This week marks the beginning of a new addition to our newsletter, as we hand over our precious Features section to a special Guest Editor. Every month a representative from the great and the greater of adland will offer an expert and personal view on five of the most noteworthy new ads from The Reel. For the launch, we're delighted to bring you the knowledge and insight of RKCR/Y&R Executive Creative Director Damon Collins and five ads that we think are certainly worth talking about. Enjoy.
Damon CollinsExecutive Creative Director RKCR/Y&R
Cadbury 'Trucks'
Agency: Fallon, London
Production: Blink, London
Director: Juan Cabral
Nine months ago a bloke in a gorilla suit enthralled millions by drumming to the Phil Collins classic ‘In The Air Tonight’. In a similar way to sneezing pandas and hand-holding otters, its random silliness and unfussy production values appealed to the area of the brain known as ‘The Youtube Cortex’.
So successful was that percussive primate that, for the sequel, the client has signed a very large cheque in the hopes of an even higher return on investment. Where last time Cadbury’s relied on a drum kit and a furry suit, they’ve now invested in an airport, chrome laden vehicles, stunt men, camera cranes, rolling rigs and helicopter shots, all filmed at magic hour. They’ve spent a lot of money, and you can see where it’s gone.
Cadbury’s strategy, and an excellent one at that, is to have the brand’s communications give the consumer the same endorphin-like rush they get when they eat the product itself. But despite such lavish production design and cinematography, simply seeing some trucks drive along an airstrip just isn’t that engaging and there’s therefore nothing in it which could truly lift ones spirits in the way nibbling a chunk of the brown stuff might. If the trucks at least span around, raced each other or otherwise seemed to be anthropomorphically ‘enjoying themselves’ it might have done the trick. But it feels that, along the process, with so many nice production toys to play with, a little objectivity may have been lost and therefore, perhaps, the idea.
So successful was that percussive primate that, for the sequel, the client has signed a very large cheque in the hopes of an even higher return on investment. Where last time Cadbury’s relied on a drum kit and a furry suit, they’ve now invested in an airport, chrome laden vehicles, stunt men, camera cranes, rolling rigs and helicopter shots, all filmed at magic hour. They’ve spent a lot of money, and you can see where it’s gone.
Cadbury’s strategy, and an excellent one at that, is to have the brand’s communications give the consumer the same endorphin-like rush they get when they eat the product itself. But despite such lavish production design and cinematography, simply seeing some trucks drive along an airstrip just isn’t that engaging and there’s therefore nothing in it which could truly lift ones spirits in the way nibbling a chunk of the brown stuff might. If the trucks at least span around, raced each other or otherwise seemed to be anthropomorphically ‘enjoying themselves’ it might have done the trick. But it feels that, along the process, with so many nice production toys to play with, a little objectivity may have been lost and therefore, perhaps, the idea.
Audi 'Gymnasts'
Agency: BBH, London
Production: Pretty Bird, Los Angeles
Director: Paul Hunter
Page one of the ‘How to do a cool car ad manual’ states that ‘for maximum awards it is vital to spend as few frames as possible showing the car in its entirety’.
Heeding this advice, in recent years, agencies have given us various automotive ads that feature only the cars’ individual parts. We’ve seen bits of cars played like instruments by an orchestra, arranged by artists to form a dynamic work of art and even baked by chefs. Now Audi have hired an entire troupe of gymnasts to play the part of car parts. Working to the endline ‘Performance from every part’, they join together to take the form of everything from headlights to clutch plates with spectacular effect. It’s beautifully lit and expertly choreographed with some amazing sound design. Whilst not quite up there with ‘Cog’ or ‘Cake’ it’s nonetheless a cool bit of film and with only about 50 frames of actual metal in sight, the jurors would be churlish not to chuck some awards its way.
Heeding this advice, in recent years, agencies have given us various automotive ads that feature only the cars’ individual parts. We’ve seen bits of cars played like instruments by an orchestra, arranged by artists to form a dynamic work of art and even baked by chefs. Now Audi have hired an entire troupe of gymnasts to play the part of car parts. Working to the endline ‘Performance from every part’, they join together to take the form of everything from headlights to clutch plates with spectacular effect. It’s beautifully lit and expertly choreographed with some amazing sound design. Whilst not quite up there with ‘Cog’ or ‘Cake’ it’s nonetheless a cool bit of film and with only about 50 frames of actual metal in sight, the jurors would be churlish not to chuck some awards its way.
Sony 'Foam'
Agency: Fallon, London
Production: HLA, London
Director: Simon Ratigan
Fallon seemed to have cornered the market when it comes to creating commercials that are actually more like the historical recording of an amazing event. First they hurled balls down a San Francisco street. Then they shot paint over a Glasgow council estate. Now they’re releasing bubbles in downtown Miami.
This, like the rest of the Sony campaign, is a lovingly crafted and epic piece of film. It depicts a massive wave of foam being unleashed on unsuspecting passers-by and their resulting amazement, laughter, confusion, awe and enjoyment. The ad is for Sony’s range of digital cameras and is summed up by the line ‘Images. Like no other.’ I don’t think anyone would argue that Fallon is yet to produce a Sony ad that isn’t stuffed with amazing, often previously unseen images. So I struggle a little to work out why they’ve decided that these specific images are more pertinent to selling cameras than any others. Admittedly there are some great shots here but nothing quite as worthy of catching on ‘film’ as those in ‘Balls’ or ‘Paint’.
This, like the rest of the Sony campaign, is a lovingly crafted and epic piece of film. It depicts a massive wave of foam being unleashed on unsuspecting passers-by and their resulting amazement, laughter, confusion, awe and enjoyment. The ad is for Sony’s range of digital cameras and is summed up by the line ‘Images. Like no other.’ I don’t think anyone would argue that Fallon is yet to produce a Sony ad that isn’t stuffed with amazing, often previously unseen images. So I struggle a little to work out why they’ve decided that these specific images are more pertinent to selling cameras than any others. Admittedly there are some great shots here but nothing quite as worthy of catching on ‘film’ as those in ‘Balls’ or ‘Paint’.
Carlton Draught 'Skytroop'
Agency: Clemenger BBDO, Melbourne
Production: Plaza Films, Sydney
Director: Paul Middleditch
In the Carlton Draught blockbuster a bit of football half-time entertainment goes wrong.
Synchronised skydivers pour from a large metal pod, shaped like of a glass of beer. The skydivers hook up to create the shape of a horse and the word ‘wow’. The pod then falls to the ground wreaking havoc.
Someone’s obviously spent some money here - on special effects if nothing else. In fact all that was going through my head during its 120 seconds was ‘how much did this cost?’ What went through my head after it finished was ‘I wonder if anyone will find it funny?’
I like watching cars and buildings getting smashed up as much as the next man, but does it ad up to anything that would cause me to want to drink lager? In the words of the old guy who gets his house knackered at the end: ‘It wouldn’t make me buy it’.
Synchronised skydivers pour from a large metal pod, shaped like of a glass of beer. The skydivers hook up to create the shape of a horse and the word ‘wow’. The pod then falls to the ground wreaking havoc.
Someone’s obviously spent some money here - on special effects if nothing else. In fact all that was going through my head during its 120 seconds was ‘how much did this cost?’ What went through my head after it finished was ‘I wonder if anyone will find it funny?’
I like watching cars and buildings getting smashed up as much as the next man, but does it ad up to anything that would cause me to want to drink lager? In the words of the old guy who gets his house knackered at the end: ‘It wouldn’t make me buy it’.
New York Pizza Company 'NY Pizza'
Agency: Selmore BV, Amsterdam
Production: Comrad.nl, Amsterdam
Director: Willem Gerritsen
The New York Pizza film is a homage to the American gangster movie. In a scene worthy of Scorsese, we open on a warehouse in which a mob boss stands menacingly over a guy squirming in a pool of ‘blood’ on the floor. He explains to the man how ‘disappointed’ he is in him, then proceeds to smash the place up, taking his anger out on various glass jars sitting on shelves. The denouement being that the ‘mob boss’ is actually the pizza company’s procurement director and is not particularly happy with his tomato sauce supplier.
It’s a funny idea, nicely acted and shot. And the strategy’s sound: we take great care in the sourcing (no pun intended) of our ingredients and are ruthlessly fussy about quality.
However, it’s always dangerous relying on swearing for enjoyment and engagement. VW’s use of ‘bollocks’ worked beautifully. Its logic was impeccable and there was a certain element of surprise to witnessing a sweet little girl saying the word repeatedly.
Equally, in the cinema commercial for jewellers The Great Frog a few years ago the endline ‘If you don’t like it, fuck off’ always got a laugh.
Unfortunately, here, referring to the pizza as ‘Damn fucking tasty’ may not be enough to get it talked about or forwarded on.
It’s a funny idea, nicely acted and shot. And the strategy’s sound: we take great care in the sourcing (no pun intended) of our ingredients and are ruthlessly fussy about quality.
However, it’s always dangerous relying on swearing for enjoyment and engagement. VW’s use of ‘bollocks’ worked beautifully. Its logic was impeccable and there was a certain element of surprise to witnessing a sweet little girl saying the word repeatedly.
Equally, in the cinema commercial for jewellers The Great Frog a few years ago the endline ‘If you don’t like it, fuck off’ always got a laugh.
Unfortunately, here, referring to the pizza as ‘Damn fucking tasty’ may not be enough to get it talked about or forwarded on.
We'd love to know whether you agree, disagree or even if you are completely indifferent to Damon's thoughts on this month's selection of ads. Please use the comments function on the page and/or email us at editor@thereel.net to share your views.
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