Wieden + Kennedy for Facebook – The Things That Connect Us

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.


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.


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.


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.


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.


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.


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.


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.


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.


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


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


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


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


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


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


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


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


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


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


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

Merry Christmas from your Advertising Agency

Merry Christmas from Lowe Brussels: THE SMALLEST WISH CARD IN THE WORLD (2008) 


Merry Christmas from Wieden+Kennedy, Amsterdam: VIRTUAL HOLIDAY DINNER (2010)

The brief was to make a Christmas card on behalf of WIEDEN+KENNEDY AMSTERDAM – something that we could give to clients, family, friends and even strangers. We realized what people want most around the holidays, more than any trinket or card, is to simply be together. No distance should keep loved ones apart. And so we decided to create a virtual holiday dinner, using the Internet to create a new type of Christmas greeting and blowing the traditional Christmas card out of the water.
This Christmas message was especially relevant in our office, which is 75% expatriate – there are 130 people from 20 different countries. Nothing could have been more meaningful to our people than enabling them to connect with people far away.

The rustling faux fireplace, festive holiday table and well-dressed mannequins set the scene.
Mannequins were fitted with screens as faces and connected to Skype so people could simply call in and with the help of their webcam, appear on the face of one of the dolls at the table. The cameras on their foreheads let the people at home have a real-time view of the space and everyone at the table. To make this dinner as realistic as virtually possible, we partnered with a robotics specialist to build a unique facial tracking software. Users could move their mannequin’s head by simply moving their face from side to side. Thus, diners could turn and focus on each person.
We packaged the invitation and booking system onto a website and spread the news via Facebook, Twitter and email.

At the end of the three days there were 16,000+ twitter mentions and 3,800 Facebook likes. Most importantly, 156 people, from 6 continents had gathered together for a holiday dinner. There were romantic dates, cross-continental family reunions and even first time meetings.
Voted 2010’s Best Agency Holiday Cards by Adweek.
Adverblo called it, “A lovely Christmas gift from W+K Amsterdam.”
Fast Company said, “The dinner was an undeniable success.”
“WIEDEN+KENNEDY AMSTERDAM make it possible to sit down with faraway family and friends for a virtual holiday dinner.” 
“Now, I really have to dinner with my family!” 
Brandsplat Report


Merry Christmas from Tequila/TBWA Auckland: SNOWMAN (2006)

The brief: create the annual Christmas card for New Zealand agencies Whybin\TBWA & TEQUILA\ to send to clients, suppliers and business partners.
Disrupt Christmas conventions (ie: send a card). Stand out from the ho ho ho hum. We sent out a plastic bag containing water, a pipe, a carrot and two round black stones. The attached message was simply: “Warmest Christmas wishes from Whybin\TBWA & TEQUILA\”.

The Christmas mailer exceeded all expectations and snowballed into a huge promotional piece for the agency. Recipients loved it (whether they got it instantly or had someone busting to explain it to them). More than that, they started talking about it and testing it on their friends. Before long, it was being picked up and discussed on radio stations and profiled in the national newspapers. Generating thousands of dollars worth of free publicity for the agency – and an unexpected ROI of over 1100% on agency costs.


Merry Christmas from Mother London: GIVING IS GLORIOUS (2010)

Brief and target audience: To show existing and new clients, as well as creatives in the industry, that Mother London is one of the the leading creative agencies. Strategy: Millions of electronic Christmas greeting cards are sent around nowadays. It’s considered by many as something that clutters your inbox rather than something to appreciate. We turned this on its head by creating one email that appears to be just another piece of junk mail but was in fact one of the most important emails that you received all year.
We gave a corporate Christmas gift/card in a unexpected way, the first honest spam, which strengthened the brand as a inventive creative leader. A gift that was entertaining for both existing and new clients as well as creatives in the industry.
We decided to spend our whole budget on a christmas gift to one person.
A spam e-mail offering $10 000 for the first one to reply, was sent out to hundreds of clients and partners. Only one guy replied and we gave him a visit. We filmed the experiment and sent another email to all the people who got the spam. We explained ‘On the 10th of December we offered you $10 000, but you didn’t reply’. Attached was the link to the film. Both our clients,as well as everybody else, could enjoy the film as it spread online.
A quater of a million views on YouTube in a couple of days. 5th most viewed clip in the UK on YouTube (that month). It also reached a number three on the subjects ‘most Twittered about’ during the first days.


Merry Christmas from Brey Leino Bristol: CHRISTMAS CARD (2006)

“This year, instead of Christmas cards we’re donating money to the NoMore Landmines Trust. Best wishes from all of us at Bray Leino Bristol.”


Merry Christmas from Shackleton, Madrid: XMAS REVISITED (2007)

We used the excuse of the Christmas Seasons Greeting for an action to demonstrate in the most practical way the creative capacity of the agency.
• Seasons Greetings: Send our clients and prospects our Christmas and New Year wishes
• Display the creative capacity of the agency
• Anchor the image of “creative and integrated agency” in our clients and prospects.
The solution: an exercise full of humor and irony, playing on what is generally the daily relation between “client-agency” in relation to the IDEAS.
We wrote a book following the structure of a “meeting report” where we address, consecutively the surrealistic propositions and comments from both the client and the agency on different aspects of Christmas, such as:
The characters (Father Chrismas/St.Klaus, etc…
The customs (grapes, roscón: kings’ cake, etc…
The location (urban rules in Bethlehem, etc…)
The ambient (climate changes, etc…)
The company’s Christmas present.
• 531 emails of Thank you and cards (67% SPONTANEOUS answer)
• We got 26 agency presentations when the expected standard would have been less than half.


Merry Christmas from Young & Rubicam Brands, Milan: GREEN CHRISTMAS (2011)

Christmas greetings card that challenges the receiver to save energy. Recipients were delighted by receiving a typical greeting card that to address a very important theme uses irony.


Merry Christmas from Grey Mexico: TEDDY BEAR (2005)

Brief: send an original and emotional Christmas card to all Grey Global Group clients that communicates the spirit of the holidays.
We decided not to send a regular Christmas card, but a 3D mailing. A box containing a teddy bear with instructions of what to do with it. It must be given to a street child, and the smile that it generated was Grey’s present to our clients. 
Most of our clients returned the coupon which translated into a donation to an orphanage. We received lots of emails and letters congratulating Grey for such an original and emotional Christmas mailing. All of them gave the teddy bear away.


Merry Christmas from Happiness Brussels: GIFT A STRANGER (2011)

The typical yearly agency brief: create an agency Christmas Card.
As Christmas is a traditional period of gift giving, we at Happiness Brussels wanted to push that giving spirit of Christmas just a little further…
We created Gift a Stranger: a website that allowed people to send a gift to a random person somewhere in the world, and spread a little bit of happiness
The site automatically found a random address somewhere in the world. People could then print out this address, and send their gift to this unknown person. Their gift appeared on the map, with all other gifts from people all over the world.
Results and Effectiveness:
–       More than 700 gifts sent during Christmas
–       75.000 unique clicks on the website
–       Gift a Stranger was featured on leading blogs
–       More than 6.000 impressions on Twitter, Facebook & Tumblr


Merry Christmas from H57, Milan: RE-PACK PROJECT (2011)

H-57 loves and respects the environment. For this reason, during Christmas, we decided to launch an initiative that would promote our agency and be useful at the same time. We have therefore implemented a very simple idea, but in our opinion very effective to make people understand the importance of reusing old boxes/ envelopes/packagings even after the Christmas holidays, to produce an awareness on environment issues (even with a small action), to protect and save a lot of trees!
The challenge was to promote our agency doing a good deed. We started thinking to a very simple creative idea with low production costs. Moreover, it would have been perfect if we could find something that would help to “educate”our clients to respect the environment/nature.
The idea came one day while we were at work in the agency. There were some boxes and we tried to close one of them inside out then we had the idea to reuse all the boxes that we had here in office. We personalized the boxes with a red sticker to make the idea understandable, elegant and cool without being cheap. Our concept has been published on many blogs and our customers liked and appreciated our funny promotional operation too.


Merry Christmas from Grabarz & Partner Hamburg: RECYCLED CHRISTMAS CARD (201o)

The task was to design a Christmas greetings card for clients and business partners of the advertising agency Grabarz&Partner with the advice that money would be donated to a charity in their name. The aim was to generate affinity for Grabarz&Partner.
Presentation boards of Grabarz&Partner campaigns that had been rejected internally were cut up into postcard-size pieces and dispatched with Christmas greetings. Grabarz&Partner received many positive reactions from clients and business partner.


Merry Christmas from Vitruvio Leo Burnett, Madrid: THE GIFT IS US (2009)

The main goal was to say Merry Christmas to other agencies in a special way. We wanted to give an honest gift, inspired by generosity and love, that reoresented the values of Christmas. We wanted to present them with a gift that would be hard to forget, something that would leave the best impression of our agency on the advertising industry.

Each creative went with a special kit, which included: one numbered laptop bag, two t-shirts (one for each day), 1 pendrive with the goodbye email and some goodbye sweets. They worked with new accounts and new bosses. The decision about which creative had to go to each agency was made studying the profile of each creative, in order to really help the agency with their capabilities, all of our creatives went to their designed agency with the intention of helping out and doing the best possible job. It was the only way to approach the main goal of the campaign.
The experience was greater than we could imagine:
– A pitch won.
– A print campaign published.
– 3 webfilms created.
– More than 90% of our ideas were presented to clients.
– And the most important thing, according to our objectives: more than 500 new friends were acquired.
The best thing we could do to leave a good impresion on the agencies was to do something valuable for them, something they would remember us by. We offered them our time and our work to help them to go forward with their own projects. Is there a better gift for an agency than that?


Merry Christmas from Ruf Lanz, Zurich: RUF LANZ CHRISTMAS MAILING (2009)

Over the Christmas season, customers receive many greeting cards and mailings. Most are placed straight in the wastebasket. The challenge was to create a distinctive mailing that would get the agency noticed both in its idea and execution – and one that customers would not forget for a long time.
Each year at Christmas, the Ruf Lanz advertising agency sends their customers a surprise. With 2008 having been such an economically difficult year, this Christmas they wanted to make it a special surprise.
During the Christmas period, many people like to light candles. That’s why the heads of the four members of the creative board were reproduced as candles. A mould of each of the four heads was elaborately hand-carved in wood. They were used to pour 150 sets of candles – and then hand-painted by the French artist Martine Siragusa. The candles were sent in a wooden presentation box.
The customers responded enthusiastically to the quality mailing. Many put the candles in their offices– and lit them. Some even took them home and decorated their Christmas tree with them. The mailing was also sent to potential customers: one subsequently brought his advertising budget to Ruf Lanz.


Merry Christmas from Nitro, London: UNSUBSERVIENT SANTA (2008)

Nitro’s alternative Christmas card comprised of an interactive microsite called Unsubservientsanta.com. Users we’re invited to write their Christmas wish in the dialogue box and submit it to Santa. Santa would be woken by a flashing light and the request appearing on his printer. Using the latest in interactive technology, Santa would blatantly ignore the request and do something unseasonably unpleasant such as make a rude gesture, smash up the presents or cut down the Christmas tree with a chainsaw. The site proved incredibly popular with staff, clients, friends and the general public.


Merry Christmas from Wunderman Zurich: WAKE UP SANTA (2006)

The annual greetings for Christmas and the New Year are a part of Christmas like Santa Claus and the Christmas tree. The tradition of these greetings is to be maintained, without being traditional. The agency network Wunderman/Futurecom should therefore look for a solution, which stands out against the flood of Christmas cards, amuses and at the same time underlines the expertise of the two agencies on their creativity and integrated communication.
The Solution: Wake up Santa, an unconventional sort of Christmas communication via an entertaining and engaging mailing and web game: Wunderman and Futurecom sent the selected recipients a printed Christmas card that asks them to be a hero. They should save Christmas online. This means waking up Santa by choosing the correct combination of waking-up-methods. http://www.wake-up-santa.ch is an interactive site: each try to wake up Santa is shown live via video streaming. The videos were produced in-house, by the agencies themselves. Despite the fact that the visitors had no possibility to win anything or got any other kind of incentive on the website, the campaign obtained remarkable results.

With a send out of 2750 addresses the Website generated:
– 3 784 visits
– 2 287 visitors, 20.4% of it regular
– average of 176 visits daily
– average of 5,27 minutes spent on the website
– 2990 waking attempts or approximately 15 000 streamed waking video clips
– 220 reminder registrations (9,6% of the visitors)


Merry Christmas from Villarrosas, Barcelona: CHRISTMAS AGITATION FRONT (2007)

The Brief
At Christmas, the agency sent its season’s greetings to its clients and friends by creating the Christmas Agitation Front (F.A.N. in Spanish). ”

The Solution
A kit was sent by post with templates of slogans for windows and a spray, calling all the group’s followers to action. The themes on the templates were the F.A.N. logo, a Christmas ball-bomb, “Happy Climate Change”, “More ham and less syrup”, “Pay rise!” and “Consume moderately. It’s your responsibility.

The Results
250 welcome packs for the Christmas Agitation Front were sent in total.


Merry Christmas from Wunderman Germany: CHRISTMAS DINNER (2006)

The Brief: develop an attention-grabbing mailing for the agency’s business partners, that:
-differentiates Wunderman from other agencies
-proves the creative excellence of Wunderman
-works as the perfect Christmas greeting.

The Solution: Christmas time is greeting time. And it’s also the time of perfect dinners.
Wunderman links both together. By sending out an eatable mailing, that – even if it’s made of paper – tastes like the classical Christmas turkey.
It was realized by Chicago’s chef Homaro Cantu, who developed a patented method to print the taste of different dishes to eatable paper.

Results. It’s fascinating, by attention and surprise. This innovative greeting supports the positioning of Wunderman as competent and creative dialogue-agency. Even if there was no response required, 36% of the addressees felt inspired to answer – some of them by inviting our Board of Executives to a Christmas Dinner.


Merry Christmas from KMS Team, Munich: BUILDINGS BRANDS CHRISTMAS GREETING (2011)

The task was to develop a Christmas greeting for clients and partners on behalf of KMS TEAM, a company for brand strategy, brand design and brand communication.
The Christmas gift had to meet the following requirements: establish a personal connection, take up the topics of “brand” and “Christmas”, and invite the recipient to become active.
As a Christmas greeting, the brand agency KMS TEAM sent its clients and partners a personalized LEGO set: a conference room with the logo of the respective recipient as an image projection. Under the title, “Building brands”, the accompanying card established the connection to KMS TEAM’s core expertise. Thus a classic gift (LEGO for Christmas) became a delightful means of communication.
Many recipients of the present personally thanked the sender and had very positive things to say about the Christmas greeting.


Merry Christmas from Advertising Depot, Brisbane Australia: ISTANT CHRISTMAS TREE MAKER (2005)

Brief: to generate new business without having to plead with prospective clients for lunch dates.
We created a Christmas gift that challenged expectations and was interesting enough that prospective clients would give us a call, instead of the other way around. In a market rife with predictable Christmas Gifts, the Instant Christmas Tree Maker aimed to turn expectations on their head and position us as an agency that achieves cut-through and can add new dimensions to our clients’ advertising.
The majority of prospective clients contacted us to say thank you, presenting us with an opportunity to set up a meeting to discuss their account. We have consolidated 3 substantial accounts as a direct result of the campaign, increasing our billings by approximately 30%.


Merry Christmas from Red C Advertising, UK: CHRISTMAS NUMBER ONES (2008)

Wish clients a Merry Christmas in a fun and interactive way that shows how the agency is now producing work both online and offline. Include some form of Christmas present in the idea to prompt response.
Over the last year the agency had taken steps to offer online services alongside traditional offline services. This included the ability to film and edit digital video, build forms and design and build websites… no mean feat for what was once known as a traditional DM agency. We decided that the big rush to become Christmas No.1 would be a fun way to show off our skills to our clients… so we created an alternative Christmas No.1s competition with staff starring in their own pop videos and singing their favourite Christmas songs. Visitors to the site could then vote for their favourite and be entered into a draw to win an IPOD Touch. We sent out 300 cards, and had over 150 entries into the competition, giving us a response rate of well over 50%. With one very lucky person then going on to win an IPOD Touch!


Merry Christmas from Lowe Roche, Toronto: HOLIDAY BUTTONS (2006)

Because in this magical time of goodwill and cheer, it’s easy to lose sight of what makes this season truly special: controversy.


Merry Christmas from Leo Burnett, Milan: THE JUST BEFORE CHRISTMAS PARTY (2005)


Merry Christmas from Creature, Seattle: CREATURE TOE HOLIDAY GIFT (2008)


Merry Christmas from Young & Rubicam, New York: THE UNGRATEFUL BASTARDS (2010)

Y&R NY launched a new website called “The Ungrateful Bastards.” If you received a gift during the holidays that you don’t want (and who didn’t?), you can visit this site and trade for someone else’s unwanted gift. “Because one man’s stupid, unwanted holiday gift is another man’s treasure.”


Merry Christmas from Saatchi & Saatchi, Slovenia: GREEN SANTA (2009)

Y&R NY launched a new website called “The Ungrateful Bastards.” If you received a gift during the holidays that you don’t want (and who didn’t?), you can visit this site and trade for someone else’s unwanted gift. “Because one man’s stupid, unwanted holiday gift is another man’s treasure.”


Merry Christmas from Recreate.lu, Luxembourg: XMAS ROAD SIGNS (2010)

Nice little guerrilla action noticed in the streets of Luxembourg. Road signs have been discretely decorated in Christmas fashion. Charming initiative in this holiday season.


Merry Christmas from 180 Amsterdam: CHRISTMAS MESSAGE (2007)

The Christmas card is a light-hearted attempt to contribute to current debates raging about multiculturism, secularism and the true meaning of Christmas. It’s also an appropriate greeting from an agency that boasts over 24 nationalities.
Recipients are invited to assemble their own nativity scene from an empty stable and an accompanying sticker-sheet that features a whole mélange of characters. Choose Santa over Joseph or a Burka-clad woman over Mary. Further options include an array of gift bearers, animals, stars and gifts (many of which are courtesy of the agency’s clients). The broad selection guarantees endless fun and limited offence.
The Christmas message was sent out to clients, colleagues, partner agencies and competitors as a funny way to spread Christmas cheer and also awareness of the agency’s ability to execute an idea in an irreverent and entertaining way.
The Christmas card created a stir and was noticed and appreciated in a season that generally is drowned in clutter..


Eurobest (1991/2010) – 20 years of Grand Prix

Grand Prix 1991 – SUMO/Levi’s Jeans

Advertising Agency: McCann-Erickson, Milan

Grand Prix 1992 – MICHAEL JORDAN/Nike

Advertising Agency: Simons Palmer Denton Clemmow & Johnson, London

Grand Prix 1993 – MELT TOGETHER/Häagen-Dazs

Advertising Agency: Bartle Bogle Hegarty, London

Grand Prix 1994 – CREEK/Levi’s Jeans

Advertising Agency: Bartle Bogle Hegarty, London

Grand Prix 1995 – ELEPHANT/Rolo Nestlè

Advertising Agency: Lintas, Amsterdam

Grand Prix 1996 – MUSEUM/Centraal Beheer

Advertising Agency: DDB, Amsterdam

Grand Prix 1997 – ST GEORGE/Blackcurrant Tango

Advertising Agency: HHCL & Partners, London

Grand Prix 1998 – SAFETY ON BOARD/Samsonite

Advertising Agency: TBWA\Campaign Company, Amsterdam

Grand Prix 1999 – WEDDING/Volkswagen Polo

Advertising Agency: BMP DDB, London

Grand Prix 2000 – LARA CROFT/Sony Playstation

Advertising Agency: BDDP@TBWA, Paris

Grand Prix 2001 – BEAR/John West

Advertising Agency: Leo Burnett, London

Grand Prix 2002 – THE SCULPTOR/Peugeot 206

Advertising Agency: Euro RSCG, Milan

Grand Prix 2003 – COPS/Volkswagen Polo

Advertising Agency: DDB London

Grand Prix 2004 – WATERBOY/Evian

Advertising Agency: BETC Euro RSCG, Paris

Grand Prix 2005 – KARL LAGERFELD FOR H&M/H&M

Advertising Agency: RAF, Stockholm

Grand Prix 2006 – TEAR/Audi RS4

Advertising Agency: DDB España, Madrid

Grand Prix 2007 – POWER OF WIND/Epuron

Advertising Agency: NORDPOL+ Hamburg

Grand Prix 2008 – DOG/Volkswagen Polo

Advertising Agency: DDB London

Grand Prix 2009 – CAROUSEL/Philips TV 21:9

Advertising Agency: Tribal DDB Amsterdam

Grand Prix 2010 – WRITE THE FUTURE/Nike

Advertising Agency: Wieden+Kennedy, Amsterdam

The 10 Best Commercials to watch on Halloween

1 – Volkswagen – HORROR MOVIE

The quality and reliability of a Volkswagen are known to be extremely high. Accordingly, you will never see a Volkswagen that won’t start in a dangerous horror movie scene.

Advertising Agency: DDB Germany
Creative Director: Amir Kassaei, Stefan Schulte, Bert Peluecke
Copywriter: Sebastian Kainz
Art Director: Marc Wientzec
Year: 2007
Bronze Lion

2 – Nike Footwear – SCARY HOUSE

A little girl finally musters up the nerve to ring the doorbell of the scary house at the end of the street. When frightened she runs away by getting in the mindset of the fastest woman in the world: Marion Jones. It’s a race against fear through the backstreets of Savannah.

Advertising Agency: Weiden + Kennedy, Portland
Creative Director: Bill Grylewicz, Andrew Loewenguth
Copywriter: Mike Byrne, Hal Curtis
Art Director: Bill Karow
Year: 2005
Bronze Lion

3 – Nike Sportwear – HORROR

A spoof of the horror film classic “Friday The 13th” but with a twist ending. We see the villain hunched over gasping for breath as Olympic athlete Suzy Hamilton escapes in the distance.

Advertising Agency: Weiden + Kennedy, Portland
Creative Director: Jim Riswold
Copywriter: Ian Reichenthal
Art Director: Scott Vitrone
Year: 2001

4 – SWR Television Station – LULLABY

Serial murderers, monsters and horror characters from well-known splatter, horror and violent films sing Brahms’ lullaby (Lullaby and Good Night). The film ends with the question: how much violence do your kids see before they go to sleep? SWR Television. Against violence on TV.

Advertising Agency: Ogilvy & Mother Frankfurt
Creative Director: Peter Rommelt, Simon Oppmann
Copywriter: Peter Rommelt
Art Director: Simon Oppmann
Year: 2004
Bronze Lion

5 – Smart FourTwo – BACK SEAT

Sometimes it’s more secure to drive a car with no backseats. Note: All scenes in the commercial were filmed referring to the cinematic look of the originals.

Advertising Agency: BBDO Germany
Creative Director: Matthias Eickmayer, Stephan Meske
Copywriter: Szymon Rose, Florian Barthelmess, Jonathan Skupp
Art Director: Steffen Gentis, Annette Berkenbusch, Mereike Ceranna
Year: 2007
Silver Lion

6 – 13eme Rue Tv Channel – SCREAM

Scenes of famous horror films with women screaming…

Advertising Agency: Betc Euro RSCG, Paris
Creative Director: Stephane Xiberras
Copywriter: Oliver Couradjut
Art Director: Remy Tricot
Year: 2007

7 – K-Fee Caffeine Drink – COMPLETE CASE HISTORY

Ever been so wide awake? Then another: K-fee. Canned caffeine with

Advertising Agency: Jung Von Matt, Germany
Creative Director: Costantine Kaloff, Ove Gley
Copywriter: Daniel Frericks, Eskil Puhl
Art Director: Frank Aldorf
Year: 2005

Silver Lion for the campaign

8 – Stihl Chainsaw – MASSACRE

The Stihl easy2start chainsaw range feature an effortless , every time starting mechanism.
A wonderful product benefit that gives life to this spoof of the horror genre. Dramatised in a style that looks and feels as much like a cinematic experience as possible, this is an ad that changes shape with a twist.

Advertising Agency: Cummins & Partners, Melbourne
Creative Director: Craig Conway, Sean Cummins
Copywriter: Dave Lunnie, Melissa Turkington
Art Director: Dave Lunnie, Melissa Turkington
Year: 2006

9 – Gainomax Recovery Drink – SCARY

By old habits, people eat bananas after working out. But, bananas are for monkeys. Instead, maximize the effect of your exercise and drink Gainomax Recovery: it’s better for you. In this horror movie a monkey threatens us. Don’t take his bananas. If you do, he’ll come after you.

Advertising Agency: Saatchi & Saatchi, Stockholm
Creative Director: Fredrik Preisler, Adam Kery
Copywriter: Amalia Ptsiava, Adam Reuterskiold
Art Director: Gustav Egerstedt
Year: 2008


10 – Cingular Mobile Phone Service – HORROR

Filmed in a “horror movie” style, scary teenagers ask their parents for cellphones.

Advertising Agency: BBDO New York
Creative Director: David Lubars, Bill Bruce, Susan Credle
Copywriter: David Locasio
Art Director: Rich Wakefield
Year: 2006

Honda – The story of Cog

In 2002 Honda Motor Company was the number-three Japanese automobile manufacturer in the world, behind Toyota and Nissan. While Honda’s automobile sales in Japan and the United States were considered strong, sales in the United Kingdom and mainland Europe were thought to be weak, even though automobile production in the United Kingdom had been ongoing for a decade. Further, Honda vehicle sales had been declining in these regions since 1998. In response to these problems Honda hired ad agency Wieden+Kennedy’s London office to create an advertising campaign that would directly address the issues. ‘‘The Power of Dreams’’, released in 2002, was an omnipresent campaign in the United Kingdom and beyond, using television, direct mail, radio, posters, press, interactive television, cinema, magazines, motor shows, press launches, dealerships, postcards, beermats (coasters), and even traffic cones. It built upon Honda’s company slogan, ‘‘Yume No Chikara,’’ which was first endorsed in the 1940s by the company’s founder, Soichiro Honda. Translated into English, it meant to ‘‘see’’ one’s dreams. Wieden+Kennedy used this phrase as the basis of its question to consumers: ‘‘Do you believe in the power of dreams?’. 

The global campaign, which centered on this tagline, included print and television components starring ASIMO, a humanoid robot developed by Honda. While the ASIMO ads gained widespread recognition, the 2003 television commercial called ‘‘Cog’’ was clearly a pinnacle of the campaign. In a single take with no special effects, more than 85 individual parts of the new Accord interacted in a complicated chain reaction.

Cog was first aired on British television on Sunday 6 April 2003. The full 120-second version of the advertisement aired only 10 times in all, and only in the 10 days after the initial screening. The slots were chosen for maximum impact, mostly in high-profile sporting events. The campaign was tremendously successful both critically and financially. The media reaction to the advertisement was equally effusive, with articles appearing in both broadsheets such as The Daily Telegraph, The Independent, and The Guardian.

The full version was then put aside in favour of a 60-second and five 30-second variations, which continued to air for a further six weeks. These shortened versions made use of newly-introduced interactive options on the Sky Digital television network. Viewers were encouraged to press a button on their remote control, bringing up a menu that allowed the viewer to see the full 120-second version of the advertisement. Other menu options included placing an order for a free documentary DVD and a brochure for the Honda Accord.

The DVD, which was also included as an insert in 1.2 million newspapers in the first week of the commercial’s rollout, contained a “making-of” documentary featuring interviews and behind-the-scenes footage of the production process, a virtual tour of the Accord, the original music video to “Rapper’s Delight” by the Sugarhill Gang, and an illustrated guide to all the parts shown in Cog. The interactive 30-second versions of Cog proved hugely successful. Over 250,000 people used the menu option, spending an average of two and a half minutes in the dedicated advertising area. A significant number watched the looped 120-second version for up to ten minutes. Of those who opened the menu, 10,000 requested either a DVD or a brochure, and Honda used the data collected from the interactive option to arrange a number of test drive.

The Script

Cog opens with a close-up on a transmission bearing rolling down a board into a synchro hub. The hub in turn rolls into a gear wheel cog, which falls off of the board and into a camshaft and pulley wheel. The camshaft swings around into the centre section of an mounted on top of an engine crankshaft assembly. The exhaust swings round and knocks into a series of 3 valve stems. The valve stems roll down a front bonnet placed on top of an alloy wheel rim, releasing an engine oil dipstick with a throttle actuator shaft on the end. The disptick flicks over an engine cam cover into a radiator.The radiator overturns, falling onto a wheel balanced on top of a water pump housing. This wheel rolls off and knocks into the first of a series of three weighted wheels, which roll up a ramp into brake disc. The disc falls onto a seatbelt which, using a suspension lower arm as a lever, pulls a rear seat back into an upright position. As it does so, the seat disturbs a front windscreen wiper blade attached to a pulley wheel. The wiper blade travels along a bonnet release cable and overturns a tin of engine oil. The tin empties its contents onto a lower shelf, which disturbs the balance of several valve springs against flywheel. The oil alters the balance enough to cause several of the springs to roll. The valve springs are slowed enough by the spilt oil to allow them to drop into a cylinder head assembly mounted on a seesaw constructed of a board placed on a rocker shaft and gear wheel cog. On the other end of the seesaw is a car battery. As the assembly drops, the battery is pushed into a cylinder block wired up to an engine fan. It completes the circuit, and the fan rolls across the open floor into an anti-lock braking system modulator unit. The modulator unit knocks a rear silencer box down a ramp and into a rear suspension link. The link pushes a transmission selector arm into a brake pedal loaded with a rubber brake grommet. The grommet launches into a tyre mounted on a front end assembly, knocking it off and onto a wire suspended between two brake discs. The wire pulls a con rod, rotating it into a cylinder liner. The liner rolls down an incline, slowed by another con rod, the electric window of a front door assembly, and a series of interior grab handles. It falls onto another battery, completing a circuit. The circuit powers a windscreen washer jet pointed at a windscreen. The automated water sensors in the windscreen activate a pair of wiper blades, causing them to crawl across the floor. The wipers release a handbrake lever keeping a quartet of suspended window panels in place. As the windows swing round, the resulting air draft knocks the liner panel of a rear tool tray into a rocker shaft, which rolls across the floor into a suspension coil spring. The collision causes enough of a vibration to knock a second shaft into a battery. This activates the Accord’s CD player (playing Sugarhill Gang’s “Rapper’s Delight”). The vibrations from the car speakers shake a coil spring just enough to set it rolling off a rear tailgate glass panel, and onto a brake pedal. Once pushed, the pedal causes a set of rear shock absorbers to depress, pushing a polenoid onto a button on an ignition key. The button remotely closes the hatchback of an assembled Honda Accord on a brake-disc-mounted trailer. The closing of the door causes the weight of the car to shift enough to start it rolling down the slope to its final position in front of a tonneau cover with “Accord” printed on it, weighted with a wheel hub assembly. The piece closes with a voiceover from writer Garrison Keillor, who asks, “Isn’t it nice when things just work?”. The screen then cuts to a plain white background, where the Honda logo fades into the centre of the screen. The black text “The Power of Dreams” fades in shortly after the Honda logo has completely faded in.

The Making of

The Honda executives were intrigued, but demanded a cut using actual automotive parts before giving permission to go ahead with the full-scale projects. Once Cog was green-lit with a budget of £1 million, Gooden and Walker wasted no time in recruiting a London-based team to go through the logistics of the shoot in detail. The team, which comprised engineers, special effect technicians, car designers, and even a sculptor, spent a month working with parts from a disassembled Honda Accord before the design for the advertisement’s set was even finalised. Approval for the script took another month. Honda insisted that several specific Accord features, such as a door with a wing-mirror indicator and a rain-sensitive windscreen, appear in the final cut. The company planned to highlight these features in sales brochures. Antoine Bardou-Jacquet was brought on to direct the piece. Bardou-Jacquet was mostly known for directing several award-winning music videos.

Bardou-Jacquet wanted to compose the advertisement with as little computer-generated imagery as possible, believing that the final product would be that much more appealing to its audience. To this end, he set two months aside for the creation of hundreds of conceptual drawings detailing various possible interactions between the parts, and a further four months for practical testing and development. For the testing phase, the script was broken into small segments, each comprising only one or two interactions. Ideas deemed unworkable by the testing crew, such as airbag explosions and collisions between front and rear sections of the car, were abandoned, and the remaining segments were slowly brought together until the full and final sequence was developed. The final cut of Cog consists of two continuous sixty-second dolly shots taken from a technocrane, stitched together later in post-production.
Four days of filming were required to get these two shots, two days for each minute-long section. Filming sessions lasted seven hours and the work was exacting, as some parts needed to be positioned with an accuracy of a sixteenth of an inch. Despite the detailed instructions derived from the testing period, small variations in ambient temperature, humidity and settling dust continually threw off the movement of the parts enough to end the sequence early. It took 90 minutes on the first day just to get the initial transmission bearing to roll correctly into the second. Between testing and filming, 606 takes were needed to capture the final cut. The team commandeered two of Honda’s six hand-assembled Accords—one to roll off the trailer at the end of the advertisement, the other to be stripped for parts. While several sections of the early scripts had to be abandoned due to the total unavailability of certain Accord components, by the time production finished the accumulated spare parts filled two articulated lorries.

Cog needed only limited post-production work, as the decision had been made early on to eschew computer-generated imagery wherever possible. To further reduce the work required in post, Flame artist Barnsley  from the post-production company The Mill, spent a lot of time on set during filming, where he advised the film crew on whether particular sections could be accomplished more easily by re-shooting or in post. Even so, the constant movement of the components on-camera made it difficult to achieve a seamless transition between the two 60-second shots. Several sections also required minor video editing, such as re-centering the frame to stay closer to the action, removal of wires, highlighting a spray of water, and adjusting the pace for dramatic purposes.

Plagiarism accusations

Shortly after Cog appeared on television, Wieden+Kennedy received a letter from Peter Fischli and David Weiss, creators of the 1987 art film “Der Lauf der Dinge”. The art film was well known in the advertising industry, and its creators had been approached several times with offers for the right to use the concept, but had always declined.

The letter pointed out several similarities between their work and Cog, and warned the agency that they were considering legal action on the basis of the “commercialisation and simplification of the film’s content and the false impression that [they] might have endorsed the use”. When interviewed by Creative Review magazine, the pair made clear that they wished they had been consulted on the advertisement, and that they would not have given permission if asked. Media publications quickly picked up the story, and asserted that Fishcli and Weiss were already in the process of litigation against the car manufacturer.  Ultimately, Fischli and Weiss never filed a lawsuit against either Wieden+Kennedy or Honda UK, but their accusations continue to colour perceptions of the work within the advertising community.


Having swept the majority of award ceremonies within the advertising community to date, Cog was widely believed to be the favourite for the industry’s top award, the Grand Prix at the Cannes Lions International Advertising Festival. Cog held a disadvantage in that the chairman of the Cannes voting jury, Dan Wieden, was one of the founders of Wieden+Kennedy, the firm responsible for creating Cog; tradition holds that it is bad form for the chairman of the jury to vote for a piece by his or her own agency. Despite the lingering shadow of these accusations, Cog drew an unprecedented amount of critical acclaim. It received more awards than any commercial in history; so many that it was both the most-awarded commercial of 2004 and the 33rd-most-awarded commercial of 2003. The jury for the British Television Advertising Awards gave the piece the highest score of any commercial ever recorded; the jury’s chairman Charles Inge commented: “My own opinion is that this is the best commercial that I have seen for at least ten years.” After awarding Cog with several Silver awards, the president-elect of the D&AD Awards, Dick Powell, said of the piece: “It delights and entrances, […] it communicates engineering quality and quality of thinking, and leaves you with a smile.”

The result at Cannes was a surprise; after the longest judging period in the festival’s history, the Grand Prix went to neither of the two event favourites. Instead, the jury awarded the prize to Lamp a U.S. advertisement directed by Spike Jonze for the IKEA chain of furniture stores. Chief among speculated reasons for the outcome was the plagiarism debate surrounding Cog. Ben Walker told “A couple of people on the jury told me the reason it didn’t win is ’cause they didn’t want to be seen to be awarding something which people in some corners had said we copied.”

Homages and Parody

The popularity and recognition received by Cog led a number of other companies to create pieces in a similar vein, either as homages, in parody, or simply to further explore the design area. The first of these was Just Works, a deliberate parody advertisement for the 118 118 Directory Assistance Service in the summer of 2003, in which the Honda parts are replaced with such oddities as a tractor wheel, a flamingo and a space hopper, although what makes this advertisement different is that the familiar 118 118 runners simply push the items forward to keep things going. Campaign magazine listed Cog, along with Balls for the Sony Bravia as one of the most-imitated commercials in recent times.

Advertising Agency:  Wieden+Kennedy, London
Creative Director:  Tony Davidson, Kim Papworth
Copywriter:  Ben Walker
Art Director: Matt Gooden
Production Company:  Partizan, London
Director:  Antoine Bardou-Jacquet
Year: 2003