Handbuilt by Robots – Collett Dickenson Pearce for Fiat Strada (1979)

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“A visual feast. For the audience in 1979 this was as close to sci-fi as you could get. It was like watching two minutes of the Star Wars movie – no one had seen anything like it before. The ad also makes it seem like lots of care has gone into building the cars.”

One evening in 1979, television viewers who hadn’t gone to the loo in the middle of News at Ten saw something very unusual, a commercial break completely taken up by one ad. It was a two-minute triumph showing a car being put together in a factory, and not a dirty blue overall in sight. The original idea for an ad to promote the new italian car was to use smoke coming out of the Vatican as a sign that a new car had been born. But at the drawing board, writer Paul Weiland remembered an item he had seen on the tv show Tomorrow’s World about the Fiat factory in Italy where cars were put together by robots. He tracked the footage down and decided it could form the basis of the new Fiat campaign. “In Europe the car was called the Ritmo, so I thought… what kind of music can I put with this?” recalls Weiland. “My knowledge of classical music was zilch but I remembered something called Figaro and thought: Figaro sounds like Ritmo! I put this music to it and everyone thought it was great…” If that part was easy, the filming of the commercial turned out to be a nightmare.

Ironically, when the production team led by the director Hugh Hudson arrived at the Fiat factory in Turin to shoot the film they had to run a gauntlet of pickets and burning tyres lit by workers protesting about robots taking their jobs. “When we arrived there, there was a strike, and we got locked in to the factory” recalls director Hugh Hudson. “We were locked in nobody operating, just someone to press the button. All the workers were out but we were in making the film…” “The commercial was quite expensive at that time, around 300.000 pounds” add Paul Weiland, “but they probably lost about seven million in production, because every two seconds we were having to stop the machines!”

Strada-press-advert

The finished ad had no voice over and ended on a simple caption “Handbuilt by Robots”. Many ad makers believe its intelligent combination of music and camerawork make it one of the best TV commercials ever shown in UK.

Advertising Agency: Collett Dickenson Pearce
Copywriter: Paul Weiland
Art Director: Dave Horry
Director: Hugh Hudson
Production company: Hudson Films

 


Mercedes-Benz – The Campaign Created By Nature

Mercedes-Benz Trucks has chosen an innovative approach to promoting the clean Euro 6 engine. The entire campaign is literally created by nature. That’s because it is vitally important that we switch to cleaner engines for the sake of nature. And who can convince you to switch better than nature itself. How have animals made the posters? Cut-outs of letters are put on canvas posters and then placed in nature so that rabbits, hedgehogs, boars and other animals can create the advertisements with their pawprints. They do this by leaving behind their muddy pawprints on the canvas posters. So this is how the cut-out letters are gradually filled in. The posters can be seen at car shows and in outdoor advertising together with a link to the making of.

Advertising Agency: N=5, Amsterdam, The Netherlands
Art Director: Ed van Bennekom
Copywriter: Jasper Diks
Producer: Guy van der Hoop
Director: Danny van den Bersselaar
Production Company: Big Shot
Year: 2012


Lowe Roche for Pfaff Auto – The First Instant Direct Mail

With a camera, laptop, printer and Porsche, Lowe Roche created the first instant direct mail piece for Pfaff Auto, Toronto.

Usually, when someone sneaks up to a rich guy’s house and drives off with a Porsche, it’s a reason to call the police. This time, it might be a reason to call an auto dealership. In a clever spin on direct mail for Toronto’s Pfaff Automotive, Canadian agency Lowe Roche photographed one of the dealership’s Porsches in the driveways of affluent homes, then used each image to create an ad left at the home where it was shot. The headline: “It’s closer than you think.” The result, according to the agency’s case study video below, was a 32 percent response rate to a site where recipients could schedule a test drive. Direct mail is typically about hitting as many people as possible for as low a cost as possible, but this creative idea shows that for luxury brands, a smaller effort can sometimes go a long way.

Advertising Agency: Lowe Roche, Toronto, Canada
Creative Directors: Dave Douglass, Pete Breton
Art Director: JP Gravina
Copywriter: Simon Craig
Video Production: Motion Pantry
Director / Cameraman / Editor: Dean Vargas
Year: 2012


Wieden+Kennedy Portland for Dodge (2010/2012)

Dodge Charger – Man’s Last Sand

A collection of men refuse to comply with a collection of modern activities. They rebel in their dodge charger. Dodge, an American motoring icon, is currently focused on clarifying and re-energizing its presence in the marketplace. The opening salvo in this effort is this new commercial set to appear during the 2010 Super Bowl, where Dodge will reach its core male target as well as the broader American culture. Based on the simple truth that while men will sacrifice a lot in their daily life to maintain a harmonious relationship with their girlfriend, their wife, their boss, their career—this spot shows there’s ultimately a limit to their chivalry. Especially when there’s a Dodge involved. In this commercial, Dodge re-affirms its relationship to the sort of men that love to drive real American driving cars, and at the same time tells America at large, through the Super Bowl stage, that Dodge is back with renewed energy and focus.

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Dodge Grand Caravan – Kittens/Turncoat



Dodge’s advertising, just like its cars, is made “in the defense of driving”—a force against the commoditized “beige boxes” that have become so commonplace across America. In contrast, Dodge celebrates the true spirit of American driving with pride and energy. Starting with the key features of Wi-Fi hotspot, voice-activated navigation and Flo TV, we developed the “Turncoat” and “Alright, Kittens” ads to show the extreme end of how the Grand Caravan could be used and driven. They dramatically bring to life what makes the Grand Caravan a unique vehicle: It has everything, so you can do anything.

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Dodge Challenger – Freedom

“Freedom” is a retelling of an important battle in the American Revolutionary War told as grandiose and beautiful as all American folktales. It first ran during the US vs England World Cup game that aired on June 12, 2010.


Though it isn’t a literal retelling of history, it’s a new American folktale about how American freedom was created. Dodge is making a statement about how cars are a very American thing, and how cars like the Challenger can reinvigorate this country’s passion for driving.

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Dodge Tent Event – Invisible Monkey Campaign

After getting into some hot water for the original Dodge Tent Event commercial, W+K got creative to appease all parties involved.

Our challenge from Dodge was to create a breakthrough campaign promoting a free, 60-day test-drive. Our solution was not just any tent sale but the Dodge Tent Event, complete with balloons, confetti, a giant red-and-white tent and the kicker, a chimpanzee dressed as a stuntman.
With Monkey
The commercial garnered a lot of views and comments on YouTube, then PETA saw it. PETA demanded that Dodge remove the chimp immediately. Within hours we had literally taken the chimp out of the ad and rerecorded the VO. The “PETA-friendly” spot was back on TV within days.
Without Monkey
People were wondering whether the solution was a “middle finger” to PETA. In order to steer the conversation, we asked Next Media Animation World News (NMA), the Internet-famous Taiwanese news-animation company, to help us tell the real story in an organic way that could be seen by an already-captive web audience. So they did, in a day. Actually in five hours. It worked. The story (of the Invisible Monkey) got out. The media was swayed. The collaboration between W+K and NMA was kept under wraps. PETA was happy again with Dodge.

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Dodge Charger – Period Piece

Dodge set out to prove that car chases make movies better. To do this, they’ve taken a stuffy Merchant & Ivory-type period love story full of costumes and haughty British accents, and turned it into something we all would stand up and cheer for.

More cars and more driving make for a better movie. In a spot titled “Fast Five—Period Piece,” Dodge and director Steve Rogers take a turgid period film and give it some much-needed horsepower. This spot pays homage to Dodge’s partnership with Universal Pictures for the fifth installment of the Fast&Furious franchise,Fast Five, a film that has a lot of high-stakes chases and a lot of cars, including the 2011 Dodge Charger.

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Dodge Charger – The Future of Driving


In today’s day and age, we are surrounded by technology – right from the air-conditioners, television and refrigerators in our homes to the laptops, PDAs and smartphones at work. The dependency on technology is so much in our lives that it no longer aids us but controls us and sometimes takes out the fun in doing things manually. This is exactly what Dodge Charger portrays in The Future of Driving 2011 Commercial. According to the 2011 Dodge Charger The Future of Driving Commercial, robots can take our food, our clothes and our homes, but they will never take our cars.

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Dodge Journey – Search Engine for the Real World

The 2012 Dodge Journey was built to be a search engine for the real world – a perfect vehicle for adventurous people who actually explore the world instead of just reading about it online. To get people to explore the world wide world, Dodge hid three 2012 Dodge Journeys across America. You find it, you keep it..

Describe the brief from the client
The Dodge Journey was built to help people to explore the worldwide world. But we wanted to do more than just tell them this, we wanted to get them off the couch and actually out there.
Creative Execution
We brought together all the chatter surrounding the campaign onto our YouTube page, combining the conversations from Twitter, Facebook and YouTube into one place.
Describe the creative solution to the brief/objective.
We started with a series of TV commercials. But unlike other car ads, the final heroic shot of the car was a challenge: the Journey they’ve just seen is still waiting at that same beautiful location. If the viewer went there, they could have it. The commercials themselves contained clues and a 24/7 live camera feed showed people exactly where it was – encouraging them to start looking.
Describe the results in as much detail as possible.
Even though only a few people got to drive home in a new Journey, everyone involved got to experience an exciting real-world adventure that inspired them to get out there.

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Dodge Grand Caravan – The Right Tool for the Job


The majority of Americans are driving the wrong car. One that doesn’t fit their lives, or their needs. So they end up having to do things like mount a cargo bin to the roof just to take a weekend trip with the family. Or rent a U-Haul to run to IKEA. In this campaign, we hold a mirror up to all those people who are trying to get by with cars that don’t fit their lives and highlight the Dodge Grand Caravan.

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Dodge Dart – How To Change Cars Forever



What do you need to create a groundbreaking compact car? Smart people, great ideas—and a healthy sense of humor.
That’s according to this entertaining 90-second spot from Wieden + Kennedy in Portland, Ore., for the 2013 Dodge Dart, offering a easy step-by-step instruction guide for designing and engineering a worthwhile entry in the competitive compact-car segment. Basically, you need lots of coffee, not a lot of other commitments, not a lot of committees or finance guys, and a whole lot of refining and refining and refining. The playful rapid-fire presentation is vintage W+K, which has built reserves of wry humor into the Dodge brand for several years now. In a nice touch, the Dart spot—directed by Christopher Riggert of Biscuit Filmworks—also features a celebrity endorsement by Tom Brady, in the form of Brady questioning whether he’s even right for the role. The spot’s energy is derived largely from a solid choice of soundtrack: the Jay-Z and Kanye West track “No Church in the Wild,” from their Watch the Throne album. The spot, titled “How to Change Cars Forever,” also introduces the tagline “New rules,” to emphasize that Dodge is redefining what a compact car can be. “Adding a dose of fun, creative license and Dodge brand humor, ‘How to Change Cars Forever’ captures the meticulous process of starting with a simple idea and developing it into a revolutionary new car, including the angst and pressure of a blank page, trials and errors of the early stages, and molding, shaping and testing the Dodge Dart until it was right,” says Olivier Francois, marketing chief at Chrysler Group. “We wanted to provide a peek inside what it takes to bring a new car to fruition.”

W+K continues to make such glimpses worth your while.


Cannes Alternative Grand Prix (2001/2011)

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

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Grand Prix 2002 – Nike (Tag)

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

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Grand Prix 2003 – IKEA (Lamp)

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

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Grand Prix 2004 – Playstation 2 (Mountain)

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

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Grand Prix 2005 – Honda (Grrr)

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

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Grand Prix 2006 – Guinness (Noitulove)

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

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Grand Prix 2007 – Dove (Evolution)

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

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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

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Grand Prix 2009 – Philips (Carousel)

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

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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

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Grand Prix 2011 – Nike (Write the Future)

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


Mercedes-Benz – Tramp a Benz

For more than 125 years, Mercedes-Benz stands for a certain ambition: The best or nothing. Last year this principle of the founder Gottlieb Daimler became the new claim of the brand. The brief was to make this principle come alive.

The strategy of “Tramp a Benz” was to create a dialogue about “The best or nothing” in Social Media and non traditional media types by telling a very simple story: Germany’s most famous hitchhikes with Mercedes-Benz only. And to bring Gottlieb Daimler’s maxim from the year 1886 to life. Prove it in real life. And show how relevant “The best or nothing” still is today.

In one of the coldest Decembers Berlin ever witnessed, street photographer and performance artist Stefan Gbureck set out on a journey with no destination but one goal: to travel with “The best or nothing”. Which in this case meant – no ifs, no buts – just in Mercedes cars. And the Mercedes community didn’t let him down. Online, where they encouraged him to keep it up. And on the road where he found the friendliest, craziest, most stereotypical and most offbeat Mercedes drivers you could imagine. The pictures and stories of the 17-day trip were shared on Stefan’s Blog. He portrayed the drivers and their cars and showed the results to an even bigger audience after his trip on his very own exhibition. Stefan was invited to event shows and published a photo book with all stories and pictures.

Stefan’s journey was followed by thousands of readers on his blog. Additionally, the exhibition and the photo book made his story accessible to an even larger amount of people. Bloggers commented on the project and the high ambition of a hitchhiker travelling with Mercedes only. The project was always related directly to the new claim “The best or nothing”. And as “Tramp a Benz” supported the brand communication, it helped to raise the recognition of the claim “The best or nothing” from 0% to 42% in 2010. “The best or nothing” campaign was the main topic for days, with the photo book being downloaded 1000 times and Facebook fans rose to 2.5million.

Advertising Agency: Jung von Matt, Hamburg
Chief Creative Officer: Armin Jochum, Goetz Ulmer, Thimoteus Wagner
Art Director: Tilman Gossner
Copywriter: Torben Otten, Georg Baur
Photographer: Stefan Gburek
Animation Company: M.A.R.K 13
Film Production/Cinematographer: Viviane Blumenschein
Year: 2011
Gold Lion


Peugeot Panama – Pinterest Puzzle (a creative use of the pinning platform)

Peugeot Panama has launched a Pinterest-based competition that asks people to complete puzzles by repinning images of its cars. 

Last week the brand created several boards depicting different models with pieces missing.People can search for and find these pieces, pin them on their own boards and share it with Peugeot. The first five people to complete their boards win prizes.

Though a visit to the brand’s Pinterest page leaves you somewhat confused at first, since several boards have been used as placeholders – separating the cars into different price brackets. One such board is titled ‘Starting at 35,000us’ and is toally blank, with no content pinned. It’s an interesting way to use the space, but isn’t immediately obvious.

People are asked to click any board to find out where to look, which is explained as follows:

This is a 5 piece puzzle of a Peugeot 3008, as you can see there are 4 pieces missing. Look for them in our website (peugeot.com.pa) or in our Facebook fan page (www.facebook.com/profile.php?id=1797346790), pin them in your own board and share it with us. The first 5 people to complete their boards win!”

Using boards as placeholders is certainly one of the most creative uses of Pinterest we’ve seen so far, but sadly it’s overshadowed by the fact that the puzzle itself isn’t very clear. It’s difficult to work out how you’re supposed to get involved, and even the brand itself has had to step in to inform a participant that the goalposts had been changed:

Hi Julia!, thank you for participating in the Peugeot Puzzle Contest, sadly as you may know, Pinterest changed our layout so we were forced to adapt the contest again. Please feel free to leave your board and start pinning again. Best Luck!”

That said, Peugeot Panama uses a conversational tone in its outreach above and is trying something new – so should be applauded for doing so. However, it might transpire that a simpler competition, with mechanics that are easier to understand, might be more successful in driving participation in the long run.

A great and impressive use of this very young network. Of course it takes a bit of courage and passion to start such an experiment – and it IS an experiment that started to work well. The mechanic of the puzzle picks up the main idea of Pinterst, which makes it feel integrated on one hand, and explains the great user feedback on the other hand.

Advertising Agency: Tribal DDB Colombia (?)


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