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.
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.
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.|
|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.
Grand Prix 1991 – SUMO/Levi’s Jeans
Grand Prix 1992 – MICHAEL JORDAN/Nike
Grand Prix 1993 – MELT TOGETHER/Häagen-Dazs
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
Grand Prix 1999 – WEDDING/Volkswagen Polo
Grand Prix 2000 – LARA CROFT/Sony Playstation
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
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
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
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
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
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
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
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
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
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
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
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
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
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.
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.
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