Aschehoug Publishing built an exhibition consisting of life size monsters to publicize Jo Nesbo’s children’s book Doktor Proktor and The End of the World. Maybe. The exhibition, taking place at the Natural History Museum in Oslo, gave the ‘Moon Chameleon’ and 23 more animals in the book each their own ‘story’; and broke all attendance records for an exhibition at the Museum. Meanwhile, the book topped bestseller charts – the first Norwegian children’s book ever do to so.
Our task was to launch the childrens book ”Doctor Proktor and the end of the world. Maybe” – about Doctor Proktor, the children Bulle and Lise and their fight against the cruel monster, The Moon Chameleon. We had a small budget of $100,000 to cover everything – our fees, production, and media spending. Knowing books are losing the battle for childrens attention in Norway and sales are going down, we knew we couldn’t go the traditional way, but had to come up with something that would create buzz, attention and PR itself.
The creative idea: A big exhibition of full sized monsters – “Doktor Proktor’s Sensational Collection of Animals You Wish Did Not Exist”.
Starring the Moon Chameleon as the main attraction, but also showing 23 other animals you really wished didn’t walk the earth. Some of them from the books, and some of them we made up.
We contacted Norway’s most famous puppet maker and his team of artists – and asked the Natural History Museum in Oslo to host the exhibition. They were all enthusiastic about the project – and the exhibition would never have come to life without their positivity, dedication and great efforts.
Together with the exhibition we also came up with the idea to write a children’s book about the animals of the exhibition. So we made that one as well – and put it out for sales in book stores all over Norway.
The Goal of PR
To create as much buzz, attention and PR as possible around the Doktor Proktor books, especially the new one. We hoped to sell about 15,000 copies.
The target audience were children between 5 and 12 – and their parents.
– Headlined the TV news twice prime time on Norway’s biggest TV broadcaster (NRK), once even live from the exhibition.
– Massive media coverage: front pages on national newspapers, headlined national radio news and an endless number of articles in both printed and online media.
– It is by far the most media covered promotional campaign in Norway for years.
– A new all time high attendance records for the museum – so far 75,000 people have visited.
– Every second child of Oslo has attended
– The book went to no.1 of the sales chart of all Literature – as the first Norwegian children’s book ever.
– The three Doktor Proktor books have sold over 70,000 copies (extremely high in Norwegian standards) since the opening.
Advertising Agency: Try Advertising, Oslo
Copywriter: Lars Joachim Grimstad,
Art director: Egil Pay
When Videocon Mobile Phones decided to re-launch the Zeus as an ebook reader phone, they offered the buyer a free bundled download offer on 2000 ebook titles. The task at hand was to convey this to prospective buyers in the most interesting manner possible.
We decided to lead the customer into a unique experience, with an installation that brought the idea of downloading free ebooks on the Zeus to life. Over 1400 books were suspended in the atrium of a mall in such a way that they seemed to converge into the screen of a single Videocon Zeus phone. Letting the spellbound viewer experience the ‘download and read’ feature of the Zeus firsthand. Customers could also interact and purchase the Zeus from a Videocon store in the mall itself.
We wanted customers to experience what it feels like downloading over 2000 free ebook titles. And that is where the idea of suspending actual books in the atrium of a mall worked the trick. The installation was one-of-a kind and created curiosity about the phone. Viewers who got convinced about its feature could also buy the Zeus phone from a Videocon store in the mall itself.
Prospective customers and avid book readers developed an instant liking for the Zeus mobile phone. And this was evident from the 100% increase in store enquiries about the Zeus and unit sales that went up by 30% in the Videocon store of the same mall.
Advertising Agency: McCann Worldgroup, Mumbai
Chief Creative Officer: Prasoon Joshi
Creative Director: Rahul Mathew, Akshay Kapnadak, Talha Bin Mohsin, Mahesh Parab
Copywriter: Vilsen Gonsalves, Juneston Mathana
Art Director: Mahesh Parab, Nitin Sawant
You might never have wondered what it would be like if Clint Eastwood had played Wolverine or Leonard Nimoy got the part of John McClane in Die Hard. I know I haven’t. But nevermind, it’s already been done and the results are intriguingly good. This is not advertising…
William Shatner and Natalie Wood join the the Blue Man Group for Stults’s new take on Avatar.
Illustrator Sean Hartter, 38, has been reimagining classic film posters but with retro casts in them for the past three years. His Alternate Universe Movie Poster project encourages other artists to come up with their own designs, and the idea has spread around the globe. Many of them are arty reinterpretations of a film’s theme, while others are clever pastiches of old styles of movie poster.
Among them are works by New York illustrator and designer Peter Stults, 29, who has also cast Al Pacino as Wolverine, along with Dean Martin, Jerry Lewis and Jack Lemmon in The Hangover. Other posters include Charlton Heston and Harry Belafonte in Pulp Fiction and Frank Zappa, Iggy Pop and David Bowie in The Big Lebowsky.
Maybe even cooler than the originals.. Charlton Heston and Harry Belafonte in Stults’s Pulp Fiction
Jack Lemmon, Dean Martin and Jerry Lewis in Peter Stults’s alternative movie poster for The Hangover
Stults even makes the posters look old by Photoshopping fold marks and signs of ageing on to them. In the alternative movie world Jean Luc Godard has directed Trainspotting with Terence Stamp and Michael Caine in it, and Marilyn Monroe and John Wayne are the stars of Kill Bill.
Stults enlists a 1960s British cast for Danny Boyle’s seminal 1996 masterpiece Trainspotting
Hartter, from Massachusetts, says dozens of similar sites have sprung up around the world, many doing alternative posters of yet to be released films. At the moment Christopher Nolan’s upcoming third Batmanfilm is occupying a lot of designers minds, with predictive poster versions of it popping up across the web. Hartter says: “I draw my inspiration from exploitation posters from the 60s and 70s, and the almost mythic stories of movies that could have been. Things like Sylvester Stallone almost playing Han Solo in the original Star Wars, or David Lynch being courted to direct Return Of The Jedi. I guess what I’m trying to impart is the sense that you might see these posters in the window of a sleazy urban movie theater, sun bleached and neglected, brittle from age. But instead of starring Z list actors and concepts no one has heard of, they are adaptations of comic book story arcs, blockbuster films that never became blockbusters, fantasy novels that are, in reality, impossible to actualise into films. I’ve always been fascinated by foreign versions of iconic film posters in the US, and alternate posters that were never used or were only used in a limited fashion. I’m also a huge fan of the pastiche photo manipulations of Terry Gilliam. I grew up watching Monty Python and the way Gilliam utilised photographs to create these bizarre worlds made a massive impression on me. My style is a little wonky but I really try to adhere to rules I’ve learned studying the way they assembled posters in the heyday of exploitation and grindhouse films. I’ve designed a few hundred posters for events and websites, or just for my own satisfaction.”
Ultra modern Inception gets a 1950s remake from Stults
Sal Mineo and Shirley MacLaine are stars of Hartter’s reimagined 2008 monster epic Cloverfield
Hartter has made friends with a lot of artists and admirers due to the distribution of his work across the web and the world.
He adds: “Some people don’t like my work and that’s fine. A bigger percentage do like it and respond to the tongue in cheek attitude that is prevalent. I try and impart a little bit of humor and a lot of nostalgia. I’m very serious about the way I create the posters but at the same time they are a parody, and definitely the antithesis of modern poster design. I use Photoshop too, but I tend to use it as if I’m cutting out paper or photographs and assembling them. I hand draw things too but approach this method in the same fashion.”
Stults, who has been mocking up modern film posters as a hobby with pals for about 10 years, was shown Hartter’s site by a friend and began doing his own alternate movie designs and sometimes adapting Hartter’s existing posters.
He said: “While studying film & digital media at UC Santa Cruz and farting around on photoshop in my bedroom, I began dabbling with the idea of “made up” movie posters. Back in 2002 to 2004 my friends and I toyed around with silly ideas; taking song titles and using those as stepping stones or someone would say ‘I want to see this actor and that actor in the same film’ or we would do the ‘It’s Mulholland Drive meetsJumanji’ film summarising approach to help create a movie concept. A while back a friend of mine forwarded me a site where an artist had made posters of films that, title wise, we were familiar with, but there was a slight difference; they were remade as if they belonged to a different era or a different genre. The name of the movie was there, but the actors were different, the style was different, and I loved the concept. So I went forward with this theme; what if movies we were all familiar with were made in a different slice of time? Who would be in it? Who would direct it?”
Stults was a typical comic book obsessed teenager who grew up in Santa Cruz, California, drawing his own superheroes.
He said: “The ‘what if’ idea Sean created is an inspiring tool. The creativity is very lively right now: Sean’s alternate universe, the fake Criterion Collection covers, posters for movies that exist in fictional books, even the mash-up trailers on youtube. I’ve always had a passion for film. I worked at a Hollywood Video for a while and every night I was taking home movies to watch. Movies of today and yesterday I have an appreciation for. The look and feel of the movie posters of previous decades have such a unique art to them. It’s a style I enjoy playing around with. When it comes to making the posters and contemplating ideas, I sort of think of movies I’ve recently seen or simply enjoy and then just wander in the ‘what if’ world. Ricky Nelson in Donnie Darko, Monty Python’s Shaun of the Dead, Robert Redford & Dustin Hoffman in Fight Club. There’s also some film history research involved too. Who was a leading actor at a certain time, what names were popular in terms of directors, and, of course there’s also the absurd.”
Lenny Bruce returns in Hartter’s version of Watchmen
This is not advertising…
Summary of the Campaign
To launch the new Puma Bodywear collection, a range of sporty garments available in stores globally, with no money. Create a huge buzz with a very small budget, and create something with a fun news spin on a depressing, repetitive story. Launch date was Fall 09, in the depths of the worst economic crisis. We observed that underwear ads followed consistent rules: half dressed pouty girls, serious photography and were limited in engagement. Based on the brand positioning “Where is the Joy”, our strategy was to bring joy in an unexpected moment that would find its way into a cultural conversation.
We created “The PUMA Index,” a real stock market ticker with a twist: when the market went down, the models clothes came off, right down to their PUMA underwear. The campaign has made over 130,000,000 impressions, the iPhone app was one of the top 20 apps and was downloaded over 40,000 times, and the website became one of the most talked about sites in national media and on social networks. One impatient fan even broke into the site to steal the files of one of the models in his PUMA skivvies.
The problem was the financial meltdown. the story came from the unique fun way in which Puma approached it – creating a useful utility while bringing a smile to everyone’s faces. With no media spend and to launch the new Puma Bodywear range to a global audience. The opportunity for Puma was to deliver on its brand promise of “Where is the Joy” by leaning into the cultural conversations already happening around the world.
And we had to do it with no media budget.
Initial planning was based on discovering what our target was interested in and cared about. We then had to create something that would go viral in their world. Next, our plan was to seed the campaign in a few key places and coordinate a PR push along with specific ads on PUMA.com to create initial buzz about the idea. After that, our plan was to build on the momentum and encourage the mass media to pick up the story for added buzz. Finally, we hoped to achieve enough success to continue to evolve the idea.
Early planning successfully identified our target and informed the creation and production of our content. Initial seeding and PR push succeeded in lighting a spark on the app/site that soon went viral on its own. Soon, mass media was reporting the site and helping spread the word. The plan pretty much stayed true to form throughout.
Our goals were three fold:
Drive awareness of the Puma’s new Bodywear range to a youth audience in key markets,
Reinforce new Puma brand positioning “Where is the Joy”
Ultimately drive sales of the product
The downturn in the economy had put the state of finance into the mainstream water cooler conversation. Research showed that finance apps were consistently in the Top 50 most sold on iTunes…But while finance had reached new cultural relevance with new audience, the media and apps consumed still treated the story like one big spreadsheet. It was through this cultural and competitive analysis that we came to the key insight that the financial world was in the need of some Puma Joy.
• 130,000,000 media impressions
• 40,000 app downloads, One of the top 20 Apps of the year
•Tens of thousands of blog/twitter/facebook of blog postings (*still tracking exact figures)
•An unprecedented amount of return visitors to the site (*still tracking exact figures)
“We’ve seen a lot of branded applications and a lot of them play it too straight down the middle,” said Antonio Bertone, Puma’s chief marketing officer. “We thought that if we could do this right and have models take off clothes when the market was going down, this could really work.”
Advertising Agency: Droga5, New York
Creative Chairman: David Droga
Executive Creative Director: Duncan Marshall, Ted Royer
Creative Director/Copywriter: Kevin Brady
Art Director: Jesse Juriga
Shortlist Cannes Lion
Silver Pencil at the One Show Interactive.