Saatchi & Saatchi has launched a new campaign to raise the profile of increasing homelessness in major cities across Europe.
Called ‘Days of Hope’, the idea originates from Saatchi & Saatchi Berlin and focuses on the impact the cold January weather has on the many homeless people in Europe. Real people living on the streets are invited to a TV studio to present the weather in place of the regular weather-readers. When presenting the weather, the homeless person will allow the audience to take a closer look at their daily lives and make a request for donations to the charity.
The Saatchi & Saatchi Network collaborated to make this happen across many countries. The office in each participating country partnered with a charity that helps those living on the streets and persuaded a TV station to take part in the campaign.
Already launched in Romania and Russia, the campaign is being rolled out for Diakonie Frankfurt across Germany within the next few weeks. Switzerland will launch this week with Poland anticipated too. In Romania, the charity Samusocial is supported by Prima TV, in Russia, Spravedlivaya Pomosch is supported by TV Rain, in Serbia, Shelter is supported by TV Pvra, in Switzerland, SPS (Sozialwerke Pfarrer Sieber) is supported by TV Züri, in Poland, PCK (Polski Czerwony Krzyż) is supported by TVP INFO.
Oliver Kapusta, ECD of Saatchi & Saatchi Berlin, and creator of the idea said: “This idea is an excellent example of the power of creativity and of how the Saatchi & Saatchi family take an idea and makes it big across all borders. Originally created as a radio spot in Germany, ‘Days of Hope’ now takes place during primetime in potentially 5 countries. Who else is capable of this?”
John Pallant, Saatchi & Saatchi Regional Creative Director EMEA said: “This is a very simple, but surprising idea, which we are expecting to get a lot of attention, stimulate conversations around this important issue, and most important of all, increase donations.”
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.
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
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.
Public Hath No Fury, Even When Deceived
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