and their needs. For a bureaucratic obstacle, thousands of students who live outside the country (e.g. for the Erasmus program) will not be able to vote from abroad. Despite the calls of the European Union and the students’ protest, no one can solve the problem. Ceres, one of the most popular beers in Italy, decides to prove that these guys are better than those who represent them in parliament.
Our goals were to boost the brand awareness becoming the main supporters of the movement and to bring the problem to the attention of everyone, inspiring the conversation about the right to vote and the sense of responsibility of young Italians. We knew that it would have also improved the reputation of Ceres, a beer with a high alcohol content: we wanted to show everyone that the guys who love Ceres are responsible and mature people, that care for themselves and for their country’s future.
Ceres is a strong beer. It believes it’s always worth to take a position, to stand, even if it means making difficult or inconvenient choices. Even if maybe you won’t win. This is the essence of the brand, it is called “Inglorious Heroism”, and it is summed up by the pay-off “The town needs heroes.” Students in Erasmus are real heroes in the midst of their quest to discover the world. These young heroes had been wronged and Ceres decided to help them to vote anyway. Italy is an old, tired country that needs the energy of young people. As the slogan of this operation says, “Italy needs of Heroes.”
We contacted representatives of the students in major European cities. We told them we wanted to organize symbolic elections to make them vote anyway. We launched the twitter hash tag #iovotolostesso (#ivoteanyway), we sent groups in each city a kit with everything they needed to run and publicize the symbolic elections: facsimile ballots, ballot boxes, flyers and posters. We also sent them a few packs of beer to celebrate at the end. The kit also contained instructions on how to create video appeals that students would send us and would become part of a collective promo video. The video was posted on the web, the students used it to spread the word and we sent it to mainstream media.
More groups spontaneously joined in. The symbolic elections took place in 26 European cities on the same days of the Italian real elections. We sent the symbolic results to the media a few hours before the close of official polling stations.
Results:
For the cause:
Thousands of students from 26 European cities joined the initiative. The protest achieved unprecedented visibility on all the national media: TV, newspapers magazines, radios, social media, news website and blogs. The operation opened a debate all around the country. #ivoteanyway became a tweet trend with more than 10.000 tweets in 10 days.
For the brand:
Brand search frequency on google: +470% in 10 days. Ceres was the most cited brand during the election week. People reached: 20 millions, one third of the italian population. Media investment: less than € 5,000.
Advertising Agency: Bcube, Milan Executive Creative Director: Francesco Bozza Creative Director: Sergio Spaccavento, Andrea Stanich Creative Team: Sergio Spaccavento, Andrea Stanch, Alessandro Sciarpelletti, Silvia Savoia Edit: Danilo Carlani, Alessio Dogana Year: 2013
Sales of Heineken are not high enough, so the makers of the ad have an excruciating punishment in store magician Paul Daniels and his wife Debbie singing a syrupy duet, off-key, on a kitsch set. As the pair tunelessly croon “Close to You” a strapline appears: “Buy a pint of Heineken, or we’ll keep running this commercial”. The second ad opens with the line, “It seems some people didn’t takes the last Heineken commercial seriously. Perhaps this might persuade them”, and, as if by magic, Vanessa Feltz and Peter Stringfellow drop from the sky dressed as angels and join in the song. The words “Remember, buy Heineken or we’ll keep running these commercials” close the second ad. But it is the third execution that causes the most belly laughs. With the strapline “Good news. Sales of Heineken have risen dramatically, but not dramatically enough”, Emmerdale’s Lisa Riley and “It” girl Tamara Beckwith sing along while cuddling up to Jimmy Saville with Jimmy Hill marching past playing, very badly, the trumpet.. Finally, in the fourth execution (literally), sales of Heineken have risen… so two lion are sent on stage to devour the performers.
How refresh. How Heineken.
“Heineken advertising typically shows the brand providing a refreshing twist by “blackmailing” people into drinking more beer,” said Iain Newell, the marketing manager at Heineken. “Of course the ads are pretending to be irritating but in fact they are very funny.”
Advertising Agency: Lowe Lintas, London Creative Director: Charles Inge Copywriter: Terry Barry Art Director: Damon Collins Production Company: Gorgeous Enterprises Director: Chris Palmer Year: 2001
In a follow-up to last year’s rapping farmers ad, Yeo Valley launched a tv spot during the first ad break of The X Factor live show. The one-off, two-minute music video features a farming-inspired boy band called The Churned, singing a ballad entitled Forever. The ad was shot on location in Blagdon, in the heart of rural Somerset. The launch tied in with a Facebook karaoke competition, where users could sing along to the Yeo Valley track. The winner appeared in a 30-second version of the ad, which ran during the X Factor final on 11 December.
Advertising Agency: BBH London Year: 2012 Shortlist
An epic send-up of big budget ads, featuring a cast of thousands. Song lyrics: “It’s a big ad / very big ad/ it’s a big ad we’re in./ It’s a big ad/ my God it’s big/ can’t believe how big it is/ it’s a big ad for Carlton Draught / It’s just so freaking huge! / It’s a big ad/ expensive ad! / This ad better sell some bloooooody beer!!!
Advertising Agency: George Patterson Y&R, Melbourne Year: 2006 Gold Lion
We open on a small group of hardcore soccer fans, also known as hooligans, standing in a classic British pub. Suddenly, one of them starts singing the first words of “Truly, Madly, Deeply” by Savage Garden. Another hooligan joins in, and as the camera pulls out, we see that the whole pub is packed with hooligans. They all sing together with the power of an entire stadium of fans during a soccer game, turning the cheesy love song into something big, beautiful and romantic. After the last chorus, a super appears: “It’s match day. It’s Valentine’s Day. Let your better half know how you feel. Dedicate and send this song at pumahardchorus.com”. Followed by Puma’s “Love = football” next to the Puma logo.
Advertising Agency: Droga5 Year: 2010 Gold Lion for the Campaign
On October 27th 2010, thousands of unsuspecting passengers arriving at Heathrow’s Terminal 5 were given a welcome home to remember. People were greeted by a 300 strong choir and vocal orchestra singing a medley of songs, completely a cappella, to welcome them back into the country.
Advertising Agency: Saatchi & Satchi, London Year: 2011 Silver Lion
A man travels on an incredible journey using some of Honda’s landmark products whilst miming to the Andy Williams song ‘The Impossible Dream’. His journey comes to an abrupt end when he leaps off a giant waterfall in a Honda Powerboat into the mist below. Surely, this is the end of his dream? However as Andy Williams reaches the crescendo of the song, our hero returns in a Honda Hot Air Balloon to finish off the song in style. Garrison Keillor – the voice of Honda – sums it all up with ‘I couldn’t have put it better myself’.
Advertising Agency: Wieden + Kennedy, London Year: 2006 Gold Lion
Here’s Coca-Cola celebrating along with Santo its 125th year, and once again, we are guilty of naivety. We believe that, even today, the world is not far from the world that we dream of. In fact we are so naïve about thinking this way, that we decided to carry out an investigation to evaluate just how justified our reasons to believe in a better world were. We are proud to present to you “Choir”, created by Santo for Coca-Cola Latin America and their new communications platform: “REASONS TO BELIEVE IN A BETTER WORLD”.
Advertising Agency: Santo, Buenos Aires Year: 2011 Silver Lion
When T-Mobile invited the British public to be part of their next event, people turned up to Trafalgar Square, not knowing what they were letting themselves in for. Thousands of microphones were handed out as it was revealed they’d all be singing karaoke together. After a number of songs, and with a surprise guest appearance from Pink, the event culminated with everyone singing the timeless classic, ‘Hey Jude’
Advertising Agency: Saatchi & Satchi, London Year: 2010 Shortlist
As Maria Sharapova marches to her tennis match, she passes people who sing I Feel Pretty. She slams a ball cross to court, putting an end to the singing.
The ad, set in army camp, features a soldier receiving a letter which goes to the tune of “Dear John”, the country song written by Lewis Talley, Fuzzy Owen and Billy Barton and made popular by Jean Shepard during the Korean war. As the song finishes the sergeant adapts the classic line from Humphrey Bogart, “Play it again John”.
A tough lumberjack is chopping down a tree. As he rearranges his cap, we notice at the same time he does that his underarm begins to song a sweet song. The corny melody is really annoying him. At this point, we see different cliché images of rough and tough men all undergoing the same situation. Finally, one of them applies the New Rexona Men Sensitive and succeeds in shutting up the underarm voice. A male voice in off says: New Rexona Men Sensitive. Even the most insensitive guy can have sensitive underarms.
Advertising Agency: Ponce Buenos Aires Year: 2011 Silver Lion
Glen jumpstarts his day by drinking a Starbucks DoubleShot. As he opens the can, Survivor appears in his apartment. They follow Glen through his full morning routine, singing a personalized version of “Eye of the Tiger.”
Advertising Agency: Fallon, New York Year: 2004 Shortlist
Google is more than just a search bar. However, most of us don’t use, let alone, are aware of its many features. We needed to find a way to share all this free technology with the world. To educate everyone about all of Google’s innovations; we decided to change the way people learnt about it. We got precisely the people who didn’t use this free tech, to explain to the others why they should. Because, only they would be able to explain it in a way that would be fun to watch, and understood by all. By bringing in just a little bit of courage, creativity and fun; each of them pushed the role of technology in our lives and inspired the rest to use it in ways never imagined before.
Transforming something few were aware of to something the whole world cared about; we were able to re-define the role of technology in everyone’s life. From celebrities, scientists, soccer moms, teens to even sports personalities; everyone came forward to find new ways in which technology could make their world a little better.
Advertising Agency: Johannes Leonardo, NY Year: 2011 Gold Lion for the Campaign
We developed a new brand idea for Discovery Channel: Discovery is the
World’s Biggest Fan of the World. We wanted to celebrate all that is epic, beautiful, inspiring, fun and just plain crazy in the world. Fellow fans—from spacewalking Astronauts to Alaskan fishermen to Zulu warriors to Stephen Hawking to Discovery hosts like Mike Rowe and Bear Grylls—sing along to an old campfire song re-written to express how each of them loves the world. In other words, to tell people why Discovery Channel thinks “The World is Just Awesome.”
Advertising Agency: 72ndSunny, USA Year: 2008 Shortlist
This is a film for the online dating service, Match.com, which features a couple finding each other as they examine musical instruments. He strums a guitar and she plays a keyboard. Together they make beautiful music, and it’s clearly the start of something special.
Advertising Agency: Mother, London Year: 2010 Gold Lion
20 – AMERICAN LEGACY FOUNDATION/TRUTH – Singing Cowboy
We saddled up a horse, found a modern day cowboy that happened to have a hole in his neck due to a tobacco-related laryngectomy, and sent him to Manhattan to sing.
A man in a lift, a jogger, a secretary by the photocopier, a man in his car, an elderly lady…in all these scenes from everyday life, we see people singing with their childish voices.
Advertising Agency: BETC Euro RSCG, Paris Year: 2003 Shortlist
This 60-second commercial shows a lifetime of moms by their children’s sides doing the daily, sometimes mundane, things that help their children grow up to be Olympians. All the while, they sing “You’ll Never Walk Alone” from the Rodgers & Hammerstein musical Carousel. The ad builds from a child’s birth and culminates with the Olympics and a proud mom seeing all her hard work pay off. We then cut to a card that says, “Thank you, Mom,” followed by a series of product brand images that ends on the P&G logo with the voice-over, “P&G. Proud sponsor of Moms.”
Advertising Agency: Wieden + Kennedy, Portland Year: 2010 Bronze Lion for the Campaign
Fallon and Cadbury keep Great Britain pumped for the Olympics with a new spot that re-creates “The Final Countdown” — but adds multiple voices singing from the towers and buildings while a runner makes his way, presumably, to the Olympic Gold. An accompanying interactive feature encourages Britons to upload videos of them singing similarly inspirational songs to help team GB to victory.
A taxi driver refuses to let passengers into his cab. Instead, he walks over to the queue and starts to sing for them. The man who joins in is chosen as the lucky passenger.
Advertising Agency: New Deal DDB, Norway Year: 2001 Bronze Lion
Part of Cadbury’s “Keep Team GB Pumped” campaign for London 2012 Olympics, swimmer Rebecca Adlington is serenaded by royal guards, dinner ladies and butchers with Tina Turner’s “Simply the Best.”
AMP wanted to introduce three new products with specific energy functions, designed to help our target, people who live their lives to the fullest. We also needed to increase brand awareness and embed ourselves into their daily life. We wanted to be the most relevant, unlike our hyper-masculine energy competitors. “Walk of No Shame” was an ode to the infamous walk that young people take “the night after” going out. With the look and sound of a mini-musical, AMP showed how one can take a “walk of no shame” as it gets you back on your feet.
Advertising Agency: BBDO New York Year: 2009 Shortlist
Grand Prix 2001 – FOX Regional Sports (Turkey/China/Russia/India)
A Turkish sports reporter is at a cliff-diving tournament. A diver jumps off a steep cliff, goes into a ‘swan dive’ and lands on dirt. Turkish peasants clap politely. Super: Sports news from the only region you care about. Yours. Fox Sports Net.
A Chinese sports reporter is showing highlights of a ‘tree catching’ competition. We see two lumberjacks chop down a giant 200-ft tree for an athlete to catch. He is not successful. Super: Sports news from the only region you care about. Yours. Fox Sports Net.
A Russian sports reporter is covering a ‘slapping contest’ in a smokey, seedy bunker. Two large men take turns slapping each other in the face. Suddenly, an impressive slap causes the drunken crowd to erupt. Super: Sports news from the only region you care about. Yours. Fox Sports Net.
The host of a Mumbai sports show is interviewing the National Clubbing Champion. Two blindfolded men chase each other with clubs in front of a large crowd. They swing wildly at each other … but miss. Then one loses his bearings and starts pounding a gentleman in the crowd. Super: Sports news from the only region you care about. Yours. Fox Sports Net.
Advertising Agency: Cliff Freeman and Partners, USA Creative Director: Eric Silver Copywriter: Dan Morales Art Director: Rossana Bardales Production Company: Partizan NY Director: Traktor
Alternative Grand Prix – John West (Bear)
At a river, a man fights a bear for a salmon. Voiceover: John West endure the worst to bring you the best. Super: John West Red Salmon.
Advertising Agency: Leo Burnett UK Creative Director: Mark Tutssel Copywriter: Paul Silburn Art Director: Paul Silburn Production Company: Spectre UK Director: Daniel Kleinman
A young man is tagged in an elaborate game, involving the entire city. He races off to tag someone else, and they elude him to the very end.
Advertising Agency: Wieden + Kennedy, USA Creative Director: Dan Wieden, Hal Curtis, Jim Riswold Art Director: Monica Taylor, Andy Fackrell Director: Frank Budgen
Alternative Grand Prix – Levis (Odyssey)
A man and a woman hurtle through a string of solid walls. They crash out of the building, land on a tree, and run up it into the night sky.
Advertising Agency: BBH, UK Creative Director: Stephen Butler Art Director: Gavin Lester Production Company: Academy, UK Director: Jonathan Glazer
An old lamp is thrown out to make way for a new one from Ikea.
Advertising Agency: Crispin Porter + Bogusky, USA Creative Director: Alex Bogusky, Paul Keister Art Director: Mark Taylor, Steve Mapp Copywriter: Ari Merkin Production Company: MJZ, Los Angeles Director: Spike Jonze
Alternative Grand Prix – Honda (Cog)
Cog is a two-minute chain reaction using only parts from a Honda Accord. Each car part cleverly triggers off the next, showing the beauty and precision of the pieces, and the ingenuity of the engineers who built it, prompting the V/O to comment “Isn’t it nice when things just work?”.
Advertising Agency: Weiden + Kennedy, London Creative Director: Tony Davidson, Kim Papworth Art Director: Matt Gooden Copywriter: Ben Walker Production Company: Partizan, London Director: Antoine Bardou-Jacquet
Hundreds of thousands of people are forming a human mountain higher than any of the other buildings in the city. At it’s zenith a variety of people enjoy a moment of exhilaration before others scramble over them and take their place.
Advertising Agency: TBWA/London Creative Director: Trevor Beattie Art Director: Tony McTear Copywriter: Paula Marcantonio, Tony McTear Production Company: Gorgeous Enterprises, UK Director: Frank Budgen
Alternative Grand Prix – Lynx 24-7 (Getting Dressed)
A man and woman wake up in bed. They start getting dressed. We soon discover that their clothes are scattered right across the city. The last shoe sits by two opposite-facing shopping trolleys in a supermarket. The couple met there only hours ago. The man was wearing Lynx 24/7 bodyspray.
Advertising Agency: BBH, UK Creative Director: Rosie Arnold Art Director: Nick Gill Copywriter: Nick Gill Production Company: Small Family Business, UK Director: Ringan Ledwidge
Can hate be a good thing? Honda ‘Grrr’ sets out to prove just that. A tranquil world is invaded by flying, dirty old Diesel engines. However, the population get angry and even, using their hate for the better, destroying every last one. Finally, they herald the brand new Honda Diesel.
Advertising Agency: Weiden + Kennedy, London Creative Director: Tony Davidson, Kim Papworth, Chris O’reilly Art Director: Sean Thompson, Michael Russoff, Richard Russell Copywriter: Sean Thompson, Michael Russoff, Richard Russell Production Company: Nexus Production, London Director: Adam Foulkes, Alan Smith
Alternative Grand Prix – Adidas (Hello Tomorrow)
Adidas 1 is the first shoe with a computer. “Hello Tomorrow” demonstrates that with every step these magical shoes can create an entirely new world out of nothing. It is a story of rebirth and
taking your first steps – again.
Advertising Agency: TBWA/Chiat/Day, San Francisco Creative Director: Lee Clow, Chuck McBride, Joe Kayser Art Director: Joe Kayser Copywriter: Chuck McBride Production Company: MJZ, Los Angeles Director: Spike Jonze
Three young men at a bar drink Guinness. Suddenly the action pauses and the film starts to play in reverse. The men walk backwards out of the bar. As they walk they seamlessly go back down the evolutionary chain through hundreds, thousands, millions of years. Super: GUINNESS. Good things come to those who wait.
Advertising Agency: Abbott, Mead, Vickers, BBDO, UK Creative Director: Paul Brazier Art Director: Matt Doman Copywriter: Ian Heartfield Production Company: Kleinman Productions, London Director: Danny Kleinman
Alternative Grand Prix – Sony (Balls)
Dropping 250,000 brightly coloured bouncy balls down the streets of San Francisco for real = colour like no other.
Advertising Agency: Fallon London Creative Director: Richard Flintman Art Director: Juan Cabral Copywriter: Juan Cabral Production Company: MJZ, London Director: Nicolai Fuglsig
“We created a film that exposed the manipulation of the female image in the media. The objective was to encourage discussion around the subject of real beauty and lead people to the campaignforrealbeauty website.”
Advertising Agency: Ogilvy & Mother Toronto Creative Director: Janet Kestin, Nancy Vonk Art Director: Tim Piper, Mike Kirkland Copywriter: Tim Piper Production Company: Reginald Pike, Toronto Director: Yael Staav, Tim Piper
Alternative Grand Prix – Epuron (Power of Wind)
Wind has a strong nature. Better keep him busy…
Advertising Agency: Nordpol + Hamburg, Germany Creative Director: Lars Ruehmann Art Director: Bjoern Ruehmann, Joakim Reveman Copywriter: Matthew Branning Production Company: Paranoid Projects, USA Director: The Vikings
Grand Prix 2008 – Cadbury (Gorilla)/Microsoft (Halo 3 Campaign)
We hear ‘In the air tonight’ by Phil Collins as we realize we’re in front of a calm looking gorilla. ‘I’ve been waiting for this moment for all of my life…’ The ape stretches its neck like a heavyweight boxer would do before a fight. He’s sitting in front of a massive drum kit as the best drum fill of the history of rock is coming. The Gorilla knows this. He smashes the drums phenomenally – feeling every beat. The camera leaves the ape and his drum. United, the way they are meant to be.
Advertising Agency: Fallon London Creative Director: Richard Flinthan, Juan Cabral Art Director: Juan Cabral Copywriter: Juan Cabral Production Company: Blink, London Director: Juan Cabral
On-line, the Halo 3 website served as a virtual museum, providing an interactive fly through of the entire John 117 monument and putting visitors right in the middle of the fight. They could also learn more about our enemies and hear first hand stories from the men who were there. For that we filmed interviews with surviving veterans of the battle who served with Master Chief. They talked about their experiences and spoke with reverence and awe about what it was like to serve with mankind’s greatest hero.
Advertising Agency: T.A.G. San Francisco/McCann Worldgroup Creative Director: Geoff Edwars, Scott Duchon Art Director: Ben Wolan Copywriter: Rich Herrera Production Company: Go Film, Hollywood/RSA Films Los Angeles Director: Simon McQuoid, Rupert Sanders, Neil Blomkamp
Alternative Grand Prix – Nike (Next Level)
“Next Level” is new take on Football from Nike. Made to inspire football obsessed teens, the film is a first-person journey up the football ranks–from being discovered by Arsenal in a youth match to a life-defining moment playing for our national side. Along the way we experience success (finishing a cross from Cesc Fabregas) as well as frustration (getting burned by Ronaldinho). The film celebrates playing the game with purpose and passion. It shows what it takes to become a modern, brilliant fofotballer – to take your game to the next level.
Advertising Agency: 72 And Sunny, USA Creative Director: Glen Cole, John Boiler, Bryan Rowles, Jason Norcross Production Company: Anonymous Content, USA Director: Guy Ritchie
Philips set out to own the idea of a cinematic viewing experience at home. From the start the strategy was to create a film that movie lovers would want to see.
The film is hosted within a site that, through interaction, educates the audience about the three main features of Philips televisions – Ambilight, Cinema 21:9 and Picture Quality – and ties these features to the act of film making. So, what would movie lovers want to see? We decided on a seamless tracking shot, one long take that a film loving audience could marvel at and be fascinated by. Within the ‘housing’ of a tracking shot we inserted behind the scenes glimpses where the experts could talk about their craft and the decisions they made whilst filming the shot. The DOP on lighting, the Director on the 21:9 format and VFX supervisor shows why picture quality is so important. To allow for more interaction, we decided that a frozen time film, shot using a state of the art motion control rig, would give the audience control upon interaction allowing them to literally move the camera back and forth frame by frame. This is done intuitively through a ‘grabbing hand’ cursor when the screen is moused over.
What makes this interaction really special is the interactive cinematic score. The score, composed by Michael Fakesch, was composed as a linear piece, but was then handed over to a flash music developer to carve up and distort as the user moved back and forth through time, frame by frame – all designed to pull the audience in and hold them there longer whilst they try to unravel the mystery of how the film was made.
The second main element of interaction is the way the audience is able to trigger the three behind-the-scenes educational scenes from the film’s timeline. When the user clicks on the timeline, they reveal films within the film. The timeline unfolds and expands, the post production disappears, each expert walks in and the rigging reappears revealing that all along the actors were simply holding their position whilst a state of the art motion rig captured them in frozen time. All this was designed to be as seamless as possible with maximum visual reward ensuring the audience clicked all three of the hotspots.
In addition to the interaction within the film, the ratio of the film itself could be changed at anytime through first person interaction. This simple, but effective comparison tool really did get across the spectacle of the new Philips 21:9 TV. The other elegantly simple piece of interaction is Ambilight on and off, in the words of the DOP – “you really miss it when it’s not there.” A final point worth noting is the dynamic title sequence. Instead of a traditional loader, we crafted a title sequence correspond to the speed of the users internet connection. The slower the connection, the longer the sequence.
Advertising Agency: Tribal DDB Amsterdam Creative Director: Michael Fakesch, Chris Baylis, Andrew Ferguson Art Director: Mariota Essery, Maximilliano Chanan Copywriter: Carla Madden Production Company: Stink Digital, London Director: Adam Berg
Alternative Grand Prix – T-Mobile (Dance)
On 15th January at 11am, a single commuter started dancing in the middle of a train station. The dance grew as more dancers joined in, until there were over 300 people perfectly choreographed. The excitement caused hundred’s of genuine unsuspecting members of the public to join in and share the moment.
Advertising Agency: Saatchi & Saatchi, London Creative Director: Paul Silburn, Kate Stanners Art Director: Rick Dodds Copywriter: Stephen Howell Production Company: Partizan, London Director: Michael Gracey
Grand Prix 2010 – Old Spice (The Men Your Man Could Smell Like)
This TV commercial was created to appeal to men as well as women, showing them both how great a man can smell when they use Old Spice Body Wash.
Advertising Agency: Wieden + Kennedy, Portland Creative Director: Mark Fitzloff, Susan Hoffman Art Director: Craig Allen, Eric Kallman Copywriter: Craig Allen, Eric Kallmacanal Production Company: MJZ, Los Angeles Director: Tom Kuntz
Alternative Grand Prix – Canal + (Closet)
Canal+ launched its new ‘Original Creativity’ campaign in September 2009. The objective highlight to Canal+’s showcase of original programming, consisting of series, documentaries and fictions, created exclusively by and for Canal+, scripted by prestigious writers such as Olivier Marchal and Jean- Hugues Anglade. To launch this new campaign, we produced THE CLOSET. The film unites quality, humour, originality and a touch of impertinence inherent to the brand’s communications: ‘Never underestimate the power of a great story”
Advertising Agency: BETC EURO RSCG, Paris Creative Director: Stephane Xiberras Art Director: Eric Astorgue Copywriter: Jean Christophe Royer Production Soixan7e Quin5e, Paris Director: Matthijs van Heijningen
Every four years, the keys to football heaven are dangled in front of the international elite. One goal, one pass, one game saving tackle can be the difference between fame and forgotten. What happens on the pitch in that split second has a ripple effect that goes beyond the match and the tournament.
‘Write the Future’ was a messaging platform that allowed Nike to show how football creates this ripple effect. It allowed us to give a glimpse into the future to see what the players were really playing for, in their own lives and the lives of those that follow them. Our goal was to weave the brand into the conversations around this major tournament in a way that celebrated the participating teams and athletes and engaged football fans around the world.
Advertising Agency: Wieden + Kennedy, Amsterdam Creative Director: Jeff Kling, Mark Bernath, Eric Quennoy Art Director: Stuart Harkness, Freddie Powell Copywriter: Stuart Harkness, Freddie Powell Production Company: Independent Films, London Director: Alejandro Gonzales Inarritu
Alternative Grand Prix – Volkswagen (The Force)/Crysler (Born of Fire)
For the all-new 2012 Passat , Volkswagen brings Star Wars™ to one of TV’s most talked about events. Accompanied by John Williams’ iconic “The Imperial March,” the spot features the most infamous villain in the galaxy, a pint-sized Darth Vader who uses the Force when he discovers the all-new 2012 Passat in the driveway. The two iconic brands leverage humor and the unforgettable Star Wars score to create an emotional spot and make Super Bowl ad history.
Advertising Agency: Deutsch, Los Angeles Creative Director: Eric Springer, Michael Kadin Art Director: Ryan Mclaughlin, Craig Melchiano Copywriter: David Povill Production Park Pictures, Santa Monica Director: Lance Acord
Of the big three American car companies, Chrysler was in the most danger of failing. Had there not been a last-minute vote of confidence from the U.S. Government, they would not exist. This was public knowledge, debated throughout the country—should we have loaned Chrysler the money? When it came time to introduce a new product, we had a car to sell and also had to win back America’s confidence. To do this, we took the unlikely position of embracing Chrysler’s Detroit heritage when every other American car company was distancing themselves from the city. We created a 2-minute homage to Detroit, a city primed for a comeback, and ran the spot only once, on Super Bowl Sunday.
Advertising Agency: Weiden + Kennedy Portland Creative Director: Mark Fitzloff, Susan Hoffman, Aaron Allen Art Director: Jim Lasser Copywriter: Mark Fitzloff, Joe Staples, Kevin Jones, Greg Rutter, Dan Kroeger Production: Serial Pictures, Culver City Director: Samuel Bayer
In the real world, music and cocktails go hand in hand. In an Absolut world, music and cocktails come with racing robotic greyhounds remotely controlled by a trio of DJs, spurred on by a cast of characters that make Lady Gaga look casual.
An evolution of its longstanding tradition of collaborating with artists, Absolut Vodka’s Drinks 2.0 campaign ventures beyond artist-rendered print ads to a collaboration with dance maestros Swedish House Mafia on an original track and music video to promote its Absolut Greyhound cocktail.
“Greyhound”–which is the title of the drink, the video, and the actual music track–is a three-minute visual feast created by TBWA\Chiat\Day that sees three groups of couture-sporting racing enthusiasts converge on the Bonneville Salt Flats to watch some robotic greyhounds speed across the parched plains, all while sipping light pink Absolut Greyhounds. While the fabulous people in the desert give each other the “my team’s going to win” stink-eye, the three members of Swedish House Mafia are off in a desolate bunker remotely controlling the robodogs to a photo-finish while ensconced in holographic orbs. With impeccable direction from RSA’s Carl Erik Rinsch, eye-popping visual effects from Home, gonzo wardrobe styling from Franck Chevalier, and a banging club track from Swedish House Mafia, this is not an exercise in understated elegance.
Maxime Kouchnir, Vice President, Vodkas, Pernod Ricard USA, says that where much of the brand’s previous marketing efforts have focused on print, and its Drinks 1.0 campaign brought together actors and visionary photographers to create worlds around specific cocktails, “Greyhound” was meant to elevate the idea of collaboration to “a multidimensional, multi-sensory experience with drinks and music.” The goal was also to create something that skewed a bit younger than Absolut’s 25-35 urban influencers (neo-yuppies in marketing speak), which made SHM a good musical match.
“With everything we do on Absolut we have the pleasure of looking at things through an Absolut lens, like pushing the limits of what a greyhound dog race could be in an Absolut place,” says TBWA\Chiat\Day creative director Hoj Jomehri. “We said, where do people go to really go fast? The Bonneville Salt Flats. And what if these aren’t just regular greyhound dogs, but are gigantic robotic dogs? And what if the band is actually controlling them in this other setting? We just play creatively and push it as far as we can.”
Not surprisingly, given the name of the cocktail, the greyhound was the creative crux of the idea. “The name Absolut Greyhound was so inspiring because greyhound just sounds so sexy and sleek and fast, and all of the associations you have with the dog seemed to inspire that whole world,” says TBWA\Chiat\Day global creative director Sue Anderson. “Then once we knew who the band was, that inspired a fair amount of the video as well. SHM aren’t traditional musicians who are playing guitars and drums. They are DJs and music producers. That’s where the idea came from that they would be controlling the dogs because that’s so much of what they do: They go and stand in front of crowds and control music and the energy and the vibe. Then, once we had SHM we knew that we would have three dogs.”
This direction left things wide open for director Carl Erik Rinsch to create something fantastical. No stranger to sleek and fast robots (he directed “The Gift” from Philips that featured a renegade roboguard in a dystopian future Russia, which was awarded the first ever Grand Prix for Film Craft at the 2010 Cannes Lions), Rinsch immediately had a vision for the dogs.
“We’d said they had to be bigger than typical dog size, we wanted them to feel robotic and metallic, but also very elegant and sleek,” says Anderson. “Right on that very first call with Carl he was like, ‘I know exactly what these dogs should look like.’ He actually already had a drawing, he sent over an initial sketch and we went, ‘That’s exactly what they should look like.’”
“Carl understood inherently that you should have an emotional attachment to these dogs, so when they got to animating the race you really got a sense that these were three distinct characters and you were rooting for one or the other in the race,” adds Jomehri. “That’s a really difficult thing to do when you’re speaking about robotic dogs.”
Given that “Greyhound” is part music video, part ad, it will be distributed across a number of channels. “When it come to our target, music is their number one passion point and they live in the digital space so the campaign is really going to primarily TV and digital,” says Absolut’s Kouchnir. The track will premiere on Pete Tong’s BBC Radio One, and the full-length music video will be distributed to MTV and VEVO. Shorter versions will air on TV with a Shazam for TV integration, taking viewers to the full video. All of this will also drive to http://www.absolut.com/remix and Facebook where fans can remix the track “with the band” and share it with friends.
Kouchnir also says this is the first step in the vodka maker’s new direction of “creating cocktail worlds through the lens of music.” Upcoming artists include U.K. pop artis Dan Black and Swedish rock band Little Dragon, both of which will create original music tracks based on specific Absolut vodkas.
Watch behind-the-scenes footage below.
Advertising Agency: TBWA/Chiat/Day Chief Creative Officer: Mark Figliulo Global Creative Director: Sue Anderson Creative Director : Hoj Jomehri Art Director: Hoj Jomehri, Jin Park Copywriter: Sue Anderson Production Company: RSA Director: Carl Erik Rinsch Year: 2012
OBJECTIVES
Lion Nathan wanted to find more occasions for young adults to drink Tooheys Extra Dry, so it introduced a longneck, TED696ml. However, the longneck market is crowded and not an easy one for “cool” brands like Tooheys Extra Dry.
CAMPAIGN
Longnecks are traditionally sold in brown paper bags, covering the bottle’s branding. The bags represented an inexpensive medium that could be used to engage buyers and establish creativity.
Working with the insight that 18 to 24-year-old drinkers have a desire to express themselves, ZenithOptimedia worked with BMF to bring together the world’s best street artists and TED696’s target market to design brown paper bags around the theme 696.
Local designers were invited to submit designs in a competition that would be judged by the Luca, David Homer and Aaron Hayward at Debaser, Sydney artist Ben Frost, Murray Bell and Andrew Johnston at Design is Kinky, Colin Blake at MTV Sydney, and Tokyo/Sydney painter Numskull, the prize being a 15 ” MacBook, software and a framed set of designs signed by the three celebrity artists. The ten finalists would each receive a case of Tooheys Extra Day 696. The people’s choice, selected online by members of the public, would receive two cases of TED 696.
PR, events, advertorials, online seeding, search and a project website were activated, all with the humble brown paper bag at the core. The campaign created a new advertising medium, sending 700,000 paper bags with 696 designs to bottleshops. In the process, competitor longnecks were wrapped in 696-branded bags too.
The winner of the competition was Mike Watt, a Sydney based illustrator and designer.
RESULTS
In the first 8 weeks, over 500,000 longneck bottles of TED were sold representing $9 in sales for every $1 invested. The website received unique visits from 104 different countries, with each person spending an average of 9.5 minutes at the site.
During the 5-week competition period, we received a cutting edge design every 84 minutes.
MTV held a gala exhibition evening to announce the winning design. The exhibition is now touring nationally.
The bag design promotion was so succesful that it is now an ongoing project, with submissions being printed and distributed throughout liquor stores around the entire country.
Ironically, the brown paper bag that all longneck bottles are sold in, covers the branding of the product inside, yet it has never before been used as an advertising medium.
The 696 campaign won a Silver Pencil at the One Show 2009 for Point of Purchase and In Store Promotion, a Silver Lotus at the AdFest Awards for Direct Marketing, and a Yellow Pencil at the D&AD Awards 2009 for Printed Material in Branding.
Advertising Agency: BMF Sydney Executive Creative Director: Warren Brown Creative Director: Simon Langley Art director: Shane Bradnic Copywriter: Michael Canning Year: 2009