Background In Italy, due to prejudice, the basic rights of people with Down syndrome are still too often denied. With more funds available it would be possible to defend their rights.
Idea On launch day, on the site CoorDown.it, 50 people with Down Syndrome each appeared on video appealing to 50 celebrities for a donation. But not of money: they asked them to donate a video. A video in which they, the celebrities, asked for the money to support people with Down syndrome, amplifying their voices. A video, which if then shared via the celebrities’ social networks, would have more chance of being listened to.
50 out of 50 celebrities donated a video and shared it on their social networks, including the singers Tiziano Ferro andJovanotti; the footballers Totti, Materazzi and Zanetti; the rugby player Castrogiovanni; the star chef Carlo Cracco; the Real Madrid coach Jose Mourinho and the actress Sharon Stone. Thanks to the social networks shares and all the media coverage, the campaign reached almost 30 million people, half of the italian population. And donations were up 700%, compared to Coordown’s previous fundraising campaign.
Advertising Agency: Saatchi & Saatchi, Italy Creative Directors: Alessandro Orlandi, Luca Lorenzini, Luca Pannese Art Director: Luca Pannese Copywriter: Luca Lorenzini Social Network specialist: Flavia Pipola Head of Interactive Production: Silvio Coco Web Developer: Dario Cataldi Producer: Erica Lora-Lamia Head of TV: Raffaella Scarpetti Editor: Fulvio Rossetti Social Media Partner: Ambito 5 Website development: Logicweb Partners: Top Digital, Flipper Music, Luca Bottale, H-Films, Getty Images, Google, Akita Year: 2013
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
Advertising Agency: Buzzman, Paris, France CEO / Creative Director: Georges Mohammed-Chérif Art Director: Louis Audard Copywriter: Tristan Daltroff Art Director Assistant: Clément Séchet Year: 2013
TNT TV Channel – Dramatic surprise on an ice-cold day
Advertising Agency: Duval Guillaume Modem, Brussels Creative Director: Geoffrey Hantson, Katrien Bottez Copywriter: Dieter De Ridder Art Director: Ad Van Ongeval Production Company: Czar Director: Koen Mortier Year: 2013
Fantastic Delites – How Far Would You Go?
The Delite-o-matic is an interactive vending machine that dispenses free packs of Fantastic Delites simply by pushing a button hundreds of times or by performing challenges. The Delite-o-matic was put out on the streets to prove that because Fantastic Delites taste so good, people will go to incredible lengths to get their hands on them.
Advertising Agency: Clemenger BBDO, Australia Creative Director: Karl Fleet Digital Creative / Art Director: Oliver Prenton Digital Creative / Copywriter: Matt O’Grady Year: 2012
TNT TV Channel – Big Red Push Button
To launch the high quality TV channel TNT in Belgium we placed a big red push button on an average Flemish square of an average Flemish town. A sign with the text “Push to add drama” invited people to use the button.
Advertising Agency: Duval Guillaume Modem, Brussels Creative Director: Geoffrey Hantson, Katrien Bottez Copywriter: Dieter De Ridder Art Director: Ad Van Ongeval Production Company: Czar Director: Koen Mortier Year: 2012
Coca-Cola – Happiness Truck
A Coca-Cola delivery truck is converted into a happiness machine on wheels delivering “doses” of happiness in the streets of Rio De Janeiro, Brazil. Where will happiness strike next?
Advertising Agency: Definition 6, Atlanta Year: 2011
TBWA Hunt Lascaris Johannesburg’s brief was to conceptualise an outdoor campaign that illustrates that Doom Fogger gets into every nook and cranny, killing insects before they get too comfortable. Using cracks on outdoor walls, they created a make-believe world, showing cockroaches in different environments. This was achieved by creating miniature furniture and using actual cockroaches to depict real life scenarios inside the cracks.
Advertising Agency: TBWA, South Africa Executive Creative Directors: Matthew Bring, Adam Livesey Creative Director: Justin Wright Art Director: Sifiso Nkabinde Copywriter: Thokozani Mashigo Agency Producer: Sharon Cvetkovski Account Manager: Vanessa Maselwa. Production: Birthmark Director of photography: Rowan Cloete Producer: Matthew Durant Year: 2012
Just Dance is the fun dance game series that anyone can pick up and play. But until now, the audience has been limited to teenage girls. For the launch of Just Dance 3, the brief was to expand the audience, with no media spend.
To promote the release of Just Dance 3, Crispin Porter + Bogusky created Autodance, an app that proves anyone can Just Dance. Simply record your friends doing stuff and the app syncs their movements to a choice of dance tracks from the video game. Like magic, your friends will be shaking their stuff in a branded music video that can be shared online.
Autodance is more than just a fun app. It’s a fun tool to get people to make and share our ads for us. Each user-generated video acts as an advert for Just Dance 3, and features our tagline “Anyone can Just Dance”, along with an end card for the game.
The app proved so successful it’s now been incorporated into Just Dance 4.
With no media spend, Autodance exposed Just Dance 3 to a new audience of millions. And over Christmas 2011, Just Dance 3 became the best-selling video game in Europe.
Results:
App Downloads: 6.3 Million
User-generated videos: 32 Million
Video views (in phone): 118 Million
Video views (on Facebook): 32 Million
Total video shares (Facebook and Youtube): 2.9 Million
Facebook likes: 4.3 Million
Facebook comments: 2.4 Million
Advertising Agency: Crispin Porter + Bogusky, Gothenburg Creative Director: Mattias Berg Copywriter: Jim Connolly Art Director: Mattias Berg Production Company: Adore You Chief Creative Officer: Rob Reilly Executive Creative Director: Gustav Martner Executive Creative Director: Bjorn Hoglund Creative Technology Director: Per Rundgren Head of Interactive: Marcus Aslund Interactive Developer: Martin Furuberg Motion Designer : Motion Designer Jörgen Bengtsson Visual Designer: Stephano Dinamarca Fernández Visual Designer: Mattias Nordenham Year: 2011
To generate a buzz leading up to the season premiere of Parco PI on the American network Court TV (now truTV), a show that revolved heavily around the subject of adultery, a campaign was conjured up that – at first glance – looked like every cheating man’s worst nightmare. A fictitious character called Emily seemed set on exposing her husband’s adulterous ways for the whole world to see and having her revenge. In a blog Emily drew readers into the story of how she came to realize that her husband was cheating on her. Within several days, the blog had received over a million hits and Emily was getting requests for media appearances at a national level. The narrative laid the foundation for a series of billboards on which Emily declared “Fourteen Days of Wrath” against her cheating husband, Steven. Four of the Fourteen Days of Wrath were actual staged events in New York City. When Emily threw out her cheating husband’s belongings, the drama was captured on a hand-held camcorder and uploaded to video-sharing sites.
The campaign as a whole was covered by over 200 news sources on-air, online and in print.
From New York Times. By Julie Bosman (July 24, 2006)
It was the pitch-perfect vengeful Dear John letter, blown up on a billboard in the middle of Manhattan by a furious and apparently deep-pocketed spouse.
“Hi Steven,” it began, cheerily enough. “Do I have your attention now? I know all about her, you dirty, sneaky, immoral, unfaithful, poorly endowed slimeball. Everything’s caught on tape. Your (soon-to-be-ex) Wife, Emily.”
The billboard created interest, and not just from an unfaithful Steven. A booking agent from “Good Morning America” sent an e-mail to Emily inviting her on the show. British Glamour wanted to make her the subject of a feature article.
But when pictures of the billboard proliferated on Gawker, Defamer and other blogs, readers quickly dug in. One fact soon emerged, thanks to camera phone pictures: the billboard was identical to others in Brooklyn, Los Angeles and Chicago. Someone else discovered that Emily was keeping a blog, thatgirlemily.blogspot.com, detailing Steven’s infidelities. More digging showed that one Emily blog entry was oddly similar to a synopsis for an episode of “Parco P.I.,” a reality show on Court TV.
Another “source” sent an e-mail to Gawker suggesting that Court TV was behind the signs, pointing out that it was a viral marketing campaign to promote one of its programs. Mystery solved.
The bad news for viral marketers who use these kind of devices: executives at Court TV said they did not really want to be discovered so quickly. The good news is that even after the ruse was discovered, people visited the Emily blog, pushing it to one million hits by the end of Thursday. A fake surveillance video on the blog, supposedly from a private eye capturing Steven holding hands with his paramour, hit YouTube and became one of its most-viewed videos. Did it even matter that Emily was fictitious?
“Emily is really an amalgam of all of us who have been cheated on,” said Marc Juris, general manager for programming and marketing at Court TV. “Clearly, this really resonated with people.”
Whether it resonates into higher ratings for “Parco P.I.” is another matter. The “Emily” ruse was originally intended to be a stunt to help promote the start of the show’s new season on Aug. 15, but Court TV’s marketing group liked the idea so much that they made it a large part of the campaign. The second phase — ads for the show to be stamped over the original billboards — was to start next Monday, but Court TV moved it up to July 26 after all the attention.
Mr. Juris was still marveling: “It’s like a flash investigation took place, and within 24 hours we were busted.”
Advertising Agency: Amalgamated NYC, USA Copywriter: Tommy Noonan Copywriter: Jon Yasgur Account Manager: Judy Goldfarb Creative Director: JASON GABORIAU Creative Director: Doug Cameron Year: 2006
“Dumb Ways to Die”, is an integrated advertising campaign designed to curb the number of train-related deaths in Victoria. The campaign is centred around a three-minute animated music video, highlighting the many dumb ways there are to die, with being hit by a train – a very preventable death – among them. The video and iTunes single are accessible online at DumbWaysToDie.com, with animated gifs being released on Tumblr, on radio, in posters on small and large space outdoor and throughout the Metro Trains network, with the lyrics to the song on the art work.
The Idea: Safety PSAs are gloomy and tedious and largely ignored by young people hardwired to resist them—except when they’re irresistibly fun and impossible not to share with friends. McCann Australia managed just such an evolution of the genre with “Dumb Ways to Die” its animated train-safety spot for the Melbourne Metro. The three-minute music video shows adorable blobs making the stupidest decisions ever—messing with animals, sticking forks in toasters, eating superglue, etc.—leading to all sorts of gruesome, fatal accidents. The dumbest way to die, the ad suggests at the end, is by being careless around trains. “The idea for a song started from a very simple premise: What if we disguised a worthy safety message inside something that didn’t feel at all like a safety message?” said McCann executive creative director John Mescall. “So we thought about what the complete opposite of a serious safety message would be and came to the conclusion it was an insanely happy and cute song.” With more than 30 million YouTube views, it seems happy, cute and grisly was the way to go.
The Song: The song begins, “Set fire to your hair/Poke a stick at a grizzly bear/Eat medicine that’s out of date/Use your private parts as piranha bait,” before the chorus repeats the two lines, “Dumb ways to die/So many dumb ways to die.” Mescall wrote most of the lyrics in one night at the agency. “It then took a few weeks of finessing,” he said, “getting rid of a few lines that weren’t funny enough and replacing them with new ones.” The line “Sell both your kidneys on the Internet” was a late inclusion. “I’m glad it’s there. It’s my favorite,” he said.
Australian musician Ollie McGill from the band The Cat Empire wrote the music. “We basically gave him the lyrics and told him to set it to the catchiest nonadvertising type music he could,” said Mescall. McGill delivered something almost unbearably catchy. “The melody is easy to remember and sing along to, the lyrics are fun, bite-sized chunks of naughtiness, and the vocals have just the right amount of knowing innocence,” Mescall said. “It’s a song that you want to hate for living in your head, but you can’t bring yourself to hate it because it’s also so bloody likable.” The singer is Emily Lubitz of another Australian band, Tinpan Orange. (The song is credited to Tangerine Kitty, which is a mashup of the two band names.) “Emily brought a great combination of innocence, playfulness and vocal integrity,” Mescall said. “She brings a level of vocal quality you don’t normally get on a video about cartoon death.”
The Art Direction: Australian designer Julian Frost did the animation. “We gave him the most open brief we could: Just make it really funny and really awesome and do it to please yourself,” said Mescall. The visual reference points ranged from Edward Gorey’s The Gashlycrumb Tinies to Monty Python’s “Always Look on the Bright Side of Life” (which showed men singing while being crucified) to “any number of hokey indie music-video flash mobs you see on YouTube,” said Mescall.
“Julian was keen to contrast the extreme situations described in the lyrics with the simplest animation possible. Otherwise it would become just too much.” After the spot blew up online, Frost wrote on his website: “Well, the Internet likes dead things waaay more than I expected. Hooray, my childish sense of humor pays off at last.”
The spot lives online, in short bursts on music TV, and may reach cinemas. The campaign is also running in radio, print and outdoor. The song is on iTunes, where it reached the top 10. The agency is also producing a book as well as a smartphone game that should be ready by Christmas.
Advertising Agency: McCann, Melbourne Executive Creative Director: John Mescall Creative Team: John Mescall, Pat Baron Animation: Julian Frost Digital Team: Huey Groves, Christian Stocker Year: 2012
The Chain is the world’s longest user generated football video and is edited together from user submissions. The Chain is a feast of homebrewed football moves from all corners of the globe, with one user passing the ball to the next. The brand moves from being a speaker to being a facilitator of the message of the global movement for beautiful football. The consumers become the voice.
The Chain campaign was kicked off – literally – by Ronaldinho. The football star was filmed kicking a ball out of the camera frame, and then viewers were encouraged to filmed the following link in the chain. The rules were very simple: the ball must enter from the left and exit to the right. Beyond this the participants could show off thei footballing skills any way they liked. Over 40.000 films were uploaded to the website, with 2.000 of those selected for use in The Chain, a two-hour football video that has been viewed by more than 20 million people.
Advertising Agency: FramFab Denmark, Copenhagen Creative Director: Lars Cortsen Copywriter: Thomas Robson Art Director: Rasmus Frandsen Designer: Kristian Groove Møller Interactive Designer: Kristian Groove Moller, Martin Mohr Programmer: Martin Ludvigsen Technical Director: Jesper Arvidson Producer: Simon Ryhede/Michael Amsinck Year: 2006 GOLD LION (2006, Cannes International Advertising Festival) GOLD (2006, London International Awards) GOLD (2006, Epica – Europes premier creative awards) , GRANDPRIX (2006, Eurobest Awards), GOLD (2007, The One Show), GOLD (2007, CLIO, “Fresh Approach”), SILVER (2007, CLIO, “Brand Building”), NOMINATION (2007, D&AD Awards”)
All adults know: healthy eating is important. The organic supermarket chain Fresh`N´Friends benefits from that situation. There is just one small problem: kids hate healthy food but they love sweets. Actually, that´s even a big problem. In Germany every fifth child is overweight. “Instead of calling attention to that problem with a traditional ad campaign we chose to solve the problem.”
The solution was a new product: fruit figures. “To make fruits as appealing as sweets for kids we designed fruit arrangements that suit children. Boring fruits were designed in shape of teddy bears, kittens, flowers – all the things kids love.” Just like ordinary fruit salads the fruit figures were sealed, put in a tray and sold in Fresh´N´Friends stores.
Additionally, they were promoted with advertising specifically targeted at parents and their kids – direct mailings, email newsletters and posters. In order to involve the kids directly in the campaign a contest was started. We placed cut-out sheets in every package. So the kids could make their own fruit figures by hand. They also could design them digitally on the Fresh`N´Friends website. All ideas were published and judged online. The figure with the most votes was added to the product range. Over 3,500 designs from children were submitted. The rabbit figure of five-year-old Dario got the most votes and was therefore added to the product range.
Advertising Agency: Scholz & Friends, Berlin, Germany Creative Director: Martin Pross, Matthias Spaetgens, Wolf Schneider, Mathias Rebmann, Florian Schwalme Art Director: Alexander Doepel, Sandra Krebs, Bjoern Kernspeckt, René Gebhardt, Loic Sattler, Jinhi Kim Photographer: Attila Hartwig Graphics: Peter Schoenherr, Simon Rossow Year: 2012
”A hero is more than a person, a hero is a belief. A belief that, against impossible odds, the world can be saved—and that the world is still worth saving. Heroes inspire that belief in us. They renew our faith and give us that most precious of all gifts—hope. The world needs heroes. That’s why, when a true hero arrives, the world will honor him.“— Xbox.com introduction of “Believe”.
In a bid to reach new audience for Halo franchise for the release of Halo 3, a futuristic human versus aliens science fiction videogame, McCann and T.A.G. in San Francisco came up with this complex integrated campaign that utilizes both film and online advertising. They created a large diorama that documented a historic battle, which was filmed for tv and cinema spots. An interactive flythrough tour of the diorama was then also placed online. It was all intended to present Halo as a story with real emotion. “Our objective was to use every medium we could to communicate the simple idea that Master Chief (the hero of the game) is a true hero to all humankind” says John Patroulis, creative Director at T.A.G.
“The goal was to make this the biggest title lunch in Xbox history” Patroulis continues. “And we went about it by executing a global campaign that used absolutely no game footage, starred either plastic figures or old men in its films, used classic music as its soundtrack, and almost never showed Master Chief”
“The ability to really move people is limited in a 30- or even 60-second TV spot, but the chance of something that’s more interactive or longer format…that’s the same feeling you get as after you’ve gone through a story or an experience and that’s what moves people... – Taylor Smith, Global Communications Director, Xbox
Halo 3 became the fastest pre-selling game in history and made 170 million in sales on its first day, the biggest launch in entertainment history.