What about asking youngsters, instead of experienced creative directors, to create the strongest communication campaigns?
Pets4Pets Project taught little kids the secrets of the advertising industry; inviting them to imagine new social campaigns to help protect the animals they love the most. WWF, together with a team of creatives, photographers, illustrators, film directors, animators, post-producers and speakers helped students at an elementary school experience the whole creative process: from the brief, to the Pre Production Meeting, to the shooting, to going on-air. The result? Well see for yourself in the case video.
The adventure starts in the classroom, then moves inside the creative agency and finally arrives on a production set. For all the experienced creatives there’s just one strict rule: “never ‘contaminate’ the kids’ ideas”, just offer them the production advice they lack. First Challenge: a print campaign.
Second Challenge: a TV commercial.
“From the first sketch on a piece of paper, to 2 TV commercials, 4 radio announcements and 8 print campaigns, ready to go on-air”. For every creative piece, you can see the “before” and “after”: from the kids’ original sketches to the final executions ready to go on-air. One thing is immediately evident: the kids’ work is already 100% creatively effective.
The team of professionals just helped them “translate” their ideas into a language that adults can understand.
Advertising Agency: Leo Burnett Italy
Executive Creative Director: Francesco Bozza
Associate Creative Director: Andrea Marzagalli
Creative Team: Andrea Stanich, Sergio Spaccavento, Paolo Boccardi, Alice Crippa, Serena Micieli, Silvia Savoia
Executive Producer: Debora Magnavacca
“The people at Virgin Atlantic are what make it special. I’m proud of every single one of them. See how we are flying in the face of ordinary in our new ad above.” Richard Branson, Founder of Virgin Group
Virgin Atlantic is “Flying in the Face of Ordinary” with its new global brand proposition. THe campaign brings to life Virgin Atlantic’s innovative and pioneering spirit, capturing the airline’s passion for flight and demonstrating how Virgin Atlantic goes beyond the norm to deliver unforgettable experiences for its passengers.
As a child, could you catch fish with your bare hands while standing knee deep in the local river? Did you have uncanny, almost otherworldly powers of clairvoyance that let you glimpse the future—and even change it for the better? Could you make paper airplanes before you could crawl?
If you answered yes to any of these questions, you should stop what you’re doing and go work at Virgin Atlantic.
All sorts of outlandishly precocious children grow up to become Virgin Atlantic workers in RKCR/Y&R’s stylish, fantastical, tongue-in-cheek launch spot for the carrier’s new global campaign. Styled as a kind of faux movie trailer—cut into 30-, 60- and 90-second TV edits, as well as a cinema version and a two-minute online spot—the spot celebrates the airline’s staff as literal superheroes. Their special gifts include rapid reflexes, preternatural intuition, creative problem solving and heightened empathy. Naturally, as adults, they rendezvous in Virgin’s ranks as cabin crew, ground staff, designers and pilots.
The tagline: “Virgin Atlantic. Flying in the face of ordinary.”
Launched with the new year, the campaign is unapologetically nostalgic and retro, but knowingly so. Air travel hasn’t been glamorous in decades, yet Virgin brings back some of that attitude—along with the attendant fashion and sex appeal—but in a way that’s exaggerated and borders on self-parody. Promising superhuman staff, in the end, is no promise at all. But in typical Virgin style, the carrier builds the whole campaign around such false claims, and expects you to quit worrying and just enjoy it. And it works—largely due to the skillful direction by Partizan’s Antoine Bardou-Jacquet.
The airline explicitly wants to “bring the glamour and fun back into long-haul travel,” says Simon Lloyd, its director of marketing. Mark Roalfe, chairman and executive creative director at RKCR/Y&R, adds: “We wanted to bring to life that special spark that makes the people at Virgin different. I think the film really captures that, but with the tongue-in-cheek tone of voice that we’ve built with Virgin over the last 18 years.”
Sir Richard Branson, President of Virgin Atlantic said: “We’re always on the lookout for gifted young people to grow our business. Our staff hold the keys to the future of Virgin Atlantic, they work so hard and we are delighted to dedicate this new advert to them.”
“At a time of soaring youth unemployment, our advertisement is a powerful New Year message encouraging everyone to look again at young people and the talents they have to offer to businesses and industries all over the country. People are at the heart of Virgin Atlantic and we believe this advert celebrates this”.
True glamour may be gone from air travel for good. But in the ads, if nothing else, you can still count on Virgin to make it fun.
VFX Supervisor Rob Walker said, “It was great working with Antoine and Rainey Kelly. The guys came to us with some really cool ideas for us to realize, such as a little boy catching live fish with his bare hands. We had an intensive shoot in South Africa and a challenging deadline to meet, but this was the perfect job for MPC as it combined all of our disciplines.”
We’ve had an excellent team working on this project, everyone’s dedication and passion has helped to craft a wonderful piece of work. Our CG department has created holograms, paper planes, an aircraft and a DNA sequence. We’ve also completed extensive rig removal, multiple pass compositing and DMP work to embellish and create environments”
Advertising Agency: RKCR/Y&R, London
Executive Creative Director: Mark Roalfe
Creative Partners: Pip Bishop, Chris Hodgkiss
Production Company: Partizan
Service Company: Stillking
Director: Antoine Bardou-Jacquet
The world is filled with beautiful moments worth capturing. You just have to see them. Also, buy a Canon Rebel T4i camera and carry it with you all the time. That way, whenever inspiration strikes, you’ll be ready to snap a photo you can save forever. Also, Canon will sell more Canon Rebels.
“Inspired” is a new ad for the brand from Grey in New York features a montage of adventurous photographers braving environmental hazards to get that special shot. The spot does a particularly nice job of portraying the product users as the heroes of the story: their antics are by varying degrees entertaining (trying to outrun a charging giraffe, staring down an irate fishmonger) and stupid-dangerous (climbing to the edge of an icy roof to get a better angle on the kid making snow angels in an empty pool). The resulting pictures are all marvelous, and so is the filming of the spot itself, showing all the right attention to detail—e.g., the birthday girl’s sideway glance when her mom nonchalantly sweeps a bowl off the table to get it out of the frame.
The director, Nicolai Fuglsig, also shot Fallon’s Balls spot. He appears to have an affinity for steep roads and the effects of gravity on unusual objects—in that case innumerable bouncy balls, and in this case a flaming tire. The soundtrack is Rachel Fannan of the California rock group Only You singing a charmingly understated version of the easily mawkish classic “Beautiful Dreamer,” and it’s pretty much perfect for the spot. Canon or someone should probably post or sell the whole song somewhere obvious soon. People are going to want to hear it.
Figuring out how exactly the lofty tagline, “Long live imagination,” ties into an ad about making concrete records of inspiring moments may take a few steps of abstraction. But in the end, it does make sense, and the conceit, with all its overtones of creativity and immortality, is pretty much dead-on for an ad aimed at people who want to be artists.
Advertising Agency: Grey, New York
Chief Creative Officer: Tor Myhren
Executive Creative Directors: Ari Halper, Steve Krauss
Creative Directors: Stu Mair, Dave Cuccinello
Production Company: MJZ, Los Angeles
Director: Nicolai Fuglsig
”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.
Halo 3 – Believe
Halo3 Short Film 1 – Enemy Weapon
Halo3 Short Film 2 – Museum
Halo3 Short Film 3 – Hunted
Halo3 Short Film 4 – Gravesite
Halo3 Documentary – The John 117 Monument
Burger King/Open Late
Picasso (Bed & Mattresses)
GSC/Developers against Piracy
Horror Night at Playcenter
Screamfest (Independent Horor Film Festival)
MTV/Nightmare on Elm Street Campaign
During some ads for America’s Best Dance Crew, Freddy Krueger comes out of nowhere and interrupts them as a way to advertise A Nightmare on Elm Street.
In 2008 BETC Euro RSCG created this integrated campaign, which incorporated ambient, radio, press, film and on-line elements, to raise awareness of the Sci Fi Channel in France. The campaign was based around ten alien “children” toys that were placed in different locations acros eight French cities. Fans were then encouraged to search for them by following clues found on a website and in radio ads. Posters were also displayed around towns to advertise the website. The intention was to create an emotional link between the Brand and people who were not already fans of science fiction. Each alien found earned its rescuer a reward of 500 euros. When nine of the figures had been located it was revealed that the tenth had been placed in an orphanage, where it could be interacted with via a website and a page on Facebook.
The treasure hunt apect of the campaign appealed to fans of the Sci Fi Channel, while also attracting new viewers to the brand.
Today, Faceboook announced that it had reached its billion-user milestone, and to celebrate, it has launched a poetic film from its agency of record, Wieden & Kennedy in Portland, Ore.
The film, titled “The Things That Connect Us,” opens with a series of artful, emotional vignettes of people sitting and interacting on chairs — before moving on to other objects and events through which folks come together, such as a doorbell, airplanes, bridges or a basketball game. The point being, that all these things exist, perhaps, to remind us that we’re not alone. It was created by Wieden & Kennedy, Portland, Ore., which Facebook today also unveiled as its global agency of record.
“What we’re trying to articulate is that we as humans exist to connect, and we at Facebook to facilitate and enable that process,” explained Rebecca Van Dyck, a former exec for Apple and Levi’s who joined Facebook as head of consumer marketing in February. “We make the tools and services that allow people to feel human, get together, open up. Even if it’s a small gesture, or a grand notion — we wanted to express that huge range of connectivity and how we interact with each other.”
Although it seems to mark a single moment, it’s a vital component of a branding strategy that’s been a year in the making, one not originally intended to coincide with the social network’s milestone moment.
“This started long before we knew we were going to reach a billion,” said Ms. Van Dyck. “We started thinking about this a year ago and approached Wieden & Kennedy to help us craft a message that articulated our values and who we are. It wasn’t until recently that we realized we were close to reaching 1 billion, and we thought what an amazing way to honor our users, to create this piece for them.”
The film launched this morning globally, with an introduction from founder Mark Zuckberg. Ms. Van Dyck said Facebook will also be using its various ad products, including premium page posts and sponsored stories, for the rollout. “We’ll be able to walk the footsteps of what our advertisers go through,” she said.
Although Wieden & Kennedy had previously worked with Ms. Van Dyck while she was at Levi’s, she said the agency preceded her arrival at Facebook and was brought in by Brand Creative Lead Jessica Sittig when the company started to consider a bigger consumer-facing push.
In developing the idea, Wieden Creative Director Karl Lieberman said the agency spent months meeting with Facebook staffers and getting to know the company. “We tried to figure out what it is that the company’s really interested in,” he said. “There’s a quote by David Kennedy that I really love: ‘Great brands don’t talk about themselves, they talk about what they really love.’ If you follow that blueprint, you’ll realize that Facebook loves things that are social. It finds it interesting and essential that there’s this innate, human desire to connect.”
The film was directed by Alejandro Gonzalez Inarritu of Anonymous Content, who directed the critically acclaimed film “Amores Perros” as well as previous high-profile Wieden projects like Nike’s “Write the Future” and the Emmy-awarded “Best Job” Olympics spot for P&G. The agency chose him for his ability to add emotional depth to an idea that on paper, was “almost academic, anthropological,” said Mr. Lieberman. “We knew we needed Alejandro to take a simple, logical argument and bring a true sense of humanity to it. We didn’t want it to feel critical, as the words are pretty straight, so we wanted him to drop that layer of real human emotion on top of it.”
“One of the things that we were really excited about was that he creates epic pieces of film but he can capture the smallest gesture of intimacy and connections, and that was going to be really important for us to get across in a short amount of time,” Ms. Van Dyck added.
In terms of tone, since this would be Facebook’s first major marketing message, “Facebook wanted to speak in a significant, but humble way,” said Mr. Lieberman. “We thought that starting off with chairs really did that. We don’t think about chairs a lot, but you can if you want. You can spend $5 on a chair, or $5,000. They could be incredibly ordinary, or incredibly sophisticated. We thought it was a humble but interesting way for Facebook to start talking about itself.”
Continuing in the humble vein, the ad makes no mention of the billion-user landmark. “We wanted to use 1 billion as the platform and the moment in time, but we didn’t want to turn the message to be back about us in any way,” said Ms. Van Dyck. “We like the idea of using the context of the moment but we wanted the piece to be thoughtful and to be about our users.”
Going forward, Ms. Van Dyck couldn’t disclose any specific marketing plans but said the efforts will continue with the help of Wieden. “The best marketing that we have is people coming to Facebook every day connecting with their friends, families, local business, but every once in a while we’re going to want to define for ourselves who we are and share our values,” she said. “You’re seeing that from us today and it’s a conversation we want to continue with our consumers.”
Zuckerberg gave an additional explanation after announcing Facebook had reached 1 billion active users:
“Celebrating a billion people is very special to me,” he said. “It’s a moment to honor the people we serve. For the first time in our history, we’ve made a brand video to express what our place is on this earth. We believe that the need to open up and connect is what makes us human. It’s what brings us together. It’s what brings meaning to our lives. Facebook isn’t the first thing people have made to help us connect. We belong to a rich tradition of people making things that bring us together. Today, we honor this tradition. We honor the humanity of the people we serve. We honor the everyday things people have always made to bring us together: Chairs, doorbells, airplanes, bridges, games. These are all things that connect us. And now Facebook is a part of this tradition of things that connect us too. I hope you enjoy this video as much as we do. Thanks for helping connect a billion people.”
This is the script:
Chairs. Chairs are made so that people can sit down and take a break. Anyone can sit on a chair and, if the chair is large enough, they can sit down together. And tell jokes. Or make up stories. Or just listen.
Chairs are for people. And that is why chairs are like Facebook.
Doorbells. Airplanes. Bridges. These are things people use to get together, so they can open up and connect about ideas and music and other things that people share.
Dance floors. Basketball. A great nation. A great nation is something people build so they can have a place where they belong.
The Universe. It is vast and dark. And it makes us wonder if we are alone. So maybe the reason we make all of these things is to remind us that we are not.
United Colors of Benetton has launched “Unemployee of the Year”, a a contest created for young people all over the world, aiming to award 100 projects proposed and voted by the online community. The project, promoted by the UNHATE Foundation, aims to spread a positive message of hope and celebrate young people’s ingenuity, creativity, and their ability to create new smart ways of addressing the problem of unemployment.
For decades, Benetton, the Italian apparel retailer, has been known for provocative advertising that attracts publicity by stirring up discussion of contentious topics like politics, religion and the treatment of AIDS patients. For almost as long, critics have dismissed the ads as exploitative because they do not offer solutions to the problems or assistance to the causes that could use financial help.
Now, however, Benetton is going to put some money where its mouth is — 500,000 euros, to be exact, or about $650,000. A campaign that begins on Tuesday for the United Colors of Benetton brand, and is devoted to the problem of youth unemployment, includes a contest to find worthwhile projects suggested by unemployed young people, who will receive financing from a Benetton foundation.
Information about the contest, called Unemployee of the Year, will be available at unhatefoundation.org, the Web site of the Unhate Foundation, which is named after a campaign carrying the theme of “unhate” that Benetton ran last year.
The contest will be open to unemployed people, ages 18 to 30. They are being asked to submit to the Web site ideas for projects — nonprofit or not — that would improve lives in their communities. Visitors who register at the site will vote on their favorite proposals, and the Unhate Foundation will give the people behind 100 winning projects 5,000 euros each, totaling 500,000 euros. The money to be awarded the winners is a small sum compared with the estimated budget for the Unemployee of the Year campaign, which is 20 million euros, or about $26.2 million. But it is a major commitment compared with what Benetton has spent until now on the issues addressed by its ads.
The goal is “a new generation of Benetton, a Benetton 2.0,” Alessandro Benetton, who in April became chairman of the Benetton Group, said in a phone interview last week. The difference now is that when Benetton seeks to “talk about contemporary social issues,” Mr. Benetton said, the campaign “needs to have a practical response to the problems we’re raising. Not by ourselves are we going to change the world,” he added. “But we want to set an example.” Mr. Benetton said he hoped people would be surprised to see the company spending money to promote “values in which we believe. And I hope it’s something many other companies are doing,” he added.
The campaign is being created by Fabrica, the internal Benetton agency, in collaboration with the Amsterdam office of 72andSunny, an agency owned by MDC Partners.
The campaign includes a commercial in which young people in countries around the world are shown trying hard to find jobs. Some take part in a demonstration, holding banners with uplifting messages like “Dignity.”
“That is meant to counter the widespread complaints directed at jobless youth” Mr. Benetton said, “charging them with being “lazy” or being “anarchists,” or that it is somehow “their own fault” they are unemployed.”
There are also print ads in the campaign, which present portrait-style photographs of well-dressed unemployed young men and women. The subjects of the print ads are identified with phrases like “Angel, 29, non-industrial engineer from Spain,” “Valentina, 30, non-lawyer from Italy” and “Eno, 28, non-actor from the U.S.”
Advertising Agency: Fabrica/72andSunny
118 118′s advertising features two men with droopy mustaches, wearing items of clothing with 118 and two parallel red stripes on it. They have appeared in various forms. The campaign was originally launched using the two men dressed as athletic runners. Used with the catchphrase “Got Your Number!”, the runners’ characters featured in a high-profile advertising (created by British advertising agency WCRS).
This slogan has fallen into disuse by the marketing department of 118 118 because of the expansion of service beyond directory enquiries alone, but the slogan has lived on in the minds of the public. The use of the runners’ characters is particularly noted for the legal action threatened by 1970s record-breaking runner David Bedford. 118 118 responded to this by stating that their inspiration was partly the late American runner Steve Prefontaine.
Subsequently they have appeared in a range of guises, including spoof detectives, as the company expanded on its range of services. During this period, although generally forgotten by the public, the slogan used was “We’re here to help!”, a different focus driven by the expansion of products offered.
2003 – Rocky Campaign
In November 2003 the commercial, called “Rocky”, features the moustachioed runners jogging through London. As the pair run, the ad turns into a training scene reminiscent of the film. More than 30 moustachioed children, dressed as 118 118 runners, join the training run which culminates with the duo recreating the end of Stallone’s run with hands thrust victoriously in the air at the top of a long flight of steps. “That’s what happens when you help millions of people each week!” one of the runners comment… In keeping with the retro theme, the commercial also features a cameo appearance by the 80s ventriloquist, Keith Harris, and his bird puppet Orville.
Keith Martin, the account manager at WCRS, said: “The campaign has two points of focus. The first is memorability. With the old 192 service being switched off on 24 August, there will be a lot of activity and so it is all about getting 118 118 as the most memorable number for customers to use. The second aim is stature. By running these campaigns, we want to show that 118 118 is here to stay – that the company is taking millions of calls a month already. More weighting is being put on running the 60-second spot, as it adds scale.”
2004 – Honda Spoof Campaign
In this addition to the series featuring the skinny athletes, they created the award-winning Honda commercial “Cog” and “Choir” created by Wieden & Kennedy London, using old bit of carpet, gym mats, a stop sign and a couple of old treadmills. It’s not as high tech as the original, but it gets the message across – and probably provided a nice giggle for the advertising community. It was created for television, but Honda failed to see the humorous side and stopped the ad from being broadcast. It is now, however, available for view online and is being promoted through a viral campaign.
2006. A-Team Campaign
In February 2006 a new advertising campaign was launched in which the runners appeared in advertisements in the style of the television show The A-Team, using the A-Team theme tune with the number 118 sung over the music.
2007. Flashdance Campaign
In May 2007 a new advertising campaign was launched in which the runners trade in their 70s look for leotards and leg warmers to spoof the 1983 film starring Jennifer Beals. The two and a half minute clip features a comedy reworking of Michael Sembello’s song Maniac, which featured on the Flashdance soundtrack.
2009, the Ghostbuster Campaign
Shot like a camp pop video, the 2-minute film also stars Ray Parker Jr, who appears in a number of guises, including a postman, a bus conductor and a mechanic. 60 and 40-second versions will also be broadcast. The legendary singer stars alongside the moustachioed 118 118 brothers who are back in tight shorts running round a London street helping people out. The ad ends with the trio standing on top of a mini van singing to a crowd of dancing onlookers.
Each ad, in documentary style, featured a family comparing the power of Typhoo with a bizarre way to start the way: a drill sergeant, buckets of water, and a cockerel.
In the first, a drill sergeant bursts into the couple’s bedroom yelling at the top of his voice. The camera cuts to the woman talking to the camera. We see a box of Typhoo being exchanged for the sergeant at the front door. “Wake up soldier!” is yelled into the face of the sleeping woman. “Molies Molies” is yelled at the husband brushing his teeth. Children are harangued into eating up their breakfast. Those who don’t cooperate are forced to do press ups and star jumps. The ad finishes with the sergeant leaving and the woman claiming back her box of Typhoo.
“This week Typhoo have asked us to see if a drill sergeant can make a better wake up call than my Typhoo. He’s a bit intense. Yeah really loud. We began to miss our Typhoo. Very early on Michael my husband found it tough. He’s not used to the exercise. I mean it was an experience. But Typhoo is so much nicer.”
During the second week, buckets of cold water are the method of choice: the couple are woken up with water poured over their faces in their bed. The camera moves to them speaking in their dining room . We see them at their front door exchanging a packet of Typhoo tea for a white-jacketed man with a bucket. Time and time again they are taken unawares – drenched with the bucket of cold water. Finally the man leaves and the couple happily retrieve their Typhoo tea.
“This week Typhoo asked us to compare cold water to the wake up power of Typhoo. I didn’t realise that a bucket could hold so much water. That was a nightmare wasn’t it – breakfast time. We began to miss our typhoo very early on. We were sick of the water by day two, well day one really. But I mean it did wake you up. You know, who’d want to stay in a wet bed? We were very happy to get the Typhoo back.”
Finally, the family gets to live with a cockerel for a week. A rooster flaps his wings, crows and jumps on to the couple’s bed. They’re awake. Once again we see the woman talking, this time on her couch. We see scenes of bedlam as the rooster oversees cooking in the kitchen, roosts above the bathroom sink, sits on the windscreen of the car as Michael leaves for work and harrasses the woman as she dresses. Finally the cockerel is exchanged for the box of tea.
“Well this week Typhoo asked us to test the wake up power of a cockerel to see it it’s better than my usual cup of Typhoo. Well breakfast time was a bit… a bit tricky. Everywhere he looked he’d suddenly appear. It sounded like fun at first. But it’s a lot of effort having a cockerel all the time. He took a real shine to Michael. He said he woke you up. I just really am glad to have Typhoo back.”
Advertising agency was given the brief of helping with a product USP. They aimed at motivating drinkers to purchase Typhoo for their first cup of the day. All ads and sponsorship idents were shown between 6.30 and 9.30am.
Advertising Agency: Clemmow Hornby Inge
Creative Director: Charles Inge
Copywriter: Greg Mutton
Art Director: Stuart Button
Production Company: Bikini Films
Director: Martin Granger
Silver Lion for the campaign
Bronze at Clio Awards